I've never heard of Alex Harvey before, so I had no idea what I was in for with this album. This was an absolute hidden gem. Fusing elements of hard rock, glam rock, and a little bit of blues, this album has a really unique sound. And with songs ranging from the jangly "Swampsnake" to the absurd "Gang Bang," this album was fun with a some dashes of humor too. There was so much going on musically, and I loved the use of harmonica, piano, and horns throughout the course of the album. Vocally, Alex Harvey reminds me of Bon Scott, Billy Squire, and Paul Stanley. Maybe I've been living under a rock, but I can't believe this band didn't find a wider audience.

I love Joy Division, and though I'm not horribly familiar with a lot of New Order's broader catalog, I love the songs of theirs that I know ("Ceremony," "True Faith," "Temptation," etc.). Sadly, this was my first time listening to a full New Order album. This album was outstanding from start to finish because every song was outstanding in its own unique way. I loved that New Order kept their post-punk sound while also continuing to develop their use of synthesizers. The guitars on this album were really great. I loved that the guitar parts didn't take the lead on the overall sound of the album, but still helped to flesh out the moody sound that New Order is known for. Bernard Sumner's vocals were great here too; there's just something about his voice that has a distinct Manchester sound to it. I thought that this album worked really well as a whole, but "Love Vigilante" and "Sunrise" were absolute masterpieces in their own right. I will definitely be returning to this album in the future.

This was my second PJ Harvey album to listen to on this list, the first, being 'Rid of Me.' I enjoyed this album, albeit not as much as I enjoyed 'Rid of Me.' I thought the vocals here were fantastic, as were the guitars and drums. The songs featuring Thom Yorke were really great too. "Big Exit" and "You Said Something" were my favorite tracks here.

Wow! What an album. I've been familiar with Sinead's version of "Nothing Compares 2 U" for most of my life, but this was my first time hearing any of her other music, and I was blown away. Her unique and powerful vocals punctuate every word of her emotional lyrics. The instrumentation on these songs is varied, but each song is gorgeous and beautifully arranged. I figured this would be a good album, but I did not count on it being incredible. I will definitely be listening to this again some day soon.

Rap music was pretty much forbidden in my house growing up, so my first exposure to Public Enemy was hearing "Bring Tha Noize" with Anthrax while playing Tony Hawk's Pro Skater 2, and I thought it was a great song. A few years ago, I wanted to seek out the best rap music of the nineties, so I listened to Fear Of A Black Planet, and I absolutely loved it. I enjoyed this album too, but not as much as Fear Of A Black Planet. Chuck D is probably my favorite rapper. His voice just has a certain authority and rich tone to it that sets it apart from his contemporaries. I love Public Enemy's political messages too; "Nighttrain," "By The Time I Get To Arizona," and "1 Million Bottlebags" containing my favorite lyrics on this album. Musically, I was probably only a fan of half the tracks on this album. Some of the beats and sampling here just weren't my style, especially on "Loss At Birth" and "Rebirth." However, "Bring Tha Noize" with Anthrax more than makes up for those two tracks. Anthrax's instrumentation takes a great song and makes it even more powerful; I love that the scratching and other original elements are still present though. Overall, this is a great album, and the rapping and lyrics are the stars of the show here. Favorite lyric: "'Cause now the KKK wears three-piece suits." I wonder if they knew how relevant that line would be almost three decades later.

Great listen. Never listened to a Bob Marley album before, but really enjoyed this. It's a cold and dreary day, and the instrumentation definitely didn't match the weather.

'Fever' was far and away my favorite song on the album. I'm not a huge Elvis fan, but this was a really good album.

First Miles Davis album I listened to. Really enjoyed this, and in a weird way, it makes me ready for the Christmas season. Looking forward to more Miles Davis music.

I have never listened to a salsa album before, but this was really great. Shameful that a Texan hadn't listened to a salsa album before.

Loved this. I love electronic music, and I can't believe I've never listened to The Chemical Brothers before.

I probably haven't listened to this album since college, but it's still one of my favorites. I wouldn't list every track as one of my favorites, but I can appreciate how wonderful each song on here is. Going to California is probably still my favorite Led Zeppelin song. Listening to this makes me want to go back through their discography.

I think I've maybe listened to this from start to finish once before, but I'm definitely more familiar with the Go-Go's singles than their whole albums. They're all very talented musicians, and it's mind-blowing that they were breaking so many barriers as late as the 80's. You can really hear the punk influences, and they definitely have that Los Angeles sound to them too. Solid album.

Another artist where I'm more familiar with their singles than their albums. And other than listening to Blackstar once, I don't really have any experience with Bowie's more recent work. Really enjoyed this album, especially the beginning and ending tracks.

Never heard of this band or album before. Normally, I'm a fan of psychedelic music, but this wasn't really my jam. It was really weird, even for a psychedelic album. I didn't care for the vocals or lyrics, and the instrumentation wasn't exactly mind-blowing to me.

I've never heard of this band or album before, but I really liked the vocals a lot, because they reminded me of other artists I like: Sonic Youth, Iggy Pop, Elvis Costello, etc. You can hear the early punk influences, and this album sounds very much ahead of its time.

This was right up my alley. I can't believe I've never heard of this album or Air before. I really liked the instrumentation and vocals of each song. It was really enjoyable to listen to.

This was my first Peter Gabriel fronted Genesis album that I've listened to. I love Abacab and Invisible Touch, and I really loved this album. The instrumentation is phenomenal, and I really like how everything is arranged. Peter Gabriel's vocals really shine on this album, and I look forward to more albums from this part of Genesis's history.

Outside of "Everybody's Talkin'", I'm not very familiar with Harry Nilsson's work, but I really enjoyed this album. They lyrics and instrumentation were both great, and the songs were really well arranged. This isn't the type of music I typically gravitate towards, so I was surprised by how much I enjoyed it.

I love this album. It's easily one of my favorite things to re-listen to. The vocals are great, it's well produced, and the instrumentation is great too. Just a wonderful album from start to finish.

What a fun album! Wilco is very hit or miss for me (I think they're great, I just don't always enjoy their stuff), but this was fantastic. I'm not terribly familiar with Woody Guthrie's work, but judging from this, I'd say he's a great songwriter. I really loved the vocals and instrumentation on this album, and "Walt Whitman's Niece" was the perfect opening track.

What a great album! The lyrics were raw, but the vocals were polished and refined. I loved the instrumentation as well. Just a solid, beautiful album.

I wasn't terribly impressed by this album. I thought the rhythms were great, but there wasn't anything else that stood out to me from it. When I think of great works in alternative rock from this era, I think of Sonic Youth, Pixies, REM, and The Smiths, but this album just didn't hold a candle to the albums that those bands were putting out around the same time. Maybe I'm just missing something, but nothing on this album was very memorable to me.

Jazzy and snazzy! This was a really fun listen, and it really oozed Sophisti-pop. I've never listened to The Style Council before, and I enjoyed this album. There were definitely some odd tracks on here that felt like they didn't fit, but overall, this was a pretty solid album.

While this isn't exactly the type of music I really enjoy, I can appreciate the talent of the people that put it together. I really enjoyed learning about why the album was made, and it's truly a remarkable achievement and concept.

Another band that I've heard of, but never listened to. My experience with Britpop is pretty limited (when I was 13 or 14, I bought The Verve's 'Urban Hymns' solely for Bittersweet Symphony, and when I was fresh out of college, I bought Oasis's 'What's the Story Morning Glory', thanks to Rock Band), but I enjoyed this album. It's very unique from a lot of the stuff I listen to from the nineties, and I really liked the guitar parts on all of the songs. This isn't the sort of thing that I typically listen to, but I can definitely appreciate how good it is.

Wow! I really enjoyed this album. I'm slightly familiar with Garbage (When I Grow Up is one of my favorite jams), but this is my first time to listen to a whole album of theirs. Shirley Manson is a great vocalist, and the band did a wonderful job producing this album. The instrumentation is so wild and unique, that it almost transcends what I think of when I'm mentally trying to place an album in a particular decade. I think this album is going to go into my regular rotation of things I listen to.

I first heard of Pavement earlier this year (shout out to '60 Songs That Explain the 90's), so this was my first time listening to an album of theirs. It had some good songs on it, but nothing really stuck out to me as really memorable about it.

I got introduced to Rush by a coworker of mine in 2003. I grew up listening to a lot of classic rock, because my parents listened to a lot of it during my early childhood. But since my parents didn't listen to Rush, I was never exposed to them. After discovering them, I really liked them, and immediately bought a greatest hits album from them. Over the next couple of years, I even obtained vinyl copies of Moving Pictures and Hemispheres, and in 2007, I saw Rush live. I say all of this, because this was my first time listening to a Rush album from start to finish, and well, I was really underwhelmed buy this album. Don't get me wrong, Peart, Lifeson, and Lee are all insanely talented musicians, and I think this album is a good showcase of their mastery of their instruments, but that's kind of it for me with this album. I didn't find the lyrics really great, and for a concept album, it really didn't feel all that cohesive to me.

I'm pretty sure I've listened to this album in its entirety once before, and on the first listen, I wasn't terribly impressed. However, this time through, I have a newfound appreciation for it. I'm always a fan of David Byrne's vocals, but this time, I really noticed how similar this album is to the works of LCD Soundsystem (the longer songs, the looping beats, the complex layering of sounds, etc.). Talking Heads were just on a completely different level than most of their peers in the 80's, and this album shows that. Once in a Lifetime is one of the best songs of the decades, but I think that Houses in Motion really shines on this album too.

Baby boomers remember Phil Spector as one of the most influential people in the history of modern music. Me? I remember him as the wild-haired, wide-eyed guy whose murder trial lasted what felt like at least five years. I've heard a majority of the songs on this album before, and they're all exactly what I want in a Christmas song: bopp-y, fun, and featuring vocals that don't hold back. Darlene Love goes so damn hard on Christmas (Baby Please Come Home), and it's the best track on an album full of great performances. This is going to be part of my holiday tradition from here on out.

My favorite teacher of all time taught me World History and World Area Studies in high school. He loved U2, who I was very familiar with, but he also really loved Echo & The Bunnymen, who I'd never heard of (if my parents didn't listen to them, or if they didn't get any airplay on the local classic rock or modern rock station, my chances of hearing them was very slim). A couple of years ago, an Echo & The Bunnymen song came up on some random Spotify mix that I was listening to (I'm pretty sure it was 'The Killing Moon'), and I really liked it. I'm pretty sure I stopped right then and listened to all of Ocean Rain. I really loved Ian McCulloch's vocals, and I felt like Echo & The Bunnymen sounded like a better version of early U2, and I could see why my teacher loved both U2 and Echo & The Bunnymen. I love the ethereal quality of their instruments; it almost sounds like their songs were recorded in this cavern that's somehow massive and open. On this listen-through, I'd definitely say that 'The Killing Moon' is my favorite track, but 'Nocturnal Me' is fantastic as well. This is a great album, and I hate that I discovered it so late in my life.

I'm pretty familiar with Eric Clapton's music; my dad listened to his unplugged album quite a bit when I was a kid, and when I was in college, I listened to his solo stuff and Cream a fair amount. I even read his autobiography at some point in my twenties, and I really enjoyed. Now, in the year of our Lord 2022, Eric Clapton has shown his ass to the whole world, and everyone knows what a xenophobic jerk he is. It seems like no one wants to listen to his music anymore, with the exception of people who say things like "my pronouns are meat/eater." I'd always meant to listen to this album back when I classic rock was pretty much the only thing I ever listened to, but somehow I never did. Due to Clapton's current reputation, I really didn't have high hopes for this album, but I have to begrudgingly admit that I thought it was okay. I don't know much about blues music (are the Black Keys blues?), but I thought this album was pretty good lyrically and instrumentally. I've always had a liking for 'Layla,' and I still think it's a great song, but I thought that 'Keep on Growing' and 'Bell Bottom Blues' are really good too. But even with 'Layla' and a couple of 'really good' songs, I don't think this album as a whole is anything noteworthy. If I look at some of my favorite albums from the seventies (Wish You Were Here, Rumors, Who's Next), this album doesn't even come close to those. Other than some talented folks who worked on it, it really doesn't have a lot to show off. In closing, I'll leave my favorite anecdote about Eric Clapton. I used to listed to a sports podcast, and on a particular episode, they were talking about Indianapolis Colts owner Jim Irsay taking his music memorabilia collection on the road to showcase it to the public. The hosts joked that Irsay thinks that a guitar previously owned by Clapton still contained his notes in it. One of the hosts asked if the guitar also had Clapton's hatred for immigrants in it, and the other host replied that it did, along with his parenting skills. Fuck Eric Clapton with a Fender Stratocaster.

I spent most of the 90's listening to classic rock, 80's rock and pop, and some current mainstream rock. Pop music at that time was pretty much completely off my radar, especially once artists like Backstreet Boys, N*Sync, and Britney Spears started gaining a lot of momentum. During the 2010's however, I started listening to more current pop music (Robyn, Carly Rae Jepsen, Katy Perry, etc.), and that gave me a better appreciation for the pop music of the 90's. Over the last couple of years, I started to appreciate artists like Mariah Carey a lot more, especially the songs off of Daydream. This was my first time listening to Butterfly, and I was really excited when it came up in my feed today. But after listening to it, I was pretty underwhelmed. I didn't find any of the songs particularly catchy or well written, and nothing really showed off Mariah's vocal abilities as well as certain tracks on Daydream did. 'Breakdown' is the bright spot of this album in my opinion, as it shows Mariah's ability to record great duets and work well with other artists. Other than that, I can't say I as terribly impressed by anything else on this album.

It's technically music? On paper, this album is completely up my alley. I love music that has electronic elements to it, so despite the negative user reviews, I thought I would enjoy this. Each song started off with a lot of promise, but none of them really went anywhere beyond cycling the opening parts over and over again. No song really stood out to me, and I'll probably forget about this album by tomorrow. I'm really miffed as to how this made the 1001 albums list, but the show goes on.

I don't think I've ever heard of Badly Drawn Boy before. I thought this album was pretty good. I liked the vocals and lyrics; they reminded me of the things that I like about bands like Death Cab for Cutie and Wilco. Even though I thought this album was pretty good, I'm not sure that I get why it was on the 1001 albums list. It was pleasant to listen to, but nothing was particularly memorable about it, and nothing about it really stood out to me.

When I was a kid, Turn! Turn! Turn! got quite a bit of play on the local oldies radio station (both in Dallas and later on when I moved to Houston). I loved the melody, and there was something in the guitars that I loved too. Over the course of my life, I've seen Turn! Turn! Turn! used in countless shows and movies, and it always brings back memories of being the backseat of our 1987 Honda Accord. This was the first Byrds record that I've ever listened to, and it was about what I expected: lots of jangly percusion, psychedelic guitar chords, and lyrics that reflected the turbulence of the '60's. I enjoyed listening to this album, but I didn't find it particularly remarkable. I folk rock bands like this in the 60's are fascinating, because as much as they wanted to be like The Beatles, no one else could come close to duplicating that success. Even though I wasn't blown away by this album, I hope there's more 60's folk rock on this list.

This is my second time listening to this album, and it's incredibly good. I'm not very well versed with a lot of hip hop, but before I listened to this album, I knew it had a reputation as one of the best hip hop albums of all time. I absolutely love the beats, and Nas raps with an incredible amount of force. His rhymes are outstanding too, and this album really shows just how great Nas is at his craft.

I grew up listening to fair amount of oldies on FM radio, so I know a couple of Everly Brothers songs: 'Wake Up Little Susie' and 'Bye Bye Love' (which is a really solid jam). This was my first time listening to this album, and I don't think I've ever heard any of the songs on it (unless you count Nazareth's version of 'Love Hurts'). I'd say this album is what I would expect for the time: songs about love with simple and catchy instrumentation, topped with a few sprinkles of casual misogyny. But for what it is, I think it's really good. The harmonies are great, and even though the instrumentation certainly isn't lighting the world on fire, it really works well with the lyrics. 'Love Hurts' is probably the best song on the album, and in a way, I'm glad that I had only heard the Nazareth version up until now. Alternative title for this album: Aw, Shucks: White People Problems

I listened to a lot of classic rock when up until I was in college, but Traffic was a band that I wanted to listen to, but never got around to checking out. I love Steve Winwood's solo stuff from the eighties, and it was nice to hear him on this album. However, overall, there's really nothing on this album that stuck out to me. The instrumentation was fine, the vocals and lyrics were fine, and it's not a bad album, it's just not going to be something that I'll probably ever think back on.

I listened to "Sometimes I Might Be Introvert" back in 2021, and I enjoyed it, but that's been my only exposure to Little Simz. I thought this album was good too; her rhyming and rapping skills are really great, and the beats on each track are really catchy too. But when it comes down to it, I can't say that I'll remember much about this album after a week passes. Little Simz is clearly talented, but I just don't think this album is up my alley.

I've never heard of Nick Drake before, but I really enjoyed this album. The guitar is absolutely beautiful, and the simplicity really matches the rawness of the lyrics. I'm pretty sure that I've heard his music in movies or a television show at some point, because "Horn" sounded really familiar (and oddly enough that was my favorite track on this album). Listening to Pink Moon makes me want to check out some of Nick Drake's other albums.

I think I listened to this album back in 2021 when it came out, and if I remember correctly, I enjoyed it. Listening to it today, I really liked it. I thought it was well made, and lyrically, I don't think I've ever heard a female artist sing about things like that before. I found it subversive in the best way, and I would be open to listening to Jazmine Sullivan's next album.

We want the funk! I'm only vaguely familiar with the music of Parliament/Funkadelic/George Clinton, but I really loved this album. Lyrically, it definitely lived up to the name Mothership Connection. Instrumentally, this is definitely the type of music that I gravitate towards. I love synths and keyboards, and it's hard to imagine the synth pop of the eighties and 2010's existing without these folks paving the way. When George Clinton was The Masked Singer last year (and I correctly guessed it was him before the panel said anything), I was delighted, and wanted to listen to some of his music, but I completely forgot. Glad this was in my rotation today to remind me!

I've loved Fleetwood Mac since I was a kid, and I listen to Rumors and Tango in the Night regularly as an adult (TitN is incredible, and one of the best albums of the eighties in my opinion), but I've never listened to all of Tusk before. I thought Tusk was outstanding. It's very different from Rumors and TitN, but I thoroughly enjoyed listening to it. I love that it has so many varied sounds on it, and that in branches out from the Fleetwood Mac albums that I'm most familiar with. It would have been foolish for Fleetwood Mac to try and duplicate Rumors, and it's clear that wasn't their aim here, but somehow, they managed to be even more ambitious here. I love that the songs are written and sung by a wide variety of members of the band, and I think that speaks to how divided they were after making Rumors. I didn't think I could love Fleetwood Mac any more than I already did, but now this album will be in my regular rotation as well.

I'm not familiar with Willie Nelson's music, other than "On the Road Again" and his version of "Always on My Mind." I thought this album was really good. Willie is a great singer, and I love how gentle his voice is. His simple melodies really pair well with his voice, and I thought all the songs on this album were catchy and nice to listen to. It's not the sort of thing that I typically listen to, but I can appreciate it for what it is. Also, shoutout to Willie for pissing off conservatives when he vocally supports liberal causes.

The Beatles were a staple of the music played in our house when I was growing up. My parents had quite a few of their albums on vinyl (my dad had an opportunity to purchase The White Album on white vinyl, but passed because the person selling it wanted like $20 for it. But yet he and my mom spent thousands on Thomas Kinkade paintings...), we would play "Birthday" on every birthday, and Beatles' lyrics were often quoted in conversation. I still listen to The Beatles every now and then, but I don't think I've ever listened to an entire album of theirs from start to finish (maybe I've listened to all of Revolver or The White Album). I definitely prefer their later works (everyone makes better music when they're on drugs, and I will not be swayed from this), but I really enjoyed sitting back and giving this album a thorough listen. John and Paul really did a great job of writing this album. The lyrics are incredibly catchy and fun to sing along too, and the instrumentation is great too. I love that you can hear so much going on instrumentally; at times it sounds like there's closer to eight people in the studio, rather than a quartet. It's easy to see how these guys started off making "typical pop music," but then evolved so much artistically over their career. Even though the instrumentation may seem rudimentary, every note is executed with perfection, and it all blends together seamlessly to make a sound that was often imitated, but never duplicated. Recently, it seems like The Beatles have been labeled as 'overrated' by a lot of people, but that's utter bullshit. No one has had the career that these guys had, and the sheer volume and quality of their catalog over less than a decade is a marvel and will never be duplicated.

I've listened to a lot of The Cure's singles throughout the years, but this was my first time listening to a whole album of theirs. I love what they did instrumentally; it reminds me a lot about what I like about Echo & The Bunnymen. The Cure do an exceptional job of establishing a mood, even without lyrics. I love how their bass lines make everything so big, yet so empty. Lyrically though, this album just wasn't doing it for me. I wish I could pinpoint why that is, but I can't. I guess that explains why "Three" was one of my favorite tracks on the album. By the way, if you like The Cure, Robert Smith recently appeared on the song "How Not to Drown" with Chvrches, and that song is great. Also, check out the first two albums from White Lies (does anyone even read my reviews, or am I just making recommendations into the void?)

I've never heard of Hookworms before, but this album reminded me in parts of some of my favorite music from the Indie Sleaze era of the 2010's. I thought the instrumentation was great, and all of the songs were really catchy and well written. I enjoyed the lyrics as well, especially on 'Negative Space.' Even though I enjoyed listening to it, I don't know if it's something that I'll necessarily seek out again, but I'm glad I can appreciate it for being a really well made album.

I've never heard of Lightning Bolt before, but I thought this album was pretty good. Apparently I'm not very familiar with noise rock as a whole; I did a quick google search for the best noise rock bands, and the only band I even recognized was Sonic Youth (who I happen to be fairly familiar with). I thought the music worked really well on this album, and even though it's 'just noise rock,' everything felt really complex and deep. Even though I enjoyed this album, I can't see myself seeking out any other Lightning Bolt albums any time soon.

The first time I ever heard a Soundgarden song was when Weird Al used a snippet of 'Black Hole Sun' in 'Alternative Polka' on his 1996 album Bad Hair Day. That would be my only exposure to them until probably later in the 90's when I would hear 'Black Hole Sun' on the local alternative rock radio station. I thought 'Black Hole Sun' was a great song, and I enjoyed how it was heavy but also slow and beautifully belted out by Chris Cornell. Fast forward to 2003. One morning, my parents found two CD cases (you know, the kind where you could stash a few dozen CD's and keep it in your car) in our yard. We had no idea where they came from, and we really didn't have a reasonable way to try to track down the owner. We figured a pissed off girlfriend had probably tossed her boyfriend's music collection out of the window as a means of revenge. Since we had no way of tracking down the owner, my parents let my brother and I keep whatever CD's we wanted, and one of the CD's I kept was Soundgarden's Superunknown. I can't remember the circumstances that led to my first listening of it, but I was blown away. I remember that this was the first time I had ever listened to an album and thought "I don't want to skip a single track on here. All of these songs are great." I remember being particularly blown away by 'Spoonman' and its insane drumming and use of spoons as percussion. Almost exactly 20 years after my first listen, I was delighted when this album came up for me today. I haven't intentionally listened to any songs on this album in several years, but it still holds up. Chris Cornell's ability to croon in a brooding manner still solidifies him as one of the best rock vocalists of all time, and his suicide makes the music on here about 10x heavier than when it was first released. Each song manages to have that heavy, grungy feel, but in its own unique way. The singles from this album still hold up, but 'Limo Wreck' and 'Let Me Drown' are gems too. This album is just expertly crafted in every way, and it's still wonderful to listen to.

About 14 years ago or so, I learned about the 1001 Albums book. I found a list of all the albums somewhere online, and decided to try and start branching out and listening to some of them. One of the first albums I decided to check out was Joy Division's Unknown Pleasures. I was instantly hooked. I loved the broody sound, the drums, the keyboards, and Ian Curtis's deep vocals and dark lyrics. Shortly afterwards, I checked out Closer, and I loved it as well. This was my first time listening to this album in several years, and I'm so glad I had an excuse to re-listen to it. I still love everything about it: the dark mood, the way the instrumentals manage to sound massive yet lonely, Ian Curtis's vocals, and the dark lyrics. This was my first time to really spend some time looking into the lyrics, and I love all the imagery in them: religion, family strife, failed relationships. Knowing how Ian Curtis's life ended adds another deep layer of sadness to all of these songs, and it just makes me wonder if suicide had been something he had obsessed over for the greater part of his life. I think this album is fantastic, and without it, some of my favorite albums of the eighties and onward probably wouldn't exist. I hate that Joy Division was only around for a short time, but I do love that New Order came about from Joy Division's end, building on the sound that they had established.

Before listening to this album, I think the only PJ Harvey album I've listened to is "Let England Shake," but I really enjoyed "Rid of Me." I thought the sound was raw and energetic, and it sounded like nothing else that was being released at that time. I loved how well this album was produced; even though the sound was raw and full of chaos and emotion, it was clearly well arranged to create its unique sound. I really enjoyed the lyrics as well. I'm not sure if any of the things talked about were autobiographical, but the sexual energy contained in them is something that I don't think anyone else was doing at this point in time. I know PJ Harvey has said that she didn't write this album as a feminist manifesto, but the way she discusses sexuality is still edgy and brilliant, event 30 years after it was recorded. I can see this album becoming a part of my regular rotation.

This is the second Fiona Apple album that I've gotten on this list, and just like 'Tidal,' I really enjoyed this album as well. I had just gotten PJ Harvey's 'Rid of Me' on the previous day, and I felt like it was a beautiful coincidence to get 'Fetch the Bolt Cutters' immediately afterwards. I love that the lyrics had a theme of detachment to them, but each song still felt like it addressed that detachment in a different way. Fiona Apple's vocals are always so raw, yet she conveys so much emotion through her singing. I loved the instrumentation on this album was brilliant as well. I've heard "Criminal" so many times throughout my life, that I always think of Fiona Apple as a pianist, but she really breaks away from that here with all of the different percussion she was using. The three track run of "Newspaper," "Ladies," and "Heavy Balloon" might be one of my favorite trio of consecutive songs ever, and I really thought the last half of the album was incredibly strong.

Several years ago, I bought Wilco's 'Yankee Hotel Foxtrot' on CD. I can't remember what led me to buy it (maybe hearing their name a lot?), but I remember really enjoying it on my first listen. Sadly, I never listened to it very often. I think I just wasn't ever in the mood for it once I got past "I am Trying to Break Your Heart." This is now the second Wilco album I've listened to from start to finish (unless you count 'Mermaid Avenue,' which I also loved). I was blown away by how much I liked this album. Jeff Tweedy is an incredibly talented vocalist, and this album really showcases that. I love the jagnly-er songs that are banjo-heavy, and the songs where the banjo takes a back seat, or isn't present at all too (I mean, I think it's not there on certain songs). Instrumentally, I don't think there's much more that I can say, other than I thought the flow of the album really worked, and it was fun to listen to. I did a shallow dive into the Wikipedia article for this album, and read that Tweedy had become a father between recording their first album and this album. As a new father myself, I really identified with the lyrical themes here: self doubt, wondering if you're good enough for your partner, hating yourself for thinking about running away (at least that's how I interpreted some of the songs). But the more you push on, the more some things get easier, while other things get harder. People always talk about how physically hard it is to have a new child, but the emotional and mental challenges are just as big, and I think Tweedy shows how those emotional challenges collide into the other areas of your life. I will definitely be listening to this album again, along with other Wilco albums. My favorite tracks on here were "Monday," "I Got You," and "Outtasite."

I'm familiar with a couple of Dusty Springfield songs (the use of "Son of a Preacher Man" in Pulp Fiction is perfection), but this was my first time listening to one of her albums from start to finish. In my mind, Dusty is one of the best singers of all time. Her vocals are smooth, yet powerful, and it almost seems to me like she sings like she's trying to restrain herself from unleashing the full power of her voice, and I feel like her vocals leave me wanting more, in a way that I'm hanging on to every note she sings. Today, I learned that she's the one singing with the Pet Shop Boys on "What Have I Done to Deserve This?" As a Pet Shop Boys fan, I'm ashamed that I didn't notice this. Now to actually discuss 'A Girl Called Dusty.' While Dusty's vocals are amazing, this album just isn't that great in my opinion. Dusty didn't write any of the songs on here (and that doesn't detract from her skills as a vocalist), and I think that kind of robs the music of some depth. I think of these songs as soul-adjacent, but with them all being essentially covers, they're kind of robbed of some added depth. And with a collection of songwriters' works being performed here, the album just doesn't feel very cohesive in my opinion. There's just not much here setting this work apart from similar works that had been released prior to it nor during the time it was released. Dusty has amazing vocals, but that's kind of all this album has.

I've loved R.E.M. since I was kid, but sadly, this was my first time listening to one of their albums from start to finish. I've always enjoyed their songs that got a lot of radio play in the early nineties ("Stand," "Losing My Religion," "The One I Love"), and I've owned 'Document' since my late teens. 'Murmur' sounded very different from the R.E.M. that I'm most familiar with, but I really enjoyed it. The instrumentation was great, with it's jangly guitars, great drum beats, and piano melodies. It's wild to listen to an album like this and being able to hear how its sound influenced alternative rock's development throughout the rest of the eighties, and how it still influences bands today (I'm looking at you, The National). I didn't pay too closely to the lyrics, sadly, and I didn't have time to go back and read them before writing this review, but I definitely want to give this album another listen, and when I do, I'll be a lot more attentive to the lyrics. All in all though, I thought this was a great album, and I can't wait to listen to more stuff from R.E.M.

Before listening to this album, the only song I'd ever heard by The Zombies was "Time of the Season," so I was pretty unfamiliar with their body of work. I really enjoyed this album. It was exactly what I'd expect for a late 60's psychedelic album: jangly guitars and great keyboard riffs. And as a bonus, their harmonies are incredible. All of the songs were terrific, but "Care of Cell 44" and "Time of the Season" were the standouts to me.

I've never heard of Suba before, and honestly, I'll probably never think of them again. This album was fine, and I thought the first thirty seconds or so of the first track showed some promise, but things didn't ever really take off for me. I didn't find this album bad, but there was nothing about it that stood out to me as an album of importance.

This is the second Beatles album I've been given from this list (the first being 'A Hard Day's Night,' and I didn't enjoy 'With The Beatles' nearly as much as I enjoyed the other one. The Beatles' pop prowess is still on display here, but it just doesn't resonate as deeply with me when they're not performing their own songs. The guitars, drums, and vocals are all still great, but this album just didn't have the complete feel to it that 'A Hard Day's Night' has.

Before today, the only John Prine album I'd listened to was 'Tree of Forgiveness,' which I'm pretty sure I listened to in the year of its release. I remember thinking it was really good, but it also wasn't exactly my cup of tea, so I never listened to any more of his work, even after his passing a few years ago. That was a mistake. This album is insanely good. I don't think I've ever heard lyrics like this before. I love that Prine doesn't sugarcoat anything, and there's no room to guess as to what message he's trying to convey. While his messages are straightforward, the imagery and language he uses are a little more "elevated," (that's the best way I could think to phrase it) and it completely works here. The instrumentation isn't anything extravagant, and it doesn't need to be. The main attraction here is the message, and the music is the conduit that Prine uses to convey his message. This is an amazing album, and I look forward to listening to more of Prine's work.

I've never listened to a full Yeah Yeah Yeahs album before, and I thought 'Fever To Tell' was okay. The instrumentation was really good, but I didn't think that most of the lyrics were all that great. I'm not really sure what sets this album apart from what The Strokes or Franz Ferdinand were putting out around the same time. "Black Tongue," "Maps," and "Y Control" were definitely the stand-outs on this album, but other than those, I don't think I'll give much of a thought to anything else that was on here.

I've listened to this album before, when I was making my way through Rolling Stone's list of the 100 best albums of the 2010's. The first time I listened to it, I had no idea what had gone on in Nick Cave's life leading up to the recording of this album, but it's plain as day that this is the work of someone who's going through an immense amount of pain. Spiritually, it I've listened to this album before, when I was making my way through Rolling Stone's list of the 100 best albums of the 2010's. The first time I listened to it, I had no idea what had gone on in Nick Cave's life leading up to the recording of this album, but it's plain as day that this is the work of someone who's going through an immense amount of pain. Spiritually, it reminds me a lot of the Nick Drake album I listened to several weeks ago (in fact, Spotify launched into a Nick Drake song immediately after this album's last song, as if to say "aww, here you go, you sad little fella"). The stripped down instrumentation and bare-bones production really help the lyrics shine through on this album. Even though the subject matter is crushingly sad, I found this album incredibly beautiful.

When I was a kid, our local amusement park had a massive Alice Cooper's "Welcome to my Nightmare" themed haunted house as part of their Halloween attractions one year. My parents went and had a blast. The only specific that I remember them talking about was a scene where 'Alice Cooper' was beheaded by a guillotine. Fast forward to high school, when my friend let me Dazed and Confused, and I had my first real exposure to Alice Cooper, when I heard "No More Mr. Nice Guy" during the infamous hazing scene (fun fact: a girl I went to high school with said that her mom was part of the freshman class at Huntsville High School the year after the movie took place, and hazing had basically been banned). I wound up purchasing both of the soundtrack discs for Dazed, and I always enjoyed "No More Mr. Nice Guy" and "School's Out," but that was the extent of my exposure to Alice Cooper (I take that back, someone I went to church with said she used to babysit for him when their family lived in Arizona. Weird.) I was pretty excited to listen to this album, since I'd never listened to a full Alice Cooper album before. After listening to it though, I was pretty disappointed. Culturally, Alice Cooper were (that's the name of the band, so it's plural, right?) doing things that were pretty wild and novel. I know their live shows were supposed to be out of this world, with crazy theatrics, and I can't think of anyone else doing anything even remotely like this until White Zombie and Manson came on the scene. But musically, I just wasn't that impressed with what's going on here. Alice Cooper the man isn't a particularly talented vocalist in my opinion, and none of the instrumentation on this album was unique or memorable to me. Lyrically, there are a few songs here that I thought were opening some new doors ("No More Mr. Nice Guy," "Billion Dollar Babies," and "Generation Landslide"), but other than that, nothing here was that great. I can appreciate what this album and the band as a whole did for the music scene, but beyond that, this album didn't do much for me.

I've never listened to any Frank Zappa albums before (solo or otherwise), but I enjoyed this album. I thought the doo-wop songs were great, especially "Wowie Zowie," and I was cracking up at the lyrics to all of them. I also thought "Hungry Freaks" was great too, and had some really great social commentary. A lot of this album sounded way ahead of its time, but somehow it also felt like it felt right at home in the sixties. My biggest criticism of this album is that the songs that didn't land with me, really missed by a wide margin. Closing the album out with the twelve and half minutes "The Return of the Son of Monster Magnet" should be a war crime. But overall, I think I'd listen to this album again, as long as I bail before the last song.

Hoo boy. I'll never forget the first time I heard a song by Eminem. A friend of mine in my geometry class let me listen to "My Name Is" on his Discman, and my head practically exploded. I'd never heard anyone use language like that, and I was cracking up at the crass things Eminem was spitting out at lightning speed. This was my first time listening to this particular album, and it's amazing. Eminem's rhymes and flow are absolutely insane. I just can't fathom what it takes to be able to rap like he does. The subject matter on this album is insanely dark, but Eminem has so many different ways that he uses to convey these themes. The beats on this album are incredible as well, and it's insanely well produced. I don't listen to a lot of rap, but Eminem's beats are instantly recognizable to me, and I think that takes an immense talent. Since most of the other reviews mention it to some degree, I guess I can't talk about this album without mentioning the homophobic, misogynistic, and violent content of the lyrics. A lot of the lyrical content here is pretty uncomfortable to listen to. I think a lot of the more offensive content is spouted off by characters/personas that Eminem has invented, but that doesn't take any of the edge off of it. Is it okay to play the role of a character who says words and phrases like this? I don't know. When we have visual movies about cultural tumult (World War II, The Civil Rights movement in the U.S. etc.), people being represented on screen often spout hateful rhetoric, and we generally accept it, because it's historically accurate, and history is often a long road of terrible deeds that come from terrible thoughts and words. Is it okay in this sense too? Homophobia and misogyny were clearly alive and well at the time this album was recorded, and people who held these types of views were certainly thriving as well, and in my view, that gives these lyrics an unfortunate realism. But what does it mean when someone can create personas like this? Ultimately, I don't know how to feel about art like this. I think this album is incredible as a piece of music, but I don't enjoy listening to things as dark as this.

I've never listened to any De La Soul before, but this album was great. The rapping was awesome, some of the lyrics were humorous, and the sampling was out of this world. I was humming "Eye Know" to myself for several hours before I realized they sampled Steely Dan's "Peg" in it. To me, that shows that these guys are incredibly talented at making songs. To take a song that I know, and sample it in a way that makes it something entirely new is a remarkable skill. Also, Trugoy just died yesterday? What a wacky coincidence. I hope the man rests in peace, and I hope to get to listen to more De La Soul.

I had pretty low expectations going into this album, but it was really fun, and I enjoyed it. When it popped up for me today, my first thought was "hooray, another album by Great Value Oasis." I'm glad that I was wrong. I loved that that the songs here had such a wide variance in sounds, especially the blues-ier songs like "How High." I love good keyboard parts, and this album definitely delivered on that, especially with "Get On It" and "Only Teething," both of which reminded me of Primal Scream (after reading about the album on Wikipedia, I was blown away to learn that Primal Scream's keyboardist helped finish the album after the original keyboardist died in a car accident. Sometimes my ears surprise me with what they can pick up). I loved "With No Shoes" and "Tellin' Stories" as well. The instrumentation and vocals on this album were really great, and while the sound here definitely has the 90's BritPop feel, this album manages to remain unique. I will definitely listen to this album again.

I first heard of Sparks last year when Edgar Wright's documentary came out. The trailer claimed something along the lines of "your favorite band that you've never heard of!" I made a mental note to check them out, but life got in the way, and that mental note got tossed in the mental garbage can. After listening to this album, I can say that I'm glad I didn't go out of my way to listen to Sparks before now. Instrumentally, the album was great. It's crazy to me that this was recorded in the '70's, because it sounds like the new wave music that was coming out in the early '80's. But I just couldn't get past the vocals on this album. I didn't like the falsetto singing at all, and I wish I had something more concrete to say about why I didn't like it, but I just didn't. I understand why this album and Sparks as a whole are so important to music, but it just wasn't for me.

I've been listening to Pet Shop Boys' singles from the '80's for as long as I can remember. I love "West End Girls" and "Opportunities," but their rendition of "Always on my Mind" is my absolute favorite of theirs. I've never listened to a whole album of theirs, and I'm completely unfamiliar with their work from 1990 and on. That should suffice as an lead-in to the fact that this album was completely different from what I expected to hear. Gone are the synth pop dance tunes of their earlier discography, replaced with a smoother and more subdued sound that was becoming present as the eighties became the nineties. Gone are the dancey beats, replaced with silky synth-pop ballads. The vocals on this album are great, and Tennant still shines as one of the best singers of his synth-forward contemporaries. Musically, Pet Shop Boys do a great job of keeping the uniqueness of their sound, while changing with the times. This isn't the sort of album I would listen to again (their dance hits will still stay in heavy rotation for me), but I can appreciate this album as being a great work.

Before listening to this album, the only Bjork song I'd ever heard was "Hyperballad," thanks to 60 Songs That Explain the 90's. I wasn't quite sure what I was going to be in for, but I really enjoyed this album. The first half didn't really blow me away that much, but the second half more than made up for it. Even though I didn't enjoy the first half as much, I still thought that the album as a whole was incredibly pleasant to listen to. Bjork's vocals are outstanding, and her ability to arrange beautiful music is on full display here. I can't imagine what it must have been like for people to listen to this album when it came out. Personally, my head would have probably exploded. I imagine that Bjork's work probably influenced some other artists that I really liked: MGMT, Sigur Ros, and Miike Snow. And if she didn't influence them, don't tell me, and just let me believe the lie I invented.

Before listening to this album, I'd only ever heard The Lemonheads' cover of "Mrs. Robinson," which is a really great cover. With only that to go off of, I wasn't sure what to expect out of this album. If I had to summarize my experience in one word, it would be 'underwhelming.' Nothing here really stood out to me. I wouldn't say this was an unpleasant album to listen to, but I definitely don't understand why this album made the list. I'll admit that the lyrics to the title track were really great, and their version of "Mrs. Robinson" really holds up, but that's it.

As a kid, I absolutely hated it when "Lovefool" came on the radio. There was just something about that song that I absolutely hated. Thankfully, I can fully appreciate it now. I wasn't wowed by this album, but it was a fun listen. The vocals were really great, and the instrumentation was really unique. It's not something I'd probably rush to listen to again, but overall a decent experience.

For transparency's sake, I'll admit that I'm heavily biased against Aerosmith. I listened to a lot of classic rock up until I was in my mid-twenties, and I listened to Aerosmith quite a bit (I think I still have their double disc greatest hits). But as time has gone on, I've really soured on them. I personally think they're the most overrated classic rock band of all time, and their catalog only has a couple of songs I still enjoy. Worst of all, it seems like Steven Tyler might be a dirtbag. I groaned when I was given this album today, and this started off as my first hate-listen of this list. However, much to my surprise, I really enjoyed this album. "F.I.N.E." was really catchy, and after that, I stopped my hate-listen. I don't like Steven Tyler's vocals at all, but musically, I really liked what the band did here. There's something about their drumming that I really liked on this album. I loved the little instrumental interludes leading into the songs, which is something that was left off of these songs when I've heard them previously. Even when I liked listening to Aerosmith, I hated "Janie's Got a Gun," but I even though I still don't like it, I think it's lyrically the band's best song. "What it Takes" is another standout to me on this album. I'm not sure what to make of the overt sexual tones of some of the songs on here. I can't tell if Aerosmith is pulling a Spinal Tap, and embracing the stereotype of the groupie-banging rockstar with a bit of a wink, or if they really think they're God's gift to their throngs of female fans. These recent allegations against Steven Tyler make me lean towards the latter, which makes me feel like these songs are kinda gross, even if they're a bit tongue in cheek. Overall though, I enjoyed this album, and I can see why it brought Aerosmith back into the spotlight.

I've listened to The Doors quite a bit, but this was my first time listening to one of their albums from start to finish. I love Jim Morrison's voice; it always has a haunting quality to it, even on songs with less haunting titles, like "Waiting for the Sun." I love the keyboards and how the band seamlessly fuses blues and psychedelic rock. The only strike against these guys for me is that some of their lyrics are a tad too far 'out there' for me (I'm looking at you, "Peace Frog"). Overall though, this is a wonderful album, and a great showcase for the music coming out of California in the 1960's.

I've actively avoided Amy Winehouse's music for nearly twenty years (I think I just hate "Rehab"? Or maybe she reminds me of someone that I don't like? I'm not entirely sure to be honest), so this was my first experience with one of her albums. I really enjoyed listening to this. Amy's vocals are great, and while the songwriting might be 'juvenile' in a topical sense, I thought that the tracks felt really cohesive. "Fuck Me Pumps" might be the first jazz diss track that I've ever heard, and it absolutely ruled. I'm really looking forward to when I get assigned 'Back to Black.'

I've never heard of Teenage Fanclub before, so this was a new experience for me. This was an enjoyable album to listen to, but I'm not sure I would have included it on this list. I really enjoyed the guitars and the drums, but lyrically and vocally, there wasn't a lot going on for me. "Satan," "Star Sign," "Metal Baby," "Guiding Star," and "Is This Music?" were the best tracks of the album in my opinion, but nothing else was really that noteworthy for me. I was hoping that this album would impress me, like The Charlatans did, but it just wasn't meant to be.

Time to admit another bias: I've been given a lot of Britpop albums so far, and each time I get another Britpop album, I've just longed for this one. Today was finally my day (the day after my birthday, oddly enough). I absolutely love this album. Every track is just brilliant. This is the perfect album to pop on some headphones for, so that you can hear every little guitar strum and every drum hit. The instrumentation on this album is just so rich, that it's almost beyond words for me to describe. This is exactly what I want in a Britpop album: it sounds like The Beatles in a sense, but it also sounds like something completely removed from them as well (that might be the lamest thing I've ever written, but it was the best I could come up with). Liam's vocals are great, and Noel's vocals on "Don't Look Back in Anger" are superb as well. I wonder what could have been if those two could have managed to not be complete dickbags. I don't think I could pick a favorite track off of this album. It's genuinely a 'no skips' record, and one of my favorite albums from the 90's.

I don't think I've heard of Gang Of Four before, and that's a shame, because I really loved this album. I'm a big fan of post-punk, and this is everything I could have wanted in a post-punk album. I loved the instrumentation and how Gang of Four managed to differentiate themselves from the rest of the post-punk field of the time. I really loved the anger they sang with when discussing social issues of the time (also, is it just me, or were the English way ahead of their time when talking about the plight of the working class?). "Not Great Men," "Damaged Goods," and "Guns Before Butter" were my favorite tracks on here, and I will definitely be listening to this album again in the future.

I've heard of Eels before, and I could have sworn that I'd never heard their music before, but after listening to this album today, I think maybe I've heard some of their songs? I dunno, and I guess it isn't important. I really enjoyed this album. I thought all of the songs were really good and well made. Each song had its own feel, but felt very much rooted in the post grunge era of the 90's. Every song really pulled me in with its unique instrumentation. I can't say that the lyrics did much for me, but this was still very enjoyable to listen to, and I would listen to it again.

I don't think I've ever heard of Screaming Trees before, which is a shame, because I think I would have really enjoyed a lot of the songs on here when if I had listened to it when it came out. I listened to a lot of classic rock as a kid, with psychedelic rock being some of my favorite stuff, and I really love how this album incorporates that sound. The vocals, lyrics, and instrumentation are all really great. 'Halo of Ashes,' 'All I Know,' and 'Sworn and Broken' were my favorite tracks. I think this a standout for the grunge or post-grunge genre, and I would definitely listen to it again.

I don't think I've ever listened to a jazz album before, so I really have no frame of reference for what's considered a good jazz album. I did enjoy listening to this though, and it seemed like everyone involved with making it was a master of their instrument.

I went in to this with really low expectations, but I came away with a mild appreciation for this album. I don't think 50 Cent is a particularly great rapper, but I thought a lot of the songs on here were catchy and decent to listen to. I think of gangsta rap as being a bit on the niche side of things, so I find it impressive that 50 Cent was able to have some songs like "In Da Club" and "P.I.M.P." that are really well known across popular culture. I thought "Heat" and "If I Can't" were really good and catchy as well. My biggest complaint, other than the fact that 50 Cent just isn't that great of a rapper, is that the songs were really self-aggrandizing. Granted, that might just be a facet of gangsta rap that comes with the territory. Overall, this was a pretty good album, and I think it's a good representation of what gangsta rap was like in the aughts, but it's not something I'm keen to listen to again.

Wow! What an album. I've been familiar with Sinead's version of "Nothing Compares 2 U" for most of my life, but this was my first time hearing any of her other music, and I was blown away. Her unique and powerful vocals punctuate every word of her emotional lyrics. The instrumentation on these songs is varied, but each song is gorgeous and beautifully arranged. I figured this would be a good album, but I did not count on it being incredible. I will definitely be listening to this again some day soon.

Heading into this album, the only Earth, Wind & Fire songs that I was familiar with were "Shining Star" and "September" (shoutout 'Superbad' and Demi Adejuyigbe). Funk and soul music are genres that I don't gravitate towards very often, but I thought this was a great album. The songs were all fun to listen to, and I think this album is a standout of funk and soul. As the late seventies were approaching, it feels like a lot of bands that were trying to embrace funk, soul, and eventually disco, didn't have a lot that set them apart from the crowd. However, Earth, Wind & Fire really were in a class of their own, and I think a lot of that is due to Philip Bailey's vocals (for what it's worth, it's become a huge pet peeve of mine that "Easy Lover" is often touted as a Phil Collins song, when it appeared on Philip Bailey's album. I love Phil, but that's a Philip Bailey song that happens to feature Phil Collins). Even though Philip Bailey's vocals are great, the band still finds a way to let the instruments pack a punch when they need to. I love that this album had some longer songs, especially the synth-heavy outro of "All About Love." This is a great album, and a master class on soul and funk.

I've never listened to a true blues album before, but I enjoyed listening to this album. Muddy Waters's voice is fantastic, and I love how simple the instrumentation is, and how it complements the rich and emotional lyrics. When I heard the guitar riff kick in on "Mannish Boy," I knew that I was going enjoy my experience. I hope I get more blues like this as I keep working through this list.

Jazz is not a genre that I know a lot about, and I've never listened to a Miles Davis album before, but this was very enjoyable. I'm hoping there's more Miles Davis coming up on this list!

I'm pretty sure that all boomer-dads were issued a copy of Steely Dan's greatest hits during the 90's, so I'm pretty familiar with some of their catalogue. Growing up, I found their songs like "Reelin' In The Years" and "Do It Again" to be pretty inoffensive, but they weren't my favorite. Several months ago, I listened to Aja from start to finish on a whim, and I really enjoyed it. I found this album very enjoyable as well. I think the jazz-adjacent sound works here, and I liked the longer songs. The only song on this album that I had listened to prior to today was "Bodhisattva," which used to kick my ass on some iteration of Rock Band or Guitar Hero (I was mediocre at those games at best). I've never heard any of the guys in Steely Dan mentioned as being the best at their instruments, but I think that's a mistake. Everyone here seems to be a master of their instrument, hitting each note with precision. Sure, there aren't any Bonham's or Van Halen's here, but that's fine, because these guys know how to craft great songs. I thought the lyrics and vocals were great too, with "My Old School" being a standout song. Overall, this was a great album, and I think Steely Dan's work deserves more recognition as some of the best music of the 70's.

I listened to a lot of top 40 radio in the 90's, so I'm pretty familiar with Sheryl Crow's singles, but this is my first time listening to a whole album of hers. I've always found her music pretty inoffensive, but it's never been something I've gravitated towards. I was underwhelmed to be assigned this album today, but I was pleasantly surprised by how much I enjoyed it. All of these songs are really well written, from the more reflective "Leaving Las Vegas," to the lighthearted "All I Wanna Do." The instrumentation on this album is great too, and I never noticed until today that there's a great use of a vibraslap (at least I think that's what I heard) on "All I Wanna Do." I really enjoyed the funky hook on "Solidify" and the rap-like flow of "The Na-Na Song." I often think of Sheryl Crow as primarily acoustic music, but this album proves that she can do it all. This album was completely under the radar for me, but I thought it was great. Now if you'll excuse me, I'm going to fire up a doobie, attend a political rally, and blast "Soak Up the Sun."

Before listening to this album, I'd only ever listened to "Movin' On Up" (which I absolutely love), and "Loaded," so I had pretty high hopes for this album. I enjoyed the longer songs, and I thought that the longer song structure really gives Primal Scream more space to really lean into the dance and psychedelic elements that are present here, especially on "Slip Inside This House" and "Don't Fight It, Feel It," the latter of which reminded me of some of my favorite elements of LCD Soundsystem's music. The psychedelic piano and keyboard playing on "Come Together," combined with the horns, was my favorite track outside of "Movin' On Up." I didn't really listen to a lot of music from the UK during the 90's, and I'm always so bummed that I'm discovering a lot of these bands later in life. I think I would have loved some of the tracks here as a kid. I didn't love this album as much as I thought I would, but I still think it's great, and I think the unique sounds that Primal Scream put together here really showcase their talent.

Purple Rain is the perfect representation of eighties culture: ambitious, over-the top, and filled to the brim with just about everything imaginable. The drum beats are thundering, the guitar solos are screeching and long, and there's enough moaning and falsetto to make Barry Gibb jealous. "Let's Go Crazy" kicks off with a spoken word intro that any other artist would have sounded silly reciting, but Prince's serious commitment to the fun pays off. The remainder of the album is filled with other raw emotions as well: the lusty "When Doves Cry" pushes the envelope with its sexual imagery, while "Darling Nikki" pushes it with raw lyrics of nymphomania. The album has great instrumentation too: "I Would Die 4 U" has some of my favorite use of synthesizer in all of music, and the keyboards on "Computer Blue" and "Baby I'm a Star" are perfection as well. And to top it all off, the album ends with its nearly nine minute long, self-titled masterpiece. Every time I hear "Purple Rain," I always picture Prince stroking his guitar like a phallus during the halftime show at Super Bowl XLI, ending what is arguably the best halftime show since Michael Jackson rocked the Rose Bowl. In the end, everything on this album is massive, but anything less than that would have been a misfire. This is easily one of the best albums of the eighties, if not all time.

I asked for the Stones' compilation Forty Licks for Christmas and my birthday for two years, and never got it. Then, one Christmas, I received their Four Flicks concert DVD (I did watch some of it, and my 19 year-old jaw about hit the floor when I saw them play "Honky Tonk Woman" while an animation of topless woman riding the tongue logo was blasting across the screen). I had to wait another two months for my birthday, before I was finally able to get what I wanted (ironically, "You Can't Always Get What You Want" was the main reason I wanted this compilation, as it wasn't on the "Through the Past Darkly" compilation that we had when I was growing up). My parents were big Rolling Stones fans when I was a kid (they took my older cousin to go see a concert film of theirs that was playing on an IMAX screen), so I'm very familiar with the popular songs in their catalog. However, this is my first time listening to one of their albums from start to finish. The album's lead track, "Gimme Shelter" is one of rock's best songs. Its simple, yet precise drumming is the perfect backing for the slowburn guitar intro, poignant lyrics, and Merry Clayton's superb backing vocals. The album then launches into the Stones' bluesiest songs, which they execute well, without coming across as cheesy or disingenuous (the same can't be said for Derek and The Dominos). "Country Honk" and "Midnight Rambler" show how well the Stones can perform outside of generic rock music. As if the album couldn't get any better, they close it out with the magnificent "You Can't Always Get What You Want." The choir's falsetto sets the perfect tone, as the song gets off to a bluesy start, before the jangly piano and upbeat percussion carry the album off into the sunset. For my first full Stones album, I couldn't have asked for anything better. I can't wait to be assigned more of their catalog later on.

Finally, someone who admits they made their album while under the influence of psychedelic drugs. Thank you, Todd Rundgren. My only exposure to Todd Rundgren before now was his song "Bang the Drum All Day." Our local adult contemporary station used to play it every Friday at 5:00, and I would tune in religiously every week to listen to it. This album was... different than that. I liked a lot of the instrumentation on this album, and I enjoyed that each song flowed right into the next. The first four songs were really great, and had me hooked, but after that, the album pretty much lost me until "Is It My Name?", which was my favorite track. I appreciate what Todd Rundgren was trying to do here, but the album just didn't feel cohesive. Even with songs transitioning one right into the other, it felt kind of all over the place, without anything holding the album together as a whole. Overall, this was a good album, but not a great album, but I'd be willing to listen to more of Todd Rundgren's catalog.

Other than hearing the opening theme song for "House" for 3 seasons, I've never listened to Massive Attack before today, but I enjoyed this album. It's hard to believe that this was released in 1991, because it sounds like it could have easily come out in the 2010's. I loved the instrumentation, and I was surprised by how much I liked the vocals too. I would definitely listen to more Massive Attack in the future.

I've never heard of Joe Ely before, but this was a decently fun album to listen to. It definitely oozes the feeling of Texas country from that time period, with sounds of rock and rockabilly mixed in. "Cornbread Moon," "Fingernails," and the title track are the standout songs here, but everything else feels a bit like filler. It's not bad filler, but it definitely pales in comparison to the rest of the album in my opinion. Even though I wasn't blown away by this, I'd still give Joe Ely another listen.

In the summer of 2001, I was working my first job at the last vestige of American culture: a store that was both a Dunkin Donuts and a Baskin Robbins. On Saturday's, the radio was always tuned to the local top 40 station, and as I spent 8+ hours of my day serving ice cream, the best part of my day was hearing "South Side" by Moby and Gwen Stefani come over the radio in the kitchen. Twenty-two years later, I still think "South Side" is a really fun jam, but I can't say that I reflect on my time at DD/BR with the same nostalgia. "South Side" is my only experience with Moby up to now (unless you count the Eminem lyric where he disses him), and I had no clue what to expect when I listened to this album, but from the first track, I was hooked. Every song was different, but each one was a joy to listen to. I wish I had more to offer about what I heard on this album, but I don't; I just found every song to be very pleasurable and pleasant. If I had to summarize it, I guess I just think it worked really well melodically for me. I like electronic music, but I was shocked at how much I liked this album. "Porcelain" was probably my favorite track, and it's such a bummer that the album version of "South Side" doesn't feature Gwen Stefani.

I'm 95% sure I listened to this album before seeing Fleet Foxes perform at Austin City Limits Music Festival in 2011. I don't remember a lot about my first listen to this album, or their set at ACL (I went through a good amount of weed that weekend). This time around, I think that this was a beautiful and pleasant album to listen to. The vocals take center stage here, and I think that's to be expected for a folk album. There wasn't anything spectacular going on with the instrumentation, but it still complimented the vocals quite nicely. However, listening to this album again, I'd say that one word remains true: unmemorable. As nice as this album was, I didn't think there was a lot here to remark about. I can't recall any particular song sticking out to me as being my favorite one, and nothing lyrically stood out to me either. Honestly, I'll probably forget about this experience entirely in about ten days. It's a nice album, but I guess it's just not my jam.

I've never heard of The Gun Club before, but based on the fact that they're early 80's post-punk, I expected that I would enjoy this album. Sadly though, that was not the case. As I was listening to this album, I thought about other post-punk works from that period that I enjoy: Gang of Four's "Entertainment!", Talking Heads, Joy Division, and Echo & The Bunnymen. This album just didn't come close to any of that. All of the songs sounded mostly the same, and instrumentally, the only interesting thing happening here is that I could hear a smidge of blues influence on a couple of songs. Lyrically, there were a couple of songs that I thought were interesting: "Promise Me" and "Jack on Fire," but that was it. As much as I was underwhelmed by this album though, I'd be willing to give it another shot someday down the road.

Dear reader, when I saw that my album today was "Rain Dogs" by Mystery Men star Tom Waits, I was less than enthused. I tried to listen to a Tom Waits song a few years ago ("Chelsea Hotel?" Is that a Tom Waits song? An album? Was it on some sort of Christmas song list? Hmm, I should Google that), and I hated it. His gravelly voice was an immediate turnoff for me. But I listened to this album anyway, and I gotta say, I was a fan. I really love what Waits was doing with this album: a concept album about the "urban dispossessed" of New York City. From my adolescence on, New York City has been a major tourist destination, a major city that even the most suburban family can enjoy and feel safe in. But before it became that city, it was dirty, grimy, and dangerous. I remember seeing New York City in movies like Teenage Mutant Ninja Turtles, Big, and Home Alone 2, and the place looked depressing and grim. And that's exactly what Waits captures here. The music is raw and the lyrics are weird, but everything is incredibly well executed. The natural sounds that Waits uses really transport you to the New York that he knew and experienced. If anything, this feels like a New York City version of a folk album. "Hang Down Your Head," "Time," "Midtown", and "Rain Dogs" were all outstanding. I grew up listening to Rod Stewart's version of "Downtown Train," and I was ecstatic to see that Tom Waits's original version was on this album, and his gravelly voice really gave a desperate feel to the song, a complete shift in tone from Stewart's cover (fun fact: my grandfather always said that Rod Stewart sounded like he got his voice from a bottle of Drano). It's safe to say that I loved this album, and my opinion on Tom Waits has completely shifted (okay, so "Chelsea Hotel" is Leonard Cohen. What the hell Tom Waits song did I listen to?).

I was incredibly excited to see this as my album for today. My parents went through a country phase in the nineties. Much to my disappointment, the classic rock and eighties music that they used to listen to didn't get anymore time on the stereo system in our living room, and they were replaced by Brooks & Dunn, Alan Jackson, and Trisha Yearwood. I hated it. Thankfully, I have an appreciation for those artists now, but at the time that my parents listened to them, I hated it. Post 9/11, most country music has been filled with faux patriotism, but thankfully this album is a stark contrast to that. Filled with vulnerable lyrics, excellent instrumentation, and experimentation with other genres, Kacey Musgraves shows that country music can still showcase all the things I like about older country music: emotional vulnerability, empowerment of women, and the complicated feelings of love. Every song on this album is distinct in sound and in tone, and it's one of those rare albums that I love to listen to all the way through. From the disco-infused "High Horse" to the witty word play of "Space Cowboy," Kacey Musgraves shows that she can do it all. Songs like "Wonder Woman," manage to show a certain vulnerability that I think female country artists abandoned for a time, when those thoughts of introspection were replaced with ballads of keying the cars of unfaithful lovers. While she may not be Wonder Woman, this album shows that Kacey Musgraves can do a lot, and she can do it really well.

I've never listened to an Ice Cube album before, but having listened to NWA, and the fact that Ice Cube seems to permeate every corner of pop culture, I had a pretty good idea what I was in for. It's crazy and also sad that several of the social and political topics on this album are still hot topics today: police violence, the brutality and far reaching scope of the American prison system, segregation, and so on. When it comes to rapping about political and social issues, Ice Cube can channel raw anger in a way that few others can; his lyrics have the candor of a man-on-the-street interview, but delivered with the fierceness of someone hosting a rally. The beats behind the lyrics are really well done too; "It Was a Good Day" and "Check Yo Self" are some of the catchiest, and therefore most recognizable songs in hip hop. The spoken interludes fit really well here too, and "The First Day of School" really unnerved me, which served as a great way to prepare for this album. Ice Cube really executes his vision well on this album, and his work is cornerstone for rap and hip hop.

Whenever I think of Grandmaster Flash, I think of the episode of The Leftovers, where Meg and Tommy are driving down the road late at night blasting "White Lines" (well what about Shaun of the Dead? I think that was supposed to be a reference to the Duran Duran version, and also, when I first saw Shaun of the Dead, I had no idea what that joke was referencing, hence my association with The Leftovers). This album is a technical masterpiece. The funk bass lines, the sampling, the scratching... it's incredibly impressive and very fun to listen to. The use of Tom Tom Club's "Genius of Love" on "It's Nasty" is absolute perfection; it's an incredible backbeat for the band to rap to. The way that "The Message" has permeated our culture speaks to how much influence Grandmaster Flash has had on music throughout his life (coincidentally, I had Ice Cube's 'The Predator' the day before, and I love the "Check Yo Self" remix). My only beef with this album is that the lyrics were kinda cheesy at times. For a song called "It's Nasty," the lyrics were pretty tame (maybe there's an irony in that since this song was addressing criticisms against the band?), and the Stevie Wonder tribute was pretty odd too. I have no beef with paying tribute to Stevie, but the structure of the lyrics is almost like an ode, and it just felt off to me. Still, this is a fantastic album, and I think that Grandmaster Flash & The Furious Five were very deserving to be the first rap/hip hop artist to be inducted into the Rock and Roll Hall of Fame. Also, it was a huge treat to see Grandmaster Flash on The Masked Singer this season, and apologies if that was a spoiler.

Several years ago, I asked for 'This Year's Model' for Christmas, which I mostly wanted for "Pump It Up." I did wind up receiving it, but I can't remember if I ever listened to the whole album, so this was probably my first time listening to an entire Elvis Costello album. I enjoy a lot of late seventies and early eighties new wave, and this album was no exception to that. I really enjoyed the groovy bass lines and the energetic keyboard riffs, and I like Elvis Costello's vocals too (my wife hates his voice, and when I told her I listened to this album today, she immediately launched into her Elvis Costello impersonation/mockery). I wasn't super into the lyrics here, but I'd say that "Green Shirt," "Good Squad," and "Sunday's Best" (despite its... interesting word choice) were my favorite songs here. I enjoyed this album, but I think I'd rather listen to The Cars' debut instead.

My first experience listening to Cocteau Twins was in the past year or so. I can't remember if I sought them out intentionally, or if one of their songs came up randomly for me on Spotify, but I've listened to all of 'Heaven or Las Vegas,' and I really love it. I enjoyed this album too, albeit a little less than 'Heaven or Las Vegas.' I'm a huge fan of dream pop, so this was right up my alley. I love the icy, ethereal feel of the instrumentation, and that they achieve this not just with keyboards, but with percussive sounds too. I also love that Elizabeth Fraser's voice acts as an instrument on these songs as well. The band really created a beautiful piece of music from start to finish on this album, and I really want to listen to even more of their work. I hesitate to give this album five stars, and it's only because I feel like 'Heaven or Las Vegas' is a showcase of what they can really do, and that the band was still crafting some of their sound on 'Treasure.' I know that sounds kind of shitty of me, but it's just the way I feel. This is still a wonderful album, but it's just not a five star one to me.

This is the second Bob Marley & The Wailers album I've gotten on this list (the first being Natty Dread, which was actually my first album here), and I enjoyed Catch A Fire more. The instrumentation was great throughout the album; the bass lines really stood out to me, and I always like the clavinet use in reggae too. I've heard "Stir It Up" before, but I didn't realize how great the guitar solo in it is until now. The real star on this album is they lyrics; I love how the words express so much pain and anger, but the vocals and instrumentation are soft and peaceful. I'm not sure what message Bob Marley was trying to convey with that contrast in tone between the two, but to me, I felt like it made me more empathetic with the issues that were being sung about. I'm not a very big reggae fan, but I thought this album was great, and it's a stark contrast to the typical music from the seventies that I tend to gravitate towards. bu

My parents were big Simon & Garfunkel fans when I was a kid, owning copies of their greatest hits and The Concert In Central Park on vinyl. They loved The Graduate as well, which I made the mistake of watching with them when I was in high school, an experience that was made even more awkward by the fact that my dad had an affair with one of his married high school teachers when he was in his early twenties, but before he met my mom (there's so much more about that story that I wish I could share, but it's sadly irrelevant to the topic at hand). This was my first time listening to an entire album of theirs, and I absolutely loved it. The title track is wonderful, and stands as a sad analogy for the duo's tense relationship, and eventual dissolution after the release of this album. 'The Boxer' is fantastic too, with its sad lyrics of self reflection and haunting chorus of 'lie-la-lie's.' I had completely forgotten about 'Cecilia,' and I was delighted to see it on this record; it's one of those songs that you can't help but smile to as you sing along and sway in time with the beat. The inclusion of their live cover of "Bye Bye Love" is fantastic as well, and Simon & Garfunkel really put their own unique spin on it with their fantastic harmonies and folksy guitar sounds. "Keep the Customer Satisfied" with its great bass line, and the addition of some powerful brass instruments. This whole album is just fantastic from start to finish: the highs are high, the lows are low, the vocals are amazing, every note of every instrument is perfectly placed, and the production is immaculate. I had completely forgotten just how big Simon & Garfunkel were at the height of their career. I mean, good grief, a half a million people showed up for their concert in Central Park. A half a million people went to see two guys who hadn't put out any music in over a decade. I hate that I hadn't listened to this album sooner. This album will be firmly in my regular rotation. I can't wait to get assigned Graceland, and if that's not on this list, I will riot.

"Mister I ain't a boy, no, I'm a man." If I could summarize this album with one line, that would be it. Bruce Springsteen's follow up to 'Born to Run' expands on his themes of disillusionment and unfulfilled promises with added maturity. Bruce Springsteen is one of my favorite artists, but this was my first time listening to this album in its entirety. Where 'Born to Run' has a title track that speaks of an optimistic love, 'Darkness on the Edge of Town' has "Prove It All Night," where the narrator and his love have to make things work between them, just to survive. Springsteen sings with the emotions of a man who had optimism, but now just has himself to rely on, in a world where the down-on-their-luck are left behind, unable to reap the benefits of a society whose collective wealth grows. The lyrics on this album are great, and the instrumentation and stripped down production gives it a much more raw feel than its predecessor.

This is my second time listening to this album (I think my first time listening to it was last year, before I started this project), and the second Eminem album I've listened to on this list (the first being The Marshall Mathers LP). "My Name Is" happens to be the first Eminem song I ever heard, and at 15 years old, I thought it was hilarious and brilliant, but it also blew my mind that someone would make music as profane as that. Listening to this in my late thirties is a different ballgame. While the lyrics are still brilliant, clever, and profane, this album is about as dark as they come. I'm married, and my wife and I have a young daughter of our own, and listening to "'97 Bonnie and Clyde" just about made me want to throw up. I can't even imagine what experiences in Eminem's life could lead him to create a story like that. I suppose I could say the same thing about every song on this album, whether the topic is drugs, parental abandonment, or violent bullying. Even though the lyrics are dark, I appreciate their ability to make me feel horror, and disgust so intensely, but at the same time, I feel an such empathy to anyone who grew up under the same circumstances that Eminem did. The beats on this album are great too; you can tell that so much work went into the production and studio work. All the elements of the music blends together to tell vivid stories, and there's nothing here that feels like it doesn't belong. This album and its successor are still incredibly controversial, so I've copied my thoughts from my review of the MM LP: Since most of the other reviews mention it to some degree, I guess I can't talk about this album without mentioning the homophobic, misogynistic, and violent content of the lyrics. A lot of the lyrical content here is pretty uncomfortable to listen to. I think a lot of the more offensive content is spouted off by characters/personas that Eminem has invented, but that doesn't take any of the edge off of it. Is it okay to play the role of a character who says words and phrases like this? I don't know. When we have visual movies about cultural tumult (World War II, The Civil Rights movement in the U.S. etc.), people being represented on screen often spout hateful rhetoric, and we generally accept it, because it's historically accurate, and history is often a long road of terrible deeds that come from terrible thoughts and words. Is it okay in this sense too? Homophobia and misogyny were clearly alive and well at the time this album was recorded, and people who held these types of views were certainly thriving as well, and in my view, that gives these lyrics an unfortunate realism. But what does it mean when someone can create personas like this? Ultimately, I don't know how to feel about art like this. I think this album is incredible as a piece of music, but I don't enjoy listening to things as dark as this.

I've never heard of Gil Scott-Heron before, but I really enjoyed this album. Musically, it was really fun to listen to; the flute usage throughout, and the piano arrangements really meshed to create a sound that was rooted in soul and blues, but still its own. For an album about such heavy subject matter, it really had some fun grooves, and I caught myself bobbing my head along throughout most of the album. As great as the music was here, the lyrics are the real standout to me. I really enjoyed when spoken word was used in some of the songs, and it felt very apt, since a lot of civil rights leaders used spoken word and poetry when they would orate. "The Bottle" and "H20 Gate Blues" were my two favorite tracks, and their lyrics are still incredibly relevant in today's political discourse (I had never heard of Frank Rizzo before, but wow, that guy sounds like a real piece of shit). Overall, I think this album set out to deliver a message about America in the seventies, and with its great music, it achieves that goal.

Growing up in Houston, I've probably heard Butthole Surfers' "Pepper" at least a few hundred times (I'd bet a large sum of money that The Buzz still plays it at least daily), but this was my first time listening to one of their albums from start to finish. I'm really glad to see some Texas rockers land an album on this list and... well yeah, that's about as glad as I got during this album. Butthole Surfers are great musicians, and their guitar riffs and drum fills are fantastic, but the lyrics on this album were just a little too out there for me. "Human Cannonball" was the highlight here for me, and I enjoyed the second half of the album more than the first. Even though this album wasn't really my taste, it's not without its merits. Butthole Surfers set out to make an album that showcased their unique psychedelic and noise-rock sound, and they succeed. They're talented musicians and songwriters, but they are a tad niche. I'm giving this album four stars, but I wish I could give it 3.5.

Whenever it was someone's birthday in our household, my parents would throw side 3 of the Beatles' 1968 self-titled album on to the turntable, and blast "Birthday." It was a fun tradition, albeit a strange one for a household that was normally full of anger and abuse most days of the year. Even though we had this album on vinyl (my dad would always lament that he had passed up the opportunity to purchase a copy of it on white vinyl for $20), "Birthday" and the first five seconds or so of "Yer Blues" were the only songs I had ever heard off of it until I was an adult. I can't remember when it was, but at some point, my brother was looking at the track listing on this album and pointed out some of the more eclectic titles of "Happiness is a Warm Gun" and "Everybody's Got Something to Hide Except for me and my Monkey" to me, and we were both incredibly confused as to what was going on on this album, but I don't remember our curiosity ever taking us further than that. This is my third Beatles album that I've gotten on this list, and I had really high expectations going into it. This album has some of my favorite Beatles songs on it ("While My Guitar Gently Weeps," "Dear Prudence," "Ob-La-Di Ob-La-Da," and "Birthday") but I'm pretty sure this was my first time listening to it from start to finish. Just like the other Beatles albums I've listened to on this list (A Hard Day's Night and With The Beatles), this album is a masterpiece when it comes to the instrumentation. Every note is perfectly placed, and there's all sorts of wonderful things going on in the background that elevate the overall sound of the album. Each member of the band really seems to be at the height of their craft here, with George Harrison's guitar playing on "While My Guitar Gently Weeps" as the shining example of this. But as a whole, I don't think my expectations of this album were met. I can appreciate the ambition that went into crafting a record with so many different sounds and genres, but it just feels overblown and and self-indulgent. Hell, the whole band only performed on just over half the songs here, and it kind of shows. And at a total running time just over an hour and a half, it was a lot to get through this album in one sitting. I did enjoy the folk-inspired songs quite a bit though; it was really interesting to hear The Beatles put their own spin on the genre, and I thought they executed those songs really well, both in musical style and in lyrical content. I appreciate how ambitious this album was, how great some of the songs are, and how influential it was on music, but as a whole work it just fell a little bit short for me.

Well, that was certainly an experience. I've never heard of The Residents before, but I don't think I'll be forgetting about this album for a long time. This album really wasn't my taste, but I did enjoy "The Booker Tease" and "Hello Skinny," and "Laughing Song" really made me think of Les Claypool's vocals on "My Name is Mud." Overall though, I didn't care too much for the odd song structure or lyrics. The instrumentation was good though, I can definitely see why this is an important album in the scope of popular music. I would be willing to bet that Ween and Primus were heavily influenced by The Residents, and I'd be that other bands like Devo and Talking Heads were influenced by them to a degree as well. Even though this album wasn't my jam, I think it's worthy of four stars. It sets out to be avant garde, and it hits the mark square on.

Well, that was certainly an experience. I've never heard of John Zorn or Ornette Coleman before, and I'm not a big jazz listener, so this album was pretty much lost on me. I did enjoy a few of the songs though: "Good Old Days," "Feet Music," and "Broad Way Blues" were the standouts to me, and everything else pretty much sounded the same. This album was different from the few other jazz albums I've encountered on this list, but it just wasn't for me.

I've never heard of Happy Mondays before, but based on my reading about them before listening to the album, I figured I'd enjoy it. Unfortunately, I was pretty underwhelmed by this album. It was inoffensive, and I enjoyed the instrumentation, but lyrically and vocally, this album wasn't really doing it for me. I thought the second half of the album was definitely better than the first, but it still wasn't enough to hook me in.

Do I often understand what Eddie Vedder is singing? No. Do I care? Also no. I bought Pearl Jam's Rearview Mirror back in 2004 when it came out, but this was my first time listening to a whole Pearl Jam album. It's wild to me to take a look at the Billboard Hot 100 Singles from 1988-1992 and see the music that's on there. Pop music had pretty much taken over by 1992, with R&B, Hip Hop, and a few other smaller genres filling out the rest of the charts. Despite that, some of the best rock music of all time was being made in the early nineties as hair metal faded away and grunge music started to take over. As great as Nirvana was (Dave Grohl is one of my favorite musicians of all time), I'd prefer to listen to Pearl Jam any day. This album is stuffed to the brim with great songs: "Even Flow," "Jeremy," "Once," "Black," and my personal favorite, "Alive" are the standouts here, but "Garden" and "Deep" are just as good as well. The wailing guitars on "Alive" start off with a bang, building to one of the best guitar solos of all time. The drums crash at all the right moments, and Eddie Vedder's voice warbles and bellows in the most beautiful way possible. The lyrics here are a wild journey themselves too, telling the Oedipus-adjacent story of a man who learns the truth of his parentage. "Even Flow" has amazing guitar riffs as well, pouding your eardrums right out the gates. "Jeremy" is fantastic too, with Vedder's haunting vocals bringing a physical chill to the story of a young man who kills himself in front of his class. This album is absolutely fantastic from start to finish, and it's definitely going to be a part of my regular listening rotation. Now if you'll excuse me, I'm going to listen to "Better Man" and sob into my pillow.

This was my second PJ Harvey album to listen to on this list, the first, being 'Rid of Me.' I enjoyed this album, albeit not as much as I enjoyed 'Rid of Me.' I thought the vocals here were fantastic, as were the guitars and drums. The songs featuring Thom Yorke were really great too. "Big Exit" and "You Said Something" were my favorite tracks here.

I'm familiar with a few of The Kinks' songs, but this was my first time listening to an album of theirs from start to finish. I thought this album was fine; it didn't wow me in any sense, but it wasn't terrible to listen to. Instrumentally, it wasn't too far off from the songs of theirs that I enjoy ("Lola," "All Day and All of the Night," and "You Really Got Me"). I liked the use of the harpsichord, and the drumming was tight and precise, which I think fits their overall musical style nicely. "Sunny Afternoon" was definitely my favorite track; I liked how the title stood in stark contrast to the dark melodies and cynical lyrics. "Fancy" and "You're Looking Fine" were really good too. I think I'd prefer to belt out "Lola" though.

I grew up hearing a lot of the Beach Boys' "surf music," which I enjoyed. At some point in my late twenties, I asked for 'Pet Sounds' for Christmas, and I was blown away that the same guys who sang "Surfin' Safari" and "409" could make an album like that. I've never listened to any of Brian Wilson's solo work, but I consider him to be the one that led The Beach Boys into their post "surf music" era, so I had high expectations for this album. I was not let down. This album is incredible. Wilson's ability to create beautiful harmonies is showcased throughout this album. The experimental and varied instrumentation is showcased here too; there's plenty of strings, keyboards, guitars, whistles, and Christ-knows-what-else to go around on this album. But even with all of the different instrumental sounds, the album never feels bloated or busy; everything is in its rightful place to create an incredible experience. I don't know much about the history of how this project evolved from its foundations in the sixties to what Wilson put together over 35 years later, but this album reminded me of what I loved about my first time listening to 'Pet Sounds.' I wish that I would have had time to listen to this album a second time today, so that I could put together some thoughts on individual songs, but it just wasn't meant to be. However, I'll definitely be revisiting this album soon.

I'm not very familiar with Hole's music, so this was my first time listening to an album of theirs. This was a good album, with a few solid songs on it. I enjoyed the slower and more melodic songs the most, with "Doll Parts," "Miss World," and "Asking for It" being my favorites. Lyrically, "Asking for It" is probably the best track here, and it's pretty sad that a topic like victim blaming in sexual assault is still so prevalent almost thirty years later. Courtney Love has been such an interesting public figure these last thirty plus years, but she and the rest of the band really paved the way for other female musicians with their work. Even though this album wasn't my favorite, Hole is a talented band who really made their own way in the grunge scene. I wish I could give this album 3.5 stars instead of just 3.

I've never heard of Antony and the Johnsons before, but this was a really beautiful album. The vocals and instrumentation went together beautifully, and the lyrics were incredibly deep and poignant. This isn't the sort of thing that I'd seek out again, but I still think that it was beautiful music.

I happen to have a vinyl copy of The Yes Album, but I probably haven't listened to it in about twenty years, if I've ever even listened to it in its entirety at all. And that's a shame, because I think that Yes is one of the most underrated bands in prog rock and classic rock as a whole. Granted, I think their music tends to work better as whole albums than as singles, which might make them a little less accessible (oh, and song length too). I this is a really good album, and I was happy to see it on this list since it has my favorite Yes song, "I've Seen All Good People" on it (for the record, I would have preferred to see Fragile on this list, but whatever). This was their first album to feature Steve Howe on guitar, but in my opinion their lineup was at their best with Rick Wakeman on keyboard and synth. Despite not having Wakeman in the lineup, Bill Bruford does a superb job of creating drum fills that blend perfectly with the keyboard-heavy music of this album. Musically, this album ticks all the boxes for me: each member of the band feels like an expert of their instrument, creating a sound that's incredibly unique. The lyrics are definitely kind of 'out there,' but that's on brand for these guys and prog rock in general. Still, "I've Seen All Good People" is incredibly fun to sing along with. Overall, this is a great album, even though it's not Yes's best work in my opinion. Still, anything beats "Owner of a Lonely Heart." Woof.

I just had The Yes Album on Friday, and after I submitted my review this morning, I thought the same album popped up, but it was just Close to the Edge (it still baffles me that both The Yes Album and Close to the Edge are on here but not Fragile). What the heck are the odds that I would get these back to back? No, that's not rhetorical, someone please tell me the odds, I'm not a big statistics guy. I enjoyed this album a lot more than The Yes album. Even though the longer songs may make it less accessible, I think Yes really utilized their best lineup to create a great album here. I love that each song starts off with more guitar, allowing both the lead and bass guitars to set the tone before the keyboard and synth drive the tone of the songs. This album is a much better showcase of John Anderson's vocals, especially on "And You And I," and the backing vocals on "Siberian Khatru" were really great as well. I mentioned in my review for The Yes Album that I thought that Yes is one of the most underrated bands in classic rock, and this album only made me more sure of my opinion on the matter. I love that their three best albums (The Yes Album, Fragile, and Close to the Edge) all manage to highlight their talents in different ways. Now if you'll excuse me, I'm going to fire up Fragile while burning a cassingle of "Owner of a Lonely Heart."

Oh man, I hadn't listened to this album in probably ten years or so, and I forgot how much I loved it. My first exposure to KoL was probably when "Sex is on Fire" was getting played non-stop on the local alternative rock station. I hated that song so much, but my cousin persuaded me to check out some of KoL's older catalog, so I bought Aha Shake Heartbreak, and absolutely fell in love. The first three tracks are just absolute perfection, closing out their incredible run with "Taper Jean Girl," which has my favorite drumming of the whole album. The guitar on "Taper Jean Girl" is perfect too, and I can't help but bob my head along each time I listen. As much as I love the first three tracks, "The Bucket" is my favorite track on the album; the drum fills during the chorus, combined with the high-pitched guitars provide the perfect contrast to their counterparts during the verses. I feel like KoL set the perfect blueprint for other established Indie rock artists like The Black Keys and Portugal. The Man to break into the mainstream. I know that Caleb Followill's vocals aren't for everyone, but I really love his singing on this album, especially on "Day Old Blues;" there's just such a unique timbre to his voice that I really enjoy. For me, this album is the picture perfect example of Indie Rock from the aughts, right up there with "Is This It" and "I'm Wide Awake, It's Morning."

Yesterday, I got one of my all-time favorite albums. Today, the law of averages caught back up with me. I don't have many positive things to say about this album. The only track that I thought wasn't completely cheesy was "Rosemary," with "I Build This Garden For Us" in a close second. Musically, this album wasn't terrible. It was pretty inoffensive, but also completely forgettable. Lyrically, it felt forced and hacky. I think it's awesome that Lenny Kravitz wanted to record some socially aware music, but he just really misses the mark here, and nothing feels very genuine. It's still impressive that Lenny Kravitz pretty much created and recorded this whole album by himself, but it's a shame that there's not a whole lot here to write home about.

In college, I really liked Eric Clapton. I read his memoir, I listened to a fair amount of his solo work, and I really wanted to get into the music that he had made as a part of different groups (Cream, The Yardbirds, Blind Faith, etc.). The furthest I made it was purchasing that 20th Century Masters greatest hits for Cream, of which I listened to "White Room," "Crossroads," and "Sunshine of Your Love." I always wanted to listen to some of their whole albums, but never got around to it. Now, I finally have no excuse not to listen to an entire Cream album. I really enjoyed listening to this, and I hate that it took me this long (this was infinitely better than Derek and The Dominoes, which I still don't think I've ever recovered from). Ginger Baker, Jack Bruce, and even England's best xenophobic guitarist, Eric Clapton really show off their talents here. I love that there's a good mix of vocals from both Bruce and Clapton. When he's not spewing racist garbage, Clapton really does have a voice that's enjoyable to listen to. I really enjoyed the psychedelic sounds here; "Sunshine of Your Love," "Strange Brew," and "Tales of Brave Ulysses" were my favorite tracks here. Overall, this was a great album, and I'll probably listen to it again soon.

I don't think I've ever listened to any of Missy Elliott's albums before (maybe Supa Dupa Fly if I have), but I thought this album was fantastic. The beats were catchy, the rapping was great, and the lyrical content was outstanding. "Gossip Folks" and "Work It" are both so much fun, but they still feel like they belong on an album with a bit more serious of a tone. Is it gimmicky that she raps backwards in "Work It?" If that's what you think, keep it to yourself, because I think it's genius. I loved that Missy Elliott talked about loss (both personal grief and collective grief in a post 9/11 world), how her vision of hip hop shapes how she makes music, and criticisms of women in music. The duets were really great, especially "Nothing Out There for Me" with Beyonce. Missy Elliott raps with a personal brand of swagger that I don't think I've ever heard before; if I had to summarize it, I'd say it's a 'powerful confidence with a the perfect sprinkle of realistic humility.' I've been trying to stay away from albums on this list that I haven't listened to before, but I'm really tempted to listen to Supa Dupa Fly tonight, because this album has been rattling around my brain all weekend.

With the exception of "All I Really Want," I've heard all of the singles off of this album countless times, but I've never gone through it from start to finish. For my money, this is one of the best albums of the nineties, and in an era full of incredible albums from female solo artists, that's really saying something. As many other reviewers have pointed out, the tone of the guitar parts and percussion on this album are really distinct to the nineties (the best example is on "You Oughtta Know," and the best way I can think to describe it is almost like a shimmering quality), but you could still pick out any part of these songs and easily identify them as Alanis Morissette songs, and I think that's part of what makes them so great. Alanis's vocals are fantastic on this album, and I love how her backing vocals wrap around the main vocals on tracks like "All I Really Want" and "You Learn." Even though every song on this album is great in its own way, from the feminine confidence of "Right Through You," to the soft power of "Mary Jane," the singles are the star of the show here. From the vividly shocking "You Oughtta Know" to the harmonica heavy "Head Over Feet," these songs are incredibly fun to sing along to, and they still haven't lost their power over 25 years later. I know "Ironic" has become kind of a punching bag over the last decade or so, but I'll be damned if there isn't something about that it still makes me feel a sense of shared anxiety with 'Mister-play-it-safe.' "Hand In My Pocket" might be my least favorite of the singles on this album, but I love that it elicits a mental image of Alanis hanging out in Haight Ashbury in the late sixties from me. My favorite track is "You Learn," and I could listen to that backing vocal of 'what a jagged little pill' every day for the rest of my life and never get tired of it. This is such a fantastic album, and I'm glad I got to start my week with it!

I know Syd Barrett's name from Pink Floyd, but I've never listened to any of his music before (not even Piper at the Gates of Dawn). I know the man was going through some pretty heavy stuff when he made this album, and I feel a tad guilty being critical of it, but woof, this was not my cup of tea. All of the songs just kind of blended together. Nothing really stood out to me, and there was nothing about this album that even separates it from other psychedelic music of the era. It honestly sounds like someone was making a movie about England in the late sixties, and just as they were wrapping production, they realized they forgot to have a soundtrack, but they only had $400 left in the budget to put towards the music, and this was the result. I listened to about 30 minutes of this on my drive to work, and when I got out of the car, I went to check how many more songs were left, and when I saw that I was only about halfway done with the album, I fell to my knees and cried out to God, demanding to know why he would make me suffer more than Job. I'm going to listen to Spoon's Hot Thoughts to cleanse my palette.

This is my second Bjork album that I've gotten on this list, but I didn't care for this one too much. It was pleasant to listen to, but no particular track stood out to me. Bjork's vocals and arrangements are generally really great, but something on this album just didn't click for me.

I've never heard of Cornershop before, but this was a nice surprise. I think it's cool that two guys of Indian descent made a Brit Pop album, because they clearly had something really unique to add to the genre. There was a great mix of funk and traditional Indian influence here, making for a very enjoyable listen. I enjoyed the dance elements featured here too, and Cornershop did a fantastic job taking those dance elements and spinning them into something new.

I've listened to this album before, but for some reason, during my first listen, it didn't really stick out to me. However, this time, this album really stuck the landing with me. The music is beautiful, Frank Ocean's vocals are fantastic, and the lyrical content is deep and meaningful. This is a great album from start to finish, and I really enjoyed listening to it. "Sweet Life" and "Pyramids" were my favorite tracks, and I'm looking forward to listening to this again soon.

This is the third album by Bob Marley & The Wailers that I've gotten on this list, and it was my least favorite of the bunch. Before I listened to it, I read the other user reviews, and I assumed it would wind up being my favorite, but I just wasn't as into it as I was Natty Dread and Catch a Fire. The lyrics were really good, and I enjoyed the horn arrangements that were used. "Three Little Birds" and "One Love/People Get Ready" were my favorite tracks, and they're the only tracks that I was familiar before listening to this album. Again, it's a good album, but I prefer Natty Dread and Catch a Fire.

I've never listened to a Megadeth album before, but I'm slightly familiar with the band's founding. I don't listen to a lot of thrash metal, but I do enjoy it from time to time. I enjoyed this album, and it was a very interesting slice of rock history to listen to something that has influenced hard rock for nearly forty years. The guitar riffs are absolutely incredible, and it's evident just how talented these guys are as musicians. I can't imagine how physically demanding it must be to make music like this, much less play it in a live show. I imagine you'd have to have the power of a sprinter with the stamina of a distance runner. But I digress. The songs on here that land really land ("Wake Up Dead," "Peace Sells," the "I Ain't Superstitious" cover, and "My Last Words), but for me, everything else just kind of blended together. This is still a great album, but based on what I've heard, I'm looking forward to Rust in Peace more.

I've never heard of The Sonics, so I was relying on user reviews to give me an expectation of what I was in for. The reviews are pretty polarizing, so I wasn't sure if I was going to enjoy this a lot, or think that it was overrated. To my pleasant surprise, I really enjoyed this album. You can definitely hear the punk influences that are present here: the fast and sometimes chaotic drum fills, cymbal crashes, buzzing guitars, and raw vocals. I'm usually not a big fan of albums that have a lot of covers (I'm looking at you, A Girl Called Dusty), but this really landed with me. A lot of it reminded me of Iggy and The Stooges' Raw Power, and I really love that album. I think this album has solidly earned its place on this list!

I'm pretty familiar with a lot of Metallica's singles, but this was my first time listening to one of their albums from start to finish. I'm not very big into live albums, but this album was great. I knew a little less than half the tracks on here, and it was great to be able to listen to those songs in a new light. I don't know what all went into the process of converting these songs into being playable with a symphony orchestra, but the end result works really well. The band still sounds great, and Hetfield's growling vocals sound as powerfully brooding as ever. The only drawback here is that I didn't really get a lot from the songs that I didn't already know. They sounded fine, but as someone who's not a huge Metallica fan, I didn't have anything to compare them to. My favorite tracks here were "Nothing Else Matters" and "One." A few random thoughts about Metallica in general: I find it funny in a sad way that a lot of people my age hate James Hetfield for getting Napster shut down. He came off like a villain in that story while the real villains are the asshole record company executives. On my review for Megadeth's Peace Sells... But Who's Buying earlier this week, I said that thrash metal musicians are athletes first and musicians second, because of the physicality of their music, and Metallica is living proof of this. These guys just put out a new record this year, and they look fit as hell. The guys from Motley Crue, however, look like they spent the night in the gutter, and they sound like these days too. It's incredibly impressive to me that Metallica has had so much mainstream success as a thrash metal band, and they've managed to survive the rise and fall of hair metal, grunge, and mainstream alternative rock.

I own this album, but this is my first time listening to it from start to finish (I'm pretty sure I bought it just for their cover of "Comfortably Numb," but I eventually also fell in love with "Take Your Mama"). I'm so mad at myself for not having listened to all of this album sooner, because I really enjoyed it. Every song has so much going on lyrically, but every song is also really fun instrumentally. I'm a big fan of keyboards and synthesizers, and the keyboards here are fantastic, giving each song a familiarity of disco, while still managing to create a very unique sound. "Take Your Mama" is my favorite track on this album, and lyrically, it's just absolutely brilliant; the band does a great job of taking such a serious topic as coming out to a family member, but stripping away all of the anxiety, and just jumping in with both feet. Pure mastery as far as I'm concerned. "Filthy/Gorgeous," "Comfortably Numb," "Laura," and "It Can't Come Quickly Enough" are also fantastic tracks.

I've never heard of Fela Kuti before, and I'm not terribly familiar with this type of music (is William Onyeabor considered similar? I've listened to one of his albums), but I enjoyed this album. The music was very different than what I typically listen to, but I thought the instrumentation was fantastic, and it was cool to hear Ginger Baker working outside of Cream. I wish I had something profound to mention here, but all I can say is that I enjoyed listening to this.

Back in 2017, before we knew that Ryan Adams was a nasty man, I listened to his album Prisoner, and I loved it. Thankfully though, I never listened to anything else of his, and I think that I only listened to Prisoner that one time. I debated even pulling up this album in my Spotify, and once I had it pulled up, I really wrestled with if I wanted to listen to it or not. Knowing what I know about Ryan's behavior, how could I look the women in my life in the eye and tell them that I listened to this? I eventually settled on listening to it, because I started this project with a desire to experience every album on this list, and I wanted to keep this journey going all the way. Besides, I've already listened to both Eminem albums on this list, and while they were both great, they were both unpleasant experiences. Also, there are other creeps on this list (Steven Tyler, Phil Spector), likely creeps (David Bowie, Prince), and creeps we don't or may never know about. The worst thing about this album is that Ryan Adams was a manipulative monster to several women in his life, and he got away with it for a really long time. The second worst thing about this album is that I thought it was really good. Even though I thought it was good, I hated myself the entire time I was listening to it, and I'll probably hate myself for the next week or two for having listened to it. Usually in my reviews, I'll mention what I liked about the music, but I'm not going to do that on this review, because now that my listening experience is over, I don't want to go back through it. I hate that we live in a world where people in positions of power do things like Ryan did, and I hate that we as consumers of art are stuck in sticky positions, trying to navigate how we feel about art we loved at one time, when we learn that the artist did disgusting and cruel things. This is a five star album, but it's sad that it was made by a one-star human being, who's so small, that he felt the need to wreak havoc on the lives of others.

I love eighties music, but until recently, I really hadn't heard much Sophisti-pop, minus a few singles here and there (Spandau Ballet, Level 42, and ABC). But a year or so ago, a friend of mine who knows my love for eighties music and synths made me a Sophisti-pop playlist on Spotify, and I really enjoyed it. I've never heard of The Blue Nile before, but this album was absolutely fantastic. Every song was great, and the album as a whole had a really unique feel and vibe to it. I have a few notes on my favorite tracks: "Tinseltown in the Rain" has such great piano and guitar riffs. I think there was a part where a synth was playing stringed instrument sounds, and I loved that too; in my opinion, something like that is what Sophisti-pop is all about. The looping synthesizers in the background on "From Rags to Riches" were really great. The saxophone on "Heatwave" was fantastic; that's another Sophisti-pop element that I enjoy. The vocals really reminded me of Peter Gabriel, and I was shocked to learn that he really promoted the band, and even recorded a song with them later. However, when I played this album for my wife, she was getting Bowie vibes from the vocals, and I can hear that too. Either way, this album was great, and I can't wait to get more music like it.

I love The Beach Boys, but I've never heard of this album, or any of the songs on it. With a name like Surf's Up, I had certain expectations, but those expectations were quickly dashed. It was really different to hear The Beach Boys sing about social and political issues, but I feel like it worked really well. As with a lot of Beach Boys work, the harmonies here were great, and the production work of layering so many elements together to create beautiful sounds. While I think that this was a really good album, I don't think it's the band's best work. While the political and social commentary worked, and it was musically great, it just kind of lacked a total cohesiveness in my opinion. The best way I can describe it is that it just didn't feel quite as full as something like Pet Sounds. I wish I could rate it 3.5 stars, but I always find myself rounding up.

This is the second Talking Heads album that I've gotten on this list (the first being Remain in Light), and I absolutely loved this album. I loved the rhythm-heavy sound of this album, both for the bass and lead guitar parts. The rhythm focused sound worked well regardless of whether the song was a faster tempo, like the lead track "Thank You for Sending Me an Angel," or a slower tempo, like the cover of "Take Me to the River." And speaking of the title track, "Thank You for Sending Me an Angel" was the perfect way to start this album off. There were some wonderful piano, organ, and synthesizer parts on this album as well, especially on "Artists Only," "Stay Hungry," and the "Take Me to the River." This album had the perfect amount of funk influence, and even a little rockabilly in my opinion. Every track on here was fantastic, with "I'm Not in Love" being my favorite of the bunch. I don't know if the sound of this album was due completely to Brian Eno's production, or if it was just the direction the band decided to take, but either way, this is a masterpiece of late 70's post punk music.

I'm not terribly familiar with a lot of The Temptations' work (I know "My Girl" and "Ain't Too Proud To Beg"), so this was my first time listening to an album of theirs from start to finish. I wasn't really sure what to expect, since their only songs that I knew going into this were a couple of pop hits from the 60's. I thought this was a great funk and soul album, and it was fun to listen to. "Run Charlie Run" was my favorite track on here, and I was completely caught off guard by how serious its tone and message about white flight were (it blows my mind that a lot of these albums from the 60's and 70's were discussing social and political issues that are still incredibly relevant today). "Papa Was A Rollin' Stone" was fantastic too. I grew up hearing white people criticize 'absentee black fathers,' but I don't think I've ever heard black people talk about/respond to the things that white people say about the subject (I don't even know if it's a real issue, or if it's just something evangelical white people love to say when they talk about food stamps or other 'welfare programs.' I'm not quite sure what The Temptations' message was with this song, but it definitely made me reflect on how often I heard suburban white people make generalizations and create stereotypes about the black community when I was growing up. Overall, the musical arrangements on each song were great, and the vocals were spectacular as well.

Sometime during the spring semester of my senior year in high school, my parents found two CD cases tossed into our yard (long story). One of the CDs in the cas was Metallica's Master of Puppets, which I happily kept. I used to listen to the title track pretty regularly, even trying to make it from my house to my job before the track ended (I can't remember if I was ever successful, but at least there were never any negative outcomes from this stunt). However, I don't think I've ever listened to this album in its entirety until today. This album is thrash metal perfection. The lyrics are sharp and poignant, from the criticisms of American militarism on "Disposable Heroes," to the criticisms of the false prophets of evangelicals on "Leper Messiah," this album doesn't pull any punches. Musically, it's exactly what I want from Metallica as well: fast when it needs to be, loud when it needs to be, and yet melodic enough that you realize just how talented these guys are as songwriters. Hetfield's vocals are outstanding here as well, even though he only gets better on later albums. This is a fantastic album, and I'm ashamed that I've owned it for nearly two decades, but never listened to all of it until today.

Rap music was pretty much forbidden in my house growing up, so my first exposure to Public Enemy was hearing "Bring Tha Noize" with Anthrax while playing Tony Hawk's Pro Skater 2, and I thought it was a great song. A few years ago, I wanted to seek out the best rap music of the nineties, so I listened to Fear Of A Black Planet, and I absolutely loved it. I enjoyed this album too, but not as much as Fear Of A Black Planet. Chuck D is probably my favorite rapper. His voice just has a certain authority and rich tone to it that sets it apart from his contemporaries. I love Public Enemy's political messages too; "Nighttrain," "By The Time I Get To Arizona," and "1 Million Bottlebags" containing my favorite lyrics on this album. Musically, I was probably only a fan of half the tracks on this album. Some of the beats and sampling here just weren't my style, especially on "Loss At Birth" and "Rebirth." However, "Bring Tha Noize" with Anthrax more than makes up for those two tracks. Anthrax's instrumentation takes a great song and makes it even more powerful; I love that the scratching and other original elements are still present though. Overall, this is a great album, and the rapping and lyrics are the stars of the show here. Favorite lyric: "'Cause now the KKK wears three-piece suits." I wonder if they knew how relevant that line would be almost three decades later.

I was incredibly excited to get this album today. I enjoy a lot of soft rock, but somehow, I've never listened to this album. I've heard "We've Only Just Begun" and "Close To You," but I've never really kicked back and actually listened to them. I've heard that Karen Carpenter has one of the best voices of all time, and after listening to this album, I would strongly agree with that statement. Her vocals were absolutely perfection on every track, and each song here was a joy to listen to. Richard Carpenter's vocals, when they seldom appear, are also really nice, but he definitely can't compete with his sister. The instrumentation here may not be much, but that's exactly what this album needed, so that Karen's vocals could shine. I usually like it better when people write their own music, but that didn't bother me here. This isn't the type of album that I'm likely to listen to frequently, but when I'm in the mood for something gentle and pleasant, I'll have no problem firing this up. I had a wonderful time listening to this.

Before today, the only Pulp song I'd heard was "Common People," courtesy of 60 Songs That Explain the 90's. I held off on listening to Different Class because I knew it was on this list, but I was probably only going to hold off until 200 albums into this project, at the latest. Thankfully, it was well the worth the wait to listen to this album, because I absolutely loved it. From the opening words and guitar riff of "Mis-Shapes," to the slower "Bar Italia," I loved every track on this album. I loved that the theme of class struggle managed to permeate the whole album; even the songs where Jarvis Cocker was lusting after some married woman were oozing with disdain for the social hierarchy. The instrumentation on this album was great too; the faster tracks are insanely fun and catchy, and the slower tracks add a tone that prevents the album from feeling tongue-in-cheek. Jarvis's vocals are great too, and he sings his best on "Feeling Called Love." I was thankfully able to listen to this album twice, and the second listen just solidified that I found a new album to add to my regular rotation. "Common People" is my favorite track, but "Disco 2000" is a close second. I may not wait to be assigned another Pulp album before checking out the rest of their discography.

I've only heard one Supergrass song, "Alright," which was in Clueless (I did also listen to Gaz Coombes's new album earlier this year though, which I enjoyed), so this was my first time listening to a Supergrass album. I thought this album was another solid Britpop entry on this list. I loved the unique guitar-forward punk sound here, especially on "Caught By the Fuzz." Even the songs that were a little less punk-ish, like "Alright" and "Time" were great, and they still felt at home on this album. "Alright" was easily my favorite track; I love the jangly piano riff that plays throughout the song, and the lyrics and vocals are incredibly fun.

I've never heard of Alex Harvey before, so I had no idea what I was in for with this album. This was an absolute hidden gem. Fusing elements of hard rock, glam rock, and a little bit of blues, this album has a really unique sound. And with songs ranging from the jangly "Swampsnake" to the absurd "Gang Bang," this album was fun with a some dashes of humor too. There was so much going on musically, and I loved the use of harmonica, piano, and horns throughout the course of the album. Vocally, Alex Harvey reminds me of Bon Scott, Billy Squire, and Paul Stanley. Maybe I've been living under a rock, but I can't believe this band didn't find a wider audience.

I used to listen to a lot of Led Zeppelin when I was in college, and when I did, I was more partial to IV and Houses of the Holy than I was to I and II. It's definitely been over 15 years since I last fired up this album. I don't know why I didn't like this album as much as IV or Houses of the Holy back in the day, but listening to this for the first time in so long was almost like experiencing it for the first time. This album perfectly utilizes elements of blues, hard rock, and folk to create one of the era's most unique sounds. Each track is absolutely fantastic, layered with complex sounds played by some of the best rock musicians of all time. The most impressive thing about this album to me, is that it's ambitious in its scope, but still manages to sound like a cohesive, singular body of work, as each track blends seamlessly into the next. I could probably write a paragraph about what I love about each track, but it's late, and I'm not good enough of a writer to make that worth anyone else's time. This album is fantastic from start to finish, and I'm so happy that I got to rediscover it today.

Sometime back in the mid-aughts, I bought this album, because I loved "Take Me Out," and I'd heard that the album as a whole was supposed to be incredible. I listened through it once, but it wasn't really my jam back then, so I've never revisited it until now. While this may not have been completely my jam back when I bought it, I really enjoyed listening to it today. Franz Ferdinand manages to create an incredibly unique sound on this album, with guitars that range from jangling to slamming with power, sometimes in the same song. The drumming is crisp and tight, the bass provides the perfect punch, and Alex Kapranos's vocals are smooth and rich. "Take Me Out" is still my favorite track on this album, but "In The Dark of The Matinee" and "Michael" are also fantastic. This is a great album, and I'm glad I got to give it another listen today.

I had good friend in high school who really loved Elliott Smith, and that lead me to eventually buy Figure 8, which I really enjoyed. I eventually bought Either/Or as well, which I didn't care for as much when I first listened to it. I hadn't listened to Either/Or since then, so I was excited to revisit it today. I had really high hopes that my feelings on it would have changed over time, but sadly they didn't. It's not that this is a bad album; Elliott's multitrack vocals are incredible, and he sings his songs with such conviction, but I think that his vocals on this album just don't do it for me. His guitar playing is beautifully melodic, but the instrumentation on this album only serves the vocals and the lyrics. And lyrically, there's just something here that feels so inaccessible to me. I have nothing against depressing music, but the lyrics here just don't land with me, and I think it's because his language is a little too figurative for me. I wanted to love this album, I truly did, but it's just a miss for me. Additional footnote: For what it's worth, I fired up a few tracks from Figure 8 just to make sure I wasn't out of my mind, and I can confirm that I still love that album, even though I probably haven't listened to it in well over a decade. Immediately, I realized that there really isn't much percussion on Either/Or, and maybe that's why I don't like it very much.

I've heard a lot of Depeche Mode's singles over the years, and I think I may have listened to all of Violator at some point last year, but this was my first time to listen to the whole album with directed attention. This album is a great follow up to Music for the Masses, where Depeche Mode cemented their sound, and really hit their stride. Filled with awesome synth sounds, great drum machines, gloomy keyboards, and David Gahan's rich vocals, this album captures the spirit of the eighties, while still moving the band forward into the nineties. "Enjoy the Silence" and "Policy of Truth" are my favorite tracks on this album, but "World In My Eyes" is the only song that could be the opening track, setting the tone for the sounds and lyrical elements to come. "Personal Jesus" is a great song as well, but it's been overplayed and overused to the point where I don't even really want to listen to it anymore (I don't hold the band at fault for that). As great as the singles on this album are, I wasn't terribly impressed by the rest of the tracks on it. However, the album works really well as a whole, and its influence on the future of music is wide in scope.

I used to listen to a ton of classic rock, so I've heard a few of the songs on this album a lot over the years. I have a copy of this album on vinyl as well, but this was my first time listening to this album in its entirety. Overall, this is a really good album, and and it's easy to see how it influenced a number of hard rock and metal bands that came after its release. I love the heavy use of lower notes on the guitars that are present on a lot of songs, and I love that there's also some fast tempo guitar playing here too, like on "Highway Star" (perfect opening track for this album in my opinion). The drums are fast and manic, but also manage to be tight and clean as well. I also love the way that the keyboard and organ are utilized here; sometimes it's to provide a contrasting higher sound to the deeper guitars, and sometimes it's deeper as well to compliment them. Ritchie Blackmore is a great guitar player, and his talent is really on full display here. "Smoke on the Water," "Highway Star," and "Space Truckin" are my favorite tracks here, but everything else wasn't terribly memorable to me. The album works well as a whole, but in my opinion, the most important thing here is the influence that this album would go on to have.

I've never listened to any Siouxsie and The Banshees' music before, but based on what I've heard about them, I had an idea of what to expect. I'm happy to say that my expectations were met and exceeded with this album. I imagined that S&TB would sound like some sort of hybrid of The Cure and Echo & The Bunnymen, and not to pat myself on the back too much, but I'd say my imagination was pretty spot on. This album reminded me of what I love about both of those bands (cavernous and complex sounds with haunting lyrics and vocals), but still managed to sound completely unique. Just like The Cure, S&TB manages to produce their distinct sound in several different ways; sometimes its with guitar riffs, like on "Into The Light," or sometimes it's with percussion, like the booming bass drums and cymbal riding on "Arabian Knights." Other times, the band uses something else entirely to produce their haunting sound, like the building tempo of "Sin In My Heart." No matter how they do it, S&TB does it well. I love their use of distortion and sounds like breaking glass to create such a sense of unease and dread with their music. Siouxsie Sioux's vocals are absolutely incredible, and it's a nice change to hear a female voice in a post punk band. I think this album was probably a huge influence on several artists, especially Chvrches, who are probably my favorite currently active band, and that just makes me love this album even more. I'm so glad I got to experience this album today, and I know it'll be in my permanent rotation, especially in October.

The only UB40 album I've ever listened to is Labour Of Love, which, aside from "Red, Red Wine," I wasn't terribly into, so I didn't have high hopes that I would enjoy this album either. I hate to say that my intuition about this album was correct. Musically, there just wasn't a lot going on here for me. While I found it inoffensive, all of the songs really sounded alike to me, and there wasn't anything memorable about them. Lyrically however, I think this album brought a lot to the table. "Tyler" was really great, and I can't believe that I had never heard of this story before (some of my wife's family lives in Destrehan, Louisiana, and I've been there a few times). I thought "Burden of Shame" was really powerful too, especially since the colonial history of Great Britain has been a hot topic recently. But my favorite song lyrically was "Madam Medusa," which bashes Margaret Thatcher into oblivion. I can't understand why people still romanticize her and Ronald Reagan, when we know that their basic domestic policy was "fuck poor people." Great stuff on that song. Even though those songs had some great lyrics, it wasn't enough to overcome the pretty bland musical aspects of the album, and when it comes to UB40, I think I'll stick to "Red, Red Wine."

I heard of White Denim several years ago, because my sister-in-law's best friend is really into them (or maybe a guy she was dating was), but this was my first time listening to them. This album was a really great surprise. I didn't really know what to expect from this album, but the flow and pacing of the first four tracks really sucked me in. I loved that the songs were all varied in sound, but the album still felt really cohesive. There sounds were complex and layered, but they all had really great rhythm sections as well. The vocals here were really great as well; at times they reminded me of Foals. Overall, this was a really good album, and it caught me by surprise. Also, it's always nice to see another Texas band make the list.

I really love the song "Heroes," but I've never listened to this album before. I had pretty high hopes for this going into it, but this was a really big let down for me. The album started off strong, with "Beauty and the Beast," which had really great instrumentals. The sound was complicated and almost bordering on overzealous, but the synthesizers and production really worked for me. "Joe the Lion" was fine, but "Heroes" is far and away the best song on the album, and is probably a top five David Bowie song for me (I now associate it with JoJo Rabbit, and it makes me tear up these days). But that's where the album took a turn for me; most of the songs after "Heroes" were pretty lackluster in my opinion. I wasn't a big fan of the two instrumental tracks on the last half of the album; they were pleasant enough to listen to, but David Bowie is a great vocalist, and I almost felt kind of cheated that two of the ten songs on this album didn't feature him singing. I think my biggest disappointment with this album is that the title track is such a wonderful centerpiece to build an album around, but I feel like that didn't happen here. I hope that the other 50 Bowie albums on this list won't let me down like this one did.

I absolutely love Supertramp, but I've never listened to any of their albums from start to finish. I'm most familiar with a lot of songs off of Breakfast in America, but I do know a few songs off of Crime Of The Century. Thankfully, I was able to listen to this album twice today. On my first listen, I noticed all of the things that I love about Supertramp: Hodgson and Davies's vocals, great piano riffs, and catchy pop melodies. I enjoyed my first listen, but I wasn't terribly impressed. During my second time going through it, I was able to pay a lot more attention to the lyrics, and that's what really elevated my second listen. I know that Supertramp has claimed that this album isn't a concept album, but I think there's at minimum a story that weaves its way through the songs: the story of someone who goes through what they think are the normal progressions of life, only to find out that the end result wasn't what was promised to them, and that they're just left with feelings of disillusionment and loneliness. As much as I thought this was a good album, I still heavily prefer Breakfast in America, but I can appreciate Crime Of The Century for what it is.

The only Thin Lizzy song I'd heard before today was "Emerald," the b-side to a song that I believe is titled "The Fellas Are Here In Our City Again." I kid, I'd only ever heard "The Boys Are Back in Town," which, for the record, is a very fun song. However, with that tiny sample of their catalog, and with the help of some user reviews, I had a pretty good idea of what I was in for: some okay '70's rock. And I think that's exactly what I got. Aside from Phil Lynott's vocals, not much else stuck out to me on this album. The guitar hooks were fun but unremarkable, the rhythm instruments were just kind of there, and the lyrical content was about what I'd expect from a band whose big hit sounds like it's talking about Danny Zuko and the rest of the T-Birds coming back after serving two years for larceny. I will say that the segue from "Cowboy Song" to "The Boys Are Back in Town" was really slick, which is an admittedly weird thing to admire, but I kind of had to take what I was given here. I don't think this album is bad, but it just takes a back seat to all of the other great things that were coming out in the '70's.

I think I may have listened to parts of this album back when it came out, because some of it sounded familiar to me today. Either way, I thought this album was great. Lyrically, it definitely lives up to its name, and after reading about the context in which it was recorded, it makes sense why Leonard Cohen would make this album. I really loved the themes that Leonard Cohen explored here; the lyrics are full of imagery of death, mortality, religion, and love. I can't imagine what it must have been like for him to watch his body essentially fail him as his health declined over his final days. The instrumentals, while bare and stripped down, did a perfect job of complimenting the dark tone of the lyrics, and I think the instrumentals on this album would still be beautiful without the lyrics. My favorite songs here were "Traveling Light" and "It Seemed the Better Way." I love the way that they sound like poems read over music. "On the Level" had some awesome backing vocals, and I also loved the way that "Steer Your Way" built to a quiet crescendo at the end. Overall, this was a really solid album, and I'm excited for the other Leonard Cohen album on this list.

I listened to a lot of classic rock when I was in high school and college, but I never listened any Jimi Hendrix albums. I'm familiar with a few of his songs, but I wasn't sure what to expect from one of his full albums. I thought that Are You Experienced was great, and in addition to showing off Hendrix's guitar playing skills, it showed off his abilities as a songwriter too. Whether it was a faster tempo song like "Fire" or "Foxy Lady," or a slower tempo song like "Hey Joe" or "Third Stone From The Sun," Hendrix plays great guitar riffs for a whole spectrum of sound. This was a great listen from start to finish, and Hendrix is easily one of the most influential guitar players to ever pick up the instrument.

The first time I hear of Jurassic 5 was some time in the early aughts; I think they were coming to town as part of a tour with a few other artists that I wanted to see (maybe Lollapooza 2003). I thought about checking them out at the time, because they sounded cool, but I never listened to them until today. This album was great, and I was surprised by how much I enjoyed it. The rapping was great, the beats and other musical elements were fantastic, and the lyrics were savvy and political. Chali 2na was easily my favorite rapper of the group; his vocals are so rich and unique, and I thought he had a great flow as well. The run of "Remember His Name," "What's Golden," and "Thin Line" is absolute perfection. "Thin Line" is the best track on the album though; those lyrics about attraction between friends are absolutely brilliant.

I've listened to plenty of albums that Brian Eno has worked on (The Joshua Tree, Heroes, More Songs About Buildings and Food) and even a song about Brian Eno (MGMT's "Brian Eno"), but I've never listened to an album that he recorded as a musician. Heading into this, I had a pretty good idea of what to expect. I figured I'd really like this album, and as soon as "Needles In The Camel's Eye" started, I really expected that I was going to love this album. Unfortunately, after the lead track, this album didn't live up to my expectations. The guitar parts were really good, and so were some of the more 'avant garde' sound elements (like on "Baby's On Fire" and "Some Of Them Are Old"), but the lyrics as a whole, and a few of the songs were just a little too 'out there' for my tastes. But the songs that worked, really worked well ("Needles In The Camel's Eye," "Baby's On Fire," "Some Of Them Are Old," and "Here Come The Warm Jets"). I still think Brian Eno is an influential genius, but I think I'll stick to his production work.

I've heard plenty of Michael Jackson's music throughout my life, but I believe this was the first time I've listened to an album of his from start to finish (I may have listened to all of Thriller when I was a kid). I was already familiar with the first two songs on this album, but everything else was new for me. The first thing that struck me on this album was the production. Hats off to Quincy Jones for making such a big sound that manages to still sound clean, crisp, and not too busy. The session musicians here sound like they've been working with Jackson and Quincy for years; their instruments manage to seamlessly meld with Jackson's vocal style. In my opinion, Quincy and the other musicians do the heavy lifting on this album, but that dynamic would totally flip on Thriller, where Jackson establishes himself as the biggest pop culture figure since The Beatles. And that's what makes this album so great: knowing what comes next. Listening to this album almost 45 years after its release and knowing that it's the origin story for a God-like figure who has seen countless imitators but no predecessors helps this album earn its place on this list. The late 70's were such a strange time for pop music in my opinion; funk and soul had a lot of influence, and disco was rising and crashing during this time as well. Rock was dominated by glam rock, while post punk, new wave, and hard rock were coming onto the scene as well. This album fits into that pop era very well, because of its varied influences, and Jackson and Quincy manage to meld Jackson's vocal talent into each song. Again, knowing that this was just the fuel for the fire that Jackson was going to unleash on pop music a mere three years later gives it that much more weight. The music here is really good, but its chronological place in culture is what elevates it to legendary status. When I get assigned Thriller, I'm going to listen to Off The Wall first, knowing full well that the combined experience could give me an aneurysm. Frankly, it's worth the risk.

I've never heard of Lambchop before, but I thought this was a pretty good album. The string arrangements, the horns, and the vibraphone all combined to make some really beautiful sounds. The lyrics and vocals were great too, especially on "Grumpus." Unfortunately, things took a turn for me on "What Else Could It Be?" I wasn't a big fan of the falsetto singing on that song, and I thought the album's second half was noticeably not as good as the first half. When things worked on this album, they worked well, but when they didn't, they were a big miss for me. I don't think I'll be carving out any time for more of Lambchop's albums in the future. Favorite track: Up With People

I've listened to plenty of Tom Petty songs in my life (it's no fault of Tom Petty's, but "Free Fallin'" and "Mary Jane's Last Dance" are two of the most overplayed songs in the history of music), but I've never listened to one of his albums from start to finish before. I didn't have particularly high hopes for this one, because I don't think of Tom Petty as having made great albums, but I was pleasantly surprised by how much I enjoyed this. Frankly, the thing that makes this album work is its uniqueness. I think of Tom Petty as southern rock, and there were already quite a few established bands that were utilizing that sound when this album came out. But Tom Petty's balance of smooth guitar playing, tight drum fills, and his unique slow vocals kept him from sounding like other acts. There wasn't the keyboard-heavy sound of Lynyrd Skynyrd, nor the finger picking licks of The Allman Brothers, nor the country-adjacent sound of The Eagles. This was a really good album, and I'm glad I finally listened to an entire Tom Petty album. Best track: "American Girl," by a landslide.

I could have sworn that I'd listened to this before, but I think I was remembering listening to Janelle Monae's Dirty Computer. Regardless, I thought this was a really good album, and I really enjoyed the rock opera structure (I'm not sure if this is technically a rock opera, but I don't know what else to call it). I'm not very familiar with the movie Metropolis, but I was still able to follow the story arc of this album. The music was just overall beautiful and pleasant to listen to, and Janelle has a great voice. I loved that this album was able to utilize a wide variety of sounds and instruments, but it still managed to sound cohesive from start to finish. Some of my favorite moments on this album: -"Locked Inside" was beautiful and melodic, and I loved when the guitar kicked in towards the end of the song. -"Cold War" was awesome, and I loved the drumming, lyrics, and the guitar outro. The drumming actually reminded me of Outkast's "B.O.B.", and as fate would have it, the next song, "Tightrope," features Big Boi. -Speaking of "Tightrope," that was probably my favorite song on the album. I couldn't help but bob my head along to the great beat, and Janelle sings incredibly well on this song. Big Boi's rapping was fun as usual, and in an album full of great lyrics, this song still manages to stand out with its theme of balancing the the opposing forces in life. In summary, this was a solid album, and Janelle Monae is an incredibly talented artist.

With today being the Fourth of July, I was really hoping for Springsteen's Born In the USA, but I'll settle for Folsom Prison. After all, what's more American than our abysmal penal system? I haven't listened to a lot of Johnny Cash in my life, but I had a pretty good idea of what to expect from this album. I really enjoyed listening to this, and it's probably the most interesting live album that I've ever listened to. I really loved how raw and true it felt, with Cash joking with the inmates, and the announcements coming from the prison staff. The inmates were almost like an instrument themselves, as their reactions to Cash's lyrics added a realness to the stories that Cash was telling in his songs. The instrumentation here was pretty bare, but that's fine, because the star of the show in Cash's music is his lyrics and storytelling. Cash does such a good job of portraying loneliness ("I Still Miss Someone" and "Send a Picture of Mother") and hopelessness ("The Wall") in his songs, but the next minute, he's giving a masterclass in gallows humor ("25 Minutes to Go"). His ability to effectively switch gears like that is pretty remarkable. Johnny Cash isn't necessarily my cup of tea, but I can appreciate how great this record is, and its importance in music. Best song: a tie between "The Wall" and "25 Minutes to Go"

The only Replacements album I'd listened to before today was Pleased to Meet Me, which I thought was pretty solid. However, I'd heard that Please to Meet Me was when their sound started to divert more from their punk rock sound, so I wasn't completely sure what Let It Be was going to sound like. Let It Be definitely has more of a punk sound that Pleased to Meet Me, but I feel like both albums have a very low-fi sound to them. I really love Paul Westerberg's vocals, and I think his voice is the perfect fit for The Replacements' DIY sound. The lyrics range from sophomoric humor to reflections of teenage angst and uncertainty, but no song feels out of place. I really enjoyed a lot of the guitar parts on this album too, and I loved that they ranged from punk thrashing to melodic. For a long time, my only exposure to eighties music was mostly top 40 pop and rock, but as I dive deeper into music that wasn't played on the radio constantly, I'm always so surprised to hear that there was music like this being recorded in the eighties, and it's always such a pleasant surprise to hear albums like this. Favorite song: "Unsatisfied." This had my favorite guitar playing on the album, and I loved the use of the lapsteel. The lyrics on "Unsatisfied" really resonated with me too; I had a tough home life as an adolescent, and I often find myself pondering the 'what-if's' of my life back then.

I've listened to Beach House's Teen Dream many times since 2010, so this is an easy five star review for me (man, what a year 2010 was for music). This album is perfectly dreamy and melodic; every song on this album is unique, and Victoria Legrand's vocals are like a pillow that's always the right temperature. As much as I love this album, I wish I had more insightful things to say about it, but all I can say is that it's an incredibly pleasurable experience every time that I listen to it.

Other than a couple of guys who had marginal success in the NFL, I've never heard of Jimmy Smith before. I'm not a big jazz guy, and this album just wasn't my cup of tea. Sure, the instrumentation was fine, and it was pleasant enough to listen to, but there's really not much for me to remark on.

I've listened to plenty of The Beatles' music throughout my life, but I've never listened to any of their solo albums before. However, I'll admit that George Harrison's "Got My Mind Set On You" is an absolute jam. I mean, come on, that sax solo is fantastic. And the music video where he's in that study with all the moving knick-knacks? Priceless. I wasn't sure what to expect with this album, but I was definitely less than enthused to see that this thing was over two hours long. However, I really enjoyed this album. I like George Harrison's singing, guitar playing, and song writing, so I guess I shouldn't have been surprised. Combining Harrison's abilities and musical influences with Phil Spector's production capabilities helps to create an album that's big and ambitious without being overblown and self aggrandizing. I even enjoyed the Apple Jam tracks too. Sure, not every song here is a winner, but the songs that succeed are wonderful. Even though Harrison relies on several influences and sounds on this album, it always feels like a cohesive album. This is album is really good, and I'm glad I got to listen to it. Favorite track: "What Is Life"

I don't think I've ever listened to any hardcore punk before, so I've definitely never listened to Black Flag, but I was really excited to get this album today. After listening to this, I don't think hardcore punk is exactly my cup of tea. I did enjoy the fast tempo, but I could barely understand the lyrics. I know that Black Flag's lyrics usually filled with social and political commentary, so I was kind of bummed that I had to google the lyrics to each song. While I didn't really enjoy this album a lot, its influence on rock music is abundantly clear after listening to it, and I think it's a really important album. Favorite track: "TV Party," by a mile.

This is the second Jimi Hendrix album that I've gotten on this list, the first being Are You Experienced (I love that this means that I'll get to experience all three of Jimi Hendrix's albums in their release order). I really enjoyed listening to this album. All of the elements that I enjoyed on Are You Experienced are present here too: great guitar playing, great song writing, and a unique psychedelic sound. However, I think Axis is the slightly better album of the two. I know that this album was released merely seven months after Experienced, but somehow the band's sound is more complete on this album. I don't know if it's just better songwriting, or if everyone just gelled better on this album. Sure, this album doesn't have a "Purple Haze" or a "Fire," but the album as a complete work is just a better experience. Favorite track: If 6 Was 9

I first heard of Rage Against The Machine when I was in high school, when I'd see some of my classmates wearing shirts with the Evil Empire album cover on them. I didn't know anything about the band, but the students who wore the Evil Empire shirts were usually not to be fucked with, so I figured it wasn't anything I had any business listening to. However, over the years, I've heard a small handful of their songs, and I've become pretty well acquainted with their political views. This was my first time listening to one of their albums from start to finish, and I thought it was really great. Zack de la Rocha's vocals and Tom Morello's guitar playing are a match made in heaven. I love the heavy guitar distortion, and the fact that each song had a unique musical sound to it. I really enjoyed the politically charged lyrics on this album too. Once again, another album that's over thirty years old is talking about things that are still hot-button issues today. Kind of makes me wonder if this country is just doomed to keep repeating the same mistakes until the effects of climate change finally cook us all alive. All in all, this is a solid album, that sounds way ahead of its time, both musically and lyrically. Favorite Track: Take the Power Back

I've never heard of Hugh Masekela before, but I really enjoyed this album. I don't know much about jazz music, so I don't have anything to say about this album from a technical aspect. But, it was really pleasant to listen to, and I can easily see myself listening to it again some day when I want something good to listen to while I'm work.

This is the second Johnny Cash album I've gotten on this list, the first of which was At Folsom Prison. This album was a shift in tone from Folsom, but I still enjoyed it. I'm usually not into cover albums (I know this one isn't all covers, but it mostly is), but Johnny Cash really does a great job of adding something new to each of the songs on here. The changes to the instrumentation on these songs really complement Cash as a singer as well, and I love that so many great musicians contributed to this album (Henley, Frusciante, Mike Campbell, etc.). Knowing that Cash would live for less than a year after the release of this album gives more depth to a few of the songs here, most notably "Hurt." Overall, I thought this was a good album, and I enjoyed hearing Cash's version of some songs that I'm already familiar with. Favorite track: Bridge Over Troubled Water with Fiona Apple

When this album was released in January of my eighth grade year, I had nothing but disdain for pop music of this period. Young female pop stars and boy bands permeated the airwaves, and their popularity made me feel even more out of place amongst my peers who loved this type of music. Now, almost a quarter of a century later, my disdain has softened quite a bit. I find a lot of the pop songs that were being churned out back then pretty enjoyable these days, and I'm likely to sing along with them should they be playing on the car radio or in public settings. This album is no exception to that rule. The first three songs on this album are easily the most fun, and with "Oops!... I Did It Again," are probably the best example of Britney Spears's early career. The rest of the album is okay, and features a few other decent pop tunes. The musical aspects of this album are just backdrops for Spears's 'baby talk' vocals and her dance moves on music videos and during live performances. The lyrics are all pretty much teenage love songs, ranging from the cheesy on "E-Mail My Heart" (this song had to inspire at least one Robin Sparkles moment), to somewhat uncomfortable innuendos on the title track. Nothing on this album is high art, but it wasn't intended to be. This album was recorded to sell copies, and in the process of becoming the highest selling debut album for a female recording artist (14x Platinum, holy shit), it created one of the biggest pop culture icons since Michael Jackson. Spears's vocal talents aren't spectacular, but her talents as an artist and performer are magnificent. It's difficult to succinctly communicate just how she and her music were everywhere during her peak popularity. Not only did she sell crap loads of albums and concert tickets, but she managed to have an award-winning four year residency in Las Vegas, and I don't think I can overstate the cultural significance of this album. Of course, Britney's legacy is beyond complicated. In the last several years, we've learned just how poorly she was treated by multitudes of people in the music industry and her own father. I could go on and on about the abuses she suffered, but I think I'll just summarize by saying that some of the things that were done to her should be considered criminal in my opinion, and my heart goes out to her and her kids. While this album is musically three stars for me (it's pretty good compared to its peers), it's a must-listen for any music lover. On the timeline of popular music, this album is a point of massive significance and consequence. Britney Spears paved the way for and influenced so many female artists, and by speaking out, she's also made the music industry a safer place for women. Favorite track: "Crazy" Favorite track not in the first three songs: "I Will Be There"

I've never heard of Ravi Shankar before, but listening to this album was a very unique experience. I don't know much about eastern music, but the sitar and other instruments were incredibly pleasant to listen to, and I appreciate that Ravi gave some explanations of each song and its structure. Not only is Ravi a skilled musician, but it's awesome that he was able to leave his fingerprint on popular western music via George Harrison. I think that the next time that I need to relax, I'll try another one of Ravi's albums.

Pavement's Crooked Rain, Crooked Rain was one of my first 25 albums on this list, and at the time, I gave it two stars. I eventually went back and listened to it again, because I couldn't remember why I didn't like it that much, and over the past few months, I've listened to it probably a half a dozen times, and it's really grown on me, so I was really happy to get Slanted And Enchanted today. I really enjoyed Slanted and Enchanted, mostly for the same reasons that Crooked Rain, Crooked Rain has managed to grow on me: great guitar parts and Stephen Malkmus's vocals. Pavement's lyrics are a little too abstract for my liking, but their overall sound more than makes up for that. I wish I had something more enlightening to say about why I enjoyed this album, but the fact is that I just enjoy listening to Pavement.

I had a friend in high school and college who absolutely loved The Strokes, but it took me until the very late aughts to start listening to them. I wish I had started listening to them when I was in high school, because I think I would have really liked them. I eventually bought some of their albums, and even saw them at ACL in 2010. Over the last decade and a half or so, I've gotten pretty familiar with this album, and I was really excited to be assigned it today. I was listening to a fair amount of alternative rock radio when this came out, but I don't remember ever hearing any of the songs off of it. That's really a shame, although not surprising for our local alternative station, who still plays Evanescence pretty regularly. I can't think of anyone else who was making rock music like this at that time. A lot of the bands topping the rock charts kind of had 'their own gimmick,' but The Strokes were pretty gimmick-less; they just played great guitar rock and tight drum beats with great vocals and lyrics. In my opinion, nothing they were doing was rocket science, but they were in the minority of people doing it, and they did it really well. Out of their whole catalog, this album best exemplifies their talents at mastering simplicity while crafting a truly original sound. Every song on this album is great, and the singles are exceptional. In addition to being great music, this album kicked the door open for indie rock's explosion in the aughts. This album is still amazing almost two decades later, and remains one of the most fun albums in my usual rotation. Favorite track: Last Nite, by a hair over Someday

In 2003, after jamming out to "Seven Nation Army" on the radio for what was probably the fiftieth time, I'd heard that the album Elephant was really great as a whole, so I went out and bought it. I listened to it in its entirety once, and it wasn't for me, but I'd still listen to "Seven Nation Army" pretty regularly. Later in the aughts, I got turned onto Jack White's side project, The Dead Weather, whom I really enjoyed listening to. I got to see them from the front row at a small-ish venue right before Horehound came out, and it kicked ass. I also listened to Blunderbuss when it came out, and I loved it, but I haven't gotten around to revisiting it. TLDR: I didn't care for the one White Stripes album that I'd listened to, but I've enjoyed other projects from Jack White. I wasn't quite sure how I was going to feel about this album, but I really enjoyed it. I loved the varied blues-influenced sounds, and this album is full of really fun songs. Just like The Strokes' Is This It, The White Stripes aren't exactly reinventing the wheel here, but they excel at executing their vision. The guitar playing is fantastic, and the crashing cymbals and drum beats are their perfect companion. Jack White's voice can go from screechy and manic to slow and melodic at a moment's notice, and that helps him and Meg craft an album that has a cohesive sound without sounding repetitive. It's clear that Jack and Meg really have a passion for their sound, and that they know how to turn that passion into fun. This is a great album, and it was a perfect one to come up right after Is This It in my rotation. Favorite track: a dead heat between "Hotel Yorba" and "We're Going to be Friends."

This is my second Public Enemy album that I've gotten on this list, the first being Apocalypse 91. Apocalypse 91 is great, but It Takes a Nation is better (but not better than Fear of Black Planet, but whatever). This album has all of the things that I love about Public Enemy: Chuck D's powerful voice, hard-driving beats, and lyrics that evoke the most eloquent anger I've ever heard. The songs here are serious, angry and sincere, and in my opinion, Public Enemy is the best in the business at railing against social injustices and systemic oppression. Chuck D makes the listener take an incredibly uncomfortable walk in his shoes when he raps, and it's a talent that I've yet to see be duplicated. In the aughts, when I wasn't familiar with Public Enemy's music, I thought that Flava Flav was kind of a weirdo, and that his personality was a bit cheesy, but I can see now that he was the absolute perfect hype man for this group. This album is fantastic, and it's getting added to my regular rotation. Favorite track: "Party for Your Right to Fight." What an unbelievably awesome final track.

I love Dire Straits, but I've never listened to this whole album before. As I expected, this album was fantastic. It had everything that I could want in a Dire Straits album: Mark Knopfler's vocals, and Mark Knopfler's guitar playing. I love Mark's bluesy guitar picking, and this album was chock a block full of it. As blues-inspired as his guitar playing is, there's just something about it that has a flamenco-like quality to it as well that I just find incredibly pleasant to listen to. "Sultans of Swing" is not only one of the most beautiful classic rock songs of all time, it easily has one of the best guitar solos of all time too. Mark Knopfler's voice is fantastic too; sure, his singing is a tad monotone, but I still think his voice is incredibly rich. His pattern of speak-singing reminds me of the pacing of Bob Dylan's singing, which I absolutely love. This album is fantastic, and I really loved it. Favorite track: I mean, come on... Favorite track that isn't "Sultans of Swing": "Setting Me Up"

Like a cup of coffee on gray afternoon in January. I wouldn't call myself a Swiftie; I think that 1989 is a pop masterpiece, but the other Taylor Swift albums I've listened to range from "good" to "eh, not my thing." For me, Evermore established a notch above "good" for Taylor's non-1989 albums. I loved that this album relied heavily on various stringed instruments and the piano; it really helped create a sound that I think Taylor Swift excels at. The minimal percussion worked well for me as well, which I was surprised by, because I normally don't enjoy minimal percussion (I'm looking at you, Either/Or). As far as low points go, "no body, no crime" really stuck out like a sore thumb to me. I love Haim, but this song's sound and vibe felt really out of place. I liked the other duets though (I'm big fan of The National). A few other tracks, like "dorothea" and "marjorie" weren't that great, but in general, I thought this album was great, and it makes me want to listen to Folklore. Favorite track: "champagne problems"

Growing up, my parents had a copy of Eliminator on vinyl (the damn thing sold over 10 million copies, so I'm sure a lot of people my age would say the same thing), but I'd never listened to in its entirety until today. I like ZZ Top's music, and this album was no exception. The songs here are a ton of fun, and the guys made a transition into the eighties that still kept their signature boogie-rock sound. Sure, their southwest flare fades away on this album as they transition into a sound that's more solidly southern rock, but the sweet guitar licks are here to stay, along with some new drum machine and synthesizer sounds. I'm sure the guys lost some fans back in the day with this updated sound, but I think it works incredibly well. Lyrically though, the music hasn't changed much since the seventies, but I never realized how much these guys liked cocaine (and TV dinners, apparently). I find it really impressive that an established act like ZZ Top was able to launch themselves into superstardom in the MTV age. Speaking of MTV, the music videos from this album were fantastic too; the Eliminator car and fuzzy guitars are some of the most iconic images from eighties rock. Overall, this is a great album, and not only some of the best rock of the decade, but some of the best rock from this great Texan trio. Favorite track: "Legs," by a slim margin over "Gimmie All Your Lovin'" Favorite non-single track: "I Need You Tonight"

I think it would be prudent to lead off my review by mentioning that I love this album. It's one of my favorite albums of the eighties, and one of my favorite classic rock albums as well. I've actually been listening to it pretty frequently the last few weeks, and I was delighted that it came up for me today. I've loved Van Halen for good portion of my life. As a kid, their songs would play frequently on local classic rock stations, and in my latter teenage years and twenties, I would listen to their Best of Both Worlds compilation pretty frequently. I'd never listened to all of 1984 or any Van Halen album for that matter, until I got a copy of this on vinyl for Christmas one year. To me, this album is the perfect example of what it took for rock music to survive and reach a wide audience in the eighties. Having established themselves as a premiere hard rock act, Van Halen relied on synthesizers to evolve their sound, which probably led to their separation with David Lee Roth, ushering in the "Van Hagar" era, which picked up where 1984's sound left off. Frankly, I think this transition to more synth heavy music worked heavily in the band's favor. Their earlier catalog is still fantastic, but 1984 is just a different kind of fun, and reflective of what rock bands were doing in the eighties to stay relevant (like ZZ Top on Eliminator, which oddly enough, I was assigned just prior to 1984). The singles on this album are fantastic. They’re full of Eddie’s great guitar playing and synth lines, Alex’s fun drum fills, and Diamond Dave’s over the top vocals. I've loved "Jump" since I was a kid. I had a tough childhood, but music was something that could always make me happy. There's just something about the synthesizers in "Jump" that always made me extremely happy. It was always one of those songs that made me want to dance around. As an adult, I still love it. It's one of those songs never fails to get my blood pumping, and I always included it on my workout mixes. If it comes up when I'm driving, I'll always sing along to the words and the synthesizer notes too, all while doing my best to keep up with those fun drum fills on my steering wheel. “Panama” is fantastic too, and the actual sounds of engine revving during the bridge work really well. The synth parts on “I’ll Wait” go a bit darker than the ones on Jump, but they provide a nice contrast and show that the band was willing to committed to their changing sound. The drumming on “Hot for Teacher” is some of my favorite in all of classic rock, and the guitar licks are a perfect compliment. Granted, the songs about drooling over women haven’t aged particularly well, but they’re unfortunately pretty tame compared to what was coming as hair metal started to take off shortly after this album’s release (I’m looking at you, Warrant). I love this album, and I think it’s a perfect snapshot of eighties rock. It’s fun and it’s got great synthesizer and guitar parts. The only criticism I can level against 1984 is that only one of the nine tracks is “Jump.”

I bought this album back when I first heard of the 1001 Albums list, mostly because I was already familiar with "Where Is My Mind?" being played at the end of Fight Club. For better or worse, the rest of the album wasn't really like "Where Is My Mind?", and I didn't care for the album too much. Over the years though, The Pixies have grown on me quite a bit. I love the heavily distorted guitars, Black Francis's vocals, and the sometimes manic weirdness of the majority of the songs ("Tony's Theme" nearly broke my brain when I first heard this album). It's hard to imagine nineties alternative rock without the influence of this album. This is a fantastic album that had a significant impact on alternative rock.

I grew up listening to Ike and Tina Turner's version of "Proud Mary" pretty regularly, but this was my first time listening to an entire album of Tina's. I'll be honest that I didn't have super high hopes that I would enjoy this album, mostly because her songs are pretty hit or miss with me. However, I was very pleasantly surprised by how much I enjoyed listening to this. The songs here were really great (I know Tina didn't write any of them, but that's fine by me), and they really showcased Tina's unique vocals and her ability to carry an entire pop-rock album. These songs all felt like they were perfect for her, especially the Mark Knopfler-penned title track, which still managed to have his sound all over it. I pretty much only know the Cliff's Notes from Tina's life, but I can easily see how this album was a pivotal point in her career, and the fame and attention she received from here on out was well deserved. Favorite track: "Better Be Good To Me," which I actually heard for the first time last week when I was listening to Eighties on Eight on Sirius.

This was my second Nick Cave album on this list, and I thought it was pretty good, but I didn't enjoy it as much as I enjoyed Ghosteen. The minimal instrumentation worked pretty well to go along with the more straightforward lyrics. The songs were pleasant, and I like Nick Cave's voice. The biggest factor that makes this a middle-of-the-road album for me is that nothing here really stood out. "Into My Arms" was my favorite track, but nothing else after it really came close to being as good.

This is my second Nick Drake album that I've gotten on this list, and like Pink Moon, I really enjoyed Bryter Layter. Nick Drake's lyrics are dark and melancholy, but they come from the heart. The arrangements are beautiful as well, and I liked that these songs were less stripped down than the ones on Pink Moon. This is definitely an album that I would listen to again.

I've listened to a lot of songs from The Rolling Stones through the years, but I'd never listened to any of their whole albums until I started the 1001 Albums list. This is my second Rolling Stones album that I've gotten on this list, the first being Let It Bleed, which I really loved. Beggars Banquet was really good as well, but a notch below Let It Bleed in my opinion. "Sympathy for the Devil" is one of the best rock songs of all time, and it's a great first track for this blues-infused album. After that, other than "Jigsaw Puzzle," I thought the rest of side one was just okay. Thankfully, things picked up quite a bit on side two, with the booming drums and the jangling of the sitar and tamboura of "Street Fighting Man." The rest of the album was really good, and I think that the Stones do a really know their way around the blues. Overall, this was a good album with two tracks that stand tall above the rest of the album. I'm excited for the rest of The Rolling Stones' catalog that's on this list.

Oh yes, this is absolutely what I want out of a Pet Shop Boys album. Lyrically as serious as Behaviour, Very goes back to the Pet Shop Boys synth heavy sounds, but with a more dance-heavy sound. Each song here is a winner, bookended by the strong "Can You Forgive Her?" and the gentle "Go West." The Pet Shop Boys are masters of synth pop, and this album shows that they were far from being done with their musical ingenuity, even as the world of music changed at rapid fire pace around them. I absolutely loved listening to this, and I can't wait to the third and final Pet Shop Boys album on this list.

Led Zeppelin II was always my least favorite of their first six albums when I listened to a lot of classic rock, but revisiting it for the first time in probably a decade was a treat. Picking right up where their first album left off, Led Zeppelin further solidifies their hard-rocking, blues-infused sound. Everyone is playing at an exceptionally high level, again, picking right up where their debut album left off. The band seems to be in perfect harmony as lead guitar, bass, and drums are all in perfect sync. Musically, Led Zeppelin II is the second hit in a career that was almost all wins. The individual songs here are great as well. For me, the low points are "Whole Lotta Love" and "Living Loving Maid," and it's not because they're bad songs; the worst thing that I can say about them is that they're just not my cup of tea. The last three tracks are one of the best three-run tracks in all of classic rock. I see that quite a few user reviews hate on "Moby Dick" (my second favorite track on the album), for just being a John Bonham jerk-session. Frankly, if John Bonham wanted to pleasure himself behind his drum kit, he earned that right. Even though I'm much more likely to reach for Led Zeppelin IV or Houses of the Holy, I think that this is a fantastic album from start to finish. Favorite Track: "Ramble On"

I had high hopes for this album; it starts off with an incredibly catchy and unique title track, and then goes into the socially conscious "Ground Level" and "Everything." But after that point, things just feel like they're stuck in a loop musically and lyrically. While the percussion, sax, and keyboards are initially interesting, they never really stick the landing because they don't go beyond their initial catchiness. Lyrically, this album feels like you're trying to get away from someone trying to get you to sign a petition; you feel yourself nodding along for the first minute of their spiel, but then they keep repeating themselves and they can't really tell you what tangible thing they're trying to achieve. The worst part about this album is that the songs, like the album as a whole, tend to go on and on, never really achieving anything by extending their length. This album probably had some significant influence on alternative hip hop, but listening to it is like trying to run a 10K on sand.

I bought this album several years ago, when I first heard about the 1001 albums list. I'd heard "You Can Call Me Al" quite a bit when I was a kid, but I'd had no idea how great Graceland was supposed to be. I remember immediately falling in love with this album from the first moment that I listened to it. I've loved eighties pop music for all of my life, but Graceland is an incredibly unique addition to eighties pop, but still manages to contain the types of sounds that I love. Graceland is one of those rare albums that I can listen to without wanting to skip a single song. Even though I love the whole album, my favorite tracks are the ones that have more of a zydeco influence, with "The Boy In the Bubble" and "All Around the World" being my favorite tracks aside from "You Can Call Me Al." Overall, this is an outstanding album, and one of my favorites of all time. Personally, I think a lot of the scrutiny surrounding this album is unwarranted. While the criticisms of violating the apartheid boycott seem to have faded somewhat, the accusations of cultural appropriation seem to have grown over the years. Personally, I think that Paul Simon had the best intentions when he recorded this album. Yes, the road to hell is paved with good intentions, but this isn't Ryan Adams or Phil Spector that we're talking about here. It's impossible to say whether this album was a net negative or positive for apartheid, but it is possible to appreciate this album for being an incredibly beautiful piece of music that gave a lot of people the opportunity to be exposed to African-influenced music and African musicians, and I think that's a universal net positive.

If I had a dollar for every time I've seen this album cover, I wouldn't have been listening to this on my way to work this morning. However, even though I've seen this album countless times, this was my first time listening to it. I know this album is supposed to be the first prog rock album, but I wasn't sure if I'd like it; I like Pink Floyd, Rush, Supertramp, and Yes, but I don't really consider myself a prog rock fan. Well, after listening to In The Court Of The Crimson King, I guess I can consider myself at least a casual fan of prog rock. I really enjoyed this album from start to finish. The jazz influences were easy to hear right from the start, and I loved these long, orchestral songs. This album is incredibly ambitious, and it blows my mind that it was released in 1969. It's easy to hear that this album had a major influence on all of psychedelic rock that came after it, especially Pink Floyd's "Shine On You Crazy Diamond" songs. As much as I enjoyed the strings and woodwinds, the drumming was probably my favorite aspect of this album. I loved the cymbal crashes in "Epitaph" and the jazz-adjacent fills on "21st Century Schizoid Man." This album isn't the type of thing that I like to listen to regularly, but it was fantastic, and its importance and influence on rock music can't be understated.

As much as I've enjoyed Van Halen for nearly all of my life, I've never listened to all of their debut album. I adore Eddie's guitar playing, and I can't imagine what it must have been like for people to experience him for the first time when this album came out. His talent is on full display on this album, showcasing his skills at fast-as-lightning strumming and tapping on "Eruption" to the loud and heavy distortion of "Jamie's Crying." The rest of the band is at a peak level too; Alex's drum playing is tight but doesn't take away from Eddie, and Michael Anthony's bass compliments his brother perfectly. And who could forget David Lee Roth? Fully embracing his usual cheesy bravado, David Lee Roth cements himself as one of the most memorable frontmen in rock, hitting his peak on the poorly aged "Ice Cream Man." The songs here are all uniquely memorable, but the guitar playing upstages all other aspects of the album. Granted, I can't think of another band that seemed to be having this much fun playing hard rock. This was a great album, and its influence would be felt throughout the eighties and beyond.

I've never heard of this band before, but this album was okay. It was pleasant enough to listen to, but nothing here really stood out at all.

I've never heard of this album or artist before, but when I looked over the track listing and saw song titles like "Up Against the Wall Motherfuckers" and "Meatmaker," my expectations were pretty low. Overall, I'd say this album was okay. The vocals reminded me of early U2 and Echo & The Bunnymen, which I enjoyed. The instrumentation was very unique, especially when compared to mainstream rock of this era. The middle of the album was my favorite part; "Spike Island" through "Big Sleep" were my favorite songs, but everything else was just okay.

This was my first time listening to an entire Black Sabbath album, and Paranoid was fantastic. The songs all manage to stand alone on their own, but they all feel cohesive with the rest of the songs on the album. I really enjoyed that there was such a diversity of sounds on this album; not everything had the tempo of the title track, but not every song had the slow heaviness of "Iron Man" either. Black Sabbath really earns their place as founders and pioneers of heavy metal and hard rock. Instrumentally, the guitars take center stage, but the drumming is tight and compliments the guitars perfectly. Hell, I think Ozzy sounds great on this album too, and I know he's not known as a great vocalist. "War Pigs" is far and away the best track on the album in my opinion. With its great guitar parts and politically charged lyrics, it's the perfect opening track for this album, and does a great job of establishing the tone. I've never been into Black Sabbath very much, so I was shocked at how much I enjoyed this album.

I've heard a lot of buzz about this album on the 1001 albums subreddit, so I had really high hopes for this. I tend to enjoy music that employs a lot of sampling, and this album was no different. These songs were incredibly pleasant to listen to, and I thought they were incredibly well produced. It's really impressive that DJ Shadow built this entire album almost completely off of sampling and that he used minimal equipment to do it. I'll definitely listen to this album again soon.

I'm not very knowledgeable about what makes good jazz music, but out of all the jazz albums I've been given (I think this was the fourth or fifth), I think I've liked this one the best. There's just something about the music here that feels really familiar and accessible. I'm not sure what about it makes it that way for me, but I'd definitely listen to this again.

Other than playing along to "Feel the Pain" in Rock Band (or was it Guitar Hero?), I've never listened to Dinosaur Jr. before. I figured there was a good chance that I'd like this album, but I only enjoyed about half the songs. I liked the guitar-forward sound, and the heavy distortion, but some of the songs felt like they weren't very distinct from one another. "Don't" was easily the lowest point for me on this album; I wasn't into the screaming at all. As lukewarm as I was on this album, I can appreciate how influential Dinosaur Jr. was on alternative rock. I can't imagine how different rock music in the nineties would have been without these guys paving the way.

Folk and singer/songwriter albums from this era can be pretty hit or miss with me, but this wound up being pretty middle of the road. I loved the use of the vibraphone, and Tim's voice is great, but most of these songs were a little too long and meandering for my taste. This album is fine to have on in the background, and it was pleasant enough to listen to, but I'd be hard pressed to recognize much of this album again if I were to hear it out in the wild.

I don't have much experience with Curtis Mayfield's music, but this was a great way to reach my 200th album milestone. Instrumentally, this album was a great blend of funk and soul, with great guitars, drums, and trombone playing. Mayfield's singing is great too, with his falsetto bringing an earnestness to the album, something that works especially well on "Little Child Runnin' Wild." As good as the instrumentation and singing were, the lyrics were the hero of this album. Lamenting urban poverty, drugs, and crime, Mayfield managed to create a visual of 1970's Harlem just through music. This was a great album, and after listening to this, I really want to see the movie.

I have a friend who loves Dave Brubeck, so I was really excited to be assigned this album. However, I've never listened to much jazz before, so this album was probably lost on me for the most part. I did enjoy listening to it, but I can't really offer any deep insights as to why I liked it. I've found all of the jazz albums on this list very pleasant and enjoyable to listen to, and this was no different.

I'm not familiar with Common's work, but I've enjoyed most of the rap albums that I've been assigned so far, so I figured I'd enjoy this album. Right off the bat, the album cover gave me the impression that this album would be pretty socially conscious and political in nature, so that was a mark in favor of me potentially enjoying this album. As I listened to it, I felt like the songs were really long and meandering, and I just wasn't a big fan of the rapping. The beats and production were above average, but most of the songs lost their shine with me before I reached the end of them. Even though I wasn't the biggest fan of this album, I did enjoy "A Film Called (PIMP)," "Geto Heaven Part Two," and "A Song For Assata." I don't think I'll be in a rush to listen to more of Common's albums.

The Foo Fighters hold a very special place in my heart, so I apologize in advance for the dissertation that's incoming. My first exposure to the Foo Fighters' music was through the Weird Al polka medley on his Bad Hair Day album, where he featured "I'll Stick Around." Over the years, I probably heard some of their songs, but never realized who the artist was. In the spring semester of my senior year of high school, I heard an advertisement on the local alternative rock radio station that the Foo Fighters were coming to town. I'd heard some of the tracks off of their new album, One by One, so I decided to buy a ticket and go to my first adult concert. I paid $35 for a floor ticket at Reliant Arena, and on the night of the show, I was about fifty feet from the stage. I still can't believe that my parents let me drive all the way from our suburban neighborhood to the show, during evening rush hour traffic. I had an amazing time at the show, and from that point forward, the Foo Fighters were 'my band,' and I spent the next several years listening to them religiously. I'd buy their new albums the day they came out, and I spent a lot of time listening to this album, The Color and The Shape, There Is Nothing Left to Lose, and One by One as well. In 2009, I was lucky enough to see Them Crooked Vultures at ACL, and it was an absolute treat to see Dave play drums live. But in the early 2010's, I stopped listening to them as much. It's not because I hated them, but their music just wasn't really what I wanted to listen to anymore. I'd still count Dave Grohl as one of my favorite musicians though; I read his memoir late last year, and I absolutely loved it. I think Dave is a genuinely great human being, and I hold him in very high regards. Now, on to my review of the actual album at hand... I haven't listened to this album in years, but I loved it at my first listen, and I still love it today. I'm still blown away that Dave Grohl pretty much recorded this album completely on his own. The drumming is outstanding on every track; whether it's an intense sound like on "I'll Stick Around," or something slower and more melodic like "Big Me," Dave put together the perfect percussion. The guitar playing and vocals aren't anything stellar, but they don't need to be. Dave Grohl knows his strengths as a musician, and he lets the drumming steal the show. My favorite songs on the album are the first four tracks, but the album is still great all the way through. In an era where a lot of radio rock blended together, Dave Grohl really created something special and unique with this album. Culturally, this album would end up being a milestone in the history of popular music. If Dave Grohl hadn't made this album, perhaps he would have joined Danzig or Tom Petty and The Heartbreakers, and we would never have had what turned out to be one of the biggest rock bands of the last quarter of a century. This album is absolutely fantastic, and a must-listen for any fan of rock music. PS: If you get the chance, I highly recommend the Foo Fighters' newest album, Here We Are. It's beautiful and heartbreaking at times, and in my opinion, their best work this century.

I've never heard of Magazine before, but this album was fantastic. The instrumentation was kooky and strange, and while it reminded me of Siouxsie and The Banshees, it was still distinctly unique in its sound. I can definitely see how this album is seen as the first in the post punk genre, but I loved how there were still some elements of punk music present, especially the 'sneering vocals' that were present on a few songs. I loved the guitar playing, and the keyboards were fantastic as well. This is an album that will definitely make its way into my regular rotation.

This is the third David Bowie album I've gotten on this list, and my favorite of the bunch so far, by a wide margin. Everything really clicked for me on this album; the vocals really showcase Bowie's unique tone and range, the bass lines are funky, and the piano playing was jazzy. Each song stood alone really on their own, but they built something really cohesive altogether on this album. Before I listened to this album, I was familiar with and really liked "Golden Years," but I'd have to say that "Stay" was my favorite song on this album. Since this was a Friday album for me, I was able to listen to it three times over the weekend, and I felt like I just kept finding new things to appreciate each time. I will definitely be returning to this album in the future.

A genre-defying masterpiece. I've never heard of Michael Kiwanuka, but this album blew me away. Every track was outstanding, and I loved how each one segued into the next. As unique and different as each song was, the album still managed to feel incredibly cohesive. Instrumentally, each song was incredibly complex and beautiful, and Michael's rich voice fit perfectly into each song. This is an album that I will definitely be visiting again soon.

I didn't know what to expect heading into this album, but it was pretty middle of the road for me. There were some things that I thought worked well; the overarching rock opera element and story were interesting, and I enjoyed some parts of the instrumentation. Overall though, this album kind of dragged on for me. Plus, it felt like someone told these guys to make an album that sounded like The Beatles. I really felt like this sound was completely borrowed. It's one thing to draw on influences of a band, but something else entirely to try to duplicate their sound. It's cool that this was one of the first rock operas, but this album was just okay in my book.

I've listened to "Something to Talk About" for over thirty years now, but that's really the only song of Bonnie Raitt's that I'm familiar with. However, thanks to the podcast 60 Songs That Explain the 90's, I know the background to the recording of this album (Raitt being dropped by Warner Bros., becoming depressed and struggling with alcoholism, almost signing with Prince, then signing with Capitol). I was really excited to get assigned this album today, and I thought it was a good album. Right from the first note, I was struck by how "un-country" this album sounded. The lyrical content of this album was very much not what I expected, but knowing where Raitt was in her life at this time, these songs had a very genuine quality to them. Raitt has a great voice, and this album really showcased her talent as a singer. The title track absolutely blew me away, and "Have a Heart" was great too. All day though, the lyrics to "Nick of Time" have been replaying constantly in my head. I'm 38 years old, and my wife and I have an almost two year-old daughter, and another child due next spring. Time is something that I think about a lot, especially as a new dad. I struggled to adjust to fatherhood during the first several months of my daughter's life, and finally started to get therapy for some unaddressed trauma from my childhood. Last fall, I lost a grandmother whom my parents kept me away from throughout my childhood. She was a wonderful woman, and despite the emotional distance, I miss her dearly, and I regret that she never got to meet my child, who was her only great granddaughter. Time is such a thief, especially during these last several years, as we grappled with a global pandemic. "Nick of Time" illustrated the heartbreaking fragility of the short time we all have on this earth with a beautiful simplicity. The simple melody was beautiful as well, and served as a perfect compliment to the poetry of the song. "Nick of Time" is the type of song that I will probably remember where I was the first time I heard if for the rest of my life. "Nick of Time" good album, but a timeless song.

I really enjoy post-punk music, but this album was not my jam. I've never heard of this artist or album before, but that hasn't stopped me from enjoying several "new-to-me" post-punk albums and artists on this list, so I figured that I'd probably like this album. Unfortunately, that was not the case. The thing that I disliked the most about this album was the vocals. Most of the lyrics were completely unintelligible to me, and I found the lead singer's voice absolutely grating. Musically, I could pick out little elements here and there that reminded me of Talking Heads, but the overall sound was very unpleasant to me. This album might be important to post-punk music, but I didn't enjoy listening to it.

I listened to a lot of U2's singles as a teenager and into my twenties, but the only album of there's that I've listened to in its entirety before today was Achtung Baby, which I love. My favorite U2 songs have always been from The Unforgettable Fire through the previously mentioned Achtung Baby, but I'll also admit that I think that "Hold Me, Thrill Me, Kiss Me, Kill Me" is a banger. I wasn't sure how I'd feel about this album, since the singles off this album aren't the U2 songs that I typically gravitate towards. However, getting to listen to this album at a deeper level really made me discover a new appreciation for some of U2's songs that I wasn't the biggest fan of in the past. I never realized that "Sunday, Bloody Sunday" had such a militaristic sound to it; the time signature, drums, and guitars give it a feel like a battle hymn. Ironically though, the lyrics are not militaristic, and instead issue a plea to ordinary people to take a stand in their communities and demand an end to sectarian violence. Also, I'd never really given much thought to the lyric "when fact is fiction and TV reality," but it's almost a nice bit of foreshadowing for the criticisms against media that U2 would use as a theme for their Zoo TV tour in the 90's. The thing that's really stuck with me the most after listening to this album, is the piano and guitar on "New Year's Day." The piano melody is so haunting, and it really evokes a feeling of a gray morning on January 1, when the air is cold, wet, and filled with the lingering stench and smoke of fireworks. The scratching, distorted guitar manages to heighten the beauty of the piano's melody, but also further deepen the sense of unease. Lyrically, I think this song points out that even though New Year's Day is a day that's supposed to symbolize rebirth and hope, it can actually be kind of crummy, as it means the end of the holiday season, and a return to life's regular routines. On a grander scale, even though the calendar starts anew, the same wars still wage, and multiple injustices inflict suffering on countless people. SInce I spent so much time writing about those two songs, I'll briefly mention a couple of other songs that I really liked: I loved the bass line on "Seconds," and the message about how quickly and on a grand scale that life can be snuffed out in our modern world. "Two Hearts Beat As One" was fantastic as well, with it's powerful chorus and great guitar playing. Overall, this was a fantastic album, and it gave me a new appreciation for this era of U2's music, which before now was not really my taste. I loved the political and social messages in the lyrics, and the instrumentation is great, as U2 starts to shift away from their earlier post-punk sound, and more towards their very own unique brand of "pop arena rock" that they've built a solid career on.

I listened to The Beatles quite a bit as a child, but I don't remember hearing any Paul McCartney and Wings songs until I was working Saturday afternoons at the campus radio station in college. "Jet" came up in the rotation during one of my shifts, and I really liked it; in fact, I'm pretty sure I downloaded it on Limewire later that week. However, this was my first time listening to this album. I thought that this was a good piece of seventies guitar rock. I really like Paul McCartney as a songwriter, and I enjoy his precise guitar playing too. The guitar playing that Paul showcased during his time with The Beatles was present here, as were some of the experimental elements introduced later in The Beatles' catalog. "Jet" was far and away my favorite song on the album; the vocals are fun, and the saxophone and synthesizer added some depth to the overall sound. The title track and "Nineteen Hundred and Eighty-Five" were really good too. As for the rest of the album, I found it to be just fine. There wasn't anything I hated, but nothing really set the world on fire either. Overall, this was a good album, and I think it carries some cultural importance as one of Paul McCartney's biggest commercial successes after The Beatles.

I remember listening to this album when it came out. I had seen it on a list of the best albums of the year, and even though I had never heard of PJ Harvey before, I listened to it, and I really enjoyed it. I've meant to come back to this album, but I'd never gotten around to listening to it again until today. I didn't enjoy it this time as much as I remember enjoying it the first time that I listened to it, but I still really liked it. I thought the folk lyrics worked really well, the instrumentation was great, and I usually tend to enjoy PJ Harvey's vocals. I really wanted to listen to this album twice today, but unfortunately, I didn't get around to it, so I don't have anything more to add.

I've never heard of The Saints before, so I was really curious to see what this album would be like. Things started off strong with "Know Your Product." I really liked the guitar parts, and the brass arrangements punched things up and added some depth to the sound. I would have loved to hear more of the brass sound in the later tracks, but alas, I guess it wasn't to be. I thought the lyrics were really great throughout the album, minus a choice word that got repeated on "Memories Are Made of This," and the overall musical sound of the album was good too. This album managed to have the punk feel, while still feeling really well played and thought out from a musical standpoint. The biggest detractor for me is that the album started off really great, but never managed to hit that same level of greatness anywhere else on the album.

I've heard several Snoop Dogg songs over the years, but this was my first time listening to one of his albums. Overall, I thought this album was pretty good. Snoop's rapping was pretty good; I thought he had pretty good flow, and there's just something so distinct about his voice that makes his rapping enjoyable to listen to. I think it's that he sounds so relaxed, but so precise in his pronunciation that makes him stand out. I'm ashamed to admit that I laughed really hard at a lot of the interludes; the "W Balls" bit was particularly hilarious in my opinion. However, I thought the real winners here were the beats and production. I loved the psychedelic sound that was present on several tracks because it just meshes so well with Snoop's rapping and West Coast style. Overall, I thought this was great album. In addition to launching the career of a pop culture megasar, this album has had an enormous influence on popular music over the last thirty years.

I love Joy Division, and though I'm not horribly familiar with a lot of New Order's broader catalog, I love the songs of theirs that I know ("Ceremony," "True Faith," "Temptation," etc.). Sadly, this was my first time listening to a full New Order album. This album was outstanding from start to finish because every song was outstanding in its own unique way. I loved that New Order kept their post-punk sound while also continuing to develop their use of synthesizers. The guitars on this album were really great. I loved that the guitar parts didn't take the lead on the overall sound of the album, but still helped to flesh out the moody sound that New Order is known for. Bernard Sumner's vocals were great here too; there's just something about his voice that has a distinct Manchester sound to it. I thought that this album worked really well as a whole, but "Love Vigilante" and "Sunrise" were absolute masterpieces in their own right. I will definitely be returning to this album in the future.

I listened to this album a little over a decade ago, and this was my first time revisiting it. I can't remember how I felt about this album after my first time listening to it, but after listening to it today, I thought it was really good. The songs were varied, but they didn't create an inconsistent overall feel for the album. Some of the song were great ("Mojo Pin" and "Last Goodbye"), some were good, ("Lover, You Should've Come Over," and "Grace") and the rest were fine. Jeff's version of "Hallelujah," however, is in a category of its own. Jeff's vocals on this track were fantastic, and the instrumentation added a lot of depth as well. There was just so much raw emotion in this recording that it gave me a physical reaction. Overall, this was a beautiful album, and it's a shame that it's the only complete LP we got from Jeff Buckley.

I can't remember if I bought this album because it was on the 1001 albums list, or because "There Is a Light That Never Goes Out" was featured in 500 Days of Summer. Either way, I've owned this album for a little over a decade, but this was my first time revisiting it in several years. I remember really liking this album the first time I listened to it. I've loved eighties music since I was a kid, but I had never listened to The Smiths before that. Listening to it now, I think my opinion of it has gone down slightly. I still thought it was a really good album, but the second half of it is much stronger than the first half. I really liked the overall sound of the album; I enjoyed Morrissey's vocals, and I loved the jangly guitar sounds. Lyrically, it was kind of hit or miss with me, but I still thought that even the misses were pleasant to listen to. This is the only Smiths album I've ever listened to, so I'm hoping to get another one soon.

This was my first time listening to a Mudhoney album, and I enjoyed it. I thought the guitar playing and drumming were fantastic. Lyrically and vocally, I wasn't terribly impressed, and a lot of the songs kind of ran together for me. This album was no Ten, but it was still fairly enjoyable. This is the type of album that I'd enjoy listening to while I'm at the gym.

I've never heard of Underworld before (although I'm pretty sure I've heard their song "Born Slippy"), and I don't think I've ever listened to a full techno/house album before either (is Moby's Play considered techno?). I really enjoyed listening to this album. It was really pleasant to listen to, and I loved that the longer songs would establish a few musical elements, and then build on them. I know there's more techno albums on this list, and I'm excited to be assigned more of them.

I've seen the Flaming Lips at music festivals three times (I wouldn't call myself a huge fan of theirs, it just so happened that their set times made it easy for me to catch them, and plus, their live shows are an absolute trip), but this was my first time listening to this album. I've listened to Yoshimi Battles the Pink Robots several times, and I'm familiar with "Race for the Prize," so I had a pretty good idea of what I was in for with this album. The Soft Bulletin was absolutely amazing from start to finish. Musically, it was incredibly fun to listen to. There was a lot going on, but it never felt busy or convoluted, and the overall sound was just very pleasant. The keyboards and theremin kept things weird and experimental, but they complimented the great guitar playing and drumming really well. The booming drums were great, especially on "Buggin.'" Wayne Coyne isn't what I'd consider an exceptional vocalist, but he plays to his strengths, and that helps the overall experimental and psychedelic sound of the band. Lyrically, I loved that some of the songs were deep and existential, while others were somewhat goofy and nonsensical. Overall, this was a fantastic album, and it's one that I plan to listen to again.

I've loved Elton John since I was a kid, but this was my first time listening to one of his albums from start to finish. I was only familiar with a small handful of the songs on this album, so most of these songs were new to me. I thought this album was fantastic from start to finish. Starting off with the ambitious "Funeral for a Friend/Love Lies Bleeding," and concluding with the beautiful "Harmony," this album never let up with its beautiful piano playing and brilliant lyrics. I thought the lyrical themes of nostalgia for youth were fantastic, and Elton John managed to bring depth to Bernie Taupin's lyrics with his glitzy compositions and unique voice. This album had it all, from the slower ballad "Candle in the Wind" to the adrenaline-filled glam rock of "Saturday Night's Alright for Fighting," Elton John really can do it all. I was worried that the 76 minute runtime of this album would wind up feeling overblown and eventually drag on, but I think the the album length was needed in order to effectively create this epic. "Saturday Night's Alright for Fighting" is one of my favorite songs in Elton's catalog, and it was my favorite song on the album, just ahead of the title track. But I was also really enjoyed "Grey Seal," "Dirty Little Girl," "Your Sister Can't Twist," and "Roy Rogers" as well, all of which were new songs to me. This was a fantastic album, and I hate that I waited this long to explore a complete album of Elton John's.

I've never heard of The Undertones before, but I really enjoyed listening to this album. This album was a great combination of punk and new wave. The songs were driving, fast paced, and succinct in their lyrical messages. I loved that The Undertones made their point in each song, and then moved on, refusing to beat around the bush and drag their songs on longer than necessary. The drumming and guitar playing were fantastic, the vocals were unique, and the lyrics were the perfect combination of sometimes serious, and sometimes funny. Highlights: "Family Entertainment," "I Gotta Getta," "Here Comes the Summer," "Get Over You," and "I Know a Girl."

Finally, I get my first Sonic Youth album on this list! My first exposure to Sonic Youth was through Daydream Nation. I had heard about the 1001 albums list, and saw that Sonic Youth was had several albums on the list, so I bought Daydream Nation and gave it a go. I grew up listening to a lot of popular music from the eighties, so my brain had been hardwired for over twenty years to think of synth pop, arena rock, and hair metal as the defining sounds of the eighties. When I listened to Daydream Nation, it completely blew my mind and shattered my assertions about music in the eighties. I had absolutely no idea that people were making music like this back then. This was my first time listening to Sister, and it gave me the same feelings that I had when I first listened to Daydream Nation. I loved the dissonant guitars, the rapid-fire drumming, and Thurston Moore and Kim Gordon's unique vocals. Sonic Youth created a sound that was distinctly their own, and this album cemented their presence as a shifting force in rock music. I loved that the album starts off with the more melodic "Schizophrenia," before descending into the controlled chaos that became synonymous with Sonic Youth's own brand of post-punk sounds. This was a fantastic listen from start to finish. Bring on more Sonic Youth albums!

I've heard a small handful of the Pretenders songs, but this was my first experience with one of their whole albums. This album was a perfect blend of New Wave and Punk. Knowing the Pretenders' radio hits, I was caught off guard by some of the lyrical content of some of the songs on this album. I don't mean to say that any of that subject matter was out of place on this album, because I think it fit perfectly with the Pretenders punk leanings. Chrissie Hynde was the perfect frontwoman to tackle lyrics like this, and this album laid the foundations that acts like Joan Jett, Pat Benatar, and The Go-Go's were able to build their success on (okay, Joan Jett got her start before the Pretenders were around, but her solo stuff had much further reach than her stuff with The Runaways). Musically, this album had some fantastic guitar licks. The songs here were varied in their sound, and that allowed James Honeyman-Scott to show off his skills. From the furious solo of "Tattooed Love Boys" to the riffs on "Brass in Pocket," he could really do it all. The rest of the band's playing was fantastic too; it really felt like all the instrumentals were perfectly placed on this album. I've always enjoyed the few Pretenders songs that I'd heard, but this gave me a new appreciation for how talented and influential they were.

I'll admit that I'm coming into this album with a bit of bias against it; I listened to Led Zeppelin a lot when I was in college, and this was always one of my least favorite albums of theirs. Unfortunately, that still seems to be the case with me. I can't remember what turned me off of it so much back then, but this listen, I just wasn't that into the first half of the album. Sure, "Immigrant Song" is great, but it honestly feels very out of place to me on this album. I thought the album really started to get good and interesting with "Gallows Pole;" I really loved the folk-y lyrics and the acoustic guitar. "Tangerine" was fantastic too; I loved the use of acoustic and pedal steel guitar together. But for me, the highlight of this album has always been "Bron-Y-Aur-Stomp;" the guitar intro is absolutely perfect, and when the percussion kicks in, I can't help but tap my foot along with the beat. Don't get me wrong, this isn't a bad album, it just doesn't land with me in the same way that IV or I does.

I owned this CD as a young teenager, but I only ever listened to "Bittersweet Symphony." Even if I had listened to all of the album, I don't think I would have really appreciated it back then. Around 2001, I think I sold this to CD Warehouse or some similar type of establishment, and I'm pretty sure I got a whopping $1 for it. Wonderful return, considering I probably paid over $15 for it originally. And if my memory serves me correctly, I think that $1 went towards a new Lego Bionicle figure at Target next door. I was a weird teenager. Anyway, it's now the year of our lord 2023, and this was my first time listening to this album from start to finish. I really enjoyed listening to this album. Over two-and-a-half decades later, "Bitter Sweet Symphony" is still very much the star of the show here. But the rest of the album is really good to. Sure, there are a handful of songs here that sound a lot like Achtung Baby era U2, but "The Rolling People" and "Catching the Butterfly" are both good songs. But The Verve are at their best when they sound like... well, themselves. The from "Weeping Willow" to "This Time" is great, and honestly the strongest part of the album apart from the opening track. The instrumentation on this album is great, and The Verve really did a great job of establishing their own identity in the wide sea of Britpop. These songs are beautiful, and they still sound great to this day. This is definitely an album that I'll be returning to. I just wish I had appreciated it when I was younger.

I had never heard of LCD Soundsystem until the lineup for Austin City Limits in 2010 was announced. People seemed to be really excited for them to be on the lineup, so I decided to check them out. I looked them up on YouTube and found the video for "All My Friends," and I was immediately hooked. I bought this album and This is Happening, and I wound up enjoying This is Happening more. However, over the years, I've grown to consider Sound of Silver the band's best work. Every track is deep and rich in sound, and I feel like I hear some new detail every time I listen to this album. James Murphy's low-key vocals provide a perfect contrast to the fast-paced dance rhythms, and his lyrics are the perfect combination of punk rebellion mixed with Gen X apathy and nihilism. "All My Friends" is one of my all-time favorite songs, and its catchy piano loop still entrances me every time I hear it. To me, this album is absolutely perfect, and remains one of my all-time favorites. Long live Indie Sleaze.

I've never heard of Alexander Spence before, but holy Macaulay Culkin's doppelganger, Batman. This album was incredibly underwhelming. I listened to it earlier today, and if I hadn't taken a few notes during my listen, I don't think I'd have anything to say about it. The music wasn't really anything outstanding, nor were the vocals. The lyrics were pretty nonsensical and didn't do much for me either. However, I did like the reverb effect on "Grey/Afro," which was one of the better songs on this album. I also thought the rain sounds on "Books of Moses" were nice too, and that wound up being the best song on the album, although that isn't saying much. The songs were short, which was nice, but an hour's worth of these songs was like torture. I did read about what led to this album's recording, which was really interesting, but just because the lead-up and process were interesting, doesn't mean that the finished product was interesting too. What a shame that the tape ran out at the end...

FINALLY, a Pink Floyd album. I've listened to a lot of Pink Floyd over the years, well, "Dark Side of the Moon," "Wish You Were Here," and "The Wall," but this is my first time listening to this album. I knew going into it that it was different than their work that I was familiar with, but having already suffered through Syd Barrett's The Madcap Laughs, I approached this album with somewhat low expectations. Thankfully, this album was better than what I expected. The vocals were good, and the overall sound was experimental and unique. This was a great album to listen to over headphones, as there was so much going on instrumentally. I'd still prefer to fire up "Wish You Were Here" any day of the week, but I'd be willing to give this one another listen since I know there are some things that I missed this time around. Going into this list, I really thought I liked psychedelic rock. Now, I think I had just managed to find a handful of psychedelic rock songs that I'd liked, and those were the only ones I'd listen to.

I'm familiar with a handful of Coldplay's singles, but this was my first experience with one of their full albums (even though I own Parachutes on CD). This album is a really good piece of pop rock. The melodies are beautiful, the piano playing is great, and Chris Martin's vocals are perfect for the sound that Coldplay wants to create. Most of the songs on this album were really good: "Politik," "In My Place," "God Put a Smile upon Your Face," and "Daylight" were among the best songs here. But "The Scientist" and "Clocks" were in a class of their own. On "The Scientist," the somber lyrics, Martin's voice, and the increasing tempo of the guitar strumming created a beautifully distinct song. However, "Clocks" was easily my favorite track on the album. The lyrics about a lost love were fantastic, but the piano melody steals the show here. Coldplay isn't really my jam for the most part, but this was a really good record. I think I should go dust off my copy of Parachutes now.

I don't think I've listened to any Little Richard songs since my history of rock and roll class in college. I've probably only heard three or four songs of his over the course of my life, so most of the songs on here were new to me. This album doesn't seem like much by today's standards, but I would imagine that when it came out, it blew people's' minds. "Tutti Fruitti" is iconic, and it still sounds wild and electric almost seventy years after it was recorded. The rest of the album was fine, but nothing else really stood out that much from the rest of the songs. Even though this album wasn't really my jam musically, I can appreciate its cultural significance. I'm no musical historian, but I'm pretty sure no one else at the time was playing at the tempo that Little Richard played at, nor did anyone belt their vocals like he did. Little Richard really earns the name "the architect of rock and roll." He directly influenced so many artists, and those artists went on influence countless others; it's like a pyramid scheme that didn't rob people blind. You can't help but wonder what music would have been like had Little Richard not stopped making music and gone off to study theology.

I've been really excited to listen to this album ever since I saw the cover. I've loved the socially conscious albums of the seventies that I've listened to so far, and after enjoying Winter in America, I thought this album would be right up there with it. Unfortunately, I didn't really enjoy this album as much as I thought I would. The music and lyrics were good, but I think the slower tempo of the songs wasn't what I expected, and it threw me off. Thankfully though, I was able to listen to it a second time, and I appreciated it more on that second listen. The blend of funk and R&B was really unique and beautiful, and it complimented Mayfield's falsetto singing really well. The political messaging still didn't resonate very strongly with me, even on the second listen, but the album still had a unique and rich sound.

This was my second Steely Dan album to be assigned. My first was Countdown to Ecstasy, which I gave five stars. I liked this album, and I thought it was great, although I didn't enjoy it as much as I did Countdown to Ecstasy. Overall, I missed the lengthier songs, and I missed the more meandering instrumental jamming that was present on the previous album. Several of the songs on here really stuck out to me: -the guitar on "Night by Night" was fantastic, and I loved the way it has that kind of stutter sound to it about 2/3 of the way through the song -as much as I missed the jamming on this album, East St. Louis Toodle-Oo was great, with its wah-wah guitar and gloomy piano -I really enjoyed the varied guitar sounds the band utilized as well; the bluesy sound of "Night by Night" goes right into the softer strumming of "Any Major Dude Will Tell You," and neither song feels out of place -the best part of this album though was "Barrytown." I thought the lyrics about fearing change and the unknown were great, and the rhyming structure of rhyming carry with barry was absolutely brilliant. The lyric "Don't believe I'm taken in by stories I have heard. I just read the Daily News and swear by every word" was absolute genius -the piano and strings on "Through With Buzz" were awesome too -"With a Gun" was probably my second favorite song; its bluesy sound was perfect for the lyrics, and really felt like the band's take on western ballad Hell, now that I typed this out, I realize how much I liked this album. I was going to give it four stars, but I think it's worthy of five. I can't wait for Aja and Can't Buy a Thrill.

When I first heard about the 1001 Albums book, this was one of several albums that I bought from the list. I'd heard of Anthrax before, thanks to their collaboration with Public Enemy appearing in Tony Hawk's Pro Skater 2, and seeing Scott Ian on several of those VH1 I Love the... shows, but I'd never listened to any of their albums (wait, I think "Caught in a Mosh" was on a Guitar Hero game). I remember appreciating it back when I first listened to it, but it wasn't the sort of album that I would revisit often. Listening to it today, I still feel the same way. I think it's a great album, and I appreciate its significance in the history of music, but it's not something I'd listen to a lot. Thrash metal is not something I enjoy often, but man, Anthrax can indeed thrash. The guitars are loud, abrasive, and fast, and the drums come at you like a mortar shells fired from a machine gun. I loved the use of fierce vocals and politically charged lyrics that are typically found in hardcore. At a time when thrash metal was peaking in popularity, Anthrax managed to stand out, even when bands like Metallica were finding a wider audience. I didn't come away from this album with a favorite song, but I still thought it was a great and valuable listen.

Last Friday, I reviewed A Rush of Blood to the Head, which I had never listened to from start to finish. I enjoyed it, so afterwards, I thought I'd listen to Parachutes, which I had also not listened to from start to finish, despite owning a copy of it on CD. Funny that I should get to review it a week later. I enjoyed Parachutes as much as A Rush of Blood to the Head, but for different reasons. Parachutes feels less poppy to me, and the instrumentation feels a little bit darker tonally, which I think is a nice contrast to the sound of A Rush of Blood to the Head. The guitar playing on this album is really good, especially on "Don't Panic" and "Shiver." The piano playing on "Trouble" is fantastic as well, and even though it shifts away from the guitar-heavy tracks on this album, it still fits into the rest of the album perfectly. "Everything's Not Lost" was a perfect closer to the album, with more great piano work by Chris Martin, and a great guitar riff. As good as the songs that I mentioned above are, "Yellow" is this album's "Clocks," and it completely steals the show. The acoustic opening shifts beautifully into the driving melody that makes this song such a standout. Martin's vocals are fantastic too, creating a crooning sound that would make Coldplay stand out from other pop acts of the time. The lyrics on this album are fine, but for my money, it's Coldplay's overall sound that makes them enjoyable to listen to. I have a feeling that I'll be revisiting this album and its successor soon.

The crooniest of crooners. I've been looking forward to reviewing this album; not only is it chronologically first on the list, but I've never really listened to any music from the Rat Pack or similar artists, but I know they're all incredibly talented. This album was really pleasant to listen to. Frank Sinatra's voice is just fantastic, and the orchestra's playing was great as well. Sinatra's crooning was perfect for these melancholy love songs, and while the this may not be the most lyrically diverse album, I still found each song enjoyable. This is definitely an album that I'll be revisiting.

I've been listening to the Eagles on and off for most of my life, but I don't think I've ever listened to any of their whole albums. However, I did lose my virginity to "Take It Easy," but only because I didn't have my copy of Bush's Sixteen Stone with me (she really wanted to listen to "Comedown," which she loved because it was used in the movie Fear, which was clue number one that it was a bad idea to have sex with her). I thought this album was fine. The band has a decent country rock sound, but this album doesn't really set them apart from other acts that were big in country rock at the time. "Witchy Woman" is the closest they get to their signature southwest flair, but the main guitar riff and the drumming feel derivative of stereotypes of indigenous drum circles. Also, the bird noises on "Earlybird" were incredibly annoying; the song would have been much better without it. Outside of the banjo and guitar on "Take It Easy," there's nothing too remarkable about the instrumentation on this album. However, I absolutely love the Eagles' vocals. Glenn Frey and Don Henley are fantastic singers, and the band sounds great when they harmonize as a group. I know I levied a lot of criticism at this album, but I truly did think it was fine. This was my first time trying to listen to the Eagles with a critical ear, and I was able to really put some attention into some music that I've been listening to since I was a kid. I think this album has a handful of great songs, but the rest of it is kind of lackluster. And for everyone who quoted The Big Lebowski in their review: grow up and watch a real Coen Brothers movie.

A few weeks ago at work, I needed something to listen to, so I picked this off the list, but before that, I'd never intentionally listened to Chic (I'm sure a lot of people have heard "Le Freak" and "Good Times" to some degree in their lives). This album is a lot of fun, and I found myself nodding along to the beat with every song. Nile Rodgers' guitar playing is fantastic, Tony Thompson's drumming is clean and precise, and Bernard Edwards' bass playing is funky and fun. Disco is not something I gravitate towards, but this album was a treat for the ears. I loved the tracks that featured strings, and the bells on "I Want Your Love" were great too. Chic is so talented and influential, and this album definitely deserves its place on this list. I just learned that Nile Rodgers has an autobiography, and that's definitely going on my list of books to read.

I've never heard of The Thrills before, so I wasn't sure what to expect with this album. The first few tracks were somewhat enjoyable, but after "Say It Ain't So," the album fell off a pretty sharp cliff. The banjo playing was a nice and unique touch, which is difficult to admit in a post-Mumford era. I enjoyed some of the vocals as well, and there were a few nice harmonies sprinkled in here and there. "Big Sur" started off with some nice psychedelic sounds, but never built upon it. The best thing going for this album was the cohesive theme of places that the band longed for. This album did a few things well, but the band didn't leverage those things very well. I'm really confused as to why this was on this list. I'd much rather listen to Guster, Built to Spill, or Dawes, all of whom do a much better job of what I think The Thrills were trying to do here.

Gun to my head, I don't think I could have named an Isaac Hayes song other than the theme song to Shaft. But holy hell, this album was amazing. Isaac Hayes's voice is so smooth but powerful; there's a certain truth to his singing, and I can't help but wonder how much of these songs are some sort of memoir for him. The musical arrangements were outstanding as well. I loved the string arrangements, and the guitar playing was great too. This album was such a surprise hit for me, and now I want to watch Shaft.

This was my first time listening to Elis Regina, and this album was okay. I'm not very knowledgeable about jazz music, so I always have a hard time assessing albums like this. Elis's voice was nice, and there were some arrangements on some of the songs that were good, but this wasn't really my cup of my tea.

Heading into this project, I would have said "I love Bruce Springsteen," but after Darkness on the Edge of Town and Born to Run, I think I'd say "I really like some of Bruce Springsteen's work." I could have sworn that I'd listened to this album before, but if I did, I think I just had it on in the background, because the title track was the only song that felt familiar. The lyrics and storytelling are the star of the show on this album, backed up by some great piano and saxophone playing. The other elements on this album are fine, but a lot of Bruce's singing is really mumbly, and that's a shame since the lyrics are so brilliant. "Thunder Road" and "Jungleland" are great, but for my money, the title track is far and away the best song on this album. It's one of those songs that makes me wish I could sing well, because it's just an absolute blast. Overall, this is a great album, but I prefer Nebraska and Born in the USA.

When I saw that this album was on the list, I laughed. I hate "Relax." It's the most generic eighties pop song ever, and its sole purpose is to be used in film and television to establish that it's the eighties; just pure drivel. Well, now it's time for me to eat my words. I absolutely loved this. Lyrically, this album was political and fierce, taking shot after shot at Thatcher's England, extolling the fears of nuclear war, and criticizing the oil industry. Musically, it was rich and diverse in sound. From pulsing keyboards, to string arrangements, I was delighted by every song. I absolutely loved their guitar heavy version of "Born To Run" (which I was assigned yesterday), and I have a newfound appreciation for "Relax." The dark and brooding "Two Tribes" was fantastic as well; the guitar, string arrangements, and crashing percussion were a perfect mix. This is an album that I'll definitely recommend and revisit often. I wish I had known how awesome this album was before today.

I listened to a lot of classic rock from childhood through my teenage years, but I didn't hear about Rush until a coworker introduced me to them some time in the early aughts. I took a shine to them, but I never spent any time listening to whole albums of theirs, even though I have a couple of different ones on vinyl, including this one. The members of Rush are master instrumentalists, and their talent is on full display here. Neil Peart's drumming and percussion work creates a world of sound all on its own, and Geddy Lee's and Alex Lifeson's guitar playing are fantastic in their own right as well. The keyboards are fantastic too, and Rush really embraces the sound of the eighties, while putting their own thumbprint on it. Each song is full of great sounds, and while each song is distinct and stands alone well, the album feels like one complete work. My biggest gripe is that the lyrics on this album are kind of cheesy. I know the band was heavily influenced by Ayn Rand for a while, and this album unfortunately fell victim to that influence. However, this is a really good album, and a unique blend of hard rock and prog rock. I struggled whether to rate this album four or five stars, and I think I'll have to go with four stars. I stand by the fact that it's a very good album, but the cheesy lyrics take it down a notch for me. Also, most of the things that I rate five stars, I'm usually really excited to listen to again. I can't really say that for this album. Sure, I'll fire up Limelight and YYZ again, but I'd be okay never hearing Tom Sawyer again.

I've never sat down and listened to Norah Jones before, but I assumed that I would recognize some of the songs on this album as I listened to it. That turned out to not be the case. I guess I wasn't in Starbucks very much in 2002. This album was okay. I know the early aughts saw the emergence of a lot of acoustic pop performed by singer-songwriters, and this album managed to go diamond during a time when Napster was wreaking havoc on the music industry, which is really impressive. Norah Jones has a great voice and plays the piano well, but she didn't write a lot of these songs. I'm not quite sure how this album is different than the music of her contemporaries at the time, other than its massive sales numbers. Honestly, a sound like this was a dime a dozen at the time. Just because something has wide reach doesn't make it great. This album is kind of bottom-tier for me, but to each their own.

I know a couple of Dolly Parton songs, but this was my first experience with one of her whole albums. This album was really good; the songs ranged from gut-wrenchingly sad to heartfelt to hilarious and absurd. I really loved Dolly Parton's singing, especially on the second half of the album. The instrumentation was simple, but it created a nice backdrop for Dolly's storytelling, which was the standout feature of this album. I did really enjoy the bass line and drumming on "Early Morning Breeze," which was one of the best songs on the album. However, the crowning achievement of this album was the title track. It's beautiful, and has a heartbreaking innocence that's incomparable to any other song that I've heard before. What a wonderful illustration of Dolly's mom's love for her children. The song called to mind an intersection I pass on my way home from work, where I usually see a lady with a small child, selling flowers. This scene always breaks my heart, and I wonder what I would do for my daughter if I ever found myself in a similar situation. I hope and pray that I would be as lovingly tough as Dolly's mom was, and that I would do everything I can to provide for my daughter, while shielding her from the harshness of our situation. Hopefully though, Dolly's vision on the final track can come closer to fruition, and we can all make A Better Place To Live.

I think I may have heard the name Guided By Voices talked about before, but I was completely unfamiliar with their work. This album was not my speed at all. I tend to enjoy things that are different and experimental, but I didn't enjoy listening to this, not could I find anything that stood out to me as important or influential. I'll take a hard pass on GBV.

I've heard of G Love and Special Sauce, but I've never listened to them (maybe they were on the bill for a festival I went to). Honestly, I thought they came about in the late aughts, I had no idea that they'd been around since the nineties. Also, I had no idea that they'd sound like this. Surprises all around I guess. On to the matter at hand: this album wasn't really up my alley. The instrumentation felt repetitive, and it felt like a chore to get through the entire hour of this album. The rapping, or singing, or whatever you want to call the vocals, wasn't really to my taste either. I've read some reviews that compare this band to Beastie Boys or Beck, but Beastie Boys lyrics carry some tremendous punch, and Beck may not be a powerful vocalist, but he knows how to create some truly unique sounds. My point is, I'd take Beastie Boys or Beck any day of the week over G. Love and Special Sauce. Even though this album wasn't to my liking, I can understand why it made the list. There's something about the sound that made me think "yeah, this album probably found a pretty good-sized audience in the nineties." I also think they did an interesting job of taking the Philadelphia-soul sound, and doing their own thing with it.

This is my second Smiths album to be assigned, the first of which was The Queen is Dead. I went into this album, never having listened to it before, but I absolutely loved it. The guitar playing on this album was absolutely fantastic. The sounds and influences were incredibly varied, but Johnny Marr played them all with expertise, and Morrissey's vocals were great, as usual. The lyrics were fantastic as well, going from social critiques to exaggerated heartbreaks and back again. I thoroughly enjoyed this album from start to finish, and I'll definitely be revisiting it soon.

I was just reading about Ananda Shankar earlier this week after I was assigned Nora Jones's album, but before then, I'd never heard of him or this album. This album was a nice listen, with the two cover songs being my favorite tracks. Ananda's goal with this album is printed right on the cover, and I think he succeeded in that aim. Even though only two of the songs were covers of already popular songs, when I was listening to the other songs, my brain was trying to convince me that there was something familiar with them too. I'm not the biggest fan of the sitar's sound, but I still enjoyed listening to this album, especially since it was a unique combination of western and eastern music.

I've never heard of Tito Puente or this album, but this was an interesting listen. I'm not familiar with the mambo genre, so I don't really have much to judge this album by. The arrangements were fun and upbeat, and I especially enjoyed the drumming. One of the best things about doing this list is the exposure to genres and artists that I probably never would have been exposed to otherwise, and this album was no exception.

I haven't listened to a lot of CSNY, but the few songs of theirs that I've heard, I've enjoyed for the most part. I thought this was a good album. It was about what I would expect from CSNY: the instrumentation was fine, but the harmonies were out of this world. Each one of these guys is a great singer in their own right, but nothing can beat their harmonizing. As far as individual songs go, "Country Girl" is the best song on the album in my opinion. The organ playing is fantastic, and the way that it swells and fades throughout the song creates a really great sound. Overall, this was a pleasant album to listen to, but it's not high on my list to revisit.

The only song from The Band that I'm familiar with is "The Weight," so this album was new territory for me for the most part. I can't say that I got much from listening to this. The songs were alright, but nothing really stood out to me. The vocals weren't anything special, the instrumentation was okay, and the vocals and lyrics weren't anything to write home about. There was some nice organ playing on a few tracks, specifically "Chest Fever," but other than "The Weight," I think the majority of this album was pretty forgettable. I see so many five star reviews for this album, but I guess I'm missing what all these other folks are hearing. This album was pleasant enough, but I definitely won't be revisiting it.

I generally like the Talking Heads, but this album wasn't as enjoyable to me as most of their other work. I was only familiar with "Psycho Killer," and that was easily my favorite track on the album. The guitar playing was fantastic throughout the entire album, and I love David Byrne's vocals too. Several songs had elements that I liked: the steel pan on "Uh-Oh, Love Comes To Town," the fluctuating tempo of "No Compassion," and the percussion on "First Week/Last Week... Carefree." Overall though, without those little elements, most of the songs on this album were pretty middle of the road for me. I still enjoyed listening to this album, but it's not a part of the Talking Heads' discography that I'll revisit.

This is my third and final Hendrix album to review, and it looks like I saved the best for last. Just like on his other albums, Hendrix's guitar playing and songwriting are the stars of the show here. This album flies highest when the tempo is fast. Songs like "Crosstown Traffic," "Little Miss Strange," and "Gypsy Eyes" were among my favorites. Hendrix also did a great job of crafting his own psychedelic sound, like on "Burning of the Midnight Lamp" and "House Burning Down." Those two songs were an absolute delight through my headphones. But the best track on this album was easily Hendrix's version of "All Along the Watchtower." Hendrix's takes Dylan's song, and makes it his own, with defiant vocals, and guitar sounds and percussion that build their own massive landscape. As much as I think that this is Hendrix's best album, it did have its downsides. I loved the faster tempo songs, but the slower ones felt like a drag, only offering brief glimpses of Hendrix's talent with the guitar. My biggest complaint though is that the album was just too long, and I really didn't enjoy the two longest tracks, which essentially made up about 40% of the entire album. This was a great listen, and I'm glad that I've checked all three Jimi Hendrix albums off the list.

In high school and college, I almost exclusively listened to classic rock and eighties music. I enjoyed Aerosmith back then, but over the past few years, I've really soured on them. I'm not sure if it's the sexual assault allegations against Steven Tyler (another incident literally came out today), or if their sound hand just grown old on me. Either way, I wasn't looking forward to any of the three Aerosmith albums on this list (I've already gotten Pump, which I surprisingly enjoyed). But just like Pump, I enjoyed Toys in the Attic. I'd always heard that this was a great classic rock album, but I never got around to listening to all of it during my heavy classic rock days. The guitar riffs are absolutely fantastic; Joe Perry's guitar playing has such a distinct sound, and it's present throughout this album. There are moments of brilliance for other bits of instrumentation on this album as well: the bassline on "Sweet Emotion" coupled with the vibraphone helps to create a unique blues rock sound, and the piano parts on "Round and Round" and "You See Me Crying" were fantastic as well. "Sweet Emotion" is my favorite song by Aerosmith, and one of my favorite classic rock songs overall. I've already mentioned my love for the bassline, but the guitar riff after each verse is incredible as well. I'm not a big fan of "Walk This Way," but I'll admit that it's catchy, and I certainly can't deny its influence in the grand scheme of popular music. "Uncle Salty" felt like a thematic predecessor to Pump's "Janie's Got A Gun," with its story of abuse perpetrated by a child's guardian; it's kind of odd hearing Aerosmith sing about something so serious and taboo in a way, but I think this song really sticks the landing. Sure, the sexual crudeness "Big Ten Inch Record" and "Adam's Apple" are probably not going to land with a lot of people, especially with the allegations against Steven Tyler these days. However, I'll take crude double entendres over lyrics with overt misogyny or unwanted sexual advances any day of the week. I think one of my favorite things about listening to the two Aerosmith albums that I've heard so far, is that the band can do upbeat, loud, and fast paced songs really well, but they can also slow things down and get serious just as well. They did such a great job of taking blues rock and making their own distinct version of it. This isn't an album that I'll be itching to listen to in its entirety again, but I think it's worthy of a five star rating, because I believe it's genuinely good piece of music, and it's had a lasting impact on popular music and culture. Steven Tyler, though: you get one star.

This was my first time listening to an Otis Redding album, and I thought this was a really good album. The horn playing was great, and Otis Reading's singing was fantastic. Even though most of these songs were covers, I thought that Otis Reading did a great job of performing each one in his own unique way, adding something that wasn't there before, but without taking anything away from it.

Sometime in high school, or maybe even shortly after (early aughts), I bought a Smashing Pumpkins greatest hits CD. I listened to the shit out of that CD for several years, especially the singles that got heavy airplay on our local alternative rock station. I never got around to listening to an entire Smashing Pumpkins album, and other than catching the stray song of theirs on Sirius XM, I haven't really listened to them in quite a while. This album was an absolute treat. I was already very familiar with "Cherub Rock," "Today," and "Disarm," but I'd never really given much thought to why I liked these songs until now. The guitar playing is fantastic on all three of these songs, and I love the distorted and fuzzy sound they have. I'd never really noticed before that The Smashing Pumpkins take so many different elements and blend them all together to make their signature sound; there's bits of hard rock, grunge, and shoegaze all represented heavily here (granted, I didn't hear the term shoegaze until I saw The Killers in 2009, and M83 opened for them, but that's a story for another time). I love Billy Corgan's voice on these tracks too. His singing is perfect for the heavy and darker tone of the lyrics featured on this album, and I think "Disarm" is the perfect example of this. I really enjoyed revisiting the tracks that I already knew, but the songs that I'd never listened to were fantastic too. The fuzzy and distorted guitars were present throughout the album, but those sounds took a backseat at times when they needed to, like the finger-picking on the guitar towards the end of "Hummer," and the light strumming at the beginning of "Soma." This album did all of the big things really well: great instrumentation, moody lyrics, and fantastic production, but there were a lot of other little things that stuck out to me too: the thundering drum intro on "Silverfuck," the drum fills on "Hummer," and the strange little guitar chords that interrupted the main melody on "Mayonnaise," all added some depth and detail to these tracks. The thing that sticks out to me the most about this album is that its a melodic and beautiful piece of hard rock. There's so many sonically pleasing elements peppered throughout the entire album: the string arrangements on several tracks, the bell on "Disarm," and the amazing denouement of "Sweet Sweet" and "Luna" to close out the album. The Smashing Pumpkins really knocked it out of the park with this one, and I'll be listening to this album regularly from here on out.

I think the only Radiohead album I'd listened to in its entirety before today was 2016's A Moon Shaped Pool, which I remember enjoying. I've heard for years and years how great Radiohead's albums are, but today was the first time that I've listened to one of their earlier albums. I really enjoyed listening to The Bends. Yesterday, I had the Smashing Pumpkins' Siamese Dream, and this album was the perfect thing to listen to the next day. This album was absolutely beautiful from start to finish. I really enjoyed the guitar forward sound of this album, but the overall sound was so rich and deep; there were so many little bits of instrumentation that were peppered into each song, like the little chimes and strings on "Street Spirit." The keyboard playing was fantastic too, especially on "Fake Plastic Trees," and I really enjoyed Thom Yorke's vocals throughout the album. The production work was fantastic too; I can't imagine the work it took to get this rich sound. My only complaint is that things kind of dragged on "My Iron Lung" and "Bulletproof," but things picked right back up from "Black Star" to the end of the album. The first four tracks were probably my favorite part, but the whole album was great. Not only did I love and enjoy this album, but it was just a beautiful piece of music, and I think it's just objectively great. I wouldn't even know how to categorize this album, other than just tossing it under the generic umbrella of "alternative rock," but it feels like it stands outside of that label. I can't wait to be assigned the other Radiohead albums that are on this list.

I've never listened to this album from start to finish, but I'm very familiar with all of the singles from it. When it comes to the singles, "The Unforgiven" and "Nothing Else Matters" are tied for my favorites. I love their slower pace, and they both feature some of my favorite guitar playing from Metallica. I really enjoy James Hetfield's growling vocals, and he shines on those songs. "Enter Sandman" would be my next favorite, with its fantastic cymbal crashes and screeching and wailing guitar solo. As for "Sad But True" and "Wherever I May Roam," well, those are unfortunately two of my least favorite Metallica singles. The guitar playing is pretty ho-hum to me, and they don't offer Hetfield anything unique to perform vocally. The other songs on this album are good, but the singles are what stand out. As a whole, the album sounds great and cohesive, with memorable guitar playing, great vocals, and a good mixture of lyrics. I think this album has earned an important place in the history of music and popular culture. For a band like Metallica to create something that stays true to themselves, but that has also been accessible to so many people for the last thirty plus years is absolutely incredible. This album brought metal into the mainstream, and has managed to keep it there. I grew up in a household where metal was definitely not allowed, but Metallica still managed to make into my ears quite a bit throughout my childhood and teenage years. This album firmly earns its place on this list for the impact that it's had.

Holy New Wave Batman. I know a few of the B-52's songs, but this was my first time listening to an album of theirs. I thought this was a good album, but I wouldn't say that I particularly liked it. The guitar playing was really good, but the vocals were pretty hit or miss for me. I liked the songs where Kate Pierson was doing most of the singing, but Fred Schneider's sprechgesang just wasn't doing it for me on this album. "Rock Lobster" is the biggest single on this album, but I honestly find it to be pretty grating; the main hook is kind of annoying, and it's pretty long. Despite not liking this album all that much, I recognize that it had a major impact on other new wave albums that came after it, and they helped turn Athens, Georgia into a haven for great music.

This is the second Tom Waits album that I've been assigned, the first being Rain Dogs. I was completely unfamiliar with his music before starting this list, but I've quickly become a fan of his. I really enjoyed this album. I loved the melancholy lyrics, the piano playing, and the percussion. I know Tom Waits's voice isn't for everyone, but I really enjoy his singing. His gravely and gruff singing is absolutely perfect for his lyrics. I thought the pacing of this album was really good too; I liked that the majority of the album was slower and more melodic, with some more chaotic and experimental songs popping up every so often to change the pace. As much as I enjoyed the changes in pace throughout the album, the more experimental songs were not my favorite. I'd just rather hear Tom Waits be slow and gravely than disorderly and wild. Still, this was a great album, and I can't wait to listen to more of Tom Waits's discography.

l know a handful of Santana songs, but this was my first time listening to one of their albums (even though someone gifted me a copy of this on vinyl, whoops). This was pretty much everything I could want in an album: the instrumentation was great, the vocals were good, and the album had an incredibly unique and cohesive sound. This album was part jazz, part funk, and part mystical desert seance. And yet, everything came together really well to make a beautiful album. I loved the percussion, the keyboard parts, the piano melodies, and the guitar playing. Each song seemed to have a few simple elements that really stuck out to me that helped elevate them from good to great. This album was fantastic from start to finish, and it's an album that I'll be quick to revisit.

This album was a bit like a warm slab of Oscar Meyer bologna between two pieces of artisan bread, a proverbial shit sandwich if you will: the first two and last two tracks were the best parts of the album, and everything in between was a bland hodgepodge of some of the worst bits of musical elements. One of the first albums I was assigned was The Chemical Brothers' Exit Planet Dust, which I thought was really inventive and enjoyable. I had high hopes for this follow-up effort, but it really fell short for me. "Block Rockin' Beats" and "Dig Your Own Hole" had some pretty great bass parts, but after that, the songs became too long, too repetitive, and too bland. Nothing about tracks three through nine stood out to me at all. But "Where Do I Begin" was the best track on the album, and it completely outshined every other song on the album. Musically, it was incredibly catchy and unique, and Beth Orton's vocals were fantastic (appropriately enough, my favorite track on Exit Planet Dust was "Alive Alone," which also featured her vocals). "The Private Psychedelic Reel" was also fantastic, and provided a great conclusion to a completely lackluster album. If the middle of the album had been half as interesting as the last two tracks, this album could have probably been four stars for me, but unfortunately, The Chemical Brothers just didn't pull it off on this one.

Before starting this list, I'd seen this album cover around, but I didn't know anything about it. Since starting this list, I've heard a lot chatter about it, and I can't say that any of that chatter was good. Listening to this was certainly an adventure, and I'm happy to say that I survived the trip. Subjectively, I didn't like this album at all. It was a chore to get through, it wasn't particularly pleasant to listen to, and it was just really bizarre and nonsensical. I'll admit that I kinda liked "Ella Guru" and "Pachuco Cadaver" though. But from a critical standpoint, I think it takes a certain kind of musicianship to go out and intentionally create something as arhythmic, experimental, and and discordant as this album. I think that this is about as avant garde as you can get, and Captain Beefheart deserves some credit for taking a change and making something like this. Or maybe it was all a big joke to him, and he just wanted to see what people would buy and listen to. Whatever the case may be, I think this album earned its place on this list, even though it's not going to get a lot of love.

Heading into this album, the only Cat Stevens song that I was familiar with was "Wild World," which I was delighted to see was on Tea for the Tillerman. Even though I was unfamiliar with most of this album, I was immediately blown away by its beauty. The guitar, piano, strings, and percussion were in perfect harmony, and Cat Stevens's singing was fantastic too. I loved how so many songs built to these booming crescendos, and sometimes multiple crescendos, and Stevens's singing matched each rise and fall perfectly. The lyrics were full of raw emotion, and I love that Stevens drew on multiple things for inspiration for these songs. As it turns out, I had actually heard "Father and Son" before today; I think I've heard it several times (or maybe I've just listened to The Flaming Lips' "Fight Test" a lot), but I know that I recently heard it during the finale of Ted Lasso, and hearing it today, just made me want to bawl. What a wonderful album this was. I really need to get a copy of it on vinyl to have around the house.

This album came out right when I was starting to get into Indie RockI may have listened to this when it came out; I remember it being on a lot of best of lists for 2009. Listening to it today, I can say I've definitely heard "Two Weeks" before. Listening to this today, I really enjoyed "Southern Point" and "Two Weeks," but the rest of the album didn't live up to those first two tracks. I think the thing that made me enjoy the first two tracks was the unique way they constructed their rhythms. "Ready, Able" and "About Face" were really good too. Overall, the album sounded pleasant, had some unique and interesting instrumentals, and had some good harmonies. The only song on the album that I really hated awas "Hold Still." However, I the biggest thing holding this album back from being great is that it just didn't stand out against its peers very much. The first two tracks really grabbed me, but the rest of the album just kind of coasted off of that momentum without creating any other unique or interesting sounds. I'm still glad I got the chance to listen to this, but it just wasn't remarkable.

I first listened to this album a few years ago, when I was going through Rolling Stone's best albums of the 2010's list. I was really shocked how much I enjoyed it then, and I still loved it on this relisten. Adele's voice is absolutely incredible. She manages to hit every note with absolute perfection, and I found myself listening to her every word with rapt attention. I'm completely spellbound by her vocal talent. The singles off this album, for the most part, are incredible (more on that in a bit). "Rolling in the Deep" has its fantastic call-and-response chorus, "Set Fire to the Rain" conveys an actual atmosphere of embers falling from the sky, and "Someone Like You" is the perfect heartbreaker to close out this album. Outside of the singles, "Waiting For You" was my favorite track, with its driving chorus, jangly guitar riff, and fantastic backing vocals. Lyrically, this album perfectly captures the range of emotions that come after a breakup. It's deep, soulful, and feels authentic throughout its eleven tracks. The musical arrangements are beautiful too; whether the music is driven by piano, strings, or guitar, every song is captivating and beautiful in its own way. My only beef with this album, is that I hate the repetitive chorus of "Rumor Has It." There's just something that song that I find really grating, and I can't quite put my finger completely on it. Still, this is easily a five-star album for me, and I think it's objectively fantastic.

I'm familiar with "Casimir Pulaski Day," but other than that, I haven't listened to any of Sufjan Stevens' music. This album has been on my list to listen to for a while, but this was my first time getting around to it. This album was pretty middle of the road in my opinion. It was pleasant to listen to, but I didn't feel like anything here was lighting the world on fire. Sufjan's singing is nice, and the musical arrangements are nice and pleasant as well, especially the horns and strings that were present throughout the album. The lyrics and overall theme were very creative as well, but they weren't really enough to really captivate me. This was a nice piece of music, but I don't think it's something I'll revisit.

I have a Stevie Wonder greatest hits CD, but I've never listened to one of his complete albums before. This album didn't have any songs that I recognized, so I wasn't really sure what I was in for. Musically, I was really underwhelmed by the first three tracks. I enjoyed the lyrics, but the overall sound of the songs wasn't really to my liking. But as soon as "Boogie On Reggae Woman" kicked in, the album had my full attention, when the sound shifted more towards funk. From that point on, I enjoyed the album a lot more. I feel like Stevie sang in a much lower register on the first three tracks too, but I like his singing better when it's in a higher register, which he did more on the second half of the album. I think Stevie Wonder is a fantastic song writer, and he puts together beautiful musical arrangements too. His singing is great, and so is his playing of the Fender Rhodes. I just wish this album featured more of the things that I love about his music.

I've never heard of this album or artist before, and that's probably the most positive thing I can say about listening to this album. This album was definitely not my cup of tea. I didn't care much for the vocals, and it was pretty dull musically too. Maybe under the right circumstances (a cold, rainy day, with a cup up of coffee in my hand and no responsibilities) I would have enjoyed this album, but this just wasn't anything that I would want to listen to again.

I used to listen to the Red Hot Chili Peppers quite a bit when I was in high school and college, but this is my first time listening to this album from start to finish. I remember this album being a pretty big deal when it came out, since it marked John Frusciante's return to the band. Twenty four years later though, I think this album is pretty middle of the road. The Chili Peppers tried to go in a more serious direction lyrically and a more melodic direction musically, and in my opinion, the results are pretty mixed. The shift in tone and melody have some small wins in "Scar Tissue," "Otherside," and "Californication," but even those wins are deflated some by some nonsensical lyrics and Anthony Kiedis's vocals. My favorite songs were when the band didn't take themselves too seriously, like on "Around the World," "Get on Top," and "Right on Time." The best thing that this album has going for it is the return of Frusciante's guitar playing, coupled with Flea's funky bass licks. I don't know if it's because I've been so inundated with their music for most of my life, or if because this album is just objectively 'meh,' but Californication just fell flat with me.

I used to listen to listen to a lot of classic rock from my childhood through college years, The Doors included, but I'd never listened to a full album by The Doors until starting this list (this is my second album of theirs I've been assigned, the first of which was Morrison Hotel). This album was great, and I can't believe it was the band's debut album; this album sounds like it was made by a band who'd spent several years crafting their sound. Jim Morrison's vocals are powerful, yet somehow dreamy and ethereal as well. The keyboard playing really shines on this album, especially on "Break on Through" and "Light My Fire," which are two of the best songs of the late sixties, and perfect examples of west coast psychedelic music. The band does a great job of applying their own sound to other artists' work as well, with their covers of "Alabama Song," and "Back Door Man." The Doors' version of "Alabama Song" sounds like they absorbed a polka band, and on "Back Door Man," they give their own interpretation of the blues, letting the keyboard take lead over the guitar. "The Crystal Ship" is a gem as well, where the band shows that they can do slow and melodic just as well as they can do loud and up-tempo. The album closes out with the epic "The End," which today feels eerily prophetic for the few short years that would proceed Jim Morrison's death. One of the most impressive aspects of this album is that the longer songs never feel tiresome or repetitive; they're just as interesting and engaging as the shorter songs. This album is great from start to finish, and is a shining example of how great psychedelic rock can be.

I've never heard of this band or album, but I really liked this album. On my first listen, I wasn't terribly impressed, but after listening to it a second time, I appreciated it a lot more. For some reason, this album is listed as New Wave and Rock on here, and I think that altered my expectations on my first listen. Going through it a second time, I knew it was much closer to Sophisti-pop, or some sort of folk-pop. The musical arrangements on this album were really great. I loved the string arrangements and the guitar playing, and the lyrics were great too. My biggest beef with this album is that at times, it sounds like Lloyd Cole is ripping off The Smiths, Echo and the Bunnymen, and The The. All three of those bands had pretty big albums released before Rattlesnakes, and honestly, it felt like their presence on this album was more than just an influence. Thankfully, it wasn't every song that felt this way, but it was enough that I noticed it pretty quickly. Even though I enjoyed listening to this, I'm not sure it really earned a spot on this list.

Before I started this project, the only Radiohead album I'd ever listened to was A Moon Shaped Pool. A few weeks ago, I was assigned The Bends, which I absolutely loved. Reading about this album, I knew that it would be nothing like The Bends, so I wasn't entirely sure what to expect. Kid A was definitely a far cry from The Bends, but I still enjoyed listening to it. The synth arrangements were really beautiful, as were the string arrangements. Thom Yorke's vocals were fantastic here as well. Even though I liked this album and I thought it sounded great, I don't think it's something I'll revisit. I enjoy the use of synthesizers, but for some reason, this just didn't register as much with me.

Woof. This was my second, and thankfully last Happy Mondays album on the list. I can't think of a single positive thing to say about this album. I didn't care for the vocals, lyrics, or music on this album. Nothing about this stood out to me at all, and it was a chore to get through. I'm really curious as to how either Happy Mondays album made it on this list.

The only Violent Femmes song I've heard is "Blister in the Sun," which I really don't care for, so I had very low expectations for this album. I always hear people speak very positively about this album and the band, and after listening to this album, I definitely have a greater appreciation for the Violent Femmes' music. I don't think I've listened to much punk music from the eighties, but I enjoyed this stripped down sound. The guitar playing, bass playing, and drumming were all pretty simple, but they were all executed well. The lyrics were a tad... on the horny side, but they fit the vocals really well. There was almost a rockabilly or surf rock feel to a lot of the music on this album, especially on "Gone Daddy Gone," with its jangly xylophone sound. I won't be revisiting this album or the Violent Femmes any time soon, but I can appreciate this album's legacy.

I've never heard of this artist or album before, but this was a nice listen. I really enjoyed the "fantasy feel" that this album had, with its use of the harpsichord, strings, and its own unique percussion. At times, this album felt Dylan-adjacent, and at other times, it felt late Beatles-adjacent. The lyrics were unique, and the vocals were good too. I wasn't blown away by this album, but its most impressive feature was the way it drew on well known influences, but didn't feel like a copy of someone else's work.

I'm pretty sure my mom had a copy of this record on vinyl, and I've seen it countless times in other places throughout my life, but this was my first time listening to Tapestry. Based on what I've heard about this album, I was really excited to listen to it. I'm pretty sure I'd heard some of the songs on this album before, but even the ones I hadn't heard sounded so accessible and familiar, and even the songs that I felt like I recognized sounded comfortably familiar as well. Carole King's voice is absolutely fantastic, and her talent for singing and songwriting was on full display on this album. The musical arrangements were great too; the piano playing, guitar playing, and other various string arrangements were beautiful, and wonderfully complimented Carole King's sound. The lyrics were poetic and yet softly powerful as well, and Carole King's singing delivered each line perfectly. This album was one continuously great piece of music, and even though it's not something that I'll gravitate back to, I recognize how incredibly well made it is, and its impact on popular culture continues to be tremendous, even over fifty years later. This album stands the test of time, and easily deserves to be on this list.

I will preface my review by saying that I think this is one of the best albums ever recorded, and when people ask me what my favorite album is, this album is usually my response. This is the part of my review where I mention that I grew up listening to quite a bit of classic rock. My parents listened to quite a bit of classic rock, therefore I did throughout my childhood, and I kept listening to it throughout my high school and college years. I mostly knew Pink Floyd from "Another Brick in the Wall Part 2," but at some point in high school, I heard the title track off this album on the radio, and I loved it. In the mid aughts, I was in the process of transferring from community college to a four year university, and as a parting gift, one of my coworkers gave me this album on CD. I'll never forget my first time listening to it. I was driving home from the dentist in rush hour traffic when I popped this album in. I was pretty much blow away immediately by the sound of this album. It was raining at a pretty good clip as I drove home, which provided the perfect atmosphere for this album. I fell in love with this album that day, and I still love this album to this day. I think that everything about this album is perfect: the production, the lyrics, the vocals, the synths, the guitars, the piano playing, the drums... everything on this album comes together to make a beautiful forty-five minute piece of music. Listening to this album is like having a wonderful dream: I'm never quite ready for it to end. Even though the opening and closing tracks are over twelve minutes long each, I never find them boring. Usually, I'm rapt with attention, straining my ears and brain to take in every note, even though I know this album like the back of my hand. I don't think I'll ever get tired of listening to this album, especially the title track. When I'm finished with this list, I assume that this is what I'll be listing as my favorite album.

Once again, I have to admit that I own this album on vinyl, but I've never listened to all of it, even though I've listened to a lot of Queen's music. I know this is widely regarded as their best album, so I had high hopes heading into it. This album is great, but it falls short of five stars for me. The singing and production are absolutely fantastic, and listening to it with a good set of headphones really enhanced the experience. "You're My Best Friend" and "Bohemian Rhapsody" were the only two songs that I was familiar with from this album. "You're My Best Friend" is fantastic, with its sweet lyrics and the use of the Wurlitzer piano; it's one of my favorite sounding songs in Queen's discography. Over the years, "Bohemian Rhapsody" has kind of worn thin on me, but listening to it today, I can really appreciate its vocals and unique structure. The fact that it became such a hit, despite being almost six minutes long is quite a feat. I also liked "Death on Two Legs," but the biggest surprise for me was "'39." I loved the lyrics, and the guitar playing with the thumping bass and drums created a really unique sound that I'm not used to from Queen. To top it all off, the vocals on this song were great too. I was really hoping that this would be a five star album for me, but it fell a little bit short. Several of the songs weren't very interesting, and the album just didn't have a very cohesive feel to it for me.

This was my first time listening to a Morrissey solo album, and I hate to admit that I enjoyed it. I like Morrissey's vocals (I've listened to two Smiths albums), and I thought the lyrics on this album were really deep and personal. I don't know if Morrissey has ever explicitly stated what the lyrics to these songs mean, but I have a hunch that they're mostly about struggling with the social ramifications of being non-heterosexual. The musical arrangements were really good too. This album didn't blow me away, but I thought it was well made, and I enjoyed listening to it.

I've been meaning to listen to this album from start to finish for a long time, so I'm happy this came up for me today. I bought Nothing's Shocking a long time ago after first hearing about the 1001 albums book, even though this album had two songs that I knew, opposed to the one song I knew on Nothing's Shocking. I thought this album was pretty good. "Stop" and "Been Caught Stealing" were easily my two favorite tracks. They both have great guitar playing, and are absolutely manic, in the most fun way possible. After all these years, I still don't know why there's the sound of a dog barking on "Been Caught Stealing," but it somehow manages to not be annoying. I found the songs in between "Stop" and "Been Caught Stealing" kind of boring; the parts of this album that are great are mostly great due to the guitar playing, but those three songs sound pretty run-of-the-mill, and they didn't add anything to the album. After "Been Caught Stealing," the album did get better, but the band never found the same footing that they established on "Stop" or "Been Caught Stealing." Even though this album was pretty middle of the road for me, I think Jane's Addiction were incredibly influential on popular music. When I think of the OG's of alternative rock, I think of Jane's Addition, The Pixies, and Sonic Youth. Their style influenced several rock artists, and that earns this album a spot on this list.

This is my fourth David Bowie album that I've gotten, and while it wasn't my favorite of the bunch so far, I think it might be the best in terms of objective and critical quality. The Ziggy Stardust storyline and concept was absolutely brilliant, and it honestly sounded to me like Bowie sang differently on this album to further solidify the Ziggy Stardust character. Heavily incorporating gender androgyny into an album in 1972 is pretty out there, but also really bold, and this album is just another feather in Bowie's cap when it comes to tearing down gender stereotypes. Musically, I was really impressed by the production. Every track sounded great, but nothing sounded overly polished. I loved that there was a lot of subtle sounds throughout the album; guitars or other stringed instruments would be playing quietly in the background before fading out, Bowie's voice would be looped to sing multiple parts, and there were other great backing vocals as well. The guitar and piano playing were fantastic, and Bowie leveraged them to create his own unique sound that felt like it exists outside of other genres. "Ziggy Stardust" and "Suffragette City" are my two favorite tracks on the album, and I thought they both had the best guitar playing on the album. I wasn't necessarily in love with this album, but it's an incredibly impressive musical feat, and easily belongs on this list.

I was bored at work a few months ago, and went combing through the list for something to listen to and settled on this album, but that's the only reason I've listened to it before today. I think this album ambitious, experimental, and incredibly unique. But does a bold vision make a great listening experience on this album? At times. "Tubular Bells Pt. 1" starts off with a haunting melody that builds and swarms over four minutes, before the song starts to add in more guitar parts. Some of the guitar playing is great, but most of the guitar parts are incredibly jarring and take away from the overall feel of the song. The middle fifteen minutes or so of the song really took me out of it. I actually liked the part at the end, when the different instruments are announced, and play the same melody. I thought it was really interesting to hear the different sound that each instrument added, and the announcing of each instrument didn't take me out of the moment. "Tubular Bells Pt. 2" started off great, with some fantastic guitar playing, and I thought Mike Oldfield did a great job of building some great arrangements throughout the first nine minutes or so, until the intensity of the melody starts ratcheting up, and then things really went off the rails when that guttural singing started, which lasted about six minutes or so. the song was great for about another five minutes, until it all of a sudden kicks into a rendition of The Sailor's Hornpipe, which was a really odd choice. Mike Oldfield played it really well, but it just completely tore down what he'd been building in the song until that point. Overall, this album was incredibly impressive in its scope, and the sheer work that Mike Oldfield put into creating it. The early seventies were a wild time in music, and the fact that Mike was able to make a popular album out of only two prog rock marathon songs is incredibly impressive. There are moments of absolute brilliance, but those moments come screeching to a halt throughout the album, and that really takes away from the experience. However, I'm still glad that I got to listen to this album, and I think it's worthy of being on this list.

I'd never heard of this album until looking over the full 1001 albums list, and I've been anxiously waiting to have it assigned to me, because it sounded like an awesome concept. I was really hoping that this would be a five star album for me, but unfortunately, it fell a little short. Right off the bat, "The Pain of Loving You" was fantastic, with its banjo riff and amazing harmonies. Musically, that was easily the best track on the album. The vocals were outstanding throughout the album, and the lyrics were great too. I loved that each of the featured artists got the chance to sing lead vocals, and all three of them sounded fantastic together. As great as the vocals and lyrics were, for me, the album just never came close to reaching that high that kicked it off. This was really good album, and I'm glad I got to listen to it, but it just fell short of being great for me.

This is my second Elvis Costello album to get on this list, and I enjoyed this one as much as I did Armed Forces, which I gave four stars to. I love late seventies and early eighties new wave, and My Aim is True was no exception. I know Elvis Costello's voice can be a big turn off to people, but I really love the unique way in which he sings. The guitar, piano, and organ playing were all fantastic, which I've come to expect from Elvis Costello. While his sound is distinctly new wave, he does a great job of creating his own unique tone, drawing influences from R&B and rockabilly, and I loved being able to pick out different elements throughout the album. The songs with the misogynistic lyrics were a little strange, and I hope that he's singing these songs from the point of view of a character he's created. I choose to believe that he is, because if he really held those views himself, I don't think he'd have had a career as long and successful as he has. I still enjoyed those songs, but I preferred it when the lyrics were more political in theme, like "Blame it on Cain" and "Less Than Zero." I don't know what it is about Elvis Costello, but I think his music is really fun to listen to. I'm looking forward to my next album of his.

I think I might have seen this album cover before, but I was completely unfamiliar with the artist or the sound of this album. This was very pleasant to listen to, and some of the songs sounded somewhat familiar; maybe I've heard some of them in a movie. I thought the arrangements on this album were fantastic. None of the songs were boring, and even the longer songs managed to keep my attention. I spent a good amount to time today wondering why this album made the list. Sure, it's a good album, and it's nice to listen to, but these albums all have some sort of cultural impact or significance, and I couldn't for the life of me think about how this album was influential. I don't think this album caused an explosion in popularity of bands that played mostly instrumental music. Hell, the only other band I can think of that is anything close to this is Explosions in the Sky, and that's honestly kind of a stretch. However, the more I thought about it, the more I wondered about this album's influence on popular music. And then it hit me: I think this album probably had a huge influence on new wave artists in the eighties, especially sophisti-pop artists. A good number of artists in the eighties started incorporating more strings and more orchestral sounds into their music to give them a more 'elevated' feel, and I would imagine that this album made that idea more palatable. I'm not sure why I included this thought, other than the fact that thinking about this after listening to this album was fun in a way. Now that I'm done rambling, I thought this album was really well made and full of great musical arrangements. It wasn't my absolute favorite, but I'll definitely revisit it, since it's just a nice album to have on.

I listened to a ton of indie rock back in the late aughts and early 2010's, but I never made it around to this album. This album was a pleasant surprise. After reading the reviews, I was afraid this album might just sound like generic Indie Sleaze music, but I think this album had its own distinct feel. I thought the guitar playing, vocals, and odd rhythms were fantastic, and they really gave this album a unique sound. The string arrangements were really great too, especially on "Fluorescent Half Dome." I think my biggest gripe with this album being on this list is that there are other albums from this era that I think are more deserving of a spot (how in the hell is there not a Vampire Weekend album on this list?). But other than that, I enjoyed listening to this, and it's something I might return to some day.

I've listened to a lot of the Beatles' music over the years, but the only song of John Lennon's I'd heard before today was the title track off of this album. Based off of "Imagine," I figured this album would be full of sappy songs about dreaming of peace and building a better tomorrow. Thankfully I was mostly wrong, but regardless, I wasn't very into this album. Musically, it was fine. There was some nice guitar and piano playing, and the songs sounded fine, but overall, this album felt like getting a C- on a term paper: sure, you passed, but it doesn't feel great. This album feels like most of the songs are just riding the coattails of the title track, and frankly, those coattails aren't strong enough for anything to hang on to. My biggest gripe against this album is that, knowing what we know about John Lennon now (wife beater, deadbeat dad, general asshole, etc.), everything on this album just feels disingenuous, like it's all a cheap facade used to create this image that John Lennon is a peace-loving intellectual hippie. I try to judge these albums based on the music itself, but it's really hard to filter out John Lennon the person from this album. Even if I didn't have strong feelings about John Lennon as a person, I can't see this album being more than three stars.

I was watching the 2015 NBA Finals, and as the game went to commercial, there was this song playing. The song had this amazing guitar riff, a sick bass line, and killer electronic drum beats. I kept rewinding the game and sitting as close as I could to the speaker, so I could catch some of the lyrics and google the song. I don't remember what lyrics I was able to discern, but I remember looking them up, and learning it was Taylor Swift's "Style." Huh? Wasn't she a country music artist? I listened to all of Style, and became obsessed. I started listening to other songs on the album, and immediately fell in love with it and bought a copy. I've been listening to this album regularly for eight years now, and I still love it. It's big, it's bold, and it somehow never feels derivative of the decade that inspired it. Each song has its own bold sound, and the music is fantastic, whether the song is peppy and upbeat, or slower and more thoughtful. The synthesizers and other electronic elements are absolutely fantastic, and I love that they're used in such a wide variety of ways. From the 'pseudo-strings' on "Welcome to New York" to the dreamy sounds of "Wildest Dreams," this album is crammed full of great synth sounds. The drum machines are fantastic too. The reverb on "Blank Space" calls back to eighties pop, while the booming drums of "I Wish You Would" and "Bad Blood" feel loud enough to make The Cult jealous. Lyrically and emotionally, this album covers a wide swath of territory from the highs of awe, optimism, and young love to the lows of dreams of escape and wrecked friendships. This album is a masterpiece from start to finish, and it's one of my favorite pop albums of all time. I always have a blast listening to it, and I firmly believe that it more than earns its place on this list.

I've never heard of this artist or album before, but I really enjoyed this album. The arrangements were fantastic, and they had a really unique dream-like feel. I'm not super familiar with the shoegaze genre, but this album had a different feel than the few shoegaze albums that I'm familiar with. The guitar playing did most of the heavy lifting on this album, but the overall sound was great. I'll definitely revisit this album some day, because it would be something great to have on while I work out or while I'm at work.

This is my third Nick Cave album to be assigned, and all three albums have been very different. The Abattoir Blues album was far superior in my mind. I loved the blues rock sound of the songs, and they suited Nick Cave's voice really well. The backing vocals were fantastic as well, and they really kicked the blues sound up a notch. The three song run of "Messiah Ward," "There She Goes, My Beautiful World," and "Nature Boy" were absolutely fantastic. If I were rating the album just on those three songs, this would easily be a five-star album. The two tracks before these songs were great, but after the title track, I lost interest in the last two songs of Abattoir Blues. I wasn't terribly in to The Lyre of Orpheus album. After the hard driving sounds of Abattoir Blues, I just wasn't ready for a comedown. The songs were okay, but outside of "Supernaturally," nothing really snagged my attention. Lyrically, I thought the album was solid all the way through. I love the imagery that Nick Cave uses in his music, and I enjoyed the fact that the meaning of these songs was very open to interpretation. The Biblical references in the lyrics were great too, and just furthered the mystery of what these songs were about. I appreciate the ambition of this double album, but it the second half just didn't land with me.

I've listened to a couple of Neil Young's solo albums, but this was my first time listening to Harvest. I'm familiar with "Heart of Gold" and "Old Man," but the rest of the songs on this album were new to me. I've liked Neil Young's singing on other albums of his, and this album was no exception to that. This album was well written and sounded great; I liked that there wasn't a lot going on instrumentally (with a couple of well known exceptions), but it was still well executed and sounded like it was really well produced. Lyrically, this is about what I would expect from Neil Young: songs that are pretty sad and pessimistic. But on this album, I felt like the lyrics lacked the punch and depth that I've found on other albums of his. The biggest thing working against this album is that "A Man Needs a Maid" and "There's A World" stick out like a sore thumb, with their complex sounds. The rest of the album feels cohesive, and while these are good songs, they feel really out of place on this album. "Heart of Gold" and "Old Man" are the highlights of this album, but unfortunately, nothing else really comes close to them. Overall, this was a pretty middle of the road album.

Earlier this year, I was combing through the Billboard Year-End Hot 100 Singles charts for the late 80's and early 90's. I was wondering what the top singles were throughout that era, because I couldn't think of a specific way to categorize that era. I think it was such an interesting time, as what type of music was popular was changing at a really rapid pace through those years. I made a Spotify playlist of my favorites from those charts, and I've been listening to it off and on this year. However, I'm unfamiliar with Neneh Cherry's music, so "Buffalo Stance" didn't make my playlist. As I started listening to this album, I really loved the chaotic sound of "Buffalo Stance." It's definitely a product of its time, but I think that's what makes it so great. There was so many different sounds coming in and out throughout the course of the song, and I loved all of the electronic elements that contributed to the music. The vocals were fine, and the song had some great ebbs and flows as different sounds were utilized and then swapped out. After that first track, I had high hopes for the rest of the album. Unfortunately, those hopes were dashed. The beats throughout the rest of the album were okay, but nothing else on the album lived up to the energy of "Buffalo Stance." Overall, I thought Neneh's flow was not that great. I hate to be harsh, but it reminded me of "Top That!" in the movie Teen Witch. There were some clever lyrics sprinkled throughout the album, but their frequency was too sparse to keep me engaged. "Buffalo Stance" is an incredible song, but overall, this album was pretty much a snooze.

I don't know much about African music, so I've never heard of this album or artist before (I just learned that he did the percussion on Paul Simon's "Diamonds on the Soles of Her Shoes," so shame on me, because I love that album). I had pretty high hopes for this album based on what I'd read, but this fell pretty flat for me. The percussion was really good, but that was the only interesting thing about this album. The songs were all pretty long, and none of them really went anywhere. This album wasn't bad, but it certainly wasn't good. I get that Youssou is pretty influential, especially in Senegal, but I'm still not sure why this album is on the list.

A few months ago, I was bored at work, and decided to check out this album since I knew it was on the list, but before that, I was only familiar with a small handful of Run-D.M.C.'s songs. This album was absolutely fantastic. This is easily some of the best rapping that I've ever heard. The lyrics are unique and sometimes witty, and everyone has incredible flow. The beats and samples are simple, but that's exactly what this album needed, so that the rapping could be the star of the show. Jam Master Jay's turntable work is incredible as well. His work syncs up with the rapping in all the right places, and his skills really help make this album what it is. I wouldn't say that I really love this album, but listening to it, I can't help but recognize how incredibly great it is, and just how well done each element is and how those elements all add up to become this amazing whole. This album is easily one of the most influential albums on this list. Run-D.M.C.'s team-up with Aerosmith to remake "Walk This Way" is probably single handedly responsible for catapulting rap music into the mainstream. This album smashed through multiple barriers, and helped rap and hip hop receive the credit they deserve as a musical art form.

When I was a teenager, I had a brief obsession with "With a Little Help From My Friends." I loved the Beatles and Joe Cocker versions of this song, but the only version that was accessible for me to listen to repeatedly was the Beatles version. My parents had Sgt. Pepper's on vinyl, and they wouldn't let me try to set the needle on the record player down on a certain song, so I'd listen to the title track, and then go right into "With a Little Help From My Friends." That was as far as I'd make it, so this was my first time listening to this whole album. This is my fourth Beatles album to get, and I didn't have incredibly high hopes. My most recent album of theirs was The White Album, which I liked, but I thought was very overrated; I view this album to be in the same vain in that it's experimental, so I thought I might be in for another letdown. Thankfully, that didn't wind up being the case. It took me a few listens today, but I like this album, and I think it's incredibly well made. The thing I like about the Beatles' earlier work is that it's very well made. Nothing is too crazy and over the top, but the singing, guitar playing, and drum playing are all executed to perfection. Those elements still exist here, with the added layer of some great psychedelic instrumentation via organ and sitar playing. To top it off, the production work is some of the best work that George Martin did with the Beatles, if not in all of rock history. The sounds are varied, but this album still feels coherent, something that The White Album lacks. One of my favorite things about this album are a few little details in some of the sounds: -The echo or distorted effect that you can hear in the guitar during the chorus of "Lucy In The Sky With Diamonds" (that's the best way I can describe it) -The pianet melody on "Getting Better" (at least that's what I assume it is) -The plucking of the viola on "She's Leaving Home" (or maybe that's the harp? Look, I'm clearly no expert, but I just hope that the average person can read this review and know what I'm talking about) This is a fantastic album, and it's one I'll revisit often.

I've never heard of this album or artist before, but I really enjoyed listening to this. The title track really stood out to me; I loved the bass playing and the synthesizer sounds that were utilized, and the lyrics had a really powerful political message. The guitar playing and synthesizer sounds were strong throughout the rest of the album, and the lyrics felt incredibly personal, as they ranged from painful to thoughtful and then to outright rage-filled and crass on the album's final track, "Why'd Ya Do It?" Marianne's vocals were incredibly unique as well, and gave this album its own distinct post-punk feel. "The Ballad of Lucy Jordan" was an incredibly strong song too; its jittery synth line was a perfect compliment to the story of a disillusioned suburban housewife. This was a really strong album, and I look forward to revisiting it soon.

This was my second Neil Young album to get this week, and second Neil Young album overall. I've never listened to this album before, and I didn't care for it too much. The circumstances that lead Neil Young to write this are devastatingly sad (the death of two very close friends/collaborators via heroin overdose), and the the lyrics are wonderfully written. But musically, most of the songs on this album sounded incredibly similar to me, and they just kind of melded together. I tend to enjoy Neil Young, but this album didn't really land with me.

We had this album on cassette tape when I was a kid. I remember a church camping trip that our family went on to local state park, where I brought along this tape, and listened to it on my yellow Sony Walkman. I was obsessed with side 2, and listened to it several times during that trip. I was especially drawn in by "King of Pain," whose lyrics were unlike anything I'd heard at that point ("there's a king on a throne with his eyes torn out" was some pretty vivid imagery for my little ten-year-old brain). Fast forward to when I graduated from college in the winter of 2007. I had recently lost three close family members, gotten dumped, and had no idea what to do with my life post-graduation. In the midst of all my angst, I changed the profile name on MySpace to "King of Pain," and I don't think I ever changed it from that name before abandoning my page for eternity. Good times. Anyway, I absolutely love this album, and it's easily one of my favorites from the 80's. "King of Pain," "Wrapped Around Your Finger," "Synchronicity II," and "Every Breath You Take" are all fantastic. I love Sting's vocals, and try as I might to sing along to these songs in the car, I'm always frustrated that I can never come close to how great he sounds. The instrumentation is incredible as well. In earlier classic rock discourse, I don't Stewart Copeland got the recognition he deserved as a drummer, but I think that his work is starting to be appropriately appreciated these days. His drumming on this album is incredibly tight and precise; on the faster tempo songs, his drumming is best described as manic but controlled, and on the slower songs, his drumming is almost hidden, peeking through just enough to let you know it's there. Andy Summers' guitar is outstanding too. That quiet little jangling riff on "Every Breath You Take" is perfect. Sting's bass playing is great too, and it really helps solidify the band's unique sound that's half new wave and half post punk. The Police's work before this album is great, but they knock it out of the park with this album, and I think a lot of why I enjoy the sound here so much is their use of synthesizers. I love the songs on this album so much. I don't know what it is about "Every Breath You Take," but that song just awakens this overwhelming nostalgia in me every time I hear it. I know, it's a creepy stalker anthem and whatnot, but damn, I love that song. Speaking of the songs on this album... "Mother"... Andy Summers, blink twice if you need help! Also, I love that the whole tantric sex thing has become the first thing we associate with Sting these days. In reality, there was probably one time where he said "I'd like to not immediately nut" and the rest of us just collectively lost our minds, and now it's the only quality we've assigned to him.

I've heard Emmylou Harris's name before, but I was unfamiliar with her work as a musician before starting this project (I did review Trio a few weeks ago, and in the summer, I randomly checked out Gram Parsons' Grievous Angel, and read about how Gram's widow basically tried to remove as many traces of Emmylou from the album as possible. Gretchen seems lovely). Based on the reviews, I didn't expect to like this album, but I was really surprised by it, because it turned out to be an all-around joy to listen to. Emmylou's singing was incredible, and I loved the unique country-folk sound to the album. The music was fantastic, especially the piano and guitar playing. None of the songs sounded too alike, but the album still felt very cohesive. The lyrics were great too, and I enjoyed that some of the song meanings were very straightforward, while others were very much left open to interpretation. On those merits alone, I can't deny this album a five star rating. When it comes to the cultural importance of this album, and why it's on this list, I think it's a great representation of a larger trend that we've seen this century, where older artists continue to write and record new music, often to positive reviews from critics; Bruce Springsteen's Wrecking Ball and Leonard Cohen's You Want it Darker come to mind when I think about this trend. Some older artists seem to still draw on their old hits, and many a joke has been made about washed-up bands playing county fairs and single day festivals sponsored by FM classic rock stations. But some artists buck that trend, and continue to hone their creative skills. I think this album is a prime example of that, and deserves a spot on this list.

When I was a kid, my mom wanted to get my dad a copy of John Fogerty's Centerfield on vinyl. We went around to every record shop in town trying to find a copy. One shop we tried to go to had a sign on the door that said "no minors," which my mom thought was an incredibly confusing and stupid policy, and she held a grudge about that incident for several years. That story really doesn't have a lot to do with this album, but I always think about it when I listen to CCR. I've listened to quite a bit of CCR over the years. They were never one of my favorite classic rock acts, but they got a ton of radio play on the local classic rock station. It's not that I think they're bad, there's just other stuff I'd rather listen to when it comes to classic rock. Needless to say, this was my first time listening to one of their albums in its entirety. I'm familiar with a few of the songs on this album, and "Up Around the Bend" is easily my favorite CCR song. Outside of the songs I knew, this was about what I'd expect for a CCR album: a southern rock album with touches of psychedelica, blues, and rockabilly. Most of the songs were good, with "Ramble Tamble" being my favorite of the songs that I didn't know. John Fogerty has one of the most recognizable voices in classic rock, and his vocals on this album were really good. His voice really helps create the band's unique swamp rock sound. "Up Around the Bend" is easily the best track on the album in my opinion. That high pitched guitar riff is just incredible, and the song does a fantastic job of making me feel like I'm driving down an old country road, headed to a backyard cookout. This song always puts a smile on my face, and listening to it today was no exception. CCR's version of "I Heard It Through the Grapevine" is really good too, and they really succeed at making the song their own. Outside of those tracks though, the album was just kind of boring to me, and that makes this album pretty middle of the road overall in my book. Again, I don't think it's bad, but it's just not my cup of tea.

I've never heard of this band or album before, so I wasn't sure what to expect. Overall, I wasn't terribly impressed by this album. The music that played under the rapping was fine, but it wasn't particularly interesting. It definitely worked better on certain tracks, like the title track, and "Scooby Snacks." However, the Tarantino dialogue samples on "Scooby Snacks" was pretty jarring and felt out of place. As for the rapping, I didn't think the flow, rhymes, or lyrics were that great; things felt pretty lazy and haphazard. As far as this album's importance and significance, I don't know if it had an impact on any rap rock acts that came after it, but I'm just glad that most of the rap rock I've heard has been better than this album.

When I first learned of the 1001 albums book, this was one of the first albums I bought solely because it was on the list. I remember listening to it for the first time, and being completely blown away that something like this had been recorded in the late seventies. I fell in love with this album from that first time I experienced it, and I've listened to it again several times over the last fifteen years or so. Every song on this album is its own unique journey into lyrical darkness. From that first whooshing on "Disorder" through the last clanging on "I Remember Nothing," Ian Curtis takes you through his feelings of withdrawal, isolation, and general disillusionment with life. Musically, this album matches Curtis's words perfectly. The guitar is clanging, the bass is brooding, the keyboard is haunting, and the pacing of the drums adds to the general unease and dark tone. When I think of post punk music, this is always the first album that comes to mind. The influence of this album spread through the late seventies and early eighties, and its ripple effects can even be felt this century, through bands like Interpol, Chvrches, and Crystal Castles. I think my favorite aspect of this album is how it flirts with contradictions: it's dissonant yet harmonious, enormous but intimate, and its ugly lyrics are sung beautifully. I love this album, and it was such a treat to listen to it today. I think it's one of the best albums ever recorded, and it's a massive piece of rock history.

I didn't really start actively seeking out rap and hip hop from the nineties until a few years ago, so I've never heard of this album or artist before. Rap was pretty much forbidden when I was a kid, so it's something that I've been trying to make up for as an adult. I've really gotten into Public Enemy the last several years; I love their socially conscious lyrics, and I also really enjoy Chuck D's rapping. As a lot of other reviews have pointed out, this album is about as close as you can get to Public Enemy without actually listening to a Public Enemy album. Michael Franti's voice is incredibly similar to Chuck D's, although his flow and rhymes frankly aren't nearly as good. The lyrics on this album are incredibly reminiscent of Public Enemy as well. The lyrics offer poignant criticisms of policing, the government's handling of AIDS, Operation Desert Storm, poverty and broader economics, and the stalling and sometimes backwards movement of civil rights. I was born in 1985, so while I was acutely aware of some of the things going on in this country when this album came out, I always find it fascinating to look at those issues now as an adult. I was raised in a conservative household, so these types of criticisms of America in the late eighties and early nineties didn't reach my ears until maybe eight years ago or so. I really appreciate being able to listen to music like this to see what life was like for people of color during a time that a lot of middle class white people tend to idealize as being harmonious and prosperous. Also, it's wild for me to imagine a republican governor in California after Reagan, because of I've always thought of California as being very liberal during most of my lifetime. However, I enjoyed the cover of "California Uber Alles," and it's criticisms of former governor Pete Wilson. As much as I liked some of the lyrics on this album, overall, it's pretty middle of the road for me. The musical hooks weren't that great, and they really didn't add much to the overall sound of the album. Lyrically, the hooks tended to be pretty repetitive, and sometimes the lyrical choices felt kind of odd, like the hook in "Everyday Life Has Become A Health Risk." Still, I think this album earns its place on this list, for what it contributes to early nineties hip hop.

I've never listened to Aphex Twin before, but I love electronica music, so this was right up my alley. This album was really pleasant to listen to, and I enjoyed just relaxing and letting each track kind of wash over me as I went through this album. This album didn't exactly blow me away, and I don't think any particular song will stick with me, but it was just a fun listen. The only song that I didn't like was "Green Calx," which was really abrasive, and felt like it didn't belong on the album. It took a few minutes after that one for me to able to get back into the flow of the album. I do think that this album belongs on this list though; I can't imagine some of my favorite albums (Random Access Memories, Discovery, Crystal Castles I, Hurry Up We're Dreaming, Zonoscope, Epoch, The Bones of What You Believe, and Ice on the Dune, just to name a few) existing without its influence.

The only Police album that I've listened to in its entirety is Synchronicity, which I reviewed exactly a week ago. I was only familiar with "Message In A Bottle" and "Walking On the Moon" from this album. I went in to this album knowing that The Police's earlier work was influenced by reggae, so I was excited to hear something from them that was different from Synchronicity (which I love, by the way). This album had some good moments, but I wasn't that impressed by it. "Message In A Bottle" is fantastic, and has some great guitar playing, the title track had some vocals from Sting that I enjoyed and more good guitar playing from Andy Summers, and "Deathwish" had a groovy bass line and tight drumming from Stewart Copeland. The other songs on the album were just okay. I don't think The Police sound great when they're relying on reggae and punk; those songs were frankly pretty boring, and did nothing to showcase how talented these guys are. This album wasn't bad, and I understand its significance in the history of rock music, but these three are capable of so much more.

This is my second White Stripes album to review, after White Blood Cells. The only song I was familiar with before listening to this album was "Blue Orchid," which I thought was fantastic. I loved Jack White's falsetto singing, the crashing cymbals, and the heavier-than-a-ton-of-bricks guitar riff. I also enjoyed "My Doorbell," with its chorus of up-tempo vocals and the bluesy "Little Ghost" with its tambourine and mandolin playing. Other than those songs though, I thought this album was pretty boring. The other songs felt like filler, and they didn't offer anything unique and they didn't expand on the sound established by the stronger songs. I think The White Stripes are talented, but their albums just don't hit the mark for me.

This is an album that I have listened to many times, but that I haven't listened to recently. I never really gave much thought to the lyrics of this album on previous listens, but it was really nice to go through this album with a more critical ear, and try to decipher what the lyrics mean. I thought the lyrics were an absolute homerun; I loved the themes of growing up, loss, and the evolution of familial relationships over time. This album is really beautiful as well; the arrangements are unique, and no one else in 2004 was putting out music that sounded like this (at least not that I can think of). Also, there are a few of songs on this album that are so great and massive that they stand alone on their own really well: "Neighborhood #3," "Wake Up," and "Rebellion (Lies)." Those three songs are easily the highlight of this album for me. For the longest time, "Wake Up" was my favorite track; I love its fantastic opening guitar riff, booming drums, and great synthesizer sounds that fill in the background. But eventually, "Rebellion (Lies)" took over as my favorite, and two things influenced that: 1) There was an episode of 6 Feet Under where Nate and Brenda are having an argument and this song plays in the background. As the argument escalates and intensifies, the song gets louder and more intense as well. It was just a perfect way to use it 2) Arcade Fire closed out ACL in 2011 with "Rebellion (Lies)," and the energy from that as the closing song was absolutely perfect, and it gave me a new appreciation for it. Going into this album today, I assumed it was going to be an easy five star review for me, but I don't think I love this album as much as I used to. Some of the songs are pretty boring and drag on for too long, and the production is pretty lacking as well. This is a self-produced debut album on an independent record label, and it sounds like it. The lyrics are hard to make out for most of the album, because the vocals are so drowned out by everything else, and that's a bummer, because the lyrics are great. However, this album is massive in terms of its influence. When this came out, FM radio still pretty much ruled the roost, and there was nothing like Arcade Fire being played to a wide radio audience back then (at least not that I can remember). But this album created a large fan base for Arcade Fire, showing that people were interested in this kooky band comprised of a gaggle of hipsters, and I think it helped indie rock reach a larger audience. Sometimes the critics and the masses align, and popular music scored a big win that this album was popular and also well reviewed.

I don't know much about blues music, but I thought this was a pretty good album. I enjoyed the piano playing, and Muddy Waters's vocals are great as well. The songs were a great mixture of different tempos, and the audience noise added an additional layer to the energy of the performance. Both parts of "I've Got My Mojo Working" were the high point of the album for me, and I liked the ebb and flow of the tempo and energy throughout both parts of the song. The other songs were fine, but not knowing blues music very well, they just kind of all ran together for me.

I've listened to Marvin Gaye's What's Going On, but this my first time listening to this album. I was immediately blown away by the title track. I've heard "Let's Get It On" countless times, but usually when I hear it, I'm trying to make sex jokes and sing the 'wah-wah' guitar parts. But this song is incredible. The singing is passionate and oozes sex, and the musical arrangements are incredibly rich and full of little details that add to the depth of the sound. The album kept it up on the next track,"Please Don't Stay," with some excellent percussion, and even more fantastic signing. The opening strings on "If I Should Die Tonight" provide a sharp contrast to what the album had sounded like so far, but the song brilliantly shifts into a slower jam. "Keep Gettin' It On" was a brilliant reprise of the title track, and I liked the political lyrics featured in it. I loved the bongos and cymbals on "Come Get To This," and "Distant Lover" had a great bass line and some great distorted guitar sounds as well. To close out the album, there were some great saxophone parts on "You Sure Love To Ball" and the slow "Just To Keep You Satisfied." This album was fantastic from start to finish, and I really loved listening to it. Let's Get It On is a shining example of soul, and shows why Marvin Gaye was of the best singers and songwriters of the seventies.

Before I started this project, I only knew a few songs by The Kinks, but I really liked the songs I knew, and I expected to really like their albums. This is the second album by The Kinks that I've gotten to review, and much like Face to Face, I thought this album was pretty middle of the road. The first three songs were easily the highlight of the album, especially "Two Sisters," but after that, the songs were at best, mildly interesting ("Love Me Till The Sun Shines" and "Situation Vacant") and at worst, boring ("Lazy Old Sun" and "Funny Face"). Thankfully, the album did close on a strong note with "Waterloo Sunset." They lyrics were the strongest aspect of this album, and "Two Sisters" and "David Watts" are the shining examples of that. Musically though, the album just didn't have much to offer, other than some decent organ and guitar playing. A year after Pet Sounds, and in the same year that we got Sgt. Pepper's, this album just doesn't really hold much of a candle to the things that The Kinks' peers were putting out.

I've never listened to Al Green before, but I thought this was a pretty good album. Oddly enough, I reviewed Let's Get It On two days ago, so it was a nice coincidence to get another soul album from the same era so soon. I want to make a joke about these two albums being spiritual sequels, but I can't come up with anything clever. Anyway, on to the record at hand: Al Green's singing is easily the star of the show on Let's Stay Together, and his falsetto really sets him apart from other soul singers that were active in the seventies. Even with his falsetto, there's a raw power in his voice, and he easily goes from softer singing to louder singing within the same breath, all while keeping this smooth texture to his voice. The title track is fantastic, and I loved how the horn, rhythm, and string arrangements created such a rich sound. Al's version of "How Can You Mend a Broken Heart" was fantastic as well, and his voice really draws you in as the listener, and you can't help but feel that his rendition of this song is autobiographical. Everything else on the album was pretty good; the overall sound is incredibly cohesive, bound together by Al Green's voice and some nice musical arrangements.

I've heard "Firestarter" and "Smack My Bitch Up" before, but this was my first time listening to an album by Prodigy. I wasn't terribly impressed with the first three tracks, but "Funky Shit" kicked off a string of songs that I really enjoyed, all the way through "Firestarter." Speaking of "Firestarter," the segue into it from "Narayan" was absolutely fantastic. At the expense of sounding like an absolute lunatic, I love a good segue from one song into another. "Climbatize" was great too, and I loved its use of a sample from The Who's "Won't Get Fooled Again." I really liked the beats on this song from "Funky Shit" onward; the lyrics and vocals weren't really my jam, but it was easy to ignore them. This album isn't the type of thing I'd listen to just to listen to, but I can definitely fuck with this during a workout. Overall, this wound up being a great album, despite its rocky start.

I'm familiar with a handful of Bad Company songs, and two of them are on this album ("Can't Get Enough" and the title track). I'm honestly bummed that "Shooting Star" isn't on this album, but I'm definitely not bummed that I didn't get to hear "Feel Like Makin' Love" for what has to be the 4,000,000th time in my life. God bless Clear Channel classic rock stations for blasting that gem at least half a dozen times a day. I've always thought of Bad Company as being in the same vein as Kansas or Bachman Turner Overdrive: a band who made enough hits in their heyday to still be touring and selling tickets to boomers with too much money and free time. This album pretty much confirmed that feeling. As I mentioned above, classic rock radio staples "Can't Get Enough" and "Bad Company" are on this album, and they're just as mediocre and tired as I remember. While they're familiar songs, that doesn't mean they're catchy or particularly unique. The blandness of these two songs is representative of the majority of the rest of the album: passable guitar playing and drumming, and moderately horny lyrics. However, I will give credit where credit is due: Paul Rodgers can sing really well, and his singing talents are on display on this album. Oddly enough, for a band known for 'hard rock,' they sure do a better job at the slower and more melodic songs than they do their so-called specialty: I thought "Don't Let Me Down" and "Seagull" were easily the best tracks on this album, with the saxophone melody on the "Don't Let Me Down" being particularly good. If you want some generic classic rock, then you've certainly found it in this album. One last parting shot that I almost forgot to mention: shoutout to probable MAGA sympathizers Five Finger Death Punch for taking "Bad Company" and somehow making it worse.

I'm only familiar with a couple of Dwight Yoakam songs, and neither one of them is on this album, sadly. I'm pretty picky about my country music, so I wasn't sure how I was going to feel about this album. I really loved the arrangements on this album. While the lyrics tend to maintain the same bleak tone throughout the album, the overall sound varies from song to song, which keeps things interesting from start to finish. There was plenty of guitar twang, fiddle, piano, and pedal steel guitar that helped create this album's unique sound. I loved the addition of the accordion on a few tracks as well, to add some tejano flare. To top it all off, Dwight's voice was the icing on the cake. His unique twang has such a sincere quality to it, and nothing about his singing feels phoned in. The lyrics on this album were incredibly unique as well. The album started off with the honky tonk humor of "I Got You," where Dwight bemoans financial misfortunes with some seriously redneck hyperbole and 'bless-your-heart-isms' (I made that phrase up). As funny as that song was, I really hope there was nothing meant by "a little man whose name is Saul," because it sure reeks of antisemitism. From there though, the album doesn't really return to anything humorous, as the lyrics delve into heartbreak, infidelity, and a shocking murderous twist at the end of the title track. Maybe it's just the fact that racism seems to be going mainstream again these days, but "I Sang Dixie" sure hasn't aged well, and the idea of honoring anyone with "rebel spirit" is pretty off-putting. Overall, despite some questionable lyrics, this album was really great. It's exactly what I want in a country album: authenticity, great twang, and a good mix of influences. It was really interesting to read up about Dwight Yoakam being spurned by Nashville and the country music industrial complex, and I really dig his mentality, and I can see why this album made the list. It seems like the divide between Nashville (aka, post-9/11 faux-patriotic bullshit) and the rest of country music is still raging today, making this album even more relevant.

I know I’ve listened to this album before, but I don’t remember what made me seek it out. It’s probably been at least five years since then, and this is my first time revisiting it. I was 13 when this album came out, heading in to my eighth-grade year, and even though it was everywhere at the time, it was only a blip on the radar for me. For starters, any music released by a black artist after 1990, was considered rap by my parents, and if my parents had caught me listening to any rap music or anything rap adjacent, I feel certain they would have shipped me off to a religious boarding school. Even if my parents would have let me listen to music like this, I didn’t like R&B as a teenager. However, I do remember hearing “Doo Wop (That Thing)” when this album came out; I’m not sure if I heard it on the bus, or if it got some play on the local Clear Channel adult contemporary station in my hometown (did every city have one of those ‘Mix’ stations in the nineties?), but it’s the only song on this album that I know fairly well. Still to this day, this album isn’t the sort of thing that I typically gravitate towards. However, I do think it’s pretty much a masterpiece. The overall sound of the album is nothing short of incredible. It’s intricately arranged and well produced, but the album doesn’t sound over produced, and the richness of its sound can still be felt in every song. There are so many awesome details of instrumentation sprinkled throughout the album too: horns, organs, strings, and woodwinds. It’s almost tough to notice these little details though, because the whole of the sound is greater than the parts. But when you seek out those parts, they outweigh the whole. The bass guitar on Ex Factor, and Carlos Santana’s guitar playing on To Zion are outstanding as well. Vocally, there’s nothing that Lauryn Hill can’t do. She raps with delicate force and purpose, but she can still sing beautifully too. The backing vocals throughout the album are fantastic and perfectly placed as well. I absolutely love the way that Lauryn raps the word ‘champion’ on “Lost Ones,” and the way she sings ‘reciprocity’ on “Ex Factor”. Like the musical arrangements, the details in the vocals are fantastic too. I love the lyrics on this album too. The subject matter covers betrayal and regret, choosing to keep an unplanned pregnancy, lost love, and issues that affect black communities. No matter the subject, each topic is sung about a certain finesse and poetry that add to the album’s beautiful sound. The way that the line ‘See, no one loves you more than me and no one ever will,’ changes to ’Cause no one’s hurt me more than you, and no one ever will’ on “Ex Factor” is brutal, but somehow never makes the song feel any less delicate. This album is fantastic from start to finish, and as one of the objectively best albums of the nineties, it more than earns its place on this list. It's incredible to me that Lauryn Hill made one of the biggest albums of all time, and then said “that’s the only solo album you’re going to get from me,” and she’s stuck by that decision. It may go down in music history as one of the boldest and bravest decisions an artist has ever made.

I've never heard of this band or album before, but since I enjoy electronica music, I figured there was a high chance I'd like this album. After listening to it though, this album was pretty middle of the road for me. The album was pretty long, and even though only two of the songs were over five minutes, a lot of the songs felt much longer than their actual run times. I liked the way that The Avalanches used samples to build their arrangements, but some of the songs just got repetitive and uninteresting really quickly, and a few of them were just downright grating after about a minute. I think The Avalanches have a unique way of approaching electronica music, but the end result just wasn't that great to listen to.

I'm familiar with a couple of Fats Domino songs, but I've never listened to one of his albums before. Fats Domino is one of the best, if not the outright best, of the early R&B artists. These songs do a great job of showcasing his songwriting, piano playing, and singing skills. His songs are catchy, and their influence on popular music has been monumental. This type of music isn't really my cup of tea, but this is a solid album by one of the most influential musicians of all time, and it definitely deserves to be on the list.

I'm wasn't familiar with any of Blur's work, other than "Song 2," but I tend to like Britpop, so I had some high hopes heading into this album. I thought this was a great album, with excellent song writing, great guitar sounds, and a few other nice musical details (piano, organ, horns, etc.) that helped enrich the overall sound. The best thing this album had going for it was the overall theme of Modern Life is Rubbish. I thought Blur did an excellent job of exploring this theme across work and daily routines, leisure, suburban life, and even love and relationships. I really liked how they explored the boredom of everyday life in relationships on "Blue Jeans." This song is incredibly relevant today, and I know my wife and I can easily succumb to the phenomenon of sitting on the couch next to each other and scrolling on our phones. Is it because we're burned out from work and home life? Or did COVID make us so used to staying at home that we're kind of in a rut? Who knows, but it's interesting that this song still strikes a chord. "Colin Zeal" and "Star Shaped"were really great explorations of work and how workers tend to be exploited by unfettered capitalism. Just like in the early nineties, workers are busting their ass at work, helping enrich shareholders and executives, while their income stays flat, or goes down as they cycle through layoffs and firings, all while cost of living continues to rise. Aside from the lyrics and themes, I thought this album was some solid guitar rock. I really loved the distortion on "Chemical World" and "Pressure on Julian," and the guitar playing on "Villa Rosie" was particularly great as well. This albums biggest drawbacks for me were the vocals, and the fact that some of the songs were somewhat boring musically. Outside of that though, this was a really good album, and I look forward to listening to more of Blur's music.

Listening to this the first time, I couldn't imagine how the hell this was one of the best selling albums of all time in several major markets. My first impression was that this album was silly and overblown, and that while it has some great arrangements and awesome piano playing, it was just too weird, too meandering, and comprised of too many long songs. But, after reading more user reviews, I decided to give it another listen. Yes, it's still weird, and no, it's still not really my cup of tea, but at least I have more of an understanding of how this album took off like a rocket upon its release and how it's had quite a bit of staying power in rock music. The arrangements are pretty awesome, and the piano playing is absolutely fantastic. The title track is far and away my favorite song on the album. This was one of the few times where the length of the song didn't bother me. The piano playing on this song was great, and the guitar parts later on complimented the established sound really well. I also enjoyed how the tempo fluctuated throughout the song, and while I don't think Meat Loaf is a particularly great singer, he was the singer this song needed, and he brought the perfect energy to those tempo changes. The rest of the album managed to keep the cheesy and glitzy tone, and I can definitely hear the influence of the E. Street Band performers. Additionally, this album had the feel of Rocky Horror's b-movie tributes. While this album wasn't really my speed, I can appreciate its inherent weirdness that I honestly think could only have succeeded in the late seventies.

I always struggle with how to approach albums like this. I've never heard of this album or artist before, and I'm not very familiar with world music, so I don't really have much of a frame of reference. This album was fine to listen to though. The musical arrangements and singing sounded good together, but that's about all I have for notes. Once again, I'm giving a jazz and/or world music album a solid three stars. Once I'm done with this list, I'm going to go back through all of the world music albums again, so that I can have a better appreciation and understanding of them.

I've never heard of this album or artist before, so I had no idea what I was in for with this album. As the first track started, I thought there was a good chance that I was going to love this album. I loved the piano intro and how the heavy guitar riff was slowly worked in over it. Unfortunately, that was about as much of the album as I enjoyed. I'll admit that I enjoyed a lot of the guitar playing throughout the album, but there still really isn't that much of a unique sound from song to song, and there's really nothing interesting happening with the other instruments. The lyrics are... well, odd to say the least. At their best, they're nonsensical, and at their worst, they're nonsense with the occasional swear word tossed in to no effect. I think the only other nice thing that I can say about this album is that it probably wouldn't be terrible to work out to, but then again, there's about 1000 other things I'd rather listen to while working out. Overall, there's just nothing of note happening on this album, and I have no idea how the author of the 1001 Albums book came across this and decided to include it. Fun fact: I said "Turbonegro" out loud five times, and now I'm a GOP Senator.

As a kid, I had this idea that you were either a "Beat It" fan or a "Bad" fan, when it came to Michael Jackson's music. Maybe it's because Weird Al parodied both of them? Either way, if forced to choose between "Beat It" and "Bad," I'd always choose "Beat It." There's just something about "Bad" that I've never enjoyed listening to. But really listening to "Bad," instead of just hearing it on the radio or on a playlist of some kind, I can appreciate it, and the whole album. I really like the sound of the title track, especially those little synthesizer notes that kick in at the end of each line of the verse, and they synthesizer notes during the build up to the chorus. "Dirty Diana" is fantastic as well; I love the audience cheers that are interspersed throughout the song, the guitar playing, the rhythm of the lyrics, and Jackson's powerful singing during the chorus (belting out "Dirty Di-Anna" along to this song is a blast). I enjoyed "Smooth Criminal" as well. As a teenager, I became familiar with Alien Ant Farm's version, and I'm not even sure at what point in my life I learned that it was a cover (I actually got to see Alien Ant Farm at the Engine Room in Houston about 20 years ago. Fun times). Just like the other songs that I enjoyed on this album, "Smooth Criminal" has some fantastic synthesizer parts, some simple but effective percussion, and an excellent falsetto from Jackson during the chorus. The "Just Good Friends" duet with Stevie Wonder was really enjoyable as well, simply for the fact that we get to hear two of the most talented musicians of all time sing together. "Man in the Mirror" is great too, and has some fantastic lyrics and vocals. But my favorite track of all on this album, and possibly my favorite Michael Jackson song of all time, is "The Way You Make Me Feel." What an apt name, because this song makes me feel fantastic. I love the opening 'woo-ing' and exclamations by Jackson, the amazing synthesizer parts, and the percussion that sounds like pipes banging, which really add to the whole 'Bad' aesthetic of this album. Jackson's vocals are amazing on this song, and I always try and fail miserably to sing along. The trumpet and saxophone playing are outstanding as well, and they really give this song the punch and feel that make it so great. The rest of the album is good, but the other songs that I didn't mention just kind of feel like filler. It's good filler, but I felt like they're noticeably not as good as the other songs. As a whole, this is still a great album though. Quincy Jones knocks it out of the park once again with his fantastic production work, and Michael Jackson lives up to his title of the King of Pop. I liked that this album shows that Michael Jackson was changing and adapting as music was changing during the late eighties. His sound is still great, even as he utilizes more synthesizers and drum machines, and the overall 'Bad' mood of the album clicks really well. A great listen, but short of five stars for me.

I'm familiar with a few Gorillaz songs, but I've never listened to one of their whole albums before. I seem to remember that Plastic Beach was on a lot of best of lists in 2010, and I know the band has a pretty solid following, so I had pretty high hopes for this album. Unfortunately, this album wasn't really my speed. It wasn't terrible to listen to, but it was just kind of boring. Only a few songs stood out from the rest of the album ("Clint Eastwood," "Rock the House," "Slow Country," and "M1 A1"), and even those songs weren't super interesting, they mostly stood out because they were a little change of pace from the rest of the album. I can understand why this album is on this list though. It was a groundbreaking concept to have a band made up of fictional members, and it still feels relevant, as AI and the debate about AI art has been heating up in the last year or so. Hopefully, Gorillaz don't become an excuse for people to let AI create 'art.' Gorillaz may not be my cup of tea, but at least they were created by real artists.

I bought this album back in the late aughts, after learning about the 1001 Albums book. I listened to the whole thing after I bought it, but it wasn’t really my speed, so I haven’t revisited it until now. The thing that struck me the most about listening to this album today was the guitar playing. If you would have asked me yesterday to describe how the guitar on this album sounds, I would have told you that it was loud, fast, and discordant. I think that ‘loud’ is the only one of those three words that actually describes the guitar playing. But something about the Sex Pistols’ sound makes them feel fast and frantic, even though their rhythms aren’t at an incredibly high tempo. I think the best thing this album has going for it musically is the simplicity and rawness. As much love as "Anarchy In The U.K. gets, "Liar," "Pretty Vacant," and "No Feelings" are all just as good, if not better at their core. Lyrically, this album is fantastic. The subject matter covers so many social and political topics: abortion, worker disillusionment and exploitation, criticisms of unfettered capitalism, and the British monarchy. I think my favorite lyrics though are on "Pretty Vacant." Most of the lyrics on this album are incredibly straightforward, but I think "Pretty Vacant's" lyrics are a bit deeper; on the surface, it seems like Johnny Rotten is singing about his feelings, but to me, I think he's singing the establishment's view of punks back to them (maybe that's actually the obvious meaning, I have no idea). This album's influence is massive, and it's something that any music fan should listen to. The sound, lyrics and attitude, and DIY methods of this album are still driving every form of popular music today in some way, shape, or form. This isn't an album that I particularly enjoy listening to, but I still think it's really great overall.

I first heard of Roxy Music a few years ago. I think that one of their songs off of Flesh and Blood or Avalon came up for me on Spotify, and I really liked it. Since then, I've listened to all of Avalon and a few other songs off of Flesh and Blood. This was my first time listening to one of their albums from the seventies, and my first album of theirs to feature Brian Eno. I had pretty high hopes for this album, but it wound up being pretty middle of the road for me. I loved Bryan Ferry's vocals and the unique sound they provided for the album. Musically though, this album was really hit or miss with me. I enjoyed the overall art rock sound, but the parts that made up that whole weren't blowing me over. On "Do The Strand," I really hated the piano and saxophone during the verses, but it sounded so much better to me when the drums kicked in more during the chorus. On "Beauty Queen," I enjoyed the first half of the song, when the tempo was slower, and the drums, keyboard, and synthesizer felt like they shared control of the sound, but when the synthesizer took over halfway through, I didn't care for it. I thought "Strictly Confidential" and "Editions Of You" were much better. "Strictly Confidential" gave Bryan Ferry's vocals a chance to shine, and "Editions Of You" had some fantastic keyboard playing that was supplemented nicely with some up-tempo drums. The masterpiece of this album is easily "In Every Dream Home A Heartache," which happened to be the only song on the album that I recognized. Yes, the lyrics are incredibly weird and uncomfortable, but I love the haunting melody. Everything on this song clicks, from the psychedelic organ and synthesizer parts to Bryan Ferry's slow and precise singing. And then the song hits the tempo change, and cranks up the intensity, while still keeping the overall mood that was established in the first half. The rest of the album wasn't that great though; "The Bogus Man" was long and boring, "Grey Lagoons" was a bright spot, but then the album finishes with the clunker self titled track, which drags the album to a lackluster finish. Overall, this album was fine, but I think I'll stick to the stuff that Roxy Music put out in the eighties.

This is my second Temptations album to review, and side one of this album was similar to All Directions, and for that reason, I enjoyed side one more than side two. I thought the soul sound and lyrical content were really well executed. I enjoyed that the songs on side one were a direct contradiction of the album's title; the subject matter of those first three tracks is anything but 'cloud nine.' Poverty, domestic abuse, and competing for survival and limited resources are pretty much hell, but The Temptations do an excellent job of making those ugly lyrics sound beautiful. I didn't really care for their version of "I Heard It Through the Grapevine, but it did suit their style and the overall sound of the album. "Runaway Child, Running Wild" was a great way to close side one, and it's funky sounds and epic storytelling are hallmarks of what I enjoy in soul music. The lyrics painted a panicked scene, and the music really helped to add to that feeling and move the lyrical story forward. Musically, I really enjoyed the great bass lines and funky guitar playing on side one. The second side of the album was a hard left turn, and featured the type of romantic pop songs that I think of when I think of The Temptations. These songs weren't bad, but they were just kind of boring and shallow when compared to the first side of the album. The vocals and arrangements were still great, but it just lacked that soul punch that was present on the first side. Overall, this album was fine. The serious soul songs on side one were the star of the show here, while side two was filled with generic Motown pop songs. If I'm in the mood for some soul, I think I'll stick with Isaac Hayes or Marvin Gaye.

Back in high school, I had a Red Hot Chili Peppers poster in my bedroom. One day, my dad angrily notices that there's a sticker on Flea's guitar that says "Circle Jerks." Not knowing that Circle Jerks were a band, and not knowing the meaning of the term, I was clueless as to why he was so pissed. I can't remember if there was any more to the interaction than that, but since my parents always assumed the worst in me, I'm sure my dad thought that I got that poster solely to piss him off with the presence of the words "Circle Jerks." Enough about my crappy dad. One of the things I was most excited to listen to on this was hardcore punk: Bad Brains, Black Flag, Minor Threat, etc. This is only my second hardcore album, after Black Flag's Damaged. Group Sex felt pretty akin to Damaged: short, fast-tempo songs, with angry screamed lyrics. Overall, I enjoyed this album. One of my favorite thing about hardcore albums is that the songs tend to be short and to the point, and this album was no exception to that. The lyrics were full of anger and disillusionment, and I liked the fact that they covered a wide swath of topics like vasectomies and reproduction, police brutality, nuclear war, and sex. Musically, I loved that the songs segued smoothly from one to another, without the songs all sounding identical to one another. The guitar playing, drumming, and vocals all came together to create a really unique and great hardcore punk sound. This was a really solid album, and I was surprised by how much I enjoyed it.

I've never heard of this album or artist before, but I thought this album was pretty good. I enjoyed that the sound from song to song was diverse, but it never made the album feel like it wasn't cohesive. The guitar forward sound was really enjoyable to listen to, but the album did a great job of drawing upon various influences (particularly glam rock and psychedelic rock) to construct its sound. The piano, keyboard, Hammond, Rhodes, horns, and additional strings all added depth to the sound throughout the album. Super Furry Animals did a great job of utilizing those sounds to separate themselves from the Britpop that was dominating the sound of the UK at the time. The singing was really unique on this album too, and I really liked the backing vocals that were sprinkled throughout it. I felt like the more upbeat songs were the best parts of the album. They were fun, and sometimes slightly frantic. I tended to find the slower songs a bit tedious; it's not that they were terrible, but they just weren't as interesting or fun as the rest of the album. "Something for the Weekend" was far and away my favorite song on the album. I listened to the original UK recording of the song, and I'm glad I did, because I thought it was fantastic. The back-and-forth between the verse and the chorus felt like a throwback to seventies rock, and it sounded great. Overall, this was a pretty good album, but some songs were a lot more enjoyable than others, and I don't know that I'd listen to the whole album again.

A few years ago, I wanted to get more exposure to rap music, so I searched for a list of the best rap albums of the eighties and nineties. Straight Outta Compton was one of the albums that was recommended, so I gave it a listen. Among all the eighties and nineties rap albums that I listened to, Straight Outta Compton was one of my favorites, and it’s an album that I’ll listen to somewhat regularly during my workouts. Going back through it today, I still count it among my favorite rap albums. I’m usually not a fan of gangsta rap, but I do enjoy militant hip hop, like Public Enemy, and N.W.A. blends a lot of those militant elements into their brand of gangsta rap. Being a west coast group gives N.W.A. a unique sound and a different perspective to add to their music. Ice Cube’s rapping is my favorite out of everyone in the group, but I still enjoy MC Ren and Eazy-E’s rapping too. There’s just something about the anger and hostility in Ice Cube’s voice that I think makes him my favorite. I enjoy N.W.A.’s lyrics on this album too. While a lot of their lyrics are dark and violent (and of course xenophobic and sexist), those lyrics help paint the hyperbolic picture of street life that N.W.A. is trying to convey. But even among those dark lyrics, there’s still some lines that are so outrageous that they’re funny. A couple of my favorite examples are “Forty ounce in my lap and it's freezin' my balls” and “Like a tortoise full of rigor mortis.” It’s incredibly jarring to hear lyrics like that and start laughing during one of these serious songs. As I mentioned earlier, there are some lyrics that are xenophobic and sexist throughout this album. However, I think those lyrics are just one of the tools that N.W.A. uses to create the exaggerated tone of the album. I don’t doubt that talk like that is present in street life, but I don’t think that using lyrics like that is N.W.A. condoning it. I could be wrong (and Dr. Dre’s behavior seems to disprove my point), but that’s just how I see this album. Musically, I love the use of samples on this album. N.W.A. managed to build their sound. Even though they use a lot of popular songs for samples, it never detracts from the dark and serious tone of the album. The drum machines, turntables, and other instruments used help to shape that tone as well. Overall, I think this a fantastic album, and an incredibly important one in the scope of popular music. This album gave west coast hip hop a front row seat at a show that had been dominated by the New York scene, and it sent gangsta rap out to the masses, opening up a new avenue to the world of rap and hip hop.

Best guitar playing in grunge? Pearl Jam's "Alive." Second best guitar playing in grunge? Alice in Chains' "Them Bones." I've listened to a fair amount of Alice in Chains' music, but this is my first time listening to one of their albums from start to finish. Honestly, I find Alice in Chains' music incredibly unpleasant to listen to, so I had to mentally prepare myself for the hour long run time of this album. And sure enough, this was a tough album to get through, but not because it was a bad album. Alice in Chains' brand of grunge is somehow grungier than regular grunge. Their overall sound is incredibly dark, but it definitely matches the tone of their lyrics. About half the songs on this album are about heroin addiction, which is depressing enough, but knowing that Layne Staley would die eventually die from that addiction makes it even more difficult to get through those songs. And if that wasn't enough, there's the Vietnam War POW story of "Rooster," which might actually be the most brutal and depressing song of the whole album. Even though the songs are depressing, they're incredibly well written; the lyrics create such a vivid imagery, that as the listener, I really found myself being pulled down with the band. Musically, this album is fantastic as well. Even though the grunge scene was packed to the gills when this album came out, it's incredibly easy to recognize an Alice in Chains song, even if you take away Layne Staley's haunting voice. Jerry Cantrell's guitar playing is unmistakable, and the guitar parts he wrote for this album were unique, but gave the album a cohesive feel. My biggest complaint with this album is that it overstays its welcome pretty often. The overall album run time is long and drags on, and the individual songs can drag on as well. "Them Bones" is my favorite Alice in Chains song, and it's no coincidence that it's also one of their shortest. This album is still really good though, and any music fan should give it a listen.

I've never heard of this album or artist before, but I tend to enjoy electronica, so I had decently high hopes for it. The album's overall theme of nuclear proliferation was interesting, and I liked how the songs started with the present day (well, 1999, but present day for the album's release), and then worked backwards. It worked well, in that it had a sense of "well, this is where we are, but how did we exactly arrive here?" The songs that dealt with Indian diaspora felt a tad out of place, but I did like that they tied back to the first song, and how India was now in a new phase as a nation, having developed nuclear weaponry. I really loved "Tides" and the way it used water sounds while discussing the French island nuclear tests. "Immigrant" was great too, and had the best melodies and vocals of the whole album. Conversely, "Pilgrim" was my least favorite track to listen to; its song-spoken chorus was just really grating and annoying, and it felt like it made up about 75% of the song. Overall, this album does just enough to distinguish itself from its peers. Sometimes that's a good thing, other times, it's not such a good thing. There was so much electronica music coming out at the time, and what this album did thematically and lyrically makes it stand out, but musically, it really doesn't set itself apart. Sure, the arrangements are pleasant to listen to, but I feel like I can say that about a lot of this album's peers. I would be down to listen to this album when I just want something nice to listen to, but there are so many other albums that I'd rather throw on.

I've never heard of this album or artist before, but I reviewed a Massive Attack album a few months ago, so I had a pretty good idea of what to expect. Overall, there really wasn't much that I liked about this album. The vocals and arrangements were fine, but I didn't feel like there was anything on this album to set it apart from all of the other trip-hop albums that were coming out at the time. "Hell Is Round The Corner" makes good use of sampling Portishead's "Glory Box," but no other songs really stood out to me. Just like Nitin Sawhney's Beyond Skin, this album would be okay to have on in the background, but there are so many other things I'd rather throw on.

I first listened to this album when I was going through Rolling Stone's list of the 100 best albums of the 2010's. I’ve listened to several of Kendrick Lamar’s albums, but I've always found his music incredibly tough to stomach because of its dark subject matter, dark melodies, and his fierce rapping. Because of that, I’ve never relistened to any of his whole albums, so this was my first time to listen to one of his albums a second time. Just as I remembered, this album is dark, almost to the point of being menacing. Not that Kendrick Lamar is a menace, but that his music is like going through a haunted house. Like a strobe light, you’re hit with barrages of expertly enunciated words at a lightning quick pace. Musically, this album creates an atmosphere of dread and unease. Utilizing the darker tones of funk and soul, while being structurally akin to jazz, helps keep the listener on their toes. Lyrically, this album takes you through the horrors of black life in America. Much like the Black Lives Matter movement that was starting to become more widely known, Kendrick Lamar drags social issues out of the shadows, bringing them into the light to expose their ugliness and the way that they’ve embedded themselves into our society. I don’t enjoy listening to Kendrick Lamar’s music, but I think this album is really good. The rapping is fantastic, the music is varied and unique, and the lyrics are poignant thought-provoking, creating a haunting experience that I don’t really want to revisit again.

I'd never heard of this artist or album before until I saw it on a list of the 1001 albums. Everytime I look at the list and scroll past this one, I'm always intrigued by it, so I was excited to be able to review it today. My level of excitement wasn't matched, but this album was okay. This album had a unique approach to hard rock, and I heard a lot of New Wave influences in the sound. "Malibu Beach Nightmare" was my favorite song on the album, and I enjoyed its guitar playing, and there were some nice keyboard sounds in the later half of the song. From there, the album came close to that early peak a few other times. "Until I Get You" marked a return to the guitar sounds that made "Malibu Beach Nightmare" one of the better songs on the album. The drumming on "Until I Get You" reminded me of ZZ Top's "Tube Snake Boogie," and it was a nice compliment to the guitar playing. "Sailing Down the Tears" and "Lick Summer Love" felt like early New Wave, á la the B-52's and Elvis Costello, respectively, and while neither song really blew me away, they were unique. Overall, this album was fine to listen to, but its best parts don't really stack up to a lot of other rock music from this era in my opinion, and half the songs were kind of forgettable. I'm still glad I got to listen to this, and now I can obsess over wondering what the hell Duck Rock by Malcolm McLaren is like.

I've never heard of this album or artist before, so I had no idea what to expect. When "The Act We Act" kicked off, I wasn't a fan at first, but when the chorus kicked in, I really started enjoying it. The guitar was fantastic, and the overall melody was just really enjoyable and fun. It hit me pretty quickly that this album reminded me of a lot of the 'radio alternative' that I liked in the mid to late nineties: The Wallflowers, Gin Blossoms, Matchbox 20, and the many other acts who had a hit or two in the top 40. Sugar, just like those other bands that this album reminded me of, were all branded as rock bands, but they all had some really good pop sensibilities. I can't believe that I never heard "The Act We Act" on the radio as a kid, and it's a shame I didn't, because I would have loved it. The rest of the album was really good too, with "Helpless," "Hoover Dam," and "Fortune Teller" being my other favorite songs on the album. "A Good Idea" wasn't one of my favorite songs on the album, but I liked its Pixies-inspired sound and flow. I found this album to be really enjoyable, and it's definitely something I'd consider returning to some day. Sugar manages to create a really unique alternative rock sound, made even more fun by some really melodic pop influences.

What a coincidence! Yesterday, 60 Songs That Explain the '90's covered "Freedom! '90," and today, I get this album. I'm relatively familiar with some of George Michael's work, but the aforementioned "Freedom! '90" is the only song on this album that I knew going into it. I find the late eighties and early nineties to be such an interesting time for pop music, because so many thing were changing: rap and hip hop were gaining a wider audience, hair metal was waning, and grunge was starting to emerge from Seattle. If you take a random sample of the Billboard Top 40 from this era, you can see all of this happening, and you can hear all of this change impacting popular music. What makes this album so interesting to me, is that it doesn’t seem to be influenced by all of this change. To me, George Michael exists outside of all of that during this time. He’s wrestling with his past, present, and future, and this album is his expression of that moment in his life; it’s almost like this album exists in a vacuum of its own creation. I found the overall listening experience for this album to be pretty enjoyable. George Michael knows how to write some great pop music, and he sure as hell knows how to sing it, putting the right pitch and power in all the right places. Whether there’s a lot going on instrumentally, like on “Freedom! ’90,” or the sound is a bit more stripped down, like on “Something To Save,” George Michael can sing it all, letting his vocals command the sound. As great as the vocals are, the storytelling and introspective lyrics are fantastic too. Personally, I prefer George Michael’s music when it’s up-tempo and fun, so “Freedom! ‘90” is the high point of this album for me, but the album never really goes back to that type of sound again. However, I still think this is a solid pop album, and I appreciate the message of this album and what it meant for George Michael’s life and career.

This is my second of the two Frank Sinatra albums to review, and just like In the Wee Small Hours, I thought this was fine. Frank Sinatra is a great singer and entertainer, and the orchestra that backs him up is great as well. The arrangements are really well done, and I liked that all of the songs went really well with the name of the album. Overall, this is a pretty good album, but I think I'd rather listen to In the Wee Small Hours if I were in the mood for some Sinatra.

I think my first time hearing about Thelonious Monk was in The Terminal (every time I say "bite to eat," no one ever gets the reference. I can't be the only person who's seen that movie), but I've never listened to any of his music before today. Jazz is one of the genres that I'm the least familiar with, and most jazz albums that I've reviewed have gotten three stars from me, mostly because I don't really know how to gauge them. However, now that I have little bit more experience with jazz under my belt, I think I can honestly say that I found this album pretty underwhelming. It was pleasant to listen to, but there just wasn't a lot going on that captivated my interest. Most of the arrangements were pretty bland, and I don't think I would have been able to identify any music from this album again, even if I had just listened to it five minutes ago. A pretty underwhelming experience.

My first interaction with this album was hearing “Another Brick In The Wall, Pt. 2” when I was in elementary school or so. I loved the dark and moody sound, and I thought it was badass that included a chorus of kids signing the line “we don’t need no education.” As a child who often clashed with his parents, I thought this song was incredibly badass, and I loved when it came on the radio. I kept listening to classic rock as I got older, and I eventually became familiar with other songs on The Wall: “Hey You,” “Young Lust,” the amazing “Comfortably Numb,” and the criminally underrated “Run Like Hell,” were all some of my favorite songs to hear on classic rock radio. I eventually bought the CD of The Wall, which came in one those awesome cases that was like two individual jewel cases fused together. The Wall is my second favorite Pink Floyd album, albeit by a small margin, just behind Wish You Were Here. If I could only listen to one Pink Floyd album the rest of my life, it would be Wish You Were Here, but if I could only listen to one Pink Floyd song for the rest of my life, it would be “Comfortably Numb.” The Wall is full of great songs, and those songs form an incredible album that functions incredibly well as a larger piece of work. The lyrics of this album cover a wide variety of topics (stardom, tyranny, isolation, abandonment, war and nuclear annihilation, to name a few), and these themes contribute to the larger picture of collectivism versus individualism. In a world that was only growing more connected, how can someone embrace and value their individuality while still contributing to the collective good that the world needs in order to survive? It’s something that still fuels debates, not just between major political schools of thought, but within those schools of thought as well. Musically, this album has Pink Floyd’s sound, but it manages to evolve past both Dark Side of the Moon and Wish You Were Here. Every song is unique, but they all fit together brilliantly, like a puzzle. Even though the songs flow wonderfully from one to the next with outstanding segues (I love a good segue by the way), the way they fit together feels like it goes beyond the linear. The musical arrangements are outstanding, and even though there’s so much to take in, it never feels jumbled or too busy. This album is fantastic, and it’s a must listen for any music fan.

Depeche Mode is one of those bands that I’d consider myself a casual fan of. I really like their radio hits, but before going through this list, I don’t think I’d listened to one of their whole albums. Like Violator, which I reviewed a few months ago, Music for the Masses has some great songs on it. Right as the album opens, “Never Let Me Down Again” is like an earthquake. The synthesizers, drums and vocals all blend to create that mythic Depeche Mode sound, and that line of “I’m taking a ride…” is perfectly symbolic of the journey into the unknown that this album goes on. The melody of the chorus is perfect, with the tone of the bell sounds somehow darkening the sound even further. “Strangelove” is great too; the ambient pulsing that starts the song, punctuated by percussive tinkling sounds gives way to one of Depeche Mode’s most infamous synth lines. The rhythm of the lyrics during the verse do a great job of keeping the listener off balance, and hanging on for the next line. The other songs are really good too, but in my opinion, few of them come close to matching the greatness “Never Let Me Down Again” or “Strangelove.” “Sacred,” “Little 15,” and “I Want You Now” do the heavy lifting after “Strangelove,” each one contributing managing to contribute something unique to the album (shoutout to those awesome backing vocals/grunts on “I Want You Now”). To me, this album’s legacy and influence comes from the overall sound that Depeche Mode creates. There’s a mood that manages to permeate the whole album, almost like a fog or a mist. Hidden within that fog, there are so many little details that help make the overall sound richer and deeper, making you want to hang on to every note so that you don’t miss anything. It’s a heck of a feat that Depeche Mode was able to take this dark, moody album, and attract a wide audience. When they were inducted into the Rock and Roll Hall of Fame in 2020, I really enjoyed watching other musicians rave about them. Depeche Mode has influenced some of my favorite bands (Chvrches and Crystal Castles come to mind first), and for that, I’ll always be grateful. This is a great album, and its importance in the history of rock music solidifies its place on this list.

I'm not the type of person to throw this phrase around lightly, but I think this album should have been called Now That's What I Call Cultural Appropriation. I think that Jah Wobble and company (Sinead O'Connor sings on this album, neato!) had some pretty big aspirations in making this album, but unfortunately those aspirations didn't play out very well in practice. This album is pretty much a mess: there's Spanish singing, without elements of latin music, there's political messaging without any teeth or meaning, and there's a lack of overall cohesion from track to track. This album feels pretty empty in all aspects, and it was a chore to get through. Sinead O'Connor's vocals were nice, but overall, her talents are pretty much relegated to the background, which is incredibly unfortunate. I'm glad this is the only Jah Wobble album on this list, but now I'm dreading the Public Image Ltd albums.

I've never listened to this whole album before, but I'm familiar with the singles that came from it. 25 as a whole isn't as good as 21, but that's okay, because "Hello" is twice as good as any one song on 21. Even after all the times I've heard "Hello," it still has a physical effect on me, sending a wave across my whole body whenever Adele hits that first word of the chorus. Knowing this song well makes it even better, because the anticipation of that chorus kicking in every time is one of the best adrenaline rushes in popular music. As the song goes on, it rewards your ears with an additional treat: the booming but sparse drum kicks in during the first chorus, the strings get louder during the second verse, and the backing vocals kick in on the second chorus. "Hello" might be one of the most played pop songs of the 2010's, but it's also one of the best. The other singles on this album, while nowhere near as earth shattering as "Hello," are still great. "Send My Love" has an incredibly catchy rhythm, punctuated by what I assume to be some great finger picking on the guitar. The lyrics to "When We Were Young" really capture that nostalgia of past love, while channeling the anxieties that arise when that love resurfaces. "Water Under the Bridge" is the second best song on the album, with a great, driving beat, great lyrics, fantastic vocals, and a crashing chorus. There's something off-kilter about the pace of the lyrics in the chorus that I absolutely love. The other songs on the album are fine; they're not filler per se, but they definitely don't stand out, nor are they very memorable. This is a good album, but it falls short because we know that Adele can do more.

I've never heard of this album or artist before, but wow, what an album cover. Maybe I can convince my wife that our family Christmas card this year should mimic a famous album cover. I probably won't be able to, but a man can dream. Anyway, I thought this album was pretty good. I've found a lot of these sixties psychedelic albums to be pretty middle of the road, but I thought this album was a little better than most if its contemporaries. The garage rock sound reminded me of that Sonics record, and while the album had that punk rock 'do it yourself' feel to it, I thought it still managed to have a clean and controlled sound. I liked the flute, harpsichord, and organ playing, and I think that helped create a sound that sets this album apart from a lot of what was coming out at the time. Lyrically, this album was pretty much the standard fare. The love songs were alright, and the abstract songs were... well, pretty abstract. The first six songs on the album were pretty good. But "Revelation"... that song is about getting a blowjob, right? From someone that he refers to as 'child?' Yeah, hard pass. Before I go pour bleach into my eyes and ears, I guess I'll give this thing three stars.

I've always considered myself a casual David Bowie fan, but before this project, the only album of his that I'd listened to in its entirety was Blackstar. Over the course of this project, I've learned that I tend to prefer David Bowie's singles over his albums. This is now fifth album of his to review, and I found this to be pretty middle of the road. Bowie's soul and funk inspired sound on this album is a nice departure from the other albums of his that I've listened to. Bowie's vocals are fantastic as always, and he's supported by some nice backing vocals on several tracks. The arrangements are fine; there are some good piano and saxophone parts on the title track, and "Fascination" blends the saxophone and bass really well. "Fame" gets a lot of love, and it has some nice and funky guitar playing, but it's probably one of my least favorite of Bowie's singles. Overall, I think this album is fine, and it's a mildly interesting piece of Bowie's catalog, but I'd rather fire up some Hot Buttered Soul.

The only Gary Numan song that I’m familiar with is “Cars,” which I assume is probably the case for most people who review this album. I’ve heard “Cars” countless times throughout my life, and I’m not a big fan of it, so I wasn’t super excited to review this album. Once I started listening, I was pleasantly surprised by how much I enjoyed this album. The overall sound was really unique, and even though I’ve listened to a lot of new wave and synth pop music, this album really didn’t sound like anything else that I’ve listened to before. I think my favorite thing about it was that it sounded so rich, and there was a lot of depth to the sound, but nothing sounded complicated or overdone. The lyrics were really different, and I think it’s an interesting concept that Gary Numan took these pretty basic ideas and just ruminated on them in his lyrics. The simplicity of this concept goes along brilliantly with the musical arrangements. The biggest turnoff for me on this album was Gary Numan’s vocals. I understand that his vocal style is probably meant to go along with the futuristic sound he pioneered, but I just don’t care for it. I really appreciate artists like Gary Numan, because these early pioneers of synthesizers set the stage for some of my favorite music during the eighties, and also some of my favorite music today as well. Without the success of “Cars,” I can’t imagine what music throughout the rest of the eighties would sound like. I think this album is a must listen for any fan of music.

I'm not familiar with this artist or album, or samba music for that matter, but this has probably been my favorite album from Central and South America that I've gotten to review so far. The arrangements were really nice, especially the horns, and Astrud Gilberto's vocals on a few of the tracks were fantastic. This is the type of album that would be perfect to listen to on a slightly warm Saturday in spring; a day full of sunlight, but a day where you have the freedom to relax and take in everything. This isn't the type of album that I'd normally listen to, but I'm considering getting a copy, because it would be nice to have around.

When this album came out, I had just started my first semester of community college. I was living at home while going to school and working, and I have many fond memories of listening to “Hey Ya!” with the friends that I hung out with at the time. Someone that was a year behind me in high school did a physics project about Newton’s first law set to the tune of “Hey Ya!”, editing himself into the music video (it’s insanely impressive for having been done in 2003 or 2004; search Youtube for “first law hey ya” if you have five minutes to kill). But enough reminiscing. I would have sworn that I’d listened to this album in its entirety at some point, but after listening to it today, I don’t think that’s the case (it’s in my Apple Music library, so I bought it at some point). I really thought this was going to be an instant five star review for me, but this album falls a little short. I respect the ambition of this project, but at over two hours, this project just didn’t have enough gas overall to really support the union of these two separate projects. Speakerboxxx is easily the stronger half of this album. Big Boi is a fantastic rapper, spitting out rhymes with a clarity and ferocity that’s uniquely his own. The beats and samples on Speakerboxxx are great, the featured guests are fantastic, and Big Boi’s socially conscious lyrics land really well a couple of years into a post 9/11 United States. I always forget that “The Way You Move” is on this album, and as much fun as “Hey Ya!” is, “The Way You Move” is incredible. The beat, Big Boi’s rapping, and the main chorus all combine to create an incredibly melodic sound. I got to see Big Boi at two separate festivals back in 2011, and he was fantastic. My brother summed up his skills perfectly: “Big Boi makes you wonder how Slim Thug has a job.” As great as Speakerboxxx is, The Love Below just doesn’t hold a candle to it. I appreciate Andre 3000’s creative vision and experimentation, but his lack of singing and rapping skills hold his half back. “Hey Ya!” and “Roses” are fantastic, but the rest of this half of the project is kind of a jumbled mess. I think that Andre’s creativity is stifled by his lack of ability to execute a cohesive vision. I respect the ambition of the project, and it’s definitely one of the most influential albums this century, but the end result is that Big Boi’s half shines, while Andre’s half can’t keep up.

I wasn’t a big fan of this album when it came out. I’d been listening to Arcade Fire for maybe a year or two, after my brother had gotten me to listen to Funeral and Neon Bible. I was really into indie music at the time, and as great as 2010 was for the genre, I was pretty underwhelmed by The Suburbs. But as time has gone by, this album has really grown on me. This was my first time to revisit it in a long time, and I think this might be Arcade Fire’s best album. The overall sound of this album is incredible. There’re so many different elements to appreciate: from the urgent guitar sounds of “Ready to Start,” to the dreamy synth line on “Sprawl II,” the arrangements on this album are fantastic. There are so many songs on this album that can easily stand on their own, but the sum of the parts creates a larger work that’s beautiful to listen to. The production work on this album really stands out to me too; it's a huge improvement over Funeral, and it’s a relief that the things that make this album great are put front and center. Lyrically, this album does a fantastic job of exploring life in the suburbs, and all the things that make it unique, claustrophobic, and nostalgic. Like Win and Will Butler, I grew up in suburban Houston (not in The Woodlands, but in a ‘planned community’ that’s similar, but on a much smaller scale), and the things they sing about hit really close to home for me. Most of the people I went to school with felt the pull to leave our community to start their lives, but a good number of those people wound up coming back. I love that this album explores those forces that pull us back to our childhood communities: safety, family, and predictability in an ever-changing world. “Sprawl II” really hits the nail on the head though. Houston is known for its ridiculous levels of suburban sprawl, and while that sprawl may provide opportunities for some people (home ownership, safe communities, communities full of resources), what do we lose when we live in a sea of always expanding concrete? I could ruminate on these themes for several more paragraphs, but I’ll stop here. This is a beautiful album, and it’s an absolute joy to listen to, but the lyrics and the themes explored within this album make it something that still stands out over a decade later.

After hearing "Baba O'Riley" on the radio in my late teens, I got really into The Who for a while. I loved their music, and I developed an appreciation for each band member's musicianship, but I developed a particular fondness for Keith Moon's drumming. His ability to be an absolute maniac on the drums, while still sounding so precise completely blew my mind, and he grew to become my favorite drummer in classic rock. The stories of his crazy drunken antics didn't hurt either. As much as I love The Who, the only album of theirs that I've listened to in its entirety before today is Who's Next. I didn't have high hopes for this albums since the reviews for it weren't terribly favorable, but I thought it was pretty good. The 'selling out' concept was really interesting and well done; I liked the jingles, the humorous elements, and the overall clean and precise sound of the album. The band sounded fantastic, and I love that The Who never tried to imitate The Beatles or The Rolling Stones in their sound. The guitar playing and keyboard playing were great, and the rhythm section was fantastic as always, with Keith Moon's drumming stealing the show. I love Roger Daltrey's voice, and his singing was perfect for the psychedelic pop sound of this album. "I Can See For Miles" is easily the best track on the album, but unfortunately, it's also the only song that I feel can stand on its own outside of the album. Overall, this was a nice album, but the sum is far greater than most of the parts.

The only Bob Dylan albums that I've listened to are Blonde on Blonde, and Highway 61 Revisited, which I both enjoy, so this was my first time listening to something from later in Bob Dylan's catalog. Overall, this album was pretty underwhelming. It was interesting at times to hear a more a straightforward blues sound from Dylan, but the overall result was pretty boring. There were some flashes of brilliance with some of the piano and organ arrangements, but the songs and the overall album were just too long for my liking. "Tryin' to Get to Heaven" was nice, but it was the only song that I kind of enjoyed. This album wasn't terrible, but it definitely wasn't my speed.

I know I've listened to an Arctic Monkeys album before, but I don't remember if it was this one or AM. Either way, I remember not really caring for it, and I was not super enthused to listen to this today. After listening to this though, I can understand why it's so highly regarded and why it's on this list. When I think of rock music in the aughts, I think of the myriad of stuff that was getting tons of airplay on Clear Channel alternative rock stations: Three Days Grace, Nickelback, Godsmack, Buckcherry, etc. I don't speak for everyone, but for me, I think that stuff mostly sucked, so to hear this album is pretty refreshing. Arctic Monkeys showcase some serious guitar rock skills on this album. Nearly every song is a solid jam, full of driving rhythms, tight drum playing, and some funky bass lines. The slower songs work really well too, and give the album some added depth and versatility. I'm not the biggest fan of the vocals, but the lyrics bring the English club and pub scene to life with great detail and tone. This was a fun album to listen to, and while it's not the type of album that I'd typically gravitate to, I think it's really solid, and it definitely belongs on this list. On my tastes alone, I'd probably give this a solid three stars, but on it's own merits and influence, I think it deserves four stars.

This is my third Steely Dan album to review, after Pretzel Logic and Countdown to Ecstasy (both of which I gave five stars), and I didn't enjoy this one quite as much, even though I think it's better lyrically, and it does have three fantastic singles on it. I really enjoyed the lyrics of the songs on this album. It seems to me that there's a common thread of apathy towards life's promises that runs through all of the songs. From the empty pleasure seeking of "Do It Again," to the slow (although somewhat cheery) desperation of "Reelin' In The Years," Steely Dan sings of the disappointment when things don't live up to the expectations we put forward. Like King John succeeding King Richard, sometimes things don't change much deep down, even when they change on the surface. I enjoyed the varied musical arrangements on this album too. "Do It Again" has a great latin feel to it, "Dirty Work" has some fantastic Wurlitzer and organ parts, and "Reelin' In The Years" has some of Steely Dan's best guitar playing. The rest of the songs were fine, and featured plenty of Steely Dan's signature soft-rock-jazz sound, but a lot of the songs aside from the singles weren't terribly memorable. This was a really good album, but it's just not Steely Dan's top tier work.

Well, here it is, my third and final Smiths album to review, and Strangeways might be their best work. The overall sound is bigger than their previous releases, with some great string and horn arrangements, but the album still maintains that signature pop sound that The Smiths crafted. The lyrics are just as deep and slightly ambiguous as always, full of political and social commentary and themes that explore relationships. Every song was great, and the end result is a strong album from start to finish: “A Rush and a Push” has an urgency to it, and I wonder how much the impending breakup of the band contributed to that sound. I loved the guitar at the beginning, and the ‘love as colonialism’ allegory in the lyrics. “I Started Something” has some great horn arrangements, and the lyrical theme about putting yourself out there as a gay person was great, and something that anyone can probably relate to. “Death of a Disco Dancer” has some great guitar work at the beginning; it really gives the song a haunting sound to match the dark lyrics about the AIDS crisis. The song has a great outro too, with the organ/synth and piano and booming drums. “Girlfriend in a Coma” might be my favorite song on the album. Great vocals, great strings arrangements leading into the chorus, and fantastic guitar playing. “Stop Me” has some great guitars, and I really like the tinkling percussion sounds. “Last Night I Dreamt” has a great dream like feel to it. The opening piano and screaming, coupled with the distorted whooshing sound really sets the tone. “Unhappy Birthday” is so joyful sounding, but contrast so strongly with the hateful and mean lyrics. Usually, Morrisey’s digs at people are a bit more roundabout, but I love the directness here. “Paint a Vulgar Picture” has great, biting lyrics, and great criticisms of the record industry and how predatory it can be. The horn arrangements in the background are really great too. “Death at One’s Elbow” has some great bass playing, and I really enjoyed the upbeat sound. I loved that this song had a bit of a rockabilly sound to it. “I Won’t Share You” has great guitar playing, and it was a great way to close out the album, and essentially shut the door on The Smiths’ time together as a band. This was a fantastic album, and I’m sad that this is my last Smiths album to review. I’ll definitely be returning to this album.

I'm pretty neutral towards the Beastie Boys, but I'm familiar with some of their more popular songs, and I might have even listened to a couple of their albums in their entirety, but I'm not 100% on that. They were supposed to play Friday night at ACL in 2009, and I was really excited to see them, but they dropped out due to Adam Yauch's cancer diagnosis. The summer of Yauch's passing, I was at the Rock and Roll Hall of Fame, and they had a very touching tribute to him that made me cry when I read it. On to the album at hand though. I really wanted to love this album, but I thought it was just okay. I love "Sabotage," and it was easily the highlight of the album. The bass line is iconic, the guitar playing is frantic and piercing, and the drumming is tight and provides a booming sound that makes this one of the most fun songs of the nineties. "Sure Shot" is a great leadoff track, and establishes the jazz and funk sound that's going to dominate the musical aspects of the album. This is a far more mature effort from the band, but unfortunately, it's not as fun as their earlier work. The jazz and funk influences are great and unique, but the music drowns out the lyrics and the band's distinctive rapping style. The album is really long too, and despite the fact that it succeeds musically, it overstays its welcome by quite a bit. This isn't a bad album, but I didn't think it was great either.

This will be my final Metallica album to review. I’ve enjoyed reviewing their albums so far, (five stars for Master of Puppets, four stars for the other two) so I had high hopes going into this one. Of the Metallica albums on the list, ..And Justice For All is the one that I’m the least familiar with. It’s really interesting to listen to this album from the perspective of it being a bridge between Puppets and the Black Album. Justice has all of the things that made Puppets so great: driving, thrashing guitar arrangements complimented with pounding, frantic drumming. The lyrics are just as socially conscious, if not more so than what was present on Puppets, but the overall sound of the album feels like it’s moving toward the more accessible and melodic elements that made the Black Album such an important moment in metal. The highlight of this album is easily “One.” The lone guitar comes in so cleanly, with a slow sound that establishes the haunting tone of the song, before adding another guitar and some drumming. I love that the original guitar sound stays present throughout most of the song, establishing a really awesome melody throughout the first half of the song. The drumming and guitar that come in together when the song reaches its crescendo are absolutely perfect. The machine gun pace takes the song from slow haunting to a frantic nightmare. Lyrically, I love the narrative that “One” establishes as well. Come to think of it, I can’t think of any other Metallica songs that really have a narrative structure similar to “One.” This song does an incredible job of bringing the story of its tortured veteran to life, and I think it’s easily one of Metallica’s best songs. I think this is a great album, but the overall length and the length of some of the songs is a bit of a deterrent for me. I have nothing against longer songs or albums (Master of Puppets is almost just as long), but some of the songs just don’t use that length to go to any new places or build on their concepts. It’s a great piece of Metallica’s discography, and a great moment in the history of metal, but I can’t see myself listening to the whole album again.

I listened to this album shortly after it came out. I've been a casual fan of David Bowie's hits since around high school, but this was the first time I listened to one of his full albums. I remember being sad that he had passed away, but I also remember being hit with the regret that I didn't see him in concert in 2004 when he came through town. This is my sixth Bowie album to review, and I've been all over the map with how I've felt about his albums. Blackstar is really good, and while it's not a five star album for me, I think it's one of his better albums. It's weird and experimental, but the sound is still incredibly accessible, because of its overall beauty and haunting melodies. The instrumentation is all fantastic. There's great guitar playing, great drumming (I love James Murphy), and of course Bowie's fantastic vocals. The string, saxophone, and piano arrangements are great too, and they really enhance the deathly mood of this album, while still giving it a "trademark Bowie" sound. The lyrics on this album are haunting, and it's really sombre to listen to what are essentially David Bowie's last words for the world, even eight years after this album's release and his passing. "I Can't Give Everything Away" is a perfect closer to this album, giving us a bittersweet hint that if it weren't for his illness, Bowie felt like he still had more in the tank. While this isn't my favorite album from Bowie, I still think it's really good. As the last effort from one of popular music's biggest forces, I think it's a fantastic listen for any fan of music.

This is my second Black Sabbath album to review, the first being Paranoid. I thought Paranoid was fantastic (I was familiar with a few songs going into it), so I had high hopes for this album too. Thankfully, my expectations were exceeded listening to this album. I can’t imagine what it must have been like to hear this for the first time when it came out. I’d wager a guess that Black Sabbath was the leading cause of shit-fits in 1970. The first track does a fantastic job of setting the tone for the rest of the album. The mood is dark, brooding, and Ozzy’s wails and pleas for help create a really unsettling sound. The guitar work on the opening track is fantastic too, and I loved how the slow and deep tone shifted to a faster pace towards the end of the song. That might be one of the best lead-off tracks of all time. “The Wizard” was fantastic too, and I loved how it showed the shared sound of blues and early hard rock. The harmonica playing really caught me off guard, but it never felt out of place. However, my favorite song on this album was “N.I.B.” I used to hear this song on the local hard rock station back in the early aughts (rest in peace, KLOL), and I loved it so much back then. I hadn’t thought about this song in almost two decades, so I was delighted when it came up on this album. I love Ozzy’s singing on this song, especially during the chorus. He's not a great vocalist, but man, his voice is perfect on “N.I.B.” The repeating guitar riff is my favorite part of the song though, and I love how it combines with the drum as the song build towards the chorus. The guitar solo(s?) is fantastic too. The rest of the album is fantastic too, especially the guitar playing, but I’ve run out of steam gushing about the opening track and “N.I.B.” to comment much further. Overall, this is a great album from start to finish. This album is dark and brooding, but also an absolute joy to listen to. Black Sabbath knocked it out of the park with this one.

In my late teens, I had a friend who was really into Jethro Tull. So much so, that his Myspace profile name was "Thick as a Brick" (I just pulled up Thick as a Brick to listen to it, and holy shit, part 1 is over 22 minutes long, and part 2 is almost as long. Holy Tubular Bells, I think I'll pass). Heading into this album, the only song that I was familiar with was the title track, but I'm very familiar with the fact that Jethro Tull is known for being the 'flute rock' band. This album wasn't really my speed at all. The usage of the flute really feels like a gimmick, as it really doesn't add a whole lot to the music, and none of the songs are any better for its usage. The title track is fine, but it wears out its welcome about halfway through. I'm guessing the lyrics on the side 1 songs are about a peeping Tom watching a young girl, which is also not my cup of tea, so this album never really stood much of a chance with me. I liked the side 2 songs a little bit more, but that's not saying much. "Hymn 43" was my favorite track on the album, and it really highlights the few things that I liked on this album: some good piano riffs, and some bluesy guitar riffs. Lyrically, I liked the side 2 songs better as well, but again, that's not really saying a whole lot. I really didn't care much for this album, and it's definitely not something that I'd ever revisit.

I know a handful of Justin Timberlake's songs, but this is my first time listening to a full album of his. I wasn't excited to have this album come up today, but it wound up being a little bit better than my expectations. I don't think that JT is a particularly great singer, but his vocal chops are just enough to get by on this album. Lyrically though, this album sound like it was written by a sentient Ryan Gosling 'Hey Girl' meme. "Hey girl, I saw you from across the club, and I think you're fine. Would you like to come back to this suite of mine?" See? I could easily write 60-70% of the lyrics on this album. However, "Cry Me A River" is absolutely fantastic. It's sultry, the rain sounds in the intro really establish the mood, and the horn sounds couple with the rhythm section and JT's falsetto create a perfect R&B pop sound. This is the one song on the album where everything really comes together perfectly. On the rest of the album, it's Pharrell and Chad's production work that do all the heavy lifting. Musically, this album is pretty good, and it has a wide variety of arrangements that kept me somewhat engaged. Culturally, I can see how this album made the list. Like him or not, JT has been a massive force in music and pop culture in general. Sure, he might be a gaslighting piece of shit, but it hardly feels like his reputation has taken any damage at all these last few years, despite what Britney Spears has alleged about him. But I digress. This album is fine, and as easily the most successful former boy band member of the nineties to launch their own career, JT's solo debut is worth one listen, but maybe not more than that.

I'm not familiar with this album or artist, but my first impression as I listened to it was that I may have heard one of these songs on TV or in a movie at some point. As I kept listening to it, this album definitely sounded like a folk album from the aughts; Devandra's vocals are unique, and the stripped down instrumentation is well executed, creating a sound that's different, but still accessible. Overall, this album was pretty good. The vocals were nice, and the arrangements were really pleasant to listen to. The worst thing about it is that it didn't stand out to me. A few months from now, I'll probably have forgotten about this album, and when I see it in my history, the thing that'll stick out the most is that the artist was born in my hometown of Houston. I can't really understand why this album is on the list. Sure, it was well received when it came out, but that can be said about a lot of albums that aren't on the list. I wouldn't mind listening to it again, but there are just so many more folk albums that are worth my time more than this one is.

The only Lou Reed song I was familiar with before listening to this album was "Walk On The Wildside," which I was glad to see was on this album. I know this album is supposed to be very influential, and based on the reviews, it looked like it was going to be pretty good. Unfortunately though, this album didn't really land with me. Lou Reed isn't a name that I think of when I think of great vocalists in rock music, but his voice is incredibly recognizable, both in tone and cadence. Even though he's not a great vocalist, his style works well for his music on this album, especially when there are backing vocals to accompany him. Overall, I thought the arrangements on this album were okay. Some songs were definitely much stronger than others, and the songs that I didn't like stuck out like a sore thumb ("Make Up," "I'm So Free," and "Goodnight Ladies"). "Perfect Day" was absolutely fantastic though. The piano playing on it was great, and this was the song where Lou Reed's vocals worked the best ("Walk On The Wild Side" is a close second). "Walk On The Wild Side" is great too, and the saxophone playing, background vocals, and light percussion all blend together perfectly. I know this album is regarded as an important piece of glam rock, but to me, it felt like glam rock in the same way that La Croix is flavored. Sure, there are hints of glam rock on this album, but you really have to strain to find them. This album is distinct, but I think my biggest gripe with it is that other than a couple of stand out songs, the other songs range from 'okay' to 'I can't hit skip fast enough.' Hopefully I won't feel this way about The Velvet Underground when I get to review them.

I've never heard of this album or artist before, and damn, it was a sonofabitch to track this album down (if you're having trouble finding it, disc 1: https://soundcloud.com/dj-jo-public/ltj-presents-logical-progression-cd-a-mixed-by-jopublic-1996-intelligent-dnb disc 2: https://soundcloud.com/dj-jo-public/ltj-bukem-presents-logical-progression-cd-b-mixed-set-original-1996-version-intelligent-dnb ). I was trying to pull this album up last night, and when I finally found it, my wife said, "that's your album tomorrow? I'm so sorry." I told her I don't mind music like this, and she waited a moment before saying "we are very different people." Anyway, I don't have a lot to say about this album, other than I enjoyed listening to it. Granted, I had it playing while I was grinding away on some pretty mindless tasks at work, so it made for a nice soundtrack to my day. I have no idea of the impact or cultural significance of this album, but it was a nice listen, despite its length.

I've never heard of this album or artist before, but this is my second electronica album in a row, and as much as I tend to enjoy electronica music, I've had three hours of it in two days (thank you LTJ Bukem). I thought this album was pretty good, and I really liked the beats they used. Even though the album was long, I never found it boring, and it was overall pleasant to listen to. Even though I like electronica music, I can't really pinpoint what makes me like certain albums more than others, other than being able to say whether or not I enjoyed listening to it. I felt like this album was the pretty standard fare.

I'm not familiar with this band or this album, and the review for this album seem to be a pretty mixed bag, so I wasn't sure what to expect. Things started off on the right foot; I really loved the guitar playing on "Can't Stand Me Now. But from there, the album didn't really go anywhere interesting, and all of the songs were pretty bland. I really don't see the appeal of this album at all. At a time when bands like Interpol, The Strokes, and Arctic Monkeys were putting out some great work, why would anyone opt for this album?

I'm vaguely familiar with Jerry Lee Lewis, but I've never listened to one of his albums. This album was about what I expected in terms of the musicianship: the energy was high, and Jerry's piano playing was his personal brand of manic precision. I'm typically not a big fan of live albums, but it was really cool to hear Jerry whip the crowd up into a frenzy with each song. Other than the piano playing though, there wasn't a whole lot going on. The vocals, drumming, and guitar playing were present, but that's about it. I don't know if Jerry's other albums feature a lot of other people's songs, but I think he was able to leave his own fingerprint on each song that wasn't his. This album didn't light the world on fire, but it was pretty enjoyable to listen to.

I'm not familiar with this album or artist, but judging by the cover, I assumed this album was country our country-adjacent, and I was excited for something a little different. Well, I got something different, but not in the way that I'd hoped. I was not expecting this album to be psychedelic rock. Psychedelic rock is pretty hit or miss with me, and this album was a pretty big miss. I'm not a big fan of George Thorogood, but I much prefer his rendition of "Who Do You Love?" to the suite that the band has on this album. It was completely drawn out, and not even that interesting to listen to. The side two songs weren't much better, but at least "Calvary" was somewhat interesting. I really don't understand why this album is on the list, and I can't find any redeeming qualities in it. Pretty much a bore from start to finish.

The only Clash album I've listened to before today is London Calling (which I bought because of the 1001 albums book), but it's been a hot minute since I've listened to it. This self titled effort from The Clash is pretty good. The best thing that this album has going for it is it's distinctly The Clash; the band never tries to be The Ramones or The Sex Pistols, and they do a great job of crafting their own unique sound. The guitar playing is pretty straightforward, but there's something unique in the tone that really sets The Clash apart. I enjoy both Jones's and Strummer's vocals, and I was glad that they both got some time on lead vocals on this album. My favorite thing about this album was the lyrics. For what feels like the hundredth time on this list, it's yet another album singing about things that still plague the world today: racial tension and inequality, the slog of working life, the neverending funding of war, and on and on. The band does such a great job of channeling anger and disillusionment into their lyrics, and their own brand of punk politics further differentiates them from other punk acts of the time. Overall, this isn't my favorite album by any stretch, but it's really well done, and it's an important moment in the history of rock music.

This is my second, and therefore last Willie Nelson album to review. I liked The Red Headed Stranger, but I'm also not super into Willie's music (nothing against him, it's just not what I gravitate towards), so I wasn't sure what I'd feel about this album. I think the overall concept of performing pop and jazz standards is really great, and I love that Willie basically told his record label to kick rocks when they expressed hesitation at the idea, and then the album went on to perform really well and win a Grammy. Are record company executives even human, or are they just sentient piles of garbage? I digress. I'm not terribly familiar with many of these songs, but I thought Willie did a great job of singing them, and putting his own musical touch on each one of them. Willie's voice is great, and I love the gentleness and smoothness that he brings to each song. "Unchained Melody," "On the Sunny Side of the Street," and "Moonlight in Vermont" were my favorite tracks on here, and I think I prefer Willie's version of "Unchained Melody" to the Righteous Brothers version. Overall, I thought this album was fine. It's well done and and it's a unique and enjoyable listen. It's not the sort of thing I gravitate towards, but I'm glad I got to experience it.

I've heard of Ministry before, but I've never listened to one of their albums, and industrial metal isn't really a genre that I'm familiar with. Overall though, I thought this album was pretty good. The album starts off with a bang, with blazing drumming and a fuzzy, driving guitar rhythm, which really snagged my attention. The synthesized sounds are incredibly unique too, and add a really great depth to the sound. This is easily one of the most unique metal albums I've ever listened to, and I imagine this influenced countless other bands in the nineties (White Zombie, Korn, Marilyn Manson, etc.). As unique as I thought this album was, it was pretty repetitive, and apart from "Jesus Built My Hotrod," it doesn't really go anywhere interesting. This isn't the type of album I'd go back to, but I'm glad I got to branch out and listen to it.

I've heard of Germs before, mostly because of Pat Smear, who I know about from Foo Fighters, but I've never listened to any of their music before. As far as hardcore albums go, I thought this was pretty meh. The guitar tones and playing didn't really change much from song to song, and the vocals were nearly impossible to decipher. If you're going to make an album that's politically charged, for the love of God, please make it to where the average listener can understand what's being said. I love some good hardcore punk lyrics, but it sucks if I have to go and look them up for every song. This just wasn't a very enjoyable album for me.

I'm not very familiar with Sly & The Family Stone's music, but I was happy to see that "Everyday People" was on this album. Based on how much I've liked exploring funk and soul albums from this list, I really expected to enjoy Stand! I think this album was objectively good, but I didn't care for it all too much. The funk and soul sound was really unique, the vocals were great, and the musical arrangements were deep and rich. I enjoyed the lyrics too. I expected that the lyrics would be a little more biting in their social commentary, but only... uh... "track 2"... fit that bill. Even though the lyrics weren't what I expected, I still enjoyed their overall uplifting message. I can definitely see how Sly & The Family Stone were a hit at Woodstock. "Everyday People" was easily my favorite song on the album. I love the piano and horn arrangements, the percussion is incredibly catchy, and it's an incredibly fun song to sing along to. "I Want To Take You Higher" was really good too, and I recognized it from its use in David Fincher's Zodiac (one of the best movies ever made in my opinion). I think my biggest beef with this album is that some of the songs felt kind of repetitive, and that their structure kind of kept them contained in way that prevented them from going anywhere. Still, this was a good album, and I'm glad I got to review it today.

I’m not familiar with any of Joni Mitchell’s music, so I only had a vague idea of what to expect with this album (I imagined it would be somewhat similar to Carole King’s Tapestry). I thought this album was really beautiful, and I enjoyed listening to it. Joni Mitchell’s voice and lyrics are fantastic, and she created some really great piano and guitar arrangements to create a great overall sound. I enjoyed the second half of the album more than the first half, and “Raised on Robbery” was my favorite track on the album. I loved that “Raised on Robbery” was the most fun song, and I loved that it was a little bit different than the other songs, but it still relied on the elements that made the album as a whole successful: great guitar playing, great lyrics, and beautiful vocals with some sweet harmonies. The saxophone playing was what really elevated this song for me, and I thought it complimented the other elements in the song really well. “Down To You” was a close second for me; I really loved the opening piano melody, and the woodwind arrangements were incredible. Overall, this was a really good album, and I’m looking forward to getting to review more of Joni Mitchell’s work.

I'm not familiar with John Grant, or this album, but I enjoyed its overall sound. The songs were varied in style, but they all had a softness to them that I liked. The vocals were really good, and the arrangements were unique and fun. The songs were a strange blend of pop and folk music, but it worked really well. The lyrics were strange at times, but really well written, and I especially liked “Sigourney Weaver.” I think my biggest gripe against this album is that it was a bit of drag at times, and there are other albums from this era of indie music that I’d rather listen to. This album is well made, and I can see how it got so much critical recognition, but I can also see how it may not land with everyone.

I'm not huge KISS fan, but that doesn't stop me from having a lot of opinions about them. I've heard quite a few of their songs over the years; a few on classic rock radio, and some others in movies or on TV shows. I'd never listened to one of their whole albums until a few months ago when I threw this one on for something to listen to. I guess my overall opinion of KISS is that they're fine. Their studio recordings are kinda meh to me, but their theatrics and live performances are what set KISS apart and what have given them such long careers. I saw them live back in the aughts and it was a total blast. I guess what I'm trying to get at here is that this album is pretty meh, and I assume all KISS studio albums are pretty meh. "Detroit Rock City" and "Shout It Out Loud" are both good, and they're both good examples of what makes KISS work and what makes them fun. "Beth" is good too, but because it shows the band can branch out and do ballads and do them well. Everything else on this album though was not great and pretty forgettable. KISS can be fun and entertaining, but they don't really showcase a lot of that on this album.

This is my fourth and final Talking Heads album to review. I've really enjoyed their albums so far (5 stars for More Songs, and 4 stars for Remain and '77), so I had high hopes going into this album. Overall, this album was my least favorite of the Talking Heads albums that I've listened to. It's a good album, but it just lacks the punch that their other albums had. The originality, manic vocals, and odd guitar sounds are all here, but this album can be a bit of a chore at times to get through. "I Zimbra" starts the album off on a strong note, but from there it just kind of plods along until "Life During Wartime" and "Memories Can't Wait." This album wasn't really up my alley, but as much as I love Talking Heads, I wouldn't be opposed to revisiting it some day to see if my initial reaction was wrong.

This is my seventh David Bowie album to review, and like several of his albums, I found this one to be fine. The only song I was familiar with on this album prior to listening to it was "The Jean Genie," which I think is one of Bowie's better songs. It's interesting listening to this album as a follow-up to Ziggy Stardust, because I liked how this album picked up the rock and roll sounds of Ziggy Stardust, and took them in a different direction. I enjoyed the blues and jazz elements that were used throughout the album, and I think those influences helped Bowie add some depth to an album that was more pure rock and roll. The guitar playing was good, especially on "Watch That Man," and I love the harmonica on "The Jean Genie." The biggest detractor for me on this album is that the sum is far greater than the individual parts. Some of the songs were really forgettable, and there was some really discordant piano playing on a couple of the songs that really turned me off. Still, this is album was an interesting part of Bowie's career, and a pretty well executed rock album.

I’m familiar with some of the Beach Boys’ catalog (I’ve reviewed Surf’s Up and Brian Wilson’s Smile), but I’ve never listened to this album before. Overall, I thought it was a really good album, and it was really unique. “River Song” was absolutely fantastic, and it immediately drew me in with its beautiful harmonies and excellent piano playing. Dennis’s raspy voice was a fantastic contrast to the bright sound and light harmonies. The theatrical nature of the song reminded me of Elton John, and I loved it. The rest of the album was really good, but it never quite hit that high point of “River Song” again. Musically, this album felt like it drew inspiration from a host of sources: The Rolling Stones, Pink Floyd, David Bowie, and the aforementioned Elton John. Dennis’s vocals reminded me a lot of Billy Gibbons’s singing for ZZ Top, and I loved how the beautiful melodies of the album really softened his gravely tone. “Friday Night” and “Dreamer” were some of my other favorite songs, and musically, they really reminded me of Pink Floyd’s The Wall at times. I loved the guitar playing on “Friday Night” and the saxophone on “Dreamer.” Overall, this was a great album, and I loved that it seemed to draw on so many different influences. It’s a shame that this was the only album that Dennis ever put out, because it seems like he had plenty of creative juice to make more music on his own.

This is my second Byrds album to review, after their debut, Mr. Tambourine Man. I'm not incredibly familiar with a lot of their music, but I always think of the Byrds' music as being folk rock or psychedelic rock, and this album definitely went against my preconceived notions of their music. Overall, I thought the album was pretty good, and it was interesting to listen to it, knowing that it was one of the first country rock albums. I enjoyed the fact that most of the songs weren't written by The Byrds, and it's just now dawning on me that most of the songs that they covered for this album are folk songs, which suits The Byrds perfectly. While I enjoyed this album, I certainly wasn't blown away by it. I liked the country sound and the lyrics of the songs that they chose to cover (inject "some'll rob you with a six-gun and some with a fountain pen" directly into my veins), but not a lot stood out to me on this album. It was nice enough to listen to, and it's definitely an influential album, but I don't think it's something I'll go back to anytime soon.

This is my first Funkadlelic album to review, but I did review Parliament's Mothership Connection (which I loved) early on in my journey. I wasn't terribly impressed by this album. The guitar playing was great, and there were some pretty good moments sprinkled throughout the album, but the songs were way too long, and they never really managed to go anywhere interesting. "Who Says A Funk Band Can't Play Rock" was easily the bright spot on the album for me; it was really the only song on the album that made me want to groove along with it. The song were really repetitive, but "Who Says A Funk Band Can't Play Rock" was the one song where I didn't mind the repetition. I'm hoping that I'll enjoy Maggot Brain more than I enjoyed this.

I've heard of Manu Chao before, but I'm unfamiliar with his music. Overall though, I thought this was a fine album. I wish I had the time to look up translated lyrics for all of the songs, but I don't have time for that today. Hopefully I can do that in the future though. The first half of the album wasn't really my speed, but I felt like things picked up for me at "Luna y sol," and I enjoyed the album more from that point on, with the exception of "Welcome to Tijuana," which I really didn't care for. The vocals on this album weren't anything to write home about, but the musical arrangements were fine. "La vie á 2" was easily my favorite song on the whole album; I really loved its unique sound.

I've reviewed Deja Vu back in the fall, and I'm familiar with "Suite: Judy Blue Eyes," so I had a pretty good idea of what to expect from this album. I wasn't blown away by this on my first listen, but I went back through a few songs, and developed more of an appreciation for it. While this album isn't anything that I'd gravitate towards, "Suite: Judy Blue Eyes" is an absolute masterpiece of a song. The guitar playing is fantastic, the harmonies are some of the best harmonies in all of rock music, and the outro is fantastic, and a treat to sing along to. The rest of the album is really good too, complete with more harmonies, more great guitar playing, and some nice hammond organ playing. I think this album was really well written and recorded, and even though it's probably not something I'd go back to, I can completely understand how CSN developed a robust following.

I recognize this album cover, but I’ve never listened to a Velvet Underground album before. Come to think of it, I don’t think I’ve ever listened to even one song of theirs. Needless to say, I went into this album not really knowing what to expect. The lead-off song “Sunday Morning” really hooked me in with Lou Reed’s vocals and the tinkling of the celeste. “I’m Waiting for the Man” was good too; I liked the change in tempo from “Sunday Morning” and the fuzzy guitar distortion. “Femme Fatale” was good too, and a good introduction to Nico’s vocals. “Venus in Furs” and “Run Run Run” had some really good guitar playing too. But my favorite songs on the album were “All Tomorrow's Parties” and “Heroin.” “All Tomorrow’s Parties” is exactly what I want in a psychedelic rock song: weird and abstract lyrics, guitars tuned to almost sound like a sitar, and jangling piano playing. “Heroin” on the other hand, was fantastic because of the way the frantic ebb and flow of the music matched the story being told in the lyrics. The structure of “Heroin” was so obvious in a way, but the way the song was written never made it feel like the band was phoning it in or just trying to take a free ride by singing about a taboo topic. “There She Goes Again” and “I’ll Be Your Mirror” were great, and I especially liked Nico’s singing on the latter. Unfortunately, the album ended on a whimper for me, because the last two songs were far and away my least favorites on the album. There was a grating, repeating sound on “The Black Angel’s Death Song” that really annoyed me, and “European Son” had some really sharp high-pitched sounds that I didn’t care for, even though I liked the manic guitar playing. Overall though, I think this album is fantastic. It’s wild to me to think about how this was recorded in the late sixties, but you can hear how it influenced post punk and early alternative rock. I can’t imagine Sonic Youth or Pixies existing without this album’s influence. I wasn’t blown away by this album on my first listen, but I listened to it a couple more times, and it really grew on me. This isn’t an album that I’m likely to be drawn back to, but it’s incredibly influential, and I think it’s just an objectively good album, but I can see how it may not land with everyone.

I've reviewed Harvest and Tonight's the Night, and I've listened to Psychedelic Pill on my own, but this is my first time listening to this album. Neil Young is pretty hit or miss with me, so my expectations for this album were pretty middle of the road. I wasn't wowed by Harvest or Tonight's the Night, but I do love Freedom (I'm so pissed it's not on the list), and I thought Psychedelic Pill was pretty good. Overall, I thought this album was fine. I know Neil Young's voice isn't a lot of people's favorite, but I like his voice, and there were some nice backing harmonies on this album too, which is something I love about CSNY. I liked the garage rock sound of the album, although it did feel like there wasn't a lot of variation in sound from song to song. Granted, most of the songs were fine, so it wasn't a huge detractor. "Country Home" and "Over and Over" were my favorite songs on the album, and they had some of my favorite guitar playing on the album as well. That's three Neil Young albums down, so I think I only have 15 or so of his albums left.

Yesterday, I was bemoaning the fact that I hadn't gotten any eighties albums in a while, and today, I was rewarded with this. Caveat emptor I guess. The only Motörhead song I know is "Ace of Spades," and it was a bit of a bummer that it was the only song on this live album that I was familiar with. It was even more of a bummer that it was the first song, and that after it ended, I was left with over 35 minutes of unfamiliar, live heavy-metal that basically all sounded the same to me. I'm not a huge fan of live albums, and this experience only solidified that feeling for me. I don't understand how an album that's so high energy and full of blasting guitars and pounding drums can still find a way to be so boring. Outside of "Ace of Spades," this album didn't really have a lot going on. I liked that the songs were short, but I hated that these songs weren't all from the same performance, because it stripped away the context of these songs being live in a sense. I really thought I would have enjoyed this more, but this album was a bit of a snooze, and I don't understand why it made this list.

I'm not familiar with Count Basie's music, or this album, but I thought this was fine to listen to. I don't know much about swing, big band, or jazz music, so it's hard for me to come up with anything objective to say about this album. I enjoyed the more piano forward sound of the first song, but the rest of the album didn't really rely on that sound, which was kind of a bummer, because I thought this might be the first jazz-ish album that I was going to really have a strong love for. The album turned out to be fine, but there just wasn't anything noteworthy about it for me.

I reviewed Getz/Gilberto not very long ago, but outside of that, I'm not familiar with Stan Getz, and I've never heard of Charlie Byrd before. I'm not very well acquainted with Bossa nova music, so I don't have much to say about this album, other than it was very relaxing and pleasant to listen to. I always hate that I don't have much to say about albums like this (I just had Count Basie yesterday), but once I'm done with this project, I'm going to go back through all of the jazz, samba, and other niche genre albums so that I can be more familiar with them.

Rap and hip hop music were pretty much not allowed in our house when I was growing up, but I remember being vaguely aware of a couple of songs on this album when I was in high school. Speakerboxxx/The Love Below came out right after I graduated, and I had much more exposure to the singles off that album than Stankonia. After that, Outkast was pretty much off my radar for several years. But in 2011, Big Boi was playing at a local music festival, and my brother had recently seen him in concert and said that he was fantastic. I watched Big Boi's set, not expecting him to throw some Outkast songs into the mix, but he did, and that wound up igniting my interest in this album, which I bought shortly afterwards (I'm 99% sure this was the first hip hop album I owned). I listened to this album all the way through after buying it, and I was surprised by how much I enjoyed it. At the time, I don't think I was aware of how critically acclaimed it was, and just how important it was for southern hip hop. Today was my first time revisiting the whole album, and I had high hopes that I would still think very highly of it. I really thought this album would be an easy five star for me, and I thought the same thing about Speakerboxxx/The Love Below when I rated it several weeks ago. Stankonia passes the five-star test for me, but just by the skin of its teeth. The parts of this album that I loved, I really loved: the experimental and varied sounds that are still grounded in southern hip hop, Big Boi’s rapping, and the social commentary in the lyrics. This album also has some great individual songs on it, with “B.O.B.” being my favorite one. I love its high-speed tempo, the screeching guitars and organ, and the gospel vocal outro. The song feels like a funk song on speed and LSD, and I love every minute of it. “Miss Jackson” and “So Fresh and So Clean” are fantastic too; they’re both insanely catchy and fun. “Gasoline Dreams,” “Red Velvet,” and “Xplosion” were the best songs on this album that weren’t singles, with “Red Velvet” being my favorite of the bunch. Stankonia is pretty long, but to me, it never felt like it dragged on, which is not the case for Speakerboxxx/The Love Below. The biggest weakness that Stankonia has is that I feel like it doesn’t utilize the talents of its guests very well. “Humble Mumble” needed more Erykah Badu, and “Slum Beautiful” needed more Cee-Lo, which I can’t believe I’m saying, because Cee-Lo sucks, but I would have liked more of his vocals. Still, I think this is a really good album overall. It has fantastic beats and musical elements, it has an incredibly experimental sound that stays true to its southern roots, and it has fantastic lyrics and rapping. I’m glad I finally revisited this album in its entirety.

This is my second Leonard Cohen album to review, after You Want it Darker. I listened to You Want It Darker before starting this project, but I’m unfamiliar with any of Leonard Cohen’s other albums. This album was fine overall. It definitely felt like it was written and performed by a poet. They lyrics were deep and well written, and the musical arrangements were simple and melodic. The lead-off track, “Suzanne,” was one of my favorite songs on the album. It had some great additional strings to accompany the guitar playing, and I enjoyed the yearning heartbreak of the lyrics. “Sisters of Mercy” also had some really nice arrangements of other instruments, which gave the song a nice depth of sound. “So Long, Marianne” was really nice too, and I enjoyed the backing vocals that were present on the chorus. Cohen’s vocals aren’t anything remarkable, but it works really well, as his voice fits well with the overall tone of the album. Overall, this album was fine. The lyrics are far and away the star of the show, but the music is pleasant and accompanies the lyrics well. I think my biggest complaint about this album is that a majority of it just wasn’t very memorable, and some of the songs felt like they dragged on.

I don't think I've ever heard of the Bill Evans Trio, but I'm not very familiar with jazz music, so I'm not surprised. Like pretty much all of the other jazz albums I've reviewed, this album was fine. I don't really have any objective ways to judge it, but it was fine to listen to. I did like that it was a bit more stripped down in terms of the number of instruments present, but I think that the simplicity really showcased how the form of the songs was structured through the interactions between bass, piano, and drums. Overall, this album was fine, and I wouldn't be opposed to revisiting it some day.

This is my third Neil Young solo album to review, and like his other albums, I thought this was fine. I liked how the lyrics explored loneliness and disillusionment, with a little bit of cultural and societal critiques as well. I think these are emotions that Neil Young explores really well, and I think that this album is an interesting follow up to Harvest, and the things Neil Young was experiencing in his career and life at the time. Musically, this album was pleasant to listen to, but nothing really stood out to me, and I think the album was weighed down some by the longer songs. Overall though, this was a good album, and I'm looking forward to when I get to review After the Gold Rush.

I'm not familiar with this album or artist, and since I'm not a big reggae fan, I didn't have high hopes for this album. This album certainly wasn't great, but it wasn't as bad as I thought it was going to be. The lyrics and singing were the biggest weaknesses of the album by far. It felt like Finley wasn't singing with any conviction, and the lyrics just felt completely disingenuous. Maybe the vocals created that feeling, but either way, for a reggae album, this album felt pretty devoid of meaning and depth. Musically though, I thought this album had quite a few bright spots. On those bright spots, the arrangements were simple, but they sound great. Every element that Finley uses sounds great and placed really well. However, not being a big reggae fan, that wasn't enough for me to find this album really interesting or enjoyable. Overall, this was pretty below average for me, but people who like reggae might be able to get more out of it.

I’m vaguely familiar with who D’Angelo is and his influence in the 90’s, but I’ve never listened to any of his music before. I’m not a big R&B fan, so I wasn’t sure how I would feel about this album. Overall, this album was fine. The singing and the arrangements were really beautiful, and I can see how this album sold really well when it came out. It’s pretty impressive that this was D’Angelo’s debut album, because musically and vocally, it sounds like it was made by an industry veteran. However, lyrically, it felt pretty juvenile in a sense. Instead of love songs, this album felt like it had songs about cheesy teenage lust. Additionally, the songs couldn’t really justify their length, as most of them were pretty boring. As pleasant and well composed as the musical arrangements were, they were somewhat boring and unmemorable, but maybe that was exacerbated by the length of the songs. Still, D’Angelo is a talented musician who’s had a successful career. Even though I’m not too hot on this album, I think it’s a big part of nineties R&B music.

I’ve listened to a lot of Duran Duran’s music throughout my life, but I can’t remember if I’ve ever listened to Rio all the way through. If I have, I only did it once, and that’s a shame, because this album is fantastic from start to finish. Duran Duran is one of the first bands I think of when I think of eighties music, and for good reason. Their music and music videos received a lot of deserved airplay back when it came out, and it’s been popular and well received after the eighties as well. I was born in ’85, and I remember hearing their music frequently in the nineties on our local “Mix” radio station, and on a few other radio stations that would play eighties music. I think my favorite thing about Duran Duran is how unique their music is. Despite being popular in the early eighties, I don’t consider them new wave or post punk. Sure, they relied on synthesizers a lot, but the way they blended their synth parts with slick guitar riffs just doesn’t really sound like anything else from that era. I loved Rio for a host of reasons: the aforementioned meshing of synthesizers with great guitar riffs, Simon Le Bon’s vocals, and a slew of catchy songs that are really fun to sing along to. The singles on this album (the title track, “Hungry Like The Wolf,” and “Say A Prayer”) are all fantastic, but every song on this album is really good. Speaking of the singles on this album, I can’t believe that there were only three of them. I’m not saying every song on this album is worthy of being a single, but how was “Hold Back The Rain” not released as a single? The repeating synth line, the main guitar riff, the booming drum hits during the chorus, and the pleading backing vocals make this song one of the strongest on the album, and that’s saying something on an album with “Rio” and “Hungry Like The Wolf.” Speaking of those two songs, I’ve always enjoyed them, but I never realized how rich in sound they are, and how the details in each one’s sound really make them stand out. The synthesizer and keyboard parts in both of them are outstanding, and they both have great outro’s as well. Maybe I was never super into them because I only ever heard the US versions? And why did this album need to be remixed for American audiences? Did we not get good cocaine over here until ’84? Since I’ve been rambling on for a while here, I’ll wrap up by talking about how much I love “Save A Prayer.” The whole album does a great job of merging synth, keyboards, and guitars, but “Save A Prayer” does the best job of the whole lot. That wailing keyboard note that plays at the end of the chorus is just perfect, and I love the song’s dreamlike feel. Rio is fantastic from start to finish, and from now on, it will always be in my list of the best albums of the eighties.

Other than reviewing John Lennon's Imagine a few months ago, I'm not familiar with much of John Lennon's work after The Beatles. What little I do know about John Lennon, makes me view him as a bit of an asshole and an aloof and disingenuous doofus. I recently read a little about his song "Give Peace a Chance" in Dorian Lynskey's 33 Revolutions Per Minute, which only furthered these notions for me (I highly recommend that book by the way; it's a bit more history than music in its content, but it's still super interesting, and it covers a lot of music that's on this list). Given all of that, and how much I didn't like Imagine, I didn't think I'd care for this album very much. However, I was bit pleasantly surprised. While Imagine felt phony to me, this album felt a lot more genuine. I think Lennon really nailed the tone of this album by singing more about personal issues. "Mother" was really fantastic, and even if it wasn't completely autobiographical, it was really heartbreaking. "Working Class Hero" was really good too, and it felt like it came from a place of experience. Lennon's critique of social classes was really on point in this song, and it still feels incredibly relevant today. It felt like the songs on this album were either more piano driven or guitar driven in their melodies, but both were done well. I think my biggest criticism of this album is that even though the songs were done well, some of them were boring, and others just weren't memorable. A lot of it feels very akin to The White Album, but unfortunately, it's akin to the parts of The White Album that I don't really like. Still, this album was fine overall, but it's not an album that I'd seek out again.

I've heard of K.D. Lang before, but I don't think I've ever listened to any of her music before. Overall, I thought this album wasn't that great. K.D. is a really good vocalist, but good vocals just weren't enough to make this album interesting for me. I enjoyed "Miss Chatelaine" and "Still Thrives This Town" because they had some great arrangements, and they really stood out from the rest of the album. However, "Constant Craving" was far and away the best song on the album. Come to think of it, is this album solely on the list because of "Constant Craving?" I guess I can't be too mad about that. K.D. Lang is clearly a talented musician, but this album misses a lot more than it lands with me. There just aren't that many songs that have great arrangements to go along with Lang's great vocals.

This is my second Creedence album to review, after Cosmo's Factory. I wouldn't call myself a big CCR fan, but I'm pretty familiar with a lot of their hits, a couple of which were on this album. Like Cosmo's Factory, I thought this album was fine. CCR's music is pretty hit or miss with me, and this album was no exception. "Born On The Bayou" is fantastic, and "Proud Mary" is really good too. I don't understand how it does it, but those first notes of "Born On The Bayou" always manage to make me feel like I'm standing outside in August, with the air literally clinging to me from humidity. I love the simplicity of "Proud Mary"'s sound, with its steady rhythm, the nice guitar solo full of twang, and the lyrics that paint an idealized southern hospitality. The rest of the album wavered between good and boring. "Bootleg," "Keep On Chooglin'," and "Penthouse Pauper" were good, and I felt like they felt aligned with the rest of the album's sound while still feeling unique. The other few songs were pretty boring though. I think CCR's sound can be somewhat limiting, and that's what made the low parts of this album really drag. CCR's does a really great job of crafting their own southern rock sound, but sometimes they struggle to do much within the confines of what they created. This album was fine overall, but I'd rather just stick to CCR's hits.

I've never heard of Burning Spear before, but I've enjoyed getting to become more acquainted with reggae music through this list, so I was excited to give this a listen. This album was pretty ho-hum in my opinion, especially compared to the other reggae albums I've listened to on this list. By 'other reggae albums,' I mean 'the three Bob Marley albums,' but whatever. My favorite thing about reggae music is the radical lyrics, and this album started off really strong lyrically. I loved that the first few songs had a tone that was more reflective, and asked the listener to not forget the tragedies and racial traumas of the past. I thought it was a really effective way to start off the album. After those first few songs though, the I felt like the album lost its way lyrically, as it just didn't feel as powerful in its call to action. Musically, I thought this album wasn't nearly as good as its peers. One of the elements that I like the most in reggae music is the use of the clavinet, but I didn't think the clavinet usage on this album was that good. There was some nice flute playing on one of the songs (I'm too lazy to and figure out which one it was), but that was really the only thing that stood out to me musically. I didn't really enjoy this album much, and it was kind of a let down, especially for my 400th album.

This is my second Morrissey album to review, after Vauxhall and I (I’ve already reviewed all three Smiths albums). As much as I don't care for Morrissey the person, I’ve really enjoyed every album of his that I’ve listened to, so I had high hopes for this album. Thankfully, this album didn’t fall short of my expectations, and I enjoyed it a little more than I enjoyed Vauxhall and I. The first three tracks were absolutely fantastic. “America Is Not the World” had me cracking up. Is this song supposed to be funny? Morrissey’s message on this song was relevant in 2004, and it’s still relevant today, but it’s kind of silly in a way, and I don’t mind that at all. I loved the way the frantic guitar contrasted with Morrissey’s vocals on “Irish Blood, English Heart.” I loved when the chorus would kick in, and yes Morrissey, fuck Oliver Cromwell. “I Have Forgiven Jesus” was probably my favorite song on the album. Growing up in an evangelical household, religion was often used as a weapon against my brother and I, and I’ve had a strange relationship with my faith as an adult, so I really related to this song. The middle of the album was probably my least favorite part, but it still had some really good guitar playing, great vocals, and really interesting lyrics. The last three tracks pulled me right back in though, and I really loved the more experimental nature on those songs. The guitar distortion and keyboard sounds were not what I was expecting, but they were both incredibly well utilized. This was a really good album, and it’s always through gritted teeth that I have to admit how much I like Morrissey’s music, whether it’s with The Smiths or his work as a solo artist. I wish I had come across this in 2004 when it came out, because I think I would really have enjoyed it then as well. I’m looking forward to the last two Morrissey solo albums that I’ll get to review.

Early on in my reviews, I got Parliament's Mothership Connection, and I loved it. A few weeks ago, I got Funkadelic's One Nation Under A Groove, and I didn't care for it much. I was really bummed that I didn't like ONUAG, because I knew that Maggot Brain had good reviews, and I was worried I wouldn't like it either. I'm delighted that those fears were dashed by the funky psychedelic sandwich that was Maggot Brain. The title track hooked my attention right away with its spoken word intro, and I loved the extended guitar solo that made up the rest of the song. But "Can You Get To That" absolutely blew my mind. In 2009, my brother got me a copy of MGMT's Oracular Spectacular and Vampire Weekend's self titled album. Those two albums completely changed the trajectory of the music that I listened to. In 2010, Sleigh Bell's Treats came out, and like a lot of people, I was fully on their hype train. When "Can You Get To That" kicked in, I froze. Did Sleigh Bells sample this for "Rill Rill," or was my brain just trying to connect to this album? As the song went on for a few more seconds, I realized that it had to have been sampled by Sleigh Bells, and I couldn't believe I was learning that fact almost 14 years after Treats' release. With music, I feel like I'm always chasing that high you feel when you hear a song for the first time and immediately fall in love with it. Hearing "Can You Get To That" was the closest I'll ever get to being able to hear "Rill Rill" again for the first time again, and it delighted me in a way that I don't think I can put into words. I literally teared up because I was so happy. Indie music in the early 2010's is so special to me because it's symbolic of the start of my "real adult life" after college, and it was great to have that connection with this album. Now that I've written a dissertation on my weepy sense of nostalgia, I'll try to be more succinct in discussing the rest of the album. I loved that this album had longer and more experimental songs to lead off and close the album. "Wars of Armageddon" was weird and dissonant at times, but I liked the sense of unease that it was able to build with its frantic pace and odd (see also: farting) sounds. The songs in the middle of this funky sandwich were fantastic too. The guitar arrangements were fantastic, the keyboards were groovy as hell, and the vocals rounded out the sound perfectly. Unlike One Nation Under A Groove, these songs made me want to dance. There was a really great bass and drum sound on "You and Your Folks, Me And My Folks" that I'm having a tough time describing; it sounds like an echo from those dollar store microphone toys, and I loved the way that it thumped along to the bright keyboard melody. This album was fantastic from start to finish. This is exactly what I wanted from Funkadelic, and then some. Not only was listening to this really enjoyable, it's a treat to listen to something that was so influential and groundbreaking.

This is my second and subsequently last Run-D.M.C. to review. I really enjoyed Raising Hell, so I had really high hopes for this album. Side 1 of this album was nothing short of fantastic. I loved the beats and backing music, the rapping was great, and the lyrics provided some really good social commentary. "Hard Times" and "Rock Box" were really great, and I can't imagine how game changing those songs must have been for popular music when this album came out. "Rock Box"'s guitar based sound is especially great, and Run-D.M.C. uses the sound perfectly to achieve something incredibly unique. Unfortunately, Side 2 wore a little thin on me. The songs were too long, and by this point in the album, Run-D.M.C.'s "you-go-I-go" rapping started to wear thin on me. By that point, it felt like the album was confined to a certain structure and formula, and the album started to suffer from those limitations. Even though Side 2 was a bit of a letdown, this was still a great album, and an incredibly influential one to boot. Run-D.M.C.'s sound on this album feels simple compared to a lot of hip hop music today, but the group does all of the fundamentals so well that their music is fun to listen to. The way that Run-D.M.C. perfectly balances the relationship between MC and DJ allows them to craft some great songs, and it makes their messaging even more effective and powerful. This is a must listen for any fan of popular music.

A few weeks ago, I was lamenting that I hadn’t gotten to review an eighties album in a while. A couple of days later, I was given Motörhead’s No Sleep Till Hammersmith, which was not what I’d had in mind at all. Last weekend, I was very excited to review Duran Duran’s Rio. When I saw that on the docket today was Songs From The Big Chair, I was ecstatic. I’ve loved Tears for Fears since I was a kid, and as an adult, I’ve listened to this album in its entirety, and I think it’s a masterpiece. Most of my love for this album is due to “Everybody Wants to Rule the World.” When I think of a song that captures the mood of the decade, this is the first song I think of. I love everything about its sound: the tinkling synths, the dreamy keyboards, and the perfect guitar playing that accompanies the airy atmosphere. Curt Smith’s vocals do an excellent job of keeping the overall sound light, while still singing with the passion to convey the song’s warning of the dangers of power-hungry political administrations. I’ve heard this song countless times throughout my life, and I never get tired of it. Every time I hear those opening notes, I can just visualize going to the mall, or turning on the cable box in our wood-paneled living room. For my money, this is one of the best songs of the eighties. As much as I love “Everybody Wants to Rule the World,” I’ve spent a lot of time being let down by this album’s opening track, “Shout.” Every time I hear “Shout,” I’m let down that I’m not hearing “Everybody Wants to Rule the World” instead, and that’s incredibly unfair to this song. I love its low, droning bass sound combined with the lighter tinkling percussion sounds, and the synth sound that starts during the pre-chorus is fantastic too. “Shout” does a fantastic job of subtlety building in intensity until its great outro closes out the song. “Head Over Heels” is incredible too, with its distinct piano intro, and screeching guitar notes. I love the falsetto that Curt Smith uses at the end of each line; it serves as such a great contrast to the rest of his singing. The rest of the songs on this album are fantastic too, especially “The Working Hour” and “Mothers Talk.” This album is fantastic from start to finish, and it’s a masterpiece of eighties pop. So many bands tried to duplicate the sound that Tears for Fears created on this album, but no one can hold a candle to the sounds here. As much as I might joke that this album’s weakness is that it’s not 42 minutes of “Everybody Wants to Rule the World,” that’s actually where its strengths lie, because each song showcases impressively distinct pop sounds. Songs from the Big Chair is fantastic, and completely worthy of being on this list.

I’ve never heard of this album or artist before, but this was a really pleasant surprise. I love late seventies and early eighties new wave music, so this album was right up my alley. I really enjoyed the keyboard playing and how it melded with the guitars to create a really unique sound. This album’s sound utilized some of my favorite elements of post punk and new wave to create something really unique. The lyrics weren’t my favorite, but I the vocals were really good, and fit the lyrical style really well. This album felt like a mash up of Gang of Four’s Entertainment and Magazine’s Real Life, and I thought it worked really well. I think any fan of new wave or post punk from the same era will probably enjoy this album as well.

I'm ashamed to say that the B. B. King work that I'm most familiar with is that commercial that he did for the diabetes test strips. You know, the one where he talks about how pricking his finger all the time impacts his ability to play the guitar. And then he says something about how a guitar can't play the blues unless it's been in a pawn shop. Good stuff. By the way, how do I remember stuff as inconsequential as commercials? Anyway, on to the album. I feel like it's tough to accurately judge a live album when you're unfamiliar with the artist, but I thought this album was pretty good. King is a fantastic guitarist, and he and his band were playing their hearts out on these songs. I read in my brief research that King only wrote four of these tracks, but he played and sang them all as if he had lived them. I loved the way he worked the crowd, and the crowd reactions felt like their own instrument in a way. The album sounded great too, just in terms of pure recording quality, which was nice for a live album from this era. I think my biggest complaint is that some of the songs were a tad boring, and not being familiar with the artist's music kind of took me out of the live aspect a bit. This was still a good album though, and I'd go back and revisit B. B. King's music some day.

I listened to a lot of classic rock in my teens and early twenties, but I'd never listened to Traffic until starting this list. I'd always meant to check them out, but never made it around to them. I reviewed John Barleycorn Must Die about a year ago, and I didn't care for it much, so I didn't have high hopes for this album. This album was a little bit better than John Barleycorn Must Die, but not by much. As far as late sixties rock goes, this was a pretty standard affair, with some folk and jazz influences tossed in. The keyboard playing was pretty good, and punched up some of the songs, but the rest of the arrangements weren't anything noteworthy. Some of the songs were pretty good, but the rest were pretty bland. I did enjoy "Vagabond Virgin" though; it had some echoey vocal effects that I really liked. "Feelin' Alright?" was pretty good too, but I think the Joe Cocker version runs circles around this one. I like Steve Winwood's pop songs from the eighties, but I feel like his singing talents aren't really showcased well on either of the Traffic albums that I've listened to. Overall, this album was fine. It wasn't bad, but I didn't think it was particularly good or noteworthy either. I don't think I'll be seeking out any more Traffic albums.

The only Iggy Pop album I've ever listened to is The Stooges' Raw Power, but aside from cranking up "Search and Destroy" every now and again, I haven't listened to that album in probably 15 years or so. Given the good reviews for this album, I had pretty high hopes heading into it. I didn't think I was familiar with any of the songs on this album, but right away, I recognized the title track... from a Carnival Cruise commercial... that's not very punk rock! But hey, a man's gotta eat, and "Lust for Life" is a complete banger, so I won't deduct any style points for that. That song really has it all: tambourine playing, bluesy guitar playing, a great bass line, and David Bowie on piano. "Sixteen," "Some Weird Sin," and the passenger were great too; they had a lot of the same elements as the title track, but each had a different vocal style that made them really unique. "Tonight" and "Success" were where I could really feel David Bowie's influence in the writing of the music. They both had that touch of 'David Bowie' glam to them, without feeling derivative. "Turn Blue" was the low point of the album for me; the first time I listened to it, I really felt every second of its run time. But the album closed out really strong with "Neighborhood Threat" and "Fall In Love With Me." There was something really familiar about "Fall In Love With Me," but I can't put my finger on it. Maybe it reminds me of Arctic Monkeys or The Strokes? Oh well, it doesn't matter, because I loved the vocals and guitar playing on it. This was a fantastic album, and I really loved its garage rock sound, coupled with David Bowie's music writing skills. I wouldn't say that I loved this album, but I think it's objectively good, which is how I felt about The Velvet Underground and Nico. Iggy Pop is a tremendous influence on music, and it's wild to me that this album came out in the seventies, because it sounds like it could have come out in the early aughts. This album has definitely held up, and deserves a spot on this list.

I'm not familiar with this artist or album, but then again, I'm not super familiar with 90's hip hop, so take that with a grain of salt. I thought this album was pretty good overall. The beats were really great (I especially enjoyed the piano parts, as they felt very east coast), the lyrics were good, and the rapping was pretty good too. Some of my favorite parts of the album were: -"D. Original": I loved the piano used in the beat. The discordant sound really gave the song that 'pre-Giuliani New York' feel, before New York became a 'safe' tourist attraction. The lyrics were great too. I loved the reference to Mortal Kombat and the rhyming of "sewer" with "manure." -"Mental Stamina": well this song references Blanka from Street Fighter II. Does this guy have any loyalties with his 2-D fighting games? -"You Can't Stop the Prophet": I enjoyed the way this song wove its dark narrative, especially with the 'villain' having his own lines of dialogue. -"Ain't The Devil Happy": thematically, I thought this might have been the best song on the album. The lyrics felt like traditional gangsta rap with some sprinkles of self reflection. I don't think I'd listen to this album again, but it was interesting to listen to something from 90's hip hop that's a little less well-known.

I've only heard of The Slits because I reviewed Neneh Cherry's album several months ago. I was looking forward to this album, but lukewarm reviews dashed my hopes a bit. I thought this album was pretty good, and a little bit better than user reviews suggest it is. The lyrics were the star of the show here, and were really the only thing about this album that felt punk. "Spend, Spend, Spend" and "FM" were probably the best songs when it came to lyrics, and I thought that FM standing for 'frequent mutilation' was pretty clever. Musically though, this album was pretty middle of the road. There were some really good moments (I liked the drumming, and the ska and reggae influences were unique), but it seemed like none of these parts ever came together to create a whole that attracted my interest. I really loved the scratchy guitars on "Newtown" and the piano on "Love Und Romance." Ari Up's German accent gave the album a nice touch as well, and I'm glad she didn't hide her uniqueness in her singing. Even though this album was pretty middle of the road for me, I can understand why it's on this list. The ideas here are big, even though the end result couldn't cash in, and you can hear this album's influence in so many other artists' work. This was an interesting journey, but I don't think I'd go back down that road.

I've listened to a few Sigur Rós albums (I think I've listened to ( ) and Taak all the way through), and I even managed to see them live several years ago, but I've never listened to this album before. I'm pretty familiar with the band, but I wouldn't classify myself as a big Rós-Head (that's what fans of the band call themselves, right?). It's been a long time since I've listened to any Sigur Rós music, but from what I can remember, this album feels and sounds very different from ( ) and Taak. I often think of Sigur Rós albums as best being looked at as one large work, but this album feels like each track can stand on its own, in addition to being part of a larger and more complete work. Also, I tend to think of Sigur Rós's music as being pretty light and airy in sound and mood, but this album is able to shift from those lighter and more airy moods to darker and more serious moods, and then back again, all while every song still feels connected to the larger work. To me, this is best illustrated by how tracks 5-7 flow. Lastly, I feel like this album contains a wider variety of sounds and moods compared to other Sigur Rós albums, and I think it works to this album's advantage. This album is beautiful from start to finish, and contains some fantastic musical arrangements. The songs are long, but they're never boring, and just when I would think that one of them would start to wear on me, the arrangement evolves and adds something new. I thought this album was fantastic, and it makes me want to go back and listen to Taak and ( ) again.

I think I've heard of Lucinda Williams before, but I didn't think I was familiar with any of her music. After a little bit of reading, it turns out I know her song "Passionate Kisses," but I'm not sure if I grew up hearing her version or Mary Chapin Carpenter's. Regardless, I'm pretty picky about my country music, so this was going to be a coin flip heading into this album, but at least it's not Post-9/11 Country. I thought this album was a dud. The vocals and music weren't that great, and the lyrics felt completely uninspired. This album felt like someone looked up a bunch of cities and stereotypical southern things and just tried to write songs by repeating things like "Jackson" and "screen door," and hoping that it would land with people. And apparently it landed with quite a few people. Enough people to win a Grammy. The professional reviews that I read over said that the songs on here were great storytelling, and that they build to crushingly sad conclusions. Maybe they do, but I was so disengaged that I couldn't find one interesting thing to latch on to keep my interest on this album. As completely forgettable as this album was, at least it wasn't Pere Ubu's Dub Housing bad.

This is an album I own, and that I'm very familiar with. I grew up hearing "Sledgehammer," "Big Time," and "In Your Eyes" pretty frequently on the radio, but I didn't listen to this album all the way through until maybe ten years ago, give or take. This is easily one of my favorite albums from the eighties, and I was really excited to see it pop up for me to review today. The album has a massive sound, and every song is full of rich tones. Despite drawing on a multitude of influences, this album somehow manages to be Peter Gabriel's most accessible album, while also being one of his most ambitious and experimental. The personnel listing on this album is gargantuan as well; from instrumentals by Nile Rodgers and Stewart Copeland to vocals by Kate Bush and Youssou N'Dour, these songs feature some of the best musicians in rock music. Also present are Peter Gabriel's frequent session musicians David Rhodes and Tony Levin, providing some of the best guitar playing in eighties pop music. The album establishes its big sound with the moody and dreamlike lead off track "Red Rain," before launching into the pop-rock "Sledgehammer" with its beautiful synthesizer and dance worthy horn playing. "Don't Give Up" is a beautiful, dreamy duet with the aforementioned Kate Bush, and "Big Time" is another dancy pop-rock jam, punctuated by a groovy bass line. However, the most recognizable number off of this album would have to be "In Your Eyes" (despite only reaching number 8 on the Billboard Hot 100, while "Sledgehammer" managed to top the chart). The slow, melodic ballad is one of the most beautiful song of the decade, made even more memorable and ever-present by its appearance in Cameron Crowe's Say Anything. By the way, I watched Say Anything for the first time a couple of months ago, and I was blown away that the "In Your Eyes" scene was not the final scene in the movie. As many times as I've seen that clip of Lloyd Dobler holding up the boombox, I always believed that the next thing you saw was Diane Court running outside to jump into Lloyd's arms. I don't know how I crafted that false image in my mind, but I was blown away to learn I was wrong. Also, Diane's dad goes to prison for fleecing old people? Didn't see that coming either. Enough of my rambling. This album is fantastic from start to finish, and it's incredibly fun to revisit. An absolute pop-art masterpiece, worthy of its notoriety.

This is my third and final Yes album to review. I've listened to this album from start to finish before, but this is my first time to really give it more than a casual listen. Outside of "Owner of a Lonely Heart" (woof), I'd wager that "Roundabout" is the Yes song that most people are familiar with. The keyboards often get the recognition on this song, and rightfully so; they're played with blistering speed and precision, but they're also arranged beautifully. They're easily most fun part of the song, but Jon Anderson's vocals and Chris Squire's bass guitar deserve some love too. Anderson's lead vocals match the pace of the keyboards perfectly, and the group's harmonies add some rich depth. Squire's bass solo matches the tempo of the rest of the song, while providing a nice contrasting tone. "Roundabout" is not only an S-tier Yes song, it's also an S-tier classic rock song as well. It'd be easy to call it a day on Fragile after "Roundabout," but the rest of the album is really solid as well. Rick Wakeman's keyboards are still present, but not as dominant, as Steve Howe's guitars get some moments to shine, especially on "Long Distance Runaround." The guitar solo that leads into the aforementioned song harkens back to the spirit of the keyboard playing on "Roundabout" with bright tones and a fast tempo. Bill Bruford's drumming never really gets more than some glimpses in the limelight, but his skill is more than enough to provide some great rhythms on this album. While they might seem to be an odd choice stylistically, the shorter interludes are an interesting touch to break up the longer songs on this album. "We Have Heaven" is brilliant, and I honestly wouldn't have been opposed to this being a longer piece of the album; it takes me back to "I've Seen All Good People" in all the best ways. The thing that holds this album back is the closing track "Heart of the Sunrise." This song takes you to a lot of different places in Yes's sound, but I felt every second of its ten minute plus runtime. I'm not even sure if this song would have been better served by being broken into smaller songs, because a good portion of it feels unnecessary, even though it is pleasant and somewhat interesting. Still, this album is bold and adventurous, a feeling well represented by the image on its cover. I'm not the biggest fan of prog rock, but if I'm going to listen to something prog rock that's not Pink Floyd, Fragile would be something that I'd be happy to throw on.

I don't think I've listened to any Rufus Wainwright music before, but I want to say I've heard him being talked about lately, but I can't remember in what capacity that was. Anywho. I thought this album was okay. Rufus is an incredibly talented vocalist, and this album had some really pretty arrangements on it, but it just felt like the album relied heavily on being 'high art' without much substance to back it up. "The One You Love" and "Little Sister" were my favorite tracks on the album. I loved the guitar and vocals on "The One You Love," and the baroque feel of "Little Sister" really set it apart from the rest of the album. The other songs on the album were fine for the most part; only "Peach Trees" and the closing "Old Whore's Diet" were really off-putting to me. Rufus Wainwright is clearly talented, but this album was pretty boring, and it's not something I'd listen to again.

This is my second Air album to review. I've never listened to this album before, nor I have seen The Virgin Suicides, but I loved Moon Safari (I have no idea why I gave it four stars instead of five), so I'm excited to kick back and listen to this album. I thought this album was good, but I feel like that without being familiar with the movie, it was just a nice album to listen to. Air's arrangements are really nice, and I enjoyed that this score was meant to convey a wide variety of emotions, but I wish I had more context in listening to it. I think it's an odd choice to put a film score on this list, considering that having seen the movie or not seems to influence a lot of the reviews. I love the score to Requiem for a Dream, but without having seen the movie, it just wouldn't resonate with me. I've only seen the movie once, but that's all it takes for me to forever have a visceral reaction any time I hear "Summer Overture." I'm going to watch The Virgin Suicides this weekend, and I'm sure it will change my feelings towards this album.

I've heard of Belle and Sebastian, but I don't think I've ever listened to any of their music before. I’m glad I did a little bit of quick research before diving into this album; I had the misconception that Belle and Sebastian were eponymously named. For some reason, I thought this band was a male-female duo, in the vein of She & Him. Look at me, learning things on a Friday. This album was absolutely fantastic. I think I expected something heavily folky, but instead, I got some fantastic indie rock. I love how most of the songs started off with less instrumentation, and then slowly added additional instruments to evolve the sound. The arrangements on each song were incredibly beautiful and really fun to listen to. I was pleasantly by the richness of sound on each song, and how nothing ever felt repetitive or got stale, and I think that’s due in part to some fantastic production work. Also, the vocals were great, and the lyrics had a feeling of air sentimentality that never felt overly sappy or fake. I loved every bit of this album, and I’d listen to it again in a heartbeat.

I wasn’t familiar with this band or album, but I thought this album was fantastic. “Words” hooked me right from the start, and there until the last track, this album was full of beautiful melodies. There were so many great sounds to take in on every song: great guitar playing, light and airy percussion, beautiful synthesizers, and hypnotic string arrangements. This album reminded me of The Bends, with a dashes of Beach House, My Bloody Valentine, and The Charlatans sprinkled throughout. One of my favorite things about Echo & The Bunnymen’s Ocean Rain is that the album feels both massive and intimate at the same time, and this album’s vocals really achieved that affect too, through some clever echo effects. Even though this album reminded me of work by other musicians, I thought the overall sound was incredibly unique, and it never felt like it was just trying to copy and paste someone else’s sound. This was beautiful from start to finish, and I’m excited to review the other Doves album on this list.

I don't think I've ever heard of Slade before, but this was a pretty fun album. These guys have some decent chops when it comes to hard rock. The guitars and drumming were good, and I liked Noddy Holder's vocals. As much as the purposeful misspelling of the song titles and album title were a unique touch, they weren't really enough to make this album a memorable listen. In the crowded field of 70's hard rock, Slade doesn't really stand out to me. This album was kind of like a roller coaster: sure, it was fun while it was happening, but when you're not on the ride, it's hard to feel that sensation again. I guess it's more succinct to say that this album just isn't terribly memorable. Other seventies hard rock acts Kiss and AC/DC have some absolute ear worms, and that's what's missing from this album. I'm still glad I got to branch out and listen to this album, but it was pretty middle of the road.

This is my 420th album to review, and while not as on the nose as Peter Tosh's Legalize it would have been, The Offspring's Smash is still a good fit. I'm pretty familiar with a lot of The Offspring's work from the nineties (and some of their hits from the aughts); I had a burned copy of Americana that I listened to a lot in high school, and The Offspring was played quite a bit on the local alternative rock station. I also had their song "Want You Bad" as my girlfriend's ringtone at some point in college or my mid-twenties. I still love that song, but Christ, that was cringe-worthy. Punk and pop-punk music were some of my favorite alternative rock to listen to in high school. Blink 182, Green Day, and Sum 41 were probably my favorites, but The Offspring would have been right up there too. I didn't have any CD's by any of these bands (other than the burned copy of Americana), because my parents were very strict about any music that I bought, but that just made hearing songs by these bands on the radio that more special. In the late aughts, I got really into indie rock, and at that point, I had the belief that alternative rock was 'beneath me' (hey, we all have a period in our lives where we act kinda douchey), but I'm excited to listen to these guys for the first time in a while. I was not expecting to enjoy this album as much as I did. I thought this was fantastic from start to finish. The drumming and guitar playing were absolutely fantastic; I loved the fast tempo of most of the songs, but the slower songs like "Gotta Get Away" and "Self Esteem" hit just as hard. I love that some of the guitar playing has a Spanish/Mexican sound to it. I don't know how they came up with the idea to use that sound, but it's shocking to me how well it works on a nineties punk album. Dexter Holland's vocals are great, and there's just something about his voice that I love; I think he does a great job of conveying anger and disillusionment without having to yell or resort to gimmicks. Dexter's voice is really unique, and it's one of the things that makes The Offspring's music stand out from their contemporaries. Lyrically, this album is fantastic as well. These songs tackle so many topics: homelessness, militarism, mental health, relationships, etc. The political commentary is absolutely fantastic. I think a lot of people my age look at America in the nineties as having been a pretty docile time, but there was still so much going on: the public acknowledgment of the AIDS crisis, civil wars and uprisings taking place across the globe, gay rights moving to the forefront of the national conversation, and rises in gun violence. The nineties were a time of prosperity in our country, and culture tended to be more monolithic before the rise of the internet, so it's easy to ignore or forget about people who were suffering during that time. The Offspring manages to address all of the issues that they sing about in a way that feels really genuine. I really loved listening to this today, and this album has given me a new appreciation for The Offspring. This album is a work of genius, and despite its heavy tone, it's really fun to listen to, and it holds up really well thirty years (fuck me) later. The punk sound that The Offspring created on this album is really unique and perfectly captures the spirit of the decade. I wish I had owned a copy of this as a teeanger, but I'm certainly tempted to pick one up now.

I've heard of Ladysmith Black Mambazo (which will abbreviated as LBM for the remainder of this review), but only because Paul Simon's Graceland is one of my favorite albums of all time. It was interesting to get to hear LBM on their own, and this album featured some really great singing, but it was difficult to give direct attention to it since it was only acapella singing with a lot of that in a foreign language. This album was nice to listen to, and I'm happy for the experience to branch out, but this didn't exactly light the world on fire for me.

This is my third Radiohead album to review, after The Bends (5 stars) and Kid A (4 stars). Before starting this project, I'd only listened to A Moon Shaped Pool, which I thought was fine. I was pleasantly surprised by my first two Radiohead albums that I reviewed, and given the word of mouth on this one, I had pretty high expectations going in. In Rainbows is definitely more in line with Kid A, both in terms of overall sound, and how I feel about the album. I enjoyed listening to this album, mostly because it just sounded beautiful. The musical arrangements on each song were all deep and dark, and I felt like they grew better as the album went on. Each song was unique, but they all still managed to fit in with the overall mood and feeling of the album as a whole. As much as I loved the overall sound of the album, it was also full of little details that I’d find myself reacting with verbal ‘ooh’s and ‘aah’s. Also, I didn’t have a lot of familiarity with Radiohead before I started this project, but I’ve really grown to like Thom Yorke’s singing, and this album was no exception to that. If I’m in the mood for Radiohead, I’m more likely to gravitate towards The Bends, because I like its more traditional guitar rock sound, but I like that there were some flashes of that sound present on this album as well. Overall, I liked this album, and I can understand why so many people say that this is their favorite Radiohead album.

I'm familiar with a couple of Suzanne Vega songs: "Luka" and "Tom's Diner." Fun fact: some classmates of mine did a kickass lip sync of "Tom's Diner" at speech competitions in middle school. I'm pretty sure they won some trophies at some of these competitions with this performance, and rightfully so, because they crushed it. This was in the late 90's too, so I have no idea where they came up with the idea to do this particular song. By the way, did anyone else go to competitions like this in middle school? We'd compete in lip sync, prose, poetry, reader's theater, improv... maybe this was just a regional thing. I digress. I wasn't quite sure what to expect from this album since I only know a couple of Suzanne Vega songs, but I was really impressed by this album. The lyrics were really great, and Vega did a great job alternating between singing and sing-speaking on these songs. These lyrics cover a wide range of topics, from loss of childhood innocence to suicide, and all of these topics are covered with a poetic beauty. I really liked that there was a theme of winter and coldness throughout the lyrics too, and a lot of the musical elements matched that theme. Musically, this album was beautiful as well. I loved the guitar parts and the synthesizers and how they sounded together; it dates the music in a sense, but in a way that really sounds great. This album sounded like a folk singer from the sixties hopped in a time machine and went to 1984, and I think it's a really unique sound that I've never heard before. I loved the cold sound of the instrumentals as well. The acoustic guitar had an almost metallic quality to it at times, and it coupled well with the high-range synthesizer parts. The bass blends perfectly into the background to allow those higher-range instrumentals to be front and center. A lot of those 'colder' sounds remind me of what I love about Cocteau Twins albums. I thought this album was really good, and I had a good time listening to it. I would have never expected this from Suzanne Vega, but this was incredibly unique, and I hope future reviewers give it a fair shake.

I may have heard of The Vines in passing, but I'm not familiar with any of their music. I listened to a lot of alternative rock radio around the time this album came out, so as I listened to this album, I found myself comparing it to that sort of music. The Vines are clearly pretty talented instrumentalists; the guitars playing and drumming is pretty solid, and the songs that feature piano or organ playing sound good too. I thought Craig Nicholls's vocals were unique, and his singing was pretty good throughout the album. There are a few pretty interesting songs scattered throughout this album ("Homesick," "Into The Jungle," "Mary Jane," and "Ain't No Room" were probably my favorites), but the majority of the songs here felt pretty generic to me, and weren't far removed from the sound that was all over FM alternative stations in the early aughts. This album wasn't bad, but I don't think I'd be able to pick out many songs from it if I ever heard them again. I think The Vines are a talented group, but this album just didn't land with me.

The only Madness song that I’m familiar with is “Our House,” which I was happy to see was on this album. However, other than “Our House,” I didn’t care of this album very much. I know the band said that they went into this album with the plan of making in a concept album about the nostalgia of childhood, and that they abandoned that plan, but honestly, it doesn’t sound like they strayed from it too much. Lyrically, the album felt really cohesive, even with the few songs that didn’t really delve into childhood nostalgia, like “Blue Skinned Beast” and “Mr. Speaker.” Musically though, this album wasn’t much to my liking. I enjoyed the title track and “Tomorrow’s Just Another Day,” but after that, the album turned away from the things that I enjoyed. I didn’t really care for the way that the bass instruments sounded with the piano and string parts. I know that’s really nitpicky, but for an album that feels nostalgic in lyrical tone, I felt like the musical sound had an anxious sound to it that I didn’t care for. I also didn’t like how a lot of songs would start off with a more traditional pop sound, and then shift to something with a jazzier sound. However, “Our House” is fantastic. I love how upbeat it is, and it’s musically great. The lighter strings and brass sounds really create a feel of nostalgia that matches the lyrics really well. I typically love early eighties new wave music, so I was pretty let down by this album.

I’ve never heard of this album or artist before, but my wife, who is apparently cool than me, had heard of them. As I was listening to this last night, I told her my album of the day was “some Norwegian band called… Roik-sopp?” and she knew them from their collaborations with Robyn (it’s a crime that there are not Robyn albums on this list by the way). My cool wife’s knowledge aside, I tend to enjoy electronica music and Scandinavian music, so I had high hopes going into this album. Of the electronica albums I’ve reviewed so far, this has been one of my favorites. I really loved the variety of sounds that were present, and each song was interesting and entertaining. I definitely preferred the faster and more upbeat songs to the slower ones, but even songs like “Sparks” were still nice to listen to, due to the vocals. The arrangements were really beautiful, and I enjoyed the overall sound of the album. “So Easy” and “A Higher Place” were my favorite songs off the album. “So Easy” was a great leadoff track, and got me in a good head-bobbing mood to start off the album. “So Easy” featured a lot of interesting sound elements, and there was some sort of crackling effect that made me feel like I was eating Pop Rocks, which I absolutely loved. “So Easy” reminded me of some of the songs on Jamie XX’s solo album, which I really love. Also, it turned out that I was familiar with “Remind Me” from its use in a Geico caveman commercial (kudos to Geico for making a commercial that I can still remember almost two decades later), which was a nice little surprise. Overall, this was a really good album, and I enjoyed listening to it. The wide variety of sounds on this album create a wide range of moods and emotions, and the end result is really enjoyable.

I haven't spent a lot of time listening to Christina Aguilera's music, but I know a handful of her songs, and I have a vague recollection of her possibly having a feud or two with some other pop artists in the late nineties and early aughts. When this album came out, I was in high school, and I absolutely hated pop music like this. But more than two decades later, I appreciate Christina's vocal talent, so I'm excited to give this a shot. As expected, the singing on the album is phenomenal. Even though this isn't the sort of album I'd seek out, it was nice to listen to, just due to Christina's vocal ability alone. Most of the songs weren't to my liking musically, with a few exceptions. "Walk Away," "Fighter," "Underappreciated," "Beautiful," and "Soar" were my favorite tracks. I think the thing that made these songs stand out is that they either have arrangements that are more orchestral and sting-based. "Underappreciated" wasn't heavy on the strings, but I really liked its funk sound. Also, the segue from "Walk Away" to "Fighter" was an absolute masterpiece. I know that's such a small detail, but man, I love a good segue. I wasn't super attentive to the lyrics, but "Can't Hold Us Down" was really clever, and "I'm OK" was absolutely heartbreaking. As someone who survived childhood abuses, "I'm OK" really resonated with me, and you could really hear the hurt in her voice, but you could also hear the healing as well. It was probably the best written song on the album, and it gave me a new appreciation for Christina as a person. Overall, this was a good album. This is not my favorite period of pop music, but this album soundly beats its contemporaries that I've listened to so far. Britney might be a bit more fun, but Christina has a lot more musical talent. I hope her dad has explosive diarrhea every night at 2am.

I'm not familiar with this album or artist, but I tend to enjoy punk music from this period, so I had high hopes going into this. Unfortunately though, I didn't care much for this album. "One Chord Wonders" really hooked me in, with its pulsing drum beat and fast-paced guitars, but as the album went on, it felt repetitive and predictable. Musically, there wasn't a lot to latch on to, and the lyrics felt like pretty standard fare for punk music (teenage disillusionment, criticisms of religion, commentary on war and destruction, etc.) without adding any new ideas. This album wasn't bad per se, but it got to be kind of a chore to listen to the longer it went on. There might have been some bigger ideas that went into this album, but the execution just fell flat to me.

I'm not familiar with this band or album, but a psychedelic folk album with a user score of 2.14 and a song that's over 13 minutes? This is going to be an adventure! This album turned out to be about what I expected based on what I knew heading into it. I can't think of anything painful I'd rather have inflicted on my anus than listening to this album, but I'd definitely say I didn't enjoy this. I can appreciate the ambition that went into dreaming up this album, and the work that went into crafting these uniquely strange folk songs. I think the songwriting here is a little above average when it comes to the lyrics; sure, some of it is pretty goofy, but I imagine that Robin Williamson intended it to be goofy in parts. Musically though, I thought this album was a mess. With lyrics like this, I would have imagined that the sound would have been a bit more dream-like and softer, but this album really didn't have any good melodies that matched the feeling of the lyrics. I think the sitar was used way too much, and that this album would have benefited from some softer string sounds, like a harp or a lute, or just an acoustic guitar. I really hated the usage of the jaw harp too; it felt completely out of place to have its twang peppered throughout this album. The only parts of this album that I enjoyed musically were the first and last movements of "A Very Cellular Song." While this album wasn't to my liking, I'm still glad that I can say I got to experience it and form my own opinion. Also, I'd be remiss if I didn't mention a few things that this album made me think of as I was listening to it: -You could have told me that this album was made as part of a Christopher Guest movie, and I would have believed you without even looking it up. -This album sounds like something Bob Belcher of Bob's Burgers would have in his collection, and there'd be an episode where he somehow finds himself trying to mend relationships in the band so they can put on a reunion show. -I half expected this album to feature the Tom Bombadil song from Portlandia.

I'm not familiar with this artist, but the album cover does look pretty familiar for some reason. I thought this album was fine. I wasn't a fan of the songs that relied more heavily on reggae influences, like "No Trophy" or "Binnel Bay," but the other songs on the album were okay. I like the percussion and drumming throughout the album, especially on the first two songs. On "Punchbag," the percussion went really well with the keyboard/organ and horn parts, and combined with the bass, it gave the song a really nice groove. On "Angryman," I liked how the maracas sounded with the main guitar part, and the organ parts were good too. "Angryman" probably had my favorite vocals on the album as well. Conversely, the vocals prevented me from enjoying "A Minha Menina" as much. I thought that "Lying In The Snow" was the best song on the album. The arrangements were beautiful, and it felt like there was a lot of emotion in the overall sound of the song. I was especially fond of the piano playing on that song as well. "Zia" was nice as well, and a really well-placed follow up to "Lying In the Snow." This album was nice to listen to, but it's not the sort of thing that I gravitate towards.

I'm familiar with a few Fatboy Slim songs, but I've never listened to one of his full albums before. I tend to enjoy electronic music, and this album was no exception. I really enjoyed how energetic this album was from start to finish; it was really easy to stay engaged with this album, and I feel like that made it really interesting to listen to. This album felt like it had a certain depth to its sound that I really appreciated as well. I also liked how certain elements in each song would drop out at certain points, but come back in to the mix to blend in with new elements. I don't really understand a lot of the mechanics of music like this, but I still enjoyed listening to it, and I'm looking forward to reviewing Fatboy Slim's other record.

I'm familiar with some of QOTSA's music (Songs for the Deaf and Like Clockwork), but I've never listened to this album of theirs. "Regular John" hooked me in right away. The guitar playing was great, and I loved its fuzzy sound. Josh Homme's vocals sounded a little softer than what I'm used to on later QOTSA albums, but I still enjoyed his singing. After that lead-off track though, the album didn't really go anywhere interesting. Sure, this was a fine hard rock/stoner rock album, but there are plenty of other, better albums from this genre out there, and several of them by the same artist. This album really lacks the hooks and punch that later QOTSA albums have. There just aren't any memorable hits on this album, and it really suffers for it. An album doesn't necessarily have to have hits in order to be good, but QOTSA are so talented as musicians and songwriters, but none of that is showcased here. Even without the context of their other works, I don't think this album belongs on the list. This isn't a bad album, but there's nothing on here that would ever draw me back to it.

This is my third Leonard Cohen album to review, after You Want It Darker (4 stars) and his debut album (3 stars). I figured I knew what to expect heading into this album, but those expectations were immediately dashed within the first two seconds of this album. I was not expecting Leonard Cohen to go full send on the eighties, but he absolutely smashed it with “First We Take Manhattan.” I loved the synth heavy sound of this song, and the backing vocals were outstanding. Cohen’s lyrics and vocals really shone on this track too. “Ain’t No Cure For Love” was really good too, and the sound reminded me a lot of some songs on Alex Cameron’s album Forced Witness. I loved the jazzy sound, and the background vocals were perfect once more. “Everybody Knows” was another brooding tune, and I thought the cynicism in the lyrics was really well done. I really enjoyed the first three songs, but the rest of the album was just fine. The title track had some interesting horn sounds, and I liked that the sounds of the late eighties were still present via some drum machines and more synthesizers. The backing vocals didn’t shine as much on the latter half of the album to me, but Cohen’s vocals and songwriting were still good. This album was pretty good, and it was really interesting to hear Cohen adopt this sound that’s very different than what I’ve heard from him previously. Outside of the first three tracks, I can’t see myself firing up this album again, but it was worth my time to listen to it today.

I think I may have heard of XTC in passing before (I love eighties music, and I think I've heard people talk about Skylarking), but I'm completely unfamiliar with their music. I wasn't sure what to expect from this album, but I thought this album okay. Parts of it were mildly interesting, and had some really nice string and horn arrangements, but other parts of it were pretty dull and felt like they dragged on. "River of Orchids" was didn't really pull me in immediately; I initially found the repetition of the arrangements to be kind of annoying, but as the song went on, I enjoyed it more. The lyrics about wanting nature to reclaim what we've built (at least that's how I interpreted it), were really well served by the bright tones of the music. I didn't care for the verse on "Easter Theatre," but the chorus had some really bright arrangements that I liked, and I liked how the bridge slowed down and provided a softer sound than the bright chorus and anxious-sounding strings of the verse. "Greenman" was the point on the album where I started to come around and appreciate the album's overall sound more. I loved the string arrangements and percussion; they really created this feel that sounded like renaissance meets eighties sophisti-pop. Even though I grew to like the sound of this album, the love songs were my least favorite part. "I'd Like That" had some nice lyrics and a great sound, but "Your Dictionary" felt really out of place, with its cheesy angst, and "I Can't Own Her" felt like enlightened-pop schlock. This album was fine, and I definitely enjoyed certain parts of it more than others, but I'm scratching my head as to why it was included on this list. It's not something I think I'd return to. Hopefully Skylarking is better.

A few weeks ago, I reviewed Doves' The Last Broadcast, which I really enjoyed, so I had high hopes for Lost Souls. As much as I loved The Last Broadcast, I wasn't as wild about Lost Souls. There were a few songs on this album that I liked: Rise, Catch The Sun, and The Cedar Room were my favorites, but the songs that weren't my favorites tended to kind of blend into the background of my consciousness. I still liked the overall atmosphere of this album; I enjoyed the shoegaze sound, but most of this album was just something pleasant to listen to, and it really didn't pull me in the way The Last Broadcast did. I hate comparing this album to their other work, but this album just doesn't have the feel and punch that The Last Broadcast does. In my opinion, this album just lacked a uniqueness to the overall sound. One of the things that The Last Broadcast did so well was creating an atmosphere in a sense, and that's missing from this album. I don't think this is a bad album, but given the choice between this and The Last Broadcast, I'll always choose the latter.

Oh, Korn. I've never spent much time listening to these guys, but I know "Freak On A Leash." The cover to this album is much more memorable to me. and seeing this artwork takes me back to middle school and high school, where the 'scary' kids wore shirts emblazoned with this picture. I listened to a fair amount of alternative rock when this came out, and I used to hear this song on the radio that had the lyrics "so follow the leader down, and swallow your pride and drown." I assumed this must be the title track from this album. Nope, that was "Seein Red" by Unwritten Law, and there is no title track on this album. Anyway, on to the album at hand. I'll admit right off the bat that I was never a huge nu metal fan at the peak of its popularity. I owned a Linkin Park's Reanimation, and I still enjoy Limp Bizkit's "Rearranged" and "Take A Look Around" (look, they're not particularly good songs, but they're fun jams. The lyrics to "Take A Look Around" are so bad, but I love them in the worst way. "I don't even know what I should say, 'Cause I'm an idiot, a loser, a microphone abuser." That just rolls off the tongue so well). I don't mind dark music, but this stuff is dark to the point of where it's dirty, like the darkness has made it mildew. The distortion, with it's screeches and wavering, is just unpleasant to listen to in my opinion. And maybe that's the point, but if so, it's lost on me. The drumming on this album is really good though, and I love how it can go from slower and softer to chaotic and booming in about half a second. The same thing can be said about Jonathan Davis's voice. I'll never understand how he can go from singing to screaming to growling and then back to singing so quickly. "Freak On A Leash" is easily the standout song from this album, with its iconic singing, and the well-known... scream scatting? by Davis towards the end of the song. Most of the songs sounded pretty similar to me, but the album was livened up a bit by guest appearances by Ice Cube, Fred Durst, and Tre Hardson. Durst's appearance on the crass "All in the Family" was particularly fun. I'm a fan of the occasional intentionally filthy song, and this didn't disappoint. Aside from the homophobic lyrics (not that it makes it right, but lyrics like that weren't very rare in the nineties, sadly), the song is pretty hilarious as Durst and Davis take turns dissing each other in increasingly filthy ways. Also, shoutout to the bagpipes on "My Gift to You." This album isn't up my alley at all, but I appreciate its influence. Korn helped push hard rock in a new direction, and popular music would look much different without their influence.

I’ve owned Figure 8 for about fifteen years, so I’m pretty familiar with this album. I can’t remember if I bought it because I heard about it through the 1001 albums book, or if I bought it because a friend of mine from high school really loved Elliott Smith. Maybe it was a little bit of both. I haven’t listened to this album in years, so I’m really excited to dig into it. Of Smith’s discography, I’ve only listened to this and Either/Or, which I don’t particularly care for. I knew heading into this review that I preferred this album, and that definitely hasn’t changed with time. The album kicks off with the excellent “Son of Sam,” full of wonderful piano playing with perfectly matching guitar playing, Smith’s trademark hushed vocals, and some great organ arrangements underneath it all. The songwriting contains some of Smith’s more abstract and mysterious lyrics, and it’s a great leadoff track for an album that really fires well on all cylinders. From there, the album winds through some other fantastic songs: the bitter and sombre “Somebody That I Used To Know” and the piano driven, heroin allegory “Junk Bond Trader,” before getting to my favorite song on the album, “L.A.” I absolutely love the guitar playing on this song, and how the main melody is interspersed with the twang of some additional guitar notes, but the best part for me are those clicking strums that occur during the chorus. The drumming on this song is great too, and it evokes a sense of shuffling through the streets of a busy city. The first half of the album is my favorite part, mostly because I really love the arrangements. However, the second half of the album really let’s Smith’s songwriting abilities shine. His lyrics range from on-the-nose and obvious to mysterious and subtle, but he always seems to hit the mark. Even though I don’t like the arrangements on the second half of the album as much, they’re still exceptionally done and beautiful. In my opinion, this album is so much richer in sound that Either/Or, and it’s a much more enjoyable listen. There are so many subtle musical elements that this album warrants multiple listens. This album might not be my favorite thing to listen to, but it’s an absolute masterpiece of songwriting and musical production. Full of haunting lyrics, and melodies that fluctuate between infectiously toe-tapping, and melancholy, this is worth a listen for any music lover.

I've heard of The Waterboys, but the only song of theirs that I'm familiar with is "The Whole Of The Moon" from the album that came out before this one (it's a badass jam, and The Killers covered it live, and that version kicks ass too). This album was a really pleasant surprise. The first half of the album was definitely better than the second half, but it was still great overall. The musical arrangements were beautiful, and I loved how the band was able to create an album that has a solid folk rock feel, but the album still has several hallmarks of music from the late eighties (ethereal backing vocals, sophisti-pop adjacent/art pop string and piano arrangements, and a few songs that were more in the vein of pop-rock). The lyrics were great, and I loved that the album ended with their brief cover of Woody Guthrie's "This Land Is Your Land." I loved the fiddle playing and other string arrangements throughout the album. Those elements really set this album apart from other art-pop-esque albums from the same period. All of the songs were really unique, but the album still felt very cohesive from start to finish. This was a fun surprise, and I'd probably revisit this album.

This is my second, and subsequently last Manic Street Preachers album to review. I enjoyed Everything Must Go, so I had high hopes going into this album as well. Overall, I didn’t enjoy The Holy Bible as much as Everything Must Go. The Holy Bible had some pretty solid guitar rock, but the lyrics were the main star of the show. The songwriting on this album was spectacular, and I thought the lyrics provided some great political and social commentary and critiques that were well in line with the theme of The Holy Bible. The spoken word introductions worked really well to set the mood when they were used, and the frantic pace of the lyrics were effective in conveying frustration and leveling criticisms at conservative policies. I know Manic Street Preachers are Welsh, but this album really resonated with me as an American. I often think of the nineties as a time of liberal politics and progressivism, but in reality, the amount of progress that was made was pretty minimal, and things like mandatory sentencing minimums were being enacted by what was supposed to be a left-leaning administration. This album really resonates today, as more and more people look back on the nineties through a more objective lens. Musically though, this album was pretty middle of the road. I enjoyed the songs that leaned towards strongly towards stronger melodies, like “Yes” and “This is Yesterday.” The other songs were fine, but they didn’t really stand out to me, and most of them kind of relied on the same sound. If I remember correctly, Everything Must Go had some more varied sounds and relied a lot more on different arrangements, and I think that’s why I enjoyed it more. I wanted to like this more than I did, but it wound up being a pretty middle of the road album for me.

This is my second and last Super Furry Animals album to review. I thought Fuzzy Logic was okay, and I expected more of the same on this album. However, I really didn’t care for this album much. Like Fuzzy Logic, this album was pretty diverse in its sound, but Rings just didn’t have the cohesiveness that Fuzzy Logic did. Musically, I just didn’t enjoy listening to this album very much. The highlight for me was the title track; it reminded me of something you’d find on Pet Sounds. It was experimental and strange, but it was still melodic and pleasant to listen to, and I thought the phone sounds at the end were a nice touch. The lyrics were fine, but again, there was a real lack of cohesion from song to song. Sidewalk Serfer Girl’s lyrics and the title track were probably the best of the bunch, the rest of the songs felt like they were weird just for the sake of being weird, and it came off as pretentious. This album just didn’t do it for me, and I think I’ve had my fill of this band.

This will be my second Beach Boys album to review, after Surf's Up (I've also reviewed Smile and Pacific Ocean Blue). I'm pretty familiar with The Beach Boys' pre-Pet Sounds hits, but this is my first time to listen to an album from that era. I thought this album was fine. The harmonies were fantastic as usual, but the songwriting and arrangements were more often so-so than noteworthy. I found the side one songs to be more enjoyable than side two. "Do You Wanna Dance?" had some great guitar playing, and I enjoyed the piano playing as well. The overall sound was rich, and the lyrics, although not particularly noteworthy, were really fun and enriched by the harmonies. "When I Grow Up" was probably my favorite song on the album. I loved the lyrics, and how it explored the thoughts that can swim through your head as you enter adulthood. Even as a man nearing forty, these themes are still things I think about. The overall song structure and the counting up of the backing vocals were fantastic, and really drove the theme of the song home. "Help Me, Rhonda" was great too, and I loved the way the song faded in and out during the outro. The harmonies on the chorus are some of my favorite in all of the Beach Boys' discography. That song always reminds me of a pastor at the church I went to as a teenager, who used to say "Help Me, Rhonda" as an expression of mild exasperation. While that church overall sucked, that always made me laugh. The second half of the album was a bit dull in my opinion. The harmonies were still great, and there were some nice arrangements, but there really wasn't anything else that stuck out to me. Even though this album was pretty middle of the road, it was nice to listen to it in the context of being the immediate predecessor to Pet Sounds, and for that reason, I can understand why it's on this list.

Ugh, Dinosaur Jr. And by "ugh," I mean "I really want to like these guys, but I wish I were listening to Sonic Youth instead." I gave Bug a pretty lukewarm review a while ago, so I didn't have super high hopes for this album. Suffice to say, my middle of the road expectations were met. This album is full of noisy guitars, good drum fills, and plenty of time changes. These guys are great at what they do, and it's really obvious that their influence has been felt in alternative rock and shoegaze, but their sound just wears thin on me after a while. I don't mind noisy and distorted music, but I like tend to like things that are more melodically driven. Did I like this album? Not really. Can I understand why it's on this list and why people like it? Absolutely.

I know a little bit about Joan Baez, but other than her version of "Blowin' in the Wind," I can't recall ever having listened to her music. I'm not really big into folk music, but this album was pretty good. Joan Baez has an incredible voice, and she's able to put her own unique touch on each of these traditional folk songs. Even the songs that are traditionally from the point of view of man still carry an earnestness as Baez performs them. While I appreciate the vocal talent that's on display here, this album wasn't really easy for me to engage with, and the overall length of the album really wore on me. However, I really did love her version of "House of the Rising Sun." The Animals' version is one of my favorite songs from the sixties, but Baez's version is great in its own right as well. Even though I didn't love this album, I know this album is incredibly important in the context of music history, not only for launching Baez's career, but for its influence on folk music. The folk music of this era was the spark that lit the powder keg of the social revolution of the sixties, and it's overwhelming to think about all the music that evolved out of that folk era. This album earns its place on this list, but I understand that it's not going to land with everyone.

I've never listened to this album before, and thanks to it being turned into an NFT (thanks, Snoop!), I had to go to YouTube to listen to it. I'm pretty sure I tried to listen to this several years ago, but it wasn't on streaming, so I just never bothered tracking it down. Anyway, moving on. I really expected to be blown away by this album, due to all the hype that it gets, but it turned out to just be okay. The beats are easily the best part of this album. The g-funk sound that Snoop and Dre established on this album would become one of the most influential elements in the history of hip-hop. I loved the use of synthesizers on this album, and it really gave this album a laid-back, easy feeling. I didn't find the rapping on this album to be anything great, and for the most part, only a couple of songs really stood out to me lyrically: "The Day the N***** Took Over" and "Lil' Ghetto Boy" were two of the best songs on the album, and their social commentary really made them stand out. "Nothin' but a 'G' Thang" was really good too, and its sound has become the shining example of west coast hip hop in the nineties. Yes, this album contains plenty of misogyny and homophobia, but that seems to be the norm for a lot of hip hop from this era unfortunately. It doesn't make it right, but it is what is. Also, I think Dre is scumbag, given his long history of violence towards women. I enjoyed this album's sound, and I appreciate its influence, but it's not something I'd come back to.

I know of Loretta Lynn, but I'm completely unfamiliar with her music. First things first: this album title. 10/10, no notes. Post 9/11 country could never do this. The bar has been set pretty high. The star of the show on this album is the songwriting. From the title track to the bitter end, this album is filled with clever and succinct lyrics. I loved the subtlety contained in these lyrics. Take the title track, for example. Lynn tells her lover not to expect her to reciprocate his advances after he's left her alone all night to go out drinking with his friends. She never states her emotions, she only laments his actions and that he leaves her all alone. But we can tell through her singing just how unwanted and used she feels. Through so few words, Lynn manages to paint a vivid picture of this interaction. "I Really Don't Want To Know" is outstanding as well. I loved that I wasn't sure whether she was wondering about her lover's past flings, or if she was wondering about the women he's been seeing behind her back in the present. Or maybe both. The things left unsaid are powerful, and Lynn's voice really adds to the heartache. The last song I'll mention is "The Shoe Goes On The Other Foot Tonight." I love how it's vindictive without being angry; the emotion that led to the vengeful action of the narrator isn't what's important, and it doesn't even need to be stated, because it would be redundant. This song is all about actions, and Lynn sings it to perfection. This isn't the type of album I'd normally gravitate towards, but the songwriting is outstanding, and it's just an incredibly well made album, worthy of five stars.

This is my second Brian Eno album to review, after Here Come The Warm Jets (3 stars). I’m not terribly familiar with Eno’s work as a musician, so I wasn’t sure what to expect on this album. This album wound up being a really pleasant surprise. I enjoyed the Avant-pop sound of this album, and I felt like it was really accessible and easy to listen to. The album was musically varied, but still had a very cohesive sound. There was a little bit of everything here: funkier songs with more emphasis on percussion and bass, up-tempo songs with more focus on pop-driven synthesizer melodies, and even some guitar playing that sounded like a preview of what was to come with new wave music. I enjoyed the songs that focused more on synthesizer melodies, like “Backwater,” but “No One Receiving” and “King’s Lead Hat” were fantastic as well. Brian Eno’s talent as a producer and arranger is really evident on this album, but he’s also incredibly proficient at all the instruments that he plays on this album as well. Eno’s vocals are really great too, and I especially loved his style of rhyming on “Backwater.” This album was really great from start to finish, and it’s going to be an album that I’ll revisit several times, and I know that each time I do, I'll discover something new about it.

I’ve never heard of Joanna Newsom before, so I wasn’t sure what to expect from this album. I found this album to be really beautiful musically, but it wasn’t really my cup of tea. The arrangements were absolutely beautiful (RIP Steve Albini), and every element of the instrumentals was really well done. There were plenty of emotions conveyed just through the music alone. The songwriting was really beautiful as well, and there was a lot to unpack lyrically. There’s plenty of vivid imagery and allusions to mythological stories to turn over in your mind, and I imagine that this would be a great album to revisit numerous times. However, I really hated the vocals on this album. There’s something about Joanna Newsom’s voice that I just can’t stand. I think it’s because her voice sounds like it’s constantly on the verge of being scratchy, and it just drives me insane. Hearing those vocals over the course of five very long songs was not a fun listening experience. I can understand why this album would be on this list, but it really wasn’t for me.

I’ve never heard of this album or artist before, but this was a fun and unique album. It took me a minute, but I eventually realized that I’ve heard “Apache” sampled numerous times in other works, with a lot of those works being albums that I’ve reviewed. I loved how the main melody was repeated with different instruments throughout the song. “Let There Be Drums” was great too. The guitar playing on this song was probably my favorite on the whole album. It sounded like a funky Led Zeppelin tune. I liked the more varied sounds on “Last Bongo in Belgium,” “Raunchy ’73,” and the band’s take on “In A Gadda Da Vida” as well. The horns, woodwinds, and organ playing really opened up the overall sound of the album on these three tracks. Overall, this was a decently fun funk album. I think my biggest complaint about it is that the songs would kind of wear on me by the time they ended. By that point, the bongos felt like a gimmick. At times, they provided a unique flair, but they would eventually just blend into the background. This album was a lot like Tubular Bells to me: it was unique and interesting at times, and I'm glad I listened to it, but I can't see myself getting drawn back to this album at any point.

This is my second and final Missy Elliott album to review. I listened to this for the first time a few years ago, and I wasn't wowed by it, and after listening to it today, my opinion really hasn't changed. I'll start by saying that the production work on this album is fantastic. The beats are great too, and Timbaland deserves credit for his work here. There are moments where it sounds like Missy had more creative control and freedom over this album, and those moments are the best parts. Missy is a great rapper, and I love how her voice just oozes with her personality. My biggest beef with this album is that there's not enough moments where I felt like Missy was in the driver's seat. If I remember correctly from Under Construction, I think she alludes to the fact that she lacked some confidence in the early days of her career, and this album suffers from that. There's too many featured artists on here for my taste, and it feels like Missy is a sidekick on her own project. "The Rain" and "Don't Be Comin'" were my favorite tracks. I love when Missy talks shit about crappy men, and she really delivered on "Don't Be Comin'." She does a great job of empowering other women, which she also highlights on "Best Friends" with Aaliyah. "Best Friends" was easily the best song on the album to feature another artist. In terms of influence though, this album is massive for paving the way for other female rappers, and it's a huge moment in hip-hop history. This album is fine, but I'd much rather listen to Under Construction.

Ah, my 450th album, and it’s one that I’m familiar with. I bought this on CD about fifteen years or so ago because I saw it on the 1001 albums list. Back then, I listened to it once, but it wasn’t really my cup of tea, so I’ve never revisited it until today. I would still say that this album isn’t really something that I really enjoy listening to, but I think it’s a fantastic album. Driven by frantic rhythms (both on guitar and drums), peppered with otherworldly synthesizers, and some really wild lyrical themes delivered in Mark Allen Mothersbaugh’s unique vocal style. The guitar work on this album is really outstanding, and helped shape what New Wave music would become in the eighties. Despite relying more on rhythm than melodic structure (at least in my opinion), Devo manages to create a variety of sounds across these eleven tracks. Lyrically, this album’s theme of de-evolution is conveyed across the album, covering topics ranging from giving into compulsions, masturbation, and the constant barrage of consumer culture. Devo’s take on The Rolling Stone’s “Satisfaction” takes the song from an ‘aw shucks, I don’t fit in no matter how hard I try’ anthem to an ‘I’m going to lose my mind from people trying to sell me crap’ panic attack. On its surface, “Mongoloid” hasn’t aged particularly well, but the critiques of dumbing one’s self down to fit in with the current culture still resonate as true. “Uncontrollable Urge” is my favorite track on the album, with its driving guitar rhythms and pounding drums on the chorus. The backing vocals really give the song a deeper sound, and the little synthesizer chirps and whirring guitars towards the end of the song create a great atmosphere for the rest of the album. While this isn’t the type of album that I’d gravitate towards, I do think it’s outstanding. The songwriting is great, the guitar arrangements are perfectly executed, and Devo’s overall vision and image really shine through on this brilliantly weird album. I think this a must listen for anyone who really loves New Wave music, but I can understand why it may miss the mark with a lot of people.

This is my second and final album by The Band to review. I really didn't care for Music From Big Pink, so I didn't have high hopes heading into this one. I thought this self-titled effort was fine, and I enjoyed it more than Music From Big Pink. Musically, I thought this album was pretty well made. I enjoyed the clavinet and organ playing, and I felt like they both gave this album a distinct feeling. The sounds of the clavinet and organ really helped give this album a unifying feel, and it really helped create a physical setting through sound. The songwriting on this album was pretty good as well, and "The Night They Drove Old Dixie Down," "Across The Great Divide," and "King Harvest" were among the best tracks on the album. "Look Out Cleveland" was pretty good too, and I liked how it alternated between piano and guitars driving the melody. Also, it's hard not to like any song that mentions my hometown of Houston. The biggest detractors on this album for me were the vocals and the fact that a good stretch of the album was pretty boring. There were times where I felt like the vocals worked well, but most of the time, I really didn't care for them. I think the singing just felt flat to me. The middle part of the album really dragged for me, and I felt like a lot of those songs just felt like generic folk rock. Still, this album was fine, but it's definitely not something I'd revisit.

I’m not familiar with this album or artist, but I thought this was a really good shoegaze album, and I enjoyed listening to it. The guitar playing really helped give this album a cohesive feel, but I loved that the songs all had really unique guitar parts, giving each song it’s own distinct sound. The album started off fine, but it really took off for me at “Polar Bear,” which I absolutely loved. The distorted guitar and the more melodic guitar blended together perfectly, and I thought this song featured some of the best vocals on the album. “Dreams Burn Down,” “Vapour Trail,” “Taste,” and “Here and Now” were some of my other favorite songs on the album. The harmonica on “Here and Now” worked really well, and that element helped keep this album interesting even well into the later tracks. I wasn’t wowed by the vocals on my first listen, but after skipping around through the album again, they really grew on me. This is an album that I want to listen to more, and I have a feeling that it’s really going to grow on me if I’m able to revisit it. This was a really nice discovery today.

I’ve never heard of this band or album before, and I thought this album was okay. The overall sound of the album had a dreamlike quality to it, which I thought was fine, but certainly not earth-shattering. However, I did like the way the lyrics flowed, especially from “Holes” through “Endlessly.” The lyrics were mostly pretty melancholy, and I felt like that pattern of the lyrics helped enhance that melancholic mood. Musically, I loved the odd little elements that were peppered throughout the album. I thought that a theremin was being used on some of the songs, but after doing some reading, I think that was a musical saw. There were several other instruments that I liked, but I can’t identify what they were. “Endlessly” had some of my favorite arrangements on the entire album; I loved the way the musical saw was used. “Opus 40” was really good too, and I liked the background vocals. I enjoyed “Hudson Line” as well. The saxophone, woodwinds, and guitar parts were really different, but still felt like they fit really well with the dreamlike feel of the album. After that though, I didn’t really enjoy the album as much until the final track. I loved whatever instrument it was that was playing during the beginning of “Delta Sun Bottleneck Stomp.” I think it was a clavinet, but I’m not sure. But I loved how it took a background to the strings as the song went on, and the overall sound of the song was really enhanced by the deep bass drum sound. The second half of the song really lost me though, and felt like a strange way to end the album. My biggest complaints against this album are that I didn’t care too much for the second half of the album, I wasn’t as a huge fan of most of the vocals. Still, this was an interesting album, and I enjoyed the quirkier musical elements that were used.

I’ve never heard of this band or album before, but this album was an unexpected treat. Right from the start, I was hooked by the guitar playing on this album. I loved the bluesy sound that this album had, but I really liked that the tempo was much faster than the traditional American blues. This is easily one of the most unique albums that I’ve ever listened to, and probably one of my favorite world music albums that I’ve gotten to review. I enjoyed learning about Songhoy Blues’s story; their background is sad, but the band’s resilience is incredible. I don’t know much about Mali, but I do hate religious zealots who run governments, so I can relate to the band in that way. In addition to the guitar playing, the percussive elements on this album were really good too, and they really helped add some depth to this unique sound. Even though I didn’t understand a word of the lyrics, there was so much emotion in the vocals that it didn’t matter too much. The vocal parts where multiple people were singing really created a shared sense of longing and collective pain. I didn’t have time to look up the lyrics today, but that’s definitely something I want to do in the future. This is an album I’d be keen to revisit, and I hope I can find a physical copy to keep around the house.

I’ve never heard of this artist or album before, but this was a very good album. The overall sound was really unique, and I really loved the vocals. The way that the vocals were layered throughout the album was really fantastic. I really enjoyed that this album had a really cohesive sound and feel, even though the individual songs were really unique. Some songs had a more relaxed feel, while others had more of a traditional rock sound to them, but both styles were well executed. The musical arrangements were really fun, and it didn’t bother me at all that a lot of the vocals were in French. I loved that there were so many little things to take in while listening to this album; things like that really make an album enjoyable to re-listen to for me. Overall, this was a fun and unique album, and it’s on my list of works that I want to revisit.

I’ve listened to a few Kanye West albums, but I’ve never listened to The College Dropout before. My Beautiful Dark Twisted Fantasy was one of the albums that really opened me up to hip hop, so I had high hopes going into this album. Overall, I thought this album was pretty good. It does manage to bring a lot to the table: great production work, some solid rapping, and a unique sound whose influence can still be felt today in hip hop and pop today. I didn’t listen to much hip hop growing up, but in my mid-twenties, exposure to Speakerboxxx/The Love Below and My Beautiful Dark Twisted Fantasy really opened up the genre to me. I’ve always loved eighties pop music, and the experimental elements and more pop forward sounds of those albums made hip hop more accessible to me, and was a good way to ease me into the genre. Those elements that made me love MBDTF can be felt on this album too, especially on “We Don’t Care,” “All Falls Down,” and “Never Let Me Down.” The lyrics and overall themes were really great too; Kanye’s experience growing up in Chicago gives him a unique perspective to bring to hip hop, different from the usual New York and Los Angeles hip hop albums. Kanye’s experience as a producer and songwriter really shine on this album, and he’s supported well by guest appearances from Jay-Z and several others. While this album had a lot going for it, the overall result was not earth-shattering. This album’s best moments are really good, while its worst moments are pretty dull. Kanye is at his best when he’s over-the-top with his experimentation, and there’s not a lot of those moments on this album. Still, this is an important piece of hip hop music, but it’s not something I’d be quick to come back to. Remember when Kanye said “George Bush doesn’t care about black people” on live TV? That feels like a lifetime ago.

This is my fourth Neil Young album to review (not counting one with Crazy Horse and one with CSNY). So far, I’ve been found the albums of his that I’ve reviewed to be pretty middle of the road, but I had really high hopes for this one, since it’s so well-reviewed. Unfortunately, this was yet another Neil Young album that landed middle-of-the-road with me. Neil Young is a talented songwriter, and those skills really shine on this album, just like plenty of his other works. The lyrics on this album cover so many topics, and a lot of them still feel relevant today. I think my favorite lyrics though are on “Southern Man.” Living in Texas, these lyrics really hit home, as the war on “critical race theory” rages on. When Neil isn’t singing about the political landscape of the late seventies, his songs of heartache and lost love convey emotional pain and loneliness in his unique way. The music on this album supplements the songwriting well; there’s nothing too crazy here, but the simple arrangements are pleasant to listen to. The title track was probably my favorite off the album when it comes to the music. I loved the piano melody, and the flugelhorn coming in towards the end of the song added some great depth. I really enjoyed the vocal harmonies throughout the album as well. I wrote this review the day after having been assigned the album, and as I wrote this, I skipped back through the album, and since yesterday, it’s grown on me quite a bit. Yesterday, I just didn’t really enjoy listening to it much, even though I could appreciate it, but today, it’s really hitting home with me. I was going to give this three stars, but I think it deserves four stars.

The only Kate Bush album that I'm familiar with is Hounds of Love, which I really like. This is my first album of hers to review for this project, and I was really excited to see it pop up for me today. Unfortunately though, I didn't really care for this much. This album is certainly ambitious; Kate Bush really went out on a limb with her avant-pop sound, but the result feels like a mess. I found the overall sound pretty jarring and not really enjoyable to listen to. There were small musical elements here and there that I enjoyed, but nothing could soften the overall sound of this album for me. Lyrically, the album was all over the place as well. The subject matter of these songs range from humanity's quest for knowledge to Houdini, without any themes that tie everything together. The individual songs are well written, and incredibly creative, but I didn't care for how this album felt like a patchwork of lyrics and music. I know that Kate Bush is incredibly underrated and influential, but this album just wasn't for me.

I seem to remember there being a song by The Hives in a Rock Band or Guitar Hero video game, but other than that, I can't say I'm familiar with them. As it turns out, I've heard "Hate To Say I Told You So" and "Main Offender" (maybe that was on Rock Band?) before, but the rest of this album was new to me. Anyway, I guess I'll start with the things I liked about this album. The guitar riffs were pretty infectious, and fun to tap along with, especially the first three tracks. I liked that these songs came fast, hit hard, and then moved along. It's a minor note, but I also enjoyed "The Hives Are Law, You Are Crime." There was some distortion that I really liked, and there was a part towards the end of the song where the main guitar riff faded really low, but everything else stayed the same. That guitar riff was so low that it was barely detectable, but it created a really cool effect. As for the things that I didn't like about this album, there was a lot of shine, but no substance. The guitar riffs were fun and infectious for the first three songs, but after that, the album sounded really repetitive. The Hives aren't really doing anything on this album that hadn't been done before, and this album certainly doesn't break any new ground in my opinion. I got pretty bored with it after "Supply and Demand," and the last track pulled me back in a little bit, but it was too late by that point. There are a couple of catchy tunes on this album, but that's pretty much the only thing it has going for it.

I’m not familiar with this artist or album, and folk music can be pretty hit or miss with me, so I knew this album would be a roll of the dice. I didn’t really enjoy this album that much. There were some pleasant arrangements and nice harmonies throughout this, but it was somewhat boring at times, and there wasn’t a lot of variation musically. There were a few songs that had some different sounds, like “Lyke-Wake Dirge” and “Hunting Song,” but even as the high points of the album, I think they were only slightly above average. This album was better than The Incredible String Band, but not by much. My favorite thing about this album was that I could hear how it influenced Nick Drake’s music. This album might have some cultural significance, but it’s not something I’d return to.

I’m not familiar with The Dictators, but that’s’ certainly some interesting cover art. I might need to look into a jacket like that for myself. This album didn’t really blow me away, but it was pretty fun, and it carries a lot of weight culturally as a part of early punk rock. The guitar licks and drumming are simple and not particularly memorable, but they’re serviceable enough for the sarcastic and humorous lyrics. There’s plenty of early adulthood apathy and disillusionment to go around in the original songs on this album, and there’s still room for a couple of fun covers in “I Got You Babe” and “California Sun.” This album might not light the world on fire, but its simple hooks and fun lyrics are a perfect encapsulation of how punk rock evolved from garage rock.

I love Talking Heads, but I’ve never listened to this album before. I really like “Genius of Love” though, so I’m really excited to jump into this one. “Wordy Rappinghood” was certainly not what I expected when I jumped into this album, but I loved the typewriter sounds, the drum beats, and the funky synthesizers. Tina Weymouth’s rapping is fantastic, and this song is really weird but incredibly catchy. The segue from the opening track into “Genius of Love” is absolutely brilliant. The leap from one catchy song to one of the catchiest beats in all of music history was perfectly executed. Both of these first two songs are incredibly catchy, funky, and groovy, but they both manage to pull of those feats in completely different ways. I love the guitar and airy vocals on “Genius of Love.” The tinny drumming that kicks in later on the song is perfect as well. From there, the album keeps its overall reggae and African influenced sound, but it dives into some really different territory musically that really didn’t land with me. The vocals and lyrics from this point forward in the album weren’t my favorite, and the beats and rhythms just weren’t as fun and catchy as earlier in the album. However, I did really like “On, On, On, On..” The vocals on the chorus were fantastic, and the I liked the more guitar-forward sound. “Booming and Zooming,” while interesting in its theme of the thin line between danger and excitement, was probably my least favorite song on the album. I really wanted to love this album, and while I can appreciate its experimentation and the legacy of “Genius of Love,” this wasn’t really my cup of tea.

As a Houstonian for over thirty years now, I believe I'm legally obligated to write a lengthy review of this album. I don't have a lot of experience with Houston's patron saint, but I'm pretty sure I listened to this album a few years ago when I was working through Rolling Stone's best albums of the 2010's, but I haven't revisited it since then. I did check out Cowboy Carter a few weeks ago, and I intend to revisit it soon. I may lose my Houstonian card for saying this, but I've always found Beyoncé's music to be fine. Outside of "Schoolin' Life," (that song is on my workout playlist because it is a J-A-M) I don't really seek out her music a lot. I think she's a great performer who's certainly cranked out some hits, her projects are inventive and ambitious, but I'm just not big on R&B. As for the album at hand, I'd compare this to The Beatles' White Album. This album is massive, its overall sound is an evolution of Beyoncé's sound, and the lyrical themes are massive as well. But unlike the White Album, this album is much more cohesive and not weighed down by a bunch of weird shit. The explorations of feminism and black feminism are really powerful, and as a white guy, this album is a reminder that women, and especially black women live a completely different existence than I do. Beyoncé dives deep into motherhood, beauty standards, sexuality, and her own personal insecurities, and she weaves her own personal experiences into these topics expertly. I really loved the overall sound of this album, especially the use of more electronic elements that allowed this album to explore the pop music sphere really well. The more upbeat songs were fantastic, and the production work here creates a sound that's incredibly accessible and enjoyable to listen to. What kept this album from being a five-star album for me was the slower songs that relied on more traditional R&B. Those songs weren't bad, but amidst a slew of songs that relied more on traditional pop music, they kind of stuck out like a sore thumb, and were kind of a drag on the pace of the album. I really didn't care for the over six-minute tracks "Rocket" and "Mine." It probably doesn't help that I don't care for Drake. Overall though, this album is really good, and it's a big moment in Beyoncé's career and popular music.

I listened to this album for the first time a few years ago, when I was trying to get better acquainted with hip hop music, but this is my first time revisiting it. This album is absolutely fantastic. A piece of pure hip-hop, Enter the Wu-Tang has fantastic rapping, catchy rhymes, and a talented group of artists who elevate this album to a unique tier of greatness. The production is minimal, but I didn’t mind at all; this album doesn’t need anything to take away from its hard-hitting rapping and lyrics. RZA somehow manages to take bright samples from soul music and create sounds that match the menacing tone of this album. With its gritty imagery, Enter the Wu-Tang is a masterclass in gangsta rap and hardcore hip-hop. This album somehow manages to elevate both the talents of the individuals and the incredible result of their collaboration. I love how this album never feels weighed down by the number of people that were involved with its creation and recording. Too often, albums are weighed down by a grand vision that doesn’t translate to an end result that isn’t overblown and overwhelming, but this album avoids that trap. Ol’ Dirty Bastard is my favorite rapper of the original members of the group; the distinct growl of his voice is the perfect addition to this group. “C.R.E.A.M.” is my favorite track on the album, with its tinkling piano sample and a beat that feels like riding a series of waves. This album is a masterpiece from start to finish, and I loved revisiting it today.

Other than Band on The Run, I've never listened to a Paul McCartney solo album (and I don't count that one anyway, since it was with Wings). But hey, this is Paul McCartney, and I love Paul McCartney, so this has to be good, right? Well, unfortunately not. Aside from the fantastic "Maybe I'm Amazed," this album was pretty much a bore from start to finish. I didn't care much for the instrumental tracks, and the tracks with vocals weren't a lot better. I was really pretty stunned by how much I didn't like this, because I really love Paul's singing. I appreciate the fact that Paul recorded all of this on his own, but the end result sounds like a rough demo instead of something crafted by someone working on transitioning from being in a band to launching a solo career. I think this was my first time hearing the album version of "Maybe I'm Amazed," and I enjoyed this version much more than the live version. The emotion in the vocals and the guitar playing on the album version sound so much better than the live version that I've come to know. I did like the bluesy guitars and and cowbell on "Oo You" as well, but no other songs stuck out to me. I appreciate this album's place in music history, but I don't think I'd ever come back to it.

I've never listened to Portishead before, but on the "Glory Box" episode of the podcast 60 Songs That Explain the 90's, I learned that I'd heard "Sour Times" sampled by Girl Talk. I love that sample, and ever since I learned that was a Portishead song, I've been looking forward to reviewing this album. On my first listen, I wasn’t really blown away by this album. The high points on it are fantastic; “Sour Times” and “Glory Box” are fantastic, and really stood out to me on my first time going through the album, but some a lot of other songs felt too repetitive to me. But I knew that this would be the type of album that I’d appreciate more with each listen, and I was right. After getting a good feel for the album as a whole, I became a lot more receptive to it. The overall sound of this album is incredibly unique. Even though there’s a very dark atmosphere that permeates the whole album, there are still some songs that manage to add some brightness, like “It’s A Fire,” “It Could Be Sweet,” and “Roads.” The arrangements on this album are fantastic, and Beth Gibbons’ vocals add a hauntingly beautiful depth to the album. Listening to this album is almost like being put into a trance; the beats and rhythms do a great job of driving the overall sound, but the scratching, samples, strings, and other elements fill out the rest of the sound really well. The production work on this album is fantastic as well; even though there’s a distinct sound that penetrates this album, I didn’t feel like the songs all sounded the same. This album is so unique, and I wish I’d had access to music like this as a teenager. The nineties were such a fantastic time for music, and Dummy stands out as one of the most original albums from that time. This album really reminds me of the things I like about The xx and other dream pop artists, and I think it’s a must listen for any music fan.

I was nine years old when this album came out, and sadly, this is my first time listening to this from start to finish. R&B and Hip Hop were pretty much forbidden in my household when I was growing up (if you were to sneak up behind my parents and whisper "Antifa" at them, they'd probably drop dead of fright), but this album was so omnipresent in popular culture that even a sheltered kid like me knew "Waterfalls" and "Creep." It always blows my mind that this album came out in 1994, because "Waterfalls" was in heavy rotation on the radio for what felt like five years. R&B is probably one of my least favorite genres, but I thought this album was really good. It's incredibly well produced, features some great lyrics, and has some great arrangements. Not every track is a winner, but the songs that stand out are rich in sound; the arrangements are simple, but incredibly catchy and melodic. The horns on “Creep,” the guitar on “Red Light Special,” and the soulful synthesizers on “Diggin’ On You” are fantastic and set these songs apart as some of the best work on the album. As good as those songs are though, “Waterfalls” is easily the crowning achievement of this album. The wah-wah synthesizers, the horn interludes, and the incredibly catchy lyrics make this one of the best songs on the decade. The drums and bassline make this song an absolute delight to groove to, creating a stark contrast to the dark themes of the lyrics. This album is soulful, mature, and sexy, making it a standout of the decade. I was going to give this album four stars, because a few songs are duds, and I wasn’t wild about the vocals, but after sitting down to write this review, I’ve changed my mind, and I think that this album is worthy of five stars from me. I had a really fun time going through this, and it’s an album I’d put on again.

I'd never listened to Siouxsie and The Banshees until I reviewed Juju some time last year. I was completely blown away by Juju, so I had really high expectations going into this album. I thought The Scream was pretty good. I didn't enjoy it as much as I did Juju, but it was still enjoyable to listen to. The first three songs were a bit of a chore to get through for me, but I really loved "Carcass." The tone of the guitar and the driving rhythms were absolutely fantastic; this song had a really great punk feel to it, but it still had the S&TB sound. The band's cover of "Helter Skelter" was great too. The Beatles' version is not something I've listened to a lot, so I didn't enjoy it by comparison, but just on its own merits. The opening bass tones were perfect, and I really liked how the song took off from there, with a manic pace and booming drums. I really enjoyed the guitar on "Mirage" as well, and the haunting "Switch" was a great closing track. This album had some great guitar playing, and I love Siouxsie Sue's vocals. The biggest thing holding this album back for me is that a lot of the songs sound the same, and there are some stretches of the album where there's not a lot of variation. I can look past that if there's a better overall theme or atmosphere, but I felt like that was missing here. This album is an important moment in popular music, and it's incredibly influential, but there are other post-punk works that I'd gravitate towards first. I'd listen to this album again, but just because I've really grown to love this band.

I think I've listened to a couple of Lana Del Rey albums before (I'm pretty certain I've listened to Ready To Die, and maybe I listened to Norman Fuckign Rockwell!), but I've not listened to this one. I was curious to see if this album would make me a fan of Lana. Overall, I thought this album was fine. The songwriting was good, but I expected better from Jack Antonoff. The arrangements were nice as well, but again, nothing here impressed me that much. Lana's vocals are nice, and the tone of her voice really helped carry the mood of this album. One of the biggest letdowns for me on this album is that there's not really much here to separate it from other similar works. My favorite thing about this album was the mood and atmosphere throughout it. This album felt like a beautiful and warm day, but with an air of something being slightly off, like a bright dream with a nightmare on the horizon. The lyrics cover a wide variety of topics, but I enjoyed that nostalgia and denial of present troubles seemed to be the common themes that tied everything together. "White Dress" was my favorite single, with the title track and "Let Me Love You Like A Woman" tied for a close second. However, "Dance Till We Die" was a hidden gem; I really loved the light horns that were used throughout it. Even though this album was just fine, it was still pleasant to listen to, and I wouldn't be opposed to returning to it for another listen.

I don't think I've ever heard of this band before, but I know of Jaco Pastorius from a presentation a classmate of mine gave in my music appreciation class in college. That's a hell of an album cover though, so I'm excited to see what this album has to offer. "Birdland" was a fantastic opening track. I loved the aforementioned Jaco's bassline throughout the song, and the bright tones that were utilized throughout the rest of the song. I loved how the sound evolved over the course of the song, utilizing a wide variety of instruments to develop the bright tone. The next song, “A Remark You Made” was a stark shift in tone, slowing down the tempo and using some deeper tones. While not as fun as “Birdland,” it was a nice listen, and I liked the fluttering synthesizers that came in later. The rest of the album was fine, but “Birdland” was easily the high point for me. Jaco’s bass playing was my favorite part of the arrangements, and the album really succeeded in those moments when it felt like the bass was in the driver’s seat. “Rumba Mama” was my least favorite part of the album. I felt like its sound stuck out like a sore thumb, and I was glad that it was the shortest track on the album. This album didn’t really set the world on fire for me, but it was certainly unique and interesting. This album utilized a unique fusion of sounds, and it gave me a greater appreciation for how diverse jazz can be.

I’m not familiar with the Jungle Brothers, but I’ve enjoyed a lot of the hip hop albums that I’ve gotten to review, and people’s opinions of this album seem to be pretty favorable, so let’s get to it! I really enjoyed the album’s opening track “Beyond This World,” and it gave me high hopes for the rest of the album. The samples on this track were great (especially the use of “White Lines”), and I loved the Afro-centric lyrics. As the album went on, I thought it was fine, but it didn’t blow me away. Musically, there were plenty of great samples, and incredibly fun beats, and I loved the elements of house music that were woven into the album. The socially conscious and generally upbeat lyrics and tone were nice as well, and it was an interesting contrast to the growing popularity of gangsta rap at the time. “Acknowledge Your Own History” was far and away my favorite track. The lyrics about the white washing of history are still incredibly relevant today, as people in power are still trying to promote a vision of the past that ignores the atrocities committed against people from Africa while also diminishing their accomplishments. As much as I enjoyed those things about the album, there were still a few detractors that held this album back in my opinion. I didn’t think the rapping was noteworthy, and it never felt like any members of the group established their own vocal style. Also, the production wasn’t great, and there were a few tracks that were severely muted compared to the rest of the album. Maybe that’s a Spotify issue, but I don’t know. In the end, there were some elements to this album that really worked, but if I’m in the mood for hip hop, there are other things I’d rather listen to.

I’ve heard of Meat Puppets before, usually in the context of bands who influenced Kurt Cobain, but I’ve never listened to them before. How does one make a meat puppet though? I’m envisioning a sock puppet made of ground beef, but a sausage on a stick would probably be a lot more practical since it would be less messy. Plus, with a sausage, you can make dick jokes. I digress. I can’t believe that this album came out in 1984. I don’t recall having ever heard guitar playing quite like this before. The rhythms on this album may have been in the driver’s seat, but there was still a wide variety of guitar tones, with plenty of distortion and fuzziness to go around. I really loved how this album took some sounds and influences that were clearly from country music, but changed them around to create something so new and different. It’s like taking the parts from a sewing machine and building a microwave. The vocals and lyrics were really quirky, but they fit the overall sound of the album really well. Kurt Cobain’s inspiration comes through loud and clear on this album. The guitar playing and lyrics laid the foundation for Nirvana to build on several years later, but Nirvana still managed to create something completely new from their inspiration on this album. There weren’t any songs that really stood out to me as my favorites, I just enjoyed the album as a whole. Even though I enjoyed listening to this, it’s not the sort of thing I gravitate towards, and it felt a little tedious in some stretches. Still, this album’s importance and influence can’t be understated, and it’s definitely worthy of being on this list.

I've never heard of this album or artist before, but I do love eighties music, so I'm excited to give this a listen. This album was certainly... something. I went into this expecting something more pop-forward, but got something frantic and echo-y instead. I really didn't care for this album. There were moments here and there that I enjoyed, specifically the synthesizers and keyboards on some of the songs. But that enjoyment was often ruined by the vocals, which I hated. The overall sound of the album was really muddled by the echoing effects, and it was hard for me to pick up on anything melodic on most of the songs. These songs weren't insanely long, but they felt like they droned on and on. I think I felt like most of the songs didn't go anywhere musically. The little snippets that I did enjoy often faded away or weren't really built upon throughout the song. "nothinginsomethingparticular" was probably my favorite song. It was bolstered by its short length and lack of vocals, which easily made it stand out from the rest of the album. I can't really find anything noteworthy or influential on this album, and I'm really confused as to why it's on the list.

Before starting this project, “A Moon Shaped Pool” was the only Radiohead album that I’d listened to. My first album of theirs to review was The Bends, which I absolutely loved. I liked Kid A and In Rainbows as well, but just not as much as The Bends. I’m interested to dive into this one, because I remember hearing about it when it came out, mostly because its title was a diss to then President George W. Bush. Hail to the Thief was pretty much in line with the other post OK Computer Radiohead albums that I’ve listened to. I enjoyed the overall dark sound, but the addition of some more guitar playing was a nice departure from Kid A. I really enjoy Radiohead’s ability to create sounds that are beautifully deep. There’s so much to take in during each song that it makes their albums great for repeat listening, because I’m always finding new things to appreciate that I didn’t pick up on during my first listen. I like Thom Yorke’s signing, because his voice feels like an instrument in how it adds to the depth of sound. There was a lot to take in lyrically on this album as well. The themes of societal regression, the rise of extremism, and the disillusionment of young people still feel incredibly relevant today, especially as the U.S. heads into another election that feels do-or-die for our democratic processes. It’s wild and sad to think about how the powder keg of our current times has been burning for the better part of two decades. On top of that, there’s plenty of things in the lyrics that are open to interpretation: the search for meaning and God, shattered relationships, and distrust seem to be heavy on Thom’s mind on this album as well. My favorite tracks on the album were “Backdrifts,” “Go To Sleep,” “We Suck Young Blood,” and “There, There.” I really enjoyed the songs with more guitar in the melody, but the songs with more piano were great too. This was a great album, but some parts of it were a little dull, and there wasn’t a whole lot that separates this album’s whole sound from Kid A and In Rainbows. Still, I’d consider myself won over as a Radiohead fan, and I’m looking forward to going back through all their albums on this list once I’ve wrapped things up.

This is my second album of Neil Young with Crazy Horse to review, and my sixth solo Neil Young album overall. I’ve been a tad lukewarm on everything of Neil’s that I’ve reviewed; I don’t mind listening to him, but a lot of his albums are things that I wouldn’t really actively listen to again, but that I could have on while I do other things. I’m not sure where this album will land with me, but I’m looking forward to getting into it. I was pleasantly surprised by this, and along with After the Gold Rush, I think it’s one of the best albums in Neil Young’s solo catalog. As usual with Neil Young, the lyrics are absolutely fantastic, and cover a wide swath of topics, from the experience of Native Americans, the consequences of changes in the agriculture industry, criticisms of the free love movement, and even a song about French and English settlers in Canada, which I found to be particularly interesting. Musically, I wasn’t incredibly into the first side of the album. Neil Young is a fine guitar player and writes some good melodies, but there wasn’t really anything particularly interesting about any of those songs musically. They were pleasant, but that’s about it. I really enjoyed the second side of the album though, as the tempo increased, and the music grew more complex. “Sedan Delivery” was probably my favorite song on the album musically, and I loved the ebb and flow of the lead guitar parts. I could have done without “Hey Hey, My My” as the closing track though. The grungy sound was cool, but I didn’t think this album really needed a reprisal of the opening track. After typing that sentence though, I guess I can appreciate it thematically. I guess I’ll have to let that thought marinate a bit. Either way though, I liked this album, especially the lyrics and songwriting. I can’t believe I only have one more Neil Young solo album to go.

This is my second Joni Mitchell album to review, after Court and Spark, which I gave four stars. I'm expect this album will probably fall in that range as well. Like Court and Spark, this album features some brilliant song writing and fantastic vocals from Joni Mitchell. Feminism seemed to be the main theme that ran through this album, and I loved the many facets of this topic that Joni sang about. "Shades of Scarlett Conquering" was really great, and I loved its references to Gone With the Wind, even going as far as quoting Scarlett's feeling about how women have to be frail and delicate in a world that also demands their toughness. I appreciated how the song was soft in its sound, despite being empowering in its lyrical tone. "Harry's House/Centerpiece" was probably my favorite track on the album. Its examination of a souring marriage from two points of view was really well done. The shifting in musical tone between the two points of view was really well done. I found it really interesting how Harry still had his career and life outside the home despite his crumbling home life, yet his wife longed for the time when there was still passion and romance in their life. Musically, I wasn't wild about this album, and I found parts of it pleasant but a little bland. I did enjoy the more rock and roll sound of "In France They Kiss on Main Street," and "Shadows and Light" had my favorite arrangements of the whole album. Even after looking up the album on Wikipedia, I'm not sure what instrument created the really the fuzzy sounds or the sounds that were akin to a keyboard or organ. I did like the horns that were utilized throughout the album as well. This was a really good album, and I'm looking forward to the other two Joni Mitchell albums that I have left to review.

My dad had this album on CD when I was a kid, but other than the title track and "Vincent," I've never listened to it. My parents purged their CD collection many years ago, giving everything to my brother and I, but I can't remember if this one made it home with me or him, so I may actually own this album. I remember hearing the title track quite a bit as a kid on classic rock radio, and I seem to remember it making a bit of a comeback when I was a teenager and Weird Al released "The Saga Begins," and I think it made a bit of another comeback in the early aughts, when universities began to more broadly offer history of rock and roll classes. These days, I think people tend to crap on it as a bit of cheap nostalgia, cheapened by boomers who bemoan the state of the modern world. After all, "'remember when' is the lowest form of conversation" according to Tony Soprano. But I don't really see McLean being nostalgic on this song. I think he's mourning a legitimate tragedy, but he knows that even as art and artists come and go, culture moves on and evolves. Even loss and tragedy can shape our world, and while we may wonder about what could have been, others will come along and fill the voids. Personally, I think "American Pie" is still a fantastic song. The overtly obvious symbolism is still fun, and the jangly piano melody is incredibly catchy, making this song a timeless singalong. I was surprised by how much I enjoyed the rest of the album as well. The songwriting was really good, and I loved how the themes of solitude and loneliness were woven throughout the album. The musical arrangements were enjoyable as well, and I thought the piano parts stood out as being some of the best parts. There were plenty of other soft instrumental elements that filled out the sound as well. To top it all off, McLean has a great voice, and his vocals are strong throughout the album. One final note about an individual song: I found "Everybody Loves Me, Baby" to be particularly interesting, especially since McLean's family have said that he was a bit of tyrant as a husband and father. Was this song an admission, or a piece of tone deaf projection? We'll never know, but this song has certainly gotten more interesting in the last several years. I enjoyed this album more than I thought I would, but the first half definitely felt stronger than the second half. The musical arrangements on the second half didn't feel as rich, even though the songwriting didn't drop off much. Still, nothing really blew me away, and I think this album isn't as good as other folk or folk adjacent albums that were coming out around the same time. I don't know that I'd go back to this album, because I'd prefer something by Joni Mitchell or Nick Drake.

This is my third Tom Waits album to review, but it's been a little over 200 albums since my last one by him. I loved Rain Dogs and enjoyed Bone Machine, so I was happy to get the chance to go down another gravely-voiced road with Mr. Waits. Even though this album has some absolute gems in "On The Nickel" and "Jersey Girl," this has been my least favorite Tom Waits album so far. Aside from the two aforementioned songs, I found the rest of the musical arrangements to be pretty good. I enjoyed the strings on "Saving All My Love For You" and "Ruby's Arms", and the gritty sound of the title track and "Downtown" complimented the lyrics really well. I wasn't that big a fan of the rest of the songs on the album. Now to discuss the best parts of the album. I loved the softer crooning of "Jersey Girl," complimented by the strings that ebbed and flowed in intensity. The minimal percussion was great too, and I think I heard a little bit of Hammond organ as well, which I really liked. The lyrics on this song were fantastic as well, and Tom's voice carried such a great sense of love and longing. The best part of this album though has to be "On The Nickel." The strings comprise a beautiful lullaby sound, and the piano compliments them nicely. The sound of this song is so soft and gentle, which contrasts starkly with the lyrics. To me, this song discusses the fact that everyone who winds up homeless or drug addicted or in jail, starts their life off as a child at some point. I'm reminded of a line from Bright Eyes' "Road To Joy": "no one ever plans to sleep out in the gutter, sometimes that's just the most comfortable place." No one chooses a life of hardship, but hardship manages to find people anyway. I really connected with this song on a personal level too. As a child, my home life was incredibly tumultuous. My mother, a victim of abuse from her father, inflicted that same trauma on my brother and I. Her father ruled her house with an iron fist, which kept her in line, and she expected the same tactic to work on her children as well, but it didn't. She was always angered by what she perceived to be my lack of effort on my school work, and would often warn me that if I didn't make good grades, I'd wind up on the street. Thankfully, that didn't happen, but those words still haunt me. When I see someone suffering from poverty or homelessness, I can't help but wonder if there's some alternate timeline where I'm in their place. Oftentimes, I feel like their fate is what I deserve. There's so much to address with things like poverty and drug addiction, but "On The Nickel" perfectly captured the innocence and humanity of conditions like this. Overall, I thought this was a pretty good album. I like how Tom Waits tends to examine the uglier things in our world, but he does so with such grace and gentleness. While this album wasn't my favorite of his, I'm still glad I got to listen to it.

I listened to Raw Power on my own several years ago, but this will be my first Stooges album to review. It's been a while since I've listened to Raw Power, so I'm excited to jump into this earlier Stooges album. I was really blown away by the guitar work on this album. Each song was just a non-stop assault of great lead guitar playing. There was some great bass playing as well, especially on "T.V. Eye," (the best track on the album) "Loose," and "1970." The saxophone on the last three tracks was really interesting as well, and gave the album a really unique sound, especially for a hard rock album. It absolutely blows my mind that this album came out in 1970; it sounds like it was at least ten years ahead of its time. Even though I was blown away by the guitar playing on this album, I wasn't wowed by much else musically. The drumming was sufficient, and the vocals weren't vocals weren't really my jam, but they were certainly unique. Also, some of the songs were pretty long, and a few of them felt pretty repetitive. Still, this was a really good album overall, and it was massively influential. I'm looking forward to reviewing the other two Stooges albums on this list.

This will be my third Kinks album to review. I've mentioned this on my other reviews for their albums, but heading into this project, I would have assumed that I would have loved their albums, even though I was only familiar with a few of their songs. That has not been the case so far, because as it turns out, the Kinks songs that I was familiar with and enjoyed were pretty much nothing like their albums that are on the list. I was not super thrilled to see this pop up today, but I'd prefer it to the second Pere Ubu album I still have left. Here goes nothing. Thankfully, I was pleasantly surprised by this album. I enjoyed it much more than Something Else By The Kinks and Face to Face. I felt like the overall sound of this album was a lot more accessible, and a lot more enjoyable as well. The jangly guitar playing, string arrangements, and keyboard playing were all great, and gave this album a really unique feel. I enjoyed the various sounds that the band employed as well (calypso, blues, music hall, etc), but all of the songs still felt like they fit with the overall sound of the album. This album's sound was really fun to groove to, and the arrangements fit the concept of the lyrics really well. The nostalgia for the village green was a unique concept, although in today's political landscape of rising populism, it almost has an anti-immigrant feel. I don't think that's what The Kinks intended, but it's interesting how thin the line between nostalgia and an Eric Clapton get-out-of-my-country rant can feel these days. Still, this was a really good album, and the best Kinks album I've listened to so far. God save Donald Duck, indeed.

I first heard of Emerson, Lake & Palmer in my history of rock and roll class in college, and honestly, I don't think I've heard them mentioned since then. Their song "Karn Evil 9" was covered as an example of art rock in that class, and I had completely forgotten about that song until today. Prog rock can be pretty hit or miss with me, so I'm interested to see where this will land with me. I thought this album was fine. "Tarkus" was interesting, both in the concept of its lyrical concept and in its musical arrangements. I tend to enjoy keyboards and synthesizers, and I thought those elements were fine on this song. The bass playing rounded out the overall sound of the song really well, and there were spots where I thought the drumming was really good too. For a really long song, I was surprised at how interesting I found it. I was never bored, but most of the song just felt really busy for the sake of being busy. The opening and closing segments were my favorite parts of the song, and I really liked their dark tone. The second side of the album was decent as well. “Are You Ready Eddy?” was really fun, and even though I felt like it stuck out like a sore thumb on this album, the jazzy piano playing and faster tempo were really fun. This song also had some really slick bass playing too that helped make this song a fun bop. My favorite song on the album though was “The Only Way.” I loved the hymn-like quality of the organ playing that opened the song, the darker organ tones that took over once the lyrics started, and the light piano playing that closed the song. The evolution of tones throughout the song went really well with the religious themes of the lyrics. It reminded me of how a church service can flow; brighter themes during praise and worship time, an intense sermon, and then a brighter tone during a closing hymn and a call to fulfill the Great Commission. The other songs on this side of the album weren’t really noteworthy to me, but they weren’t necessarily bad, they just weren’t really my jam. Overall, this album was fine, but I can’t see myself returning to it. Still, it was a unique experience to listen to this, and I’m curious to see what E,L &P’s other album on this list will be like.

This is my second and final album to review by The Prodigy. I really enjoyed The Fat of the Land, so I have high hopes heading into this album. Overall, I thought this album was fine. The best songs were interesting and kept me wanting more, but most of the songs were a tad bland, and felt really repetitive. So many of the songs on here were too long, and there were only one or two songs that I wanted to listen to for over five minutes. The songs that I didn’t care for didn’t really add anything or develop over the course of their runtimes, and that made them a bit of a drag. “Voodoo People” was the first song on the album that really hooked me in. I loved the pulsing beats, and the way that the main melody would fade in and out, allowing that strange alarm-blare sound to drive the pace of the song at times. “The Heat” was really good too, and I enjoyed the softer moments during the first half of the song, because they showcased how big beat music can still be melodic. I enjoyed “No Good” as well; I liked the female vocals and the dance-y rhythms. I hate to compare this album to TFotL, but I felt this album really suffered from a lack of Keith Flint. His personality and vocals really brought a lot to TFotL, and while this album was fun and mostly enjoyable, it felt more like a showcase of big beat, instead of an album with its own personality and mood. I’d still throw down on this album again, but I’d have to be in the right mood.

This is my first My Bloody Valentine album to review, but not my first album of theirs to listen to. A while ago, I was looking for something off of the list to listen to, and settled on Loveless, which I thoroughly enjoyed. Fun fact: I'd heard the band's name mentioned several times before listening to Loveless, but I never knew they were shoegaze. I thought they were a 2000's emo band, but I think I got them mixed up with Bullet for My Valentine. Regardless, I've been looking forward to getting to review a My Bloody Valentine album, and I was excited to see this album come up for me today. Unfortunately though, this album didn't live up to my expectations. I found the first half of the album to be pretty boring. I don't mind fuzzy guitars and distortion, but there just wasn't much going on in terms the sound of the album, and it felt like these first several songs were just 'cut-and-paste shoegaze' without offering anything unique. I really didn't like the softer vocals on the first couple of songs either. Thankfully though, the album turned a corner for me with "new you." I really loved the echo of the guitar and the brighter sound of the overall melody. The drums were really great as well. "in another way" was probably my favorite song on the album. The pulsing guitar and the brighter tone that played underneath it were great. The songs after that were really good too; the pulsing drum on "nothing is" and the faster pace of "wonder 2" were really unique, and these songs gave the album more depth and a better overall feel. I certainly didn't hate this album, but if I were to listen to it again, I'd skip the first several tracks.

I've never listened to any of Method Man's solo work before, but I did love reviewing Enter the Wu-Tang a few weeks ago, so I have high expectations for my first solo album from a Wu-Tang member. I didn't love this album, but I thought it was pretty good. The beats, production work, and sample use were the highlights on this album for me. I'm not a big fan Method Man's rapping, but the rhymes were good, and the lyrics were pretty clever and witty. On the title track, I liked the use of the music from Superman and the reference to Superman later on in the lyrics. The opening lyrics to "Biscuits," while vulgar, were incredibly funny. I don't think I've ever heard a song say "Yo momma don't wear no drawers" and then reference the Human Torch later on. "All I Need" and "Release Yo' Delf" were my favorite tracks on the album, mostly for their brilliant use of samples. "Meth Vs. Chef" was in a close third, with its great back-and-forth between Method Man and Raekwon. Other than the rapping that I wasn't the biggest fan of, a lot of this album felt like filler, and I didn't think it really added anything significant to east coast hip hop. While it was fine, it just didn't stand out much to me.

This is my second Emmylou Harris solo album to review. I loved Red Dirt Girl, so I have really high hopes heading into this album. Like Red Dirt Girl, this album is an excellent showcase of Emmylou Harris's voice. Each song is a great example of her beautiful voice, and she pours raw emotion into every ounce of her singing. There's also some solid work from other musicians that helps solidify this album's sad and sombre tone. "Boulder to Birmingham," Harris's sole writing contribution to the album is beautiful, yet devastating. Having lost her mentor and collaborator Gram Parsons could have easily crushed Harris's career, but she carried, despite the sadness brought on by Parsons's passing. Her rendition of "The Bottle Let Me Down" is an interesting inclusion on this album, especially considering how Parsons passed away, but it's unique to hear a song like this sung from the perspective of a female, and Harris's soft tone provides vulnerability to the demons of alcoholism. Overall, this is a beautiful album. I do wish this album had more songs written by Harris, but it's a solid collection of songs that express heartbreak and grief, with the exception of her rendition of Dolly Parton's "Coat of Many Colors," which I found to be an unnecessary inclusion. Still, reviewing this album has given me more appreciation for Emmylou Harris's work.

This is my second Simon & Garfunkel album to review, after Bridge Over Troubled Water, which I absolutely loved. I have high expectations for this album, and can't wait to dive into it. I was immediately surprised and hooked in by the synthesizer parts on "Save the Life of My Child." This was not a sound I was expecting on this album, but I really loved it. The lyrics were great too, and this song was a great addition to the Bookends theme. The rest of the first side of the album was more in line with what I'd expect from Simon & Garfunkel. The songs were beautiful musically, and the songwriting was great, but nothing else really stood out to me. "Voices of Old People" fit with the theme of the album, but was certainly an odd choice. I enjoyed the second side of the album a bit more than the first side. "Mrs. Robinson" might be one of the best songs ever written. The guitar melody, Paul Simon's vocals, and the light percussion have made this song such a staple for over fifty years now. The lyrics are fantastic as well, and every time I hear it, I feel the emotions that I associate with The Graduate. It's just a perfect song in every way. Heading into this album, I wasn't a big fan of the original version of "Hazy Shade of Winter," but I've now been won over to see how great it is. I'm pretty sure I heard The Bangles' version first, which I absolutely loved, with it's nervous dread portrayed through the alternating pounding of the drums and blistering guitar melody. Simon & Garfunkel's version conveys dread as well, but it's not so much a nervous dread, but more of a sense of a fate that can't be avoided, like a criminal awaiting sentencing. The tambourine getting a bigger role in the percussion really adds to the mood, and the less frantic guitar playing puts more emphasis on each note, which I really enjoyed. The rest of the songs on side 2 were really good too, and I felt like this side of the album didn't feel as one-dimensional. I didn't enjoy Bookends as much as I enjoyed Bridge Over Troubled Water, but I still really liked it, and I think it's a great album. I used to listen to a lot of classic rock when I was younger, and I regret that I didn't spend more time listening to these two.

I've heard of Cowboy Junkies before, but I've never heard any of their music before, so I have no idea what I'm in for on this album. But I see that there are covers of Hank Williams and Patsy Cline on this album, so I'm excited to give it a listen. As interesting as this album was on paper, it didn't live up to my expectations. The concept behind the recording of this album is incredibly unique, and the vocals were really great throughout it, but this album fell flat with me. I was pretty bored listening to this, and I didn't find any of the songs particularly memorable. I was really hoping that the band would add something new to their renditions of "I'm So Lonesome I Could Cry" and "Walkin' After Midnight," but I was let down by what I heard. I wasn't familiar with Velvet Underground's version of "Sweet Jane," so while the song was fine, I can't compare it back to the original. The original songs on this album weren't much better than the covers in my opinion. "Blue Moon Revisited" was interesting, but I didn't have any other strong feelings about it. This album wasn't without merit, but it's definitely not my thing, and I'm confused as to why it was included on this list. Great vocals, but there wasn't really much else going on.

I’ve listened to this album before, when I went through Rolling Stone’s best albums of the 2010’s. I honestly don’t remember much about it, but I was excited to see this one pop up for me today. Overall, this was a pretty good album. The soul-inspired instrumentals were really unique and enjoyable (especially the horns), and the production work was really solid as well. I loved the vulnerability of the lyrics. SZA did a great job conveying feelings of insecurity and youthful inexperience, and I liked how everything still tied back into the theme of control. “Drew Barrymore” and “Prom” were easily my favorite tracks on the album. The vocals on “Drew Barry” more were some of the best on the album, and I really enjoyed the wavering string instruments. “Prom” had a really awesome dream pop sound, and I could honestly picture a slow dance at a prom in the nineties, complete with blue-hued lighting as I listened to this song. I wasn’t a big fan of the Travis Scott and Kendrick Lamar appearances. Their presence was really rough on an otherwise smooth album, and they didn’t really add anything with their appearance. I’d be inclined to go back to this album, not because I was in love with it, but because it was enjoyable to listen to, and because there’s so much to unpack lyrically.

Growing up, my parents had this album on vinyl. I don’t remember them ever putting it on, but I was familiar with “Karma Chameleon,” a song which I still enjoy today. At some point, I became familiar with “Church of the Poison Mind” as well, which I also like. Even though I like those two songs, I don’t have high hopes for the rest of this album, but I’ve been surprised before, so we’ll see. I wound up liking this album more than I thought I would. There’s a little bit of everything on here as far as eighties pop music is concerned: upbeat earworms, synthesizers, touches of world music, and some pretty decent ballads. Boy George’s vocals are fantastic throughout the album, and Helen Terry provides some fantastic backing vocals. The musical arrangements are best on “Karma Chameleon,” “Church of the Poison Mind,” and “It’s a Miracle,” but with the exception of some great bass grooves throughout the album, a lot of the songs were a touch boring to me musically. Still, there’s a lot of deep emotions conveyed by Boy George’s singing, and his persona as a pop star was massive during Culture Club’s peak popularity. This is a pretty good and fun album, where the vocals and emotional lyrics really shine. I can’t see myself listening to the whole album again, but “Karma Chameleon” is still an absolute blast, and it barely beats “Church of the Poison Mind” as the best song on the album.

I've heard of Paul Weller, mostly from reading about his activism in Dorian Lynskey's book 33 Revolutions Per Minute. I've reviewed Style Council's Café Bleu, but this will be my first solo album of Paul's to listen to. I'm not sure what to expect, but I'm curious dive into this one. I didn't love this album, but it was interesting. I'm a sucker for some good keyboard playing, and this album had a nice variety of keyboard parts, and some good guitar playing as well. Paul's vocals were nice as well, and they filled out the overall sound of this album nicely. It was really accessible and comfortable to listen to, and I can definitely hear Traffic's influence on this album, but I enjoyed this album more than I did either of the Traffic albums that I've reviewed. This album is well-made, but it's not without its flaws. As nice as it was to listen to, this album doesn't really push any boundaries or bring anything new to the table. I listened to a quite a bit of adult contemporary music in the nineties, and this album felt like it would fall in nicely in between some Hootie and the Blowfish and Alanis Morissette, but it would be overshadowed by both of them. As much as Paul Weller was a voice for change back in the seventies and eighties, I feel like this album is an allegory for an aging radical giving up on making the world better, and settling for internal happiness instead. And not there's anything unusual with that; a lot of the leftist rabble rousers of the seventies and eighties stopped championing their causes as they aged, and Paul Weller is a member of that club as well. This album was slightly better than average in my opinion, but I don't think I'd ever come back to it. Best tracks: "Sunflower," "Can You Heal Us," "Wild Wood," and "Shadow Of The Sun"

I'm familiar with a couple of Goldfrapp songs, "Ooh La La" and "Number One," but I've never listened to an album of theirs before. I love those aforementioned songs, but I know this album has a different sound than Goldfrapp's earlier work, so I'm curious to see how I'll feel about this album. This album was really good. There were a few songs on this album that I thought stood out above the rest (more on those later), but I enjoyed the overall sound. Alison Goldfrapp's vocals are great, and I enjoyed that this album had some dream pop elements woven into it. The production work was well done, and I enjoyed the contributions from the additional musicians. "Caravan Girl" was my favorite song on the album, by a slim margin. I loved the guitar on the chorus, and the bright synth tones rounded out the sound really well. Alison's vocals on this song really reminded me of Neko Case's vocals on The New Pornographers' album Whiteout Conditions, which I absolutely love. "Little Bird" was really good too; its shimmering melody and the drumming made it stand out quite a bit. The outro was particularly good as well. "A&E" was my second favorite songs on the album, worthy of being the lead sing from the album. I loved the horns and acoustic strings, and how the song built ever so slightly over the course of its runtime, adding more layers to the sound. "Monster Love" was a great closing track; I liked how it alternated between acoustic sounds on the verse and letting synthesizers drive the melody on the chorus. As billed, this album was not as dance-y as the Goldfrapp songs I know, but that didn't take away from it. The biggest detractor for me was that a sizable chunk of the album was somewhat forgettable. Even the songs that I really enjoyed were a blast while I was listening to them, but they didn't stick in my brain when they ended. This album is probably closer to a three-and-a-half star for me, but its deep, often heartbreaking lyrics and the fact that I'd definitely listen to it again make me round it up to four stars. I'm looking forward to reviewing Goldfrapp's first album when it comes up for me. Also, shout out to Alison for including the word 'titties' in "Clown." That's my favorite word to use when I want to annoy my wife.

I’m only familiar with one song by the Jesus and Mary Chain, “Head On,” but I really like that song, and I was really excited to see Darklands pop up for me to review today. If this album is anything like “Head On,” I think I’m going to have a good time with this one. I really wanted to fall in love with this album, but sadly, that didn’t happen. I thought Darklands was really good, but it’s the type of album where I’m much more likely to only revisit certain songs instead of the whole album. I did enjoy the overall sound of the album, which was really well defined by some great guitar parts. I loved the shimmery, echoey sound that was utilized, and I thought the drum machines did a great job of adding some darkness that contrasted with the bright guitar tones. This album reminded me of Echo & The Bunnymen’s Ocean Rain, in the sense that the sound was big, but everything about the album managed to feel really intimate. I enjoyed the songwriting, and the vocals did a great job of carrying the melancholy lyrics. “Happy When it Rains” was my favorite song on the album, but “Darklands” and “April Skies” were almost just as good. I also liked “Deep One Perfect Morning” and “Cherry Came Too.” Even though I didn’t fall in love with this album, I enjoyed it, and I thought it was objectively a really good and unique album. I’m looking forward to reviewing Psychocandy some day.

I'm very familiar with this album, but I haven't listened to it in ages. I spent quite a bit of time listening to Muse in the late aughts and early 2010's, even seeing them live when they were touring for The Resistance (fantastic show btw, even though it was in an arena). I heard "Starlight" just yesterday while I was at a work conference, so it's perfect timing that I'd get this album today. Musically, this album was as fun today as it was for me when I first heard "Knights of Cydonia" on Guitar Hero 2. This album's sound is massive, and it's full of great songs, like "Starlight," "Supermassive Black Hole," "Assassin," and the aforementioned "Knights of Cydonia." From start to finish, there are blistering guitar riffs, beautiful synthesizers, awesome string arrangements, and even some great horns thrown in for good measure. Matthew Bellamy's singing is great throughout the album, and his unique voice adds to the space-like feel of this album. When I listened to Muse more regularly, I really enjoyed trying to imitate Bellamy’s falsetto on “Supermassive Black Hole,” and today was no exception to that. He showcases a wide range of other vocal talents as well, from light crooning on “Starlight” to hard rock influences on “Knights of Cydonia.” As much as I enjoyed the music on this album, there were a lot of instances where I felt the lyrics didn’t quite hold up. The lyrics about love and longing were great, but anything to do with warnings about the new world order or conspiracies just fell flat to me. Muse’s next album, The Resistance, really relied on those tropes, but they were foreshadowed quite a bit on this album. I’m not sure if it’s the rise in far-right populism that’s fueled my distaste for these lyrics, or if it’s a shift in my own personal politics over the last several years that makes me roll my eyes at some of the songwriting on this album. Even with a host of really great and fun songs, the album did drag a bit in the middle, but even the songs that I didn’t enjoy as much managed to have some redeeming quality about them. This is far from a perfect album, and it’s not going to work its way back into my regular rotation, but I still enjoyed getting to revisit it. Muse really hit their stride on this album, with a work that’s really unique and a treat for the ears.

I’d never listened to a Smashing Pumpkins album from start to finish until I started this project. I’m very familiar with their singles, but listening to Siamese Dream late last year was the first time I’d listened to one of their albums. Siamese Dream blew me away, and has been one of my favorite albums from this project. I have really high expectations for Mellon Collie, since it has my favorite Smashing Pumpkins song, “1979” (“Tonight, Tonight” is a close second). Mellon Collie managed to completely live up to my expectations. I was blown away by its wonderful guitar playing, brilliant string arrangements, and great songwriting. A lot of the double albums that I’ve reviewed have fallen a bit short with me, often because they’re just too much. However, Mellon Collie was able to hit the mark of its big ambitions. The album really did a fantastic job of keeping in line with its darker themes of sadness that were woven throughout the songs. Sadness is such a broad emotion, and I loved how sadness was explored through other themes of loneliness, disillusionment, and anger. Dawn to Dusk was my favorite part of the album. I loved the orchestral instrumental that kicked off the album, and it segued beautifully into “Tonight, Tonight.” “Tonight, Tonight” is such a beautiful song, and I love its sweeping string arrangements and precise drumming. “Jelly Belly” shifts this part of the album into more hard rock influences, but the beauty in the arrangements is still there. I love the fuzzy guitar sounds that take over on the songs that have more hard rock influences; it’s the perfect blend of hard rock and shoegaze. “Love” was probably my favorite discovery on this first half of the album. I absolutely loved the guitar playing, and the keyboards or maybe autoharp that were on this song were fantastic as well. Dawn to Dusk was just beautiful from start to finish, and I absolutely loved it. I didn’t enjoy Twilight to Starlight as much, but it didn’t take away from my overall enjoyment of the album. This part of the album featured more songs that were stripped down and slower, but they were just as beautiful.. “1979” is still my favorite Smashing Pumpkins song. I love that it features acoustic guitar, but there are still some other instruments that round out the sound of the song really well. “Thru The Eyes of Ruby” was my favorite discovery on this part of the album. The guitar playing was fantastic, and I loved the ebb and flow of the tempo. My favorite thing about Smashing Pumpkins’ music is that there’s so much to take in. The main guitar melodies and strings are aways great, but there are so many little sounds sprinkled throughout their work that makes their music so enjoyable and rich. Mellon Collie was fantastic from start to finish, and I really loved it. I’ve always enjoyed Smashing Pumpkins’ music, but I now have an appreciation for their albums as a whole.

I’ve never heard of Faust before, so I have no idea of what to expect from this album. I studied German for three years in high school, and two years in college, but I know embarrassingly little about German pop culture, especially music. I read a little bit about Krautrock before jumping into this album, and I think there’s a good chance I’ll enjoy it. My inclinations were correct, and I really enjoyed this album. It certainly fit the bill of experimental, and it’s an interesting bridge between the psychedelic music of the sixties and the more electronically heavy music of the eighties. I really enjoyed the fuzzy and distorted guitars, and there were some great synthesizer, keyboard, and organ arrangements that filled in the experimental sound nicely. I’m always leery of longer songs, because I often find them really repetitive, but Faust’s longer songs were always changing and evolving the sound throughout their runtime, and I found myself rapt with attention for what would come next. I really appreciated that the band used a lot of subtle things here and there in the music, like little beeps, or wavering synthesizer notes. This album was great, and I appreciate how unique and different it was. I’m excited to review some of the other Krautrock albums that are on this list.

I’ve never heard of this band or album before, but I’m a little familiar with Arctic Monkeys, so I have a rough idea of what this album might be like. Overall, this album was fine. I believe one review described this album as Arctic Monkeys meets 60’s mod rock, and that assessment was spot on. Alex Turner has such a unique vocal style that gives Arctic Monkeys a very distinct sound, and I enjoyed his singing on this album. Musically, this album fluctuated between standard aughts rock music and interesting symphonic pop. The songs that relied more on the symphonic sounds were the best on the album in my opinion, and everything else just kind of fell by the wayside. Nothing on this album sounded terrible, but very little stood out as well. The album started off on a really strong note with the title track, but it could never quite get back to that point, where the music was really catchy and unique. It came close a few times on the second half of the album, but there’s not enough here that would draw me back to this album.

I know of Country Joe & The Fish from reading about "I-Feel-Like-I'm-Fixin'-to-Die Rag" in Dorain Lynskey's 33 Revolutions per minute. Heading into this project, I assumed that I loved psychedelica, but that hasn't been the case with the albums that I've reviewed, so I don't have high hopes that I'll enjoy this album. As I feared, I was pretty underwhelmed by this album. The music itself was fine, but there wasn't anything on this album that I thought was new or surprising. I enjoyed some of the organ playing, and I caught myself really getting into the groove of "Section 43," but that song was really the only time I felt that way. The stripped down and raw sound gave the album an authentic feel musically, but the lyrics detracted from that authenticity. Lyrically, this album felt like it was full of self-serving hippie-isms, being preached from people who think they know best. There's no anger or emotion in anything, and I felt like the radical ideas that were sung about only served the purpose of propelling the egos of the band members (conversely, "I-Feel-Like-I'm-Fixin'-to-Die Rag" feels very authentic to me, in the way that it oozes angry sarcasm, so I know these guys are capable of authenticity to some degree). When I listen to Bob Marley, I can hear the conviction and emotion in his voice, and that was missing here. To top it off, I just felt that this album was pretty boring. Country Joe & The Fish may have been an integral part of the late sixties, but like The Summer of Love, they're a one-and-done with me.

I'm sure I'm not in the minority when I say that the only Dexy's Midnight Runners song I know is "Come On Eileen." I always thought Dexy's were just a one-hit-wonder; I had no idea until I started this project that their music is pretty well thought of amongst critics and music historians. I do love eighties music, so I think there's a pretty good chance that I'll enjoy this album. I really enjoyed listening to this album. I've mentioned this quite a bit in my recent reviews, but I've been reading through Dorian Lynskey's 33 Revolutions Per Minute this year, where Lynskey talks about the history of protest songs. I've learned a lot about the political landscape of England in the late seventies and eighties, which gave me a lot of context for this album. Also, last year, I read a book about the history of The Troubles, which gave me even more context about the lyrical content of this album. I guess all of that is to say that I really loved the songwriting on this album. The lyrics touch on things like class and social standing with first hand insight, which gives a lot of authenticity to the album. The album even ends with Rowland calling out other bands who sing about political issues, but don't do anything to back up their words. I enjoyed this album musically as well. The trombone and saxophone playing really shine on this album, giving it a unique feeling that sets it apart from other new wave music that was coming out at the time. Dexys utilizes these African and Caribbean sounds in a way that never feels like appropriation, but in a way that fleshes out the punk-sounding simplicity of the guitar and percussion. I assume that the rich textures on this album had an influence on the sophisti-pop sound that came out of England in the late eighties as well. Parts of this album dragged a bit, and I wasn't always a big fan of the vocals, but this is a great album, especially when you look at its place in history and culture in England at the time. This album was a fun treat, and I look forward to the other Dexys albums on the list.

I'm completely unfamiliar with Jacques Brel, but I've seen the album cover for this on one of the list websites for this challenge, and I've always wondered what kind of music it was. Now, I shall wonder no more! I thought this album was really great. I don't speak French, so I had to look up English translations of the lyrics, and I thought these songs were really well written. Obviously, some context is going to be missing due to running the lyrics through some janky-ass AI, but I still enjoyed the themes Brel sung about. The one thing that was not lost across a language barrier was Brel's emotion. I was really blown away by how passionately he sings, and how he manages to convey a wide variety of emotions just with the tone of his voice. The musical arrangements were nice, but they weren't really the focal point of this album. I don't know that I'd rush to listen to this again, but I found it enriching to listen to an album from another country in a different language to experience something that I know nothing about. This is the type of album I will be tempted to play for my kids some day, and tell them that I'm making them 'cultured.'

Well, today is July 4th and also my 500th album. I was really hoping for Bruce Springsteen's Born In The U.S.A., but, here we are with my second and final Christina Aguilera album. The randomness of the universe does not appear to care about my hopes. As much as I didn't want to see something like this come up today, I'll give it a fair shot. I thought Stripped was very good, so this album might surprise me too. Just like Stripped, this album was full of Christina's excellent vocal talents. As I mentioned on my review for Stripped, this isn't my favorite era of pop music, but man, the singing on this album just blows away its contemporaries. To top it off, this album featured some great production that really bolstered the 'back to basics' theme. However, that theme really held the album back on the first half. I felt like the sound was really repetitive on the first half, and Christina really didn't do a lot with the album's theme. The whole name dropping section of "Back in the Day" is probably the best example of the lackluster nature of the first half of the album. "Ain't No Other Man" was one of the few songs I recognized off of this album, but it's a fun song, worthy of being easily recognizable. "Oh Mother" was also great. I liked that it was similar to "I'm O.K." off of Stripped, but with the focus shifting to Christina's mother. When the second half of the album started with "Enter the Circus," I was afraid that the album was going to take a weird turn. However, as soon as Christina's vocals started, that fear was put to bed. The second half of the album didn't feel as confined by the back to basics theme, and had more exploration of sounds and themes. "Candyman" was the second song off of this album that I recognized, and it instantly evoked a visual of that old LG 2 Chocolate commercial from the aughts. Man, phones have come a long way since then. I enjoyed the sexual energy and lyrics of "Candyman," and it was the most fun song on the second half of the album. "Hurt" was the last song that I recognized, and I enjoyed its lyrics and epic sound. Overall, this album was fine. The biggest downside of this album is that it was restrained by its theme, and a good portion of the tracks felt like filler. It's a long album, especially for something that feels a little one-dimensional for a good portion of its run time. Still, Christina Aguilera is an amazing vocal talent, and there's some solid production work on this album as well. Back To Basics isn't as good as Stripped, and that's okay.

I've never heard of The Fall before, but I tend to like post punk music, so I had high hopes heading into this review. Unfortunately, I didn't care for this album very much. Musically, this album felt pretty one dimensional to me. The guitar tones were interesting and gave them album a unique feel, but they felt repetitive over the course of the album. The overall sound was really raw, but it didn't offer anything new or divergent from the punk sounds of the late seventies in my opinion. In general, I wasn't a big fan of the off-kilter keyboards, but there were some keyboard parts on the latter half of the album that weren't as off-putting to me. Lyrically, this album had some flashes of brilliance, especially on "No Xmas for John Quays." Overall though, I didn't really feel like this album offered anything new or exciting for post punk. It wasn't as bad as Pere Ubu, but it certainly fell short of Gang of Four and Magazine.

Ah, here we are, my second and final Ice Cube solo album. I really enjoyed The Predator, and given the title of this album, I think I'm going to enjoy this one as well. Right off the bat, this album snagged my full attention. The beats and samples are fantastic. The use of predominantly funk beats and samples serve a stark contrast to the dark lyrical tone of the album, and I felt like it made the lyrics really stand out. Granted, the lyrics to funk songs can be political and dark as well, so maybe this album just picked up the funk torch and ran with it in a way. Speaking of running with things, Ice Cube takes his reputation as an asshole, and doubles down on his rough reputation on this album. His voice is as fierce as ever, and his lyrics are incredibly raw. The cheerful backing chorus of 'Fuck you, Ice Cube!' on "The N**** You Love To Hate" was my second favorite part of the album, falling just behind the lyric 'You ask me, did I like Arsenio? About as much as the Bicentennial.' A dig at Arsenio Hall and the black experience in America in the same breath? Perfection. When I was looking up some of the lyrics to these songs, one of the lyrics websites featured an ad for Jack in the Box, starring none other that Ice Cube. Outstanding. The production work by The Bomb Squad was great, although the sound was a little bit too busy at times. In other ties to Public Enemy, the guest appearances by Flavor Flav and Chuck D were great as well. While this album's political themes are handled expertly, with the sneering anger I've come to expect (and appreciate) from Ice Cube, there's certainly a bit of misogyny on here that I don't recall being on The Predator. Surely Ice Cube addresses the misogyny on this album in the future? Oh, he does? And does he allay my fears that he's an actual misogynist in real life? Ah, he basically doubles down on it. Well then, that's pretty unfortunate. I did mostly enjoy this album, but it did become a one trick pony over the course of its run time. However, I think it's a solid example of gangsta rap, while not being as good as The Predator.

Oh, Bon Jovi. I have a complicated relationship with Bon Jovi's music. There are a couple Bon Jovi songs that I really enjoy: "Run Away" and "Bad Medicine," neither of which appears on this album. I used to listen to a lot of classic rock and eighties music on the radio, and those two songs never got as much airplay as the singles from this album. I've never listened to this album from start to finish before, but I know those four singles really well. And that's where my complicated relationship with Bon Jovi emerges. These songs got tons of airplay when I listened to a lot of classic rock and eighties on the radio. I assume they still do. I usually have no desire to listen to the singles off of this album, especially "You Give Love a Bad Name." But the only reason that I'll usually avoid those songs is because I've heard them so much, which is no fault of Bon Jovi, and honestly speaks to the lasting popularity of this album. I'll still fuck with "Livin' on a Prayer" if I'm in the right mood, but that's it. Well, enough chit chat, let's get into the album. For starters, I liked this album a lot more than I thought I would. Yes, I'm still not really into the singles on this album, but some of the other songs, especially those on Side B, were surprisingly fun. The guitar playing on "Raise Your Hands" was some of my favorite on the whole album, and the backing vocals gave the song a massive sound. "Without Love" and "I'd Die For You" had some fantastic keyboard playing, which really set them apart from the rest of the album. "I'd Die For You" has a really gritty feel to it (okay, gritty for Bon Jovi) that I really enjoyed. It feels like it could have been used in a movie that took place at night in a major city in the eighties. "Wild In The Streets" had some great keyboard playing too, although I could have done without the cheesy sexual lyrics. For the record, the line 'remember when we lost the keys, and you lost more than that in my backseat baby' has to be one of the most cringeworthy lines in all of popular music. Woof. I did enjoy the ballad-y guitar playing though. Speaking of ballads, "Wanted Dead Or Alive" is pretty fun as well. The song really kicks into another gear about half way through, and it hits its stride, thankful to some excellent backing vocals. I still don't care for "You Give Love A Bad Name" though. I can't tell if it's my over-familiarity with the song, or if it's just legitimately bland and predictable. Last, but not least, there's "Livin' On A Prayer." That opening bass line and the talk box are awesome, and the when the keyboard kicks in, it just perfects the sound. I think my problem with this song is that I hate hearing other people sing along to it, and good luck hearing this song in a setting where there aren't other people around. Jesus, this song really does attract the most insufferable people. Alright, this is really good album. I had a lot of fun listening to it, and I really appreciated the keyboard playing on it. That's enough to set Bon Jovi ahead in a crowded field of one-hit wonders that were cranking out hair metal jams during the late eighties. This album isn't without its faults, but in terms of its place in pop culture history, it's definitely worthy of this list. It was a smash hit when it came out, and it's had some incredible staying power over the years. I never thought I'd write a full-blown essay on a Bon Jovi album, but here we are.

This is my second Elvis Presley album to review, after Elvis is Back. Elvis is Back was fine, but it certainly didn't set my world on fire, and I expect more of the same from this album. I think I can safely say that this album pretty much nailed my expectations. I'm not a big Elvis fan, but this album was fine. I personally find it really tough to judge albums like this. Rock music has come so far since this album was released, so this album is naturally going to sound a little bare bones compared to most of the music that I listen to. I'm sure that it caused a hell of a stir back when it came out though. I did enjoy Elvis's singing on this album more than I did on Elvis is Back, but hearing cover a bunch of songs was a tad dull. However, I appreciate how he was able to create a unique sound at the crossroads of rhythm and blues and country music. Was that sound stolen and appropriated? Yep. Other than acknowledge it, I'm afraid there's not much we can do about it though. When it comes to impact and legacy however, this album simply can't be overlooked. This album was the tremor before the explosion, and basically set decades worth of pop culture in motion. This album isn't really my cup of tea, but I appreciate the gravity of it.

I'm not familiar with Sepultura, but the description of this album seems really interesting, so I'm curious how I'm going to feel about it. Well, Roots is definitely an experience. Based on the description of this album, I expected something more Brazilian-influenced in the sound, but in my opinion, this was pretty much just another metal album. Don't get me wrong, it wasn't bad, but I felt like it didn't really fit the bill of how it was sold to me. There were some Latin and Brazilian influences, but I felt like they were few and far between. Over the course of this album's 72 minute run time (just under an hour if you don't count the 13 minute "Canyon Jam"), this album's sound just wore down on me. I was pretty bored with this about halfway through, and I never managed to get interested again. I really wasn't a fan of the guttural vocals, and there wasn't really anything musically that kept my attention either. Again, I don't think this is a bad album, but it's definitely not my taste. I hope the other Sepultura album that's still waiting for me is more up my alley.

I've never listened to Kraftwerk before, and that's a shame, because they influenced so many bands that I love. I was really excited to see this come up today, and I expect that I'll really enjoy it. As I expected, I really enjoyed this album. The thing that surprised me the most is the range of emotions that Kraftwerk was able to evoke with a sound that's fairly minimalist. From the nostalgia of "Europe Endless", to the sarcasm of "Showroom Dummies," this album is broad in sound and mood. "Europe Endless" was easily my favorite track on the album. I loved its bright tones and the way that more layers were added to the sound as the song progressed. The first three tracks on side B of the album were great too, and I loved the way the rhythms sounded like a train chugging along. This album was really brilliant from start to finish, and I loved how unique it was. I'm really excited to review the other two Kraftwerk albums on this list.

I've never heard of this band or album before, but I'm very intrigued based on the description of the album. Oh, I really like this first song, "Before Today." What a great, chill sound. I love the beats, and those vocals are fantastic. "Wrong" is really great too, for all the same reasons. That voice sounds familiar though. This reminds me of The XX, maybe that's it? No, I've heard this voice before. Oh wait, do these people sing that 'I miss you, like the deserts miss the rain' song? Oh wow, I had no idea that was them. I haven't heard that in a long time. I always thought it was kind of boring when it first came out, but I dig it now. Who did I think sang that? Some sort of Paula Cole or Sophie B. Hawkins type? I digress... I a had great time listening to this album. The overall sound is really enjoyable, and in addition to the overall sound, there are plenty of wonderful little details too take in as well. There's definitely a mood that permeates the whole album, but I never felt like things were repetitive or boring. The musical arrangements were fantastic, and I loved how EBtG put their own stamp on the trip hop sound. The vocals were great as well, and Tracey Thorn will now be on my mind when I think of vocalists that I really like. This was a great discovery, and another reminder of how much fun it is to go through all of these albums.

I'd never listened to Belle and Sebastian before until I got to review If You're Feeling Sinister a few months ago. I absolutely loved If You're Feeling Sinister, so I have really high hopes that I'm going to enjoy Tigermilk as well. While I really enjoyed this album, I didn't enjoy it quite as much as I enjoyed If You're Feeling Sinister. This album was full of really pleasant arrangements, and I especially enjoyed the trumpet and string arrangements throughout the album. The vocals were great, and I liked the lyrical content and themes as well. I liked that the album had a really cohesive sound without any parts of it sounding repetitive. This album was a great example of solid songwriting and really good musicianship, and I'd listen to it again.

I’m familiar with a handful of songs by The Cult, but I’ve never listened to one of their full albums before. I like their sound though, so I think there’s a good chance that I’m going to enjoy this album. Unfortunately, I can’t think of many positive things to say about this album. The Cult songs that I’m familiar with have a really distinct sound, featuring some guitar effects that I really enjoy. However, Electric was full of unremarkable and generic rock songs. This album reminds me a lot of Bad Company, in the way that there was really nothing unique about it. The guitar playing, the drumming, and the vocals were all incredibly bland. It’s really a shame that this album wasn’t good, because I know The Cult can write great songs. I’m really miffed as to why this album made the list.

I’ve never heard of this artist before, but based on the description of the album, this is exactly the reason that I signed up for this project. I’m excited to give this a listen. Heading into this project, I thought I liked 60’s psychedelic music, but that hasn’t really been the case as much as I go through a lot of these albums. This album, however, was right up my alley. It’s different without being really weird and unique while still feeling really accessible (other than the fact I don’t speak Portuguese, but thank thankfully Chat GPT could give me some insight to the lyrical content of the songs). Musically, this album is incredibly diverse, but still feels cohesive, a feat that I feel can be difficult to achieve. The fuzzy guitar tones and distortion sound really great in combination with the rhythms and percussion (I assume that’s where a lot of the Brazilian influences in this album lie). Reading up on this album, I see that a lot of the lyrical content is protesting dictatorial military rule in Brazil at the time, which I can always get behind (by the way, super fun to raise two young kids in America right now, especially with a presidential candidate getting shot at over the weekend). Back to the musical content though: I’ve heard The Bees’ version of “A Minha Menina” when I reviewed their album, but this version was far better. I loved the playful tone, upbeat tempo, and dance worthy percussion. One thing that I think this album did really well, is that the song structures are really unique. “O Relógio” was a prime example of this. I liked how the song started off with a dreamy tone, before shifting to more traditional psychedelic sounds, and then shifting back to the dreamy tone to close. I really enjoyed “Ave Genghis Khan” as well. The piano riff was fantastic, and the jazzy percussion combined with the electronic elements gave it a really fun sound. This was a really great album and it was a really awesome experience to listen something so different. This isn’t necessarily the type of album that I’d gravitate towards, but I can understand and appreciate why it was on this list.

Last year, I read a history of The Mamas & The Papas (All the Leaves Are Brown), and that was the first time I'd heard of Big Brother & The Holding Company. The book chronicled quite a bit about the Monterey Pop festival, so I know this album has a lot of significance when it comes to rock music. Janis Joplin is a fellow Texan (I think my mother in law has a friend who knew Janis growing up), but I've never really listened to much of her music, so I'm interested to see what's in store on this album. I thought this album was pretty good for the most part. While I'm not the biggest fan of Janis's gravely singing, she has so much power and energy in her voice, and that really made some of these songs more enjoyable. The combination of blues and psychedelica created a really unique sound. "Oh, Sweet Mary" is probably the best example of this sound; there's a really heavy bass line that gives the song a good groove, but the frantic guitar playing and fast paced drumming give the song a heavier boogie-feel. "Piece of My Heart" was my favorite song on the album. I always thought this was a solo song from Janis, so I was surprised to find it on here. Janis's singing and the ebb and flow to the song make this one of best songs to come from San Francisco in the late sixties. While there were some songs that I enjoyed, most of the album wasn't too remarkable in my opinion. Granted, I'm not really fond of blues rock for the most part, and psychedelic rock can be pretty hit-or-miss with me. Both of those genres can be a bit dull and repetitive to me, and parts of this album fell into that category. Still, I know this album is incredibly influential, and I understand why it's on this list.

I can’t remember when I first heard of Liz Phair, but I know it was sometime in the last ten years or so. I don’t remember ever hearing about her or any of her songs when this album came out. My only exposure to Liz’s music was through the 60 Songs That Explain the Nineties podcast that talked about “Fuck and Run,” but other than that, I’ve never heard one of her songs. But I’ve heard that this album is supposed to be fantastic, so I’ve been looking forward to this one, and I’ve resisted the urge to listen to it before it came up for me to review. I think this album absolutely lived up to the hype I’ve heard surrounding it. The songwriting is some of the best I’ve ever heard. I loved the rawness of the lyrics and that no topic seemed to be too taboo to be covered on this album. There’s so much to unpack in the lyrics of this album. I found myself really focusing on the music and Liz’s voice, but when I would pay attention to what she was actually singing, it was like a jolt that shook me awake. And even with the unfiltered quality of her lyrics, I had a hard time deciphering what was literal and what was hyperbole, trying to decide what was Liz’s real pain and what parts were her emotional reactions. The instrumentation was also raw and simplistic, but provided the perfect contrast and often distraction from the themes being sung about. The guitar playing was fantastic throughout, whether the melodies were faster and louder, or whether they were slower and softer. One thing that blew me away about this album was how strong it was from start to finish. The second half is still incredibly powerful and contains plenty of punches and surprises, and I found my jaw dropping open countless times over the whole runtime. I wish I had more time to go into individual songs, but I’ll just list my favorites: “6’1”,” “Help Me Mary,” “Never Said,” “Canary,” “Fuck and Run,” and “Flower.” This album was fantastic, and I think I’ll only enjoy it more with repeated listening. Exile in Guyville delivered on its hype, and is easily one of the best albums from the nineties that I’ve heard so far.

I only heard of Suede after I started this project, and this is my first album of theirs to review. I know they’re Brit Pop, but that’s all I know about their sound. Generally speaking, I’ve really enjoyed the Brit Pop albums on this list so far, so I have pretty high hopes that I’m going to enjoy this album. My intuition was correct, and I really liked this album. The overall sound was incredibly dense and deep throughout the album, even on the slower songs. The cavernous sound reminded me a lot of Echo & The Bunnymen’s Ocean Rain. The arrangements on this album were great. I loved the guitar melodies, the horn playing, the string arrangements, and the piano melodies throughout the album. I really enjoyed how “Still Life” felt like a crescendo for the end of the album, and the orchestra playing was a perfect way to end this deep album. Lyrically, I enjoyed this album as well, especially “Heroine,” “This Hollywood Life,” and “Black or Blue.” I felt like the themes of drugs, strained relationships, and isolation all tied together brilliantly with the moody sound. Listening to this for the first time was great. I liked not knowing where the songs were going to go musically, like on “Daddy’s Speeding.” The song felt like it was building to a crescendo, but it never came, but I loved the way the song built up the anticipation any way. I really enjoyed this album. The musicianship was great, and I loved the unique, dense sound. The songwriting was great as well, which made this a well-rounded and great album to listen to.

The only Talk Talk song I'm familiar with is "It's My Life." Reading up on this album, it seems like there won't be anything akin to that here, and that's okay. I love eighties pop music, and based on a very small sample, I like Mark Hollis's vocals, so I think there's a good chance that I'll enjoy this album. I really wanted to love this album, but I had some pretty mixed feelings about it. On the one hand, this album was great musically. The sound was big, and the arrangements were deep, moody, and just all-around pleasant to listen to. There weren't any particular individual elements that I felt stood out, but the overall sound was just really enjoyable. Granted, a couple of songs did overstay their welcome a bit towards the end of their run time, but it wasn't anything egregious. As I expected, I did enjoy Hollis's vocals. He has such a unique timbre to his voice, and he used his voice really well to fill in the big sound of the music. From a songwriting perspective though, this album fell flat with me. I felt like these songs didn't really say anything while still saying a lot. It felt like someone was trying to fulfill a minimum page requirement on a writing assignment by finding longer words, shrinking the margins, and increasing the font. It felt like this album was a lot of fluff with little substance. Overall, this album was fine, but it was completely carried by the music. It's not something I'd return to, but I enjoyed listening to something new from my favorite decade of music.

I'm familiar with a few Aretha Franklin songs, but this will be my first time listening to one of her albums from start to finish. Soul has been one of my favorite genres so far on this project, so I have high hopes that I'll enjoy this album. Overall, I found this album to be pretty middle of the road. Aretha Franklin is undoubtedly one of the best vocalists in music history, and she showcases a wide range of vocal abilities on this album. She harmonizes, she croons, and she can wails at the top of her lungs, all with a level of control that few singers can duplicate. On top of that, this album has some simple but well executed musical arrangements. The bass line on "Niki Hoeky" is fantastic, and "Money Won't Change You" and "Come Back Baby" have some fantastic horns. But rarely did the vocals and music combine to create something new and interesting. It's not that this album is bad, but I just wasn't wowed by it. Of course, the shining exception to this is "Natural Woman." Aretha delicately sings the verse before delivering the powerful chorus. Her intensity picks up perfectly over the course of the song, as she lets her emotion steer the song. The orchestral arrangements compliment her perfectly, and even though the strings and horns are beautiful, they never once steal the spotlight from Aretha's singing. As much as I love the Carole King version of this song, Aretha's version is something else entirely, worthy of all the praise it gets. Even though this album wasn't really my jam, I know it represents a watershed moment for Aretha Franklin, and it's a massive influence on soul music. Aretha opened the door for so many black women to be able to shine on their own, and her influence as a vocalist still reaches into popular music today.

I’m not familiar with this artist or album, not can I recall having listened to Afro-Cuban jazz before. Now that I’m close to the half-way mark on this project, I’ve reviewed a good number of jazz albums, but I honestly don’t think I know what to listen for with jazz or what makes a good jazz album. All the jazz albums I’ve reviewed have been fine, but I haven’t had much to say about them. I’m hoping this album breaks that trend. This album came up for me on a Saturday, and I got the chance to casually listen to it a couple of times as I ran some errands around town, but now on Monday, I finally had the chance to give it some proper attention, and I really enjoyed it. I don’t know if all Afro-Cuban jazz is tends to be more ‘horn-forward,’ but I really enjoyed that sound on this album. The percussion was great too, and combined with the horns, this album had a great Latin feel to it. The up-tempo songs were easily my favorite, but the slower tempo songs were great too. I still don’t ‘get jazz,’ but this was pleasant to listen to, and out of all the jazz albums I’ve listened to so far, this would be one of the first ones I’d go back to.

I’ve never heard of this album or artist before, but based on the description, I think there’s a good chance I’m going to enjoy this album. It should make a for a stark contrast to Machito’s Kenya, which I just wrapped up. Overall, this album was fine. As far as post-rock goes, it definitely wasn’t my favorite, but it was pleasant to listen to. I did like that this album had a very jazz-adjacent in terms of song structure and flow (great follow up to Kenya, actually). “Djed” was my favorite song on the album, which really surprised me, give its 20 minute-plus run time. I really enjoyed the sounds that were utilized and how the song evolved, and I liked the use of contrasting musical sounds, like when the xylophone kicked played over the low-frequency humming sound. There was a moment in “Djed” where some heavy distortion was used, and it was really jarring, but I loved the affect it had on me. “Glass Museum” was really great as well. The song started off with a bit of a shoegaze sound, before shifting to something more frantic. I liked the xylophone melody, especially when the song became more frantic in its pacing; it provided an interesting balance to the deeper guitar melody. After the third track though, the album lost some steam with me. It didn’t feel like the album was doing anything new or exciting after that point, and I was pretty bored with the last three songs. They weren’t bad, but they certainly weren’t interesting. I enjoyed the experience of branching out and listening to an artist I’d never heard of, and I think this album is objectively pretty good. However, I don’t think I’d come back to it, mostly because if I were craving a sound like this, there are other things I’d gravitate towards first.

I know the title track off of this album, but I think that's the only Sister Sledge song I'm familiar with. However, earlier this year, I read Nile Rodgers's memoir, so I know a fair amount about the background and composition of this album. I loved Chic's C'est Chic, and I love Nile Rodgers' work as a producer and musician, so I have high hopes for this album. This album fell a little flat of my expectations. Overall, it has what I would expect from a disco album: funky bass lines, glamorous string arrangements, and airy vocals. Nile Rodgers and Bernard Edwards's fingerprints are all over this album, both in the songwriting, and in the musicianship. Nile's guitar playing is really great, and Bernard's signature bass lines are infectious and dance-inducing. The Sledge sisters sing well, and their vocals are a good match for this Chic-adjacent sound. The highs on this album are really high, with songs that are catchy and infectious, but the lows are dull and tedious, without adding a lot to add to the genre. "He's The Greatest Dancer" was a great leadoff track for the album, with a great bass line, dreamy vocals, and some great string arrangements to round out the sound. The lyrics ooze with late seventies disco aesthetic, and this was one of the most fun songs on the album. The title track was great too (the 1995 remaster on Spotify doesn't have the full version of this song, which was frustrating), and was really engaging for a longer disco song. "Thinking of You" featured my favorite piece of Nile's guitar playing on the album, the soft vocals were excellent, and I loved the drum solo towards the end. The rest of the album was a bit of a snooze though, with some sappy love songs that didn't land with me. These songs tended to rely more heavily on piano melodies, but they just weren't as fun and infectious as the songs that relied more on guitar playing. Still, this album was pretty good, but I had higher hopes for Nile and Bernard.

When this album came up for me, I was trying to think about what Van Morrison songs I know. I was racking my brain, but all I could come up with was "Brown Eyed Girl." I figured that there was no way that could be the only one, so I looked at his discography on Wikipedia, and I'll be damned, that's the only song of his I know (not counting his appearance on Roger Waters's "Comfortably Numb" on the soundtrack for The Departed). Other than Metallica's S&M, I haven't really enjoyed the live albums I've reviewed, but hopefully this album breaks that trend. I didn't think that this album was bad, but it certainly didn't interest me much. Van Morrison is a good vocalist, the band played really well, and the arrangements were solid, but I didn't find anything about this album that justifies its place on this list to me. The recording quality was great, which I was really shocked by, but this album plods along for an hour and a half, and I can't think of any moment where I felt particularly engaged with it. Maybe my unfamiliarity with his music worked against me, but I was really bored by this album. I'm hoping I get more enjoyment out of the other two Van Morrison albums I'll be reviewing at some point.

I've never heard of Mylo or this album before, but the description makes it sound like this is the type of album I'd enjoy, so I'm excited to give this a go. Overall, this album was fine. I liked what Mylo was trying to do, taking soft rock songs he liked as a kid and turning them into house music songs. I have a nostalgic feeling towards some of the same music, so the overall concept of the album was easy to relate to for me. I felt that the songs that stood out to me were really great: "Valley of the Dolls," "In My Arms," "Guilty of Love," and "Need You Tonite." I really enjoyed the way these songs utilized samples. These songs never felt like they were over reliant on the samples, and used them as another musical element. I'm a big sucker for "Bette Davis Eyes" and "Waiting For A Star to Fall," so "In My Arms" was far and away my favorite track on the album. The majority of the album though was just fine, and I didn't find anything particularly noteworthy about the songs that weren't my favorites. However, I do appreciate that the songs didn't meander along for a really long time. I did like the concept of the title track though; I thought it was a really unique idea to use a speech denouncing popular music to craft a song (who would denounce Weird Al?), and the end result was catchy and weirdly unsettling. Overall, this album was pretty middle of the road for me, and its inclusion on this list is a little bit of a head scratcher in my opinion.

This will be my second R.E.M. album to review, after Murmur, which was way back at album number 51 for me (this is album number 521). I like R.E.M. quite a bit, but working through this project is the first time I'm listening to their whole albums. Green features "Stand," which is my favorite R.E.M. song, and I've been looking forward to reviewing this. I really loved this album. I don't know what it is about R.E.M. that I love so much, but I just find them a joy to listen to. I really enjoy Michael Stipe's vocals, the musical arrangements on their songs, and the excellent songwriting. This album has the band firing on all cylinders, creating a rock album that's infectious to listen to. The lyrics are fantastic, with songs lamenting deep personal reflection, calls to action to preserve the future, and political and social commentary. The band strikes a great balance of introspection and activism that carries an air of authenticity, thanks to Stipe's vocal talents. I really loved the musical arrangements on this album as well. The use of the mandolin really stuck out to me; it gave Green a sound that I found incredibly different than the R.E.M. albums that came before it. My favorite song on the album is still "Stand." I love the keyboard intro and the guitar playing, but the drumming towards the end of the song is my favorite part. There's a little drum fill right before the final chorus that's absolutely perfect, and during the final chorus, the snare drum hits sound like shotgun blasts, providing a perfect contrast to the poppy vocals. What a perfect song. I hate that I hadn't listened to this whole album until today. Every part of it is absolute perfection, and I can't wait to review the other two R.E.M. albums that I still have left.

I've never heard of the Beta Band before, but based on this description, I'm imagining that this album will be in the same vein as Doves (I loved The Last Broadcast) or Everything But The Girl (I loved Walking Wounded). Regardless, my curiosity is piqued, and I'm hoping this album will be a good fit for this rainy day. I thought this album was fine overall. There were some moments on it that were really good, and others that were pretty middle of the road. I felt that the album worked best when it relied more heavily on elements of hip hop, with a heavier emphasis on drums and bass tones. There were some moments where I could hear a more straightforward rock influence on the sound, and those moments worked as well ("Broke" is the best example of this). The other songs that tended to be more geared towards traditional electronic music were pleasant to listen to, but I didn't think they really offered anything new or unique. Overall, this album was pretty middle of the road for me. I think one of the best things that this album had going for it was its uniqueness. At the tail end of trip-hop's popularity, and as more bands started using electronic influences, this album doesn't try to make itself a copy of anyone else's sound, and stands on its own two feet.

I’ve never really had much of an interest in Janis Joplin’s music, which is a shame since we’re both Gulf Coast Texans. A few weeks ago, I listened to Big Brother and the Holding Company’s Cheap Thrills, and I thought it was fine, but I certainly wasn’t blown away by it. I imagine I’ll probably feel the same way about this album. I was very pleasantly surprised by this album. I’m not usually a fan of blues rock, but this album was great. I loved that the sound was mostly driven by the piano and Hammond organ, with guitar playing filling things out when needed. This album had a much better sound from a technical aspect than Cheap Thrills, and that also helps set Pearl apart in my opinion. Janis’s singing is fantastic, and the full range of her vocal abilities is on display on this album. She can wail, she can croon, and everything in between. “Cry Baby” had my favorite vocals. The Hammond organ backed up her wailing on the chorus incredibly well. Take me to church, indeed. Janis’s softer vocals on “A Woman Left Lonely” were fantastic as well, and I loved that her singing was always in the spotlight. The instrumentals on this album were great too, and like the vocals, “Cry Baby” was my favorite track on the album, but the boogie sound of “Half Moon” was great too. The piano and organ playing sounded great with Janis’s vocals, creating one of the most unique and original blues rock albums I’ve ever heard. “My Baby” and “Me and Bobby McGee” started off side B with a bang. I really loved the lyrics to “Me and Bobby McGee,” which I know Janis didn’t write, but she sang it to perfection. I loved that each song on this album felt unique and fresh, but the distinct blues sound was still present throughout. This album was excellent from start to finish, and it’s a shining example of Janis Joplin’s vocal abilities. I had a great time listening to it, and it undoubtedly belongs on this list.

This will be my second U2 album to review, after War, which was over 300 albums ago. That was my first time listening to all of War, and I loved it, but I’ve listened to The Joshua Tree before, and it’s probably my favorite U2 album. I was delighted to see this pop up today, and I’m excited to kick back and listen to it. As much as I loved War, there’s just something about this album that draws me to it. The first three songs on this album are probably the U2 songs I heard the most when I was younger, so there’s definitely a nostalgia factor playing into my enjoyment of this album. Those first three songs are one of the best three song runs in all of popular music in my opinion. I love the opening to “Where the Streets Have No Name;” when that first sliding note of the bass guitar kicks in, I could run through a brick wall. I love the dreamy opening, but when the guitar playing kicks in, it just makes me feel lighter than air. The drumming is perfect too, and this song is the perfect opening for an album that has a huge and open sound. I’ve heard “I Still Haven’t Found What I’m Looking For” so many times that it’s almost lost its shine, but the opening guitar playing is fantastic here too, and it’s once again accompanied by a fantastic bass line and some great drumming. I love the structure of “With Or Without You” for the opposite reasons that I love the first two songs. The opening whine of the synthesizer creates a haunting sound, and I love how the song builds to a crashing crescendo, with Bono’s “oooooh-ooooh-ooooh-ooooh’s” and my favorite drumming on the album, before going to back to letting the haunting synthesizer take over the sound. Until I was reading another review, I had forgotten that this song was used in the finale of The Americans. I can still see that train ride in my mind, but for some reason I had forgotten about the music, but I know that song’s use stuck out to me when I watched that scene. While I do love those first three songs a lot, the rest of the album is fantastic too. Gone are the pessimism, loneliness, and cold disillusionment of War, replaced by a yearning, yet realistic optimism. “In God’s Country” sounds like an immigrant longing for an America they know is imperfect, and “I Still Haven’t Found What I’m Looking For” sings the hopes of someone who’s faced struggles, but knows that there’s a light at the end of the tunnel. Hell, the Joshua Tree itself is a symbol of standing tall amidst harsh conditions, and these songs reflect that resiliency very well. “In God’s Country and “One Tree Hill” are probably my favorite songs on this album, outside of the ‘Big Three,’ but there’s honestly not a bad song here in my opinion. I really love this album, and I’m glad I got to listen to it again today. The big warm sound is like a comforting blanket to me, and it’s one of my favorite albums of the eighties. I know Bono comes across as preachy and insincere to a lot of people, and I get that, but I find his songwriting to be genuine. I understand how this album might not be everyone’s cup of tea, but I love the unique rock sound that U2 created on this album.

Oh, Def Leppard. I've listened to plenty of Def Leppard's music in my life. I've never listened to one of their albums from start to finish, but I own one of their greatest hits CD's, which I used to listen to quite a bit. I've definitely soured on them though over the years; if I had a dollar for every time I've heard "Pour Some Sugar On Me," I'd be able to afford a physical copy of every album on this list in multiple formats. These days, I associate Def Leppard with the worst kind of people. Nothing is worse than seeing some boomer dance along to Def Leppard when some shitty cover band plays one of their songs twice a night at some hell-hole bar in the suburbs. These people would know more of the band's lyrics if they weren't too busy parroting the latest garbage they saw on Fox News. But I digress. I guess it's time to fire this one up and see if I hate it as much as I think I will. Well, I come to you now, hat in hand, to ask for forgiveness for my words above. I actually had a good time listening to this album, and I think it’s a great piece of eighties hard rock. I’m not a big fan of Joe Elliott’s vocals on a lot of this album, but the guitar melodies are really great, and Def Leppard has a sound that’s unique and also incredibly accessible. This album reminds of Metallica’s self-titled album, in that it took a somewhat niche sound to a wide audience, without sacrificing too much of its own roots. I was already familiar with “Photograph,” “Too Late for Love,” “Foolin’,” and “Rock of Ages,” but “Stagefright,” “Die Hard the Hunter,” and “Billy’s Got a Gun” were new to me, and I really enjoyed them. “Stagefright” had some great playing, especially leading into the chorus. The keyboards that played alongside them were great too (I had no idea Thomas Dolby was on this album). “Rock of Ages” had some great keyboards too, and “Photograph” had what was probably my favorite guitar parts on the album. There were a lot of little details that I’d never paid attention to before, like the flame crackling at the end of “Rock of Ages,” and the wind sounds on “Too Late for Love.” The backing vocals were great throughout the album, and they really helped create the band’s massive arena-rock sound. “Die Hard the Hunter” and “Billy’s Got a Gun” had the best lyrics on the album, and the instrumentals gave both of those songs a really haunting and dark tone that I’d never expect from Def Leppard. However, one of the biggest detractors for me on this album were the vocals. “Rock of Ages” and “Rock! Rock!” just feel like generic filler lyrically, especially when you compare them to “Die Hard the Hunter” and “Billy’s Got a Gun.” Also, some of the choruses on these songs just drive me bonkers, especially “Foolin’.” Every time that “F-f-f-foolin’” kicks in, I just want to scream. But the prechorus on that song is outstanding, with some great guitar playing, lyrics, and vocals. Overall though, this is a great album, and it was really fun to listen to through a pair of headphones. I really think FM radio ruined a lot of classic rock by playing the same damn songs over and over again, and it’s unfortunate that Def Leppard fell victim to that, at least for me. Mutt Lange’s production work on this album is fantastic, and this album is a perfect example of why Def Leppard was selling out arenas in the eighties, and why they still have a sizeable following to this day.

I'm not familiar with this artist or album, nor am I terribly familiar with tango music, but this sounds new and interesting, so I'm excited to dive into it. Overall, this was fine to listen to. Even with what felt like a fairly restrictive group of instruments to work with, I was pleasantly surprised by the variety of sounds on this album. The vibraphone, piano, and bandoneon all combined to make some great sounds. I don't know if all tango music has a bit of an Italian feel to it, but I enjoyed how the bandoneon gave a Mediterranean flair to these arrangements. Even though these songs were pleasant and interesting, the length of them was a bit off-putting for me. That might be due to my unfamiliarity with this type of music, but I tend to be pretty critical of longer songs in general. I also didn't like the sharp plucking of the violin that was present on most of the songs. However, on "Operation Tango," I really enjoyed the violin parts. My biggest criticism of this album though is that all the songs felt anxious in tone. I don't know if it was that violin plucking that made me feel that way, or the tempo of the songs, but either way, I would have enjoyed a little bit more range of emotions from the music. Still, this was a unique experience, and I enjoyed listening to this album.

This will be my second Paul Simon album to review, after Graceland, which is one of my favorite albums of all time. At a quick glance, I don't think I'm familiar with any of these songs, but I'm excited listen to this. One thing I’ve learned about my musical tastes over the course of this project, is that I really enjoy certain people as songwriters, and Paul Simon is one of those people. I’ve had a love of Graceland for a long time, thanks to the original 1001 albums book, and I’ve listened to a couple of Paul Simon’s more recent albums as well. I thought this album was great, especially from a songwriting perspective. I loved the exploration of heart verses mind, and how that impacts our relationships and our views of the world around us. The two “Think Too Much” songs stood out to me as being the best songs on the album from a songwriting perspective, and the title track wasn’t that far behind. Musically, I could feel the rumblings of the sounds of Graceland, and I loved the use of the vibraphone and marimba, along with the synthesizers, Fender Rhodes, and Synclavier. I think Paul Simon does a great job at utilizing Caribbean and African influences in his music. For my money, the album was at its peak musically when the melody got carried away and experimental, like in "When Numbers Get Serious," or in "Cars Are Cars.” Paul Simon is excellent at layering sounds to create rich textures, and there was plenty of that to go around on this album. I really enjoyed listening to this album, and the only drawback in my opinion was that a few of the songs were a tad boring. Still, this album was fun to listen to, and the overall theme lent itself to some outstanding songwriting.

This will be my second and final Megadeth album to review. I enjoyed Peace Sells, but based on what my metal-head friends say about Megadeth's music, I expect to enjoy this one more. Regardless, I could use a dose of thrash metal today, so I'm looking forward to firing up this one today. As much as I wanted to enjoy this album, I thought it was fine. The guitar playing was incredible, but I really didn't care for Dave Mustaine's vocals at all. Lyrically, the album worked best when the songs kept with the overall theme of the album, which wound up being less than half the songs. "Hangar 18" is an absolute gem, and stood head and shoulders above the rest of the album. If you're looking for some of the best thrash metal guitar playing ever, you've definitely come to the right place, but if you're looking for something with a little more depth, I think there's better stuff out there.

I know a small handful of ABBA songs, but this will be my first time listening to one of their albums. I don't really have any strong opinions about ABBA, other than that I think the Erasure version of "Take a Chance On Me" is far better than ABBA's version. People seem to be pretty high on this album, so I'm excited to immerse myself in some Scandinavian pop. Musically, this album is pure pop bliss. The arrangements are bright, wonderfully layered, and full of kick-ass harmonies. Theses songs were a blast to listen to, and they're really easy to bop along too. No two songs sounded the same, and each song was fresh and felt really original. The only song that was a total clunker to me was "My Love, My Life," which just wrecked the pace of the album in my opinion. Thankfully it was early enough in the album to where I wasn't able to enjoy the rest of it. As much as I enjoyed this album musically, the lyrics were... not my favorite. No offense to ABBA, but I don't think they're exactly known for great songwriting, and that's pretty evident from this album. The lyrics were pretty nonsensical ("Dum Dum Diddle") and on one occasion, really weird and cringe-worthy ("When I Kissed The Teacher"). Structurally, these songs were pretty bland as well. As much as fun as the music was, these songs never really developed much. I know that might be a bit nitpicky, but I know pop music can be deep and experimental, and this album is very much stuck in its time. Again, this isn't a bad album, but I found it to be just fine overall.

I’m not familiar with this artist or album, but based on the description of it, I’m definitely curious as to how I’ll feel about this. This album was a very pleasant surprise. The very first song on the album reminded me of The Prodigy, which I really liked. Musically, this album was really great. The sound was varied, and the band never relied on one element to create their sound. However, musically, the string arrangements were far and away my favorite part of this album. “Lately,” “Secretly,” and “You’ll Follow Me Down” were the best songs on this album in my opinion. As much as I enjoyed the softer and more melodic songs, the songs that were more straightforward hard rock were fantastic too. Skin’s vocals were consistently great throughout the album, but this band really knows how to put together some great musical arrangements. In my opinion, the late nineties and early aughts were a generally crappy time for rock music. The radio airwaves in the states were full of bands who all sounded incredibly similar, but I would have loved to hear something like this when it came out. My biggest complaint with this album is that a lot of the songs felt too long, even the ones with the shorter run times. However, this is still a great album, and I really enjoyed listening to it.

My parents listened to a lot of classic rock when I was growing up, but there were no Who albums in our music library. I don’t think I really became aware of them until CSI came out when I was a teenager. From that point, I started hearing more of their music, and I really grew to love them, especially Keith Moon. There was a time in my life where I'd have counted Who's Next as one of my favorite albums of all time. But before going through this list, I hadn't really been listening to any classic rock for several years. However, I still think that Who's Next is easily one of the most iconic albums of all time, and it features "Baba O'Riley," which will always be one of my favorite songs. I can't remember the last time I listened to this album from start to finish, but I'm currently stuck in bed with a nasty case of COVID, so I was delighted to see this album pop up in my feed today. Sure enough, "Baba O'Riley" still hits like a semi-truck as this album's opener. Those opening synthesizer notes always put a smile on my face, and their repetition throughout the song create the perfect backdrop for Pete Townshend's powerful chords, and Keith Moon's tightly chaotic drumming. John Entwistle's bass plucking is perfect as well, all while Roger Daltrey croons a warning not to let youthful disillusionment put a damper on the future. When I listened to The Who regularly, I thought “Bargain” was one of their weakest efforts, probably because I associated it with its use in car commercials. But listening to it today, I can appreciate its songwriting, fantastic guitar playing, and its slick synthesizer arrangements. “Behind Blue Eyes” has grown on me more than any other song by The Who throughout my life. The vocals are great, and I love the song’s structure, starting off slow, before building to a crashing conclusion. Lyrically, the first part is a solemn plea for help before the singer’s pleas turn to anger that his that his basic human needs have gone unmet. Has there ever been a better conclusion to an album that “Won’t Get Fooled Again?” Keeping in line with the opening track’s themes, The Who lament that revolutions come and go, society repeats mistakes, and yet, we still have lessons to learn and grow from. The blistering guitars and drums are backed perfectly by a piercing synth arrangement that pulsates throughout the song. It’s a satisfying conclusion to the album, but it always leaves me wanting more. The other songs on the album are great as well, but I just don’t feel like diving into them. Every member of the band is at the peak of their game on Who’s Next, and the band’s overall sound is firing on all cylinders. While this might not be the type of album that I gravitate towards these days, I still think it’s an incredible achievement in rock music, and this album deserves all the praise it gets.

I own this album on CD, but looking at my Apple Music records, it looks I only listened to it in its entirety one time, and I don't remember much about it. However, I do remember asking for it for Christmas because I'd heard "Pump It Up" and thought I'd give Elvis Costello a try. Well, a try was all I gave him. I never really listened to him much until I started this project. This will be my third album of his to review, after Armed Forces and My Aim Is True. I'm expecting to enjoy this album as well. Hmm, well, now I understand why I only listened to this album once and only came back for additional helpings of "Pump It Up." This album was really boring. Musically, it felt like there was way to much restraint in the arrangements. In Costello's other works, I really enjoy the tension between chaos and order that tends to permeate his sound. There really wasn't much that was fun on this album. I like Elvis Costello's singing, but even his vocals sound a tad dull here too. "Pump It Up" is easily the biggest winner off this album, and "Lip Service" and "Lipstick Vogue" were pretty good too. All in all though, there's just too little to enjoy on this album. Everything that's not those three songs just runs together to me. This was a major letdown for me, but now that I've reviewed all of Elvis Costello's albums from the seventies, I'm really curious as to how I'll feel about his later work.

I knew Frank Zappa's name before starting this project, but I didn't know anything about his music. I've reviewed one Mother's of Invention album so far, but this will be my first Frank Zappa solo album to listen to. I enjoyed Freak Out!, so I expect I'll like this album as well. Overall, this album was pretty good. I liked the jazz structure to the songs, and the musical arrangements were varied and interesting to listen to. These songs had an experimental feel to them, but they still managed to feel accessible. I enjoyed the first half of the album a bit more than the second half; I felt like the second half was a bit more restricted in terms of structure and sound than the first half, and the overall sound suffered from that. I wasn't really expecting something like this from Frank Zappa, but I don't think this is the type of album I'd listen to again. It's not that it was bad, but it's just not really my style.

I've already reviewed Isaac Hayes's Hot Buttered Soul, which I absolutely loved, so I've been looking forward to having this pop up on my feed for a while. I know the main theme to Shaft, but I've never seen the movie, so the rest of the album will be a new experience for me. I'm ready to dive into this album. Overall, I thought this was fine. The main theme is absolutely fantastic, and overflowing with soul and funk. The main guitar riff is incredibly catchy, and its sound is perfected by rhythm of the hi-hat and the string arrangements that add an exclamation point every now and then. The call-and-response vocals are great too, even adding a touch of humor to the serious sound. The rest of the album was a touch boring. The arrangements were nice, but they really didn't feel like they fit the soundtrack of an action movie; they felt more like something you'd hear at JC Penny in the nineties. "Soulsville" was pretty good though, and it was nice to hear Hayes's vocals again on the album. "Do Your Thing" was my second favorite song on the album. Despite its length, it was really fun to listen to, and I loved the way that the sound developed over the course of the run time. I loved the longer songs on Hot Buttered Soul as well, so I enjoyed seeing something really ambitious like this on this album as well. Overall, this was fine, but the songs that didn't feature any singing were pretty bland. I'm happy for the experience of listening to this album, but I don't think I'd go back to it.

The only Lupe Fiasco song I know is "The Show Goes On" off of Lasers. I love that song, and it's on my workout playlist, but I've never checked out any of Lupe Fiasco's other music. I think there's a good chance that I'll enjoy this album, so I'm excited to listen to it. Overall, I thought this album was pretty good. I didn't listen to much hip-hop growing up, but I started listening to it some after I graduated from college in the late aughts. When Kanye's My Beautiful Dark Twisted Fantasy Came Out, that was the first hip-hop album that I really loved from start to finish. The sound of MBDTF was really accessible, and I felt that this album was accessible in some of the same ways. I really loved the arrangements, and I thought this album was really well produced. The beats and samples used were great too. I don't really have any strong feelings towards Fiasco's rapping; I wasn't blown away by it, but it certainly didn't drag the album down either. The album didn't really grab my attention fully until "The Instrumental," and from that point on, I felt it was pretty strong. The lyrics were great throughout the album. I loved the social and political commentary, especially on "American Terrorist." As much as I liked the later part of the album more than I liked the first several tracks, I really didn't care for the long and meandering "Outro." Still, this was a pretty good album, and I think it's an important piece of alternative hip-hop.

I'm familiar with a handful of Isley Brothers songs (I've loved the Rod Stewart version of "This Old Heart of Mine" since I was a kid), but this will be my first time listening to one of their albums. I don't have incredibly high hopes for this album, but I've been wrong plenty of times during this project, so I'm curious to see what this album has to offer. Well, my low expectations of this album were unfortunately met. This album had some fun guitar riffs, some good organ playing, and some really good vocals, but the some of those parts was pretty much a snooze for me. The cover of The Doobie Brothers' "Listen to the Music" was interesting, but the rest of these songs just didn't bring any new perspective to funk music for me. This album wasn't bad, but it certainly wasn't good either.

My toxic trait is pointing out that I listened to this album before Stranger Things caused "Running Up That Hill" to have a (admittedly cool and deserved resurgence). I reviewed Kate's The Dreaming a few months ago, and did not care for it at all, which has only made me look forward to reviewing this album even more. Let's dig into this pop masterpiece from my favorite decade of music. "Running Up That Hill" is a fantastic lead-off track for this album. It perfectly establishes the dream-like feel that's going to permeate the rest of the album, and even though it's not structured like a traditional pop song, it's still incredibly accessible, due to the atmosphere it creates to tell the story of a woman who wants to trade places with her lover so she can better understand his point of view. As great as "Running Up That Hill" is though, nothing tops the title track. Musically, this song is about as good as it gets. The booming drums help bolster the narrative of the lyrics, while the synthesizers keep the album's dreamlike feel. The cello parts during the chorus are perfection, especially as a compliment to Kate's wailing "throoooowwww themmmmm in the lake" vocals. "The Big Sky" is perfect too, with its bright piano melody and deep guitar tones. I know I've already rambled on about the first three songs on this album, but "Cloudbursting" is fantastic too. I love the string arrangements, and the dreamy sound is the perfect backdrop for the lyrics' storytelling. It's a perfect closing for the first side of the album. The second side of the album is just as great as the first, although for slightly different reasons. The Ninth Wave story bridges the entire length of the second side of the album, and further showcases Kate's abilities as a poet and a songwriter. Just like the first side of the album, The Ninth Wave is beautiful from start to finish, and feels very much in line with the sound and atmosphere of the first side of the album. I think this album is absolute perfection from start to finish, and it's always a joy to revisit it. As it shakes out, I'll get to review all of Kate Bush's albums in chronological order, and I'm excited for when that third album of hers pops up for me.

I’d never heard of Elastica until I started going through this list. I tend to enjoy Britpop though, so I think there’s a really good chance that I’ll enjoy this album. Overall, I thought this album was pretty good. The guitar playing and the high-energy sound stuck out to me as the best parts of the album. I found it refreshing that the album was pretty consistent throughout in terms of the quality of the sound and the songwriting; there really weren’t any songs that stood out to me as being filler at any part of the album. “Connection,” “Hold Me Now,” “Stutter,” and “Vaseline” were my favorite songs on the album, with “Stutter probably being my favorite. “Line Up” wasn’t my favorite, but I thought it was a really good choice for a leadoff track, especially with its gagging/barfing vocal sounds. From an objective or critical standpoint, I thought this album was really good. But based on my own tastes, it was pretty middle of the road, mostly because I don’t think it really stands out a lot from its peers at the time. I don’t think this album really did a lot for alternative music, and even though it’s well made, I probably won’t think about it much in the greater context of nineties rock music.

I've only heard of Aimee Mann because of Connor Ratliff's Dead Eyes podcast. If I remember correctly, he interviewed her because 1) he really likes her music 2) she had an anecdote about coping with rejection that fit really well into the overall theme of the podcast. I think Connor may have played a few of her songs during the closing of a few episodes, but I don't remember much about those songs. I listened to a lot of adult contemporary music when I was a kid, but I don't remember ever hearing Aimee Mann's music back then. I tend to enjoy "Lilith Fair" type artists, so I'm interested to see what this album is like. Overall, this album was okay. The songwriting, arrangements, and production were nice, and Aimee Mann's vocals were pretty good too. This album was a fairly enjoyable listen, but it lacks a lot of the punch that its contemporaries have. While the vocals are well done, there's really a lack of emotion in them, which is a shame since a lot of the songwriting is pretty clever. I also felt like the album was far too long, and I really lost interest in it the deeper into it that I got. This album is pleasant enough to listen to, but the lack of emotion makes it kind of boring. With things like Jagged Little Pill or Exile In Guyville out there, I can't think of any reason that I'd listen to this album again. This one just doesn't live up to the sum of its parts.

I'd never heard of Beth Orton before starting this project, but somehow (I can't remember when or how), I heard about this album, and based on what I heard, I got really excited to listen to it. I saw Beth's name come up again yesterday when I was reading about Lilith Fair lineups in the nineties (my album yesterday was Aimee Mann's Whatever), so it's wonderfully appropriate that this would come up today. Unfortunately, this album didn't live up to my high hopes for it. This album does have a couple of things working to its advantage: a unique sound that's well executed through beautiful melodies complimented by some great vocals. But like Aimee Mann yesterday, the sum of the parts just didn't result in anything of substance for me. While those melodies are nice, they don't really do anything over the course of the songs. I could be wrong about that, but to me, it sounded like the main melody of each song just repeated over the course of the song without changing at all. As good as the vocals were, they really didn't carry any emotion behind them. Each song just felt like Beth was saying a lot of words without really saying anything of substance; it felt like she took more and somehow turned it into less. It didn't help that this album was on the longer side, as were some of the songs. I applaud Beth Orton's ambition, and even though this album was pleasant to listen to, it just felt like a lot of fluff.

Oh wow, my first Public Image Ltd. album. I only know one song by these guys, "Rise," off of one of their albums from the eighties. It came up for me on Spotify shuffle one time, and it still pops up for me from time to time. It's a fine song, but it never really inspired me to check out more music from PiL. I don't think I ever knew that John Lyndon was involved in PiL until after I saw him on The Masked Singer. I got curious about him and glanced over his Wikipedia page and learned that he was in this band after The Sex Pistols. I also learned that he really likes Donald Trump, which, gross. His performance on The Masked Singer was dedicated to his wife who was very ill at the time, and I know she passed away due to that illness somewhat recently, which is really sad. Enough rambling. I really like a lot of post punk music, so despite this album's unfavorable reviews, I'm excited to formulate my own thoughts on it. I'm really torn on how I feel about this album. I certainly didn't love it, but I did appreciate that this album represents an incredibly important piece of post-punk music. I didn't mind the noisy lead-off track of "Theme," with its heavily distorted guitars, but I can't fault anyone who would be completely put-off by it. The "Religion" tracks were fine, but certainly not groundbreaking to me. I thought they were an interesting bridge from the songwriting and themes of The Sex Pistols' music, and for that reason, the heavy message of the lyrics didn't feel forced or fake. For my money, "Public Image" and "Low Life" were far and away the best songs on the album. I loved the guitar playing on both songs, and while the songs had a high energy to them, they had a lot more restraint than typical punk music. "Fodderstompf" was easily the worst part of the album though. I can't think of a single redeeming quality in that song, and I couldn't wait for it to end. Now that I've processed my thoughts on this album a bit more, I'd say I'm pretty lukewarm on this one. I didn't hate it, but I can't see myself listening to it again. The biggest thing this album has going for it is its place in music history as a major influence on post-punk music. It certainly pushed late seventies rock in a new direction, and having some familiarity with The Sex Pistols' music makes it more enjoyable and interesting to listen to.

I’ve heard of The Pharcyde before, but I’m completely unfamiliar with their music. For the most part, I’ve enjoyed the hip-hop albums on this list that I’ve reviewed, and based on the reviews for this album, I have pretty high hopes that I’ll enjoy it. Unfortunately, for the third time this week, my hopes for an album have been dashed. I really wanted to like this album, but I just didn’t like it much. Don’t get me wrong, the rapping is great, and I enjoyed the juvenile and crass lyrics, but I couldn’t get into the overall sound of the album. I think I really hated the way this album was mixed and engineered. The elements that I wanted to hear more prominently felt turned down, and certain parts of the beats and samples that I wanted to hear more of wound up being sparser. A lot of the songs felt like they dragged on for too long as well, which I’m assuming was only compounded by the fact that I didn’t like this album musically. I appreciate the talent of the The Pharcyde and the influence that this album had on hip-hop, but it’s just not for me.

A little less than a year ago, I reviewed Pere Ubu's Dub Housing, and I hated it with every ounce of my being. I really hated David Thomas's vocals, and I just could appreciate anything about the album. And then I found out that I would have to review another Pere Ubu album at some point, and I've been dreading it ever since. I've had a week full of albums that I haven't really enjoyed much, so I guess this is a pretty fitting album for this Friday. Well, no since in delaying the inevitable I guess... This was actually much better than I could have hoped for. I still hated David Thomas's singing, but I really liked the guitar playing and the overall chaotic energy of the album. That initial screeching feedback on "Non-Alignment Pact" nearly made me want to punch a wall, but once the song got going, I enjoyed it. I can really appreciate this album as an important part of post-punk music, and I found it really interesting that Pere Ubu took pieces of traditional punk rock, but used them to build something completely different. It's like taking a Lego set of a house, but using the pieces to build a boat instead. The odd song structures were really great too, and lent themselves to some really out-there experimentation. This isn't the type of album I'd probably be quick to listen to again, but it's made me want to revisit Dub Housing, which is a hell of an achievement. I appreciate what this album means to rock music and how it earned a place on this list.

I’ve never listened to this album before, but I vaguely remember listening to Hot Chip's Made In The Dark sometime close to when it was released. If I recall correctly, I didn't care for it too much, because I think I just found it kind of boring. Regardless, I'm curious as to how I'll like this album, and I excited to give it a listen. I thought this album was pretty good. It was fun to listen to, and I liked how easy it was to dance along to. The first few songs were the best on the album. I enjoyed how the main melodies were really bright in tone, but the deep bass grooves provided a really great contrast. The album started to drag for me when I got to “Night and Day,” which was probably my least favorite song on the album. Even though “Night and Day” and “Now There Is Nothing” were the only two songs on the album that I had a strong dislike for, after “Night and Day,” the album never got close to matching the peak of the first three songs again. This album was fun while I was listening to it, but nothing was memorable enough to hang around in my mind after I finished listening to it. This album wasn’t bad, but I didn’t find it particularly noteworthy, especially when I think of it in the greater context of other synth-driven albums from the same time period that I really like.

First things first: this is my 545th album to review, which officially puts me past the halfway point for all 1089 albums on this list. I was hoping for something great to pop up today, and I was excited to see Chic's Risqué be a milestone album for me. I loved reviewing C'est Chic several months ago, and I read Nile Rodgers' autobiography earlier this year, so I have really high hopes for Risqué. Unfortunately, I didn't love this album as much as I loved C'est Chic. Edwards and Rodgers' songwriting, producing, and musicianship are still great on this album, but the album's shortcomings are due to the success of "Good Times." Risqué starts off with one of the most dance-inducing songs of all time, but the rest of the album feels like it has tickets to a different party. The bass playing on "Good Times" is absolutely out of this world, and even with a run time clocking in over eight minutes, those eight minutes don't feel long enough. The piano, string arrangements, and lead guitar are fantastic as well, making this one of the best songs of the decade. "A Warm Summer Night" delves more into soul influences, with lyrics and a bass line that are equally sultry, but from this point on, the funk driven party is mostly over. "My Feet Keep Dancing" kicks things back up a notch with another great, yet distinctly unique, bass line, accompanied by some great keyboards. Like "Good Times," this song kept me wanting more, despite its long run time. The songs on side 2 of the album are well written, feature more great musical arrangements, and give the album more diverse sounds, utilizing a sound that's closer to soul than traditional disco. However, I think that most people would agree that side 1 is the clear winner on this album. Overall, Risqué is good, but I didn't think it lived up to what I expected from Chic. Still, I could listen to Edwards and Rodgers' guitar mastery all day, and this album's biggest weakness is that it's not just 40 minutes of "Good Times."

I'm not familiar with Keith Jarrett or this album, but I do love some good piano playing, so I expect to enjoy this album. I always have a hard time with how to rate these jazz albums, since I'm not really familiar with jazz music, but I'm hoping that since this album is only piano music, it might be easier for me to take in. I thought this album was really good. The piano playing was absolutely fantastic, and it's incredibly impressive that everything was completely improvised by Jarrett. The entire album was beautiful from start to finish, and I really enjoyed that it was easy for me to pick up on the main melody that was being built upon and riffed on as each song continued. I never grew bored with the songs, and they never felt bogged down by their run times. For most of the jazz albums that I've reviewed, I've felt pretty neutral towards them; they're nice to listen to, but I didn't feel like I was 'hearing what I was supposed to hear' in a sense. With this album, I didn't feel that way at all. Yes, it was beautiful to listen to, but the simplicity of it only being a piano really helped me appreciate the form and structure of the songs. This is an album I'd be likely to return to, and it makes me want to revisit the Miles Davis albums that I've reviewed.

I'm not familiar with Drive-By Truckers' music, and I don't think I've ever heard of this album. What really strikes me as odd is that I don't think I've ever heard any of my friends ever mention being fans of DBT. Living in Texas my whole life, and going to college in a small town in-state, I've known plenty of country music fans, but I really don't think I've ever heard anyone talk about these guys before. I'm really picky about my country music, and with a run-time of 90 minutes, I'm not so sure about this album, but I'm willing to give it a shot. Well, this album certainly wasn't to my liking, and the fact that it ate up an hour and a half of my day certainly didn't help. I guess I'll start with the things that I thought this album did well. I appreciate the vision behind this project, even though on paper, it's not really my kind of jam. It's a hell of an interesting concept, and it's even more interesting when you consider that this album was released in late September of 2001. I assume that current events may have played a part in this album's inability to find a wider audience. Still, even in the ten years leading up to 9/11, I can't think of any other country albums that were doing something similar to this. There are some pretty bold criticisms about the history and culture of the south on this album, and just as many questions about how to reconcile with something that's permeated your own personal past. The second half of the album is a lot more fun, especially musically, with some catchy songs like "Life In The Factory," "Shut Up And Get On The Plane," and "Greenville To Baton Rouge." Thematically, the second half of the album was much better than the first, as the band looks towards their present and future, and how their past plays a role. When it comes to the things that I didn't like about this album... well, there are many. Musically, it's pretty boring. I typically don't think of country music as being particularly great musically, but for something a little bit more country-rock, I'd expect something a little bit more unique. The guitar playing is competent, and even though there's plenty of it to go around, the riffs aren't memorable, and they're not doing anything new or profound. For an album that leans towards country music, I'd expect much better vocals than what was on this album. This album really lacks anything noteworthy when it comes to its sound, and that's a bummer, because the band clearly has some talent. The songwriting is fine, but first half of the album feels like someone took a Lynyrd Skynyrd biography, a term paper for AP American History, and a road trip memoir, and stapled some pages from each one together, in an attempt to create a single work. The multiple tones of each of those elements just didn't land with me. I think this album would have been much better if some of the fat could have been trimmed off, and if it wasn't trying to pull the listener in so many directions at once. I just couldn't get into this album, and it's definitely not something I'd return to.

I've never heard of Skepta or this album before, and based on the reviews for this album, I have no idea how I'm going to feel about this. I reviewed Drive-By Truckers yesterday, so this is probably going to be a pretty hard left turn today. Let's get into it. Well, this album was definitely not my taste. I think the positive things that I can say about it are that it's very unique from the things I typically listen to, and the flow of the rapping was pretty good. As for the negatives, well, there's quite a few of them. I really didn't enjoy this album musically. Most of the production work (beats? samples? I'm not really sure what the proper terminology is for elements of Grime music) just wasn't very interesting to listen to. It didn't feel very melodic, and it was honestly pretty grating at times. It didn't feel like there was a lot of variation from song to song, both in sound or in structure and composition. Lyrically, the songs felt pretty muddled. Skepta would often sing about social issues and brag about his own skills in the same breath, and it was hard to choose what to focus on. I did like some of the social commentary though. Left-leaning Americans (such as myself) tend to look at Europe and say "ah, those guys know how to do it" when we're examining our own political landscape, but I think we often forget that every society has their own ills to contend with, and Skepta's lyrics provided a good reminder of that. I hate to be so negative about this album, but I really didn't like listening to it, and it definitely doesn't inspire me to seek out more Grime music. TLDR: This sounds like Isaac from Ted Lasso gave up on football, and pursued a career in music instead.

I've never heard of Ash or this album before, but I've enjoyed a lot of the albums from Europe that came out in the nineties, so I expect to enjoy this album. Overall, I found this album pretty bland and forgettable. The guitar playing is good, but for me, it wasn't enough to really garner my interest. The songwriting wasn't particularly interesting to me either. I felt that the album worked more as it branched out later on, from "Innocent Smile" to the final track. But by that time, I'd already listened to eight other songs that were fairly run of the mill as far as rock songs go. I felt like those last four songs worked because they kept the punk influences, but added some other sounds that added a lot of depth and uniqueness to things. This album wasn't bad, but I don't think it's necessarily worthy of being one of the 1001 albums I needed to listen to before I died. Also, I made it about two minutes into the hidden track "Sick Party" before I had to shut it off. I feel like I deserve a medal for that.

I've never heard of Soft Machine before, but based on the description and the user reviews, it looks like I'm in for mind-bending journey on this wonderful Friday. Let's fire this monstrosity up! Man, what a journey this album was. I don't know what I expected this album to sound like, but I really enjoyed what I heard. Each song really felt like its own unique composition, but the album still felt really cohesive. I liked how the instrumentation had a little bit of everything, but I enjoyed the saxophone, flute, and synthesizer more than most of the other musical elements. My favorite bit of instrumentation though was the bass playing on "Facelift." I thought that bass line made it easier to hear all the other elements of the song, and I thought it was brilliant how that worked out. Structurally, I loved how this album felt like chaos, but it was also really evident that the band was fully in control of the sound, directing the overall flow of the music, and deciding what was going to be played where. I wish I had taken better notes about what I liked in each individual song, but it was tough to really keep up with everything that was happening. I think this album is worthy of repeat listening because there's so much to take in, but clocking in at over an hour makes it tough to listen to this album enough to where you can become familiar enough with it to pick apart more individual elements. Still, this album was a fun journey, and I'm really glad I got to experience something so unique and groundbreaking.

I remember listening to this album close to when it came out, and really loving it. However, outside of “Green Light,” I don’t think I’ve seriously revisited this album. I’ve been looking forward to giving this album another listen, so I was excited to see this pop up for me to review today. Let’s let the aforementioned “Green Light” kick off this journey, shall we? Relistening to this today, I see why I was blown away by it. This album has such a great atmosphere that permeates every sound, and that atmosphere creates a mood that holds the whole album together really well. When I first listened to this album, I had no idea that Jack Antonoff produced it, but listening to it now, I think his production work is one of the reasons that I really like it. I enjoy a lot of the music Jack has written or produced, and I love fun.’s Aim and Ignite, as well as a lot of music by Bleachers. For me, when an album kicks off with an adrenaline rush as intense as “Green Light,” I find myself listening to the rest of the album with the expectation that I’ll experience that feeling again throughout the album. That doesn’t happen for me on Melodrama, but I’m fine with it, because I still think it’s a fantastic album. I own Lorde’s debut, Pure Heroine, but I don’t think I ever listened to the whole thing. I found myself gravitating back towards “Team” every time I’d pop in the CD. And that’s my first inclination with this album to, to listen to “Green Light,” and then move on to something else. Even though I don’t get that ‘run-through-a-brick-wall’ feeling anywhere else on the album like I do when “Green Light’s” chorus kicks in, I love that Lorde shifted to a sound that utilizes more synthesizers and traditional hooks, instead of relying on more hip-hop inspired sounds. She still uses her unique vocal style and songwriting, but I the sound on Melodrama is so much more rich and more interesting that Pure Heroine. It’s a gamble to start off a pop record the way this one does, but it pays off, as the subject matter and intensity of the sound shifts throughout the album. But Jack Antonoff’s production work helps the album maintain its cohesiveness, building a sound that harkens back to the eighties but still sounds new and inventive. I struggled with how to rate this album, but after about three trips through it, I’m solidly in the camp of this album being five stars. Yes, I’m more likely to gravitate towards Chvrches, Taylor Swift’s 1989, or Carly Rae Jepsen to scratch my pop music itch, but that doesn’t take away from the fact that this album is beautiful, rich, and brilliantly paced. It was a treat to revisit this album, and to get to focus on it with a more critical ear.

I reviewed Dummy a few months ago, and I really loved it, but that was my first exposure to Portishead, so I’ve never listened to this album before. With as much as I enjoyed Dummy, I’ve been excited to review this album. I’m curious to see how this album sounds, especially since it came out 14 years after Dummy. Overall, Third was fine. This album has a very different sound than Dummy, but like Dummy, it manages to have a specific atmosphere and mood that slips into every crevice of the album. I really loved the trip-hop sound of Dummy, and I knew not to expect that same sound going into Third, but musically, Third was really hit or miss for me. The highs on Third were great, but the lows felt dull and unnecessary in a sense. I really didn’t enjoy the first three songs on the album, but with “The Rip,” I started to be a lot more interested in it musically. The more grating and experimental the sound got, the more I enjoyed it. I felt like the more grating and jarring sounds created a better mood that meshed really well with the darker lyrical themes of the album. While Dummy had a more laid-back sound, I liked the anxious energy of Third quite a bit. I enjoyed the darker lyrical tone of this album, and Beth Gibbons’s vocals were a great vehicle for those lyrics. Her singing didn’t have much emotion on this album, but it I thought it worked well, because it gave her the quality of being an observer to the narrator’s emotions and experiences, and that detachment made the mood even more pervasive. As much as I loved Dummy, I could take or leave this album. It’s certainly not bad, but it doesn’t feel as essential as Dummy does.

I've never heard of this band or album before, but I've seen this cover on the checklist website, and I've been curious as to what this album would be like. Post hardcore? Sure, why not! Seems like a good way to spend a Monday. I thought this album was pretty good, and I was surprised by its sound. The guitar playing was fantastic throughout the album, and for an album that heavily relies on one thing, it was really interesting. I really loved the manic energy that this album had, but it never felt like that energy was completely driving the album at the expense of the overall sound. The songs were a touch long, but I didn't feel like the album suffered any due to the song length. In fact, the length of the songs allowed the band to go to some really interesting places structurally, breaking down the guitar parts, twisting them around, and building something new out of them. As much as I liked the guitar playing, it was really all this album had to offer me; the lyrics and the vocals weren't really my jam. Still, this is the type of album I'd probably never discover on my own, and I'm glad it's on this list so that I had a reason to listen to it.

I've never listened to Scott Walker's music before, and I only learned of him recently, but I can't remember the context in which I heard about him. Maybe it was when I reviewed Jacques Brel? Beats the hell out of me. Regardless, the reviews for this album make it sound pretty interesting. The sixties have been one of my lowest rated decades, so maybe Scott Walker can pull that average up! Scott Walker isn't pulling up that average for the sixties, but this album was still pretty enjoyable. The orchestra's playing is absolutely fantastic throughout the album. Whether the song has a faster tempo, like "Jackie," or slower, like "The Amorous Humphrey Plugg," they provide crisp and interesting arrangements to accompany Scott Walker's singing. Other than the beautiful arrangements, the lyrics of the songs written by Walker were one of the brightest spots on this album. Walker's songwriting is more like poetry, and I found the imagery and ambiguity of his lyrics really interesting. Of the songs that Walker didn't write, his covers of Jacques Brel's songs were my favorites on the album, particularly "Jackie" and "Next." I wasn't expecting these songs to have such unconventional and dark lyrics, but it was a breath of fresh air to hear something from this time period that wasn't afraid to pull any punches. I think my biggest gripe with the album is that I found the second side of it really paled in comparison with the first. I'm not sure if the overall sound and composition just wore on me, or if I just felt like the second half of the album didn't have as much variation as the first half. Either way, this was still an interesting experience, and I'm curious to see what Scott Walker's other album on this list is going to be like.

I've never heard of the Auteurs, or this album before, but I've enjoyed a majority of the Britpop albums on this list, so I feel confident that I'll like this album. Well, I wouldn't say I particularly liked this album, but I didn't hate it either. I think it's a good album, especially the songwriting, but the music itself is like cloud on a summer day afternoon, in that it disappears from your mind quickly. The arrangements are nice, especially the piano playing on "Bailed Out," and there were some other nice little moments, like the harmonica on "Housebreaker" and the xylophone on "Valet Parking." But overall, musically, this album just wasn't doing anything that sets it apart or pushes things in a new direction. The songwriting was really solid from start to finish though, and I really liked "Junk Shop Clothes" and "Don't Trust the Stars." Overall though, this album just kind of plodded along, and I don't really see a lot of value in it, outside of the songwriting.

I've lived in Texas my whole life, so I've been exposed to a lot of country music, often against my own will. My parents went on a big country music kick in the mid-nineties, and I hated it, but I've since grown to appreciate country music from that era. I still can't stand the post-9/11 jingoistic bullshit though, and frankly all of that stuff should be launched into the sun. However, I've wanted to listen to more country music from the sixties and seventies, since I'm not familiar with a lot of it, and I know nothing about Buck Owens, so I'm really keen to listen to this album. I thought this album was absolutely fantastic. The songwriting was my favorite part of the album, but I loved the 'Bakersfield sound' aspect of the arrangements as well. The songwriting was simple, but I loved its succinctness and clever lyrics. The lyrical themes of love and heartbreak were what I would expect from a country music album from this era, but I enjoyed the way they were sung about. This sort of emotion and realism is what I love about albums like this. "Wham Bam" is certainly a bit crass, even by today's standards, but it's hilarious, and I loved it. "Trouble and Me" was great too, and serves as some great foreshadowing for the outlaw country music that would emerge in the next decade. Musically, this album was great as well. I loved the twang of the guitars, the fiddle playing, and the pedal steel guitar. The instrumentation on this album managed to compliment the mood of the lyrics perfectly, especially on the sad and sombre songs. "Memphis" was the opposite though, but I loved the upbeat sound that really leaned into that rockabilly sound. I don't understand the hate this album gets, because I thought it was amazing, and I had a blast listening to it. I loved it for a lot of the same reasons that I loved the Loretta Lynn album that I reviewed, and I'm looking forward to the few other country albums that are left for me to review. If you're reading this review, give this album a chance, and I think you'll enjoy it too.

I reviewed Pentangle's Basket of Light three months ago (love that I can see the date I reviewed it in my history), and I didn't care for it, but I'm willing to give this solo effort from Bert Jansch a fair shot. As a fun note, this is my second album in a row from 1965, and I don't think I've ever had consecutive albums from the same year before, and I'm over half way through this list. Also, even though I'm over half way done with my project, I've only reviewed 45% of the albums from the 1960's, so I know I'll have plenty more albums from that decade the rest of the way. Enough numbers, let's get into it! Eh, based on a little bit of research and what I heard on that Pentangle album, I'd say this was about what I expected from this album: some fantastic songwriting with some really nice guitar playing. This album was certainly pleasant to listen to, and it's pretty impressive for something that really didn't have a lot of prep work and planning put into it. I liked the overall "hippie gypsy" feel to the album, and the lyrics seemed to all be tied to the theme of being a free-spirited wanderer who's trying to strike out on their own and find their place in the world. Lyrically, these songs each felt like their own chapter in a journey of self discovery, and I liked the cohesiveness that this created. My biggest complaint is that the album wound up being boring a touch repetitive in its sound, even though it had a mangeable runtime. This is album is good, but for me, being good for a folk album means it's pretty middle of the road. Is it influential? Sure, but it's not the sort of thing that draws me in.

I love Rod Stewart. His music has been in my life since my childhood, and I still love listening to his songs. In the late eighties, we had his Out of Order album on cassette, and I'd demand to hear his version of "Forever Young" on the way to being dropped off at Mother's Day Out. I remember watching the music video to "The Motown Song" on VH1. In 2001, he was playing the Houston Livestock Show and Rodeo, and I begged my parents to take us on a family outing to see him, even though it was a school night. My grandfather said he sounded like he got his voice from a bottle of Drano, but I didn't care. I was super excited to see this album come up for me today, even though I'm not familiar with any of the songs on it (I'm more familiar with the songs on his next album, but I've yet to review that one). Let's see what Gasoline Alley has to offer! I wound up enjoying this album quite a bit. I knew that I'd enjoy Rod Stewart's vocals, and he didn't disappoint on this album. There's something about his voice that gives his singing a sense of authenticity. On the songs where Rod sings about lovers who've wronged him, Rod's voice is almost optimistic, giving his heartbreak an 'aw, shucks' feeling. Some of the songs on this album felt like a more upbeat version of the blues, and I thought it worked really well. The songs that had more of folk feel to them were really great to, especially "Only a Hobo," where Rod's sympathy and sadness perfectly permeate the mood. Musically, I loved how the strings were layered, especially the use of the mandolin. The hammond organ and piano playing were great too. For a rock album from the early seventies, this album had a really unique sound and feel to it that sets it apart from a lot of its contemporaries. My biggest complaint on this album is that "Lady Day" and "Jo's Lament" were pretty big misfires to me. They were really boring, and just didn't fit into the rest of the album in my opinion. I like a lot of Rod Stewart's music, but I really wanted to skip those songs. Overall though, this was still a really good album, but I'm looking forward to Every Picture Tells a Story a bit more. Hopefully I'll be able to review it in, oh, let's say... late September.

I’d never heard of Can until after I started this project, which is a shame, because I studied German for three years in high school, and two years in college, but I know so very little about popular German music. However, I’ve already reviewed Faust IV and Kraftwerk’s Trans Europe Express, both of which I enjoyed, so I have high expectations for this album. Overall, I thought this album was very good, and I enjoyed listening to it. The first thing I noticed on this album, was how surprised I was by the relaxed sound. There were so many things for the ear to take in, but at the same time, the arrangements felt really simple. The drumming was fantastic throughout the album, and I really liked how those rhythms were so prominent in the overall sound. Those rhythms were really precise, and I think that’s what might have contributed to the arrangements sounding simple, despite their complexity. The electronic elements on “Spray” were really great, and I loved how this song was soft yet frantic in its pacing. The bass playing on “Moonshake” was fantastic, and it really helped add a deeper layer to a sound that was already very proficient rhythmically. “Bel Air” was really good too; it felt like I was being taken on a cosmic journey during this last part of the album, and even with a twenty-minute runtime, I never got bored or felt that the song was dull. This album was really enjoyable to listen to, and I think Can were incredibly competent at how to be experimental while still creating a sound that’s pretty accessible and very pleasant to take in. This isn’t the type of album I’d normally listen to, but I appreciate the opportunity I had to branch out and listen to it.

I wasn’t terribly familiar with a lot of Elvis Costello’s music before I started this project, but this will be my fourth album of his to review (I’ve already reviewed the three albums that came before this one chronologically). I enjoyed Armed Forces and My Aim is True, but I really didn’t care for This Year’s Model. Based on what I’ve read about this album though, I’m hoping that it will be my first five-star album from Elvis Costello. While this didn’t make the five-star grade, I still enjoyed this album, and I thought it was really well made. I found the first half of the album to be pretty underwhelming, but when I got to the second half, I started to enjoy it a lot more. The songwriting was pretty brilliant across the whole album, and I liked the themes of love and relationships (very fitting for an album called Imperial Bedroom). It was a nice change from Elvis Costello’s previous albums, and I thought the lyrics here were incredibly clever. Elvis Costello is one of the artists on this list who gets a lot of hate for his voice, but I really like his singing. Neil Young and Rod Stewart tend to get a lot of hate as well, but I love their singing too. Costello’s singing is probably never going to come up in conversations about the best vocalists, but I love a distinct voice, and he fits that bill perfectly. Musically, I loved the piano and organ arrangements on this album. Imperial Bedroom had much more of a pop feel to it than previous Elvis Costello works, and I have to imagine that this album had quite the impact on the sophistipop sound that was to emerge later in the decade. There were some great string and horn arrangements on this album too, and I enjoyed the varied styles and interesting song structures. “Beyond Belief,” “Man Out of Time,” “The Loved Ones,” “Human Hands,” “Pidgin English,” “You Little Fool,” and “Town Cryer” were my favorite songs on the album. I didn’t fall in love with this album, but I think it’s objectively really good, and I would be quick to revisit it.

I've heard of John Mayall and The Bluesbreakers, but I've never listened to their music before. Back when I listened to a lot of classic rock, I had every intention of checking these guys out, but I never got around to it. Now that I vomit every time I hear the word "Clapton," I have had no desire to listen to this, but I guess there's no avoiding it now. Despite my distaste for Clapton, I'll try to give this a fair shake. I swear I tried to give this album a chance, but man, I really didn't care for this at all. This has to be the most uninspired blues album I've ever heard. Yes, the guitar playing on it is really great, but there's just no emotion in the singing, the lyrics on the songs that aren't covers are really bland, and the apart from the guitars, there's nothing much of interest happening musically (the saxophone playing on "Key To Love" is one small exception to this). The album did get a little better from "Have You Heard" through the last track, but the thing that made those last four songs a little bit better than the rest of the album was that they had some emotion to them, and they varied a little bit more in structure than the other songs. Still, the nicest thing I can say about the best songs on this album is that they weren't as bad as the rest of the songs. I swear that if I close my eyes while listening to this, I can just see the band standing on stage listlessly, while a small crowd of older dudes stand in the audience, politely applauding at the end of each song. This may have helped reacquaint people with the blues when it came out, but now, I think most people will listen to this and dream of hearing Muddy Waters instead.

Heading into this project, I was really excited that I'd get to hear some albums by bands like The Byrds, The Kinks, and Cream. There are a host of classic rock artists from the sixties and seventies whom I knew a few of their songs, but had never listened to one of their albums. I've reviewed three albums by The Byrds so far, and I've been really underwhelmed by them, so I don't have high hopes for this Gene Clark album, but I'm going into it with an open mind. Unfortunately, I didn't care for this album at all. The musical arrangements, while nice, were pretty bland. There were some nice organ parts, but that was all I really cared for. Gene Clark's vocals felt like he was trying to copy Bob Dylan's style of delivery, but it didn't work for me at all. Gene broke with that style on "Because Of You," which had the best vocals on the whole album in my opinion. I know the songwriting is supposed to be the shining star of this album, but I didn't care for that either. There was something about the structure of the lyrics that just drove me up a wall, and I felt like I couldn't make heads or tails out of the narratives of these songs. I'm really miffed as to why this album is on the list, when it's so bland and forgettable. It might be competently made, but I hardly think that criteria is enough to land an album on this list. I hate to be so critical, but this was a big miss for me.

I was watching The Grammy Awards at my parents' house some time in the late aughts, and at the end of the ceremony, Herbie Hancock won the award for Album of the Year. When he was announced as the winner my dad turned to me and asked "isn't that the guy who did the music video with all the mannequin parts back in the eighties?" And that's all I know about Herbie Hancock. I've been pretty lukewarm on most of the jazz albums I've reviewed, because I'm not super familiar with jazz, and I have no clue what to listen for, but this album sounds like it might be more aligned with my musical tastes. There's only one way to find out! Well, I really wanted to love this album, but I thought it was just fine. The blending of funk and jazz created a really unique sound, and the whole album was really interesting. The arrangements were really good, and all of the instruments and funky sounds worked really well together. The thing that made me not enjoy this album so much is that it was A LOT to take in. I'm not averse to longer songs on principal, but this album was just tough to digest because so much was happening on each song. There were parts of each song that I liked, and I enjoyed the structure of the songs, but the songs felt like they stretched themselves too thin in a sense. Still, this was an interesting album, it just wasn't my cup of tea. We'll always have "Rockit" though, Herbie.

563 albums reviewed, and now I get my first Nirvana album. I own a copy of their greatest hits on CD, and honestly, I don't remember why I bought it. I have nothing against Nirvana, but I wouldn't call myself a fan. I do like Dave Grohl though, and I went through a big Foo Fighters phase in my late teens and early twenties (his memoir is fantastic by the way). A couple of years ago, my wife and I went with my mother-in-law and sister-in-law on a trip to Ireland, and we brought along our daughter who was seven months old at the time (it was a wonderful trip, but if you're ever wondering if you should take a seven month on a trip from Texas to Ireland, I'd say proceed with caution, especially if you're going through Heathrow). As we drove across Ireland, we'd often use the version of "The Man Who Sold The World" off of this album to soothe my daughter to sleep. It didn't always work, but it worked often enough that I heard that song probably ten times a day during that trip. I recognize a few other songs on this album, and I'm very curious to hear the Meat Puppets covers, since I've already reviewed Meat Puppets II. Enough reminiscing I suppose, let's get on with the (acoustic) show. I haven't really loved any of the live albums I've reviewed so far, and I was really skeptical as to why this album has such a high average rating. After listening to it though, I get it. Out of all the live albums on this list, this is the first one that I've encountered that has a really great mood and atmosphere to it. I was really shocked how well Nirvana's music translated to an unplugged set, but everything sounded great, and it gave me a new appreciation for Kurt's songwriting abilities and and his skill at arranging music. I was really struck by the cello playing on this album too; it adds so much to the mood of the songs and really bolsters the unplugged sound. Hearing these songs in an unplugged set gave me a new appreciation for them, but "All Apologies" really takes home the crown as my favorite of the bunch. Kurt's wailing of "buried, married," contrasts so well with the acoustic sound. The covers on this album are great too, and it was a really big treat to hear Kurt sings songs by Meat Puppets. Listening to the original versions of those songs, it's incredibly evident how influential they were on Kurt as a songwriter and performer, and hearing him pay homage to them was fantastic. Using "Where Did You Sleep Last Night" as the album's closing song was a great choice. Kurt's unique touch makes this song feel like it belongs in the nineties. Knowing what we know now about Kurt's relationship with fame adds another complex layer to this album's feel. His remarks before opening the set with "About a Girl," might be seen as a dig at the audience, but I think it's more Kurt coming to grips with how far his star had risen in the last few years. I really enjoyed listening to this album, and I think it's worthy of its reputation. The sound is beautiful, and these songs all get a unique life in this acoustic set. The producers and engineers deserve some love for their work on this album too; the sound is incredibly clean, and the audience noises pop up at all the right moments. My only beef with this album is that "Lithium" isn't in the setlist (now that I think of it, "Lithium" might have been what lead me to buy their greatest hits album), but that's the gamble of live music I suppose.

I’m somewhat familiar with the song “In-A-Gadda-Da-Vida,” but I don’t think I’ve ever listened to it in its entirety, and I’ve definitely never heard any other Iron Butterfly songs. However, I’m pretty sure I have realistic expectation of this album heading into it. What better way to spend a Sunday afternoon that tripping audio balls? This album was pretty much what I expected it to be in terms of its sound: heavy organ usage and heavily distorted guitars. The first side of the album was pretty unremarkable. The arrangements were decent, and I enjoyed some of the vocal techniques utilized on “Flowers and Beads,” but lyrically, these songs were all just a bunch of sixties ‘hey girl, I love you’ songs, which I found to be pretty bland. On top of that, calling any female ‘girl’ these days tends to come with heavy implications that she’s underage, so… yeah, that’s not my favorite thing to hear. As for the title track, well, if you’re going to write a seventeen-minute-long song that’s feels like doing drugs, that’s certainly how you do it. The opening and closing organ riff are absolute perfection, and the fuzzy guitar balances it out really well. The somewhat mumbled vocals are great too, and help to create the dark and trippy atmosphere of the song. Can you imagine going over to a friend’s house, and they tell you there’s a song you have to hear, and they throw on “In-A-Gadda-Da-Vida” for you? I imagine the awkwardness in that room would be so present, that you could cut it with a knife. It’s still a great song, but that’s not a journey I’m itching to go on several times. I can appreciate the influence and importance of this album, but for me, the title track is easily the main attraction. Still, the album as a whole isn’t that impressive to me, and that’s why it’s getting a lower rating.

This will be my second Captain Beefheart album to review after... well, you know. I certainly didn't love Trout Mask Replica, but I can respect the work that went into making something so ridiculously avant garde that people quit listening to it thirty seconds into it. It seems like this album is a lot more accessible than Trout Mask Replica, so I'm interested to see what this has in store. I'm not wild about this album, but I did enjoy the blues-y garage rock sound. Those two elements came together really well to form something new and unique, but still accessible. I don't particularly care for the vocals on this album either, but they never got to the point of where they completely derailed my experience. Like Trout Mask, this album has an air of controlled chaos about it as well; the sound isn't exactly jarring, but there's a certain uneasiness that I felt in listening to this, yet it's evident that Don and Herb did everything with intent and purpose. I'm really glad I got to listen to Trout Mask first, because this album foreshadows what wast to come on Trout Mask. I don't know that any particular song stood out to me on this album, because each song really had something to offer me in one way or another. I don't know that I'd be quick to return to this album, but I can appreciate how it pushed the envelope for rock music.

Ah, come on man. I had to listen to John Mayall's Bluesbreakers last week, and now I'm starting off this week with a Clapton solo effort? At least I think this will be my last album that has Clapton on it. I'll be forthcoming and admit that I can't stand Clapton the person, but like Bluesbreakers last week, I'll do my best to give the king of dad-rock xenophobes a fair shake on this album. Uggggggghhhhhh, I enjoyed this album, and I absolutely hate that I enjoyed it. I expected to at least enjoy the guitar playing, which I did, but it didn't steal the spotlight from the musical arrangements as a whole. I really enjoyed the organ playing throughout the album, and I liked that a lot of the album was slower and had a more tender feel to it. This album doesn't really showcase Clapton's ability to pluck away on the guitar, but it does show his talents at arranging music, and his ability to perform songs in a thoughtful way. Yvonne Elliman's co-lead vocals on "Get Ready" and her backing vocals elsewhere on the album were really great too. "Let It Grow" was easily the best original contribution from Clapton, but "Get Ready" was no slouch either. As far as the covers go, I think I'd have to pick "Mainline Florida" as my favorite. I can't stand the singing on "I Shot The Sheriff," but I do like the organ playing, and while I liked the arrangements on "Motherless Children," I think the upbeat tone is wildly inappropriate for a song of such heavy themes that was based on a lived experience by the original songwriter. That was certainly a choice. Still, this was a good album, and it felt like it had a lot more originality and feeling in it than the other Clapton involved blues albums I've reviewed.

I've never heard of Django Django before, but I was big into indie rock when this came out, so I'm not sure how I missed it, especially since it was on the Rolling Stone list of best albums for 2012. Regardless, I'm heading into this album blind, and I have absolutely no expectations for what I'm about to hear. Wow, I'm really impressed by this album. It's not really my jam, but I think Django Django has an incredibly unique sound, and it's an objectively good album. This album did a great job of taking things that are opposites and blending them together. I liked how the acoustic and digital elements were blended together in a way that was really smooth and seamless; sometimes sounds like that can be chaotic or muddled, but this album really avoided it. Also, this album seemed to draw on both western and eastern influences in terms of the arrangements, and the band managed to blend those together really well. The whole album was really interesting and full of diverse tracks, but every song felt well connected to the overall sound of the album. I didn't find any particular part of the album to be stronger than any other part, and I was really impressed by that balance. While this album really isn't the sort of thing I'd listen to again, I can definitely see why it got so much praise from critics, and why it has so many fans in the user reviews. At a time when the Indie scene was particularly crowded, this album stands out as a unique entry in the genre.

Before starting this project, the only album by Nick Cave that I had listened to was Ghosteen, which I really enjoyed. I gave Ghosteen five stars when I reviewed it, and the other two Nick Cave albums have gotten three stars from me. I'm interested to give this fourth album from Nick a listen and see what it has in store. I thought this album was really good, and while it wasn't better than Ghosteen, I thought it eclipsed The Boatman's Call and Abattoir Blues/The Lyre of Orpheus. This album started off really strong with "Papa Won't Leave You Henry." I loved the thundering backing vocals, the guitar arrangements, and the way the song started off slowly before kicking off with frantic percussion and an eerie violin arrangement. "I Had a Dream, Joe" kept the energy high, and I enjoyed the organ playing that kept the haunting sound established on the first song. The album was really well paced with some slower ballads and up-tempo songs as well. I enjoyed hearing something from Nick Cave that was based in more traditional rock sounds that relied on a lot of guitar playing, and I thought the arrangements were all really well done. The whole album had a great haunting atmosphere to it, which melded really well with Nick Cave's usual vivid and cryptic lyrics. Nick typically does such an excellent job controlling the mood of his music with his words and the tone of his vocals, and this album was no exception to that. This album isn't really something that I'd come back to, but I still thought it was incredibly well made, and it's another example of Nick Cave's ability to create great music.

I have been less than impressed with the works by The Byrds that I have reviewed so far (this will be my third, and I was also not a fan of Gene Clark's White Light), so I don't have high expectations for this album. But hey, it's less than thirty minutes long, so that's a plus! Let's get into it. This album wound up being much better than I anticipated. The sound drew upon a wide variety of influences, but the album still felt really cohesive. The blending of folk, psychedelic, and country elements created a unique sound that really set The Byrds apart from other artists of the sixties. I enjoyed this album the most when it was getting experimental and weird, like on "C.T.A.-102." The guitar playing was fantastic throughout the album, and there were some really good vocals too. I liked the second half of the album better than the first half; the guitars on "Thoughts and Words" created a really great sound, and the song went back and forth from a traditional sixties rock sound to something more experimental. "My Back Pages" was one of the best songs on the album too, and I really loved the vocals on the chorus. This was a really good album, and it definitely gives me more of an appreciation for The Byrds than their other albums that I've reviewed. The uniqueness of the sound and the guitar playing really set this album apart from other artists' experimental work at the same time.

Like death and taxes, Ella Fitzgerald’s The Gershwin Songbook awaits us all. I don’t think I’ve ever listened to any of Ella Fitzgerald’s work before, and I honestly don’t know much about her (oops, I do know her version of “What Are You Doing New Year’s Eve.” My wife and I got married in December of 2020, and we were planning on having that as our first dance at our reception, but COVID dashed our reception plans, so I played it and we danced to it on our first New Year’s Eve together as a married couple). As far as the Gershwin’s go, I’m familiar with “Summertime” from Porgy and Bess, but I think that’s it. When I found out about this album, I’d decided that I was going to listen to the whole thing, and not an abridged version. I won’t have time to listen to it all in one go, so my review is going to be broken up into sections by disc, as they’re separated on Spotify. I’m just going to list a few bullet points for each disc, and then have an overall summary at the end. Disc 1 -The vocals are great, and the orchestra playing is incredibly rich. The balance between her voice and the arrangements is fantastic, no one is upstaging the other. -It turns out I know “Let’s Call the Whole Thing Off.” I love the way she sings this. It’s playful, but sophisticated. -The strings on “Oh, Lady Be Good” are fantastic, just beautifully arranged. -“Things Are Looking Up” was a lot of fun. The horns are great, and the band hits those loud notes at the perfect time. -I wanted to hate “Just Another Rhumba” because when it started off, it was really jarring because of how different it sounded from the other songs, but it was actually really good. -So far, I’m really digging this. I’m plugging away on some tasks at work and pounding coffee. My will to live is currently very high. Disc 2 -Alright, I took care of the aftereffects of my coffee, had lunch, made some phone calls, and now I’m back at it. -Three songs into this second disc, and while the singing is still great, it feels like the arrangements aren’t as rich on these songs so far, and it’s a touch boring. -“By Strauss” broke up the monotony of the first three songs a bit. I love how clearly Ella sings, and her precision on her pronunciation. -Oh wow, “The Real American Folk Song” is great. I love how this song starts off like the rest of these songs, and then goes full-tilt into a ragtime sound. I was completely caught off-guard by that shift. -“They All Laughed” is great, those Gershwins sure know how to write a song. -I didn’t enjoy this disc as much as disc 1. I don’t think it was a drop off in quality, but a lot of the songs were pretty similar in terms of sound and lyrical content. My will to live is still high, but that’s enough for today. Disc 3 -Alright, it’s been almost a week, and I’m getting back on this train. -After the first four songs, I’m not really wowed, and while these songs are nice, there’s not really much going on yet, and all the songs are pretty much the same in tone and overall sound. -The lyrics of “Boy Wanted” were fun and clever. -My final assessment of disc 3 is that it’s pretty bland. The singing and orchestra are still great, but not much here stood out to me. My will to live is still high, and I’m soldiering on to disc 4. Disc 4 -This disc is off to a much better start. It might just be me, but these songs feel a lot jazzier than the previous disc. -The lyrics on “Love Is Sweeping the Country” and “Treat Me Rough” are great. I love that there’s a little bit of innuendo to both of them. -Oh wow, “Love Is Here To Stay” is great. I love the singing here, and they lyrics are really good too. -“Slap That Bass” was kind of a letdown. The bass part was good, but I expected something a little more upbeat and higher tempo. -“Shall We Dance?” and “Love Walked In” somewhat made up for my disappointment on “Slap That Bass.” -Not a strong finish to this disc, but overall, it was more enjoyable than discs 2 and 3. I think this is a good stopping point, and maybe I can finish this bad boy up tomorrow. The will to live is still strong. Disc 5 -It’s now officially a week since I was assigned this album, and I’m going to try to wrap it up today. We’ll see if I succeed. -I really like the orchestra playing on “They Can’t Take That Away from Me.” Beautifully arranged. -I like the songwriting on this disc. The Gershwins are incredibly clever when it comes to their lyrics. The tempo of Ella’s singing is great, there’s pauses in all the right places. -Things kind of fell off from “Lorelei” to “Let’s Kiss and Make Up.” It’s not bad, but it’s just kind of bland and sounds a lot like the rest of the album. -I had really high hopes for “I Got Rhythm,” but it was just okay. -This disc was fine overall. It started off strong, and then petered out a bit. My will to live is still high, and I’m going to move on to the last disc. Disc 6 -Oh, this is just a few instrumentals. This is a nice little way to end this album. Overall Well, I managed to listen to all of this in a week, and I think that’s a pretty decent accomplishment. It was tough not to burn myself out on this album. It’s really good, but it’s the sort of thing I’d prefer to listen to while kicking it around the house. This album reminds me of things that my wife loves, like old movies, and in a way, it makes me want to slow down life for a bit, to appreciate the simple things. I think it’s really cool that Ella Fitzgerald recorded all of this, and that all of these songs exist in one place like this. I don’t know that it necessarily belongs on this list, since it’s a compilation, but it is a cool badge of honor to say that I’ve listened to it. The orchestra and Ella’s singing are both really great, and this was a nice listen.

I've never heard of Shuggie Otis before, but this sounds like an interesting album, and it should make for some good Saturday afternoon listening while my kids nap. Well, this album would be more suited for my nap than my kids' naptime. Reading about this album, I was impressed Shuggie's resumé, and the fact that he did so much of the work that went into this album (I love that fact about the first Foo Fighters' album as well. I guess Dave Grohl had more time for quality music when he wasn't busy impregnating women half his age). But while the concept is great, the execution just wasn't that interesting to me. Shuggie clearly knows how to craft good musical arrangements, but musically, this album just didn't go anywhere interesting or unique. I kept waiting to hear something new and exciting, but this album felt like it could have just faded into obscurity amongst all the other soft rock that was being put out in the seventies. Only one song really stood out to me, "Aht Uh Mi Hed," because it was the only song where Shuggie did something unique. I loved the bass and rhythm forward sound, and things were rounded out nicely by some sparse guitar playing, some nice organ sounds, and some really great woodwinds and horns. The atmosphere of this song felt dense and dark, even with the flute and horns. This album wasn't bad, but I found it pretty bland, and it's not the sort of things I'd seek out again.

Raw Power was one of several albums I bought when I first heard about the 1001 albums book. I was already familiar with "Search and Destroy," so I figured I'd check out the rest of the album. I remember feeling pretty lukewarm towards this album, and I think I've only listened to it in its entirety one time. I liked Fun House, and really loved Iggy Pop's solo effort Lust For Life, so I'm excited to revisit this album, now that I have more music knowledge under my belt. Well, I really wanted to have more love for this album while listening to it today, but that sadly wasn't the case. I think this is a good album, and it's certainly influential, but I still feel pretty lukewarm towards it in terms of my personal enjoyment. I do like the overall sound of the album (I listened to both the Iggy and David Bowie versions, but since Bowie's version is what I understand to be the only version that was available upon its release), and I especially like how you can hear the early beginnings of punk rock in how the sound was structured. The guitar work on this album is great; I loved how fuzzy and distorted the guitars sounded, but you can still make out the notes and chord progressions really easily. As much as I'm not wild about the album as a whole, "Search and Destroy" is a masterpiece. I love Iggy Pop's vocals, the intro and outro guitar solos, and the chaotic drumming. Overall, while this album isn't really my jam, I appreciate its influence and the overall sound of it. Part of me wonders though, if I had reviewed this before Fun House, would I have enjoyed this album more and Fun House less? I know there's not exactly a ton of Iggy Pop on this list, but six total albums representing his music might be a bit too much for me to appreciate.

I don't think I've ever heard of N.E.R.D. before, but I'm familiar with Pharrell's production work. This sounds like it could be an interesting album, so I'm excited to jump into it. This album was a pleasant surprise. I didn't listen to a lot of current music when this came out, and this isn't the type of thing I'd gravitate towards today, so I was shocked that I enjoyed this. I think Pharrell is an excellent producer, and his skills were on display here. This album had a really unique style, and the deeper I got into the album, the more I enjoyed it. I wasn't a big fan of the lyrics, but musically, the songs were really catchy, and I never found myself getting bored with it. This isn't the type of album that I'd probably go back to, but I appreciate its unique sound and the quality of the production work.

Ah, The Score, an album I've listened to a handful of times. This album came out when I was in fifth grade, and I remember "Killing Me Softly" being a massive hit. I wasn't really allowed to listen to hip hop when I was a kid, but "Killing Me Softly" was so massive that it got plenty of airplay on the local top 40 station that wasn't barred in our household. I know I listened to this within the last year at some point, but I'm excited to fire it back up today. The Score isn't one of my favorite albums, but I still think it's really good. The lyrics are great (I love all of the references to politicians and pop culture figures), the vocals are fantastic, and the production is out of this world (I would expect nothing less from Lauryn Hill). "Ready Or Not" and "Killing Me Softly" stand head and shoulders above the rest of the album, but the other songs are good too. This album does an excellent job at showcasing hip hop as an art that's just as serious and beautiful as other forms of popular music. Where this album gets weighed down is its pacing. I know skits are a part of hip hop music, but the ones on this album just slow things down to a snail's pace, and I found it difficult to get back into the album after the skits. This album is great because of the music and its dark atmosphere, but the skits bring both of those to a screeching halt. Some of the songs are a tad long as well, and a couple of songs felt a little unnecessary to me, particularly "Cowboys." Still, this album is really good, and it showcases the collaborative talents of Hill, Jean, and Pras. The Score is an achievement, but there are other hip hop albums from the era that I'd rather listen to.

I've seen this album's cover on the list challenges page where I log the albums I've listened to, and this cover was so intriguing that I had to pull up the Wikipedia page for the album. I read that it was an electronic/ambient album, and since then, I've been really excited to get to review this album. I'm hoping it can live up to the lofty expectations that I've set for it! Unfortunately, this album didn't live up to the expectations I had for it, and that's on me for building up anticipation for it for probably over a year. Oops. Even though this album wasn't a five-star album for me, I really enjoyed it, and it was great to listen to for the impact and influence its had on popular music. I really love synth pop music, and I imagine that if it weren't for this album, some of my favorite pieces of music may not exist. Each song felt like its own little journey, and those little journeys added up to a pilgrimage through electronic music. This album was beautiful, and after listening to it twice today, I think it's worthy of even more repeat listens. My biggest beef with it is that it left me wanting more elements to be present to the overall sound, and at more than a few occasions, some of it felt like background music. This was still a great album though, and I'm glad I finally got to check it off of my list.

Ah, Chvrches! I had no idea this album was included in one of the more recent editions of the book until I saw it listed on the List Challenges page. I've had a healthy obsession with Chvrches since I first heard the sweet synth notes of "Recover" on an Austin radio station back in 2013. I bought a copy of this album on preorder, and I own a copy of the 10th anniversary edition as well. I've gotten to see Chvrches live twice, and I've gotten to meet the band on both of those occasions (they're wonderful people). I've easily listened to this album more than any other album, and once I'm done with this list, I imagine that this will be what I list as my favorite album. Like I said, it's a healthy obsession. Now that the details are out of the way, let's jump into the music! Those opening 'oh-oh-oh's' of "The Mother We Share" are absolute perfection. You know right away what this album is going to be, and the rest of the album makes good on delivering on that promise of beautiful synth arrangements and perfect drum machines. I went on a solo trip to Germany in October of 2013, and I would listen to this album every day while I was there. Listening to this song reminds me of the crisp autumn air on my face as I walked to the train station every morning. "We Sink" is a perfect follow up to the opening track. The synths are a little bit deeper in tone, but they pulse at a pace that keeps the momentum going. "Gun" slows things down a bit and allows Lauren Mayberry to be in the driver's seat for the emotional tone. I love that amongst all the brightness of the synthesizers, songs like "Gun" can still pack a punch. I love how "Tether" starts off as one of the more stripped-down songs on the album, but the crescendo it builds to is perfect. Knowing that the blistering synthesizers are coming makes the song even better on repeat listens. "Lies" is probably one of my least favorite songs on the album, but I still love it. To me, it's a great bridge between the first four songs on the album and "Under the Tide." "Under the Tide" is the most underrated song on the album in my opinion. One of two songs on the album where Lauren Mayberry doesn't sing lead vocals, Martin Doherty gets to take over, and he crushes it. Another song that builds to an epic crescendo, "Under the Tide" is the perfect lead-in to "Recover," one of the strongest tracks on the album. I don't know what it is about "Recover" that I love so much. Yes, it was my first exposure to Chvrches and their brand of synth pop perfection, but it still holds its magic for me, over eleven years after I first heard it. I think it's something in the pacing of the song that draws me in. The song never really builds to a peak, but somehow, the anticipation of some sort of peak is there, waiting to be uncovered. I think "Recover" always makes me want to listen to more Chvrches, and that's what I love about it. "Night Sky" and "Science/Visions" are a shift away from the brighter tones of "Recover," but nothing about that shift feels unnatural or forced. "Lungs" shifts back to the brighter sound, and features some of my favorite drum machine parts on the album. The rhythm of the drums matches the pacing of the vocals perfectly, and that pacing is perfect for the lyrics of this song too. "By the Throat" and "You Caught the Light" are great closing tracks, letting the album flex its emotional muscles, instead of hitting with more blissful synth sounds. To me, it's perfectly fitting that the album closes with these two tracks, because while this album has so many great synth pop sounds, the emotion and the lyrics are great too. I love this album so much, and I'm so glad I got to write about it today. If you somehow made it to the end of this review, and you like Chvrches, I highly recommend their second album, Every Open Eye, and their most recent album, Screen Violence. Listening to Chvrches always makes my day better, and I'm so glad that this wonderful trio has shared their talents with the world.

I've never heard of Mekons before, but this is an interesting album cover. The description of this album on Wikipedia makes it sound interesting, but the user reviews sound like it's a bit of a dud. I guess I'll have to listen to it and see what this is all about! Well, I think that this album was fine overall. The historical context that led Mekons to write this album is certainly interesting, but the execution of this idea fell a little flat to me on the first half of the album. The vocals were pretty rough throughout the whole album, but the music on the second half of the album does a good job of covering that up. I found the first half of the album pretty boring overall, even when I'm not considering the vocals. This album had a very English feel to it that I liked, and the album felt really cohesive. Even though I felt pretty lukewarm towards this album, I wouldn't mind checking it out again. It's different in its sound, and as an American, I think it contains some really interesting social and political commentary on English life in the eighties.

I'm not familiar with KLF, or electronica music for that matter. I tend to like music with electronic elements though, so this should be right up my alley. This album was a lot of fun. When I was a kid, I loved any eighties music with synthesizers and keyboards, and while this wasn't the same thing, it made heavy usage of musical elements that I tend to love, but in a new way. I've been reading a lot of music nonfiction this year, and the Britpop book I'm currently working on talked about acid house music and how it led to Britpop, so I really enjoyed hearing this album and getting to appreciate its place in music history. My favorite part of the album was "Church of the KLF" and "Last Train to Trancentral." Both of these songs felt like they relied heavily on eighties sounds, and I loved their energy. "Church of the KLF" used some elements that sounded like a church organ, and certain parts of it reminded me of "Silent Running" by Mike + The Mechanics, which I really loved. I liked the first half of the album more than the second half, mostly because I liked the more intense and chaotic songs on this album better than the slower ones. The slower songs weren't bad, but they just left me wanting more. Overall though, this was a really good album, and I enjoyed listening to it.

Ah, The The! Several years ago, I bought a copy of Soul Mining because of the 1001 Albums book. I'm pretty sure I only listened to it once and didn't love it, so I've never checked out any of the band's other work. I don't have particularly high hopes that I'll enjoy this album, but I'm excited for the chance to check these guys out again. This was a really pleasant surprise. Musically, this album was great. I really enjoyed the guitar playing, the string arrangements, the horns, and the percussion. The guitar playing on the title track reminded me of some of the elements on Neneh Cherry’s “Buffalo Stance,” and low and behold, Neneh Cherry did the backing vocals on “Slow Train To Dawn.” “Out Of The Blue” had some really great synthesizers, and they sounded great with the horn playing. The ebb and flow to the energy of this album was really great too, and I felt like the whole album flowed really well and was very consistent. The best part of this album though was the songwriting. I loved the social and political commentary of these songs, especially on “Heartland.” Every song fit really well into the theme of ‘Infected’ as it pertains to the ills of society. Matt Johnson delivered his vocals in such a way that the message of this album didn’t feel forced or disingenuous. While I enjoyed this album, it’s not the type of thing that I typically gravitate towards. I’m giving it four stars, but it’s easily one of the strongest four-star ratings that I’ve given out. I’m really looking forward to revisiting Soul Mining soon.

Oh man, this will be my last Black Sabbath album to review. I was really surprised by how much I loved their self-titled album and Paranoid, which both got five stars from me. I have pretty high expectations for Vol. 4 as well, so let's get this Metal Monday started! I thought Vol. 4 was a bit of a step down from the other Black Sabbath albums I've reviewed, but it was still really good. It seemed to me that this album had a bit more emphasis on rhythms that the previous Sabbath albums, and that made it really fun to groove to as I listened to it. Really fun to groove to. This album felt more like a traditional hard rock album than a heavy metal album, and while Sabbath excels at any hard rock, I think they're at their best when they're darker and more chaotic. Despite that, I really enjoyed "Changes," because I think it shows the band's talent and range as musicians and songwriters. "Laguna Sunrise" fell into the same boat, as far as being really different that the other songs on the album, and while it was good, I liked "Changes" better. On the other Sabbath albums I've reviewed, I really loved the drumming, but on Vol.4, "Supernaut" was really the only one that stood out to me when it came to the drumming. The additional percussion elements used on "Supernaut" were great too. One of the other miscues for me on Vol. 4 is that the more traditional metal songs (like "Cornucopia" and "Wheels of Confusion") just didn't have that special 'Sabbath touch' like their other songs typically do. Overall, this was a really good album, it just fell a little short with me.

A couple of months ago, I reviewed Van Morrison's It's Too Late To Stop Now. I was only familiar with a couple of his songs, neither of which were on that album. I really didn't care for It's Too Late To Stop Now, and that experience has really lowered my expectations for this album. I'll do my best to give this a fair shot, with hopes that my low expectations will be dashed. Thankfully, I enjoyed this album significantly more than It's Too Late To Stop Now. This album was beautiful from start to finish, a wonderful combination of the best elements of folk music from America and The UK. The string arrangements on this album were fantastic from start to finish, and they brought a lot of life to this album. Van Morrison has such a unique voice, and I really enjoyed hearing him sing some songs that I'm not familiar with. There's a really cohesive atmosphere throughout the album, and the music matches the dreamlike lyrics really well. The use of so much figurative language leaves this album open to a lot of interpretation, and in my opinion, that makes it worthy of multiple re-listens. As for my favorite song on the album, it's a tough call for me, between "Sweet Thing" and "Cyprus Avenue." They both have some of my favorite string playing on the album, and they're both really beautiful to listen to. I really love how he stutters when he sings 'my tongue gets tied every time I try to speak' on "Cyprus Avenue." I think that line really showcases Van Morrison's attention to detail. My only gripe with this album is that quite a few songs overstay their welcome quite a bit, especially the ones with the repetitive vocals, like "Beside You." Oddly enough though, I thought the two shortest songs were the weakest ones on the album. Even though this isn't the sort of thing that I typically gravitate towards, I thought it was beautiful to listen to, and featured some really great songwriting. I hope that I'm going to enjoy Moondance as much as or more than I enjoyed Astral Weeks.

Wow, it's been almost 300 albums since I've had anything by The Beatles. My last album of theirs to review was Sgt. Pepper's at number 298, and here I am on the cusp of 600. I don't think I've ever listened to this album from start to finish before, but I'm familiar with a few songs on here. I remember my professor for history of rock and roll spending a lot of time talking about this album and its influences, so I'm excited to jump into this. I went into this album with really high hopes. Rubber Soul is regarded as a turning point in The Beatles’ career; a moment when they really began to push the boundaries of what pop music and mainstream rock and roll could be. I can see how this album earned that reputation, but to me, it’s just a good pop and rock record. Rubber Soul still has plenty of the building blocks that The Beatles are known for: great guitar playing, tight drumming, excellent vocal harmonies, and George Martin’s fantastic production work. For a splash of new, there’s sitar playing on several songs, an excellent harpsichord part on the fantastic “In My Life,” and fuzzy bass lines. There’s nothing on this album that really stands out as a single, and while that shows how the band put the same attention and dedication into every song, the end result is something that can be a tad bland sometimes. I wasn’t wowed by the songwriting on this album, and it feels that the band took themselves too seriously on this effort. The French singing on Michelle came across as pretentious, and other than the goofy “Drive My Car”, Rubber Soul just wasn’t that fun. I appreciate what Rubber Soul means to The Beatles’ career and popular music, but I wasn’t wowed by it.

I can't remember if I'd heard of The Stone Roses and this album before I started this project, but I know that since starting this, I've heard a lot of praise for this album. Several months ago, I was looking for something to listen to, and decided to check this out. I was immediately blown away by this album, and I was kicking myself that I had never listened to it before. I fired it back up on a drive home from work a few weeks ago, and I'm certainly not opposed to listening to it again today. This album is fantastic from start to finish. The guitars are bright and shimmering in tone, and the drumming compliments the sound incredibly well. Ian Brown's vocals are great, and he and John Squire's songwriting is excellent as well. The guitar playing on this album has glimpses of shoegaze, but the overall sound of the album is incredibly unique, serving almost as a halfway point between The Smiths and Britpop. The band uses a lot of elements from eighties music, but they use them in ways that are completely new and novel. "Waterfall" and its brilliantly backwards counterpart "Don't Stop" are my favorite part of the album, but other than that, there's nothing that really stands out to me on this album, because the whole thing is just perfect from start to finish. This album is delightful to listen to, and this will certainly not be the last time that I listen to it.

Document is the only R.E.M. LP that I own, but it's been a hot minute since I've listened to all of it from start to finish. I've already reviewed Murmur (meh) and Green (loved it), so I'm excited to hit up my third R.E.M. album for this project. I wanted to really love this album, and while I think it's really good, it fell a little short of five stars for me. Document starts off with the criminally underrated "Finest Worksong," a stirring rock anthem that sets the tone for the album's themes of resistance, individual empowerment, and political corruption. "Welcome to the Occupation" slows things down a bit musically, but "Exhuming McCarthy" shifts back to a more upbeat song, with lyrics blisteringly critical of Reagan era politics set to a jangly pop rock sound that's almost impossible to not to tap your foot along too. Side 1 ends with one of the band's most well-known (and in my opinion, one of their best) songs, "It's The End of The World As We Know It." I love the opening drum blast, and the blistering pace of Michael Stipe's vocals make this one of the best rock songs of the decade. Bill Berry's backing vocals of "it's time I had some time alone" are absolutely perfect, and his vocal presence is a huge boon to the whole album. "The One I Love" is not one of my favorite R.E.M. songs, but it's a solid ballad, despite feeling a little out of place on this album. The rest of side 2 is good, and while I always enjoy R.E.M.'s music, there's not a lot on side 2 that I really love. I think it's objectively good (excellent songwriting, great guitars, and solid drumming), but it's just not something I really enjoy listening to, especially when you take all of R.E.M.'s catalog into consideration. This is a really good album, but it falls a bit short of greatness with me.

I’ve reviewed the two albums by Frank Sinatra, and I enjoyed both of them, but I’m not familiar with Francis Albert Sinatra. Must be a fancy cousin of Frank’s. This album was interesting and different, but I’d say it was only fine. The first three songs were the best part of the album, and I enjoyed hearing Frank Sinatra sing along to some Bossa nova songs. After that though, most of the album sounded pretty much the same to me. The orchestra sounded great, and I enjoy Sinatra’s singing, but the novelty wore off on this album pretty quickly. “Change Partners” was probably my favorite song on the album. The lyrics were really clever, and Sinatra does really well when he’s singing a song that lends itself more towards storytelling and narration. I wouldn’t mind having this on during a lazy Saturday morning around the house, but it’s not the sort of thing I’d seek out often.

I’d never heard of Billy Bragg until I started this project. However, one of my first several albums to review was his collaboration with Wilco on Mermaid Avenue, which I absolutely loved (and have been meaning to revisit). I’ve been reading quite a bit of music nonfiction this year, and through that, I’ve learned a bit more about Billy Bragg. From what I’ve read, he seems like a really awesome guy: hated Thatcher, loves unions, stands against racism, etc. I’m really excited to check out this album and see what it’s like. Lyrically, this album was exactly what I thought it would be, but it also far exceeded my expectations. The political tone of the lyrics was exactly what I expected, but they still packed an incredible punch. “Ideology” was really great, and I loved how Bragg criticized the British government for only furthering their own interests instead of serving the people they’re supposed to represent. The lyrics of “There Is Power in a Union” were incredibly stirring, and this pro-union song is the perfect anthem for British workers in the eighties. “Help Save the Youth of America” was probably my favorite song on the album lyrically, especially the lines ‘And the cities of Europe have burned before, and they may yet burn again. And if they do I hope you understand that Washington will burn with them’ in the closing verse. As we see the rise of far-right politics around the world, this closing was incredibly haunting. “The Home Front” was great too, and I thought its theme of the passing of generations was the perfect way to close the album. I really loved this album from a musical standpoint as well. Johnny Marr’s guitar playing on “Greetings to the New Brunette” was fantastic, as was his appearance on “The Passion.” The trumpet and flugelhorn arrangements that were used on several songs as well, especially on “The Home Front.” The music definitely had a distinct feel of the eighties, but it never made the album feel dated, nor did it take away from the message. I really enjoyed Billy Bragg’s vocals as well. His voice is so distinct, and I’m glad he kept his English dialect, as it helped create an authentic feel for this album. Kristy MacColl’s backing vocals were really good too, and I was happy to see that she was featured on this album. This album was really great, and I felt like I got a lot out of listening to it. I wouldn’t say that I enjoyed it necessarily, due to themes discussed on it, but it felt like an important part of history. I know Billy Bragg has been incredibly influential to the intersection of art and politics, and it was really interesting to listen to an album from an artist and a political landscape that I’ve read a lot about recently. I don’t know that I’d be quick to listen to this again since it’s not a particularly fun album, but I thought it was really great and noteworthy.

I'm assuming that like most people taking part in completing this list, the only Soft Cell song I know is their version of "Tainted Love," which I personally thank is fantastic (although I prefer the 12" single version, but whatever). I'm really not sure what to expect from the rest of this album though. I think I'll either love it or hate it, and I'd be really surprised if it winds up somewhere in the middle for me. What better way to start a Monday morning than with a trip to the non-stop erotic cabaret? After the lead-off track "Frustration," I figured I'd probably hate this album. The vocals were awful, and I didn't care for the deep synthesizer horn sounds layered with the higher synthesizer sounds that sounded like a xylophone. The saxophone playing later on in the song wasn't much better either. But the aforementioned "Tainted Love" cover is great, and Soft Cell did a fantastic job with the synthesizer arrangements on this song. It feels incredibly unique, and I love the dark, grimy tone that the song has been given in this iteration. "Seedy Films," was great too, and I enjoyed that it didn't rely on the same sounds as the first two tracks. The rest of side 1 was really good too, and while the tone and sleaze of the lyrics stayed the same, none of the songs sounded the same. Choices were certainly made on "Sex Dwarf," but the continuation of the theme is great. Side 1 also featured some great segues, which I really love to see, especially on a synth-pop record. With the exception of "Say Hello, Wave Goodbye," I really didn't care much for side 2 of this album. Musically, the tone shifted to be much brighter, which really took away from the dark and erotic tone that had been established on side 1. The tempo felt chaotic, and the sound was dominated by higher pitches. I thought the vocals on side 2 were overall better, but I really didn't care for the backing vocals on "Chips On My Shoulder." Lyrically, the tone didn't change much, but the lyrics didn't pack the same punch with the shift in sound. However, the closing track was great, and I loved the orchestral synthesizer sounds of the chorus. Overall, this album was fine. The strength of side 1 made this worth listening to, but other than "Tainted Love," I don't know that I'd come back to it.

I know that Fishbone is ska/reggae music, but I've never listened to them before. I think I remember hearing or reading that they influenced Sublime (ugh) quite a bit, so I think that gives me a good idea of what to expect on this album. Let's get to it! I enjoyed this album a lot more than I thought I would. I expected this album to be a straightforward ska album, and while ska and reggae are the foundations that this album was built on, the overall sound didn't really fit neatly into any box, and in my opinion, the album is better for it. I was really hooked when this album kicked off with a cover of “Freddie’s Dead” from Super Fly. The hard rock guitars really reminded me of Living Color, and they created a sound that went well with the lyrical themes of the song. “Ma and Pa” was a bit more in line with what I expected from this album, with a sound more rooted in ska and reggae. The lyrics were great, I loved the fun beat and the keyboard riff in the chorus. “Question of Life” was really good too, and I loved its fun and funky sound. I was really hooked from these first three tracks, but “Pouring Rain” knocked the album off its rhythm in my opinion. It’s not a bad song, but its slower tempo felt pretty jarring after the first three songs. “Deep Inside” returned the album back to the sound that was established earlier in the album, and kicked off another run of fun and upbeat songs. From “One Day” to the end of the album, the songwriting took a more serious tone, as the album covered topics of racial violence and struggles of urban life. I’ve seen Do The Right Thing before, but I was completely unfamiliar with the attack on Michael Griffith until I listened to “Slow Bus Movin’.” I thought these songs did a great job of addressing these social issues, and the band’s upbeat sound brought a ‘you-attract-more-flies-with-honey’ approach to discussing these issues, and I think their method worked really well. This album was a pleasant surprise for me, and I thought the overall sound was really unique, and gave the band a great avenue for bringing social and political issues of the late eighties to life.

I reviewed Modern Life Is Rubbish earlier this year, and I enjoyed it quite a bit. Outside of "Song 2," I had never heard any of Blur's music before starting this project, so I'm heading into their discography pretty blind. I've heard good things about this album though, so I'm hoping I'll enjoy it as much as or more than Modern Life Is Rubbish. Well, the verdict is in, and I didn't care for Parklife very much. I appreciate the theme of everyday life that binds these songs together, but to me, the end result was pretty dull (maybe that's the point of this album). The songwriting was fine, but outside of the unifying theme, it didn't really do much for me. Musically, there wasn't much that I enjoyed either. I didn't care for a majority of the songs, and the few songs that didn't fall into that category, were fairly middle of the road. I didn't care for the musical styles that were used on this album either. On first listen, I really hated "Girls & Boys" (it eventually grew on me a little), but the synthesizer really stood out like a sore thumb from the rest of the album. There weren't really any hooks, melodies, or rhythms that I liked, so I found myself just trudging through this album, and it was a long trudge. Parklife might be critically acclaimed, but it's a miss in my book.

I’ve never heard of Orbital before, but I’ve enjoyed a lot of the electronica music that I’ve reviewed so far, so I expect I’ll probably enjoy this album too. I enjoyed this album quite a bit, and it’s definitely in the upper tier of electronica albums I’ve listened to, especially from the nineties. I was a bit daunted by this album’s run time when I was reading about it, but the 75 minutes that I spent listening to it really flew by. The music was really varied, and I liked all of the elements that went into it. A few notes on some specific songs I liked: -The flame noises at the end of “Forever” were really cool, and they went along perfectly with the speech about condemnation. -“I Wish I Had Duck Feet” reminded me of Crystal Castles (I love their music, don’t like Ethan Kath), with the vibrating effect that they used on the vocals (I think “Magic Spells” is the song it reminded me of) -“Science Friction” was probably my favorite song on the album. I loved the lighter musical tones that were used. -I loved the piano on "Kein Trink Wasser,” it added a really great eighties vibe to the overall sound. -Even though it was the shortest part of the album, "Quality Seconds" was awesome, with its heavy rock sound This was a really good album overall. It’s not something I’d listen to every day, but I’ll definitely come back to it at some point.

I reviewed Happy Sad a little over a year ago, and I wasn't wowed by it, but I didn't hate it either. I'm curious if I'll like this album more. I really enjoyed listening to this album, and I thought it was a lot better than Happy Sad. This album had a serious tone to the lyrics and the music, and that seriousness gave this album a sense of authenticity that I think is hard to find in a lot of folk music. There's something ominous in the serious songs on this album, and it works really well, no matter what the topic of the song is. This album showcases Tim Buckley's vocal capabilities really well. His voice doesn't really stand out to me, but I found his singing on this album to be fantastic. His control over his vocals allowed him to steer the emotions of this album in all the right directions. The arrangements on this album were great too, and I liked that this album had a great folk sound without being avant garde or sounding derivative. "No Man Can Find the War" and "I Never Asked to Be Your Mountain" were two songs that really stood out to me, but "Pleasant Street" was easily my favorite of the album. The vocals were outstanding, the organ playing was beautiful, and the percussion rounded out the sound of the song really nicely. The album dragged a bit in a few places, and I didn't really care much for the title track, but I still thought it was really good, and it's easily one of the best folk rock albums I've gotten to review. I'm really looking forward to my last Tim Buckley album.

The first time I remember hearing a Tracy Chapman song was in the mid-nineties, when "Give Me One Reason" stormed up the charts. That song felt like it was everywhere for a solid year or so. I don't remember having heard "Fast Song" until around the same time, and for years and years, I assumed they both came from the same album. I can't remember when I first learned about the chronological distance between those songs, but it blew my mind. I hate that I've never listened to this album before, especially now that I'm seeing a lot of rave reviews for it. I guess there's no time like the present to fire this one up! I was worried that this album would lead-off with a few strong tracks, and then have a steep drop off in quality, but thankfully that wasn’t the case. Yes, “Talkin’ Bout a Revolution” and “Fast Car” are the best part of this album, but the songwriting is incredible throughout the whole album. I’m always caught off guard when an album from the eighties really pushes the envelope with social and political issues (especially a pop album), because I think there’s been some revisionist history that’s sanitized a lot of what was going on in the U.S. during that time. This album really manages to tackle those issues in a sincere and tangible way. I love that this album really harkens back to some of the folk rock of the sixties in terms of lyrical tone, but the music is soft, and blends in well with popular sounds from the era. There arrangements on these songs are really great, and I like the variation, but the bouncing back and forth between acoustic guitar songs and songs with more African influences was a little jarring to me. On top of that, there were some moments later on in the album that dragged a bit, but this album certainly never lacked for quality of songwriting and vocals. But, overall, this is a great album, and “Fast Car” is an absolute masterpiece, which still carries all of its emotional weight over 35 years later.

Ah, finally, I get to review Daydream Nation! After I graduated from college in the late aughts, I heard about the 1001 albums book. I found a list of the albums in it online somewhere, and started picking out things to buy and listen to. Daydream Nation was one of the first albums I went for, and I remember how much it blew my mind. I had always thought of alternative rock as something that started in the nineties, but Sonic Youth blew the doors off those expectations. This isn’t an album I’ve gone back to a frequently, and aside from “Teenage Riot,” I couldn’t tell you the last time I listened to it in its entirety (holy shit, this is 70 minutes long? No wonder I haven’t listened to it in a while), but I’m excited for the chance to revisit it today. Man, this album is *a lot*. It’s brilliant, but hot damn, that was like getting my ass kicked for the length of an HBO drama. I guess I’ll start my talking about “Teenage Riot,” which might be in the running for best lead-off track of all time. The way those guitars start with a shoegaze shimmer, and then everything turns into a distorted madhouse is nothing short of brilliant. The drumming is fantastic too, and my mind is always blown at just how great the drumming sounds from the first click of the drumsticks until the last note. I don’t know that I really want to dig into the other songs on this album, mostly because I don’t have the time, but also because I think Daydream Nation works so well in its sprawling entirety. This album is chaotic and noisy, but there’s a precision to all the chaos. I love that, in spite of the noise and distortion, each song has something melodic and accessible to it. Daydream Nation is an absolute masterclass in alternative rock, and its influence can be felt throughout the nineties, as alternative rock grew in popularity. This album takes the listener on a journey, and at times, it can be too much, but I don’t know that there’s any fat to trim from this album, because every part of every song feels necessary to the album as a whole. I’d love to say that this is one of my favorite albums, but that’s not the case. However, I think it’s a brilliant work of music, and it’s worthy of the reputation it has as one of the best rock albums of all time.

I grew up listening to a lot of Rolling Stones songs, but I’d never listened to one of their full albums until I started this project. This will be my third album of theirs to review, after Beggars Banquet (4 stars) and Let It Bleed (5 stars). I’m excited to listen to Exile though, since it’s supposed to be one of their best albums. As an added bonus, I’ve listened to Exile In Guyville, so I’m interested to see if I can connect the dots between that album and this one (I probably won’t be able to, but it’s fun to dream). For a Rolling Stones album that’s supposed to be the cream of the crop, I thought this was fine. When this album is at its best, it’s fun and bluesy, but at its worst, it’s repetitive and dull. The essentials of guitars, drums, and vocals are competent, but the supplemental instruments, like piano, saxophone, and horns really spice up parts of this album. It’s a small detail, but I think the Rolling Stones always have great backing vocals, and Exile is no exception to that rule. I think my biggest gripe with this album is that there just weren’t really any fun hooks or catchy riffs. “Tumbling Dice” is supposed to be the crown jewel of this album, but I felt like it didn’t stand out at all. The guitar playing on it is competent, but I didn’t find anything about it that set it apart from the other songs on the album. “Rocks Off,” “Loving Cup,” and “Shine A Light” were my favorites off of this album, mostly because they branched out more from the traditional blues-rock sound of the album. Give me Let It Bleed any day of the week, but I’ll probably pass up another opportunity to listen to Exile on Main St.

I've never heard of this album or artist before, but I've seen the album cover, and I assumed that it was reggae or hip-hop, but it's a trip-hop/electronica album? I didn't see that one coming. I tend to like electronica, so I'm excited to jump into this one. This album wasn’t really my speed. It was fine to listen to and I enjoyed the relaxed mood, but nothing really stood out to me. I didn’t find any individual songs to be particularly interesting, and there weren’t any hooks or melodies that really gave me something to latch on to. I found myself just zoning out while I listened to this, and it was overall pretty boring.

This will be my second, and subsequently last, Common album to review. I really didn't care for Like Water for Chocolate, so I don't have high hopes for this Be. However, I see that Be clocks in at just over 40 minutes, which is considerably shorter than Like Water for Chocolate's runtime, so that's already a big positive. Let's see what this is all about. Well, I'm not a STEM guy, but this album wasn't really my jam. From an objective standpoint, I think it's good, but I didn't really enjoy listening to it. The album has a really cohesive feel to it, and the production work and beats were really good, but nothing really hooked me in. The songwriting was pretty good, and there were some clever lyrics, but I'm just not a big fan of Common's rapping. I don't think he's bad, he's just not my cup of tea, and I wish that wasn't the case. This album was fine, but it's not the sort of thing I'd listen to again.

I’ve never heard of this album or artist before, but I’ve heard of Ry Cooder before, although I wouldn’t say that I’m familiar with his music. I’ve had mixed reactions to a lot of the world music on this list, but I tend to favor African music, so I’m excited to see what this album is all about. I really enjoyed listening to this. The musical sound was in line with what I expected, and I thought the guitar playing was great. Even with what felt like minimal instruments, the songs on this album were pretty varied and unique, and even with some longer songs and a longer runtime, I never felt bored by this. I enjoyed that these songs used really accessible melodies, but with an overall structure that was freer and more open. Overall, this was a really good album and a fun and unique experience.

Well, this isn't really how I wanted to spend a beautiful Friday in October, but my date with Kid Rock is finally here. I know the first two songs off of this album, but the rest of it will be new for me. This album came out right as I was starting eighth grade, but I don't remember really being very aware of it until maybe a year later. In the summer of 1999, I went on a trip to New York with my middle school theater group, and while we were there, I saw a strip club called the Playpen near Times Square, and it cracked me up, so I snapped a picture of it. Some time later, I was looking at a friend's copy of the booklet from this CD, and low and behold, there was the Playpen again. What a wonderful time to be a young teenager. Anyway, let's get after it! Eh, this was about what I expected, and while I didn't enjoy it, it wasn't as bad as I thought it was going to be. The mashup of different styles is pretty unique, and I honestly don't mind Kid Rock's rapping; his enunciation and flow work really well with the music from the backing band (Uncle Cracker? I had no idea he was on this album, although looking at his personal life section on Wikipedia, I guess he fits well with Kid). The samples used on this album were pretty good too, especially on "Wasting Time," which samples Fleetwood Mac's "Secondhand News" (one of my favorite songs). "Cowboy" has to be one of the dumbest songs I've ever heard, but damn, I do enjoy listening to it, because it's got a great groove, and the lyrics are incredibly catchy. The biggest thing working against this album, other than Kid Rock's personality, is that the lyrical content and themes are just really off-putting. I almost feel like a hypocrite for saying that, because I've enjoyed the gangsta rap albums I've reviewed, but there's an air of trying too hard and phoniness that permeates everything Kid Rock is saying. Is some of that due to what we know about his personality in the present? Sure, but I think even in 1998 that most of this had to feel pretty forced and performative. This isn't the worst thing I've ever heard, but I don't have any desire to come back to this. However, if "Cowboy" starts playing, I won't be hitting 'skip,' unless my kids are around.

Well, here we are, at my 600th album, and I get an absolute winner in Dookie. I've listened to Dookie in its entirety, but not before I started this project. My first memory of hearing Green Day's music was through Weird Al's use of "Basket Case" on his medley "The Alternative Polka" off of Bad Hair Day. For years, I wanted so badly to listen to "Basket Case," but it never came on the radio, and this certainly wasn't the type of album my parents would have let me buy. But throughout the nineties and early aughts, I heard plenty of Green Day's songs, so I'm fairly familiar with some of their more popular work. I'm excited to fire Dookie up today, so let's get after it! Dookie is a fantastic album from start to finish. From the opening track "Burnout" to the hidden track "All by Myself," this album is the perfect nineties punk album. Yes, I see a lot of reviews saying that this isn't punk, and while it certainly doesn't sound like the punk albums that came before it, I think its attitude and sound are perfectly punk. Dookie isn't full of straight-forward political critiques, but its themes of disillusionment, boredom, loneliness, mental health, and growing up, served as apt social commentary for teens and young adults in the nineties. Fresh off the economic downturn of the eighties, the worst days of the AIDS crisis, and the Gulf War, 1994 was a pretty calm time in America (not counting the previous year's Waco siege), so what better way to rebel than through complacency? Musically, this album is fantastic too. I love the guitar hooks and riffs, the drumming is machine-gun like in speed and intensity, and Billy Joe Armstrong's vocals are the perfect sneering whine for the lyrics. Green Day makes this album's punk sound fun and accessible. Slower songs like when "Longview" and "When I Come Around" place the focus on catchy melodies and fun lyrics (you can't beat the line 'When masturbation's lost its fun, you're fucking lazy' from "Longview") while the frantic "Basket Case" and "Welcome To Paradise" shift the focus to driving tempos and frantic energy. The singles from this album definitely stand out, but the whole album is great, with brilliant pacing. Dookie never gets bogged down by any of it elements, and while 38 minutes can feel like an eternity for a punk record, Dookie manages to make that time fly by. I think this album is fantastic, and I'm glad I got to listen to it for my 600th album. Side note: this is the fourth album from 1994 that I've had this month (as of October 12, 2024). I wonder what the odds of that are?

I’m pretty sure I’ve heard of Ian Dury before, but I can’t remember the context (I read his Wikipedia page, and that didn’t give me any clues sadly). I’m completely unfamiliar with his music though, but this sounds like an interesting album, so I’m excited to listen to it. This was a pretty fun album. I know it’s not classified as new wave album by the generator, or even Wikipedia, but it feels like an early new wave album to me. The guitars, keyboards, and synthesizers were great, and the rhythms were full of energy too. Even though this album feels like early new wave, there’s still plenty of chaotic punk sounds and the goofy lyrics are full of the same devil-may-care attitude from the punk scene. I really enjoyed that Ian Dury didn’t try to mask his English accent in his singing. This album isn’t really something that I’d gravitate towards, but it’s incredibly unique, and I really enjoyed the wild lyrics and the chaotic energy. This album sounds like Captain Beefheart meets Pere Ubu, and I never thought such a pairing of sounds could work as well as this does. This album is weird in all the right ways, but still accessible enough to be a pretty fun listen.

Oh, Marilyn Manson. I was raised in an evangelical Christian household in the nineties, so Marilyn Manson was among the top ten scariest things in the world when I was in middle school and most of high school. I remember there was a guy in one of my classes in seventh grade who said he thought Marilyn Manson was ‘neat,’ and I was pretty much aghast, and wondered if I should associate with him. He was a super nice guy and really funny, so my fear of Mr. Manson was overridden. Later on in high school, I scooped up a copy of the Not Another Teen Movie soundtrack, and I listened to Manson’s cover of “Tainted Love” quite a bit. Other than that, I vaguely know “Dope Show” and “Beautiful People,” but that’s it. At almost 80 minutes, this should be an adventure. Side note: how lucky am I to get Kid Rock and Marilyn Manson in the same week? I thought this was actually a good album. It’s not really my jam, but I enjoyed the industrial metal sound, and it was surprisingly easy to listen to. I wasn’t terribly impressed by the lead-off track “Irresponsible Hate Anthem,” but after that, I think the album found its groove a bit. “The Beautiful People” and “Tourniquet” were really good, but “Cryptorchid” and “Mister Superstar” were probably my favorite songs on the album. “Cryptorchid” had some really great synthesizers, and I liked the vocal distorted vocals as well. “Man That You Fear” was great too; I loved those backing vocal sounds, and the overall mood and sound of the song was great. The overall narrative of the rock opera was ambitious and well written through the songs, but I was much more focused on the music. There were some songs where the swearing felt excessive and performative, but that’s the business of shock rock, I guess. Marilyn Manson’s legacy has definitely taken hit since he’s been exposed as a creep and sexually violent, but his polarizing music was a hallmark of nineties culture and rock music, and this album deserves to be on this list. If Manson wasn’t such an awful person, I’d probably be more inclined to listen to this again, but I don’t want to be pumping more chump change into his bank account via Spotify.

When I listened to a lot of classic rock, I always meant to check out this album, but I never got around to it. I’m not familiar with Jeff Beck’s music at all, so I’m excited that The Yardbirds album that’s on this list is one that features his guitar playing, rather than Clapton or Page. There have been a handful of albums on this list that fall under ‘classic rock staples that I never got around to’ (2112 and Disraeli Gears stand out the most to me), and most have them have been pretty blah, but Roger the Engineer has definitely been one of the best of them. I really enjoyed the unique melding of psychedelia and blues that The Yardbirds put together on this album. The guitar playing is really solid, and it’s bolstered well by some really good bass playing and drumming. There are some spurts of other percussive instruments that I really enjoyed too, like on “He’s Always There,” which was one of my favorite songs on the album. A lot of the blues rock albums on this list feel kind of dull and uninspired, but the melding with psychedelic elements gave this album a unique and fun sound that really set it apart from other blues rock efforts. Additionally, the psychedelic sounds never felt cheesy or off-putting, and only enhanced the sound. I listened to the stereo version of this album on Spotify, and I thought it was incredibly well engineered. This isn’t the type of album that I’d listen to regularly, but I think it’s incredibly well made, and it was really enjoyable to listen to.

I don’t think I’d heard of Steve Earle until I started reading Dorian Lynskey’s 33 Revolutions Per Minute. However, I’ve line danced to “Copperhead Road” countless times in my life, but I just never knew who sang it, or if I did, it never stuck in my memory. Regardless, based on what I know about Steve Earle, I’ve been looking forward to listening to this album, so I hope it lives up to my expectations for it. While this wasn’t a five-star album for me, I still thought it was really good. I’m not terribly familiar with a lot of country music from before 1990, but I’ve enjoyed the few country albums that I’ve listened to that came out before the nineties. This album had a really great ‘honky-tonk’ sound, combined with a few elements of eighties pop music. The guitar playing was great, and I enjoyed Steve Earle’s singing, and I really loved the songs that featured organ playing. I really love when country music uses an organ, so “Guitar Town” and “Goodbye’s All We’ve Got Left” were a couple of my favorite songs on the album. However, the pedal steel guitar on “Fearless Heart” was my favorite part of this album musically. The songwriting on this album was pretty good too, but some of the love songs were a bit drab and unoriginal in my opinion. One of the things that excited me the most about this album was knowing Steve Earle’s political positions, but I was a little bummed that there were only two songs that featured any social commentary. They were good songs, but I would have loved more of them. Maybe I just wanted a conduit for my distaste for Donald Trump and the GOP now that the 2024 election is only a few weeks away. I digress. I really enjoyed the overall sound of this album, and it definitely has a mood that feels pretty distinct to the eighties that I’m struggling to put into words. I guess it feels like it was driven by songwriting and not by some producer trying to sell records, and I think that’s something that’s definitely missing from post 9/11 country music. While I wasn’t blown away by Guitar Town, I still thought it was really good, and I’d be inclined to listen to this album again some day, especially on a road trip.

This is my last Iggy Pop solo album to review, but I'll still have The Stooges' self-titled album to review at some point. I really enjoyed Lust for Life, and Fun House and Raw Power were pretty good too, so I expect to enjoy this album quite a bit. Based on what I've read about it, it sounds pretty interesting. I didn't enjoy this album nearly as much as I enjoyed Lust for Life, but it was still fine. The first side of the album was really great, and "Sister Midnight" really hooked me in. Even with reading a little bit about this album before listening to it, I wasn't prepared for that sound. Iggy Pop's gravely vocals were awesome, and I loved hearing them utilized for something that wasn't his typical garage rock sound. The fuzzy guitars and keyboards and synthesizers were fantastic. "Nightclubbing" was really great too, with its pulsing synthesizers and bass sounds. "Funtime" and "Baby" were good too, but not really noteworthy to me. However, "China Girl" was great. I'd completely forgotten that Iggy Pop performed this song before Bowie did, and I was shocked by how much I liked his version. It fit really well with the darker sound of the album, and I loved the synthesizer and guitar playing on it. As much as I liked the first side of the album, I was pretty bored by the second side. The first and last songs on this side were long, and felt like they droned on for most of their runtimes. Still, it didn't manage to sink the whole album for me, and I enjoyed listening to something that was so influential on goth and post punk music. The early industrial rock sounds were great too, and I feel like being a few days removed from reviewing Marilyn Manson's Antichrist Superstar gave me a better appreciation for that influence. This isn't my favorite of Iggy Pop's work, but it was still worth a listen.

I don't know that I've ever heard of George Jones, but I've really enjoyed the older country albums that I've listened to so far on this list, so I expect I'll probably like this album. I enjoyed this album a fair amount. I'm a sucker for that old school honky-tonk sound, and this album delivered on that. The pedal steel guitar playing was fantastic, and George Jones's crooning was an excellent vehicle for these melancholy songs. The songs were well written, and there was some clever word play on some of them that I really liked. The biggest thing that I didn't like on this album is that almost all of it was melancholy, slower songs, and I would have enjoyed more up-tempo songs like "The Weatherman" and "Our Private Life." Still, this was a pretty good album, but if it's old school country I'm in the mood for, I'd probably reach for something else.

This is my second, and therefore, last Marvin Gaye album to review. I listened to this album at some point before starting this project, but that’s the only time I listened to it. I loved Let’s Get It On, so I’m assuming I’m really going to love listening to this album again. Like Let’s Get It On, What’s Going On is fantastic. The orchestral arrangements were beautiful and served as the perfect background to Marvin Gaye’s smooth voice. Even though the strings and woodwinds were at the forefront of the sound, the bass and percussion provided a really great rhythm section that was fun to groove to. I loved the lyrics on this album as well, the social and political commentary they provided really captures the societal ills of the late sixties, while also capturing the forward motion of the seventies that looked to fix these societal problems. The old feel of the orchestral arrangements and the forward-looking lyrics stood in contrast to one another, but that contrast was absolutely beautiful, and made this a great sounding album. “Mercy Mercy Me” was my favorite song on the album. I loved the lyrics, and it had my favorite grooves of the whole album. What’s Going on is a piece of pure soul, executed to perfection by Marvin Gaye.

Wow, in the span of nine days, I’ve reviewed Marilyn Manson, Kid Rock, and now Slipknot. Go big, or go home, I guess. I’ve never listened to Slipknot before, but I’m well aware of who they are, especially from a visual standpoint. I’m not expecting to enjoy this very much, but Marilyn Manson surprised me, so there’s always a chance! Well, unfortunately, my prediction was right, and I really didn’t like this album. My reviews are usually a little longer than most peoples’, but I think I can keep this one short and sweet. Every song pretty much sounded the same to me, and it all sounded like a bunch of angry shouting, drowned out by guitars and the occasional turntable or other electronic element. The drumming was really good, but that’s about all this album had to offer in my opinion. I understand the cultural significance of Slipknot, but this wasn’t enjoyable at all.

I've never heard of Flamin' Groovies before, but Teenage Head is certainly a choice when it comes to album names. I see that this album has gotten some comparisons to The Rolling Stones' Sticky Fingers, which I haven't reviewed yet, so I'm curious to see how I'll feel about this album. Blues rock can be pretty hit or miss with me, so it's a toss-up as to how much I'll enjoy this. I really enjoyed the opening guitar riff of “High Flyin’ Baby,” but once the vocals started, I was a bit turned off. The guitar playing sounded so clean, but the vocals were a bit fuzzy, which was not really my speed. I know that’s an odd way to start a review, but it’s indicative of how I felt about the album as a whole. There were things that I enjoyed, and other things that were a bit off-putting, and the end result was an album that I felt pretty lukewarm towards. I think this album is good; the band knows their way around the blue and the guitar playing was fun. The faster tempo songs were really good, but I felt like the slower songs sucked the energy out of the album. As a whole, I wasn’t a big fan of the vocals, but I did like them on “Evil Hearted Ada,” when the lead singer put on his best Elvis voice, to great effect. This album is fine, and I enjoyed getting to listen to an artist who I wasn’t familiar with, but I don’t think I’ll be coming back for more Flamin’ Groovies.

Ah, Blood Sugar Sex Magik. I listened to quite a bit of the Chili Peppers when I was younger, and this was actually the first album with a parental advisory label that I ever bought (I bought it in 2003 when I was 18 and didn't need my parents' permission). I think I've only listened to this album from start to finish one time, but I know the singles on this album really well (as I'm sure most people do). I've already reviewed Californication, which I thought was fine. I have a feeling that I'm going to feel the same way about this album, which makes me a little sad. The Chili Peppers seem to get a lot of hate from people my age these days, and I hate to jump on that bandwagon, but I fear my tastes have changed a bit from my adolescence. I guess there's only one to find out if I'm turning into an old man who hates fun... Well, Red Hot Chili Peppers don't really scratch any itches for me these days. Is Blood Sugar Sex Magik culturally significant and worthy of being on this list? Without a doubt. But listening to over seventy minutes of these guys is not my idea of a good time. This album is good, but it's also a bit of a mess and a chore to get through. There are some great moments on it, but there's also a lot of repetitiveness. Flea's bass lines are great, but Kiedis's vocals didn't take long to wear me down, nor did the more nonsensical lyrics. As much as I don’t care for the album as a whole, most of the singles from it are great. “Give It Away,” “Under The Bridge,” and “Breaking The Girl” are fantastic, and “If You Have to Ask” is pretty good too. Other than the bass line and drum fills, I can’t stand “Suck My Kiss,” which is far and away the worst single from the album. “Give It Away” is an absolute blast and the best track on the album (but by a slim margin); the lead and bass guitar parts are fantastic, and Kiedis’s vocal style is the perfect fit for this song’s infectious energy. “Breaking The Girl” is the second best track on the album, but by the slimmest of margins. The Mellotron really gives the sound a haunting depth, but the drum fills give it a groove that makes it still fit in on the album. “Under The Bridge” is great too. I love the guitar playing during the intro, the lyrics are great, and the soft percussion rounds out the mellow sound really well. Other than the singles, the other songs that I really liked were “Funky Monks” and “I Could Have Lied.” While I’m not a big fan of this album, the best parts of it are great, and I think it’s pretty good from an objective standpoint. It deserves its place on this list, but I can’t see myself firing up the whole album again.

I first heard of Bad Brains when I was reading a knock-off biography of Dave Grohl when I was in college. I didn’t anything about the DC music scene, so I had no frame of reference for who they were, but as I’ve learned more about music, I’ve wanted to check them out since they’re so influential. I’ve been looking forward to this album for a bit, so I’m excited to fire this one up! This album wound up not being what I really expected, but I still enjoyed it. I was expecting a more straightforward hardcore punk album, but this album was a really unique blending of several styles. Merging reggae philosophy with and eighties hard rock sound made this album really enjoyable to listen to. The guitar playing was great, and I’m a sucker for that echoing guitar effect that was popular in the eighties, and this album utilized that sound to perfection. “Secret 77,” “She’s Calling You,” and “Sacred Love” were my favorite songs on the album, but I thought that the album worked really well as a whole. I could see myself listening to this again some day, and it makes me want to check out other Bad Brains albums.

I've never heard of John Martyn before, but this album cover definitely gives off a vibe that I like, and based on what I've read about this album, I think I'm going to enjoy it. Let's fire it up! I enjoyed this album quite a bit. It felt like a folk album, but with a lot more experimentation in the arrangements. I read that the title track was dedicated to the memory of Nick Drake, and that makes sense, because this album's overall mood and sound reminded me of Nick Drake quite a bit, but without feeling derivative. I really enjoyed the piano and clavinet playing on this album, and the guitar playing was really good too. "Over the Hill" and "May You Never" were my favorite songs on the album, but other than "The Easy Blues," there wasn't really anything that I didn't enjoy. This was a really enjoyable album, and I liked listening to how John Martyn put his own stamp on early seventies folk music.

This will be my third Joni Mitchell album to review, and I’m really looking forward to it. I gave four stars to both Court and Spark and The Hissing of Summer Lawns, the latter of which I should have given five stars to. I wasn’t familiar with any of Joni Mitchell’s music before starting this project, but she’s quickly become an artist that I keep going back to. I can’t think of a better way to spend a Friday than listening to one of her most popular albums. This album is great, and I can see why it has a reputation as Joni Mitchell’s best work. It’s intimate, beautiful, and features great songwriting. The whole album is poetry set to music, and it works wonderfully well. I feel like other artists struggle to be accessible when they focus so much on the songwriting, but not Joni. The instrumentation might be somewhat sparse, but it’s a treat to listen to. I love the guitar and piano playing, and no matter which one she’s using, it’s soothing to listen to. Colors came up as a theme several times throughout the album, but that theme was subtle, and I liked how the cooler tones of those colors drove the mood of the album. Joni’s singing was absolutely fantastic, and her voice fills in every corner of this album to perfection. “My Old Man” and “Carey” are neck-and-neck for being my favorite song on the album. The backing vocals and carefree spirit of “Carey” are so much fun, and on “My Old Man,” I love that key change about a minute into the song (at least I think it’s a key change, I’m not very well versed in music theory). That change shifts the mood of the song before right before the lyrical tone shifts as well, and I thought it was brilliant. From a songwriting standpoint, “Little Green” might be the best song on the album. The story of the child that Joni gave up for adoption is absolutely heartbreaking, and as man, I will never understand the bond between a mother and her child, but this song is about as close as I’ll ever get. There were some moments on this album that weren’t my favorite, but the singing and arrangements were so beautiful that it I always had something to enjoy in each song. This album is great, and it earns its reputation as one of the best albums of all time.

I know a few James Brown songs, but I’ve never listened to any of his full albums. When I saw this album on the list, it piqued my interest quite a bit. However, most of the live albums on this list have been pretty underwhelming to me, and I don’t think I’m familiar with any of these songs, so this album might be a bit of a coin flip. Well, this was incredibly underwhelming. I’ll give James Brown credit, he certainly knows how to work a crowd, and this album does evoke that visual of him dancing around, and singing into his microphone wile sweat pours down his face, but musically, this album was pretty boring and forgettable. James Brown and The Apollo are both legends, but their reputations far outshine the end result of this album. “Lost Someone” was shockingly the best song on the album, and the thing that makes it stand out is Brown’s crowd work. For an album with so many musicians, the music was pretty hollow, and I felt like there was no energy to the sound. And with that many instruments, the music still managed to sound pretty flat and empty. The crowd work was the best part of this album, but other than that, there’s not much to hear on this one.

I don’t think I’d heard of The Specials before starting this project, but I learned a little about them from Dorian Lynskey’s 33 Revolutions Per Minute, where there’s a chapter about their song “Nelson Mandela.” I’m not very knowledgeable about ska music, and certainly not about second wave ska music (the only ska I know is stuff like No Doubt, Mighty Mighty Bosstones, Save Ferris, and Reel Big Fish). I’m interested to see what this album is like. While this album isn’t the type of thing I’d gravitate towards, I thought it was good. The songs on this album have a good groove to them, but I definitely preferred the more up-tempo songs to the slower ones. I thought the song writing on this album was one of the best parts of it. The political messaging was really great, and from a historical context, I think it’s really interesting that far-right groups in England tried to hijack the songs that were pro-working class, in an attempt to stoke racial tensions. Some of the things that stood out to me on this album: -I loved the keyboard and drumming on “Do the Dog” -The ambient bar sounds during the opening of “Nite Klub” were really great, and I liked how they came back in other parts of the song -“Doesn’t Make It Alright” had some of my favorite lyrics on the album, and it was the best of the slower songs -“Concrete Jungle” was my favorite song on the album, and I really liked the keyboards and drumming that sounded like trash can lids -The structure of “Stupid Marriage” was great, and I loved the courtroom narrative Overall, this was a solid album, but it’s not really my vibe, and if I get the itch for some ska, I’m more likely to fire up some ska-punk instead.

I'm pretty sure I listened to this album before, but I don't remember anything about it or why I would have sought it out. But maybe I'm wrong, and I've never listened to it before. Either way, I know very little about The Mars Volta, other than they're my fellow Texans and their music is prog rock. I don't really have many expectations for this album, but I know it will be different from what I usually listen to, so I'm interested to jump in. This album was fine. It's not the sort of music that I'd seek out, but I thought it was pretty good from an objective standpoint. I really didn't care much for the first few songs, but at "Drunkship of Lanterns," I thought it got much better. The guitar playing and effects and sound manipulation made this album really unique, and I felt like the second half of the album used those techniques in a much more interesting way than the first half of the album. The hard rock-influenced sound of the album was really good, and the band did a great job of putting their own unique stamp on the genre. The biggest turn off to me was the vocals; I really can't stand that whiny quality to the lead singer's voice, and the album worked best when there were other aspects to focus my attention on. I was also a bit turned off by the length of the songs, especially on the earlier part of the album. I'd be inclined to check this out again some day to see if it managed to grow on me, but I also wouldn't be terribly sad if I never got around to it. I think this album reminds me of the parts of Muse and Coheed and Cambria that I don't like, and that's why I'm a little underwhelmed by it.

I've heard of TV on the Radio, and I’ve seen this album listed on several best of lists, both for 2008, and for the 2000’s, and despite getting into Indie Rock at the time this came out, I’ve never listened to it. I really don’t have any idea what to expect, but I’m cautiously optimistic about this album. This album was fantastic, and I’m kicking myself that I never listened to it until today. I loved the unique sound, and the band does a fantastic job of blending horns, strings, and guitars with various electronic elements. The arrangements are beautiful, and on songs like “Crying,” the rhythms make these songs incredibly infectious and fun. You can hear the influences that made this album what it is, but it’s never derivative, and it has no problem standing on its own two feet. Some of the songs start off a little jarring and bare, like “Stork & Owl,” before cascading into a sweeping blend of strings and synthesizers. I was hooked from the first notes of “Halfway Home,” but I was afraid that the rest of the album wasn’t going to live up to that moment, but this album was fantastic from start to finish, and I listened to it three times. The more familiar I got with this album, the more I loved it. It’s hard to pick a favorite moment, but “Halfway Home,” “Crying,” “Golden Age,” and “Red Dress” are all fantastic. This album reminds me of some of my favorite bands from this era: Yeasayer, Miike Snow, Arcade Fire, and others, but it’s so unique that I can’t broadly compare this to anything else. This album is going into my regular rotation, and I’m so happy I got to listen to it today.

This is my second Velvet Underground album to review. I really enjoyed their album with Nico, so I have some pretty high hopes for this album. I’ll get to review all of the Velvet Underground albums on this list in reverse chronological order, and I wonder if that will have any impact on how I feel about their albums. I thought this effort from The Velvet Underground was fine. With the exception of “The Murder Mystery,” it was a pretty straightforward rock album from the sixties, but it was still well executed. Most of the instrumentation was pretty simplistic, but the guitar playing was crisp and clean, and I enjoy Lou Reed’s unique vocals. Even though this album was well made, I found a good portion of it to be fairly boring. However, I thought “I’m Set Free” was really great. I loved the booming drums, the guitar playing was great, and I really enjoyed the backing vocals. “The Murder Mystery” was great too. I really enjoyed the ‘dueling’ lead vocals, Maureen Tucker’s vocals were great (they reminded me of Stereolab), and the guitar and piano playing gave this album a great psychedelic sound. Other those two songs, I didn’t find anything particularly noteworthy about this album, but it certainly wasn’t bad, just not really my cup of tea.

I’ve never heard of Ms. Dynamite before, and I haven’t been terribly impressed with the other hip-hop albums from the UK that I’ve listened to so far, so I don’t have high hopes for this album. I’m a little turned off by the runtime as well, but I’m willing to give this album a fair shake. This album was fine, which was a little better than I’d hoped for. Most of the songs were fine, but a few of them were really good. Ms. Dynamite’s flow and vocals were good, and the songwriting was pretty good too. Musically, this album sounded like pretty standard fare for hip-hop from this era, and while it was well done, I didn’t think it was anything new or novel. “Put Him Out” was probably my favorite song on the album. The lyrics were great, and provided an interesting perspective on female empowerment. The beats and backing music were great too, and they gave the song a punchy, but fun sound. “Brother” was great too, and was probably the best written song on the album. The overall story was incredibly sad, and the talk of suicidal ideation gave the song a lot of emotional weight too. However, right after “Brother,” “It Takes More” was a drastic shift in tone that felt really out of place, and that was a microcosm for how I felt about the overall tone of the album. One last positive note: I did like “Krazy Krush”; the beats were great, and I loved Ms. Dynamite’s flow quite a bit on this song. I didn’t hate this album, but I’d be hard pressed to find a reason to listen to it again.

I've never heard of Ray Price before, but I'm a little familiar with Willie Nelson, and I know of Johnny Paycheck and Floyd Cramer. I've enjoyed a lot of the older country music that I've reviewed so far, so I have pretty high hopes for this album. Well, even though this album had a distinct honky tonk sound (which I tend to enjoy), I found this album pretty dull overall. The songwriting was good, and I enjoyed that all of the songs felt very tied to the theme of night life, but there just wasn't much going on for me musically on this album. The arrangements, while well done, were pretty bland, and I didn't think they were particularly unique or noteworthy. The singing was pretty good, but there wasn't anything particularly novel about Ray Price's voice. While I respect and like the idea of this album, the actual result just wasn't that good in my opinion.

I've never heard of The Crusaders before, but I tend to enjoy albums from this era, so I have pretty decent expectations for this album. This album was fine, but I didn’t think it was particularly novel or noteworthy. The arrangements were well crafted and pleasant to listen to, but I didn’t really find much about it that stuck out to me. I did like that the whole album had a nice groove to it, and it flowed really nicely from song to song. I thought the title track was easily the best part of the album. The string and horn arrangements were great, and I loved the vocals. For a song with a really long run time, it did a great job at not wearing out its welcome. The whole album is smooth and pretty enjoyable, but that’s about it. Street Life isn’t a bad effort, but it’s not really for me.

This will be my second album by The Cure to review, after Seventeen Seconds, which I thought was fine. I know a handful of songs by The Cure, but most of their songs that I know are from later in their career, when their songs didn’t have such a dark tone. I’m hoping that I’ll enjoy this album a bit more than Seventeen Seconds. This album was really good. It’s exactly what I wanted from an album by The Cure’s early days, when their sound was more driven by post-punk. The mood and sound that permeates the whole album is fantastic, and I love how big the sound is. That big sound creates a really unique atmosphere, and it’s one of my favorite things about The Cure’s darker music. The drumming and bass playing were particularly great across the album, and I felt like this really set this album apart from some of my favorite post-punk albums from this era. I enjoyed Robert Smith’s vocals as well, and his lyrics were very well written, albeit incredibly dark in subject matter. A few parts of the album dragged a bit for me, but as a whole work, the album really excels. “One Hundred Years” and “Cold” were my favorite songs on the album. They both had haunting melodies that I really loved, and the keyboard parts on both of them were excellent. I enjoyed listening to this, and I’m excited for when I’ll finally get to listen to Disintegration.

This is an album I know pretty well. A friend of mine tried getting me into The National for a bit back in the late aughts, and in 2011, he finally succeeded. I bought this album in the late spring of that year, at a time when I was still reeling from a breakup, and generally feeling like a piece of shit. I remember listening to this on my way to a Manchester Orchestra/Cage The Elephant concert, which was either a great or a terrible way to mentally prepare myself for Manchester Orchestra. I’ve liked this album and the band for over a decade, but I usually reach for Trouble Will Find Me when I’m in the mood for The National, so this is my first time to revisit High Violet in a little while. While this is not my favorite album by The National, it’s absolutely fantastic. Matt Berninger’s baritone voice seeps into every corner of this album, creating a mood that oscillates between haunting, achingly sad, and reflective. The arrangements throughout the album are beautiful as well. There are way too many great uses of instruments to list out on this album, but the sound is never too busy or muddled, and it’s surprisingly cohesive from start to finish. On top of that, there’s not a bad moment on this album at all. Every song is fantastic, and they all fit wonderfully into this album. I’d go with “Bloodbuzz Ohio” and “Terrible Love” as my favorite songs on this album, but after that, it’s impossible to choose what’s the best. I know this album pretty well, but each time I listen to it, there’s something new that sticks out to me that I hadn’t noticed before. High Violet is an absolute masterpiece, and it’s a perfect showcase for why so many artists want to work with these guys. The songwriting is raw and full of emotion, and while I tend to be pretty selective about the melancholy music that I listen to, I’m always in the mood for The National.

This is my third Björk album to review, after Vespertine (4 stars) and Medúlla (2 stars). I really have no idea what to expect from this album, but I think Björk is incredibly talented, so at least I know I'm going to hear something interesting and unique. As an added bonus, I think this will be something nice to listen to on Election Day here in the states, as I resist the urge to eat my weight in cookies and ice cream to ease my anxiety. I thought this album was pretty good. My opinions of Björk as a musician are still very much positive. This album is 100% her creative vision, and for a debut solo album, she took a lot of stylistic risks, which I applaud. Those risks didn't always pay off for me personally though; I enjoyed the songs that were more heavily influenced by dance music than the songs that were more art pop in their sound. Songs like "Crying" and "Big Time Sensuality" were really fun to bop along too; their melodies were really infectious, and Björk's vocal style gave them a unique sound. "There's More to Life Than This" was my favorite song on the album. I loved the crowd noises, and the way the music would fade in and out was absolutely brilliant. It felt like being taken on a journey, and I loved every minute of it. Songs like "Aeroplane," "Violently Happy," and "Venus as a Boy" weren't really my jam; I think I got so used to the other songs that were driven more by traditional hooks that it was tough to enjoy songs that were a less structured. Still, this was a nice album to listen to, and I'm curious as to how I'll feel about the last Björk album that I'll get to review.

I've never heard of The Young Gods before, but based on these reviews, I have no idea what I'm in for. I guess there's no better way to tackle post-election dread than to jump right into this album. Well, this was certainly a unique experience. I didn’t care much for the calliope sound of the first track, and its eight-minute runtime certainly didn’t help it either, but after that, the album was much more enjoyable. Infusing hard rock with sampling created a dense and textured sound that I enjoyed. It was really easy to turn off my brain and get lost in the wild melodies of these songs. The drum machines were used really well, especially in conjunction with the guitars, like on “Ville Norte” and “Crier les chiens.” I’m a fan of a big sound, and The Young Gods delivered on that with this album. Outside of some cool arrangements though, this album didn’t offer me much. I was able to look up English translations of some of the lyrics, and I thought they were fine, but not particularly earth-shattering. I’m not really into industrial metal, but I don’t think it’s a reach to say that this album had a massive influence on the genre, and probably other branches of hard rock as well. This wasn’t completely my cup of tea, but it was worth my time to listen to this today, and I appreciate the unique experience.

I’ve listened to my fair share of Queen’s music over the years (mostly ‘greatest hits’ type material), and this will be my second album of theirs to review, after A Night At The Opera (4 stars). I was a little underwhelmed by ANATO, so I’m curious as to how I’ll feel about this album. This album was pretty meh to me. There were some great vocals and some good guitar playing, but overall, this album felt pretty dull and uninspired. This blend of hard rock and glam rock doesn’t feel particularly novel to me, and while the arrangements might be interesting in small spurts, overall, I couldn’t find much on this album to latch on to. “Killer Queen” and “Flick of the Wrist” were the two best tracks to me on this album, but they’re not in the upper echelon of seventies rock in my opinion. This was a letdown, but maybe Queen II will be more my speed.

I’ve never listened to a Justice album before, but I did see them in concert back in 2012, and it was a fantastic show. I bought tickets to see them because I like electronic music, and I thought it would be a fun time. The show was close to Halloween though, and there was a couple dressed as the freaky versions of Gena Davis and Alec Baldwin’s characters in Beetlejuice (you know, when they have those really exaggerated features and shit). Anyway, these two assholes had on giant papier-mâché heads that blocked my blocked my view for a little bit. Fuck those two idiots. Anyway, I have high hopes for this album, and it should be perfect for this Friday! I wanted to fall in love with this album, and while I thought it was great, it fell a little short of five stars in my book. I love these arrangements, and the highs on this album absolutely soar. Collectively, this album has a dark mood to it that I really love, which I found to be an interesting contrast to some of the Biblical song names. The bass sounds really punch things up, and the overall electronic sounds are fantastic. I enjoyed the structure of these songs as well; the main riffs would repeat in a way that still kept me engaged and wanting more. The album started off incredibly strong, but the tail end was somehow even better; I thought “Stress,” “Waters of Nazareth,” and “One Minute To Midnight” were the best songs on the album. Thankfully, I have few things to complain about on this album, but those few things were really off-putting to me. There were some moments where the glitching sounds were really grating, particularly when the beat just completely dropped off. Also, “The Party” felt really out of place on this album. The light vocals really took away from the dark mood of the album, and for that song’s placement on the album killed some of the momentum for me. Honestly, you could probably remove “The Party” and “DVNO” from this album, and it would be immensely better as a whole work. I know those might seem like some nitpicky details, but they really did affect how much I enjoyed the album. Still, this album is really good, and I’d definitely throw it on again in the future.

Well, at 628 albums, I have reached my fifth and final Nick Cave album to review. Ghosteen has easily been my favorite album of theirs so far (5 stars), followed by Henry’s Dream (4 stars), with The Boatman’s Call and AB/TLoO rounding out the back end (both 3 stars). Based on what I’ve read about this album, I have pretty high hopes for it. This sounds really interesting, so I’m excited to give it a listen. I thought Murder Ballads was good, but not great. If an album of murder ballads falls into anyone’s wheelhouse, it’s Nick Cave. His deep and brooding voice was perfect for the dark tone of this album, and even though I’m not familiar with the source material that he used, it was pretty easy to distinguish what parts of these songs featured more of his own influence. I really love Nick Cave’s piano playing, and I was glad that it was front and center on this album. The duets with PJ Harvey and Kylie Minogue were really great, but I think that “Death Is Not The End” was the best song on the album. Knowing that Nick Cave would eventually lose his son almost twenty years after this song was recorded really added some emotional gravity that made it even better. I really enjoyed the songwriting on this album as well, and it showcases how talented Nick Cave is as a storyteller. My biggest gripe with this album is that it was a bit too long, and a few of the songs really overstayed their welcome with me. I also wasn’t a fan of the barrage of f-bombs on some of the songs, because I felt like it was a cheap way show anger and strong emotions. I don’t have a problem with swearing in songs, but it really felt like some of Nick Cave’s word choices took a power drill to the folky atmosphere of the album. Still, I’ve enjoyed exploring Nick Cave’s discography, and I’d be quick to return to his music once I’m done with this project.

This is only my fourth album by The Byrds to review, but it honestly feels like my tenth. Just yesterday, I reviewed my fifth and final Nick Cave album, so I guess the theme of this weekend is ‘artists with a ton of representation on this list.’ My most recent Byrds album to review was Younger Than Yesterday, which has been my favorite of theirs so far. I’m excited to take a step back from that and listen to the album that started the band on their journey into psychedelic music. This album started off really strong. “5D” and “Wild Mountain Thyme” were both really great songs. For psychedelic albums from the sixties, I usually expect some heavy organ or Mellotron usage, but this album relied heavily on the guitar playing to create the psychedelic sound, and “5D” did a great job of that. “Wild Mountain Thyme” was easily my favorite song on the whole album. I loved the string arrangements that were used. Their sweeping sound complimented the guitar playing really well, and felt very tethered to The Byrds’ past as a band who focused more on folk music. “John Riley” was really good too, and I enjoyed the string arrangements that were used. I usually think of harmonies when I think of The Byrds, and while this album featured some harmonies that were really well done, they were pretty sparsely used, which I thought was an interesting shift. After those first two songs (with the exception of “John Riley), the album was just fine. I really expected to be impressed by “Eight Miles High,” and while it might be an influential song, it didn’t really land with me. I really didn’t like The Byrds’ interpretation of “Hey Joe;” the frantic pace didn’t feel like it fit the tone of the song, but maybe that’s because I’m used to the Jimi Hendrix version. Overall though, this album was fine, but I did appreciate listening to this album for its impact and historical significance.

I'd never heard of John Cale before I started this project, but I enjoyed The Velvet Underground and Nico more than I enjoyed their self-titled album they put out after John left, so I think there's a good chance I'll enjoy this album. I really don't know what to expect, but it's a tight thirty minutes, so if it's painful, at least it will be over quickly! I thought this album was fairly enjoyable. There was something about its sound that really reminded me of another artist, but I can't quite put my finger on who it that artist is. I think it's something about the vocals and how they're mixed that feels really familiar. Whatever the case is, I enjoyed the orchestral sounds of this album, and I liked John Cale's vocals too. The songwriting was a little too abstract for my tastes, but I was mostly focused on the arrangements, so it didn't take away from my enjoyment. "Child's Christmas In Wales" and "Paris 1919" were my favorite songs on the album, with the latter of those taking the cake for my overall favorite. "Adalucia" and "Half Past France" were pretty good too, but nothing else really held a candle to the title track on this album. The other songs that didn't stand out to me weren't bad; I thought they were fine, but they felt pretty standard for seventies art pop, and I didn't think there was anything particularly noteworthy about them. Overall, this album was fine, and it was interesting to listen to something from a member of Velvet Underground who isn't Lou Reed.

I've never listened to Killing Joke before, but I know they had a heavy influence on Dave Grohl, so I've really been looking forward to listening to this album. For some reason, I thought this was a hardcore punk album, but I'm delighted to see that it's actually post-punk. I really wanted to love this album, but I thought it was just okay. I think this album is a really great example for what post-punk music is. The sound here is experimental, but the band definitely took the 'do-it-yourself' approach during the making of this album. I thought the guitar playing was really great on this album, and the overall sound was really unique. A lot of the sound was pretty weird and experimental, but I thought that the guitar playing kept the album really accessible and easy to listen to. I won't question this album's importance and influence, but outside of that, I didn't find it particularly enjoyable to listen to.

I think I've heard of Fairport Convention before, but I can't remember the context in which I've heard about them. Folk music can be a bit of a mixed bag for me, and I'm not entirely sure I know what characteristics differentiate British and American folk music, but I'm interested to see what this album has in store. Overall, this album was fine. There were a handful of songs that I enjoyed more than the others, but the ones that I didn't particularly enjoy were still fine. I don't think this album did anything particularly novel or noteworthy, but I thought that "A Sailor's Life" was the best song on the album. I really enjoyed the long format of the song, and the melancholy lyrics were great. The instrumental portion at the end of the song was really good too, and I think it was the band's best showcase of their talent. The lyrics to "Cajun Woman" were some of my favorite on the album as well. Given the results of the recent election here in the U.S., I thought the lyrics were incredibly relevant. "Percy's Song" was pretty good too, and I'm not sure where I land on its meaning, but I did like the vocals on it quite a bit. The other songs on the album were fine, but pretty forgettable on the whole. This album was interesting, but it's not the sort of thing I'd listen to again.

I've really enjoyed reviewing three Steely Dan albums so far, so I've really been looking forward to this album. I have pretty high hopes for this album, and I'm excited to fire it up! Well, those high hopes were dashed. I thought this album was a complete snooze. I was so bored by it, I had to go back and listen to Pretzel Logic to make sure I wasn't an idiot for enjoying Steely Dan (Pretzel Logic still kicks ass, whew). This album is just absolutely bland from start to finish. I think I could listen to it a dozen times in a row and not be able to recognize a single song a week later. I appreciate the 'Nightfly' theme, but everything here has been smoothed out so much that it lacks any texture and depth. The arrangements weren't particularly interesting, and only the opening and title tracks really came close to being anything of substance. I'll take some Steely Dan any day, but this album was a dud.

I reviewed the first Specials album a few weeks ago, and I thought it was really good and gave it four stars. I have a pretty good idea of what to expect on this album, and I’m looking forward to reviewing this. I thought this album was a little bit better than the first Specials album, but I think this is also a four-star effort. The biggest difference to me between this album and their first album, is that I think the band does a better job of striking a balance between fun songs and songs with a more serious tone. This album felt like it was easier to groove to, and I think it did a great job of blending ska and reggae in a way that was pretty accessible. The arrangements on this album were really good, but I do think the first Specials album had better songwriting. As far as downsides go, the longer songs on this album felt a little tedious, and the album as a whole didn’t really fill its runtime with enough substance. “Sock It to ‘Em J.B.” and “I Can’t Stand It” were the only two songs that really stood out to me. This album worked really well as a whole, but some of the parts don’t really stand on their own very well. Overall, this was still a good album, and I would have probably never sought out The Specials if it weren’t for doing this project.

I reviewed Can’s Future Days a few months ago, and I really enjoyed it, and wound up giving it four stars. I’m excited to listen to Tago Mago today, and I have pretty high hopes for it. Tago Mago was really good, but I liked Future Days more. There wasn’t one particular musical element that I really enjoyed on this album, but I thought the overall sound was incredibly dense and interesting. At the expense of sounding like a hippie, each song really did feel like a journey, and I enjoyed not knowing what little auditory surprises were waiting for me around each corner. “Paperhouse” and “Mushroom” were my favorite songs on the album, and I really loved how seamlessly the former segued into the latter, even though both songs were really different in sound. The album started to lose me at “Aumgn,” and it really lost me on “Peking O.” I appreciate something different and a little avant-garde, but “Peking O” was really grating to listen to. I respect Can’s willingness to push boundaries and experiment, but that was a little too much for me. Other than though, this album was fantastic. After two Can albums, I’m very inclined to check out more of their work.

I’ve lived in Texas all my life, so I’ve been familiar with ZZ Top from a pretty early age. I can’t remember how old I was when my mom told me about this, but she said the biggest joint she’d ever seen in her life was being passed around at a ZZ Top concert. And somehow the baby boomers turned out to be the worst generation of all time. Wild. Anyway, I love ZZ Top’s stuff from the Eighties, and I gave Eliminator 4 stars when I reviewed it. Looking at the track listing for this album, I think I only know “La Grange.” Regardless, I’m pretty excited to review this album. I was pleasantly surprised by how much I enjoyed this album, and also by the fact that I actually knew “Waitin’ for the Bus” and “Jesus Just Left Chicago.” I still prefer Eliminator, but by a pretty slim margin over this album. The thing I like most about ZZ Top is how unique their brand of blues rock is. This album showcases that they can slow it down, like on the first two tracks of the album, but they can also rock out, like on “La Grange.” The guitar playing is outstanding, the drumming is precise, and I love Billy Gibbons’ singing. Gibbons’ laughs and other little vocal fills on “La Grange” have been something that I’ve enjoyed since I was a kid, and even when listening to this album today, I couldn’t help but try (and fail) to imitate them. I think the thing that makes ZZ Top’s sound so unique is the southwestern flair that their sound has; who knew that someone could write a song about Chicago that sounds like it was recorded in a dusty saloon in Arizona? This was a fun album with a really great sound that manages to permeate each track on the album. The only downside of this album to me is that some of the songs sound pretty similar and just kind of fade into the background. Other than that, I have no complaints, and this album is a great piece of Texas rock.

I reviewed ELP’s Tarkus a while ago, and I thought it was fine. A lot of prog rock is pretty hit or miss with me, and I expect that I’ll probably think this album is fine as well. However, I really haven’t cared much for a lot of the live albums on this list, so a live prog rock album is a pretty big gamble with my tastes. I guess it’s time to jump in! As I expected, I thought this album was fine. It was pleasant to listen to, but with the exception of the “Promenade” pieces, “The Great Gates of Kiev,” and “Nut Rocker,” I didn’t find anything particularly noteworthy about this album. I like listening to synthesizers and keyboards, and Carl Palmer is a really great drummer, but to me, this album didn’t really live up to the ambitious vision the band had. As I listened to most of it, I just thought to myself “okay, that’s some nice synth and organ playing,” but that was about all that I felt. For a live album, it didn’t feel like there was a ton of energy from the music itself, with the exception of “Nut Rocker.” As for “The Great Gates of Kiev,” I liked that it felt more like a ballad, and it felt like it had quite a bit of emotion to it. Other than though, this album was just a showcase for some pretty talented musicians. A lot of flash without much substance.

I'm not familiar with Gram Parsons, but I have reviewed The Byrds' Sweetheart of the Rodeo, and I thought it was fine. I've also reviewed two Emmylou Harris albums (and Trio), which I really enjoyed. I think I have a little bit of an idea as to what to expect from this album, and based on what I've read about, I'm excited to give it a listen. Overall, I thought this album was fine. I think the songwriting and Emmylou Harris's vocals were the best things about it, and it was pleasant enough to listen to, but this album wasn't really my speed. I understand the historical significance of this album as a cornerstone of country rock, but this album's sound just didn't land with me, and I wish I could pinpoint more specific reasons why. I'll reiterate that Emmylou Harris's singing is phenomenal, and I really loved her singing on the duet of "Love Hurts," which is infinitely better than the Nazareth version that seems to be more popular. As far as the songwriting goes, "$1000 Wedding," "In My Hour of Darkness," and "Brass Buttons" were all fantastic. The somber mood of those songs was really great, and I think Gram Parsons's premature death gave those songs some additional weight. Musically, this album was fine, and I thought there was some decent pedal steel guitar playing, but nothing really wowed me. While I consider this album worth my time to listen to once, I can't really see myself firing it up again.

I absolutely love The Cars, and I've been anxiously waiting for this album to pop up for me. I know this album really well from start to finish, and since I own it on vinyl, I love throwing it on pretty regularly. What a perfect way to spend a Wednesday, let's get into it! This album is absolutely fantastic from start to finish. With guitars driving the overall sound, keyboards filling out the sound, and simple but catchy lyrics, The Cars' self-titled debut is the pinnacle of late seventies new wave albums. The guitar hooks sound so simple, but the way the lead, rhythm, and bass guitars are layered adds incredible depth to the overall sound. The Cars have such a signature sound, but each song on this album is unique and instantly recognizable. In my opinion, no other new wave artist has guitars that sound anything like this. Going back to the keyboards, I love how they don't drown out or take over the overall sound of this album. This is guitar music, and the album never lets you forget that. The way that everything on this album is layered makes it one of the most accessible new wave albums of all time. As far as the individual songs go... I guess I'll just have to go track by track. "Good Times Roll" is such an interesting lead-off track to me. The song's title elicits a sense of something really up-tempo, but the song takes its time, adding layers to the sound as it progresses. The bright keyboard riff that kicks in about halfway through the song is pure genius. "My Best Friend's Girl" has some of my favorite guitar playing on the album, especially the lick at the end of the chorus. In conjunction with the handclaps at the beginning, this song has a retro feel that harkens back to fifties doo-wop or rockabilly. I imagine this is what the woman on the cover is listening to. "Just What I Needed" has my favorite keyboard playing on the album. That sawtooth sound is perfect, but it fills in the sound perfectly, still allowing the guitars to stay front and center. "I'm in Touch with Your World" is my least favorite song on the album, but it's still great. With Ric Ocasek's echo-y vocals, excellent vibraphone usage, and a space-like keyboard riff, it's easily the most experimental song on the album. "Don't Cha Stop" lives up to its name, with a fast tempo, great rhythms, and some superbly distorted guitar playing, accompanied by a great keyboard riff. "You're All I've Got Tonight" is an excellent blend of some of the best elements from the first three tracks, all with a great rhythm section. "Bye Bye Love" features an excellent blend of guitars and keyboard playing. This song is one of the best examples of this album's superb mixing. "Moving In Stereo" is my favorite track on the album, but by a slim margin. The guitar distortion, the opening vocals, and the simple drum beat give this song a haunting sound that sets it apart from the more pop-forward songs on the album. It doesn't hurt that I associate this song with Fast Times at Ridgemont High. "All Mixed Up" is a great closer, and I love the saxophone and keyboard arrangements on it. With a darker tone similar to "Moving In Stereo," it's a great closing track, and possibly the most underrated song on the album. Overall, this album is perfect. Every song is brilliant, and there's enough diversity to keep this album interesting. The Cars are a fantastic band, and it's honestly a shame that Heartbeat City hasn't made it into any edition of the list.