More pretentious, early 80s new wave rubbish. I’ll give it an extra star for being listenable.

Solid jazz/bossa nova record. Can get kinda repetitive, but still a fun listen nonetheless.

The most vanilla "hard rock" ever. Definitely the saltine cracker of rock. And people love this shit. Sure the songs are catchy but they're boring to me. I just don't get it.

My first impression is that this reminds me a lot of Beck or early Gorillaz. Some spacey hip-hop/electronic sounds, so I guess this would technically be in the genre of trip-hop? idk. I couldn't really get into the vocals. Very melodramatic and pretentious. And that album cover is horrid.

I encourage anyone who is about to listen to this record to also read about the story leading up to this performance. Absolutely ridiculous circumstances surrounding the show that really puts the songs in a different perspective. The music itself is great as well. Impressive improvisation throughout. Also surprising to me that a solo piano free-improvisation record became a best seller.

Emerging from the 1960s, the Temptations were forced to leave their signature “Motown Sound” behind in search of a more commercial and progressive sound. What resulted (besides numerous lineup changes) was a slew of albums in the late ‘60s and early ‘70s known as the Temptations’ “Psychedelic Era”. This record was on the tail end of their psychedelic era. The Temptations were able to land a number 1 single in “Papa Was a Rolling Stone” after a drought in chart success. The first side contains funky numbers such as a 12 minute long version of the aforementioned #1 single, and the political tune “Run Charlie Run”. Side 2 opts for a more mellow tone, with many songs featuring orchestra components. The record ends with a funky number complete with horns. Overall, I believe The Temptations fit in well to the funk sound. Standout tracks: Papa Was a Rolling Stone, Do Your Thing, The First Time I Ever Saw Your Face

No sophomore slump for the Smashing Pumpkins. This record is a perfect blend of shoegaze, dreamy psychedelia, and grunge/alternative. What else can be said?

Fiona Apple burst onto the alternative scene in 1996 with this debut album. What I really enjoy about this album is the range of musical styles and instrumentation. Her songwriting and singing is also stellar. Great debut record. This is the first project I’ve heard of hers.

Elton John’s magnum opus, as I’ve heard. I never really paid too much attention to Elton, but I respect his artistry in the pop music scene. This album has some great songs. It may be a bit long, but I was surprised that I enjoyed it.

This is a hidden gem in my eyes. I hear many different genres being incorporated in this record. Alternative rock, folk, punk, even some emo tinges (see: Bit Part). I really enjoyed this album and I can hear influences on bands like the Foo Fighters, Nirvana, and Modern Baseball.

We all know this is a classic. I don’t think the singles accurately reflect the sound of this record. Biggie tells of his experiences as a young criminal, and his life before getting rich. This record seems more as a precursor to drill rap, similar to Wu-Tang’s 36 Chambers. There are some great vulnerable moments on this record as well. The only thing keeping it from a higher score is the sheer size of this record. It clocks in at 1 hr 16min. Lots of skits throughout the record also made it age a bit badly in that regard. Overall, this is a must listen for any rap/hip hop fan

I don’t think anyone can really deny the importance of U2 throughout the 80s. Their arena rock sound had become stale by the time the 90s rolled around. Alternative rock was on the rise and U2 was outdated. This album was their attempt to reinvent themselves to keep up with the times. Although there are some bright spots on this record, overall it is a bit stale to me, and pretentious at times. It is a lot of meandering ‘90s alternative rock with some forgettable tracks. If the album was closer to ~35mins, cutting out a few tracks, it would be much better.

For 1972’s “Greetings from L.A.”, Tim Buckley trades in his dreamy, psychedelic folk for a rocking, hard hitting, “sex funk” sound. The career of Buckley is sort of strange. He had this sort of crooning, deep voice that seemed to change with every record. He was big in the underground L.A. scene, but never really made it out. This record was a huge change in sound for him. There are a lot of Jim Morrison-esque moments and a few Janis Joplin moments on this record as well. The lyrical content is - well - sexual to say the least. Some of it certainly didn’t age well, and some of it is sort of strange, but I think a majority of it is pretty fun. If the lyrical content varied more, this would’ve received a higher score. Overall an enjoyable listen.

This was an interesting listen. I had never heard of the “fun Lovin criminals” before. Apparently they were pretty big in the ‘90s. The instrumentals on this record are fantastic. As another user said, though, some of the rap-rock tracks haven’t aged well. Maybe this is due to the nu-metal movement that would come a few years after this record was released. One thing that annoys me is the lyrics. They kinda suck. This was a fun listen tho. I would’ve gave it a higher score if the lyrics were better.

This album is really bad. Painful to listen to. Very, very juvenile. I feel like many of the positive reviews are blinded by nostalgia, because listening to this album in 2022 actually sucks. This record embodies everything I hate - annoying, frat rap. Not to mention it is extremely dated. Even 14 year old me would’ve hated this.

In 1967, The Beatles were focused on making cohesive albums rather than just focusing on singles. The result was Sgt. Pepper, and even down to the intricate album art, it was clear that The Beatles were putting a lot of time into recording and crafting complete albums. So how do you follow a monster like Sgt. Pepper up? You do the exact opposite! At least that’s what The Beatles thought. The White Album, as it has become known, is a double album released by the Beatles in 1968. The album consisted of many seemingly “loose” songs, thus there is no definite flow throughout the album. This throws a lot of people off. A lot of people also don’t like the “filler” tracks. Personally, I think many of the filler tracks are fun. I really love how the Beatles explored different musical styles throughout the record, such as folk, blues, proto-metal, and even avant-garde. Overall, this was a really fun listen and a great album, even if it isn’t as cohesive as their other efforts.

I never really listened to bluegrass prior to listening to this album. The closest thing was some bluegrass-esque Grateful Dead tunes. As another user stated, this album is a sort of “uniting” of two generations. It flows like a long jam session. The talent on here is great. Lots of legendary names. I absolutely love the dialogue between the songs. It makes you feel like you’re in the studio. The only thing keeping this from a higher rating is its length. 2 hours is a long time for straight bluegrass. If it was cut in half, it’d get a higher score.

Very important album in the metal/thrash genre. I wish the bass was turned up/mixed better. Overall a great album.

Truly one of alternative rock’s most precious gems.

Very fun listen. Soundtrack of my childhood.

Great debut record. Mixes genres (psychedelic rock, garage rock, doo-wop, r&b, etc.). Pretty accessible for a Captain Beefheart record, but is just enough “out there” to keep you on the edge of your seat.

Great debut record. Mixes genres (psychedelic rock, garage rock, doo-wop, r&b, etc.). Pretty accessible for a Captain Beefheart record, but is just enough “out there” to keep you on the edge of your seat.

I was not expecting to like this at all. However, after listening, it was pretty good. It kinda sounds like Dave Matthews Band mixed with mid-70s era Bob Dylan, with some Irish/Celtic influences mixed in. I think the first side of the record is by far the strongest side. It does get a bit meandering towards the end. Overall, a fun listen.

Emotional, powerful, loud. This was an enjoyable listen. Every song felt like something out of a coming-of-age film soundtrack. The lead singer’s voice can be a bit polarizing, but I enjoyed it. There are some pretentious parts of this album as well. It really embodies the 2000s indie sound.

Great debut record. Mixes genres (psychedelic rock, garage rock, doo-wop, r&b, etc.). Pretty accessible for a Captain Beefheart record, but is just enough “out there” to keep you on the edge of your seat.

Nothing special. The instrumentals are cool but the vocals leave a lot to be desired. This sort of electronic-pop had been done before so I’m not sure why this is included on the list. Again, not bad, but not great.

Really cool record. Some cool psych, funk, and jam-band moments on here. However, some songs dip a bit too far into the avant-garde, and that’s where this album suffers.

Interesting listen. Cool blend of post-punk, metal, electronic, industrial, and even dub. Not something I’m likely to visit again, but I will admit that this album was at least 10 years ahead of its time and definitely deserves its spot on this list.

Classic and influential album. Set the stage for 90s alternative rock, and alternative rock in general.

Nothing special here. Average classic rock. Not really sure why this has a spot on this list. There were many bands that sounded just like this. Not bad, but not great.

This one was a surprise. Not what I was expecting at all. Great 90s alternative rock. There’s some interesting 60s, britpop, and psychedelia influences as well. Do I think it is a must-hear before you die? Probably not. Is it that bad? Absolutely not. Good stuff.

Not bad, just not…. good. Pretty boring actually. There’s a reason this style of smooth jazz died out quickly. The guitar parts are cool but the sax parts get kinda corny. The song “Carnival of The Night” is the highlight on here. Everything else is pretty mellow.

Really an interesting album. Pretty eclectic blend of genres including hip-hop, world music, and avant-garde sampling. Very ahead of its time for 1983. Pretty fun listen.

Good ol’ Britpop. Probably the best Blur album. The influences of the Kinks and Small Faces are strong with this one. The album is a bit too long tho. Not bad at all.

For 1971’s “L.A. Woman”, The Doors turn in their psychedelia in exchange for a more mature, blues-y sound. The band was at the peak of their dysfunction, with Morrison not showing up to sessions half the time (when he did show up, he was wasted out of his mind). Nevertheless, The Doors still managed to create this great record. Is every song on here great? Not necessarily. But I enjoyed the record as a whole.

Following the success of their previous album, it was only natural for Outkast to release a …. Double solo album? Of course! This is a really ambitious project. I honestly enjoyed this listen. I can’t choose which disc I like more. Speakerboxxx is more of a hard southern rap vibe while The Love Below is more smooth and a bit more experimental. Bangers all throughout. There are a few songs I could do without, but overall it was an enjoyable listen.

Why did every 60s/70s artist fall for the 80s trend of electronic overproduced music. Ugh. This is definitely not bad. Some of the songs are good even. Just filled with too much 80s cliches. It makes the record a bit boring.

Brilliant album. Huge sound. Great songwriting. Need I say more?

Absolute classic. The rise of political rap, and one of the earlier examples of boom-bap style. This is definitely one to hear before you die.

This one is ok. I’d definitely pick FOABP over this tho. The instrumentals are a bit too 80s for my taste.

Absolute classic. The rise of political rap, and one of the earlier examples of boom-bap style. This is definitely one to hear before you die.

Definitely not my favorite PF. Still good nonetheless. Very ambitious project.

What an amazing debut. I always liked Peter Tosh because of the harsher political edge he brought to roots reggae. This one in particular pushes for the legalization of marijuana in Jamaica. Great songs on here.

This isn’t your “relaxing on the beach” reggae. This is political and angry. Essential listening.

Not my thing. Some cool moments on here tho.

Some early boom-bap rap. Pretty good stuff. The beats are great on this record. You can tell this record was pretty influential, considering it was made in 1990, and the projects that would come after it.

Amazing record. Dark, moody, political, and psychedelic. AFAIK the band was pretty much dissolved at this point. This is basically a Sly Stone solo record. He isolated in his house and had many drug-fueled recording sessions. This band should’ve been way bigger in the 70s than they were.

Synth-pop is just not my thing. There are some cool moments on here, especially the funky bass lines. I don’t think this has aged well.

Very important record for industrial/noise rock. Very, very dark and grim. It follows the “Downward Spiral” of a man, ultimately ending in his suicide. Not a bad record, but some of the lyrics are cringe in retrospect. I would’ve loved this shit when I was in high school.

Great record. The vocals can be a bit cheesy at times and it has a yacht rock feel but I honestly enjoyed it. The real highlight here is the guitar playing. Mark Knopfler is criminally underrated.

Pretentious British art-pop with an orchestral backing. Not my ting

What a great record. Fun fact, Dave Grohl played all of the instruments on this record, so it’s basically a Dave Grohl solo record. Sure, it’s got the typical ‘90s alternative rock sound. But it’s mostly Nirvana songs that Dave wrote and Kurt never got a chance to record. It’s really a “what could’ve been” if Kurt was alive to record these songs.

Great noise/alternative rock. Do I hear a bit of early emo/pop punk on here?

Monstrous record. I just have to give it 5 stars. Perfect blend of psych, acid rock, funk, and soul. The guitar playing on this record rivals Hendrix. Play this, and play it loud!

The early-mid 90s needed a change to occur in the hip-hop landscape. This record was an interesting change from the gangsta rap that dominated the charts. It brought a more positive and spiritual vibe to hip-hop. Although there were better groups in the genre, this record is still important. It is a product of its time, sure. Overall a pretty good record.

I actually have this record on vinyl but never listened to it. It was nice to throw on some good headphones and get lost in the music. This is some good early electronic music with some ambient tracks as well. Pretty trippy. Solid record overall, good but not amazing.

Pretty good prog rock. The real highlight here is the production. The instruments sound so clear, and the drumming is great on this record. A little weird, but I honestly enjoyed it.

One of the best live records of all time. So explosive and expressive. A must listen.

It’s ok. Not really my type of music to begin with. There were some good cuts here and there. A bit pretentious tho.

A staple in funk/soul. Every song on here is a banger, even the instrumentals.

Classic Americana/blues rock. Probably their best record. Side note: CCR released 3 records in 1969! No wonder they outsoles the Beatles that year. Lots of quality cuts were being pushed out in quick succession. Very solid record.

Nick Drake was sort of an enigma. Unfortunately we lost him much too soon. This record is such a strong debut. Everything down to the production is really good. It has a really moody sound, which is amplified by his untimely passing. I think Nick Drake really set the stage for more modern folk acts of the 2000s and 2010s

The late 90s and early 2000s was such a weird time for music. I mean, Limp Bizkit and Kid Rock were topping the charts so it was really like the Wild West. I think Incubus is one of the better bands from the whole nu-metal scene. Sure some aspects of them didn’t particularly age well, but I enjoy their incorporations of grunge and early emo elements. It’s overall not that good of a record but I’d be lying if I said I didn’t enjoy listening.

Very solid britpop / powerpop / UK indie / alt rock. Nothing too special, but a very enjoyable listen.

Neil Young’s first collaboration with Crazy Horse. I loved this record. Really raw country-tinged rock, with some long jams here and there. Records like this really planted the seeds for grunge music further down the line.

For this record, Beck opts for a melancholic feel, reflecting the ending of a long-term relationship just prior. Lots of sad breakup songs, all of which are solid. What really shines here is the production. Throw on some good headphones and drift away….

Although I prefer the earlier iterations of Fleetwood Mac with Peter Green, I can’t deny that this record is great. Sure it’s a bit overplayed, but it’s got great tracks.

I’ve been a fan of world music (focusing on percussion) since hearing Mickey Hart’s Planet Drum. This record is great. Really groovy. The percussion rocks. Solid.

It’s a shame that Van Morrison is a wanker these days. This record is pretty good. I feel like he was trying to pull a Tim Buckley with the jazz/classical elements to his folk rock. He pulls it off quite well. While Morrison’s voice isn’t the best, the songwriting is pretty good. There’s also a tinge of psychedelia in the overall sound of the record. But hey, it was 1968, what do you expect?

Interesting listen. Seems as though this record was pretty influential. It definitely sounds like bands like NIN took things from it. It’s not a bad record, but pretty minimal. I could do without the moaning/groaning and the ear rape screaming tho (regular screaming is fine).

More like Dad co. This is straight up 70s dad rock. Not a bad thing, but nothing too interesting here. Definitely a product of its time. Still a good listen. Classic classic rock.

Very inoffensive (and rather boring honestly). Costello was a has-been at this point in his career. Alternative rock ruled the 90s, and you can hear some of its influences on this record. Just very uninteresting overall (and probably too long)

OutKast wears their influences on their sleeve on 2000’s Stankonia, recalling sounds of Jimi Hendrix, Sly Stone, and other funk/psych artists. I love how they also added a bunch of local artist features on this record. Sure, their are skits/interludes on here which are pretty dated, but they’re short and non-intrusive. The production is amazing. This record was obviously very influential because I can hear shades of Kanye, Tyler, the creator, Kendrick Lamar, and much more. I cannot believe this came out in 2000. Great record.

Johnny Cash is so badass. Dude had just come off of a hard fought battle with addiction and is looking to return to the music industry. Mind you, he had been out of the limelight for years. So he does the sensible thing and… makes a live album? From a prison? Hell yes. The audience noise and commentary makes you feel like you’re actually at the show. He’s singing about doing cocaine and shooting people and the crowd is loving it. Amazing record.

Never been a fan of Lorde’s voice/delivery. Good songwriting though.

This is the Stones’ “White Album”. Although I think this one is much more cohesive. Tons of groovy, soulful songs on here. I like the production too. It feels like you’re sitting in on a jam session. Good record.

Good ol’ UK Garage. But not really good. I never liked this early 2000s rave era electronica to begin with. I don’t think it is something you NEED to hear before you die. This record is pretty repetitive. There are some cool moments, but it’s repetitive nature and overall length of the record ruin it for me.

I didn’t expect to see a cover album on this list. On “Stardust”, Willie Nelson covers many pre-1960 vocal standards. However, he does a good job at changing up the sound on these tracks. There’s a really soulful, country-tinged vibe.

Wow this record was really ahead of its time. It really started the whole conscious/sample-heavy rap that would rise in the 90s. Packed with great tracks. Lots of cool samples. I also really appreciate how the tracks flow into each other. I’ve commonly heard this referred to as “The Sgt Pepper of Hip Hop”. Really fun listen overall.

During a time where hair metal dominated the charts, this record was probably a nice change of sound. However, listening to it in 2022 proves that it did not age well. The sound is very dated. There are some good tracks on here, but not enough to keep it interesting.

Another Elvis Costello record. Still not a fan. Stop trying to convert me!

Phil Spector was an arse but damn did he produce some great shit. Especially love the Ronettes cuts on here.

Heavy listen. I’ve heard of Joy Division (obviously Unknown Pleasures) but admittedly never gave them a real listen. “Closer” is the record that was released after the death of their lead singer, and ultimately the last record the band would release before reforming under the name “New Order”. The lyrics are dark, but well written. The instrumentals are minimal, but also, you guessed it, dark. The lead singer definitely drew inspiration from Jim Morrison of The Doors. This record also obviously inspired many bands that would come later, such as Sonic Youth. Overall an enjoyable listen, and absolutely belongs on this list.

One thing I hate about house music is how repetitive it is. I’ll hand it to Orbital, they at least try to spice songs up. If the album were about 40 mins, I would have liked it more. Considering the long album length, it gets a bit tiring to listen to.

Never really gave The Clash a fair listen. I liked this record. Especially the ska/reggae tracks. Truly a landmark record in punk history.

Tom Petty really had the inoffensive pop-rock formula locked and loaded. That’s what this is. Taking influence from pop giants such as The Beatles, Tom Petty & The Heartbreakers roll out a promising debut. A lot of people say it’s boring, and doesn’t go to the next level, but I say that’s alright. Still an enjoyable listen.

Good late-90s indie. Some cool experimental moments on here as well. Fun listen.

This makes me wanna wear eyeliner and hate the world. They definitely took some inspiration from Joy Division for this record. Good stuff.

Great psych/acid rock. Really shows the artistry that took over Haight/Ashbury in the late 60s.

Dylan’s “breakup album”. Before Midwest emo, the sad bois cried to this.

A fantastic live record that really highlights the impact that Neil will have on the upcoming “grunge” genre.

White boy reggae. I never associated reggae with the peace & love weed smokers. It was always a political genre for me. I appreciate the political lyrics and themes present here. The dub-influenced instrumentals are pretty cool too.

The sound of the 60s. Beautiful acoustic psych with baroque elements.

I surprisingly liked this record. They borrowed a lot from groups like CSNY and American Beauty-era Grateful Dead. Inoffensive soft rock. They really honed in on that 70s-singer/songwriter/laurel canyon sound.

I’m very picky with my taste in country music. This is a bit too twangy and poppy. It wasn’t a bad listen tho. Just nothing that really stood out to me.

Great instrumental R&B on here. Hammond organ + guitar (possible telecaster?) duo sounds great. Everyone recognizes that title track.

There is a lot of britpop on this list. This one was one of the better britpop records on here. Great production, and a diversified sound. Solid record.

Pioneers of dream pop. The production is a bit too 80s for my taste. Slowdive did it better.

The instrumentals were cool but a lot of the songs just felt like generic early 90s rap. Not bad, just boring.

Adele is such a frustrating artist. Amazing singer, good songwriter, but always sticks to the same method and style. Lots of these songs follow the same structure. It makes for a record that meanders way too long. This had potential to be great.

Some pretty basic indie rock. Not bad but not too interesting. The songs with Thom Yorke were interesting. It’s amazing how just his voice can elevate a song.

I don’t typically like 80s synth-pop. Bumping this up to a 3 cause “Everybody Wants to Rule the World” and “Broken” are such bangers. Maybe if I did copious amounts of cocaine the rest of the record would sound better.

Good ol Ska. Nice mix of hype tracks and slower ones. Fun record.

80s synth pop. This was more interesting, though. Some cool punk-inspired moments and even a ska track. Lauper obviously wears her influences on her sleeve which was something I liked about this record.

Lovely album of soft psych tinged folk rock, rich in those west coast harmonies and vocal prowess, fantastic playing by some of the finest in the American music scene at the time, it is warm and autumn golden like honey. Alternatively it’s the sound of bloated fly blown rich asshole rock stars indulging their excessive egos with vast capitalist fantasies of self indulgence and blissful/wilful ignorance of harsh and unfair reality and suffering of others Whichever takes your pick, or a bit of both? This is the sound of the blossoming hippie ideal, albeit seen through the eyes of the sometimes unpleasant, Stoned, talented, privileged and lucky

Landmark punk recording. Changed the game for women in rock music. That droning guitar and bass, those Jefferson airplane-turned-punk vocals. The driving drums. Very important album to listen too. Bands like Joy Division and Sonic Youth obviously took much inspiration from this. And that version of Helter Skelter is just sick.

So much post punk on this list. This one is closer to the punk ethos than others I’ve listened to. Heavy instrumentals, angry vocals, controversial lyrics. Pretty good, but is a bit too long.

Great tracks on here. He does a great job at blending the old-school 50s doo-wop sound with the newer, more energetic 60s soul/Motown sound.

I’m starting to think this list is very partial to UK-based artists. Anyways, this is the Wanker Brothers’ debut record. Right off the bat, the production is garbage. Very muddy wall of sound style guitars. Can get fatiguing to listen to. But luckily the songs are pretty good so it kinda makes up for that. They are probably the most polarizing band of all time but you can’t deny this is just a massive debut record that immediately boosted their popularity. Using meth before going onstage certainly helps.

Horn-based rock/pop. Talented musicians, but not super interesting.

I was discouraged when I saw another electronica album today. However, this one definitely brought a different vibe. Ultra compressed and distorted and funky as well. Pretty cool listen.

Solid bossa nova record. Man that sax just glides across the instrumental set by the other instruments.

A masterclass in 70s pop/songwriting. Inoffensive tunes with great lyrics. Solid record.

Another bloody britpop record. Not bad but not amazing. They’re all starting to sound similar.

Pretty generic singer/songwriter stuff. This record aged pretty well I must say, but just not my style.

Post-ATCQ Q-Tip. I appreciate how he incorporated aspects of the 90s sound with late 2000s rap/r&b that was popular at the time. The instrumentals are great.

Eh folk. It’s okay.

Sick live album. It’s a bit long but these tracks rock.

This list is slowly making me a Cure fan. Now where is my black eyeliner????

This is some pretty dated, synth-heavy jazz fusion. The artistry is great tho. Especially the drumming and bass playing.

Not the best Pixies album, so I don’t think it needs to be in this list. Nonetheless, still a good record.

Really enjoyed this one. They almost sound like a more modern version of The Band. A lot of the songs on here have a bit of an Exile on Main Street vibe which I appreciate. Good stuff.

I love Tina Turner’s work from the 70s. And I respect her career revitalization in the 80s. I really just feel like her vocal style doesn’t work with the slick 80s production. She needed something more raw like funk imo.

Pretty good. Inoffensive folk. Not sure why it is on this list tho. Wait… they’re from the UK! Seems as though any UK artist is automatically included.

Much like the Beatles, after releasing one of the most successful albums of all time, Fleetwood Mac elect to release a double album. This record is wonderfully non-cohesive and even includes some proto-punk jams. Fun record.

Popular music in the 80s and early 90s really sucked huh. Does not belong on this list imo.

70s pop. Not great. I feel like if Paul McCartney wasn’t involved with this then it would be looked back on as well. Bland.

I love albums that make you go “did he really just say that?”. Eminem does horrorcore surprisingly well on this record. The production is great as well. Some of the lyrics are immature, but that’s just part of the character he plays.

More boring electronica. I feel like there are so much more influential electronic records that could’ve been included in this list other than rave-era shite.

A lot of people think this is their best album. I just direct them to Siamese Dream. There’s a lot of songs on here. Some hits, some not. The ones that aren’t hits can be really meandering. Either way, this is some good 90s alt rock.

Stop. I don’t like this band. Stop forcing me to listen to them. Why are there so many of their albums on here???????

It’s ok. Not my thing. Violently Irish.

Solid record. Lots of classics on here. Some of the songs feel formulaic, tho.

Good singer, but one dimensional singer. Songs sound the same.

The cover is cool but alas it is boring hair metal. Sigh.

Nostalgia-clouded review alert! I was just a kid when this came out. Everyone knows the 3 singles from this record. And for good reason, they’re absolutely monster songs. This felt so fresh when it came out and still holds up till this day imo.

Already a slur only 1:50 into the album. Color me surprised…. The lyrics on here are corny as fuck. Being edgy just for the sake of being edgy. There’s no substance. Trent Reznor really saved this album. The production on here is actually really good and saves this album from being a 1.

Why is this album here. 1 hit wonder band. Gains an extra star for the hit cause it’s catchy.

Pretty middle-of-the-road prog-ish rock. The first track is a bit meandering but still cool. The drumming is awesome as is to be expected. Pretty good overall.

Decent early 90s alternative. Nothing on here really sticks out to me though. It’s not bad but not interesting. Double tracked vocals, some distorted guitars, and some power pop elements. Reminds me of the Lemonheads. Someone said this sounds like if AI tried to make 90s alternative music and that pretty much ruined this album for me lol.

I encourage anyone who is about to listen to this record to also read about the story leading up to this performance. Absolutely ridiculous circumstances surrounding the show that really puts the songs in a different perspective. The music itself is great as well. Impressive improvisation throughout. Also surprising to me that a solo piano free-improvisation record became a best seller.

Landmark recording in jazz/funk. This basically invented the idea of acid jazz, which has become one of my favorite albums. Also interesting that there are no guitars on here, as opposed to many other early fusion/electric jazz/acid jazz projects that were coming out at the time.

Another lame 80s UK group. It’s ska, but not done well. Overproduced. Could’ve died without hearing this.

As influential as Elvis was, I can’t help but think of the rockers from the same time period who were doing it better.

Is this really necessary to be on this list? Just another generic English new wave group that had 1 hit to me.

Blue-eyed soul has always kinda left a sour taste in my mouth. She’s obviously a talented singer, and the songs are good, but she’s doing the same thing that a lot of black groups were doing at the time, only she’s doing it worse imo. Give me a Motown record any day over this.

This one is pretty sick. It’s got some Primus vibes here and there. I also noticed it may have influences later 90s emo bands. Solid late 80s alternative with some punk flashes.

Pixies have gotta be one of the most influential bands to come out of the 80s. All of their stuff has aged so well. Although this is probably not their best record, I still really enjoyed it. Containing their biggest hit “Where is my mind?”, Surfer Rosa brings a really fun high-energy feel with flashes of punk, surf rock, and noise rock. Aspects of this record are still relevant today in bands like the Osees.

It’s interesting at least. Got kinda a cosmic country feel but more leaning towards easy listening.

Great jazz fusion with some funk and soul elements. Steve Winwood’s vocals are on point as always. Possibly Traffic’s best record?

More pretentious, early 80s new wave rubbish. I’ll give it an extra star for being listenable.

Interesting listen. I like the old school Americana vibe, with a splash of goth here and there. I definitely prefer the traditional songs on here, so timeless. His voice can kinda get fatiguing tho.

This one was a bit underwhelming. You always hear about how the Yardbirds were this super great and influential group with all these amazing guitar players. Most of the songs on here were just electric blues imitation. Not to say they’re bad, but I was expecting better songwriting.

Landmark punk recording. Real fun listen. Too short, in true punk fashion.

This is a pivotal record in The Beach Boys’ discography. Switching to more mature songwriting and themes, and better production. The Phil Spector wall-of-sound style production really shines in the mono mix.

Really enjoyed this one. Some really cool psych/space rock cuts on here. Some people say there’s too much going on, but I kinda like that. Well produced too.

I’ve always heard good things about Aphex Twin but I found myself a bit underwhelmed by this record. Overrated or is the later stuff better?

Way better than I thought. I like the punk edge this has.

Meh

Solid jazz/bossa nova record. Can get kinda repetitive, but still a fun listen nonetheless.

Solid alt rock with a country tinge. This is the Wilco album I’d choose to be on this list. Good stuff.

Boring. Generic sounding.

This is so mid. Not bad, but straight up mid. Karen Carpenter is dope tho. This stuff is just too twee. Sounds like I’m in a mid-70s department store.

Surprisingly not as bad as I thought. Some tracks have a cool proto-lofi hip hop sound to them.

A lot of people like this stuff, but I can’t get into it. Early 80s new wave rubbish.

Great folk rock. At this time you can hear they were experimenting with aspects of psychedelia. Great songwriting as well.

Full of hits. Even the non-hit tracks were good. This album sees the band move on from their stripped-back blues sound to a more polished indie-influenced sound. It obviously worked out well for them.

Ehhh… there are some cool moments but it feels a bit try-hard to me. Also the lead singer’s voice is a bit annoying. The album shines in its instrumentals/production.

Too smooth and tacky. I know this kick-started the whole neo-soul movement but there are better projects out there that better represent the sub genre.

I have a soft spot for this album. It’s the perfect time capsule back to the early 2000s. Sure, it’s aged kinda badly (specifically the rapping parts) but that’s part of its charm for me. Chester’s voice was so good man.

Never was a Prince fan. Too over-produced and just too… 80s. So many synths. I mean I recognize his talent but I just can’t get into him.

Good stuff. Angry and political. Bonus points for including “Today Was a Good Day”. Insane instrumental on that one.

Repetitive and kind of boring. The instrumentals are cool, however.

Invokes a nostalgic feel. A lot of the songs sound the same to me though….

Not a fan of Kate Bush. I know this is her most “experimental” record, but it’s still straight-up not that good. It kept me interested though, which is why I’m bumping it up to 2 stars. Can’t say I’ll ever listen to it again.

Sonic youth are pretty cool. This isn’t their best, but I still enjoyed it. Very raw.

New wave really isn’t for me. The 80s sucked.

Pretty cool psych/experimental rock with some electronic and pop influences.

Honestly, Nick Drake is a bit overrated to me. I do like his music though, but I don’t get the people who worship him. I can definitely see how he influenced many modern acts though.

Solid album. Great production. Frank Ocean is dope

This was pretty cool. Straight-up hippie folk. Some psychedelic elements in there too. Has a sort of medieval vibe to it.

I couldn’t get into it. To theatric for me. However, “Solsbury Hill” is a great track.

Smooth rhymes by Common and lush production by Kanye and Dilla. Can’t beat it.

There were some good cuts but overall too slick for me. Steely Dan have always been a bit too overproduced for my tastes.

Transitional album. Radiohead was still in their alt-rock sound but moving more towards art-rock and experimental styles. Fun listen.

Boring. Talented singer but this is way too long and many of the songs sound the same.

A lot like Joni Mitchell. The production is great. A bit boring honestly.

Aw hell nah miss me with that 80s bullshit.

Very important recording in American music. Ollllld school folk from the 50s. This is the stuff that inspired Bob Dylan. Can’t go wrong.

The 80s were a mistake.

Neil Young’s peak? Definitely one of his best. A stone cold classic.

I love how Mingus drifts between cacophonous and unsettling. Real good stuff. Has a southern/bayou vibe to it too.

Lots of angst on this one. The hits on here are “killer” bum bum tsss.

One of the better bands to come out of the 80s. Morrissey is still an arse.

Enjoyed this one. Loud wall-of-sound production reminiscent of other britpop groups like Oasis. Eccentric, new-wave style vocals. Mixing 90s alternative with glam elements. Cool listen. Sick album cover too.

I really don’t like how this list keeps including albums that were obviously only included for one breakout single. And the single for this particular album isn’t even good. It’s crappy overproduced 80s synth shite. Quite infuriating to listen to.

I don’t know what it is about electronica. It’s just not for me. It sounds cool at first but I cannot stand a full album of this. Is something wrong with me

A very interesting and captivating listen. Drummer is a beast. Really cool blend of emo/prog/psych.

An absolute classic. While it may not be their best work, it is undeniable that Nirvana presented themselves as a force to be reckoned with on this album. A bit too polished compared to their earlier (and later) stuff, but that’s ok.

Pretty basic cool jazz, but Miles has that ability to garner great talent and have them perform at a high level. That’s what this record is. Top notch playing. Just not extremely interesting.

After an experimental 80s period, Neil Young decided to change his musical direction yet again. This time, with something more familiar. Young heads back to his roots with a sound reminiscent of just 1969 album with Crazy Horse. This record features raw “live in studio” production, which I think adds to the grungy sound. Lots of extended guitar jams on here, really highlighting Young’s guitar playing. Does it belong on the 1001 albums to hear before you die list, probably not. Still a very enjoyable listen.

I love how Black Sabbath is able to effortlessly mix quieter songs with their rockers. Not their best, but still great.

I liked this more than I thought I would. Solid indie rock. Definitely inspired by some early Radiohead and Beck stuff. That album cover is terrible tho and almost turned me off this album completely lmao.

Not a great album overall. Just straight up gimmicky. Given an extra star for the obvious single.

I always thought Paul Simon was pretty cool. This record was obviously inspired by afrobeat and other genres of African music. I think Simon is able to blend those genres with pop quite well on here. Enjoyable listen.

This was Metallica’s “comeback” album. They traded in their thrash style for a more slower, heavier style. It was no coincidence that they had to stay relevant with the grunge movement that was exploding at the time. This was probably their last good album.

Not on Spotify, so I went to YouTube and listened to the original Indian-issue LP in mono ( I don’t believe it was released in Stereo at the time). Wow this was really good. I was only really familiar with Indian Classical through Ravi Shankar and various psych-rock tracks that feature similar instrumentation. This record is very spiritual and takes the listener away on a psychedelic experience. Super cool. The playing is amazing as well.

Can’t believe this guy believes there was no real rock and roll before him. Like bruh you stole your whole style from black musicians. Giving an extra star for being listenable, but you’d be better off listening to a Little Richard set.

Liked this more than I thought I would. Solid LA-style folk/rock. I enjoyed the Linda contributions more than the others.

Absolute classic. The power in Aretha’s voice is undeniable. The backing band is also great. Recorded with the legendary Muscle Shoals session musicians (Eric Clapton plays on a track too). There’s a documentary on YouTube about the Muscle Shoals studio, highly recommend watching so you can fully appreciate their greatness.

Apparently this is their best album? There’s some good tracks but I don’t think it’s their best. Pretty standard jangle pop/new wave that The Smiths are known for. Morrissey is still an arse.

Apparently this record was made while the band was falling apart. They could not stand to be around each other. They had to record their live parts in different rooms. The recording of Every Step You Take got so heated that they had to scrap the recording and comprise the track completely from overdubs. My favorite track on this was Wrapped Around My Finger. I love when The Police go in the dub direction. Funny enough this record was one where they tried to abandon the dub sound for more world influences with some dashes of synth-pop that was popular at the time. Not very cohesive, and side 1 was full of filler. I’ll give it a 2 because of the standout tracks on side 2.

I really can’t stand this crooner shit. +1 star for being listenable.

I believe this was Iggy’s first release since 1973’s “Raw Power” with The Stooges. I really wonder what Stooges fans thought when they first bought this record and threw it on the turntable. I know Bowie had a lot to do with this one. And I’m not a fan of the Berlin-era Bowie to begin with. This record had a Krautrock vibe but way slower and with some electronic elements. Just wasn’t for me. I could hear some Velvet Underground influence as well. I can definitely see how this record would go on to influence many post-punk and new-wave acts of the 80s.

Joni Mitchell is a polarizing figure for me. I enjoy her folky stuff more than her easy listening jazzy style stuff.

Uninteresting. I will never get the hype about Nick Cave. His voice isn’t great and his songs can drag out.

I mean… it’s the white stripes. I’m sure they were a breath of fresh air in the music scene during 2001. Since then, so many bands have copied their sound, and it became so widespread. That being said, this album rocks. Also contains one of my favorite tracks ever, “We’re Going to Be Friends”

Solid late-90s metal. They are usually classified as “nu-metal” but I feel like they’re a step beyond that. The lyrics here were actually pretty thought provoking and political.

Great record sandwiched by two outstanding tracks. The record does kinda dip towards the middle. A lot of people think this is just the Stones attempting country/honky tonk but I think they’re able to pull it off quite well.

Probably their best record. I swear anything Hendrix touched was gold. Some standouts on here: Voodoo Chile, 1983…, and (of course) the 1-2 punch of All Along the Watchtower and Voodoo Child (Slight Return). A must-listen.

While the musicianship is great, I’ve always found this era of big band/swing to be very boring. Overrated in my opinion.

Wow this is really good. So ahead of its time. I can hear the influence this had on modern emo groups like Modern Baseball.

This was a strange one. Half the record was new wave/post punk style and half was a sort of hybrid between that and acid house. While that does make it interesting, it also makes the record sound pretty dated. It wasn’t great honestly. However, if I did a line or two of coke I can’t say I wouldn’t be dancing to it.

I’ve heard of this band but never bothered to check them out. This album was pretty good. Kinda on the tail end of that 80s new wave sound but mixed with early britpop. Also some 60s psychedelic aspects as well, taking inspiration from bands like The Byrds.

2 Hendrix albums in the same week! Sweet! Like I mentioned in my Electric Ladyland review, everything Hendrix touched was gold. This is the second of two albums released in 1967. This record features some heavy psychedelic sounds, with highlights such as “Little Wing” and “Castles Made of Sand”. Can’t go wrong with this one.

Sigur Ros is a name I’ve been hearing for years in the post rock circle. Never really bothered to check them out until now of course. This record is very atmospheric. There are some great orchestral highs on here which sound great. Good listen overall.

Not a huge REM fan. They have some decent songs tho.

Had never heard of these guys before. Pretty cool psych sounds on here. This definitely influenced the sounds of newer groups such as Spiritualized and Tame Impala.

I mean…. It’s Zeppelin. Probably not my favorite of theirs, but probably their best.

Same type of new wave stuff that plagues this list. At least this record has some cool funky undertones.

Was not impressed with this one. The first few tracks were good but it starts to get a bit boring after that.

Fantastic songwriting. I wish it was a bit less produced tho. I could do without the bass. I wish it was just his voice and a guitar.

I absolutely loved this. Lots of anti-war ideas here, which is so relevant today unfortunately. War is truly hell. The only thing I couldn’t get was the concept album portion. It didn’t seem like a concept album to me. Nevertheless, I really enjoyed this.

Textbook “classic rock” right here. Nothing really stood out to me honestly.

Queen was always a singles band to me. Their albums were never consistent but their singles were really strong.

Beach House is a “dream pop” duo. This record is certainly not their best. I feel like they never really honed their craft until “Depression Cherry”. This record sounds repetitive to me honestly. There are some cool tracks (the instantly recognizable “silver soul” which Kendrick Lamar sampled). Overall, I was bored while listening to this one.

Wow I’m surprised this record gained the popularity it did in the late 70s. It’s just boring and stagnant. I typically look for live shows to have a ton of energy. This is just coked-out nonsense.

This was… ok I guess? Really nothing special honestly. One of the reviewers said this was if Joy Division made poppier songs, which is a great description honestly.

Before his death, Jeff Buckley was only known as Tim Buckley’s son. I’m sure people expected Jeff to make the same music as his father. Their music is similar in a way, but I feel as though Jeff brought a more 90s alternative rock edge to his songs. The first few songs were great, but the slower songs drug on a bit and I didn’t enjoy them as much.

This is the first Depeche Mode record I ever listened to. More of the British 80s new wave that plagues this list. The first few songs were ok, but this definitely began to drag on. Too bland for me.

Obnoxious. Some tracks are listenable and I get the whole meaning behind “Born in the USA” but my mind instantly goes to overweight beer-drinking rednecks listening to that song.

Pretty solid record. Not my favorite solo Beatles work. This one is super raw and filled with emotion, which I appreciate.

I will preface this by saying that I’m an American. Maybe if I was British this record would have a different connection with me. Blur seem to have a really playful attitude about them, similar to bands like Phish. I can kinda appreciate that. This record is wildly inconsistent. There are some good songs, but there are also some very bad songs. Some of the highlights were End of a Century, Badhead, Far Out, and This is a Low. Everything else I could do without.

I always liked WuTang, but never listened to any of the members’ solo projects. The first thing I noticed about this one was that it was released in 2006, at the height of the “bling era” of rap. I was intrigued to see if Ghostface would follow that sound. He definitely stuck to his gangsta rap roots on this one. However, there are some drawbacks. I think this album is way too long. There are also a lot of skits - which I think were outdated by this time? In my opinion, this album was carried by immaculate production. Seriously, the beats and sampling on here are phenomenal. What a time for rap producers.

The beginning of the Kinks’ most creative years. This record is great and tells a lot of old British traditions and ways of living. Very influential in my opinion. I feel like they influenced a lot of britpop groups.

Love Dolly Parton as a person, but her music is kinda bland.

Basic middle-of-the-road “hard rock”. Nothing special here.

This record was so ahead of its time. I can’t believe it was recorded in 1966. Everything down to their use of stereo sound (which was new at the time) is flawless. Fantastic musicianship all around.

I enjoyed this Blur record a lot more than the last one I got. I could tell they were moving more towards an indie-rock sound than their previous britpop sound. Of course everyone knows them for “song 2” but there’s a lot more cool songs on here.

This list is making me hate electronic music.

Some pretty cool Brazilian music. Recalls old school samba sounds but pulls in some modern influences. I saw another user say it was like how Amy Winehouse approached American Soul music. Pretty cool analogy.

I can see how this one was influential. Pretty intricate instrumentals. Not something I would listen to again.

Probably the most definitive jazz album? Phenomenal playing all around. And look at who plays on this! Insane lineup.

It was wild how a lot of 60s stars returned to relevancy for hits they had in the 80s. And boy is this album very 80s. I love me some Steve Winwood, but give me Traffic or Blind Faith. I could do without this.

Some solid folky stuff. This has a further dimension to it with some songs going off into more spacey jams. I can see people not liking his voice/mumbling vocal delivery but it grew on me.

Bowie's take on Blue-Eyed soul (or "Plastic Soul" as Bowie describes it). I'm not gonna lie, this gets a bit corny at times. The sax is sometimes too much. I honestly think a lot of this album is carried by the backup singers. It would suck without them. The song "Fame" is such a banger tho. I applaud Bowie for trying out some American Soul/Funk.

A classic, as all Beatles records are. There are a few duds on here, but there are also some amazing tracks as well. A fun listen.

Classic garage rock revival sounds of the 2000s. Very similar to the Strokes, but with a more southern flare. Seems to be pretty influenced by the Standells. Good stuff overall.

I saw this was noted as Muddy Waters' "comeback album". It may not be as good as his earlier work (wow that was such a hipster comment), but this was honestly really good. The production is great. They really captured a "live-in studio" sound which I appreciate. It's raw, which is what the blues should be. It's also refreshing to see an actual blues artist on this list, not any of that Eric Clapton blues poser crap. Sure Johnny Winter plays a big part in this record, but it honestly works for me.

Although a staple of that mid-60s LA pop sound, I always felt like The Mamas & The Papas were a singles band. Never put together a solid record but have some amazing singles.

This is like shoegaze but in the 60s. The production on this is very noisy and compressed. I guess VU was playing very loud at the time and it couldn’t be picked up on the recording equipment? Not entirely sure. Pretty decent record nonetheless. Probably influenced a ton of records to come after it.

Solid early 90s rap. The lyrics weren’t anything special to me. However, where this project really shines are the beats. The sampling and instrumentation is top notch.

Although John Lennon was an arse, I admittedly enjoy his music. This album was a bit of a change in sound. His first solo record was more barebones/stripped back. This one is more produced, thanks to another certified arse in Phil Spector. And how could I forget the Paul McCartney diss track? That’s cold!

I don’t think I “got” this one. I understand it may have been interesting and influential at the time, but this just didn’t click with me. A bit too artsy.

Hipster bullshit or legit folk record? I think it’s a bit of both. I would be lying if I said I didn’t enjoy this. Maybe it’s the nostalgia. They’re just so good at creating an atmospheric sound while staying true to their folk roots. Good songwriting as well.

We all know ABBA sucks, but they had potential to be great. That’s what annoys me. They just continually committed to the cheese. Take the first track as an example. Sounds cool until the chorus.

One of the better electronic albums on here. Still too repetitive for my tastes.

Another artist from that British folk scene of the late-60s to early-70s. Nothing really stood out to me here. Sounds like a precursor to Nick Cave, who I do not enjoy.

Kinda like the smiths but without Morrissey. Nice but boring at times.

I was pleasantly surprised by this one. This is one of Bowie’s glam period records, after he had his first hit record in the UK. I like the gritty sound, and phenomenal guitar and piano playing. Very theatrical as well.

Nearly fell asleep listening to this.

Really good record. Kendrick takes you on a journey through the life of an inner city kid, and how the street life eventually consumes individuals who live there. Very thought provoking and emotional. To those who say it’s vulgar, be happy you don’t understand or relate to the lyrics.

EWF were always seen as one of the more "accessible" funk bands of the 70s. I don't think they necessarily have a solid and consistent album. That is even more evident on this record, as it is a soundtrack which inherently makes it more disjointed. There are a few good tracks, and the record takes an interesting jazz fusion twist through the last 2 songs. Not a bad listen, but some of the slower tracks were meandering.

Very stereotypical 70s blues/hard rock/roots rock. Basically another case of British white dudes attempting to make music like American black dudes. That being said, I don't think this is bad at all. I actually think it's ok. Not particularly challenging, but still ok. The production here is great too. Do I think it's a must-hear before you die? Probably not. It is still worth a listen if you're into 70s rock and/or classic rock. I also didn't realize Rod Stewart was the lead singer for this one? He's surprisingly not obnoxious here.

I will preface this by saying I am a jam band lover. I typically like long live jams of songs. The talent showcased on this album is immense. I won't deny that. However, it does feel a bit masturbatory at times. Lots of the songs seemed to jam with endless solos yet no real direction for the song to go into, if that makes any sense. I also got tired of the lead singer's voice pretty quickly. I just cant stand that YAAAA yelp.

This started off well. But I can't stand the lead singer's whiny voice. The album also took a turn from a spacy/proggy sound to more of a theatrical sound which I didn't appreciate.

Important record in the underground east coast rap scene of the mid 90s. The beats on here are great, sampling is on point. Pretty good lyrics too, incorporating some social commentary in here which I appreciate.

Steely Dan’s first record, and probably their best. The most dad rock of all dad rock.

Probably not the best example of a Daft Punk album that should be included on this list. This was their debut major label album. They were mostly playing underground european raves/house shows at this time, and it is reflected in the sound of this album. Lots of repetitive instrumentals that seem to go on for a bit too long.

Absolute masterpiece of Roots Reggae. Everything down to the Zippo album cover. Perfect mix of political songs and love songs. Every member of the band here is on point. The Wailers are not the one man show that people may believe.

This album makes me feel like a redneck who feels he is a true metalhead because he listens to Pantera. A lot of the stuff on here was kinda wack. Maybe I'm bias but they just seem trashy to me. I will add an extra star for the pure instrumental talent. Great drumming and lead guitar playing.

This one was a bit of a snoozefest, not gonna lie. I can tell they drew a lot of inspiration from artists like Donovan, as this is pretty twee. The songwriting was OK. Nothing really stuck out to me. Some good tracks here and there but overall a bit boring.

Dylan decided to take a chance with this record. It marked a big change in sound. He decided to make one half of the record electric songs and the other half acoustic songs. It has a real proto punk feel to it.

Ah, Queen. Most notable for the amazing voice of Freddy Mercury. Man, did they put on a great live show. I would love to go back in time to see them. As for their studio output, I really feel as though it doesn't compare to the live energy that they brought at their peak. This record in particular was pretty good. A bit too theatric for me maybe, but hey, that's basically one of the main drawing points of the band. I did enjoy this listen though. If I were to recommend a Queen album to someone, it would probably be this one.

I will preface this review by saying I am still relatively early into my journey into "World Music". Also, I really hate the term "world music". It seems really dismissive of other genres/subgenres that exist in other parts of the world. There could be two albums that fall under the "world music" category yet sound completely different and come from completely different geographic places. Anyway, I digress. I think one of the major drawing points of this record is the time period it was released in. Obviously now with the internet, it is much easier to find music from other parts of the world. However, in the early 80s, I'd assume it was much harder. This would be many listeners' (including my own) first contact with music from Senegal. This record mainly consists of acoustic finger-picking style guitar accompanied by assorted percussive instruments including different styles of hand drums and shakers. Many of the songs tend to stay within the same chord progression, which may be a bit boring to some listeners. I find it has a meditative, almost psychedelic quality. The guitar playing seems to be heavily influenced by the blues with repeating rhythms and jams. The vocals are a bit "nasaly" and the key might be a bit off-putting to many western listeners. It didn't really bother me at all. One thing I will say is that this album is very long. It clocks in at about 1 hour 12 mins. The average song length is about 6 mins. It can be a bit exhausting to listen to at times, but I suggest for you to sit back, relax, and let the hypnotic guitar rhythms take you away....

The beginning of the 1970s brought about a change in music. Audiences wanted a more lively concert experience, and glam rock was created as a response. David Bowie was probably the most prominent Glam artist from this time period. Bowie was very influenced by Lou Reed's Velvet Underground. However, the Velvet Underground were split up by the time Bowie achieved mainstream success, and Lou Reed was having a hard time finding success as a solo artist. The two struck a friendship, and Bowie decided to not only promote Reed's music, but also produce his sophomore effort "Transformer". This record is commonly classified as a "Glam Rock" record. I don't think it fits within that classification too well. I think it's more of an example of early indie rock. This record definitely inspired many 90s indie bands such as Pavement. Lou Reed's monotone, almost disinterested vocals and witty lyrics are the focal point of this record. Overall, it was an enjoyable listen. Hip Hop fans may recognize the bass line on the track "Walk on the Wild Side".

I was very disappointed by this album. I typically enjoy Jeff Beck's music, honest. His musical abilities are not to be understated. Frankly, the musical abilities of the band members is not what I dislike about this album. In fact, I quite like the instrumentation. Beck has great guitar tone and licks as always, and the drumming is great as well. The thing that bugs me about this record is Rod Stewart. It almost feels as though he doesn't belong in the band. His voice just bugs me sometimes, when he's going off the lyrics of the song to improvise. He fit in much better with the (small) Faces. There is also a TON of covers on this thing too. Like over half of the songs. I understand the importance of this record and why it was included on this list, but it wasn't as enjoyable as I expected it to be.

I had never heard any of the Cramps' music prior to getting this album. I sorta knew a bit about them; I knew they were important in the punk scene and had a bit of a goth vibe. The actual musical content on this record was different than I was expecting. It has a dark surf rock vibe to it. Like surf rock but for skaters, if you will. The production is pretty muddy which gives it a cool lo-fi garage rock feel. I also like how they incorporate some elements of old school horror movies into their lyrics.

I tried so hard to escape this style of music when it was popular in the early 2010s. Now it comes back to haunt me.

I’m conflicted by this record. The highs are great. But the lows, man are they low. This record apparently marked the start of New Order’s transition to a more danceable style of music. I really can’t stand the electronic inspired dance songs. There are some songs on here that reminded me of the cure, which I really liked.

I still prefer loveless, but this record was really able to set a cool vibe and atmosphere. Some cool electronic elements on here as well.

A stone cold classic. I love the production on here, especially the sampling. Those old school kung fu samples go so hard. Solid bars from everyone on this record. A very important hip hop record.

These guys sound similar to other garage rock revival acts that were popping up in the 2000s. Think: The Strokes, White Stripes, etc.. Only this album was a bit worse. Lots of the songs sounded the same to me. That was one of the reasons I never really got into the garage rock revival thing…

My first time listening to the Yeah Yeah Yeahs. This album reminded me of a lot of the electronic-pop that was coming out in the early 2010s so I assume this record had a bit to do with that. Not a huge fan of the overall sound.

John Lee Hooker is of course a legendary figure in music history. Most notable for his contribution to blues music. I'm not sure this would be the album I'd pick by him to include on this list, though. I would probably go for one of his earlier works. I feel as though the slick 80s production doesn't compliment Hooker as much. I also feel like the long list of collaborators takes away from Hooker's work on here. The track "Rocking Chair" is a good example of what I wish the full album sounded like.

During the disco craze of the late 70s, there was SO MUCH disco music being created. It was overwhelming. Even stars that were notable for other styles of music were pumping out some disco tracks, such as the Grateful Dead. This means there was a lot of good disco and a lot of BAD disco, and most of it was bad. This, however, is an exception. It leans more on the funky side of disco with great instrumentation. "We Are Family" is such a killer track too.

I hate how much I like this. I have a soft spot for Woodstock-era country/folk/Americana. Morrison was obviously taking a lot of influence from Bob Dylan at this time (everybody kinda was, to be fair). Some jazz, some folk, some soul. I remember not liking his voice at all on Astral Weeks, but it’s definitely not as bad on here. Sucks that he’s such a wanker now…

So many British new wave albums on this list. This one was better than most. Still rubbish. Kinda like a Dollar Store Talking Heads. I prefer their songs where the drummer is on vocals. Very funky.

Man the lyrics on this are corny. Like we get it, you worship Satan. The 15 year olds must’ve went crazy for this one. However, after reading up a bit on this record, I found it was pretty influential to a lot of thrash bands that would come later. These guys were like the first to go real heavy. Pretty cool.

Honestly probably Elton John's best effort. But I will say, I think this record is super front-loaded. The first side of the record is great, but the second side sort of becomes a drag.

I respect her as an artist, but a lot of her lyrics were a bit juvenile to me. I love the overall sound of the album tho.

This release marked Elvis' first album of new material since 1957. At the peak of Elvis' popularity, he received a military draft notice and subsequently completed his service of 3 years. He returned with this album of mostly blues/R&B ballads. Gone were the rockabilly hits that he was known for. Most of the songs are weak to be honest. Many black R&B artists from the same time period did this music much better.

I'm still a newcomer to the metal genre. I enjoyed this one. Mainly thrash, but they also incorporate some elements of death metal, heavy metal, and even hardcore and latin music. The instrumentation is great. Some of the lyrical content is interesting as well, sometimes discussing corruption and other political themes.

Early Who. Very garage rock inspired. Really represents the mod scene that was happening in England in the mid 60s.

WOW. This record is insane. I believe it only consists of a drummer and bass player. Man, do they achieve a huge sound. I can only imagine what it sounds like live. Super unique noise rock sound with some hardcore elements mixed in. The drumming is amazing. It reminds me of the John Coltrane "Ascension" era records. I actually enjoyed this a lot.

I had never heard of Fred Neil before. He was apparently a pretty prominent artist in the early 60s folk revival scene. The tunes on here are ok in my opinion. I'm not too high on his baritone voice, but the songwriting is alright. I think many psych bands took inspiration from this record, namely the almost 8 minute raga jam that finishes off the record. That has to be my favorite track on here, and bumps this score up by 1 star.

Bowie is definitely coming to form on this record. It wasn't a hit when it came out, but it really showcases Bowie beginning to find a signature sound. Because of this, though, it is a bit inconsistent as opposed to some of his later albums.

The classic “boy-band-member-goes-solo-and-releases-a-slightly-less-pop-album” trope that’s been around since, idk, forever? Most of this record is super poppy britpop. Not bad but nothing special either. The kind of CD that constantly clutters thrift shops.

This was pretty cool! Obviously draws inspiration from punk bands of the 70s but also incorporates some funk elements. Kinda like Talking Heads. I also hear a bit of early math rock in this. Interesting listen for sure.

Kraftwerk were really innovators of not only electronic music, but music technology as a whole. They do a good job of mixing ambience and rhythmic features in their songs. Far out!

This was a change in style for the Velvet Underground. Gone was the heroin-drenched experimentation. This record brought a more straight-forward rock sound. I think Reed’s songwriting really shines on this one.

Ok but not good. I can’t really stand this combo of alt rock and hair metal. Thank god Nirvana came onto the scene and blew this shit away.

60s country rock but with dashes of blues, soul, gospel, and some psychedelia. An early representation of “cosmic country”.

Another banger by Kendrick. Probably his best. Jazzy, intense, and political; a great combination.

I typically like post-hardcore but I wasn't a fan of this one. The music itself is ok, but I had trouble liking the lead singer's voice.

My first impression is that this reminds me a lot of Beck or early Gorillaz. Some spacey hip-hop/electronic sounds, so I guess this would technically be in the genre of trip-hop? idk. I couldn't really get into the vocals. Very melodramatic and pretentious. And that album cover is horrid.

This is my first time intentionally listening to Kate Bush. I've always heard good things about her music. Right off the bat, I'm really not a fan of her voice. I noticed this was very experimental for the time it was released. I can see how this went on to be very influential for many pop artists that we see topping the charts today.

The genius of Miles Davis cannot be adequately described with words. He's just so uniquely... Miles. He elevates the players around him. This was his first venture into more psychedelic jazz fusion sounds. The guitar playing of John McLaughlin particularly stands out to me here. Excellent record.

Extremely influential hip-hop record. The music itself isn't anything spectacular in retrospect, but Run-DMC really helped to pioneer hip-hop and bring it to the white audiences, as evidenced by their track "Walk This Way"

This list has wayyy too much 90s britpop. Once you listen to about 10 britpop records, they all begin to mesh together in terms of sound. One thing I did like about this record was the vocals.

I was surprised by this one. I'm sure everyone's familiar with the track "Son of a Preacher Man", which is an amazing track, so I was glad to see that on here. Side 2 of the record has some traces of psychedelia as well which I appreciate. Blue-eyed soul can be a bit boring, but Dusty put her own spin on some of these tracks.

I typically like this kind of music but I just can’t stand the dude’s voice. Too much of a crooner.

I can't stand this genre. 80s new wave/post punk with some "art rock" sprinkled in. Absolute wanker music. The final track was kinda cool but everything else was a chore to sit through.

Everything Curtis touched was gold. Definitely one of my favorite funk artists. This record in particular was much more mellow than some of his other efforts. It's honestly a nice change of pace for him, and doesn't overstay its welcome. The backing band is fantastic as well.

Their best record. Adding Neil Young was so valuable and brought them to the next level. The perfect blend of 60s hippie music and 70s singer-songwriter. Phenomenal musicians on here.

This is some whimsical shit. Not everyone is gonna like this (evidently). I think this record is best experienced through a thick haze of nag champa incense and weed smoke. You're transported to 1967 at the height of the counterculture. There's also a lot of medieval music influence on here which is dope to me. The singer's voice can be a bit much on here at times but I really appreciate the diverse instrumentation the band provides.

The most classic sounding classic rock. Very MTV. I prefer their earlier blues stuff.

Wow the author reaallyyy loves Elvis Costello. This is like the third of his albums I've gotten so far. This is also the only one of his albums that I think should be on this list. I think it's pretty good honestly. He really takes the whole rockabilly and garage rock vibes and translates it into a late-70s punk-ish context.

Man this is definitely not my type of music. I really don't think the instrumentation is good at all. Another reviewer described them as the "bridge between disco and house" and I guess that would be a pretty accurate description. It's definitely very poppy and reliant on electronic experimentation. Not my vibe at all.

I remember when this came out in 2020. I always meant to listen to it because it got absolutely glowing reviews. Now, 3 years later, I am disappointed upon my first listen. Many reviews praised how "cluttered" it sounded because I guess it represented our lives during the pandemic? I just thought this was a bit pretentious and experimental with no real direction. I did enjoy the songwriting and some of the tracks. But a majority of it was just meh. It really didn't resonate with me at all.

Such a funky record. You can really hear the afrobeat influences they were into at the time. Aside from the obvious hit, all the other songs are really solid as well. They also kept a bit of their punk edge on some of the tracks.

I really appreciate what Ray Charles did for soul music, and music in-general. I don't think this is the best album to represent his music. I think the big band backing takes away from him, as they seem to be the focal point of the record. It would be better if it was just Ray and his piano.

There is so much 80s electronic pop on this list. In my opinion, there is some good to come out of this genre, such as Tears For Fears. This record is certainly not that. Maybe this type of music isn't for me. It just sounds so bad and lifeless.

One of the best debuts ever??!? Led Zeppelin was first met with abrasion by record labels as they were "too blues" to be commercial. Yeah... they were proven wrong very quick. So much power presented on this record. It can literally blow you away. So, light up a joint, turn this shit up, and sit back and let the music lift you.

What an artist. Wish she was still with us today. Great soulful and emotional voice. This is an underrated album of hers. It leans more into the hip-hop/r&b sphere than her vintage soul inspired "Back to Black" album. Very appropriate for the time it was released. I also hear a lot of jazz influence on here. Shout out to the production as well. Very nice.

This is pretty typical 90s pop rock. I can tell this inspired some later 2000s indie rock tho. Some of the tracks oddly reminded me of Phish? Especially the first track. Other than that, they have a pretty 60s-70s inspired sound. Kinda Beatle-esque. Not bad overall.

One of my favorite records. Just look at the people who played on this album. Pretty much all of the Grateful Dead and Jefferson Airplane. Very psychedelic with folk elements as well, not unlike the typical CSNY records.

I think this record would’ve been a lot better without the added keyboard/organ sounds. I think they were trying to go for a Doors-type sound but I just wasn’t feeling it. I guess I prefer some of the more “raw” punk records.

Amazing. Love the instrumentation on here. Also love the songwriting. We miss you George.

Never listened to these guys before. I thought they’d be like goth/metal, but they’re really more of a funk/alt band. Kinda remind me of a heavier Red Hot Chili Peppers. The lead singer’s voice is dope. Cool record.

This one sounded a bit like The Doors to me, but like a cheap knock off with some 80s elements mixed in. Kinda psych, but more on the drone side. Not very impressed. Couldn't get into the dude's voice.

Punk purists will complain that this isn't "real punk". I must say, I think it's a pretty fun record with a nice raw sound. The energy is certainly high on this one. I also like the lead singer's voice.

This was a pleasant surprise. I don't typically like electronic music. This one has some cool breakbeat stuff tho. I also love Indian music so I loved the Indian Classical influence on here. The production is killer too. Overall very enjoyable.

This is like if a Saltine cracker was in music form. Very boring. I couldn’t get into the singer’s voice either. I think this would be a lot better without the added orchestral arrangements.

Her voice is incredibly powerful. I definitely prefer the songs that just include her and her piano. I think some of the orchestral instrumentation was a bit much and took away from her voice.

Some could argue this is their best record. I really like how one half of the record is heavier and the other half is softer and more acoustic based. Strong songwriting throughout. Amazing artistry as well. And that cover art! Just consistently good.

I remember when Lupe blew up but I never really gave his records a chance. Wow I was missing out on a lot. What a strong debut album. First of all, the production is crazy. Second, almost all the tracks are strong, except for the super long and obnoxious outro track. I'll give that one a pass because it was certainly a product of the times. The main highlight for me was "Kick, Push". As a skater kid growing up, this one hits home incredibly hard and might be one of my favorite tracks right now. Very impressed.

I’m usually a prog rock supporter, but this just seemed super masturbatory. These dudes are obviously extremely talented but it was just corny to me.

I think they're considered the first super-group. And what a super-group they were. Only 3 guys, but they produce such a powerful sound. I'm not usually a Clapton supporter, but I love his work with Cream. I just think it's funny how he left the Yardbirds because he didn't want to do the psychedelic sound yet turns around and makes one of the most iconic psychedelic albums ever. I mean, just look at that album cover!

Damn I've never heard of these dudes before! This was sick. Groups like Tribe obviously took a lot of inspiration from this. One of my favorite eras of rap. Can we talk about the production?! These beats are sickkkkk, especially the first track. Super ahead of their time and on-par with De La Soul in my opinion.

I think this record was seen as a "return to form" for Beck after Sea Change. This is definitely reminiscent of some of his 90s work like Odelay. It just doesn't have that same charm to me. This record is more influenced by the mid-2000s garage rock revival that was happening at the time, like bands such as The Strokes and White Stripes. Solid record.

This was an interesting one. I'm not too familiar with UK rap, so this was basically my first exposure to it. The beats remind me of some nine inch nails-inspired stuff. Very gritty and borderline abrasive. Not typical of a rap record. I can see how this album influenced a lot of the newer sounds we hear today in UK rap and even spilling over into NY rap. I wasn't really a huge fan of this sound tho. That being said, I'm glad I listened to this.

I'm not sure how I missed this record upon its release. Man this is right up my alley. Really cool psychedelic soul with a touch of acid rock. Think Black Pumas but with more psych elements. Songwriting is solid as well. Really enjoyed this one and will be going back to give it future listens.

I had heard of Muse prior to this but never really listened to them. I will say, I believe the musical talent displayed on this record is impressive. The drummer is absolutely killing it. However, I couldn't really get into the songs themselves. It seems a bit too orchestral and theatric. If I had heard this in middle school, I would have probably thought it was so cool.

Right off the bat, this record is mixed horribly. I thought something was wrong with my headphones because I really had to crank the volume to hear the music meaningfully. The tracks are drenched in reverb as well. I couldn't really get into the lead singer's voice. I think that Bowie fans might enjoy this one more because it reminded me of him. Still an interesting listen, venturing into the goth rock/post punk scene a bit. Just wasn't for me.

Adele is obviously an extremely talented vocalist. This record is full of hits which are pretty good. The problem is, most of the record sounds the same to me. I feel like she could've done so much more with her vocal type. Some funk songs with her vocals would be sick. Even some jazzier ones. I think she was kept in too small of a range to keep her "hit" sound going.

I prefer his second record, but this one was still ok to listen to. I always enjoy hearing the political songs that Ice Cube put out back in the day because I feel like he was one of the first ones to tell it like it is without fear or repercussions from a label or censorship. Sadly, a lot of the topics he discusses like police brutality, racial prejudice, and life in the projects still rings true today. I know a lot of people commented on the misogynistic lyrics which normally wouldn't be too much of an issue with me because he tries to keep up this "tough guy" persona. However, when you're speaking about racism and how black people are mistreated, yet turn around and contribute to the degradation of black women, that just doesn't really sit right with me.

Really solid blues rock. Good guitar playing. Good songs. Pretty good.

Just not my type of music. I recognized the track “Cars” which was pretty cool. The synth sound on this record is iconic. I’ll give it an extra star for being influential and pretty ahead of its time.

Extremely solid record. Has a dark, almost psychedelic feel to it. Even the more pop-oriented tracks are strong. One thing that I've found out through listening to the albums on this list is that I really like The Cure.

Mega corny. Very theatrical and drug-out hard rock. Almost feels like a musical at times. Hard to get through.

Such a legendary figure in rock & roll. Pretty much set the blueprint for rock stars that came after him. It kinda sucks that he was at his prime in an era before the "album" was really a thing. I don't think this album is too strong honestly. There is some filler on here. However, the singles are solid and the influence is undeniable.

I've always heard good things about Leonard Cohen's music but I was a bit disappointed by this album. His songwriting is good, don't get me wrong, but some of the tracks seemed kind of... bland? Some of the extra instrumentation didn't help in my opinion. I wish he went for an old-school folk sound with just his voice and a guitar.

The Mothers. Frank Zappa's band. This record is supposedly a concept record, poking fun at popular music and LA culture. It is also one of the first rock/pop double albums. Lots of doo-wop influence on here. Also some psychedelia sprinkled in which I appreciate. While there are some great tracks on here, I think it overstays its welcome just a little bit. Overall not bad. Does this count as proto-punk?

I cannot figure out the hype surrounding Nico. She cannot sing. The instrumentation on here was even bland. The best track on here was "These Days" which isn't even her song, the Jackson Browne version is much better.

This was a bit of a pleasant surprise. Courtney Love is certainly a polarizing figure in pop culture, so I was admittedly dreading listening to this. This is actually a solid grunge record. Definitely inspired by Nirvana, but still good.

Can't go wrong with The Doors. This record came after the poorly-received Soft Parade, and was seen as a "return to form" for the band. They chose to do a more straight forward blues sound on most tracks. There are also some solid psych tracks on here as well.

I'm having trouble understanding why this is on the list. I don't think it was super influential/defining a genre. Its only claim to fame seems to be that Nick Cave was in this band before the Bad Seeds. This list definitely seems biased towards his music. This was not very good. The production was a horrible reverb-drenched mess. Lots of the songs were very chaotic as well.

This one was disappointing. I expected a bit more from a supposed "supergroup". The songs were very bland. They often lacked drums as well, which is strange considering the talented drummer they have in the lineup.

Some insane prog/psych right here. Sounds super ahead of its time. Super tight musicianship, especially the drumming and mellotron work. Lots of people call this the first prog record, but it seems to me like they took a lot of influence from the Moody Blues? Listen to In Search of the Lost Chord and tell me that doesn't sound like this.

This band was obviously very prominent and influential in the electronic and ambient music scene. Those types of music aren't something I'd generally listen to on a regular basis. I thought this record was a bit boring and minimal, but I guess that's the point. I am glad I listened to it though, definitely worth including on this list.

Man I really don't get the appeal of ABBA. I'm not hating on them cause I think it's "trendy" either. I genuinely don't understand why people love them. The most bland, vanilla pop music ever. Already overplayed on the radio. No I can't even escape them on social media either. TikTok and Instagram loves this shit.

This one was absolutely sick. I had only known King Crimson from their debut record, which is also great. They definitely switched up their sound on this one, as they basically had an entirely new lineup except Fripp. I think they leaned more heavily into the psych sound with this one. All the theatrical high points of their debut are now replaced with noisy psych freakouts. The musicianship is out of this world. No seriously, you'll be transported to another world while listening to this.

This record came at a sort of pivotal moment in Blondie's career. They were in the middle of transitioning from the punk scene to a more pop/disco sound. There are still some remnants of their punk roots on this record, such as the track "Will Anything Happen". However, their efforts in changing their sound proved successful as the big hit from this record was the disco track "Heart of Glass". Personally, I am not a fan of their more pop/disco tunes.

I guess I see what they were going for here? They're trying to mix the new-wave sound with an American-influenced "soul" sound, reminiscent of late-60s soul acts. This is especially evident in the overload of horns used on the album, which often are overdone and seem lifeless in contrast to American soul music. Also, to create good soul music, you gotta have soul! The lead singer's voice is nowhere near soulful.

Maybe I'm not intellectual enough or artsy enough to understand Bjork. She has a good voice, don't get me wrong. But that voice is only good when she tries. Bjork maintains a very wispy type of singing voice throughout the record. Definitely not something I'm into.

A classic and very influential rap album. When I think of the west-coast rap sound, I think of this. It has that signature, laid-back California style. I'm typically more of a fan of the gritty east-coast sound but I truly like this record. You can't deny Snoop and Dre's talent.

Funky stuff. I first heard of Shuggie Otis from Al Kooper's second "Super Session" album. That record had mostly blues tunes on it, so I was glad to hear some funk on this album. It reminds me of Sly Stone's "There's a Riot Goin' On". The only problem I have with this is that it starts off strong, then tapers off towards the end.

Can't go wrong with Bill Evans. This is a solid live record from his trio. The bass solos are probably my favorite. A great balance of lush and intense. And of course Bill adds in those signature touches throughout that are so uniquely him.

Never heard of this group before. Apparently Steve Albini was involved with this record which is pretty cool. A lot of industrial/punk/post-punk moments on here. I can tell they inspired bands that would come later like NIN. I like the dirty guitar tone, almost sounds metallic. I could do without the drum machine, I prefer just acoustic drums.

Extremely talented songwriter with a great voice. This record kinda set the tone for the upcoming 70's singer/songwriter sound. A lot of people like to call it the "maturing of the hippies". The kinda shit that the nice lady who frequents the farmer's market and wears turquoise jewelry listens to.

This one was so disappointing to me. I had high hopes from the first track. If he kept with the acoustic-funk type sound, I would've enjoyed this a lot more. But nope, he goes right into the 80s pop Walmart brand Michael Jackson shit.

One of their better albums if I'm being honest. Sure, there's still some wankery to be heard on here, particularly in the long passages of triplet rhythms (and other masturbatory "prog" instrumentation elements). I actually hear a lot of King Crimson influence on here, both in the lyrics and instrumentation, which is cool.

Like (virtually) all Arcade Fire releases, this one was very grandiose and emotional. Full disclosure: I am gen z, a zoomer, if you will. I assume millennials can connect better with this record just because of the generational differences. I still enjoyed this. It started off slow and got better towards the end.

Never heard of this band before. Sounds pretty ahead of their time. They were mixing some early punk sounds with what would later become known as alternative rock. I can tell this influenced bands that would come later like Violent Femmes, and even influenced genres such as Britpop. That being said, I wasn't a huge fan of this record. The instrumentation is alright, but the singer's voice threw me off. Nonetheless, I understand why it is on this list.

Never heard of this band before, but I recognized a few of their songs. Some cool punk/new wave sounds, but in a late-90s context if that makes sense. Kinda has some triphop vibes at parts as well. The lyrics were dope too. Enjoyable.

Never was a big fan of Rush. I always saw them as one of the more "bland" prog rock groups. They seemed to make a lot of pop-oriented hits in their time. There is no shortage of those on this record. Many 60s and 70s bands scrambled to maintain relevancy in the 80s. Rush was able to modify their sound to suit the new decade's pop sounds. Although I'm not a huge fan of this record, the drumming was outstanding as always.

The most vanilla "hard rock" ever. Definitely the saltine cracker of rock. And people love this shit. Sure the songs are catchy but they're boring to me. I just don't get it.

This list is plagued with 80s British post-punk/new wave records. This one was no different. The singer's voice got on my nerves as the record went on, which is typical of these records. I did like the instrumentals.

Surprise surprise, another obscure 80s UK new wave record! This one was at least a bit different. They took more of a punk route with some added country (?) elements that borderline a celtic sound. This really reminds me of some drunken UK pub band. I'm American god dammit, I want my punk music loud and in your face! I need to throw on some Bad Brains to reset myself.

A very important recording in the "horrorcore" rap genre. Very over-the-top lyrics that are very juvenile at times. I found myself chuckling at the absurdity of some of the lyrics. That being said, it's obvious that Em is an extremely skilled rapper.

Never heard of this artist before. Apparently he was part of some punk-ish band from the 80s. This record is far from punk. I can tell he was influenced from bands such as Traffic and Blind Faith. All too similar to Traffic and Blind Faith, in my opinion. Not bad overall. Boomers would probably love this shit.

This one started of cool. Some of the songs were just too weird for me. I prefer the tracks that have a psychedelic/shoegaze feel to them. Kinda reminiscent of Spiritualized.

This was actually not what I was initially expecting. They kinda sound like a proto-emo/slowcore type band, but bring a pretty chill 80s indie vibe. It was kinda hard to find this album tho, not on Spotify and I eventually found it through a youtube playlist with varying audio quality from song-to-song.

I'm not one that's into the whole "Kanye is a genius" crowd. I think he's a very talented artist, and a particularly gifted producer. Some of the drawback is in his lyrics. His delivery is sometimes very lazy. I will say, this record is pretty consistent. I prefer when Kanye addresses social issues such as the disparity in treatment between black americans and white americans. It's a shame he's gone off the deep end pretty much continually since this album came out.

Two Kanye albums in a row! How lucky am I... according to many reviewers on this site I'm not so lucky. I honestly like Kanye, and I can easily separate the art from the artist. He's no genius or god or whatever, but he makes good music. This record is a turning point in his discography. Harsher production, angrier delivery; a far cry from his previous release (My Beautiful Dark Twisted Fantasy). Some REALLY good tracks on here, but also some lesser ones. I also always found it funny how Kanye constantly addresses racial/social problems in his songs while simultaneously degrading women (primarily black women). Get it together dude.

This was not what I was expecting. I never heard of this artist. I thought it would be some electronica. It's mostly a blend of genres throughout the record which did help to keep my attention. However, it's too artsy for me honestly. The transitions from songs/genres was a bit jarring too. Some good tunes, but too many "meh" ones to justify giving this a higher rating.

Haven’t heard this one in a while. I hear a lot more Beatles influence on here than I remember. The production on here is great. Great songwriting as well.

A monumental recording in psychedelic music. Eight Miles High is a behemoth of a track. Hard to believe this came out in the mid-60s, even before Hendrix formally burst onto the scene. However, I feel where this album lacks is the format. There are some filler tracks on here, particularly on side 2. There are some real hitters tho, like the aforementioned Eight Miles High, and I See You.

I am unfamiliar with the British folk rock scene. I absolutely love American folk rock tho, like the Byrds. This one was surprisingly good, more influence from English folk rather than country. Can get psych/spaced out at times too.

I only really know Cee Lo from his hit single “fuck you”. This record came out about 5 years before that single. It’s way more rap focused. Honestly, Cee Lo can’t really rap. The features and production are excellent. I suppose if I heard some of these tracks in a club setting I would appreciate them more.

Never listened to this before, but I heard a few songs from it. I liked some of it, but it drags on too long in my opinion. The story of it is kinda weird as well? Whatever, The Pretty Things did it better in my opinion.

Very, very dated. The lyrics and flows aren’t the best. The beats are cool tho imo. Some dope samples, including a Jimi Hendrix one which really caught me off guard!

Do I really have to listen to all these Elvis Costello records before I die??? Nonetheless, this one was meh. Some good tracks ( Man Out of Time, Human Hands) but is outweighed by the stinkers. I’m also not a huge fan of his singing voice. Not sure why there are so many of his records on this list.

I really don’t “get” Kate Bush. She has a ton of critical acclaim and success, but just doesn’t click with me. I’m not the biggest fan of her singing voice. The production and instrumentals, however, were lush and divine. Reminded me of Pink Floyd in some spots.

This one was a pleasant surprise. I’ve heard of this band, but never gave them a listen. Very solid alternative/punk/post punk. I wish I found this record when I was like 17.

Fundamental listening when learning about hip-hop. Very influential. May seem dated today, but I’m glad I listened to it.

Surprisingly decent. The pacing was a bit slow but overall this is solid neo-soul. I remember when this came out and it was huuuuuge. Some great tracks on here and the production is solid.

The first thing that stood out to me on here was the production. The beats are so good. Good flow/lyrics as well.

This was a pleasant surprise! Some good 90s indie with some Indian/pakistani and hip-hop influence that just works well. The hits are great, but I also enjoyed the instrumental cuts. And that Norwegian Wood cover!

The funkiest funk that ever funked. Killer stuff. Will have you grooving the whole time.

Stevie could really do no wrong during this period. Every song is a banger. All killer no filler. He not only did funk, but he had a specific brand of funk that only HE could do. Easy 5 stars.

A very important record. Not only did this bring South African music to prominence in other continents, but Makeba was an important South African civil rights activist, commonly adding anti-apartheid messages in her music. For this particular record, I enjoy how the instrumentals are more stripped-back. It really allows for her voice to shine. This isn't the most cohesive record, but really none of them were at the time (1960).

I had previously known of this record and how it came to popularity from the Exorcist soundtrack. Honestly, I’m quite surprised it gained as much popularity as it did. It’s ambitious, no doubt. Oldfield was 19 when this was composed. There are great moments in this record, especially the guitar playing. It just feels a bit directionless.

Wow this is some good shit right here. I’m always down for some desert blues and Tuareg music. I encourage all of you to read a bit about the Tuareg people and the messages in their music. One of my favorite features of Desert Blues is the phenomenal interwoven guitar playing, almost like proto-math rock.

Easy five. I love the stripped-back production. Oh and the songwriting. Second to none. Very powerful.

Yes’ first record featuring Steve Howe. What an addition that was. Masterful guitar playing throughout. In my opinion, this type of prog was best, right before it got real wankery.

Every Funkadelic record is great. I actually prefer them to Parliament. The psych flare that Funkadelic mastered just does it for me.

Inoffensive mtv-era 80s hard rock. Reminiscent of AC/DC with a tiny bit of Zepplin. Not particularly bad just a bit soulless. Seems like they were trying to keep up with the “metal mayhem” fad so they shifted their sound.

I’m interested into why this was added to the list. The Kinks have many more albums that would’ve suited this list before this album. It feels like a bridge album between their pop/garage sound to their more psychedelic-influenced sound. It’s not very cohesive either. Nonetheless, I did enjoy this record.

Essential listening. Takes you right into the heart of Haight-Ashbury in summer 1967. Perfect for dropping acid in Golden Gate Park.

Man this one started pretty strong. As it went on, many of the songs started to sound similar, on account of chord progressions being reused throughout. Apparently these dudes were contemporaries of groups like Sex Pistols and The Clash, but obviously weren’t as popular. I do enjoy the vocals, more melodic than a lot of the other contemporary punk vocalists. Meh, I prefer American punk (real punk) anyway.

Important country record, I can see how this record influenced future groups like Big Thief. Very melancholic. Great instrumentation and production. The standout track for me was Boulder to Birmingham. What a banger.

I really don’t think there are many albums as influential as this one. It came out in the peak of the psychedelic era (1968), and upon hearing it nearly every band changed their sound (Quicksilver Messenger Service, Grateful Dead, Kaleidoscope, etc.). Every song is a banger. The Weight may be the greatest song of all time. A must-listen. Funny how a bunch of Canadiens made such quintessential American music (yes, I know Canada is in North America but you all know what I mean).

I think everyone in the world is familiar with that first track. Great way to open the album, and probably the most memorable track on the record. All the other songs are solid too, in my opinion. A very consistent record. I’ll have to listen again sometime.

Such a fun record. The Flaming Lips changed their sound a bit for this one by adding in electronic elements. There’s also a bit of hip-hop influence here too. Very psychedelic. I love the way the acoustic guitar kinda juxtaposes the electronic sounds.

This one’s kinda a snoozer. Plenty of ballads on here; almost all the songs. Some of the tracks are reminiscent of the Beatles which is cool, but most are slow 70s folk ballads. Lots of orchestral arrangements which adds to the snooze factor in my opinion. A few standout tracks, but nothing special.

Initially I was horrified seeing this was a jazz album from the 80s, and was preparing for the worst. I was pleasantly surprised, this is actually some pretty solid bop. One of the other reviewers added some more needed context for this record, and the political message that is conveyed through the record.

I’m at the point where I’m questioning why some albums are included on this list. This is one of them. Reading up on it, it doesn’t seem to be anything special. Not influential or regarded as a staple in a particular genre. As for the music itself, it sounds pretty dated. Some early drum and bass beats with boring vocals. Not enjoyable for me.

Admittedly I’m a stupid American so I’m not very educated on French music. It seems as though this guy is a pretty prominent artist in “classic” French music. One of the reviewers provided some great context on some of the songs that non-French speakers couldn’t understand. Even outside of that, the raw emotion in his voice was surely entertaining. Combined with the fact that this was recorded live, I think this album was pretty solid and I’m glad I gave it a listen.

Whenever I listen to Pavement I realize how I forgot how much I love Pavement. Solid record right here, perfect indie rock. I prefer Brighten The Corners tho.

Not a huge Joni Mitchell fan, but I was pleasantly surprised by this record. I think a lot of it has to do with the instrumentation. I love Joni's guitar tone on here for some reason. And, of course, Jaco's phenomenal bass playing makes the record in my opinion. I believe one of the things holding this record back is Joni's vocal delivery. Not a big fan of the talk-singing that she does. For me, it makes it kinda hard to follow the lyrics.

Not really my thing. The instrumentals were cool but the vocals kinda ruined it tbh.

Dylan goes electric! Man, the boomers were so triggered for some reason. Dylan is a very polarizing artist. You either love him or hate him. I love everything about this record. It almost seems proto-punk at times. Cool as fuck.

Wow I originally thought I was gonna hate this. I actually really enjoyed it. Super sad boi 80s indie. Some proto-shoegaze vibes in there as well. Reminds me a bit of The Smiths.

In the words of Krist Novoselic, “White boy funk sucks!”. Only, this record has some really strong moments. The first 10 tracks or so are amazing. I think this record suffered from bloating which was typical of the CD era. Cut off some of the tracks at the end and this album would be a lot better. Oh, and John Frusciante is the obvious highlight of this band. His guitar parts are so insane.

This record really highlights Traffic’s blend of jazz, folk, soul, and psychedelia. This was the last album they would release before their first breakup. It feels like a band on the verge of quitting in places. All the songs are strong, but the record lacks cohesiveness.

Disappointed by this one. I assumed from the cover and title that this was gonna be some punk. Sadly, it’s only 80s “post punk”. Some of the political lyrics were pretty cool but I think this record is definitely held back by the dates production. God, that 80s snare tone is horrible.

Solid record. Good and important lyrics. Some of the bars can be a bit corny at times. The real strength of this record is the instrumentals. Really, really good samples.

This is an album I've always heard in the psychedelic rock circle, but never got around to listening to this until now. It's really just 60s folk rock with a tinge of psychedelia. Their sound is sort of a mix between american folk rock and british folk rock, which I found interesting. The Beau Brummels really do a good job of walking the line of psychedelia. I think the lead singer's voice reminds me a bit of Bob Dylan or Arlo Guthrie. Will definitely be listening again.

I love live albums. This one is pretty raw. The Who were at the top of their game here. In the wake of Tommy, The Who were really working on their live sound and wanted to put out a live record. Unfortunately, I don't think the tracklist on here was the best choice. We don't really see any Tommy tracks, and 3 of the songs are covers. However, this is still an explosive live performance. Keith Moon is absolutely insane on the drums.

Can't go wrong with some dad rock. The band was obviously influenced by a lot of the 70s singer-songwriter music floating around at the time. A lot of the songs on here remind me of Crosby, Stills & Nash. Side 1 is definitely the stronger side IMO. However, the instrumental at the end of side 1 feels a bit out of place compared to the rest of the record.

This had some potential right here. These guys were obviously ahead of the game with their sound. They were on the New Wave train before the 80s even started. The one thing I can't get over on this record is the cheesy synth use throughout. Kinda ruins a lot of the songs and did not age well at all.

Billie Holiday is a legendary figure who unfortunately died a tragic death. Constant alcohol and drug use had clearly caught up with her, as evidenced by her voice on these recordings; truly a shell of her former self. By the time she died in 1959, her manager successfully embezzled a majority of earnings. She died with but $0.17 in her bank account, equivalent to roughly $7 in today's money. Her most successful recordings from the 30s had been long out of print by this time. She died almost forgotten. That's why this recording is important. It was her swan song. She wanted this record to consist of softer recording, which better suited her voice. I think she succeeded. That's why I really wish I could connect more with these songs. They all kinda sound too similar, but that was what most music was at the time in post-war America, easy listening. I'm still glad I heard this recording and read more into Billie Holiday's life, as I had never listened to any of her music prior to this.

A very very solid and influential record. Basically changed the sound of rap. Those boom-bap beats and creative samples set the precedent for rap groups to come.

Not a huge Springsteen fan. Even his early stuff. I kinda liked this tho. Definitely more of a country/gospel vibe. Kinda set the tone for post-9/11 country music.

Wow this was interesting. They are trying way too hard to be different on here and it just comes out looking weird. Very atmospheric/etherial. Not my thing at all.

Always blows my mind when I remember how much great music Creedence made in such a short time. They were such a tight band. Nothing super revolutionary here, just some super solid rock/blues. No wonder they outsold The Beatles in 1969, music was obviously heading in this direction.

This album is obviously a victim of the Michael Jackson era. The production is oh so dated. The lyrical content is ok, but I just can’t get past the cheesy production.

I’ve never really given REM a fair listen. I was pleasantly surprised by this album. Some solid indie rock. I was very shocked to see that it was from the 80s. They obviously had a big influence on many alternative and indie bands that would come in the 90s

I was surprised to see a later-career Frank Sinatra album on this list. He apparently changed his sound a bit for this one, opting for a bossa nova influenced sound in collaboration with Antonio Jobim. I will say, Antonio's contributions to the album are fantastic. I just feel like Sinatra doesn't fit the genre too well. He still does maintain that classy swagger of his though. I also really love the pic they used for the album cover, very fitting.

The Black Crowes are really good at channeling that 70s blues/southern rock vibe. A lot of the songs sound like something the Stones or Lynyrd Skynyrd would do. However, that's all it is. I think it relies too heavily on that sound. Not saying it's bad, but it could've been better.

Very early Rolling Stones. Their first, to be exact. All covers except for one original! Pretty much all blues/rockabilly tunes. The production is super raw which adds to its charm I think. Surprised they ever caught on, because this is really nothing spectacular. It’s not bad, but it’s nothing new. Plenty of black artists were doing the same thing but wayyy better.

Man this one seems obscure. Yet they really didn’t do anything interesting on this album. Which leads me to think, why is it included on this list? Oh wait, Nick Cave mentioned he liked this album and basically everything Nick Cave ever thought about is included on this list. The music itself isn’t that bad, but the lyrics are so juvenile and shit.

I remember reviewing a previous John Martyn record on this list. That one was more of a folk album reminiscent of Nick Drake. This one, however, is completely different. Some yacht rock vibes but a lot more experimental. Apparently the session musicians for this album were taken from bands like Gong and Pentangle, so that tracks. While there is a lot of good, there is also some cheese on here. Unnecessary horns and string arrangements kill some songs. There are some genuinely solid tracks tho, such as Big Muff, Dancing, and Small Hours

House/techno music is usually difficult for me to digest. I just can't stand the pulsating beat for long periods of time. It just causes some intense ear fatigue. To this album's credit, they do change it up a bit on some songs. I heard some hip hop, breakbeat, and dub influences, which I appreciated. However, this album is over an hour long. It just wore me out listening to it. Maybe it was a "you had to be there" thing. I was born in the early 2000s so I obviously missed the whole rave scene of the 90s. Electronic music never really gained prominence in the same way since then, so I'm glad I'm getting some exposure to it through this list.

Khaled is most known for being a larger than life figure in the sphere of Rai music. For those who don't know, Rai music is a type of folk music that originated from Algeria in the early 1900s and became an outlet for political commentary and social commentary. These Rai artists rejected the traditional aspects and expectations of arab society. Lots of cool history with the music genre itself. As for this album, it's really more Rai-pop than pure Rai music. The instrumentals are very influenced by western genres that were popular at the time, such as hip-hop. It really takes away from the history and importance of Rai, and at this point just sounds dated. Oh, and that Imagine cover, oof.

Ok, so I'm really not a fan of U2. The last album I had to review from them was Achtung Baby, and I could not get into that at all. This was a completely different experience sonically. Way more atmospheric and emotive at times. It doesn't really fall into those 80s cliches. The production is solid as well. Bono's voice can get to be a bit much at times, but overall not too bad. I enjoyed this album honestly.

Probably not my favorite Pixies album but it absolutely deserves to be on this list. Undeniable influence on 90 alternative and indie bands. Kinda crazy how ahead of its time this was. Has like a proto-In Utero vibe to it. Super raw.

I just cannot get into Motörhead. I appreciate that they were very influential for heavier genres of music like thrash. I just cannot get into the lead singer’s voice. This live album wasn’t the best. The sound quality is pretty muddy and I didn’t think the performances were too outstanding.

Great album. Such a powerful voice. The song “Black” just epitomizes heartbreak.

What’s the best way of following up an extremely successful record? Do something totally different! This record is way more raw and visceral. I honestly like it. It’s what Nirvana was meant to sound like.

Although it is an interesting concept, I truly believe this does not belong on this list. Adamson effectively only created this to add to his musical resume, in an effort to get hired to compose soundtracks. There are some interesting sounds on here, which especially may be influential in the realm of industrial music. It is definitely impressive to compose a whole soundtrack to a nonexistent movie. I would prefer there to be actual soundtracks on this list instead.

Surprisingly solid record. Everyone knows that title track. The other songs are way more mellow. “The Grave” was absolutely heartbreaking.

I'm generally not a huge fan of Queen and how over-theatric they are. This record is surprisingly heavy. There is a lot of good prog stuff on here too. I think side 1 is the stronger side.

Some classic post-9/11 patriotic pop. God, that album cover is cringe. The music itself is not bad at all, some generally inoffensive roots-inspired pop. It's just too long. Condense the stronger tracks to a single record and it's be better.

Not terrible for a debut honestly. I’m just not really a fan of the singer’s voice. Some of the songs also have a gross vibe to them idk. Excellent guitar playing though, I know this popularized the tapping style we hear a lot today.

This was really good. The first thing that caught my attention was the cover, it’s so dope. Then I realized this was from 1973! It’s like proto-proto-punk. They remind me a lot of the Stones, but grittier. They also have a bit of a garage rock vibe going, reminiscent of the Chocolate Watchband

Never heard of Elbow before, but they seem to be pretty popular in the UK, as is the case with a majority of albums on this list. They remind be a bit of Coldplay and Radiohead, but a bit more cinematic and more in the Adult Alternative vein. The lead singer sounds a bit like Dave Matthews which is pretty cool. While I do appreciate that each song on here has a different sonic feel, I think there is a bit too much difference through some of the songs (Grounds For Divorce sounds straight out of a Black Keys album and doesn't really belong on here). Some of the standout tracks for me were The Bones of You, Mirrorball, and The Loneliness of a Tower Crane Driver.

I guess I see what they were trying to go for on here. Kinda like a droning, Sonic Youth type feel to it. The vocal parts can get annoying really fast. A lot of the lyrics were kinda lame too. Not that great.

Zappa is an amazing instrumentalist and composer. His guitar playing is awesome. I just can’t stand his songwriting. I get it’s supposed to be satirical but it just doesn’t hit to me. It either seems pretentious or juvenile. With this specific record, I get that they’re making fun of the hippie culture, but it really just comes off as “I don’t do drugs and that’s why I’m better than you”. The music itself is good though and I think it’s pretty ironic that they made some solid psych tracks.

Crazy that this is an 80s album. Sounds super ahead of its time. People always talk about how Dinosaur Jr. influenced the next wave of alt rock and grunge, but I think it goes a bit further than that. Emo bands basically stole this whole sound. Especially some of the more math rock-inspired emo bands that would come later like American Football and Mineral. Even the vocal delivery is similar. Anyways, this record is super cool. The only thing is that I wish it was produced better, but I suppose that adds to the charm.

I had previously only heard the hits from this album. I’m very impressed by the album as a whole. In fact, I think the hits are some of the weaker songs. Tracks like “How Much More” and “Lust To Love” are way stronger. I can also see how this influenced bands that would come later like La Luz.

Solid garage punk. This sound was very popular in the early 2000s. Nothing particularly stands out. Good production and the songs hover around the same tempo/feel.

Wow this is an ambitious concept. I think he pulls it off well! Lots of diversity in the songs. The songwriting is great. I also enjoyed the instrumentals throughout. Reminded me a bit of Pet Sounds. I just wish the album wasn’t so long, but it sure does take you on a journey.

Man I thought I was gonna hate this, but it’s actually some solid britpop/shoegaze/indie. I especially loved the dub inspired tracks. The bass lines throughout are so groovy. This record would be so much better if they cut out some tracks to make it shorter. It’s way too long as-is.

I cringed when I saw this was another UK electronica album. But it wasn't too bad, or at least as bad as others on this list. This is more hip-hop based. Think 80s Hip Hop. There are some good tracks, like Not Paid Enough and Smoke Dis One. Others, not so much. I think what really brings this album down from a 3 are the excessive vocal samples used throughout songs. They are seemingly random. I'm OK with a few... but I'd be lying if I said they didn't get distracting.

Very similar to The White Stripes, but with more of a noise rock feel. Wasn’t feeling this one too much, and I usually like early-2000s garage rock revival. It was a bit boring and a little grating.

Solid bayou rock like most of their records from around this time were. Gets a bit jammy at times. Best listened to on a farm in Bethel, NY

What can be said about probably the most critically acclaimed record of all time? It doesn’t even have a ton of amazing songs but everything just flows. A perfect snapshot of the summer of love.

Not usually a fan on UK punk but this was surprisingly good. Some of the tracks are really fast and aggressive, almost like proto-hardcore. The more post-punk tracks weren't as good but overall I enjoyed the album.

This album is trying to be too many things. It walks a line between pop, western country, gospel, blues, and Texas country and it is just too much. Also the choice of synth and accordion were kinda bizarre. The 80s were truly on the horizon.

Some of the 60s folk selections on this list are interesting. I liked this one. UK folk that sounds more like US folk. I especially liked the instrumentals.

Stevie had an amazing run in the 70s man. Every song he put out was a banger somehow. I can definitely hear the influence that this would have on artists like Tyler, the Creator.

I had always heard of the Butthole Surfers but never gave them a listen so this is the first time I’m listening to them. They’re usually discussed within the same sphere of influential grunge bands like the Pixies. This was not what I was expecting. It’s more noise/experimental. I can hear traces of grunge in some of the songs, such as Graveyard which kinda sounds like “Come as You Are” to me.

Solid Nu Metal record but not overly cringey (it has its moments tho). It doesn’t rely as much on rap as other Nu Metal albums. Maybe a little overly edgy but not too bad. It was just too long. The CD era produced so many bloated albums.

The Beatles' self-proclaimed "weed album". They took a more mature, folk-inspired direction on this one, compared to the albums that came out before this. I prefer the original US track listing rather than the UK one, I feel like its more of a folk-rock vibe which I like.

Music best suited for walking through a field in Bethel, NY high on psychedelics.

Wow this was weird. He’s kinda got a bayou/Nola vibe but I don’t think his voice really fits it. Almost sounds satirical. I think his voice fits the delta blues-style tracks like Gun Street Girl. Overall very weird and disjointed and a lot of it was kinda bad. Did not enjoy.

If I was a 13 year old in the Midwest in 2000 I probably would’ve loved this shit. But I’m an elder gen z and in 2024 this just doesn’t hit. It seems gimmicky and cringe. I’ll give it an extra star for the drumming which honestly impressed me at points.

I don’t mind 50, but I’m not down with over an hour of 50 ya know? The hits from this record are awesome but nothing else really stood out to me. Some of the songs were actually a bit trash now that I think about it.

While they may not be as good as bands like Zeppelin or Cream, Blue Cheer were pioneers of the hard rock/metal movement. They had such a big sound for a trio. I like how they stay strong to their blues roots on this album. And that cover is just so cool.

Clapton is a pretentious asshole but he’s just so talented. He’s really in his element here, as he really excels at blues. Mayall ain’t half bad either. Some may call it soulless but I think it’s fun.

Solid 80s post punk. Nothing really stood out to me in particular. I usually don’t dig this genre but I enjoyed the listen.

Ravi Shankar is like the Hendrix of sitar. He’s had a pretty big influence on rock music as well. He taught George Harrison how to play sitar and became very popular during the hippie movement. This album showcases his improvisational chops and I also enjoyed some of the explanations he gives for the different ragas.

The Stones at their best. Production is great too.

Some OK UK punk. Other bands did it better and are more recognizable because of it. Some good tracks on here tho, good listen overall.

Perfect example of production ruining an album. Too much 80s cheese on here. His voice is great and obviously inspired by James Brown. If this was recorded in the 70s it would’ve been a lot better.

This was an interesting listen. Way more funky than I expected it to be. The lyrical content was intriguing as well. The thing that draws this album down is the song length. Some of them just meander for about a minute too long.

I’m only familiar with Frank Black’s work with the Pixies. I actually didn’t know he had some solo work until now. This was a good album. Leans heavily into the mid-90s indie rock sound a la Pavement but has a couple curveballs here and there. There were some reggae/dub-inspired tunes which I was surprised to hear. The only drawback is that the album is a bit too long.

I’ve only previously heard The Roots’ “Things Fall Apart” which is sick. This record was the follow up. It would be hard to reach the same commercial success as “Things Fall Apart” but I applaud The Roots for staying experimental here. I mean, there’s a hardcore song on here! The album does seem all over the place at times but overall an enjoyable listen.

This was really cool. Latin and western infused indie rock with some dope instrumental passages. Reminded me a bit of Wilco.

Very important album. Societal problems were at an all-time high and Woodstock was just on the horizon. Sly & The Family Stone were the first integrated rock group and that was a big deal. They made some very powerful and empowering music. I love how Sly uses his voice as an instrument in a lot of songs. I also don’t think his backing band gets the credit they deserve. Great performances here.

I prefer their follow up. This one is a bit too spacey and drawn out. Still some pretty cool songs on here but too much fluff.

Could immediately tell this was an Albini project. The production is raw and the band is on-point. The only thing I couldn’t dig was her voice. Not really sure why.

I understand why it’s on the list, but it’s so garbage. Really not even worth listening to all the way through.

Mike Ladd is obviously pretty prominent within the experimental hip-hop scene. I can tell this album was pretty influential to artists like Earl Sweatshirt. The beats are ok for the most part. Mike Ladd seems to experiment with different cadences and not stay on beat all the time which can make for a difficult listen. The lyrics can get cringe at some points too. Not really something that was super enjoyable but I'm glad I heard it because it seems pretty important in the history of experimental hip-hop.

A lot of people recognize Blue Cheer as the first metal band but I think Black Sabbath really pioneered the metal sound that we recognize today. Even the lyrical content is much more dark on this record especially. This was definitely one that kids had to hide from their parents.

Oh boy... This is another one where I'm thinking: why is this on the list? Pretty much sounds like a musical. It doesn't seem to have had any major impact or influence on any music I'm familiar with. Maybe Nick Cave? The singer reminds me of him a bit. Either way, this was not an enjoyable listen.

Some pretty typical crooner pop music full of covers. I'm pretty surprised this topped the UK charts in the late 60s. Seemed like more of an early 60s thing. Walker lacks the essence of a Sinatra or a Bing Crosby, but I do respect him for pushing crooner pop to its limits. This is evidenced by the tracks on here banned by the BBC and some of his originals that have some psychedelic influences.

A decent inoffensive indie album. Gets a bit weird and is overall a bit too electronic-based for my liking but wasn't bad.

DnB. Looooong DnB. Two CDs worth of DnB. I need to be on Molly to enjoy this.

This is such a historically important album. Not technically the first “psychedelic” album, but the first album to be officially coined as psychedelic. I listened to the original mono recordings, and man they are raw as hell! I can only imagine what it was like seeing them live. And Janis Joplin wanted to join this band? Man, what could’ve been!

This was HUGE upon its release and I think it has held up incredibly well. Very introspective and philosophical themes that even venture into religious territory at times. Musical influences ranging from Motown to Reggae. The sampling on this album is really intriguing. I also love the interludes between songs discussing "love". Oh, and nothing tops To Zion.

A solid outlaw country record. Interesting story as well. The record label was reluctant to put this one out as Jennings was working with an unknown songwriter at the time. I’m not the biggest fan of Jennings’ voice but these tunes were alright.

This one was a surprise! Some really chill Indie with a splash of psych and reggae. Right up my alley. Kinda reminded me of Radiohead in some parts.

I got Van Halen’s debut recently, so it was interesting to listen to this and see their sound progression. There is a much higher use of synths on this album. The guitar playing was on-point as always. I just can’t get past the juvenile lyrics. Cringe at times.

Very historically significant album. Early hip-hop. This was way more soul based than I would’ve thought. Really cool sampling and really funky bass lines. Very influential. Had to give it an extra star based on “The Message” alone.

Oasis, the band everyone loves to hate. I’d only been familiar with their hits from this album. They’re overplayed, but man do they sound good when you’re drunk. The first thing that caught my attention about this album is how shitty the production is. Those loudness wars were beating their ass. Apparently they were focusing more on big hooks on this album and it shows. Every song is so catchy and made for an enjoyable listen.

When I was a kid before I got into music I used to think The Doors were an 80s band. Mainly because other 80s post punk groups sounded a lot like them. My mind was blown when I saw they were from the 60s. Just goes to show the influence they had. This is a great debut. The longer jams are my favorite. Just completely unique and raw.

Elvis’ career was pretty wild. Entering the scene as an edgy rock & roll teen idol, pivoting to Hollywood to star in films, then returning to music and becoming a Vegas variety act. I guess it makes sense. The music scene was very different by the time Elvis made his return with this album. They still try to keep him kinda edgy here though, with a distinct Stax/Volt vibe on some tracks. Overall it hits that crooner sound pretty hard and is overproduced at times but still historically relevant.

A lot of people know Bob Marley as the “one love” and “peace” icon. In reality, a lot of his songs are very political and spiritual. This album has a lot of his more well known hits that fit into the peace-and-love category. Still great songs, I just prefer some of his other albums. This one is a bit overproduced.

Another weird choice for this list. Countless UK 80s pop albums on here. This one reminded me a bit of Talking Heads but bad. Soulless lyrics and vocals. The instrumentals had their moments. Some funky bass playing.

I Against I saw Bad Brains almost fully depart from their hard hitting fast paced style. Here they experiment with more conventional 80s genres such as metal and post punk. There’s also a bit of funk rock. Their instruments even sound more 80s, using partially phased guitars and reverb drums. The record is a bit more melodic and not as in-your-face as their previous efforts. That being said, I still think this is a good album. Some of their more well regarded songs are on here, such as the title track.

This was strange. But it's DEVO, I should've expected it. It's actually the first DEVO album I've listened to all the way through. They really teeter a line between new wave, punk, electronic, and pop. I just love how they don't take themselves too seriously. This was a fun listen and I can see how they influenced further music acts throughout the 80s.

Genuinely surprised that there are multiple Kings of Leon albums on this list. They only really hit with one album, and it wasn't until a few years after this one was released. I remember liking their debut when I listened to it from this list. It was very raw, and this one is definitely more polished. I generally enjoy the indie-garage-revival albums of the 2000s and I generally enjoyed this listen. There were some stinkers but overall it was decent. There were some polished acoustic-based tracks on here which I enjoyed. Highlights: Milk, The Bucket

Very very mellow and sad. Kinda with a folk vibe. Listened to this on a rainy and cloudy day which kinda fits. His sound is actually kinda reminiscent of more modern folk acts such as Alex G.

Hugh Masekela really rose to prominence in the US doing afrobeat/trumpet covers of pop tunes. He really had a hand in exposing afrobeat to a larger audience. This album was obviously an attempt to be taken more seriously as a jazz artist. I think it succeeds. He blends the popular soul-jazz sound of the time with a tinge of funk and afrobeat. The standout here is the bass player. Some of those bass lines are so groovy. The drum solos on Blues For Huey were awesome as well.

This is sooooo British. Like almost comical. Like a caricature. Feels like I’m in a pub deep into a few pints. Not a fan. The backing band was solid, however. Was digging the more funky backing tracks.

Very surprised to see this on the list. Some pretty deep psychedelia right here. Extremely ambitious for the time. I believe they did not use any electric guitars for this album (besides the bass). Lots of early electronic experimentation. Also a lot of experimentation with stereo separation. My vinyl copy is mono so I'll have to grab a stereo copy soon. I can't begin to image what this must've sounded like to listeners in 1968, cause it still sounds hella weird even today. But it's a good type of weird. Not like "wtf turn this off" weird but more like "what the hell is this, I'm intrigued" weird. Obviously had a huge influence on more modern psych acts such as The Flaming Lips. **Fun Fact** Mac Miller sampled the track "Coming Down" off this LP for the song "Smile Back".

The members of Yes are obviously very talented. I really enjoy this album. Fragile is a monster of a song. From what I understand, there were many arguments in the studio about which member’s content would appear on the album, and it shows. They decided to add a composition by each member. It kinda makes the album feel… disjointed?

The King! Backing band is tight and King is sure putting on a show. The crowd is super into it, I love the call & response moments. Not only is the singing very emotive, but King can make that guitar sing.

Echo And The Bunnymen really try to create a darker sound for this record. It’s reminiscent of their goth contemporaries like The Cure or Joy Division. However, this has more of a pop edge to it. The instrumentals are solid. The singer’s voice is a bit too whiny and can be grating at times.

The second of two albums that Johnny Cash would release of him playing a concert at a prison. I prefer live at Folsom to this one. The track list on here is a bit weaker. I think the banter makes up a bit for that, though. Love that the producers kept that in.

Solid late-2000s indie sound. The production is really chill. Follows the theme of a repeated lo-fi riff in each song, so it can get boring at times. It has its moments. The singer’s voice was also a bit so/so. Some songs I was digging it, others I felt like it didn’t quite fit the vibe.

Nusrat is apparently a legendary Pakistani singer whom I've never heard of. This album, as the title indicates, is a collection of devotional songs sung in the style of Qawwali. Firstly, the instrumentation on here is super solid. The tabla (I think that's one of the instruments they're playing) is such a dope sounding instrument. Nusrat's voice is very powerful. Combined with the call-and-response lyrical style, this recording gives off a pretty intense vibe. The songs go on for 7+ minutes and have a hypnotic value to them. Pretty cool listen.

One thing I'm finding with this list is that I absolutely love punk. Specifically US-based hardcore punk. This record was the Dead Kennedys' debut, and man what a trip this is. Super hard hitting and in-your-face sound. Lots of critics at the time compared them to the Sex Pistols, but I don't really see the comparison? Maybe a similar vocal style. What really set the Dead Kennedys apart from their contemporaries imo is their creativeness instrumentally. The bass lines are outstanding throughout. They're not just spamming the same few guitar chords (which isn't to say that style is bad). There's even some prog-ish (?) breakdowns on here.

By 2000, Madonna was not really relevant to the popular music scene. She had effectively been dethroned as pop goddess by artists like Britney Spears. She hadn't had a number one album since 1989. This album was an effort to conform to the times. It relies on heavily electronic production. Do not be deceived by the cowgirl album cover - none of this is country. Lots of electronic-based production and autotune experimentation. It certainly hasn't aged well and comes off as a desperate cash grab with almost completely meaningless lyrics in many of the songs. It seemed to have worked, though, as this album was pretty successful upon its release. What was interesting to me were some of the more R&B inspired tracks such as "Amazing" and "What it Feels Like for a Girl". I can't say this album didn't keep me interested.

Pretty decent sound that brings to mind artists like Stevie Wonder, Prince, and maybe a bit of Beatles thrown in there. But that’s what it is. A bit of a copy. I would’ve liked to see more originality and diversity in the sound. However, it is pretty cool that he played most of the instruments on here.

The singer's voice gives me Nico vibes. This music is really wacky. Like I feel weird listening to it. They're almost showtunes but weirder. I don't think I can finish this. She's obviously a great singer but the music is wild.

This was more chill than I was expecting from a Nick Cave & The Bad Seeds album. Usually they are all-in to the experimental post-punk style. This one was way more stripped back. Simple piano, bass, and some orchestration here and there. Unfortunately, I'm not a big fan of Nick Cave's voice. I think the songwriting was a bit weak here too. This musical style is better suited for a shorter album. This one seemed to meander which was amplified by the lack of variety in the overall sound of the songs.

Never was a fan of Alice Cooper. I mean, it's not bad, but just... corny? Maybe if I was 14 in 1971 I would love it. Just hasn't aged well in retrospect. Too theatric and gets a bit showtuney in spots.

This is a strange one for sure. For those who don't know, Syd Barrett was the original frontman of Pink Floyd, but left the band in the late 60s due to mental health problems (presumably brought-on by his persistent use of psychedelics). He released two (?) solo records before quitting music. This is his first one. He makes great use of unusual and sometimes dissonant chord progressions and commonly sings out of key. His stream-of-consciousness lyrical style is disjointed and whimsical. However, I think this record is really appealing for some reason. Sure it's weird, but it's got a cool avant-garde and psychedelic feel to it.

A lot heavier than I thought. Some of Jack White’s guitar tones on here are so dirty. Venturing into noise/shoegaze level dare I say. I was also impressed with the range of styles on here. I would assume a power duo would be rather limited sonically. There’s some surf rock, blues, and metal influences. That being said, I wasn’t a fan of the overall songwriting. Some songs were weak. And Seven Nation Army is so overplayed I just can’t enjoy it.

Going with 4 jammed out songs instead of opting for single hits was an interesting decision in the era of Motown. That’s what I always respected about Stax. They always took a flyer on shit like this. Not only is Hayes’ voice indeed hot and buttery, but the backing band (The Bar-Kays) are absolutely killing it. I love those moments where he just lets the band jam. Best listened to on a Sunday morning with coffee and a joint.

By 1967 the “summer of love” was in full swing on the west coast. However, New York has a different, and much darker scene filled with drug use and crime. Lou Reed attempted to capture that on this record. I commend him for discussing these topics in a time where everything was censored music-wise. However, there are some gripes I have with this record. I’m not a Nico fan. I don’t think she ruins the record, but her vocals take away some enjoyment for certain songs imo. The production is also very inconsistent, which is expected for the time. Still some cool stuff on here. The very beginnings of punk, noise rock, and avant-garde.

I had 2 of her other albums earlier on this list. The first thing that I noticed is that all of these albums have a different overall sound. Stories From The City has a folk vibe, Rid Of Me is super raw and noisy (produced by the late Steve Albini, RIP), and this one has a more polished alternative rock sound. This even ventures into noise rock territory. She definitely took some influence from Sonic Youth with the dissonant and weird guitar moments. The only thing I can’t really get into is her voice. However, her albums always keep my attention and I’m glad I was able to explore her music through this list.

I, like many other people, were turned onto the Meat Puppets through Nirvana’s unplugged album. I’m a gen Z but was big into Nirvana throughout high school and tried listening to this album back then but I wasn’t quite ready for it. For some reason listening to it now was really fun. I dig the country punk sound on here. Must’ve been really jarring for fans of their first album to hear them go to this. The best part of this album imo is the guitar work. Very intricate riffs and solos that don’t get the credit they deserve.

I saw the “electronica” genre designation on this and cringed. I haven’t enjoyed many of the electronica selections on this list, but this one was a bit different. It leans heavily into a trip hop vibe. The acoustic drums really make the album. It then goes off into like an interesting dub/ambient sound with the last 3 tracks. The only real complaint I have about this album (besides the overall length, should be about 15 mins shorter) is some of the vocal samples were really cringe.

By the late 70s, Stevie Wonder had already established himself as a music legend. He had an incredibly successful run of albums up to this point with Talking Book, Music of My Mind, Innervisions, and Fulfillingness' First Finale. The insane thing is that by 1976 he was thinking of quitting music altogether. He surprisingly changed his mind and signed a contract extension with Motown/Tamla. Not only was this the largest recording deal in history up to that point, but it also allowed for Stevie to have full artistic control over his output. The subsequent contract allowed for Stevie to release this monster of an album. In addition to being a full double record, he also threw in a bonus EP consisting of 4 extra songs. Some of the highlights on here are obvious: Sir Duke, I Wish, Knocks Me Off My Feet, Isn't She Lovely. But in reality there is just banger after banger on here. Village Ghetto Land, the jazz funk excursion Contusion, the famously-sampled Pastime Paradise. The list just goes on and on. This album showcases Stevie Wonder at his best and most creative. It still boggles my mind how a single musician can have such a consistent and killer career output. Truly a musical legend.

What a monster of a group. Every track is a banger. What really makes this album is the addition of the one and only Ms. Lauryn Hill. Not only a great singing voice but she has serious bars on here as well. The production also stood out to me. I love the dub/reggae influence, similar to what would appear on Lauryn Hill's solo record.

A lot of people mentioned that this wasn't really what they were expecting from a Brian Eno and David Byrne collaboration. I'd say this is exactly the outcome of mixing both of their styles together. Poly-rhythmic funkiness of Byrne/Talking Heads and the ambient and avant-garde sounds of Eno. Some of the backing instrumentals remind me a bit of Head Hunters-era Herbie Hancock (especially the track "Regiment"). I will say that some of the vocal samples can get distracting at times. I can see how this album would go on to influence future sample-heavy electronic artists or even hip-hop producers such as DJ Shadow.

Ride's "Nowhere" is third in the holy trinity of shoegaze albums (the other two being MBV's "Loveless" and Slowdive's "Souvlaki"). It still doesn't get nearly the love it deserves imo. I think Ride did a really good job at transforming some pretty straightforward post-punk songs into noisy psychedelic monsters. I listened to this late at night staring at the ceiling and it really aided the experience.

A really solid example of the 70s Nashville sound. This record is very produced. Lots of backup vocals, which give off a doo-wop vibe at times. Also lots of orchestration which is not a good addition in my opinion. They could've just kept it at the band + slide guitar and it would sound a lot better. The orchestral arrangements just leave this feeling overproduced and poppy (which might've been the goal). I tend to prefer the dirtier outlaw country sound but I can appreciate this as well. Important for music history and worth a listen for anyone who is looking to diversify their musical knowledge.

This album is notorious for being very low rated on this site. The day has finally come where I am tasked to listen to it. This record is certainly not an easy listen, but it really wasn't intended to be. Not only was the music crafted to be unsettling (especially on the more ambient tracks like E-Coli or the nightmarish storytelling of Hamburger Lady), but even the album cover and the corresponding record sleeve contained very strange and suggestive photos of a child. Apparently this group originated from some performance art collective so I'd imagine they're just art school kids doing a lot of this for shock value and reactions. A lot of it seemed edgy with no real direction. There's no doubt that this would be later seen as influential to many industrial and noise acts. I was even able to draw parallels to some post-rock groups (tell me "E-Coli" wouldn't sound out of place on an early GYBE! album). Overall, I'm glad I listened to it and I might dig further into their discography out of pure intrigue.

This is my first time listening to Massive Attack. I have heard of them before and was vaguely aware that they were more along the lines of electronica. Idk if it just hit me while I was in a good mood but I really enjoyed this. Heavy heavy trip hop vibes. What put it over the top for me was the dub and reggae influences. The Light My Fire cover featuring the great Horace Andy at the end was so cool. Looking forward to listening to more of their stuff (I think there’s at least 2 more of their albums on this list).

Cheap Thrills is the second studio album by San Fransisco-based band Big Brother and The Holding Company. Their debut self-titled record was released the year prior (1967) on the somewhat underground jazz label ironically named Mainstream Records. It was largely forgettable to the masses although it does have some solid blues psych tracks. Big Brother truly hit the jackpot with their performance at the Monterey Pop Festival in 1967. They were only supposed to play one day at the festival but upon hearing that their performance would not be recorded, Janis Joplin demanded to play a second set the following day that would be included in the film. In attendance were many powerful record executives looking to cash in on the new San Fransisco sound. One of those record executives being Clive Davis, of Columbia Records. He, like much of the crowd, was blown away by the commanding presence of Joplin and subsequently signed the band. Cheap Thrills was their first record for Columbia, and was the last Big Brother record to include lead singer Janis Joplin. Now, onto the album. It was originally planned to be a live album, but the live cuts were not up to par with the executives' expectations so most of the album was re-recorded in the studio. The only live performance to remain on the final cut was Ball and Chain. I think moving to the studio was not the best move. Big Brother was known for their live act. The backing band wasn't the best, so I think they benefited from the more gritty live sound. However, the presence of Janis Joplin is so attention-demanding that it just makes the album. Her voice is so powerful on these performances and you can feel the pain and heartbreak from her soul. Her voice surely isn't for everyone, but it's certainly for me. That combined with the dirty fuzz guitar is just a match made in psychedelic blues heaven. This album is truly a relic of the psychedelic era of the late 60s and is sure to transport you to Haight-Ashbury in 1968 or maybe even to an evening at the Fillmore West. Sleep in the stars, Janis.

"With The Beatles" is the second studio album by The Beatles, originally released in 1963 on Parlophone Records. The album was released as a debut under a different name in the US ("Meet The Beatles") along with a different tracklist. The Beatles had already become a household name in the UK and were well on their way to becoming one in the US around this time. Because of this, the label required them to record and release more than 1 LP a year to cash in on the success, and it shows on this record. It's almost evenly split half-and-half with covers and originals. The originals are ok, but the covers are mostly lackluster. They're covering motown and early rock & roll, and these covers just don't hit the same. The compositions are ok, they're just lacking that extra energy.

"Dust", released in 1996, is the seventh (and final) studio album by Screaming Trees. This record marked a departure from their earlier punk-influenced sound. It features a more alternative and pop-centric sound. It almost reminds me of Britpop at times, with some 60s and 70s influence. This is the first time I'm listening to Screaming Trees, and for some reason I thought they were more grunge-adjacent. They very well could be on their more earlier stuff, but by 1996 grunge was pretty much dead. I mean it was kinda a weird era of music, after the death of grunge but before the signature post-grunge sound became popular. It probably left bands like Screaming Trees in a bit of an identity crisis. Overall, this is a good album. The songs have some catchy hooks, and the instrumentals are solid. I especially enjoyed how the album started and ended with eastern-influenced songs (including sitar, eastern chord structures, etc.).

"Let England Shake" is the eighth studio album by PJ Harvey, released in 2011. Man, I feel like I've been getting a lot of PJ Harvey stuff recently. I'm not necessarily complaining, she's an interesting artist to me, even if I don't particularly love her music. This one definitely sounds like a departure from her earlier work, focusing on reverb-drenched folk rock. The main themes of this album revolve around Harvey's disdain for war, especially the various conflicts that her home country of England was a part of. Her lyrics mainly focus on the effects that wars have on society, in particular young men. The message is surely powerful. Her lyrics are very strong. I feel like some of the music is a bit lackluster, but it allows for focus to be drawn toward the lyrical content. The main thing I didn't enjoy was the male duet (?) vocals accompanying hers. I think her voice would've been perfect alone.

The Number of the Beast is the third studio album by English heavy metal band Iron Maiden, first released in 1982. I remember when I first heard of Iron Maiden and thought their album art was the coolest thing. I was expecting this super heavy and hard-hitting metal. What I got was lackluster hard rock bordering hair-metal. Don't get me wrong, not all of it is bad, and I respect the influence Iron Maiden had on music. There are some OK moments. The guitar playing is cool and the drumming is solid. The vocals really throw me off though. Maybe after a few beers this will start sounding better.

Blunderbuss is the debut solo studio album by Jack White, originally released in 2012. I had originally only known Jack White's work with his band The White Stripes. This is the first time I'm listening to any of his solo work. This record is definitely more along the roots rock/blues rock vein which was a surprise to me. I was used to his garage rock revival sound with White Stripes. He also seamlessly blends some folk and country elements in here as well. I love the juxtaposition between songs like the hard-rocking "Sixteen Saltines" and the folky ballad "Love Interruption". I can also hear how influential Jack White is to some modern groups. For example, the closing track "Take Me with You When You Go" reminds me of King Gizzard, specifically Ambrose Kenny Smith. It even sounds like it could be a Murlocs song. Overall I really enjoyed this listen.

Grievous Angel was the second and final solo album by Gram Parsons, originally released in 1974 after his death. Parsons' short life was plagued with drug abuse and tragedy. However, the musical impact he was able to create during his short life is hard to be ignored. He pioneered country rock and what would become "cosmic country". He was very successful in bridging the hippie crowd with crooner country, albeit in a more modernized form in bands like The Byrds and Flying Burrito Bros. This is the first time I'm listening to any of his solo work and I'm pretty impressed. The addition of Emmylou Harris really makes the album. Sure, it's definitely more in the country vein than country rock but I'm digging it right now. It no doubt had a lot of influence on modern hippie country acts like Daniel Donato and Mapache.

Blue is the fourth studio album by Joni Mitchell, originally released in 1971. I've really been digging these early 70s singer-songwriter records recently. Maybe it's because summer is right around the corner. Maybe it's more of an introspective reason. Am I searching for lyrics that I can relate to? Maybe. Speaking of introspection, that is all over this record. It's really one you put on and sit down attentively, listening to every lyric and just letting them hit you. Joni recorded this album after her relationship with Graham Nash ended, and it shows. But not in a cringe "I'm so sad I hate him" way. Her heartbreak is really shown artistically and quite frankly beautifully. Her stream-of-consciousness lyrics along with mostly sparse instrumentation makes this record feel almost as if she's reading you her diary. It's very intimate. Best listened to on a rainy Sunday along with incense, coffee, and a joint.

Fear of Music is the third studio album by Talking Heads, originally released in 1979. I am admittedly more familiar with their more well-known album "Remain In Light" that would come out the following year. This one was a bit more experimental to my ears surprisingly. It's got a "darker" overall feel than their other efforts. They make great use of more odd time signatures which was pretty cool. They're also able to keep that funky undertone to many of the instrumentals, even though you can hear the disco influence creeping in by this time. One of my favorite parts of this record were the bass lines, super funky and tasteful. Even though this is not my favorite of theirs, it was still groovy.

"After the Gold Rush" is the third solo album by Neil Young, originally released in 1970. This was released at pretty much the height of CSNY's popularity. I think they actually all released solo albums in 1970 though I could be wrong (David Crosby might've been the only one not to). The raw production on here really caught my attention. It makes songs like "Southern Man" so much more powerful. The songwriting is consistently good throughout, with a mix of political tracks and more introspective ones. Musical themes stick to folk and rock roots as was popular at the time. There is a bit of country twang I can hear in there as well. His vocal style will undoubtedly be divisive amongst the masses, but I kinda find it charming? Like I actually enjoy his odd vocal style in a way similar to why I enjoy Bob Dylan.

"One Night Stand" AKA "Same Cooke Live at the Harlem Square Club" is second live album by Sam Cooke, originally recorded in 1963 but not officially released until 1985. It's no secret why artists like The Beatles were trying to emulate artists like this at the time. I mean, just listen to that commanding energy. You almost feel as though you're transported there watching Sam on stage and partying with the crowd. The album is only about 35 minutes long, so it quite literally shows up, smacks you in the face, and is gone just as quick as it started. Something I really found interesting about this album is the production. Sure they didn't have the greatest recording technology at the time but man this thing is raw. I find it adds immensely to the overall party vibe of the record. Apparently the label didn't think the same. Although this was originally recorded in 1963, it wasn't released until 1985. The label, RCA, was not pleased with the recording, calling it "too gritty and raw". They were worried it would tarnish his pop image. Absolute bullshit. Sorry RCA, no pop bullshit with orchestra here. To top it all off, this album was recorded at a small and intimate venue in Miami's neighborhood of Overtown, a historically black town. The venue was jam packed with Sam Cooke's OG fans from back when he was a gospel artist. And man, did the crowd come to party. Sam even encourages to continue partying after the show is over! Man, what a time.

"Superfuzz Bigmuff" is the debut EP by Mudhoney, originally released in 1988. It is also their first "major" release on Sub Pop records. By the late 1980s, many considered rock music to be in a lull. The charts were dominated by synth-ridden pop and hair metal (of course, this could be a rock renaissance depending on who you ask). The reality is, the underground was thriving with flavors of punk such as hardcore and a new sound that was brewing in the Pacific Northwest called "grunge". These new grunge bands successfully fused the aggressiveness of punk with the commercial pacing of hard rock. And of course Mudhoney was at the forefront of the new grunge scene that was soon to knock the chart-topping hair bands right out of their makeup. Mudhoney came bursting out of the gate with their explosive yet somewhat lo-fi debut EP. The EP's songs are marked with dirty and dry guitar tones utilizing two of the band's favorite guitar effects pedals: the Univox Super-Fuzz and the Electro-Harmonix Big Muff, ultimately inspiring the EP's title. This paired with lead singer Mark Arm's grating vocals truly set the scene for what was to come in the grunge genre with bands like Nirvana. Although the sound proved to be truly influential, I don't think this EP is the strongest. Mark's vocals are a bit strained in some of the tracks, which I guess is part of the appeal to the genre but I think production could've set them a bit further back in the mix so they didn't sound as dry. Also, some of the tracks seem a bit half-baked, often lacking in lyrical quality. Nonetheless, this EP is very influential to music history as a whole and absolutely belongs on this list, so I'll round it up an extra star than my original rating.

"Nothing's Shocking" is the debut studio album by Jane's Addiction, originally released in 1988. Funny, I just got another influential album yesterday coincidentally also released in 1988 in Mudhoney's "Superfuzz Bigmuff". I mentioned in my review of that album that by the late 1980s, rock music was in need of a change from the hair metal and synthpop that dominated the charts. Superfuzz Bigmuff was a catalyst for what was to come with grunge in the 90s. That's also the case here, but for more alternative styles of rock. In fact, I feel as though Jane's Addiction was even more of a perfect catalyst for change in this era of music. Mudhoney really stuck to their punk roots and returned a project that was not as digestible to, say, most hair metal or pop fans. What Jane's Addiction did very well with this album was blend alternative, pop, funk, and a few other genres to generate a (somehow) more marketable record. The obvious standout on here is the pop gem "Jane Says" but other tracks also carry their weight such as the dub-influenced "Ted, Just Admit It..." or the funky "Standing in the Shower...Thinking". That being said, I think this record falls short in some areas where their follow-up picks up on. The production on here is not the best. The drums are overly boomy and give off a Phil Collins vibe at times. Dave Navarro's guitar tone also sounds a bit...dry? IDK but the production is a bit distracting. I also feel like some of the lyrical content on here isn't as strong as on their follow-up. Still an enjoyable listen that absolutely deserves a spot on this list.

Darkness on the Edge of Town is the fourth studio album by Bruce Springsteen, originally released in 1978. I've lived in Philly my whole life, which means the Jersey Shore is basically my second home. That also means that I've been subjected to Bruce's music everywhere I go. Seriously, walk into any Jersey bar and his music is guaranteed to be playing. There are probably hundreds of Springsteen cover bands in that small state. Never been a fan unfortunately. This is probably only the second time I've given his music a fair shot. One thing I appreciated right off the bat about this album is the production. Clean, but not slick. Guys, this came out in 1978, pretty much the height of the disco era. Gotta respect that he stuck to that roots-but-somehow-also-arena-rock sound. Another thing that stood out to me were his vocals. I'm not really vibing with the slurred word style a-la Van Morrison. Sounds like someone doing drunken karaoke. Sometimes it kinda works though. And the songwriting isn't too bad either. I assume seeing his live performances might change my mind. Although I've never been a fan of "The Boss", I'm glad I listened to this. He's obviously a very important part of music history.

All Hope Is Gone is the fourth studio album by Slipknot, originally released in 2008. This one was a surprise to see on this list. Some random late career Slipknot album? I can see including their debut or even Iowa, but this one was certainly an interesting choice. By this time, Slipknot was essentially trying to move away from the nu metal sound. In 2008 that type of sound was horribly outdated. They really switched it up on this record, including more melodic hooks and even an acoustic track! They were definitely trying to pander to the emo/scene crowd. Although some of the hooks are decent, the songwriting remains weak. Too many cliche "sad boy metal" lyrics and lazy rhyming schemes. I also think their reputation as a nu metal band proceeds them. I still see them as kinda cringe dudes who try too hard to be edgy and creepy, which I guess they are. They're like what a teenager will look up when trying to get into metal, all the cliches are there.

"Here, My Dear" is the fifteenth studio album by Marvin Gaye, originally released in 1978. **Warning:** This album will make you think about your ex. It's no mystery to find out why this record was met with criticism upon its release. His previous studio album, 1976's "I Want You" was filled with love and lust-filled tracks that Marvin Gaye had become known for by the mid-1970s. This album is a stark contrast. The lyrical content on here largely revolves around Gaye's divorce with his then-wife, Anna. When I say these lyrics are personal, I mean they're PERSONAL. He calls out Anna by name multiple times throughout these tracks, and even has a whole song dedicated to her! That would immediately be off-putting to even hardcore fans of Gaye's music at the time. It's kinda like when you're hanging out with your friend and he gets drunk then starts venting to you and it's kinda awkward cause you don't know how to react at first. Gaye's raw emotion on this record, and sometimes his bitterness, is out of character for him. But that's why I think this record is so great. It's a complete outlier in his discography. Even the production gets a bit interesting on here. They're starting to experiment a bit more with electronics and synths. I can tell that this record was definitely influential to modern artists, especially Tyler, The Creator (especially his 2019 album "Igor"). Definitely a fun and at times emotional record to listen to.

The Hissing of Summer Lawns is the seventh studio album by Joni Mitchell, originally released in 1975. I'd say I'm fairly familiar with Joni Mitchell's work. Her early stuff more than her later stuff, but I still know a majority of her albums. That being said, I've never heard of this album before. I don't think I've ever seen it in a record store either. Anyway, this album is both a logical follow-up to Court and Spark as well as a predecessor to Hejira. Joni really leans into the jazz vibe on here, and it sometimes hovers dangerously close to smooth jazz. I did like some of the experimental electronic-based tracks. Her songwriting is on point, but these songs can meander at times. I guess there's a reason why this album is kinda forgotten. It's a weird semi-experimental bridge between Court and Spark and Hejira. Not bad overall, just not a standout when you compare it to giants such as Blue.

Snivilisation is the third studio album by Orbital, originally released in 1994. I already got the other Orbital album that's on this list, with the brown cover. I believe that was the album released before this one. I definitely found myself vibing with this one a bit more, specifically the track "Science Friction". Now, I'm not very well-versed in electronic music, but I can see how this would've sounded pretty ahead of its time in 1994. Listening in 2024, however, one can see it hasn't aged particularly well. The tracks meander a lot longer than needed. I also don't feel as though the vocal samples add much. If anything, they detract in a lot of cases. Apparently the group moved to a more dnb sound after this record and I can kinda hear them inching towards that sound on these tracks, so that was cool. Probably sounds better off molly.

Metal Box is the second studio album by Public Image Ltd, originally released in 1979. I'm an American so I feel as though post punk music would truly hit different for me if I was British. A lot of these bands' lyrical content revolve around British life and the tongue-in-cheek stuff doesn't land for me most of the time. Anyways, I just learned that this band was Johnny "Rotten" Lydon's post Sex Pistols project. Had no idea. I previously got PiL's first record on this list, so getting Metal Box today made me decide to revisit it. Metal Box is pretty damn different than First Issue. It's a lot more ambient, you could tell the influence of New Wave was on the horizon. It's also more "deconstructed" in a way. The guitar on Metal Box acts as more of a background texture instrument, whereas on First Issue the guitar is more upfront, distorted, and driving. The songs are bass and drums heavy. And oh man the bass on here. Really reminds me of dub greats like Lee Perry. I did have some problems with this record, though. Lydon's vocals can get annoying at times. They're also way back in the mix so I can't really make out some of the lyrics. Some of the songs meander as well and devolve into jamming for half the track. Maybe all of that is the point, though. Am I not genius enough to "get it" completely?

In-A-Gadda-Da-Vida is the second studio album by Iron Butterfly, released in June 1968. This was one of the best selling albums of 1968, selling over 8 million copies. It lives in every record store I've ever come across. When I was first getting into psych rock this was one of the albums that was recommended to me, and I loved it. The distorted guitar, heavy organ, and driving drums were perfect to my ears. Upon re-listening, it doesn't quite hit those same highs for me anymore. Obviously all the acclaim comes from the title track, which takes up the whole second side of the record. Pretty revolutionary for the time. Unfortunately, that is the peak of the album, as side A is pretty weak in my opinion. Some of those songs are definitely more pop oriented and aren't written as well. Also, Ingle's vocals can be annoying at times. He kinda gives me Elvis vibes here and there. Nonetheless, still a fun album that will surely transport you to a hippie friend's basement in 1968 complete with blacklights, lava lamps, and wood paneling.

Chore of Enchantment is a studio album by the alternative rock band Giant Sand, originally released in 2000. Never heard of this band before now. There's not too much information about them on Wikipedia either. They're based out of Arizona, and they've got a bit of a country vibe to them. It's a bit reminiscent of Wilco, only not as good. The lead singer's voice can get weird at times too, almost like a whisper. Not unlike Nick Cave (which is probably why it was on this list). This was not bad but pretty forgettable, it's no surprise to see this entry was removed from later editions of the book.

Marquee Moon is the debut album by Television, originally released in 1977. Wow, this was good. Pretty much no one sounded like this in 1977. The closest I can think of off the top of my head is Talking Heads maybe? This must've been such a breath of fresh air in the punk/alternative scene at the time. This record has a mix of shorter songs and some longer jams, but it's always interesting instrumentally and lyrically. Television really avoided falling into post-punk cliches that a lot of bands unfortunately were victim of. I also had no idea they were American. This record sounds very British. Very fun listen.

Every Picture Tells a Story is the third studio album by Rod Stewart, originally released in 1971. This is pretty much your run-of-the-mill white boy blues apt for the time period. I'm not a big Rod Stewart fan. Didn't really like him with Jeff Beck, he was OK in Faces, but he's a bit better here as a solo artist. There are still times where he's just over the top, like when he starts doing the "Amazing Grace" cover. Ugh. I will say that his backing band on here is great. Very tight musicianship and the instrumentals compliment Rod's style well in my opinion. Definitely one of the better Rod Stewart outings I've heard.

Dance Mania is a studio album by American musician Tito Puente, originally released in 1958. Right off the bat, the sound quality on this is fantastic for 1958! Stereo separation is solid as well. This is a pretty typical mambo record. Upbeat feeling with lots of percussion. The performances are solid. The vocals are fun as well. Where I think this record falls behind is it being with an orchestra, particularly the horn section. It does feel a bit overproduced at times and hovers around the easy listening vibe a bit too much for me. I want this to sound like I just stumbled into a Cuban bar, not a concert hall full of rich folks. Still really good though.

I've Got a Tiger by the Tail is an album by Buck Owens and his Buckaroos, originally released in 1965. I never was a country music fan. However, as I've moved into my 20s, I've really been able to appreciate it a lot more. This record fits pretty firmly into the Bakersfield sound. For those who aren't familiar, the Bakersfield sound is a sub-genre of country music that originated in the 1950s as a response to the over-produced and orchestrated records that were coming out of Nashville at the time. This sound came out of California and no doubt took a lot of influence from early rock and roll, utilizing electric backing instruments. This record in particular seemed to be Buck Owens' first breakthrough hit. Most of the songs revolve around those typical country tropes: Heartbreak, love, etc. The backing band is pretty tight, I really love that dirty telecaster tone. The songs are short and sweet too so they don't overstay their welcome. This obviously influenced future artists such as Gram Parsons and even The Beatles, with Ringo's famous cover of Act Naturally. Where this record falls flat for me is the production. I get that it was 1965, but the stereo panning is bad. Like vocals firmly planted in the right ear bad. Pretty much nothing in the center channel, except for the warbling panning that happens for some reason. Kinda disorienting. The vocals are also just plain recorded bad. They often fall behind in the mix and have some distortion. If it was the mono mix it would probably sound so much better.

Future Days is the fourth studio album by Can, originally released in 1973. Working through this list has introduced me to Can, and they have quickly become one of my favorite discoveries. Future Days sees the band move in a more spacey direction, utilizing their instruments to create more ambient feels within the songs. The record only contains 4 tracks, with the final track being an over 20 minute long jam! The rhythm section really makes this band - the bass and drums are so locked in throughout the whole record. There are lots of moments on here that remind me of one of my other favorite bands, the Grateful Dead. The influence is especially prominent in the guitar tones, specifically on the second track "Spray".

xx is the debut album by the English indie pop band the xx, originally released in 2009. I've never heard of the xx prior to listening to this album today. The album cover immediately reminded me of that Arctic Monkeys/Doc Martens/2014 Tumblr aesthetic, so maybe I first saw it mentioned there long ago. The xx do a good job leaning into the ambient pop vibe on this record. The instrumentals are very minimal. They're mostly electronically composed and give off a darker feel. The vocals commonly feature male/female duets and are low volume and whispery, contributing to that darker feel. This album would be very cool to listen to driving through a city at night. The songwriting was ok, mainly dealing with drearier topics such as heartbreak. Overall the album was alright. Not normally my type of music, but not bad by any means.

Country Life is the fourth album by Roxy Music, originally released in 1974. I remember not liking the last Roxy Music album I got from this list, and I don't like this one either. I understand why they get widespread acclaim I guess. Their music is interesting, just not appealing to me. It leans too heavily into the glam/theatric vibe for my tastes.

Welcome to the Pleasuredome is the debut studio album by Frankie Goes to Hollywood, originally released in 1984. I'm already not a synth-pop fan, so seeing that this was a synth-pop double album made me want to cry. It wasn't as bad as I thought, but it still wasn't good. It was kinda diverse sonically. The band makes cool use of synths to create atmosphere in many of the songs. There was also an interesting Born To Run cover on here, along with some skits that were surprising. Not something I'd really listen to again, English synth-pop just doesn't hit for me.

The Poet is the thirteenth studio album by Bobby Womack, originally released in 1981. Bobby Womack has been active in the soul scene for a while, dating back to the 1960s. He was already deep into the funk sound by this record's release in 1981. This record contains a combination of upbeat funk and some slower ballads. The backing band is solid, with a mainly funk but a bit disco-tinged sound, as was appropriate for the time. The production is super clean to the point of sounding slick at times. Womack's voice is powerful, and the lyrics revolve around love and women. Solid record overall.

Rock Bottom is the second solo album by former Soft Machine drummer Robert Wyatt, originally released in 1974. June 1, 1973 would be a date that changed Robert Wyatt's life forever. During a late night party, an inebriated Wyatt would fall out of a 4 story window. The accident left him paralyzed from the waist down. Spending time in the hospital allowed Wyatt to explore musical ideas for a solo album. Pink Floyd were very involved throughout Wyatt's recovery, even throwing a benefit concert while he was still in the hospital. This record would be produced by Pink Floyd's Nick Mason. The record is characterized by spacious soundscapes and introspective lyrics. It's really a glimpse into Wyatt's mind at the time, which was undoubtedly filled with dark thoughts. I mean he was truly at "rock bottom" trying to recover from a life changing injury. The songs are synth-heavy but in a psychedelic way, which I dig. There's even some free jazz influence at times. The perfect amount of weirdness. This album fascinates me and I truly believe it is one of my best discoveries from working through this list.

Station to Station is the 10th studio album by David Bowie, originally released in 1976. I never was a huge fan of Bowie, but the immense amount of his albums that are included on this list are giving me a good sense of him. One thing about Bowie is that he changed his sound a lot. He can hit funk, post punk, hard rock, glam, and many more and actually do them all pretty well. This record is more on the funky side following up Young Americans, which I dig. Apparently this record is another output by his "Thin White Duke" persona. I'm also finding it hard to keep up with all his personas as well. This record was marked by Bowie's heavy drug dependence, and it kinda shows. A lot of the arrangements are a bit messy. Maybe that's just his weirdness showing through. Overall these songs were pretty groovy tho.

Here Come the Warm Jets is the debut solo album by Brian Eno, originally released in 1974. This record was recorded and released after Eno left Roxy Music, on the grounds that he couldn't fully explore his musical ideas in the band. He tries to keep that same glam feel on this record, but adds some avant-garde flares like primitive electronics. The songs on here range from pop to straight up weird. You could tell Eno was starting to experiment more with electronics on some of the tracks. I'm not the biggest fan of Eno's voice and some of the weird vocal things he does are kinda annoying. This record is weird, but not my kind of weird. Never was a fan of the whole glam thing anyway. Eno's later work is much cooler imo.

Architecture & Morality is the third studio album by Orchestral Manoeuvres in the Dark, originally released in 1981. Man, this album is strange. There's this huge juxtaposition between songs ranging from synth pop to industrial. The pop tracks almost remind me of The Smiths at times, especially in the vocals. A lot of the songs have long, drawn-out instrumentals that make heavy use of synths, as to be expected considering the time period this was released. The instrumentals are sonically interesting to me, though. Lots of layering which was uncommon in 1981. There is also liberal use of sampling throughout the album, also uncharacteristic of an album released in 1981. I can see how this would be influential to future electronic acts and even some industrial acts.

Want Two is the fourth album by Rufus Wainwright, originally released in 2004. This record is apparently the second in a series of two records under the "Want" name. Apparently the first is on this list, but I got this one first. One of the downsides to the random algorithm. This album largely follows a baroque sound, with lush orchestration accompanying Wainwrights light vocals. He reminds me of Thom Yorke in a lot of the songs, as many other users already pointed out. The overall vibe of the album is very dark and kinda medieval (?) at times. Beautiful album art as well, I think it really accompanies the sound of the record. His voice can get a bit excessive and borderline grating at times, though. Looking forward to hearing Want One at some point in this list.

Sunshine Superman is the third album by Donovan, originally released in 1966. This is some whimsical shit right here. If you were to take the entire summer of love and transpose it into a sonic medium it would probably output this album. There was a period of time in the mid-60s where Donovan was in the same class as Bob Dylan. In fact, they had a bit of a rivalry because of all the media's comparisons. I believe Bob Dylan is on record stating that he "hates" Donovan. So why isn't Donovan the legendary figure that Dylan is today? Well, he certainly isn't in the same songwriting class as Dylan. However, I think Donovan's musical compositions are very interesting. He really fell victim to appeasing the pop scene at the time, leading to a lot of his work appearing way too "twee" by today's standards. He kinda disappeared after the psychedelic scene faded away. Like another user commented, I think he really got into the hippie movement and everything that the real hippies stood for. There is a sense of genuineness in his music that reflects this. It's records like this that truly show what Donovan is about. That whimsical, psychedelic, almost medieval sound. I really feel like a nobleman sitting in my palace puffing hashish while listening to this. It recalls a sense of nostalgia for times that I've never experienced, which is a really unique and enjoyable feeling. Much like The Incredible String Band, this record is best enjoyed on a summer day through a haze of Nag Champa incense and weed smoke.

Chemtrails over the Country Club is the seventh studio album by Lana Del Rey. Admittedly I've never listened to any Lana Del Rey prior to today. I remember her as this iconic figure all over Tumblr around 2012-2014. This might have not been the best place to start. The album's production is VERY sparse and airy. This combined with Lana's whispery vocals made the record get kinda boring after a while. There's really minimal variation between songs. The production does make a cool atmosphere, but it was only cool for like half the album, and the rest left me wanting some sort of switch-up. Lana's songwriting is ok on here, and I particularly like the Joni Mitchell cover, but overall this album didn't live up to my expectations.

White Light, aka Gene Clark, is the second solo album by Gene Clark, originally released in 1971. Gene Clark was probably best known for his stint with the Byrds, where he was a founding member until his departure in 1966. He either wrote or co-wrote many of the band's biggest hits, and losing him was quite the blow. Clark had a lesser known solo career where he turned to more of a country rock/singer-songwriter sound. This really leaves room for him to flex his songwriting chops. This record is very intimate and mellow, with extremely poetic lyrics accompanying Clark's acoustic guitar and Jesse Ed Davis' slide guitar. It's a wonder why this didn't gain notoriety upon release given the popularity of the singer-songwriter scene in the early 70s. It really shows that Clark was doing this for the love of the music, as he refused to take part in the promotion of the record. This was also coupled with the fact that he had an intense fear of flying which severely limited his touring capacity. I think this is a solid offering from Clark. It features highlights such as "For A Spanish Guitar", "Where My Love Lies Asleep", and a great version of "Tears of Rage". Its cosmic country sound would prove influential for modern artists such as Beachwood Sparks and Tim Hill.

Bizarre Ride II the Pharcyde is the debut album by The Pharcyde, originally released in 1992. This record was released during the emergence of gangsta rap within the popular music scene. I wasn't alive at the time, but I'm sure this was a breath of fresh air compared to their contemporaries. They even managed to be distinct from the other jazz-rap groups such as Tribe and Digable Planets in that they employed very satirical and comical lyrics. To echo what another user said, it's good to see a group not take themselves seriously, but sucks when they should've taken themselves more seriously. These guys had bars. I'd love to hear what they could've cooked up regarding social issues or maybe even the music industry. I just feel like there's only so much humor that one can put on an album without it sounding tedious after a while. The instrumentals on here are wild. Insane sampling including Jimi Hendrix, James Brown, Marvin Gaye, Donald Byrd, The Meters, the list literally goes on and on. The instrumentals really make the album in my opinion. I also really like the skit tracks with the live drums. I wish they included some full-length tracks like that. A really fun album, but filled with too many "what-ifs" for it to be considered 5 stars.

Headquarters is the third album by The Monkees, originally released in 1967. Apparently this was the first album where the band members made substantial songwriting and instrumental contributions. Prior to this, it was mostly studio musicians playing the backing tracks on their records. This album was issued after the conclusion of the first season of the Monkees TV show, which was a huge hit. It was clear the band was trying to deviate from their past as a bubblegum pop band, given the whole psychedelic scene was popping off around this time, and that was what was cool. Unfortunately, their reputation preceeded them, and they had an audience to satisfy. This record is largely pop with a bit of a country and rock edge, not unlike what The Beatles were doing a few years prior. But that's the problem. The Beatles were doing this MULTIPLE years prior. Music was changing, and fast. Sgt. Pepper had already come out by this time. The Monkees were going to sell a bunch of records either way, but they were never going to shake that young audience from their following, especially since the show was now a huge hit as well. They were doomed to the 2 minute tack purgatory. I mean seriously, they rarely pass 2 minutes on these track lengths! Solid record with surprisingly good instrumentation. The country flare really surprised me. That being said, nothing revolutionary here. The lyrical subject matter revolves around love and girls and gets repetitive. That being said, if I was like an 11 or 12 year old in 1967 I'd probably want to be in a band like them. They were essentially made (in more ways than one, manufactured) for pop.

La Revancha del Tango is the debut album by Gotan Project, originally released in 2001. I'm not well versed in electronic music, so I'll keep this review short and sweet. The music is unique enough. They've got a kinda trip-hop vibe going on. There are some cool Latin influences in the guitar playing and I dig the Spanish vocals. They keep it French tho, adding accordion over the songs. They mix the accordion with a delay pedal a lot which adds to a cool psychedelic effect. Overall there wasn't enough variety between the songs for me. A bit too dull.

Hail to the Thief is the sixth album by Radiohead, originally released in 2003. This record marked a minor change in the band's sound. Their previous 2 studio efforts included a lot of electronic experimentation and extensive production. This record seems a bit more stripped back when compared to those. Apparently they wanted to lean heavier into the "rock" vein and mix in some electronic elements. This is evident in their production style for this record, where Radiohead made use of "live in-studio" takes rather than extensive overdubs. A lot of the lyrical subject matter on here concerns the unfolding war on terror and other related political discourse that was unfolding at the time. The songwriting is pretty strong, along with Thom Yorke's vocals. I prefer their more rocking songs to their ballads, as I feel Yorke's voice works better with them. Nonetheless, very solid record.

Beyoncé is the fifth studio album by Beyoncé, originally released in 2013. This record was HUGE when it came out, so I was only familiar with the hits prior to listening to it for this project. I was honestly surprised at record's sonic variety. The producers really did their thing on this; there's a good mix of uptempo songs and slower tracks that make for a good balance. One of the things that holds this record back in my opinion is the reliance on electronic instrumentation, particularly electronic drums. I think a lot of the 2010s fell victim to that, a lot like the 80s. Beyonce's voice is as powerful as ever on here. A lot of people were complaining about the freaky lyrics saying she was in her 30s by this time and too old to be doing all that. She's fuckin Beyonce, man, she can do whatever she wants.

Your Arsenal is the third studio album by Morrissey, originally released in 1992. I am not a Morrissey fan. Sure he's a huge wanker, but his voice is what gets me sometimes. I enjoy a lot of his work with The Smiths, but his voice was coupled with catchy guitar riffs and good songwriting then. Seeing this solo album pop up as my album today got me a bit worried. I was pleasantly surprised. This album was really inoffensive. You can tell he was trying to lean into the Britpop movement that was happening. The lyrics can get a bit wanker-y but overall not as bad as I thought.

Seventh Tree is the fourth studio album by Goldfrapp, originally released in 2008. I remember getting another Goldfrapp record earlier in this list, and I absolutely hated it. This one was better. I noticed a lot more folk influence, but still a fair dose of electronica as we have come to expect from Goldfrapp. This record certainly seems like a more mature output from the duo. There is a decent range in overall sound between the tracks, and they avoid trapping themselves in the electro-pop box. While I am not totally enamored with the singer's voice, it is not inoffensive. It is clear that this record would prove influential to future music scenes such as folktronica and dream pop.

Darkdancer is the second studio album by Les Rythmes Digitales, originally released in 1999. My first thought is that this sounds super dated. I mean I feel like it would sound dated even in 1999. A lot of the electronics used here (especially the drums) sound more early 90s/late 80s. Also, as a lot of others said, a lot of it is repetitive. But maybe that's the point. If I was in a club off of molly than this would probably be a banger. Alas, I had to listen to this while working. Decent enough music, it had its moments. I especially dig the more funk-influenced tracks.

Hearts and Bones is the sixth studio album by Paul Simon, originally released in 1983. I'd consider myself a fan of Paul Simon's solo work. He's not really someone I actively seek out to listen to, but when one of his songs comes on I usually vibe with it. That being said, I have never heard of this album before, and there's probably a reason why. Not only was it the album before his monster hit of "Graceland", but it is also not his best work. This thing is littered with 80s slick production. Just listen to those drums. Gross. There are also weird sound effects littered throughout some songs? I think I heard sheep noises at some point. And what the hell is that "Cars Are Cars" track? This is rivaling Neil Young's mid 80s output. Just strange. There are some OK moments on here, like the second track, "Hearts and Bones". Unfortunately that doesn't redeem the entire album. Largely forgettable.

Stephen Stills is the debut solo album by Stephen Stills, originally released in 1970. This would be the first of a string of extremely successful solo albums released by each member of the prolific supergroup Crosby, Stills, Nash and Young. This one is definitely one of the stronger solo albums of that era, and probably Stills' best solo effort. This record features some amazing musicians, including Eric Clapton and Jimi Hendrix. The span of genres is also quite surprisingly diverse, spanning from blues to jazz to folk to funk and soul. It does get a bit self-indulgent at times, especially the track "Old Times Good Times" where Stills decides to drown out half of Hendrix's solo with his organ playing (turning it up unnecessarily loud at these portions, mind you). Overall solid record with some bangers. Stills would go on to release some more good solo efforts (particularly Manassas) but never reaches the same heights as this IMO.

G. Love and Special Sauce is the debut album by G. Love & Special Sauce, originally released in 1994. A lot of people are probably wondering why this record is included on this list. I'm a Philly native and these guys are huge here. I wasn't alive in the 90s but my parents played this record constantly. It was/still is all over the radio too. G. Love really kinda made his own sound. Huge slacker vibes with a bit of dub influence? Sometimes blues, sometimes jazz, sometimes indie. I really love how eclectic his style is. Reminds me a bit of Beck but not as weird. I don't know too much about his fanbase but I feel like a lot of the stoner/jam band Phish heads would love this band. Super fun album.

EVOL is the third studio album by Sonic Youth, originally released in 1986. I'm really not very familiar with Sonic Youth's early work. I'm mainly familiar with the record that would be released 2 years after this in 1988's Daydream Nation. I can clearly hear the roots of that record on here. I was expecting a more noisy sound but there are actually a few pop-adjacent tracks on here. This record is probably where they started to shift to more alternative/pop. The overall vibe of this record is very dark, it's kinda unlike anything they've done since. It's almost goth rock. There are also some cool ambient moments. Overall a surprisingly diverse and sonically interesting record.

Parachutes is the debut studio album by Coldplay, originally released in 2000. This may be the perfect pop album. I think we're at the point in time where we can admit that Coldplay is good. Sure, they get tons of airplay, but those songs are still absolute bangers. I was actually surprised at how cohesive this album is. Every single song slaps. Not to mention the production value on here. Crisp, but not overbearingly so. Just right. A lot of other users commented about their similarity to Radiohead, and I guess I can see it a little bit. They're like a more digestible Radiohead. But I also think Coldplay has their own distinct sound, especially on this record. So yeah, I like Coldplay, shoot me.

Ambient 1: Music for Airports is the sixth studio album by Brian Eno, originally released in 1978. This record was the first in a series of four compositions that Eno would release under the "Ambient" label. I'm not going to pretend like I know a ton about ambient music but this record is a pillar of the genre. I believe Eno was actually the first person to coin the term "ambient" to describe this style of music. The tracks on this record are as described: ambient. They leave a lot of space and I think that's what really sets this style of music apart from your typical easy listening. Eno obviously envisioned a future where public spaces would play this style of music. This is an interesting thought especially in the context of busy, anxiety-inducing public spaces. This music reminds me a lot of the frutiger aero vibe that a lot of companies were pushing throughout the 2000s-early 2010s. Maybe that's the future we could've realized had this music been played in airports.

Live! is an album recorded in 1971 by Fela Kuti's band Africa '70, originally released in 1971. This album features former Cream drummer Ginger Baker, but the band surely shines even on the songs without him. Fela and his band are legendary figures within the funk and afrobeat space. This record is surprisingly diverse, incorporating elements of funk, rock, jazz, and afrobeat. Fela has a commanding presence on stage and I just couldn't help but groove throughout this whole album. I didn't even realize most of these songs are quite jammy, often clocking in at over 8 minutes. The band is tight and rocking. I especially enjoyed Fela's crowd interactions. It must've been awesome to see these guys live back then, and it's no secret why guys like Ginger Baker became huge fans of them.

Sound Affects is the fifth studio album by The Jam, originally released in 1980. This list is actually starting to warm me up to British post-punk. The first thing that caught my attention on this record is the rhythm section. The drummer and bass player are locked in throughout the whole album. I also love how the bass is mixed. It reminds me a lot of reggae/dub. It was probably intentional because this list has taught me that a lot of these groups were inspired by the rude boy movements at the time. Another thing that's interesting about this album is you can kinda hear the transition from post-punk to new wave. I'm not sure about the origins of The Jam, but I can assume they're from the more harder punk scene, like the Sex Pistols. This record contains a mix of that harder punk edge, as well as softer, more poppy new-wave tracks. While not my favorite style of music, it's interesting to hear transitional albums for bands. Especially when those transitional albums are between two huge genres.

Picture Book is the debut album by Simply Red, originally released in 1985. I would've guessed this was made in 1985 from the first 5 seconds. Seriously, this thing is dated. I wasn't alive in the 80s but I could imagine this style of sophistipop was corny even back then. The music itself isn't all that bad. It just isn't good. Typical 80s instrumentals with some white boy soul vocals. Blue eyed soul had been done a million times before this and it certainly didn't need to be done again in the 80s. Pretty much every 80s instrumental cliche is present on here. I saw another user compare the backing tracks to the MGs.... really? The one saving grace for me was the last track which channels some dub vibes (I mean listen to that juicy bass line!). I also wanted to take a second to reiterate that this is a list of 1001 albums that the author thinks we must hear before you die. Not 1001 best albums, not 1001 most iconic albums. I see a lot of users complain that this isn't one of the "1001 best albums" or "it's barely known so why is it on here". We gotta play by the author's rules on this one.

Lam Toro is a studio album by Baaba Maal, originally released in 1991. Baaba Maal is a Senegalese singer and guitarist. I only know a little bit about African guitar, primarily about Tuareg and other Sahara-based music. I was interested to delve into Maal's style of Senegalese music. I was somewhat disappointed by this album. I mean, the songs themselves are alright, some of them are pretty good. I just could not get into the production. This thing is massively overproduced. I think Maal would've benefitted from a more stripped-down production style that highlighted his voice and guitar playing more, like Imarhan does. There's just too much unnecessary cheese added here, like synth effects and slick bass lines. It just makes the record seem dated. Take that away, and this album becomes much better.

Lost Souls is the debut studio album by British indie rock band Doves, originally released in 2000. Another new-to-me band. My first thought is that these guys sound a lot like Coldplay, who would release their debut album around the same time. Doves incorporates a lot more indie influence into their sound, and I also hear just the faintest touch of shoegaze. I guess it's unfortunate for Doves that Coldplay blew up because they cannot beat the "sounds like Coldplay" allegations. They create a late-night type atmosphere with most of the songs but a lot of them are just lacking. This record has huge potential, but they just need some extra umph... I can't really describe it.

Suzanne Vega is the debut studio album by American singer-songwriter Suzanne Vega, originally released in 1985. I was fearing the worst 80s pop imaginable when I saw this album, but it wasn't bad at all. This record really recalls the massively popular Laurel Canyon singer-songwriter craze of the decade prior. Vega shows shades of Joni Mitchell and is reminiscent of English folk groups such as Pentangle. Although her songwriting isn't the strongest, most of these songs are pretty enjoyable. She somehow dodged most of the 80s production clichés that plagued 90% of releases at this time. Pretty cool folky record. Probably would've done numbers in the early 70s.

Electric Warrior is the second studio album by T. Rex, originally released in 1971. This is my first time listening to a T. Rex album. I was expecting some super poppy glam stuff but I was pleasantly surprised. There's some cool psych stuff in here. Apparently this album was a step for the band sonically, moving from their previous folk sound to a more refined pop/glam oriented sound. I feel like the glam label that was placed on T. Rex is a bit restricting and not reflective of their sound, at least on this record. This still has that folk influence, but also some harder rock elements and even psych. It's especially evident in "Cosmic Dancer", which is probably my favorite song off the record. This will definitely be getting more spins from me.

Permission to Land is the debut studio album by The Darkness, originally released in 2003. This could've easily been released in 1987. It is such a product of its time... only 15 years later? The Darkness are obviously great appreciators of the 80s glam genre. I even here some 70s hard rock and glam in here. The songs themselves aren't bad. The vocals are a little wacky though. That falsetto made me laugh on multiple occasions. Maybe that's what they were going for. It's just so funny to hear those huge and heavy guitar riffs juxtaposed with that voice. Not really something I'd be blasting in public. Maybe if I was wasted in a Glasgow pub I'd vibe with it more.

All Mod Cons is the third studio album by The Jam, originally released in 1978. I just got another Jam album from 1980, and I said how I wanted to hear an earlier album of theirs, so I guess my wish was granted! This record is more of a straightforward UK punk sound, but not exactly what I expected it to be. You can totally hear the influence these guys would have on the upcoming 80s post punk and new wave sound. They also simultaneously incorporate elements from groups that influenced them, like The Kinks. So these guys are not UK punk in the traditional sense like the Sex Pistols, but they incorporate more of an indie sound way before indie was a thing. Their influence would be very evident in bands who would come later such as REM.

Music for the Jilted Generation is the second studio album by The Prodigy. I wasn't yet born in the 90s so I didn't get a chance to live through the rave era. I'm sure if I was able to experience that I'd have a much better appreciation for most electronic music, specifically dance. The Prodigy were super prominent in this scene, as evidenced by other reviews on this site reminiscing about the times they were high off god knows what listening to this. One user even commented that Prodigy songs were so popular at the time that they had to limit how often they were played at clubs because people would get so hype. I feel like I missed out on a proper appreciation to this music and that sucks. As for this album, it's mostly repetitive pulsing rhythms, which I understand. It's meant to be played in forests or warehouses on repeat. There's also some cool synth sounds and samples on here. It was engaging enough. I was listening while I was at work so it's not really the proper setting. I prefer their follow up to this album, which I received earlier on this list.

In the Wee Small Hours is the ninth studio album by Frank Sinatra, originally released in 1955. Imagine getting broken up with in 1955 and Frank Sinatra drops this. This is some certified sad boi shit right here. A full album of straight-up heartbreakers. It's important to note that up until this point, 10" records were still the main seller. Sinatra dropped this on a double 10" alongside a 12", which was unheard of in pop music at the time. This pretty much propelled the 12" format as a norm in the pop music scene. I just thought that was pretty cool. As for the content, it's pretty much what you'd expect from a Frank Sinatra album. Smooth vocals and lush arrangements. Only this one has a bit of a dark undertone compared to some of his other works. It's just so damn depressing. Do not listen to this if you're going through some shit. Or do, it may help.

Oar is the first and only studio album by Skip Spence, originally released in 1969. Skip Spence got his beginning in the early San Francisco psychedelic scene, playing drums for Jefferson Airplane on their first record. He was apparently chosen simply because he "looked the part". His stint with the Airplane was short-lived, and he ended up co-founding the band Moby Grape. He was a prominent contributor in Moby Grape, both playing guitar and songwriting. At the peak of their commercial success, Spence began drifting into a life of hard drug use which soon spiraled into mental health struggles. I won't detail his mental health episodes here, I just think it's important to understand this story before delving into this record. He was fresh out of psychiatric care when he recorded these songs, or should I say, demos. They were released to Columbia without his permission. I'm honestly surprised Columbia even released these on record. They're obviously very rough. Lots of stream-of-consciousness lyrics and meandering and repetitive instrumentals. It would certainly have benefitted from better production. As it stands, it is a capsule that reminds us of those who were never able to make it out of the first psychedelic era.

Swordfishtrombones is the eighth studio album by Tom Waits, originally released in 1983. No matter how many Tom Waits albums this list throws at me, I still don't get it! This one isn't as bad as the previous one's I've gotten. Usually his voice is way too over-the-top for me. He tames it down for most of the songs, and there's a decent-enough concept throughout the album. His voice is just something I can't get into. Too weird even for me I guess. I'm actually surprised he's had much success/critical acclaim. His songwriting is alright, but not enough to warrant a lot of the cringe through some of these albums.

A Grand Don't Come for Free is the second studio album by The Streets, originally released in 2004. Right off the bat, I reallyyyyy wanted to give this an immediate 1. But I had to trust the process. Sure, this thing is insanely British. And I mean, INSANELY BRITISH. I really can't relate to some of it as an American, and I recognize that. The longer I listened to this, the more intrigued I was. This thing is pretty devoid of any set flow. That really fascinates me. The beats are sparsely produced as well, leaving a lot of empty space in the instrumentals. It was off-putting at first, but once I started to really concentrate on the subject matter I started to dig it more. By the mid-2000s party-rap was emerging, and looking to kick gangsta-rap off its throne. I can't relate to either of those styles of rap. Sure, they can be fun to listen to, but I often lack that extra emotional depth. This album has several songs I connected to, especially the love songs. A standout track was "Dry Your Eyes". It's a surprisingly emotionally-deep breakup song. Overall a very interesting listen.

Get Behind Me Satan is the fifth studio album by The White Stripes, originally released in 2005. For their fifth studio effort, Jack White trades in his heavy electric guitar for an acoustic guitar, mandolin, and... marimbas? This seems to be a fairly big change in musical direction for the band. Out is the hard-hitting garage and in is more soft arrangements. It works for the most part. Some of the songs tend to meander. It's also missing that White Stripes energy. I mean, change is good for a band. This change wasn't exactly bad, but we had become so accustomed to the White Stripes' signature sound that this just doesn't hit quite the same.

The Dictators Go Girl Crazy! is the debut album by The Dictators, originally released in 1975. This record is largely considered to be the first Punk Rock album. I wouldn't necessarily agree with that. Plenty of bands throughout the 60s had more of a punk sound and ethos. This falls more into the 70s hard rock most of the time, though I do hear some punk elements. The lyrics are incredibly goofy, but that's probably by design. It's pretty obvious that these guys didn't take themselves too seriously. Oh yeah, a lot of the lyrics also didn't age well at all. Multiple racially questionable moments and even some downright racist remarks. Again, there were more bands which came earlier than this and ultimately contributed more to the punk rock movement. These guys were forgotten for a reason.

Spy vs Spy: The Music of Ornette Coleman is a 1989 album by John Zorn. Interesting this came to me during the free jazz kick I've been on recently. John Zorn is an artist I've overlooked from this scene. Particularly because he came to prominence much later than the heyday of free jazz... like over a decade later. This record was apparently very inspired by the hardcore punk movement that was happening at the time. Pretty evident by the blistering fast and also short-length tracks on side one. Side 2 is more tame with a bit more digestible rhythms. Something that is particularly interesting about this record is the production. Zorn recorded this with a quintet - 2 altos, 2 drummers, and a bass player. Zorn is mixed in the right channel while Berne is in the left. Although I have a hard time getting that stereo separation with headphones. Maybe because I listened to an ultra-compressed Youtube upload. The drums are also mixed weird. The toms and floor drums are mixed HEAVY. So much so that you can't really hear the bass. There's a lot of reverb on them too. Gives off the vibe that they're playing in a huge empty warehouse. This project was obviously done with a lot of intent and passion. The dated production was probably by design. Still an interesting listen with no dull moments. But why is there no actual Ornette Coleman records on this list?!?!?

Rocks is the fourth studio album by Aerosmith, originally released in 1976. For their fourth studio venture, Aerosmith does exactly what the title suggests: rock. This record is heavy and hits hard - setting the stage for the popular music scene through the late 70s and into the 80s. The roots of hair metal are very evident on here, so it's no surprise that bands like GnR refer to this as one of their inspirations. The record is not particularly interesting. In hindsight this falls directly into the "generic dad rock" category. However, this proved to be pretty influential and was an enjoyable listen overall. It really transports you to 1976 and recalls scene from the likes of Dazed and Confused.

L'eau rouge (French for The Red Water) is the second album by The Young Gods, originally released in 1989. I've never heard of this band prior to listening to listening to this. They appear to be an industrial group based out of France. For 1989's "L'eau rouge", The Young Gods come out swinging with heavy use of sampling and drum machines, not unlike NiN, who would release their debut record a few months later. The sampling ranges from guitar parts to orchestral pieces, often placed sporadically throughout the tracks. The band also made liberal use of both drum machines and live drums, adding to the "industrial" feel of the album. Most of the tracks have a vary dark vibe to them. It's pretty clear that these guys were a bit ahead of their time, considering the hair metal that was dominating the airwaves in 1989. The one thing that irritates me about this record is the lead singer's voice. He does this growl type thing that reminds me a bit of Nick Cave at times and I'm just not digging it at all. I guess it goes along with the vibe of the record but there is no vocal variety between these tracks.

Haut de gamme / Koweït, rive gauche is a studio album by Koffi Olomidé, originally released in 1992. This was an interesting one. We've got our first album on this list from Congo. Based on other users' comments, it appears the artist has a sketchy past to say the least. Putting all that aside, I was disappointed by this. It sounds a bit...generic. Echoing what others have said, it sounds like what would be played at a tourist resort. I think it's the overproduction. Although this was released in 1992, there is still a lot of 80s cheese in this. The synth sounds, the drums, etc. Too slick for my taste. The guitar playing throughout was fantastic though.

Elephant Mountain is an album by The Youngbloods, originally released in 1969. I've always heard of The Youngbloods when researching 60s music but never gave them a listen until now. This record appears to be one of their later efforts. It was released to lukewarm and some outright bad reviews, contrary to some of their earlier releases. However, I think history has been kind to this album. 1969 was an interesting time for music. The psychedelic movement was on its way out of the pop landscape, and roots-based styles were entering. Styles such as country, folk, and Americana were being fused with rock. This album acts as a perfect representation of that musical transition. Most of these songs are country-focused but with elements of psychedelic sprinkled in quite regularly. I was also surprised at the amount of other genres represented on here. Jazz, blues, bluegrass, etc. Very impressed with how diverse this album is. Cool listen.

A Rush of Blood to the Head is the second studio album by Coldplay, originally released in 2002. Apparently I like Coldplay a lot more than I originally thought. Most of it is probably nostalgia. My parents love their early records and used to play them all the time when I was a kid. Many of these songs are burned into my brain. But these songs are actually good! The band really begins to find that signature Coldplay sound on this album. Their pop influence is stronger, and their hooks are catchier. The hits from this are huge, of course. I think the deeper cuts are also amazing. I previously got Coldplay’s first album and loved it. They sure came out swinging again with this one.

Zombie is a studio album by Fela Kuti, originally released in 1976. I just recently got another Fela album from this list, the one with Ginger Baker. That album was all live tracks, so I was interested in how they would fair in a studio setting. I think this record in particular represents their live act well. There are 4 tracks on here: clocking in at over 10 mins each. The band is exquisite. They commonly go into these funky and soulful jams not unlike The MGs. Fela’s lyrics are more on the political side here. They mostly deal with the military and how they are built to “shut up and take commands”. It wasn’t surprising to hear that Fela’s commune was raided by military before this album was recorded. The live track at the end was a surprise. Can’t go wrong with Fela live. The band is tight and energetic. I’d love to travel back in time to visit a gig.

Exile in Guyville is the debut studio album by Liz Phair, originally released in 1993. Indie-rock darling Liz Phair sure made a splash with her debut album "Exile In Guyville". I wasn't born yet in the 90s, but I can imagine this record was a big deal. Indie/alternative rock was, and still is, a male-dominated genre. Phair sure made a statement that women belong in the genre with this record. However, I think this record should be remembered for more than just "this girl made a good record in a male dominated genre". It has catchy hooks and good songwriting overall. Multiple tracks had big hit potential. I also really think this album is the birth of that "bedroom pop" sound that is so popular today!

Broken English is the seventh studio album by Marianne Faithfull, originally released in 1979. This is an interesting one. Faithfull was at rock-bottom throughout the 1970s. She fell hard into addiction and was living on the streets. This is known as her "comeback album". Her voice is noticeably worn at this point from drug abuse. It provides more emotional depth to these songs. Where I think this album lacks is the production. It's too slick for my tastes. I mean, it was 1979, so it's pretty much to be expected. I just think a more lo-fi production style would suit her voice more.

Pink Moon is the third (and final) studio album by Nick Drake, originally released in 1972. Nick Drake was a talent who passed by almost unnoticed during his lifetime. In retrospect his work is hailed amongst the greatest albums of all time, but he barely sold records when he was actively making music. Drake was part of the UK folk scene of the late 60s and early 70s, with contemporaries such as Pentangle and Fairport Convention. He was well regarded amongst his peers but failed to attract a wider audience due to his reluctance of live performing. Drake's short life was truly tragic. I first attempted to listen to this album about 4 years ago now. It was ok, but didn't truly click with me. Until now. The record's overall themes of melancholy, isolation, and mortality really struck a chord with me on this listen. Maybe it's because I can better relate to these themes as I get older. Not only is the songwriting a strong point of this record, but the guitar playing is also great. Drake's fingerpicking style reminds me a lot of Donovan. Overall, this is a very intimate and introspective album. Perfect for sipping Sunday morning coffee or staring at the ceiling at 3:00AM wondering what could've been with that certain someone. At less than 30 mins, this album comes and goes before you realize, much like Nick Drake himself.

Teenage Head is the third studio album by the Flamin' Groovies, originally released in1971. For some reason I thought the Flamin' Groovies were a mainly 60s band, but apparently I was wrong. Most of their releases were 70s. Anyway, this album is a rocker. The comparisons to the Stones' "Sticky Fingers" are pretty damn accurate. Even the acoustic songs sound alike. This record has a bit more of an edge to it in my opinion. It reminds me of some proto-punk stuff of the time. But that's where the comparison stops. The Stones' songwriting is way superior. A lot of these tracks felt like dull rockers. Something that I found really annoying was that Elvis-impression song. Ugh.

Back in Black is the seventh studio album by AC/DC, originally released in 1980. I'm not an AC/DC fan. Like at all. I find them boring and juvenile at times. Almost on the same level as KISS. But I would be lying if I said that this album doesn't rock hard as fuck. That guitar tone alone is enough to make you go deaf. And this thing is mixed loud too, almost like a wall of sound. Every track on here is a rocker too. Most of the songs are very basic, and that is their biggest drawback. Most of the hooks are just repeating a phrase over and over. Or some sexual innuendo. If I was like 12 in 1980 I probably would've loved this shit.

Take Me Apart is the debut studio album by Kelela, originally released in 2017. To echo what another user said, it was so easy to tell that this is an album loved by Pitchfork. You know what I mean. Those albums that are too experimental to be mainstream but not experimental enough to be considered weird. It reminds me of music that would be played inside an Urban Outfitters, instead of played in an H&M. It's music for people who claim they don't listen to mainstream pop. This doesn't mean it's bad. Kelela's vocals are pretty good. The production is OK. Apparently that's what this record was most praised for. It's not THAT spectacular to me. It relies a lot on electronics and is actually beginning to sound a bit dated already. Like you can definitely tell this album came out in the 2010s.

Bummed is the second studio album by Happy Mondays, originally released in November 1988. Apparently the band was off their tits on drugs during the recording sessions for this album. Like so bad that their producer had to hire session musicians to finish the album. Now I know there have been masterpiece albums made while the band was on drugs. This is unfortunately not one of them. The record reflects the band's state at the time - messy. The vocals are often strained and grating at times. It's like they've got one foot in punk and the other in pop. The 80s clichés are strong in the instrumentals. overall a below-average 80s british pop record. Interesting backstory, but nothing to write home about.

Non-Stop Erotic Cabaret is the debut studio album by Soft Cell, originally released in 1981. Soft Cell are best known for their cover of "Tainted Love", which is a great example of 80s pop/new wave. It's a song that everyone knows but can't name the artist even if a gun was to their head. Unfortunately, that's all they really did. This record is one hit and a bunch of okayish songs. Actually, a lot of the other cuts on here are downright creepy. The overly sexual lyrics just give me bad vibes. One or two dirty songs is fine, but when you're talking about kidnapping someone to use as a sex slave is where it gets a little weird. The only reason this sold so many copies is for the one song, which carries this whole thing. At least the instrumentals on here were interesting. It's kinda cool to hear these rudimentary electronic instrumentals made in the early days of electronic pop. They are very minimal and leave a lot of space to breathe.

Play is the fifth studio album by Moby, originally released in 1999. The story behind this is pretty interesting. Apparently Moby made this record with the intention of it being his last before he had to quit music to find a more reliable source of income. His previous albums were met with OK ratings but failed to break into the mainstream. That was the case with this album too.. initially. It bombed on release. Moby had to license pretty much every song from here for use in commercials, movies, etc. just to make some sort of profit. For some reason, this album eventually blew up months after its release. As for the music, I was surprised by the variety on here. Moby does a good job at incorporating different genres such as downtempo, trip-hop, ambient, and more. The samples are well curated as well. The main downfall for me is the repetitiveness. Sure, the samples are good but they repeat throughout the whole song, and it can get tiring after a while. Also, the spoken word parts were a bit cringe and definitely didn't age well.

Microshift is the third studio album by Hookworms, originally released in 2018. This was some pretty run-of-the-mill 2010s indie. Lots of electronic influence one here. I hear some Kraftwerk and even some Spiritualized influence. The songs are alright. Nothing really stood out to me as amazing. This sound was a dim-a-dozen in 2018. This is the most recent release by the band listed on Spotify. Their monthly listeners is fairly low, too. It seems they've been inactive for a while. I was curious as to why this band seemed dead. Reading through their Wikipedia and... yeah. Pretty much what we've come to expect from many modern bands unfortunately.

The Electric Prunes, sometimes referred to as I Had Too Much to Dream (Last Night), is the debut album by the Electric Prunes, originally released in 1967. I first heard about the Electric Prunes when I was getting into psychedelic music. I picked up a copy of Nuggets, which is a compilation of lesser known 60s psychedelic/garage tracks. The opening track was I Had Too Much to Dream. I still remember that feeling of hearing that opening tremolo-drenched guitar riff for the first time. I knew I was hooked on psychedelic music. I immediately sought out a copy of their debut record. I was able to grab a mono copy for fairly cheap. Side A of the record is great. It strikes that perfect balance between psychedelic and garage rock. Side B is where this record falls a bit flat. It still has some good garage tracks like "Get Me to the World on Time" and "Try Me on for Size". The rest of the tracks are pretty week and were essentially used as filler. Still giving 4 stars due to the weight of that opening track alone.

Tragic Songs of Life is the debut album by The Louvin Brothers, originally released in 1956. When reviewing albums from the 50s and early 60s, I try to keep in mind that albums were not necessarily the king format in those times. Singles were the highest selling, so most artists tended to focus on those. Albums were usually an afterthought, which led to them not having the strongest material and sounding the same across all the songs. Unfortunately the Louvin Brothers kinda fell victim to that. Their main trick was their harmonies, which are no doubt great, but can be a bit much when the whole album is basically in the same key. Another strength I think went a bit underrated with them is the songwriting/song selection. These tunes cut pretty deep. They do a good job of framing depressing lyrics through a country instrumental, which is less-depressing. I mean, the US was 10 years removed from World War II at this point, and the 50s was returning some normalcy to that generation's lives. The suburban areas were booming and the country was prospering. Easy Listening music was topping the charts. And here come the Louvins to bring us back down to earth with tales of heartbreak, murder, and jealousy. You can also tell these guys were impactful. CSN most likely took notes on harmony from these guys. You can trace their imprint in country folk-adjacent music from The Everly Brothers all the way to modern acts like Mapache. This is a really important album and although not the strongest content-wise, it left a standing impact on American music.

Trout Mask Replica is the third studio album by Captain Beefheart and his Magic Band, originally released in 1969. "Trout Mask Replica" by Captain Beefheart is an album I've always heard about but never gave a fair listen to. I always heard it being a groundbreaking and audacious work that defies conventional music boundaries. The album blends free jazz, blues, and avant-garde rock into a chaotic, yet strangely cohesive (?) sound that's really challenging. The band's innovative approach to rhythm, melody, and song structure is truly interesting, almost creating a surreal landscape where dissonance and harmony co-exist in unexpected ways. It's a work of true artistic rebellion, one that dares to be different and succeeds magnificently. What makes "Trout Mask Replica" so captivating to me is its unapologetic weirdness. Captain Beefheart’s growling, often "abstract" vocals, coupled with the band’s off-kilter instrumentation, create an atmosphere that feels like stepping into an entirely new dimension of sound. The album's complex arrangements and spontaneous shifts keep you on your toes, making each listen somewhat unique. This fearless embrace of the strange and the unconventional sets the album apart as a visionary piece of work that continues to inspire artists and musicians decades later. It's quite clear to see the influence this album had on music as a whole. However, the album’s very boldness also makes it initially inaccessible. The density of the songs and the deliberate departure from traditional structures can be overwhelming on first listen. It requires patience and an open mind to fully appreciate, which may deter some listeners. It certainly deterred me at first. But for those willing to dive into its depths, "Trout Mask Replica" offers a truly unique and rewarding experience, solidifying its place as an essential, albeit challenging, masterpiece in experimental music. Quite a fun listen.

Celebrity Skin is the third studio album by Hole, originally released in 1998. I've always had my hang-ups about Courtney Love. Maybe it was the media-backed misogyny that I ended up internalizing bad feelings towards her. I always thought she was pretty trashy (and she seemed to wear that label with pride), but I'm working on creating a different view of her. Earlier in this list, I got "Live Through This" by Hole. I thought it was an OK grunge/punk-ish album. I think I gave that one a 3. I did NOT expect Hole to pivot to pop-influenced alternative rock just a mere 4 years later! This album is way more polished than their previous efforts. It makes sense because apparently they hired some big shot producer to work with. And I did not expect Love's voice to gel with this sound... but it really works. Some may call it a soulless compromise in attempt to stay relevant (which they succeeded in; there were a few hit songs on here). I think it's a welcome change of pace for Love. Less focused on trying to be mega aggressive/controversial and more focus on introspective lyrics and arrangements. You can really hear the Smashing Pumpkins influence on here. I was very surprised by this one. Definitely a weird change of pace for the band but I think it works.

Apocalypse 91… The Enemy Strikes Black is the fourth studio album by Public Enemy, originally released in 1991. After making a huge splash in the late 80s-early 90s, I was curious to hear what one of Public Enemy's late-ish albums would sound like. I feel like this is one of their lesser-known records too. The 90s gave rise to the boom-bap sound in hip-hop and I felt that Public Enemy would struggle to keep up. That is not the notion I got from listening to this record. They were still as groundbreaking as ever. If anything, I can hear the influence that 90s rappers got from Public Enemy. The instrumentals on here particularly stand out as great. The original tapes for this record were stolen so the group rushed to finish this record in time. I still think this is a really solid record despite that. It doesn't sound rushed to me. Great listen.

This Is Hardcore is the sixth album by Pulp, originally released in 1998. I'm vaguely familiar with Pulp, but I've never given them a listen until now. All I really know is that they were big in the mid-90s Britpop scene. This record was released in 1998, so it was pretty much after the Britpop craze had passed. This was more pop-oriented than I expected (but somehow artsy at the same time), and very pretentious. It almost reminded me of a Nick Cave record at times. It also gets a lil creepy/weird. I can see why they wanted to try something new with this record, but I don't think it all works. Overall decent record, but it has its...interesting moments.

What's Going On is the eleventh studio album by Marvin Gaye, originally released in 1971. Marvin Gaye had long fought with Motown to allow him to have full creative control over his records. Motown was a commercial label, and they were mainly concerned with appealing to the pop crowd to sell records. But times were changing. It wasn't the 1960s anymore, and it took more than just AM radio airplay to gain true success. The public wanted more. So with that, Motown finally let Gaye produce his own record. What we had previously seen from Gaye was typical of many other Motown artists: Love songs, heartbreak songs, made-for-radio hits, etc. Not saying that's bad at all, in fact, I believe some of those Motown tracks are some of the best songs ever. It just highlights how big of a turn this was for Gaye. He trades in his love songs for emotional, introspective tracks about topics like the Vietnam War and Poverty. His lyrics paint a picture of early-70s America, along with foreseeing future issues such as climate change. Unfortunately many of these lyrics still hit home in a similar way that they did in the 1970s. I guess we never did find out what's going on.

Sign o' the Times (often stylized as Sign "☮︎" the Times) is the ninth studio album by Prince, originally released in 1987. I'm typically not a fan of Prince. It's probably because I haven't heard enough of his music, because I ended up loving this. He was really into drum machines and synths at this time, as a lot of people were in the 80s. But this really didn't come off as cheesy for me. There is a great range of musical styles on here. Prince was clearly a great talent. Although he's horny in pretty much every song, I was digging this. I'd definitely like to hear more tracks from these sessions as this was originally meant to be a triple album.

I'm a Lonesome Fugitive is the third studio album by Merle Haggard, originally released in 1967. I've always known Merle Haggard as an important country artist. I was really only familiar with "Mama Tried", as the Grateful Dead would often cover it. The album captures the rawness of the outlaw persona that Haggard would come to embody, moving away from the more traditional heartbreak themes that dominated the genre at the time. Instead, Haggard delves into the complexities of freedom, regret, and redemption. The title track, inspired by the real-life story of a prison escapee, sets the tone for an album that speaks to the darker, grittier side of life on the run. Haggard's ability to tell stories that resonate with authenticity makes this album a standout to me. Haggard's impact on both country music and broader counterculture (ironically) is undeniable. His gritty realism and rebellious spirit resonated with audiences far and wide, including bands like the Grateful Dead (as mentioned above), who admired his authenticity and raw storytelling. Overall this was a really fun listen. His storytelling kept me attentive throughout the whole record.

Rust in Peace is the fourth studio album by Megadeth, originally released in 1990. Megadeath was huge in the 80s so I was interested in listening to some of their 90s output.The album is marked by its aggressive sound and intricate compositions, which reflect the influence of Metallica while also carving out a distinct space for Megadeth. Tracks like "Holy Wars... The Punishment Due" and "Hangar 18" demonstrate the band's skill in balancing speed and complexity, which highlights their strengths throughout the 80s. However, while the musicianship on Rust in Peace is undeniably impressive, some aspects of the album feel outdated. The lyrics, at times, veer into corny territory, which can be jarring as metal was shifting towards deeper and more realistic themes during this period. With bands exploring more personal, introspective, and darker subject matter, Megadeth's approach here can come across as lacking the emotional depth that was beginning to define the genre. Additionally, by 1990, the thrash metal theme was starting to feel overplayed, and the album's reliance on intricate guitar tapping solos feels like a nod to a style that was losing its appeal. With grunge on the horizon, the musical landscape was shifting towards rawer, more stripped-down expressions of angst and rebellion. While Rust in Peace is a solid album, it feels like it’s clinging to an era that was about to be eclipsed.

Superunknown is the fourth studio album by Soundgarden, originally released in 1994. This album would mark a pivotal moment in the career of Soundgarden. This fourth studio album catapulted the Seattle band to mainstream success, showcasing their evolution from their heavy metal roots to a more nuanced, genre-defying sound. The album's 15 tracks, including hits like "Black Hole Sun" and "Spoonman," demonstrate the band's musical maturity and willingness to experiment with unconventional time signatures and tunings. At the heart of "Superunknown" lies Chris Cornell's extraordinary vocal prowess. His voice soars through the album, infusing each song with raw emotion and power. The introspective songwriting delves into themes of alienation, depression, and existential dread, resonating deeply with listeners (like me) and cementing the album's place as a defining work of the 1990s. Guitarist Kim Thayil's innovative riffs and psychedelic textures, combined with the tight rhythm section of bassist Ben Shepherd and drummer Matt Cameron, create a dark, brooding atmosphere that perfectly complements Cornell's lyrics. The album's production, helmed by Michael Beinhorn, strikes a delicate balance between polished accessibility and the band's trademark heaviness. This approach allows Soundgarden to retain their artistic integrity while reaching a broader audience. "Superunknown" not only represents the peak of Soundgarden's commercial success but also stands as a testament to their artistic vision and technical prowess. Its influence on rock music continues to be felt decades after its release. It still feels fresh in my opinion.

Actually (stylised as Pet Shop Boys, actually.) is the second studio album by Pet Shop Boys, originally released in 1987. I remember hating the last Pet Shop Boys record I got on this list (I believe I gave it a 1). This one I enjoyed a bit more. It has more of a dance pop vibe and is pretty fun honestly. It really helps if you don't take the album very seriously. I couldn't help but want to dance while listening to some of these tracks. The political lyrics were interesting as well. This was made right on the cusp of Thatcher's reelection, and we know how the Brits feel about her. Sure it's a bit corny, but it's kinda fun, simple as.

At Newport 1960 is a live album by Muddy Waters recorded during his performance at the Newport Jazz Festival on July 3, 1960. If you want an album that would set the tone of the 1960s, this is it. This is the one that would influence artists like the Stones, Hendrix, Zeppelin, and way way more. This is REAL blues, not that heroin-fueled wanker shit (ahem, Clapton). Blues had been going on a long time up until this point, but this record and performance is credited with bringing the genre, specifically Chicago Blues, to a broader white audience. You gotta remember the US was still at the height of the Jim Crow era at this time, so white boys weren't listening to this. In the wake of this album you all of a sudden had a bunch of brits trying to sound like it, and becoming MORE popular! What type of shite is that? Muddy is truly your favorite musician's favorite musician.

Otis Blue/Otis Redding Sings Soul (often referred to simply as Otis Blue) is the third studio album by Otis Redding, originally released in 1965. Soul legend Sam Cooke died several months before this album was made. The world was in need of some new energy in soul music, and they were about to get one. Although this album is mostly covers, Redding just does them so well. It certainly helped that the Stax records house band at the time was Booker T and the MGs! The songs can range from party tracks to songs that make you think about your ex. This ended up being a huge crossover hit for Redding, and the song "Respect" would later become even more famous from Aretha Franklin's cover. This record marked a great start to a way-too-short career.

The Lamb Lies Down on Broadway is the sixth studio album by Genesis, originally released in 1974. I was always familiar with Genesis' later work, which I didn't dig much. This list has opened my eyes to how good their earlier 70s work was. This one was on the weirder side. It was their last record with Peter Gabriel who insisted on having pretty much full creative control for the record. He wrote the whole thing and came up with the concept. While the band worked on new material at Headley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. This double album clocks in at over an hour and 20 minutes long. It feels bloated at times. You can also tell that prog rock was started to get a bit wankery at this time as well. Some of the solos and time signature changes are a bit much and just barely veer into masturbatory territory. However, one thing I loved was the use of electronics. There are a few instrumental tracks that evoke a really psychedelic feeling/atmosphere, not unlike Pink Floyd. I'll give this another listen in the near future but for now it's a solid 3.

Caetano Veloso is the debut solo album by Caetano Veloso, originally released in 1968. This is what I started doing this challenge for. Those true hidden gems. This is some great Tropicala, but it's mixed with some psychedelic elements. I'm talking sitar, tabla, etc. with lush orchestral arrangements. The whole album has a "summer of love" feel. That is also reflected in the album cover. Now that I think about it, this reminds me a lot of the "Sunshine Superman" album by Donovan. Great find.

Isn't Anything is the debut studio album by My Bloody Valentine, originally released in 1988. This is certainly a debut. It's unpolished and rough around the edges. But it's a start. You can see how their sound would come into fruition a few years later. They were definitely more influenced by Sonic Youth on this record. It also enters some drone territory at times which was pretty cool.

Back to Basics is the fifth studio album by American singer Christina Aguilera, originally released in 2006. Oh boy, a double album in the CD era. Never really gave Christina Aguilera a fair listen, and this wasn't bad. She has a great voice, but I feel she falls too often into the "Competition Music" category. Like songs that are meant to be sung on shows like American Idol to show off the singer's voice. Songs that lack emotional depth and are meant to flex singing chops. This album was interesting enough. I see what she was going for, paying homage to her musical influences with callbacks to soul, jazz, and funk. This is something that Amy Winehouse would do much better the same year. Some of the songs veer dangerously close to electroswing territory (*shudders*). Overall, there are some good tracks on here but I feel that this album is pretty bloated.

Heartattack and Vine is the seventh studio album by Tom Waits, originally released in 1980. This list has been trying relentlessly to get me into Tom Waits. I get that he's a talented songwriter and arranger. His voice and overall vocal delivery just puts me off most of the time. This record was one of his better ones that I've listened to. I think he does blues pretty well. It's kinda like the Captain Beefheart/Howlin' Wolf blues vibes. A lot of the lyrics are pretty dark and depressing, which is expected from Tom Waits. I was surprised this was released on Asylum Records. This seems a bit "out there" for them.

So is the fifth studio album by Peter Gabriel, originally released in 1986. I'm not a huge fan of Peter Gabriel's solo work. I really tend to prefer his Genesis-era stuff. I think he fell victim to the 80s production fads, and that shows on this record. I'm sure it was pretty revolutionary/experimental at the time, but it certainly didn't age well. This record in particular seems to lean more into pop than his previous work. Apparently this is because of pressure from his label to "market" his music better. There are some cool moments on here, particularly when he strays from the pop song structure and lets the synths create a spacey, trippy sonic landscape. It has its moments, but leans too far into the "80s pop" vibe for me.

Scum is the debut studio album by Napalm Death, originally released in 1987. I'm so surprised to hear these guys are English. They seem to have been very influenced by the US hardcore punk scene. The lyrics to this record are actually pretty powerful/thought provoking, although they are indecipherable without a lyric sheet. Even then, the printed lyrics sound nothing like what you are hearing. The drums are another thing that stood out to me.. holy shit are they heavy. The playing is so chaotic, aggressive, and quite frankly impressive. Blast beats are very hard to do. I give this album major credit for being different than a lot of shit on this list and being very interesting to listen to.

Tom Tom Club is the debut studio album by Tom Tom Club, originally released in 1981. This album is strange, man. But it's also groovy. It seamlessly mixes the funk grooves from the disco era into the more experimental edge of post punk/new wave. Genius of Love is obviously the big hit here. It would go on to be sampled in multiple rap songs. To echo a sentiment that another user shared, it's easy to tell when David Byrne is involved in a new wave album. His sound is so signature, and I just end up wanting to listen to Talking Heads. This is good, but just missing that something that Talking Heads was able to deliver.

1989 is the fifth studio album by Taylor Swift, originally released in 2014. When people think of the greatest pop records, they might think of Sgt Pepper, or Thriller. I'd put this record up there with the best pop records based off of pure hit potential. Every song on here is a hit. Sure it's kinda bland at times. I'm definitely not the target audience as a mid-20s male but if I can find substance out of it than so can you. This basically set the scene for the synth pop revival of the 2010s, which is not my favorite era of pop, but it produced some great hits. Speaking of produced, that's where I think this album is drawn back... by its production. It's pretty overproduced, like a lot of 2010s pop records. It's mixed extremely loud for some reason, I had to turn the volume in my headphones down multiple notches from where I typically listen from.

The Libertines is the second studio album by The Libertines, originally released in 2004. This is some decent indie-influenced-pop-rock. I can see some of these tracks being pretty popular in the pub scene. Their sound kinda leans into the 70s English Punk sound, reminiscent of bands like the Sex Pistols and The Clash. They also pay a bit of homage to Britpop bands that came before them, like Pulp. It's not bad, but doesn't stand out much against the multitude of dime-a-dozen English indie bands coming out at the time.

Want One is the third studio album by Rufus Wainwright, originally released in 2003. First off, I actually like Rufus Wainwright's voice. I think he would've fit in really well with the 70s singer-songwriter scene with the likes of Jackson Browne. Alas, he fell into the 2000s indie scene which I think drew this album back. It's filled with grandiose production moments that sometimes fit and sometimes don't. I think the record could've gained a lot from more stripped-down production and maybe some Americana/folk elements sprinkled in. It's still an ok record with good songwriting. Just a little over the top. The album cover is pretty cool tho.

Shleep is the seventh album by Robert Wyatt, released in 1997. This one was interesting. It's one of Wyatt's later career works, and was widely considered a "return to form" for him. It really does sound a lot like his debut, but with a more refined production style. Everything is more slick sounding but in a good way. His voice sounds really good. I actually had to double check to see if this was recorded in the 70s just released later. Nope, he just sounds great. I love the brand of psychedelia that Wyatt makes. Super dreamy stuff. Some people may call it pretentious, and maybe it is, but I'm loving the psychedelic sounds this album is laying down. I really have to check out more of his discography.

Gunfighter Ballads and Trail Songs is the fifth studio album by Marty Robbins, originally released in 1959. This album is already so legendary, so there's not much I can really say to drive that point in. Something that really surprised me is that they recorded the entire record in one 8 hour session. It's a pretty damn polished work for that short of a recording session. The lyrics on here throw you into the wild west witnessing love, tragedy, and of course, shootouts. Lots of shootouts. Seriously, some of the lyrics on here are dark. Overall, this is just a perfect example of outlaw country. Now where's my horse and my damn pistol?!

Fun House is the second studio album by the Stooges, originally released in 1970. This sounds so ahead of its time for 1970. I mean, Black Sabbath was widely regarded as the pinnacle of heavy music at the time but this is out there. It's heavy in a different way. Not necessarily ultra-distorted guitars but it's just an all out sonic assault. It's very abrasive and energetic for 1970. It reminds me of a lot of hardcore albums that wouldn't come out until at least 10 years after this album. I also hear a lot of grunge in this, specifically Nirvana. There are times where I think Iggy's voice reminds me a lot of Kurt's which was kinda crazy. Super cool listen.

So Much for the City is the debut album of the Irish indie/pop band The Thrills, originally released in 2003. I needed this album. Summer is winding down over here on the East Coast, and this album fit the vibe perfectly. They lean super hard into the California identity on here, even harder than the Beach Boys in some moments (lol). I was so surprised to hear these guys were from Ireland. They sound pretty damn American. This record reminds me a lot of that 70s Laurel Canyon sound, with a bit of jangle pop/garage/2000s indie sprinkled in. Kinda like Beachwood Sparks. Great discovery from this list.

Golden Hour is the fourth studio album by Kacey Musgraves, originally released in 2018. Kacey Musgraves is a name I always hear in the Indie pop scene, but never got a chance to check out until now. Man, this is a near perfect pop record. It perfectly balances country, singer/songwriter, indie, dance, and more. The genre blending on here was way more varied than I expected. The songwriting is solid too. This reminds me of the 70s Laurel Canyon singer/songwriter scene, only a more modern version. I really enjoy when pop artists take influence from what came before them, and wear those influences on their sleeve. The only drawback for this record is the lack of vocal range presented on here, which can make some of the songs monotonous at moments. However, I think the musical ideas on here are interesting enough to make up for that for the most part.

Millions Now Living Will Never Die is the second studio album by Tortoise, originally released in 1996. Man, I really like this band. I was first put onto them from their album "TNT" which would come out after this one. I really with TNT was included on this list because I feel it is a much better representation of their sound than this one. Nonetheless, I still really enjoyed this record. It's much more ambient/electronic-focused than their other works. The latter half of the record really shows what their sound would become. I prefer those jazzy songs, but the electronic stuff is cool too. Pretty trippy moments on here. The whole record is pretty much a jam session. For those who like weird jammy stuff, you'll love it. For those who don't, sorry.

The World Is a Ghetto is the fifth album by War, originally released in 1972. Man this is a dark, funky, psychedelic masterpiece. The way it's mixed makes the bass extra juicy. The lyrics are powerful while remaining catchy. Don't even get me started on that cover art... Apparently this album sold a shit ton and ended up winning Billboard magazine's Album of the Year for 1973. I was previously only familiar with War's work with Eric Burdon, so it was cool to see how this band progressed without him. They were definitely experimenting with jamming a bit more... a lot of these songs clock in at 8+ minutes. The jams are super tight though and don't seem to overstay their welcome at all. Banging album.

Paul Simon is the second solo studio album by Paul Simon, originally released in 1972. I have such a soft spot for 1970s singer/songwriter albums. They feel so personal for some reason. Like I can relate to a lot of the songs from that scene. Paul Simon wasn't exactly part of Laurel Canyon scene, but this album gave me that same vibe. I really liked how varied the genres are on here. It starts off with a reggae/rocksteady track which I absolutely love. There's blues, folk, Americana, and some great great songwriting. The only drawback regarding this album is that it's a bit raw in my opinion. Some of the songs feel very unpolished/demo-ish. Maybe that's how they were intended to be. I'm probably just used to more polished singer/songwriter records from that era. Nonetheless, this was an awesome record!

Out of the Blue is the seventh studio album by Electric Light Orchestra (ELO), originally released in 1977. I believe this is actually the first ELO album I've sat down and listened to. The whole double album was written by their frontman Jeff Lynne. It definitely has a theatric vibe to it. Like it veers into the glam rock side a bit too often. The production is great but maybe too great. It can come across as overproduced in spots. I'm sure in 1977 this was amazing but it hasn't aged very well. It's a bit bloated but was still an entertaining listen in my opinion.

Buffalo Springfield Again is the second album by Buffalo Springfield, originally released in 1967. Wow this one is pretty different than their first. They lean head-first into psychedelia with plenty of fuzz guitar. But with all of the hard rocking moments on here, Buffalo Springfield was able to balance it out with mellow dreamy tracks like the beautiful "Expecting To Fly". This can take you right to San Francisco in 1967. The only drawback to this record is that it's a bit inconsistent at times, as there's a filler track here and there.

Life's Too Good is the debut studio album by The Sugarcubes, originally released in 1988. Bjork is the lead singer of this band. I was never really a fan of her solo work for some reason. This record is pretty different than what she would release later. This is some alright punk/new wave. It's interesting to hear her in this setting/genre. The live shows were probably great. Their sound is just a bit lacking on record. It sounds a little bit disjointed to me at times. But maybe that's the point. This album is pretty weird but kinda in an appealing way that makes you want to hear more.

Colour by Numbers is the second album by Culture Club, originally released in 1983. This is some pretty straightforward 80s pop with some blue-eyed soul elements. Everyone has heard Karma Chameleon. White people go feral for that some for some reason. The rest of the tracks weren't bad, they were just bland. There's some cheesy synth stuff sprinkled in here and there which certainly doesn't help. The bass lines throughout these songs are pretty solid tho. Whoever the bass player is was getting funky at times.

A Little Deeper is the debut studio album by Ms. Dynamite, originally released in 2002. Never heard of Ms. Dynamite prior to listening to this record. I gotta say, that name is a bit corny. Thankfully, the music isn't as corny as I thought. I actually enjoy most of the instrumentals. They're firmly 2000s but sonically interesting. Some of the tracks reminded me of a Walmart brand Ms. Lauryn Hill. I really liked how some of the tracks blended in some reggae influence, which is what I love so much about Ms. Lauryn Hill. Overall, not bad.

Pelican West is the debut studio album by Haircut One Hundred, originally released in 1982. These guys are commonly seen as a new wave band, but they sound a bit more pop to me. Lots of horns in the corny 80s way. The bass on here is super funky. A lot of the songs are very dance-able. The band doesn't seem to take themselves too seriously. Sure, there was better stuff coming out at the time but this was still a fun listen.

Fuzzy Logic is the debut album by Super Furry Animals, originally released in 1996. This sounds a lot like the Britpop that was coming out around the same time. This leans a bit more into the glam rock side and even has some electronic elements sprinkled here and there. They seem to take a lot of inspiration from 70s rock (at least instrumentally). The vocals remind me a bit of The Beatles, with harmonies reminiscent of 60s pop. There's some psychedelic elements in here too. Didn't blow me away, but I enjoyed listening.

Diamond Life is the debut studio album by Sade, originally released in 1984. This is really smooth. Like silky smooth. Like bordering on corny 80s slick. For some reason I was really digging this today. The sax definitely gets cheesy at times but this album made me feel like I was living in NYC in the 80s. Definitely perfect for late night listening. The production is amazing too. This would definitely be one of those albums that audiophiles use to show off their systems.

Bridge over Troubled Water is the fifth and final studio album by Simon & Garfunkel, originally released in 1970. I'm used to this group being more folk-centric, but this album incorporates more genres/influences than I was prepared for. I'm hearing elements of rock, R&B, gospel, jazz, world music, and pop. Their OG folky fans were probably pissed at this. Overall this album has a very "artsy" feel. Like that one old hippie in your neighborhood who goes to farmers markets and wears turquoise jewelry probably loves this album. The songwriting is solid, as is to be expected from these two. I just love Paul Simon's voice. Good stuff.

Manassas is the 1972 debut double album by Stephen Stills' new band of the same name, originally released in 1972. Stephen Stills is so damn underrated as an artist. Fresh off CSNY success, he puts together this amazing band. Everyone on here is an awesome musician, and the band is tight. The whole album feels like a jam session. The songs span across many genres including blues, country, bluegrass, folk, jazz, psychedelia, etc. Some people may call this album bloated but I am thankful to have so much content from such a short-lived band. It also helps that each song is so different. As much as I love CSNY, I really wonder how this band would've continued on in the future had they never have to disband for the 1974 CSNY tour.

Ray of Light is the seventh studio album by Madonna, originally released in 1998. It's kinda hard to believe this is a Madonna album. I gotta give her credit, she always keeps up with the times. This album really focuses on that late 90s electronic production. There's some pretty cool triphop elements in here that again, would surprise you coming from Madonna. It almost gets experimental in places, with some middle eastern influence. Not a huge fan of the lyrical content on here, but the production is cool.

Screamadelica is the third studio album by Primal Scream, originally released in 1991. I have always seen this album on lists of the best psychedelic records. I was excited to listen to this, thinking it would be more along the lines of Brian Jonestown Massacre, but this ended up being way different. This album is way more electronic-based than what I was expecting. I really dig it tho! Their cover of Slip Inside This House is super cool and the whole album just has this swampy psychedelic vibe to it. The record leans heavily into Acid House which isn't a genre I'm particularly familiar with but it just works on here. Will listen again.

Electric Music for the Mind and Body is Country Joe and the Fish's debut album, originally released in 1967. This might be the best psychedelic album ever. I mean, the cover alone should peak your interest. This album is so raw. The guitars are mixed so loud that they just take over. It almost has the vibe of an early acid test live performance. There's fuzz guitar, delay, tremolo, everything you'd want in a psychedelic record. The organ parts can be a bit overbearing and dated at times but there's so many cool moments on this record that it gets overshadowed. It's fantastic under certain mind altering substances. It's a shame that Country Joe & The Fish kinda got lost in music history and aren't mentioned much anymore in the psychedelic scene because they were true psychedelia at the top of their game. Fun fact: You may see old vinyl copies of this LP with messed up corners. There was a rumor upon release that they dipped one of the corners of the record sleeve in LSD, and many a hippie tried to get dosed by chewing the corner.

Elastica is the debut studio album by Elastica, originally released in 1995. This one was OK, but nothing on here really stood out to me. It seems as though this album is having an identity crisis. On one hand, it wants to be 70s british punk, but it also wants to be grunge, new wave, and alternative rock. It doesn't nail enough of those genres to be considered "eclectic". It just comes off feeling half baked.

Talking with the Taxman About Poetry is the third album by Billy Bragg, originally released in September 1986. This is an interesting take on folk rock. There is minimal percussion throughout this album and it's pretty much just him and an electric guitar with tons of reverb. The lyrics are mostly centered around political themes, which is to be expected from a folk-adjacent album. The production sounds pretty 80s but in a Smiths type of way. There is a distinct new wave flare to this, maybe it's Bragg's voice. Pretty good album.

Sometimes I Wish We Were an Eagle is the second solo album by Bill Callahan, originally released in 2009. Bill Callahan delivers an interesting blend of folk and country on this album. His deadpan vocals are definitely the focal point for me. Some of the production is a bit too much for his vocal style in my opinion. Some of the songs had lush strings that didn't really fit his vibe. I would like to hear just him and a guitar. Still a pretty good album.

Roxy Music is the debut studio album by the English rock band Roxy Music, originally released in 1972. This is actually pretty different than their later work. This record is way more glam rock than art rock. There's a bit of prog here and there and even a dash of psych at times. The vocals aren't my favorite and overall this record sounds pretty British. I'm kinda surprised this reached number 10 on the UK charts because it's just enough "out there" to dissuade mainstream audiences. I had a few of Roxy Music's other records earlier in this list, and I wasn't a big fan. This one was better. It's still cool to hear their sound progress.

The Band is the second studio album by the Band, originally released in 1969. After their cult classic debut record, The Band continues the Americana revolution they started, kicking out the psychedelic 60s just as fast as they emerged. This record is amazing from top-to-bottom. The production is perfect for this group, very raw yet somewhat tight/polished. The songwriting centers American themes such as the Civil War and Great Depression. The Band seamlessly mixes country, folk, blues, soul, and funk influences on this record. Great musicianship as is to be expected from this group. Who would've thought a bunch of Canadians could do Yankee music so well!

World Clique is the debut album by Deee-Lite, originally released in 1990. "Groove Is In The Heart" was the big hit off of this one, and the only track I recognized. Unfortunately, none of the other tracks on here sound like that one. The other songs are more straightforward electronic/dance music that would come to be common throughout the 90s. I also hear a bit of triphop in these songs. They're not bad, nor do I think they are filler. The album cover is cool too.

Dummy is the debut studio album by Portishead, originally released in 1994. Wow, what a debut! This album is super moody, and sounds like the album cover imo. At some points it's funky, psychedelic, and I even hear some dub/reggae influence. The sampling is very tasteful and the vocals are smooth. The production is amazing. Very ahead of its time for 1994. The only downside is the album is sorta one-dimensional, but the one dimension they hit is done so damn well.

Blackstar (stylised as ★) is the 26th and final studio album by David Bowie, originally released in 2016. This is the album famous for being released shortly before Bowie's death. This is actually the first time I got around to listening to this. I'm really not a big Bowie fan. I tend to prefer his earlier-70s work. I had no expectations for his late career work. This was definitely more experimental than I was expecting. He spans a few genres on here - from pop to electronic to jazz. There is a bit of a free jazz flair to a few of the instrumentals which I really enjoyed. Overall nothing really stood out to me as amazing. Of course looking back this album carries so much significance due to when it was released. But I can't help but wonder if it would be as popular had Bowie not passed right after it was released.

American IV: The Man Comes Around is a studio album by Johnny Cash, originally released in 2002. I just had Blackstar by David Bowie yesterday, so this list is really feeding me late-career works by legendary musicians. This record is pretty intimate. Cash's voice is pretty worn but it just works with the style of folk he plays. Even though this album is full of covers, I feel like Cash does a good job at reinventing the songs as his own. Particularly his famous cover of "Hurt" by NiN - he completely changes the vibe of that song. One of the drawbacks to this album is the production. At some points it's just like a loudness war/wall of sound mush. One of the most egregious examples of this is towards the end of "Hurt". I think that song would hit so much harder if it was just Cash and his guitar.

I See You is the third studio album by the xx, originally released in 2017. I remember enjoying their first album when I got it on this list. This one, not so much. They try to do their similar style of elecropop which wore out its welcome by 2017 in my opinion. It gets a little boring because every song is the same vibe, tempo, key, etc. Some of the tracks almost seem made for stores like H&M and Urban Outfitters. The production is a bit weird too. It almost sounds... tinny? It's pretty compressed and is just not very easy to listen to in that regard.

Ys (/ˈiːs/ EESS) is the second studio album by American musician Joanna Newsom, originally released in 2006. This record consists of 5 tracks, ranging in length from 7 mins to 17 mins. Those who have a hard time digesting log-form songs will not like this album. I generally prefer long-form jams over longer folky songs, as I generally have a hard time keeping track of all the lyrical content that is thrown at me. That is precisely the problem I had with this record. Joanna Newsom is obviously a very talented songwriter, and I kinda feel bad that I'm unable to develop deeper connections to these lyrics. I also feel as though her voice wasn't super appealing to me on first listen, but I feel like it would be good in a live setting. As for the good - the album artwork is stunning. The detail, colors, etc. really fit the vibe of this album. I've seen it occasionally in record shops and it has always caught my eye. The instrumentation was also great. It really fits the renaissance-era vibe. Newsom's harp playing was entrancing and the background orchestration really aided in the album's feeling. I'll give it a 3 for now but it warrants further listens.

Rage Against the Machine is the debut studio album by Rage Against the Machine, originally released in 1992. Rage really came out swinging on this debut. This thing is full of heavy riffs and angry vocals. Say what you want about the lyrical content, it really makes you want to fight for something. Others have called it "frat political rock" or "cheesy" but I honestly like the lyrical content. I think it comes off as authentic enough. The vocal delivery makes it feel authentic to me. The vocals are just so powerful. The musicianship is great on here too. Tom Morello is a very interesting guitar player. The bass is heavy and in your face. Even funky at times. The drums are aggressive. Don't even get me started on that album cover. Very very powerful. How could you see a record in the store with that cover and not buy it.

Spiderland is the second and final studio album by Slint, originally released in 1991. Man, this sounds so ahead if its time. This band definitely influenced later math rock/emo bands to come after such as American Football. This album veers into semi-experimental territory at times, with lyrics often delivered in a spoken-word manner. The instrumentals remain lively and paint vivid landscapes much like post-rock bands such as GY!BE. The production is really solid and sounds more 2000s than early 90s. Super cool stuff.

C'est Chic is the second studio album by Chic, originally released in 1978. This is right around the era that funk/R&B began to turn disco. Most people know the song "Le Freak", which is such a banger. Sure to get people out on the dancefloor. Most of the other tracks don't reach the same heights, but still make you want to dance. The production on this record is so good, as was the standard with most late-70s records. The bass player on here is such a beast. Just laying out those funky riffs. Although this sounds pretty dated, it was still a fun listen.

Queen of Denmark is the debut solo album by John Grant, originally released in 2010. Never heard of this artist prior to listening. This album has some really nice folk rock vibes. Towards the end of the album he trades in his piano for some synths. A lot of the hooks were very Beatle-esque and remind me of their later career hits. The production is pretty solid on here. I'm not a huge fan of the lyrics. They're a bit immature. I guess he was kinda going for a slacker rock kinda thing but it doesn't really hit for me.

All Hail the Queen is the debut album by Queen Latifah, originally released in 1989. I never listed to Queen Latifah prior to this, and wow I was surprised at her skills on the mic. Sure, her themes get a bit repetitive but that was how hip hop was at the time. The instrumentals are really cool. It's wild to compare how sampling has evolved over the years. I find a lot of the 80s hip-hop instrumentals tend to be more danceable. I guess it makes sense since breakdancing was at its peak. The samples are really funky and I even hear a lot of reggae influence. Queen Latifah definitely paved the way for future MCs like Ms Lauryn Hill.

More Songs About Buildings and Food is the second studio album by Talking Heads, originally released in 1978. I really dig early Talking Heads. I mean, I also dig their later, more commercial stuff but this is just really good. Funky riffs with just enough weirdness to be cool and not "too weird". It's just straight-up fun. The members are all fantastic musicians as well.

Whatever is the first solo album by Aimee Mann, originally released in 1993. Never heard of this artist prior to listening. This is straight-up 90s indie-pop. Lots of jangly guitars and catchy hooks. Maybe too many catchy hooks. A lot of the songs were very similar in style. Like they were all constructed in the same way. The songwriting is pretty ok. Nothing stood out to me but this is pretty inoffensive overall. Just your average 90s pop.

Tigermilk is the 1996 debut album from Belle and Sebastian, originally released in 1996. I definitely enjoyed this one more than the other Belle and Sebastian album I got earlier in this list. The songwriting seemed a lot more inspired and personal on here. It wasn't cringe dramatic hipster rubbish. Don't get me wrong, this is still a very hipster album in my eyes, but it was pretty enjoyable. The production is great. I like that they stick to the folk rock sound but add in some interesting electronics here and there. A bit melodramatic at times, sure. But nothing overbearing. Probably their best record that I've heard.

Histoire de Melody Nelson is a 1971 concept album by Serge Gainsbourg. The concept for this follows a middle-aged man who falls in love with an underaged girl. While recklessly driving his Rolls-Royce Silver Ghost one night, the album's unnamed narrator is distracted by the silver statue on his car's hood and collides with a young red-haired girl on a bicycle. The two exchange information after the accident, and the girl introduces herself as Melody Nelson ("Melody"). The narrator falls instantly in love with Melody, who is revealed to be only fourteen years old ("Ballade de Melody Nelson"), but who nevertheless makes the narrator happier than he could have ever imagined ("Valse de Melody"). He plans to take her virginity, knowing she has never been in love before ("Ah ! Melody"), and they travel to a secret hotel where they have sex ("L’Hôtel particulier"). Afterwards, Melody boards a cargo plane to return home to Sunderland, England, but an autopilot malfunction causes it to crash, killing her ("En Melody"). The narrator laments Melody's death and compares his misguided hope that she might return one day to the cargo cults of Melanesia, wondering if they caused the plane's crash and finding himself unable to think of anyone or anything else ("Cargo culte"). I've always heard of this record and have seen the cover around, but this is the first time I'm getting around to listening to it. I did not expect all of the lyrics to be in a spoken-word delivery style. It really adds to the creepy vibe of the whole plot. Like seriously, this is pretty weird. The instrumentals are so good, though. Funky guitar riffs and bass lines are all over this. There's also a lot of orchestration which creates a unique juxtaposition from the funky instrumentals that just works. I gotta say, this is damn creative. Despite the creepy plot, I'd be lying if I said I didn't enjoy listening to this.

Os Mutantes is the debut album by Os Mutantes, originally released in 1968. Holy shit. I've heard of this band being discussed in psych circles in the past but I totally forgot about them until now. This is so damn cool. I feel like when most people think of the first wave of psych rock they automatically think of the San Francisco scene and the hippies. Maybe swinging London. The truth is the hippie/psychedelic movement was happening in a lot more places. Sometimes it happened later than the US, such as the Zambian psych movement. But others happened right in tandem, such as Brazil. Os Mutantes were at the forefront of the Brazilian psych movement. And this is way more than just garage rock. The compositions are very creative and draw the listener in, wondering what will happen next. The only other album I could compare this to is Sgt Pepper. It gives off that same vibe and wide range of styles. This thing has everything from horns to acoustic ballads to rocking fuzz guitar. Drop a tab and throw this one on the turntable and you'll be in for a great trip.

Amnesiac is the fifth studio album by Radiohead, originally released in 2001. I have always admired Radiohead for the chances they take in their music. They make their stuff just experimental enough to be weird but still digestible. They have come such a far way from their first record. This album was apparently leftover tracks from Kid A. Sometimes it shows, with some songs leaning more on the "half-baked experiments" than full-fledged songs. That being said, Radiohead's throwaway tracks are better than many bands' discographies. This was a fun listen. I feel like anything Radiohead puts out is bound to be good.

Brian Wilson Presents Smile is the fifth studio album by Brian Wilson, originally released in 2004. This is a very important album. Brian Wilson revisits recordings from probably his most productive and experimental era. These songs were originally worked out in 1967 in the wake of Pet Sounds' release. Unfortunately, Wilson was struggling with crippling mental health issues that left him unable to finish the upcoming project (that was originally meant to be called "Smile"). Capitol Records sensed this and put out the half-baked "Smiley Smile" which didn't live up to the hype of Pet Sounds. Brian Wilson returns as a much older and wiser man, but keeps his whimsical nature in these recordings. Although this album is well produced and obviously faithful to Wilson's visions for this project, I can't help but miss the original Beach Boys and Wrecking Crew's presence on here. If this project is at all faithful to what Brian envisioned to release in 1967, this would've been so coveted and probably regarded as one of the best psychedelic pop records of that era. Brian Wilson is able to create such a fun and whimsical aura in these recordings that would've fit perfectly with the LSD-spiked summer of love. Although I wonder "what could've been" with this record, we are very blessed to have heard it. Better late than never!

At Fillmore East is the first live album by the Allman Brothers Band, originally released in 1971. Probably the best live album ever? Here the Allmans are perfectly captured in what is their best era (in my opinion). The dueling guitars and duel drummers really make their sound so heavy. I couldn't imagine having the privilege of seeing them live in this era. The band is tight and firing on all cylinders. Those who don't like jam bands probably won't dig this record but I find it is an easier live album for the average music fan to digest rather than something like Live Dead. The jams are structured for the most part and are rocking. A highlight on here for me is "In Memory of Elizabeth Reed", which was sure to get the crowd out of their seats.

Lost in the Dream is the third studio album by The War on Drugs, originally released in 2014. I'm familiar with this band but never gave them a listen until now. I'm digging this. They're obviously pretty inspired by 80s indie rock and even some ambient stuff like Eno. A few of these songs delve into these cool psychedelic ambient passages. The vocal delivery reminds me a bit of Tom Petty. The production is super airy and these tracks have space to breathe. It actually reminds me a lot of Turnover's "Peripheral Vision", which would release the following year. This definitely warrants further listens.

The Piper at the Gates of Dawn is the debut album by Pink Floyd, originally released in 1967. This isn't your average stoner rock Pink Floyd. This is hard hitting, experimental, acid-drenched Pink Floyd. Those who are familiar with their 70s output may be surprised at the sound of this, because it is just so different. In truth, Pink Floyd was a completely different band at this time. Syd Barrett was the bandleader and had this very interesting brand of psychedelia that included whimsical themes and heavy studio experimentation. This isn't your average 1967 summer-of-love hippie rock. This is a lot darker in my opinion. The experimentation is pretty ahead of its time, even delving into noise rock in some spots. It may not be as extravagant as something like "Dark Side of the Moon" would be, and it's definitely very weird, but it's so damn cool.

McCartney is the debut solo album by Paul McCartney, originally released in 1970. This album has a really intimate feel to it. He recorded it at a home studio, and it shows. Not saying that the content is low quality, moreso that it's not extremely polished or produced. I think that's a strength of this album. Some of the ideas are a bit half-baked but I think it adds to the charm. I'm sure people were clamoring for new Beatle-adjacent content by the time the band broke up. I'm very surprised at the amount of instrumental tracks on here. I guess Paul really wanted to flex his chops. I think this is a really fun record that was quite fitting for release in the wake of the Beatle drama.

Central Reservation is the second studio album by Beth Orton, originally released in 1999. Never heard of this artist before. With artists such as Terry Callier and Ben Harper being involved, I was expecting this to be a lot better than it was. A lot of the songs sound the same overall. Like they follow the same format. It's a unique sound, don't get me wrong. The whole trip-hop/folk/electronic vibe works, but not when every song follows that script. I didn't really think much of the lyrical content either. It's a beautifully produced album in that it sounds great. It's just lacking a bit of substance for me.

The Wildest! is an album by Louis Prima, originally released in 1956. I don't really know much about this artist, but this is some pretty standard 50s swing/pop music. The vocals are great and the band is tight. Some of the lyrics are a bit questionable, but hey, it was the 50s. The production is surprisingly good. Crystal clear with decent stereo separation. There's no doubt this was recorded in mono with (probably) not the best equipment, but the remastering team did a good job on this one.

The B-52's is the debut album by the B-52's, originally released in 1979. I really don't think Love Shack is representative of this band's sound. This record is much more punk-influenced than I was expecting. It was really cool to hear those early new-wave vibes that were starting to seep into music around this time. That's not usually my type of music, but I sure respect it. This album is pretty out there for a debut. It has some weird moments such as Rock Lobster but it's kinda endearing to me in a way. Like they were just having fun and weren't afraid to put songs like that on record.

British Steel is the sixth studio album by Judas Priest, originally released in 1980. It's hard to look back on the history of Metal without mentioning Judas Priest. I'm not a big fan of them but I sure respect what they did for the genre. I was expecting it to be more hair metal-ish but man this was pretty heavy. Especially for 1980. Sure, it maybe hasn't aged as well as, say, Metallica, but there's no Metallica without Priest. It's corny but fun.

Floodland is the second studio album by English gothic rock band the Sisters of Mercy, originally released in 1987. Goth rock from this era is so hit-or-miss for me. Like, The Cure are cool as fuck but these guys came off a bit too cheesy for me. The synths and drum machines are too much and don't add to the songs. And it's not even only drum machines, they use a lot of those weird Casio percussion sounds too. And a sax solo? Really? If I were around in the 80s when this came out I probably would've dug it. Listening in 2024 and I would rather be listening to better Goth bands.

Shalimar (Hindi : शालीमार) is a soundtrack to the Bollywood film of the same name, originally released in 1978. This was pretty cool It's really funky in spots. There's also a dash of traditional Indian instruments. Never saw the film, but I feel like this easily stands on its own as an album. I would love to see more Indian music on this list.

Henry's Dream is the seventh album by Nick Cave and the Bad Seeds, originally released in April 1992. Man, I just do not get Nick Cave. I respect him as an artist, and he is quite a good songwriter. He is pretty good at storytelling in his songs. I can't get into his voice for the most part and a lot of his song composition decisions are just odd. This album is apparently a lesser known one in his discography so I'm glad I listened to it anyway.

The Last of the True Believers is the fourth studio album by Nanci Griffith, originally released in 1986. This was much better than I expected. I'm getting super strong Emmylou Harris vibes from this. It does a good job at calling back to that 70s country vibe. The male/female due vocals really remind me of Gram Parsons/Emmylou Harris. The songwriting is a bit lacking but overall not bad.

More Specials is the second album by the Specials, originally released in 1980. This band is one of my favorite discoveries from this list. I got their debut (I think) earlier in the list and loved it. This one was really good too. I feel like their debut was more rocksteady-influenced while this one is heavily dub influenced. It's just such a natural sound progression for them IMO. This record is overall lighthearted and fun which I enjoy. Their concerts back in the day were probably great.

Blood, Sweat & Tears is the second album by Blood, Sweat & Tears, originally released in 1968. I never heard their debut, but I imagine losing someone like Al Kooper would be a huge detriment to their sound. Apparently the impact could be felt by the fans cause this did not get great reviews upon release. They're definitely trying to reach for a more radio-friendly sound on here. That should've been evident upon the hire of Chicago's producer to produce this record. Overall the instrumentation is pretty cool, but nothing really stands out as great. Their reach for a hit kinda held this record back.

Whatever People Say I Am, That's What I'm Not is the debut studio album by Arctic Monkeys, originally released in 2006. I was only really familiar with the Arctic Monkey's later work like the record AM. This is so different, but in a good way! I never realized how influenced they were by Britpop. They also keep a lot of that 2000s garage rock influence that was so popular at the time. The songwriting is pretty solid too. This shit really rocks! It's crazy to see how much their sound changed over the years. It's like a completely different band.

The Space Ritual Alive in Liverpool and London (commonly known as Space Ritual) is a live double album by Hawkwind, originally released in 1973. I've always hears Hawkwind being discussed in psych rock circles, but never gave them a fair listen. This is the first time I'm diving into their music. This is a double live record and man do they jam on here. A lot of these songs are very drawn out and delve into ambient territory at times. They were pretty ahead of their time sonically. I hear their influence in modern bands like Slift. The lyrics can be a bit corny at times but the instrumentation makes up for it imo. I also really dig their spacey vibe.

Idlewild is the fourth studio album by Everything but the Girl, originally released in 1988. Wow. I'm very impressed. They managed to fit every cheesy 80s music trope into 1 album. It has everything from Casio drums to cheesy sax solos! I suppose it's important to hear at least once in your life for the sake of music history. This sort of Muzak did exist and yes it likely did get played on repeat in various department stores. It's not really offensively bad it's just... soulless?

This Nation's Saving Grace is the eighth studio album by the Fall, originally released in 1985. Some pretty standard post punk that veers into the weird side. I hear some Sonic Youth in this. Maybe some Velvet Underground. They do a good job at incorporating different genres like ambient, noise, punk, etc. into their "post punk" sound. It's pretty chaotic most of the time. The production is pretty lofi too but that's probably intentional. A bit too artsy. Decent listen, but not really my thing.

Come Away with Me is the debut studio album by Norah Jones, originally released in 2002. This was ok. Kinda better than I was expecting. Sure, it's very Starbucks-core. But it hits in the fall months. This album legit sounds like a Hallmark movie. It can get boring at times. The instrumentation is very jazz-influenced and sparse. Mostly just acoustic guitar with jazzy drums. The songwriting is a bit weak but for a pop record it suffices. Apparently this was mad popular when it first came out and even won a Grammy. I guess that makes sense since I've heard this type of music playing in nearly every store ever. That might be the problem I have with this record. It seems very manufactured for that exact purpose.

The Stooges is the debut studio album by the Stooges, originally released in 1969. A lot of people credit the Stooges as the OG punk band. I had their album "Funhouse" earlier in this list and thought that was more aligned with the punk sound we know today. I was surprised to hear this one being more influenced by garage/psych. There is still tons of energy on this record, and you can hear them plant the seeds of what their sound would evolve to on later albums. It certainly sounded ahead of its time in 1969. I couldn't imagine hearing it for the first time back then. They certainly weren't afraid to get a little weird on here, even venturing to drone territory at times.

Soul Mining is the debut album by the The, originally released in 1983. Some pretty straightforward post-punk/electronic pop. Definitely leaning more in the pop direction than punk direction. The production is too smooth, as many 80s albums fell victim to. Heavy on the synths, heavy on the casio drums. Not extremely impressive compared to the massive amount of post punk stuff on this list.

Dig Me Out is the third studio album by Sleater-Kinney, originally released in 1997. This one rocks! They have such a heavy sound, truly a power trio. Heavy garage rock vibes from this. It is apparent that was the vibe they were going for, I mean check out the Kinks-inspired cover! This is super raw yet has great production. I guess it's raw in the emotional sense. Would love to have caught them live during this era.

Brothers in Arms is the fifth studio album by Dire Straits, originally released in 1985. This may be the most dad-rock album ever. I enjoyed their record "Sultans of Swing", but this is just too smooth for me. The singles are smash hits, particularly "Money For Nothing". I believe this was one of the first CDs to release. That probably inflated sales a bit. It might've also been one of the first albums to be fully digitally-recorded. And man, does that show. It has not aged well. Sounds firmly like 1985. Knopfler is a beast on this album tho. Fantastic guitar work. If I was a dad in the 80s I probably would love this.

Gris-Gris is the debut album by American musician Dr. John, originally released in 1968. I mainly only know of Dr. John from The Last Waltz. I knew he was big in the 60s and I dug his performance with The Band. This was the first time I'm hearing a full album by him. Man, this was weirder than I expected it to be! I thought it would mostly be soul, but this thing delves a bit into free jazz at times. It's also produced very well for 1968. Great usage of a wide array of instruments and guest performers. Definitely worth another listen to catch all the details.

Winter in America is a studio album by Gil Scott-Heron and Brian Jackson, originally released in 1974. Oh man, anyone reading this, please check out the other releases under the Strata East label (or even the Strata label). Seriously one of my favorite labels. Anyways, this album is amazing. The songwriting of Scott-Heron combined with the composing of Jackson is total perfection. This is funky but not an in-your-face funk. More of a stoned with the lights turned down at night type of groove. There's lots of jazz in here too. I mean, those opening notes of the Fender Rhodes oscillating through each speaker is just so groovy. Scott-Heron preaches some real stuff on here too, as he always does. I really wish "Pieces of a Man" was included on this list. If you dig this and haven't heard that record yet, do yourself a favor and throw that on next.

Skylarking is the ninth studio album by XTC, originally released in 1986. This is my first time listening to anything by XTC. I was expecting a much more 80s-sounding album. This record obviously takes a lot of inspiration from 60s music. I hear shades of The Beatles and The Kinks. There's even some psych callbacks on here with some sitar and tabla action. This is apparently supposed to be a concept album but I don't hear much of a concept at all. Overall it's some pretty cool 80s alternative rock.

Who's Next is the fifth studio album by the Who, originally released in 1971. It's very interesting to look at the Who's sound progression over the years. They began as this proto-punk mod garage group, then dabbled in psychedelia a bit, and by this time, Americana and singer/songwriter was dominating the charts. They tried to adapt some of that sound onto this record, with stripped-back production and lots of acoustic guitar. They do a good job at keeping that hard-rock identity they had become known for. This may be their most iconic album, with most of their hits. I think John Entwistle really shines on here. His bass lines are heavy and quite complex. This was pretty good, though I do prefer the Who's live sound around this time like Live at Leeds.

Happy Sad is the third album by Tim Buckley, originally released in 1969. Most people will only recognize Tim Buckley as "Jeff Buckley's dad", but Tim was an amazing musician in his own right. He was very experimental, so he obviously won't fit everyone's tastes. This is one of his records that signified his movement to more experimental music. He started out as a folkie in the mid 60s and by this record he moved firmly into spacey-psychedelic-jazz-folk, and beginning to use his voice as an instrument. He would later move to funk and free jazz, but this album serves as a very interesting bridge between his folk and jazz phases. You can even hear that funk influence beginning to creep in on songs like "Gypsy Woman". It may meander a bit but that was the 60s man! Gotta drop some acid in a field and listen to this. Tim Buckley was a super interesting person and artist and I encourage others to dig a bit into his discography because there's some real cool stuff.

Janet Jackson's Rhythm Nation 1814 is the fourth studio album by Janet Jackson, originally released in 1989. This is a pretty interesting release by Janet Jackson. She pretty much abandoned the sound of her previous album and decided to shift to more serious themes, much to the dismay of her record label. Lyrics on here commonly deal with politics and world problems such as violence and poverty. This is all laid over that iconic Jimmy Jam and Terry Lewis production which is a weird mix. She's singing about violence and it's backed by an 80s dance beat. This album is also pretty bloated. She kinda discards the concept towards the end of the album and tacks on some slow and meandering ballads. The more upbeat songs were definitely the highlight of this album, and I admire the initiative to go against the label's wishes and bring social issues to light. It's just a bit inconsistent on this record. Sometimes it works, sometimes it doesn't.

Veckatimest () is the third studio album by Grizzly Bear, originally released in 2009. Someone fetch me a slouchy beanie, black-rimmed glasses, overalls, and a scarf stat! Man, this record just oozes that early-2010s hipster vibe. Handlebar mustaches and Edison bulbs everywhere... It's not bad though! Reminds me a lot of Fleet Foxes although less reliant on vocal harmonies. These dudes seem to let their musical chops speak for themselves. The songwriting is a bit weak at times but not too bad for hipster stuff. Not super melodramatic/cringe or anything. I got this album generated on a cold fall day in November so it kinda fits the vibes right now.

Moon Safari is the debut studio album by French electronic music duo Air, originally released in 1998. Some really strong triphop vibes here. Almost reminds me of Massive Attack at times. This record is super spacey and overall just chill. I can see how this record would influence more modern Dream Pop bands like Beach House. It's not afraid to get psychedelic and a little weird at times. Air also does a pretty good job at balancing more experimental tracks with some pop-leaning ones. They almost remind me a bit of Spiritualized. Overall a very cool listen!

Smash is the third studio album by the Offspring, originally released in 1994. This is a very solid pop punk album. These guys and Green Day are often credited with bringing that pop-punk sound to the mainstream. Although I feel like they have a different take on pop punk with this record. It's nothing like Green Day's sound. I feel like the Offspring take a lot of influence from 80s hardcore while Green Day took a lot from bands like Sex Pistols. I'm not super knowledgeable on punk so I may be completely wrong on this. I also hear a good amount of 90s alternative influence in this album, with very catchy hooks and even a tiny bit of that grunge-influenced sound. This album is pretty much perfect skate punk.

It's Too Late to Stop Now is a 1974 live double album by Van Morrison, originally released in 1974. I'm typically not a huge fan of Van Morrison. I usually gravitate to his jazzier stuff and I'm not very familiar with his mid-70s work. I found myself really grooving to this. It's way more funky than I expected, and Van does funk pretty damn well. His voice still sounds like that drunk guy in the back of the pub but it just works with these tracks. The backing band is super tight and have a ton of presence. Specifically the bass player. His lines are just so groovy. The production is so good too. It sounds like it was recorded at a fairly intimate venue. Probably going to revisit some Van Morrison records now.

Street Signs is an album by Ozomatli, originally released in 2004. I had high hopes for this one. I had never heard of them before now but some of the reviews made it sound very interesting. Funk with Latin and hip hop influences? Sign me up. Unfortunately, my hopes were too high. Their ideas sound good in theory, and it's clear this group takes lots of inspiration from the greats like Santana. The musicianship and the grooves are definitely there... it just ends up falling flat in some places. The production is really bad. Classic victim of the Loudness War that was ever so prevalent in the era. It's also a bit overproduced. I found all of the layered string parts to be too much. The songwriting is also subpar for the most part. I found the hip-hop/rap elements to be dated and unimpressive. Although I wasn't a huge fan of this, I respect what they were trying to do. They basically took all of LA's influences and meshed them together. I even hear some influence on modern-day groups like Chicano Batman.

You've Come a Long Way, Baby is the second studio album by Fatboy Slim, originally released in 1998. The recording story of this album is pretty interesting. Cook recorded and produced the album at his home studio in Brighton, known as the House of Love, using an Atari ST computer, Creator software, and floppy disks. Must've been such a pain in the ass to work with. The content on this album is fairly run-of-the-mill electronic music from that era. It's very sample-based which can get repetitive after a while. That being said, lots of the tracks are pretty groovy, especially on the latter half of the album. This type of electronic music isn't usually my vibe, but this absolutely belongs on this list as it is a very important recording in the history of electronic music (even if it hasn't aged very well). And man, check out that album cover! It's a shame they changed it for the US release.

Arular is the debut studio album by M.I.A., originally released in 2005. This is very interesting. As another user commented, "there is a lot of staccato in this album". The beats are sparse, glitchy, and in-your-face. Her voice just adds to that feeling. I admire the genres she mixes on here, from pop to electronic to dancehall. The production on here is... interesting. It is ultra bright and was grating to listen to at times. Maybe that was by design, adding to the electro-pop sound. It's clear that this album is influential. I hear a lot of Charli XCX in here, so she most likely influenced a lot of the more modern electro-pop artists. Definitely not my type of music, but I respect it.

Dub Housing is the second album by Pere Ubu, originally released in 1978. Wow, this is some weird shit right here. It really highlights the difference in the post-punk movements between the US and UK. I always felt like the US bands got way weirder. This is a prime example of that. The instrumentals themselves are great. I definitely hear some influence on later bands such as the Pixies. These guys shift all around genres, from alternative rock to rockabilly to ambient and avant-garde. The vocals are a whole separate story. They're almost anti-music. They're so atonal and crazy but it fits the music somehow. This would probably be so good when performed live. This wasn't exactly enjoyable but then again it wasn't made for mass consumption. I can definitely see the historic significance of this album.

Damaged is the debut studio album by Black Flag, originally released in 1981. What a landmark recording in music history. One of the early hardcore records. And man this thing is packed with energy. Right off the bat with "Rise Above". It immediately draws you in. Many would say this isn't their best album, but it's so damn good! You 100% need to hear this before you die.

Purple Rain is the sixth studio album by Prince, originally released in 1984. This record contains some of Prince's biggest hits. Probably one of the best album opener/closer combo, and I'm not even that big of a Prince fan. This thing screams the 80s but Prince makes it work. Some would say it's overproduced but it's done pretty tastefully. It even has some psychedelic elements to it, as is to be expected from Prince. Not every song is an absolute banger but it's a damn solid album.

H.M.S. Fable is the third album by Shack, originally released in 1999. Never heard of this group before. This is some pretty solid power pop/britpop. Definitely indie-influenced. A lot of this is acoustic-guitar driven which is pretty dope. The hooks are very catchy and have that 90s indie pop vibe. I wouldn't necessarily call it a must-hear, but it was a nice listen.

A Northern Soul is the second studio album by The Verve, originally released in 1995. I've never listened to The Verve before starting this list. There's a few of their albums on here. I've dug everything I've heard so far. This album wasn't my favorite of theirs, but it was still pretty cool. This record is over an hour long, so some of the songs drag on a tiny bit but for the most part I enjoyed the jams. They're very psychedelic rock influenced but with that 90s alternative edge. Definitely gonna have to dig more into their discography.