Album #: 272 first impressions: *shudder* I just got the Black Keys two days ago, isn't that enough unchecked testosterone for one week. after listening through: barely coherent horny mumbling and moaning over bluesy, crunchy garage-y rock. it clearly shows they've listened to a lot of the classics (for better or worse,) but it does not seem like it should be allowed to be listened to in the daytime or around children. Except, you know, for a Jeep commercial or something. That's Kings of Leon for you. I do not think anyone was shocked to learn these guys had serious problems w alcohol. but anyway, i guess it was more fun than expected if you simply pretend this man isn't trying to sing in English. post-reading reviews/wiki: i do not want to believe how many people like this. i guess that's what happens when u get a lot of sweaty young (white) men doing these reviews recommended for: montages of the type of bros who call women "chicks" in public and "females" online trying to act swaggy at dingy bars w sticky floors; finding motivation to take a shower.

first impressions: sounds like a Hot Chip side project? should I know this? seems like peak p4k bait from this era. pleasant enough, some fun songs that I imagine could have been singles. after listening through: i enjoyed this and appreciate that it sounds like a culmination of a lot of other work in adjacent genres (e.g., Hot Chip, LCD Soundsystem, some lower-fi stuff) it doesn't seem like it merits a place on this list for innovation, though. post-reading reviews/wiki: yeah the reviews about this band falling apart after some allegations of s*xual abuse are not great. its also weird that there's so little information about this band even though they're so contemporary (relative to the rest of the list.) I know the question of separating art from artist is challenging, and i am v sure that MANY of the artists on this list have had similar allegations and if not/if they were downplayed bc "it was a different time" that that doesn't make them any better/worse... relisten?: I've added some of the songs I liked to my monthly favorites playlist, and might carry them over into my working playlist for this year, but I don't think I'll listen to the whole album again.

Album #: 223 first impressions: I remember this band being Pitchfork darlings around the time of this album. At the time, I remember thinking Pitchfork was unbearably pretentious. So I assumed this band would be, too. A bit surprisingly, it sounds like an amalgamation of other bands they liked at the time that were sort of on the more mainstream edge: the XX, Fleet Foxes, and LCD Soundsystem. An interesting mix of 2010's indie/electronic/world music together with a little bit of country/60's singer-songwriter flair. after listening through: Really interesting production/blends of genres; good background/working music but also fun/varied enough to listen to as a standalone activity. But a little too long. post-reading reviews/wiki: I would not have guessed that this band is British because it feels... relatively seasoned (iykyk.) I'm not surprised to see comparisons to Animal Collective, another band I rejected at the time of this album's release bc I felt that their sound was too weird and people who liked them were just pretentious at the time. Now I kind of vibe with it, but it's not something I see myself obsessing over a decade too late. recommended for: fans of Tune-Yards, James Blake, Orville Peck, Devendra Banhart, stomp n clap.

I am fairly certain that I or at least one of my siblings was conceived to this album so I haven't really listened to it before this 🌚

Album #: 203 first impressions: Prior to this listen, I'd only heard "Heart of Gold" off this album; couldn't have really picked Neil Young's music out of lineup. But I feel like this is giving me a much clearer idea of who he is as an artist, how his music relates to people he was influenced by (e.g., Bob Dylan) and people he would go on to influence (I feel like this album gives Death Cab for Cutie x Avett Brothers.) after listening through: really, really impressed by the range of places I can hear the influence of this album. A quick Google search confirmed that the orchestral score on "There's a World" is sampled in the opening score of Nelly's "Hot in Her(r)e," for example. I am impressed, and frustrated with the relevance of some of the more political songs ("Alabama", to US politics, "The Needle & the Damage Done" to the opioid epidemic...) but I guess that's how you make a timeless album. post-reading reviews/wiki: I understand and respect Neil Young's perspective & why so many artists I love love him. This album is giving a "your favorite artists' favorite artist" vibe. While I 100% expected this album to be on the list (I feel like its in every (white) Dad's record collection, and cited by so many of the artists I enjoy,) I guess I wasn't fully sure what to expect from it/didn't feel compelled to check it out sooner. I assumed it wouldn't be "for" me, as a millennial Latina. And yet, this is definitely one of my favorite albums so far, 200+ albums into this project. relisten?: Sonically, v. likely. Logistically, probably less likely since his music isn't available on Spotify. I 100% respect that decision but also wish Apple Music cared more about their PC/iPhone UX/ that YouTube music was just...better. :\ If more (established) musicians had a backbone (like Neil Young!!!) we'd probably all be better for it, with more choice for music platforms. And more availability of music that is truly classic for a reason.

I thought it was fine - sort of embodies the type of jazz that's really easy to tune out, unfortunately. But I would imagine seeing it in person would be really magical-- what a wonderful voice & energy.

This was the album that convinced me I needed to break out of rock and indie, and into music I wrongly assumed wasn't "for me." It's so rich that even after listening to it dozens of times, I always hear or notice something that surprises me on it.

It's hard to believe we really heard this and thought "wow those British dudes sure are creative and groovy."

Really different from what I expected. Fun & weird.

3.5 can see how this was groundbreaking at the time but all I can think about is "cool" characters in this era of TV (eg Jeremy sisto in 6 feet under)

I read some of the Wikipedia entry for this album and band and I feel pressured to give a high score because of the influence they've had. However, I got some of the same thoughts listening to this album as I did to Sticky Fingers, including: 1) Should I quit this project now bc I really don't have an interest in hearing EVERY influential 1960s/70s British rock band album, 2) what proportion of albums on this list are by white men? 3) If someone told me this was the Beatles I'd probably be like "hmm, okay," and then move on with my day. Intellectually, I understand the appeal, but emotionally, I do not connect. The music is fine. The lyrics are fine. I guess that it feels so familiar even though I've never heard any of it is a testament to the influence but...I wasn't blown away. Maybe that makes me a philistine. Idk.

This album told me I'd look cooler with an eyebrow piercing

Album #: 15 first impressions: The only Van Morrison songs I know going into this is Brown Eyed Girl & Into the Mystic. I've been avoiding going back to this album because it seems like this book is chock full of music that sounds like this/from this era. And wait, lol, of course I knew Moondance (barf), too. Wait. And Crazy Love (fine). after listening through: This album is much less cool than I thought it would be. I thought it would be more Laurel Canyon-Summer of 69-jammy for some reason. But its...much cornier? The vibe is like, 70's Gavin Degraw. And wow, his voice is grating when he shouts, but tolerable when soft. I liked Into the Mystic, and the funky bass and sax on Come Running. Most of the rest ranged from moderately to hugely embarrassing to listen to. Its like a less fun CCR/ (poorly) yassified Dylan. post-reading reviews/wiki: Ope, forgot he did that whole covid denial / lockdown protest thing. Also wasn't expecting that many people to love this album? Hm. recommended for: middle-aged aunts drunk on $5 sangrias during a girls night hang out; MAGA hat wearing dads who love to explain that they aren't racist bc classic rock was very inspired by Black music and they love classic rock.

Album #: 16 (Listened after album 256) first impressions: I used to be very put off of her music because of her voice - it has a similar timbre as a family member who used to sing often around me, but whose voice I found jarringly unfeminine and harsh when I was younger. I still find it somewhat unpleasant, but I understand her importance and the sheer power and emotional force behind it. after listening through: this is nighttime music, this is heartache music, this is for adults. a gorgeous album; if these are her "scraps," I feel compelled to listen to her other works. The piano is also so lovely. post-reading reviews/wiki: Nina Simone was such a force and a unique talent. I hope there's more of her on the list but I just somehow *know* her other work was somehow less important than, any of the roughly 100 mopey white singer-songwriter albums on here.. recommended for: anyone looking to understand the work of serious (and sadly, much more famous/popular) performers who took inspiration from her (e.g., Jeff Buckley, David Bowie)

Exhausting

This album was awful. I mean, I guess I can see how it was influential and I do catch myself having Freak on a Leash stuck in my head every once in a while/it is a good pump up song...but overall...these songs are terrible.

Ancestral father John misty

I understand that this is a foundational album but I found it hard to listen to. It makes me wonder how much of their contribution came from their image/what they projected into the world vs. the actual music.

1.5 Felt like I was missing something; deeply unfun. But not in a sterile way. In a...bald guy who refuses to discuss his baldness way.

I thought I was going to love this based on how fun/interesting/sexy/impressive I've found other Prince records. I found most of the album enjoyable - 1999, Little Red Corvette, Let's Pretend We're Married, DMSR. But I found the squeaky synths of Delirious & Automatic distractingly grating. A lot of the lyrics are silly, and it definitely sounds *80's* in a way that not all Prince's music does (the DMSR groove would totally suit an 80s rap flow, but the guitar riff is v. timelessly Prince, e.g.) Definitely a fun one, but not necessarily the Prince album I'd pick to introduce someone to Prince.

Prior to this listen, I'd only heard Bee Gees' big disco hits, so I was expecting a lot of falsetto, some grooves, and a lot of great harmony. Well...some of that is here. Not sure about the grooves, but it's definitely giving vocals throughout. It's also- surprisingly- giving a lot of deeply sad songs ("When Do I," "Don't Want Live Inside Myself") that are borderline hard to take seriously because of the production. I can't say I love a lot of these tracks - they feel overwrought and theater-y with the cheesy orchestral sounds, even for early 70's...but overall most are just okay. Solid 3.

This album, to me, resonates cool. Some punk (with more polish than hardcore stuff from the same era and early punk), some blues, some folky/country stuff, some foundation for the 90's alt rock titans. I suppose the feelings I have listening to this album contextualize some of the choices for this book -- you don't realize how much nostalgia you can have for a time before you were even born until you *really* hear it and recognize how much of the sounds you grew up were drawn from this. Of course I'd heard the popular songs off this album dozens of times - Debaser, Wave of Mutilation, Here Comes Your Man, Hey, Monkey Gone to Heaven. I'm sure that many of those times were before I knew the prestige of this album or who I was even listening to...but they still made an impression on me as the type of music I (still) enjoyed these songs, and also found myself re-listening to hear even some of the harder to like/less pop-y songs like Crackity Jones. 4 leaning 5 for me.

I really could have gone my whole life without hearing this and it would not have been worse. This sounds like unbuttered toast tastes to me.

This reminds me of going to your friend's cute older brother's performance at an open mic night or something. You know, the instance when your crush abruptly ends bc you realize his art kind of sucks ? :/

I am fairly certain that I or at least one of my siblings was conceived to this album so I haven't really listened to it before this 🌚

Some very interesting sounds and themes in the vein (imho) of early the Weeknd; dark, sexy, a little weird. Still not really something I'm drawn back to.

I was surprised to learn that Ms Springfield is an English woman. Who wouldn't like Son of Preacher man, regardless? The rest of the album is fine, a lot of pining over men and general horniness. I do hope there will be more albums by the POC who originated these musical styles.

Album: Pieces of the Sky Artist: Emmylou Harris Year: 1975 Album #: 72 (listened after album 274) first impressions: usually not super excited to listen to country but this sounds pretty surprisingly contemporary and not...crusty and whiny. after listening through: what an emotional and musical rollercoaster!! i'm exhausted but also excited to dig further into her catalog. post-reading reviews/wiki: curious what contemporary musicians will end up like Ms Harris 50 years from now, if any. recommended for: Dolly Parton fans

Album: New Boots and Panties !! Artist: Ian Dury Year: 1977 Album #: 73 (listened after 274) first impressions: I listened to part of this album on the assigned day and....I don't remember why I didn't finish it, but as I'm revisiting it, I can understand why I forgot it (because believe it or not, there are far worse listening experiences on this list) and why I didn't finish (because it is really not to my taste.) after listening through: i think i could go the rest of life without hearing any of this again and be totally fine for it ( ok I wrote this 2 songs in (during attempt 2!) but the sentiment mostly held.) "Partial to Your Abracadabra" is fun in that it feels very like... British people doing something that feels very un-British & thus automatically humorous. The song "Blockheads" is entirely unpleasant and if you're sensitive to the see you next tuesday word, maybe skip "Plaistow Patricia." post-reading reviews/wiki: ok i guess i could see how *one* might be charmed by the bizarreness of this album. i still...was not. recommended for: the twenty five cent record bin at the thrift store (sorry to this man)

I dismissed this album when it was released as peak P4k fodder -- unintelligible lyrics, crunchy guitars, nothing particularly danceable or beautiful or stunningly innovative. To me, it sounded just like everything else that was being played in Urban Outfitters at the time. But in retrospect, I think this album is great. Sure, it doesn't seem groundbreaking in the way some other albums on this list surely are, but it does sound like something that would still stand out if it were released now, 13 years later. The songs are varied enough that it kept me interested and curious about what would come next. There's so much beautiful, layered, subtle texture in the bass & more muted background percussion. It reminds me of some of the Beatles' albums where I still discover "new" elements each time I listen.

I can't be the only one whose only touchpoint with this album was playing Kool Thing on Guitar Hero when I was in high school. I find it really charming that Kim Gordon is having a resurgence on TikTok right now in 2024. Anyway. It's weird knowing how relatively young this album is (1989) and how much it inspired musicians -- especially those who happen to be women-- that have always just... been around for me as a mid-millennial. I would much rather listen to this than more British New Wave or some of the excessive drippy 60's/70's folk and psych rock on here.

114 (generated) / 447 (rated - 2024 May 20) first impressions: You know when you can tell something was supposed to sound "futuristic" but now sounds super dated? This is what the first songs sound like to me. At least the synths / keys. The vocals are extremely...British. The drums do sound somewhat oddly modern but I don't think they were part of the theme. This definitely feels like like one of those weird transition albums that bridge more definable sounds of eras (this one is like...somewhere between New York Dolls and Talking Heads) after listening through: It got better as the album went on. or maybe I just got used to it. post-reading reviews/wiki: I'm impressed with how good I've gotten at guessing recording dates for albums from the 60s-80s through this project. recommended for: People who want to understand the origins of New Wave.

This one is interesting...I only knew Don't You (Forget About Me) by Simple Minds going into this listen. I was expecting a bigger, more stadium-y sound. But I'm hearing a lot of like.. Depeche Mode in major keys / Devo/Bowie but less interesting / and weirdly a little like..El Ten Eleven/00s sounding guitar & bass work? Maybe that's what notable?

Not particularly interesting to me but I can see how it's a good live album

Can def hear this influence in contemporary Weeknd tracks. Sort of sounds like Gorillaz covering the Weeknd for a GenX/boomer audience. I didn't love the album. The songs kind of started blurring together half way through, w/ the interruption of the Iggy Pop yelling in Aisha. Will probably not re-listen though might come back to it come Halloween time for the vibes.

brooding folk

on one hand i can see why people would be interested in this album. it is full of unique sounds and rhythms that I've never been exposed to. It is not, in my opinion, purposefully ugly- sounding. There are moments that are easy to understand and enjoy. It seems like someone genuinely poured their heart and soul into this project, and its production. But on the other hand, it's just not for me.

Feels like 60s/ 70s generic cosplay music

first impressions: ofc i assumed I'd listened to this album before, but i honestly didn't remember some of the songs. it feels a little disjointed but in a way that makes the despondance and anger of some of the tracks more palatable. ofc this feels to me like the classic PNW grunge sound at its essense. after listening through: easy 4 post-reading reviews/wiki: haven't done so, don't really plan to. this band's history leads to so many weird true crime wormholes that are just...not great. relisten?: added "In Bloom" to my 100 favorite all-time songs (2023 edition) playlist; probably won't listen through again. I get it.

first impressions: sounds like a Hot Chip side project? should I know this? seems like peak p4k bait from this era. pleasant enough, some fun songs that I imagine could have been singles. after listening through: i enjoyed this and appreciate that it sounds like a culmination of a lot of other work in adjacent genres (e.g., Hot Chip, LCD Soundsystem, some lower-fi stuff) it doesn't seem like it merits a place on this list for innovation, though. post-reading reviews/wiki: yeah the reviews about this band falling apart after some allegations of s*xual abuse are not great. its also weird that there's so little information about this band even though they're so contemporary (relative to the rest of the list.) I know the question of separating art from artist is challenging, and i am v sure that MANY of the artists on this list have had similar allegations and if not/if they were downplayed bc "it was a different time" that that doesn't make them any better/worse... relisten?: I've added some of the songs I liked to my monthly favorites playlist, and might carry them over into my working playlist for this year, but I don't think I'll listen to the whole album again.

Album #: 162 first impressions: I remember feeling kind of disappointed on my first listen of this album - I liked her debut a lot, and I feel like the glossiness (and come to learn, Jack Antonoff) of this album kind of diluted that. after listening through: I do think this album does a great job of encapsulating emotions at a specific time in life, on the cusp of adulthood, going through heartbreak, insecurity, when your friends are your life, etc. I was 26 when it came out, but I remember thinking it would have been perfect for me when I was a few years younger. It also sounds like the year when it came out, but without the worst aspects of that era (the dark nihilism/extreme vapidity of a lot of the popular music of the time.) post-reading reviews/wiki: Lorde (maybe this era specifically, I didn't spend a lot of time w her last album) feels like a hybrid of Taylor Swift (poignant, introspective lyrics, not super impressive, but distinctive vocals,) and the xx (dynamic, energetic, even when slow instrumentation that really captures specific emotions.) relisten?: I had forgotten about some old favorites: "Homemade Dynamite," "Supercut," "Perfect Places." And I never really stopped liking "Liability," and "Green Light" for specific moods. The rest of the songs are...fine. I can see how they fit into the album but I just don't find them as compelling or memorable.

psychedelic rock is not the genre for me. i won't remember anything form this album, luckily.

yeeeahhh boiiii

This is the first album in a while I've listened to and thought "wow, I really have been missing out!" It's so fun and energetic. Interesting textures, fun synths, tons of super catchy melodies and of course, Debbie's iconic voice make it so listenable. Of course it sounds its age in some places, but I was still surprised to learn this is from the 70s?!? There are a lot of 80's new wave albums on this list that sound way more dated and uncool now...

first impressions: It's mindblowing to me that this is an album from 1977 - if this were released today, I think it would garner a lot of attention...or at least night core remixes. after listening through: Very interesting. I can hear how this has influenced so many genres of music, including (possibly?) hip hop and modern electronica/dance music. Its not really my cup of tea for daily listening, but I admire how innovative it must have sounded in the 70's. The vocals are unappealing, but the beats are pretty tame and inoffensive. post-reading reviews/wiki: wondering how much this album influences what we think of as "German" vibes today. relisten?: I will probably listen to my favorites, including the opener, again. I might put this album on for working at some point. But I don't think I'd recommend it to a general audience.

first impressions: "Hate to Say I Told You So" is (still) kind of a banger. Good on whatever companies used it for their commercials (? or am i misremembering?) after listening through: After listening to more early punk through this project, I'm less impressed w/ this album than I was when I first heard it & listened to it (in like, middle school.) But I'm not really impressed? If anything I'm surprised this album is on here and kind of inspired to take up guitar and/or singing even though I have almost no experience playing guitar. maybe that's the brilliance of this album? post-reading reviews/wiki: Ok I guess that meme calling them the Swedish Strokes was accurate? relisten?: probably not. even though its only 28 minutes I still feel irritated that I could have listened to something more enjoyable in that time.

Album #: 168 first impressions: ohy this is a great album. after listening through: every time after i listen to this album i feel fulfilled. its like eating the most satisfying and not overwhelming meal. the music is unique and interesting; sparse yet cinematic; the lyrics are tender but performed aloofly. or maybe it just came out at a pivotal time in my life and i have v fond memories of feeling like an adult for the first time while listneing to this album. post-reading reviews/wiki: i mean i guess i know the musicianship isn't groundbreaking but the production is clean and its just..a relief to hear something so minimalistic and not grating in this genre. to me, its a portent to the quieter, darker, but still dance-able music of the 2010s after a decade of really bombastic pop songs. relisten?: i feel like i'll periodically revisit it for nostalgia purposes but its probably a hard sell for non-milennials tbh

Album #: 180 first impressions: as a spanish speaker, listening to music in Portuguese is distractingly difficult - i feel like i should understand but i do not (& this is when i desended into a wormhole trying to identify the song "Prisencolinensinainciusol" by Adriano Celentano. According to Wikipedia the "the name of the song and its lyrics are gibberish but are intended to sound like English in an American accent." I saw it performed on a YouTube video in like, 2008 and its lived in my head rent-free since then.) after listening through: easy listening/smooth jazz & some funk from the late 20th c (i would guess) as the kids would say, but in portuguese. its fine, a little disjointed. not my favorite genre. Kinda vibed w/ "O Medo De Amare E O Medo De Ser Livre" post-reading reviews/wiki: ok sry, so THIS is bossa nova. i always wondered what that sounded like and...now I know. And I know its not for me. I did appreciate the talent behind the vocals and some of the grooves. It certainly has A Vibe. relisten?: i seriously doubt i will ever relisten, but i could see how some people might enjoy it!

I thought I would find this boring, but I was wrong. It is full of fun, catchy melodies and just sounds like the musicians were all having a blast making it.

Likeable if you're into this genre. I don't know if I'll return to this album, but I can totally see how Low-Life:Gen X/Boomers:: the xx : millennials

Album #: 192 first impressions: Yeah, I know this band. Song 2 is a certified banger. The rest of this ranges wildly from sounding like a less fun version of that song to basically unlistenable 90's crunchy guitar noises w chaotic drums and extremely disaffected vocals. after listening through: There were a few catchy songs. I can see how this is an album emblematic of the 90's. post-reading reviews/wiki: I always forget Damon Albarn did blur before Gorillaz. It's weird bc I really enjoy Gorillaz usually...I guess he really shines when he's out of that 5-piece rock band kind of mold. Even though a lot of the reviews praise Blur's versatility, it just feels directionless in a lot of spots on this album. relisten?: probably not, other than song 2 ofc, and maybe Beetlebum (which is like a 90's-ified 70's singer/songwriter vibe) & M.O.R.

Album #: 197 first impressions: I'm finally listening to the quintessential Bad Kid (TM) album. This album came out when I was in elementary school and I remember my popular friends' older brothers being big fans. To the inverse degree, my parents, the "Dr." Dobson devotees, were horrified by this album. So it was weird to go back and actually listen to it now that I'm the age some of those kids' parents must have been. It's also weird to think about how Hailey was kind of always a baby to me but she's like, married now and was always closer to my age than Eminem was. Also, Eminem's sound hasn't actually evolved as much as I thought it would have, but his influence is all over so much of music that I enjoy. after listening through: In some ways, I'm horrified and I can totally see why people were upset by this album and wouldn't want kids to listen to it. But in others, I can see how this was groundbreaking, and I respect Em's artistry and creativity. I don't think anyone could listen to this and think he wasn't imaginative, bold, and provocative as hell. Is some of the violence and misogyny gratuitous? Of course. Is it so offensive that I can see it hynotizing children into committing crimes? No. post-reading reviews/wiki: yeah reactions are exactly what I expected them to be -- adulatory + disgusted. Seems like a fitting legacy. relisten?: I mean, as someone who is pretty sensitive and not a hip hop head, probably not aside from the classic My Name Is.

Absolutely hated the first track, which I know is probably by design. Clearly a lot of this music is designed to elicit emotional responses. I found it weird to listen to such dramatic music without context. Although as I read that back, I guess a lot of classical music is equally dramatic with a lot of what would come across as hack-y to those who listen to a lot of it. Maybe this sounds hack-y to me because I've seen films before. lol. Idk. I vascilate between "the world does not need this art," and "I can definitely see how a "film guy"(gender neutral) would find this compelling."

Album #: 203 first impressions: Prior to this listen, I'd only heard "Heart of Gold" off this album; couldn't have really picked Neil Young's music out of lineup. But I feel like this is giving me a much clearer idea of who he is as an artist, how his music relates to people he was influenced by (e.g., Bob Dylan) and people he would go on to influence (I feel like this album gives Death Cab for Cutie x Avett Brothers.) after listening through: really, really impressed by the range of places I can hear the influence of this album. A quick Google search confirmed that the orchestral score on "There's a World" is sampled in the opening score of Nelly's "Hot in Her(r)e," for example. I am impressed, and frustrated with the relevance of some of the more political songs ("Alabama", to US politics, "The Needle & the Damage Done" to the opioid epidemic...) but I guess that's how you make a timeless album. post-reading reviews/wiki: I understand and respect Neil Young's perspective & why so many artists I love love him. This album is giving a "your favorite artists' favorite artist" vibe. While I 100% expected this album to be on the list (I feel like its in every (white) Dad's record collection, and cited by so many of the artists I enjoy,) I guess I wasn't fully sure what to expect from it/didn't feel compelled to check it out sooner. I assumed it wouldn't be "for" me, as a millennial Latina. And yet, this is definitely one of my favorite albums so far, 200+ albums into this project. relisten?: Sonically, v. likely. Logistically, probably less likely since his music isn't available on Spotify. I 100% respect that decision but also wish Apple Music cared more about their PC/iPhone UX/ that YouTube music was just...better. :\ If more (established) musicians had a backbone (like Neil Young!!!) we'd probably all be better for it, with more choice for music platforms. And more availability of music that is truly classic for a reason.

Album #: 208 first impressions: Thrilled to be giving this a listen. I've gone back to it a few times in the last few years after rediscovering it when I heard "In My Place" on a Now That's What I Call Music compilation listen through (it was a good way to pass time/relive memories while training for a half marathon.) So far, it holds up. The melodies are often pretty and memorable, the piano/orchestral touches/ and clean production add to how contemporary the music feels even though a lot of the song structures, lyrics, instrumentation, and themes aren't particularly innovative. Chris Martin's vocals are sort of like adult contemporary Thom Yorke. The percussion feels very alive throughout most of the songs even though music in this genre in this era can feel very canned. Maybe millions of people aren't wrong for liking this band? At least during this album. I'm not sure when their sound got so bloated and boring but it was after this album for sure. after listening through: It's hard for me to know if this album is really actually as good as I think it is or if its nostalgia blinding me. I'm trying to judge by the songs I am less familiar with (e.g., "A Whisper," "Politik," "Daylight," the title track) They feel like relative lowlights of the album, but are still interesting and pleasant, if less memorable. I hear classic rock influences. I hear how cheesy the orchestral swells might sound 20 years later. I do not hear groundbreaking poetry. I can imagine it being played alongside other artists considered mediocre (e.g., the Fray, pop era John Mayer.) And yet. When I hear "In my Place," "Clocks," "Warning Sign," and "The Scientist,"( and even "Green Eyes," which I like significantly less,) I can vividly imagine multiple points in my life when I've heard those songs and/or recall the music videos and my emotional state(s!) And I can see how they might feel like that for others my age, too. But also how they might not seem that way for those older than say, young Gen X, or Gen Z or younger. They have their own cinematic pop rock albums to lean on and I can totally hear how these songs might just sound like cell phone commercials. Overall, it was very much an album that accompanied my formative years, during the dying days of US monoculture. To the uninitiated, I would describe this album as more approachable Radiohead or maybe 00's U2 vibes. post-reading reviews/wiki: Well. These reviews are 100% what I expected. Time to start an early Coldplay apologist club. relisten?: Pretty likely that I'll be forced to hear one or more of the singles from this album when consuming media from this era. Prettly likely that I'll choose to give it a listen when I'm wanting to relive younger years.

Album #: 210 first impressions: ...this is the same Coal Miner's Daughter Loretta Lynn? after listening through: Oh, ok so this is what I thought country sounded like growing up. And this is what I didn't like. I find it cheesy, whiny, and dull. I guess I appreciate the storytelling. Although the stories themselves are simply a rude reminder of how we all suffer under toxic masculinity. I guess I still value the and emotional vulnerability, and do think she's a talented singer. "I Really Don't Want to Know" must have been killer live w/ the dynamics and range showcased; the harmonies on "There Goes my Everything" are pretty. But it all kind of blended together for me. Too many similar tempos and themes; lots of variation on "my man sucks, here's a whiny slide guitar solo." post-reading reviews/wiki: not surprised at the range of people's feelings on this album; also surprised no one mentioned how this record sounds positively ancient (read: bad) compared to other records from around this time. recommended for: divorcees having sad coffee at a truck stop in flyover country? Idk relisten?: i immediately gave it a relisten after realizing that I did really like other albums of hers I've heard. I don't think I'll be doing that again.

Album #: 213 first impressions: The guitars, percussion, and production are very in line w the indie sleaze of the time, but going for a (much) more polished presentation? Its like Bloc Party x Shiny Toy Guns with ANOHNI singing. after listening through: I don't think I understand why this album is on the list. It was interesting, I guess? post-reading reviews/wiki: Love that the wiki refers to how British indie is more buttoned up. This really does feel that way, other than the absurd lyrics and the dramatic vocals. I never know what "art rock" is, but I suppose other people labeling it as such makes that sound like a fitting genre. recommended for: shopping at urban outfitters; adding a (single) song to a playlist from this era. Not sure which one though.

Album #: 214 first impressions: Not quite sure what to expect. I remember this album sounding chaotic and overstimulating when I last tried to listen in my early 20's. I totally wrote it off except for Maps when I was younger. And yet. I distinctly remember seeing the Maps music video on MTV when I was a tween and being completely blown away by Karen O. I didn't know women (especially women who didn't fit the extremely rigid beauty standards of the time) could be so magnetic and rock so hard. And then. Date With the Night also grew on me (I think it was on the Girls soundtrack? or maybe a movie I liked? idk) and Y Control (which I heard on a mixtape from a Tumblr blogger I liked...) And now the whole thing just feels electric and powerful. after listening through: I can see why this album was so influential. I would love to hear this on vinyl and to maybe watch performances of them during this era. Though I think seeing them live would be underwhelming now and would have been too chaotic at the time this album came out. post-reading reviews/wiki: yeah ok, I can also see how this one would read as overhyped. And I do kind of agree that the band might be better with a bassist (although would Karen O shine as brightly as she does w another band member?). Some of the songs are pretty silly/forgettable/too messy (Rich, Tick, Yeah! New York.) recommended for: fans of Arctic Monkeys, the 1975, the Ramones, anyone who owned the American Apparel Disco pants

Album #: 215 first impressions: I was expecting more proto- Daft Punk. I'm getting v cheesy synths (hadn't we progressed more by 1987??) and...boredom? after listening through: I'm having a hard time remembering what this sounded like even a couple hours later. post-reading reviews/wiki: is this yet another "oh, this must be a british thing" album ? like, we just accept that a lot of british music (before a certain time/by certain demographics/in certain genres) utterly lacks...spice? I'm dreading the other 2 albums on this list. A relisten is probably not in the cards but I'll make sure to pay more attention to those on the other ones, if only something to distract from the tedium of the music. recommended for: city pop fans?

Harry Styles of the 90s

Album #: 223 first impressions: I remember this band being Pitchfork darlings around the time of this album. At the time, I remember thinking Pitchfork was unbearably pretentious. So I assumed this band would be, too. A bit surprisingly, it sounds like an amalgamation of other bands they liked at the time that were sort of on the more mainstream edge: the XX, Fleet Foxes, and LCD Soundsystem. An interesting mix of 2010's indie/electronic/world music together with a little bit of country/60's singer-songwriter flair. after listening through: Really interesting production/blends of genres; good background/working music but also fun/varied enough to listen to as a standalone activity. But a little too long. post-reading reviews/wiki: I would not have guessed that this band is British because it feels... relatively seasoned (iykyk.) I'm not surprised to see comparisons to Animal Collective, another band I rejected at the time of this album's release bc I felt that their sound was too weird and people who liked them were just pretentious at the time. Now I kind of vibe with it, but it's not something I see myself obsessing over a decade too late. recommended for: fans of Tune-Yards, James Blake, Orville Peck, Devendra Banhart, stomp n clap.

Album: Modern Sounds in Country and Western Music Artist: Ray Charles Year: 1962 Album #: 228 first impressions: yay ray charles should be fun and energizing for a monday morning after listening through: i'm so bored i could cry post-reading reviews/wiki: well, it sucks that an album that broke down so many barriers and was so influential has so many moments that just sound dull without context. i would have gone into this expecting an easy 5 stars had i read this first but i just.. can't motivate myself to relisten. i appreciate the idea of this album but the songs themselves were just like...proof that this era of country music is not for me! recommended for: soothing elderly people

Album #: 231 first impressions: *groan* after listening through: i get why this is on here. without the beastie boys yelling at us, how would we have known that white people were also interested in hip hop in the 80's? without the beastie boys we wouldn't have Eminem, Sublime, or Mac Miller or *checks notes* Fred Durst? post-reading reviews/wiki: not at all surprised this is such a controversial album. to me it listens like a "you just had to be there." I'm a mid-millennial and I remember hearing the singles (Fight for Your Right, No Sleep Til Brooklyn, Brass Monkey, Girls) on the alternative radio station growing up and...even then I was like "this is music for frat boys," / period piece soundtracks and not for me. recommended for: Boomer Dad's trying to be cool. Gen Z/Alpha trying to understand why there was such limited interest in hip hop not made by Black people in the 90's & 00's.

My first thought was "Another Brian Eno??" But this one feels more lively than some of the other ones, at least. There are stretches that feel weird for weird's sake but in others, it feels like masterclass in how to integrate unusual instruments and bizarre lyrics into music that still seems cohesive and enjoyable. Very creative and fun.

Album #: 236 first impressions: Excited to give this album a close listen. I've heard it before and I've heard Nick Cave's other works, at least in part. Nothing really stood out but I know this album has a reputation for being beautiful and unique in his discography. after listening through: I feel a little emotionally destroyed, but also somehow lightened. This album is a really beautiful meditation on loss and grief, and how universal these things are, but how consuming and altering they can be. No, his vocals aren't pretty, but neither are those emotions. The contrast between his voice and the instrumentation is such a good match for trying to describe the contrast between how it feels like your world has ended when you're dealing with death, but how the rest of the world simply...goes on. All the beauty and all the darkness sits together. The lyrics are really beautiful and challenging. And on a personal note, this is my 201st reviewed album and I am feeling ready to continue powering through the other 4/5ths of this list (lol) post-reading reviews/wiki: Seems like my reaction was about on par. recommended for: all of us in this "post-covid" world. we've all been challenged to some degree by this event; many, if not most, of us by death or serious illness, or at least its proximity.

Album #: 238 first impressions: back to our usual programming, i guess -- british rock dudes beloved by dads after listening through: these guys sure play rock music fast and loud post-reading reviews/wiki: pioneers in thrash metal; not really a genre i enjoy, but i suppose i understand why this album is on here & didn't suffer any more for listening to it than I did w/ yesterday's Limp Bizkit album... recommended for: comical getaway scene in a film set in the 80s

it took me 3 attempts to get through this album not because it was bad, but because it was largely forgettable. it sounded like something that would be playing in the background of a grimy coffee shop run by cranky gen x'ers in a B or C list US US city (you know, where they have multiple cold brew and gastropub options but probably not matcha or someone who you can pay to administer legal psychedelics) i found myself enjoying the two songs spotify auto played (by Sebadoh and The Clean) after the album and im not sure if it was because it was better (bc they were both similar...) or just different enough to catch my attention. If you're into elliott smith and weezer you'll probably like it.

I found this album dull. It was like a mix of the Who, Bowie, and Dylan, but not particularly memorable. Not unpleasant if you're into 70's rock, but not for me.

Album #: 242 first impressions: were oasis pioneers of cursive singing? ("sun-she-ine," etc.) after listening through: I was folding laundry while listening to this and covered my speaker w/ a towel for a moment -- it was much easier to listen to and almost enjoyable like this. post-reading reviews/wiki: i guess everyone recognizes this is mid in at least one way but i'm not sure why that translates into them loving it? i guess you had to be there. recommended for: someone looking for the british answer to US grunge pop of the 90s? lovers of distortion and affected vocal stylings.

#252 - finished it across four different sessions. This is long and not all that coherent. Except that most songs sound like they could be played by an old burnout who plays Dylan covers for an apathetic audience at your local coffeehouse. I'm not sure why this album is on this list, even after reading the very sad Wikipedia page. It's not good. Sorry to this man (RIP.)

Didn't think I'd like this as I'm not really into hardcore or metal (some punk is okay, but definitely not my go-to,) but I'd honestly much rather listen to this than most of the 80s/90s brit pop on here. I can appreciate the insane level of skill required for the drums on this album + the vocals & bass. Very distinctive, very much projecting the vibe of impending doom showcased in the lyrics.

Album #: 258 first impressions: another REM? This one might be less inscrutible since it has eome of the songs of theirs I know. after listening through: ok i get the appeal of this band to those of a certain age (Gen X, I guess?) post-reading reviews/wiki: i guess people really like this one, huh? recommended for: fans of jangly guitars and angsty but not *too* angsty vocals and lyrics

Album #: 272 first impressions: *shudder* I just got the Black Keys two days ago, isn't that enough unchecked testosterone for one week. after listening through: barely coherent horny mumbling and moaning over bluesy, crunchy garage-y rock. it clearly shows they've listened to a lot of the classics (for better or worse,) but it does not seem like it should be allowed to be listened to in the daytime or around children. Except, you know, for a Jeep commercial or something. That's Kings of Leon for you. I do not think anyone was shocked to learn these guys had serious problems w alcohol. but anyway, i guess it was more fun than expected if you simply pretend this man isn't trying to sing in English. post-reading reviews/wiki: i do not want to believe how many people like this. i guess that's what happens when u get a lot of sweaty young (white) men doing these reviews recommended for: montages of the type of bros who call women "chicks" in public and "females" online trying to act swaggy at dingy bars w sticky floors; finding motivation to take a shower.

I understand the musical importance and can see how contemporary artists I really like, like Kacey Musgraves & Jason Isbell trace back to Graham Parsons. But I'm a still a little resentful that what feels like the entire Byrds & all related artists' discographies are on this list.

I need to lay down and do nothing after listening to this. But I can definitely understand why this record is on the list. As a very sheltered kid with a lot of unrestricted access to the internet, but also a deep fear of accidentally downloading a virus onto the family computer, I remember reading about Black Flag & Henry Rollins & the DC punk scene as a young teen. I deeply wanted to hear the music that influenced the music I loved the most (third wave emo, ofc) because I KNEW it would resonate with me, a 12-14 year old suburban girl in the early-mid-2000's. But I was scared I'd get in trouble for downloading it from Limewire or similar. This was before the days of streaming, so I had to make do with the little preview snippets from the Apple Store, and the random MP3 track or two someone would upload to Xanga or LiveJournal.... Anyway. Glad this music is so accessible now for those young people feeling really big feelings and looking for a relatively healthy outlet for them! I think I *would* have loved this album at that age. Now I am just exhausted. But appreciative!

My only context for this album was a memory of a high school acquaintance - the kind of guy who was somehow popular and funny but still repulsed most girls (including myself)--being a huge fan of this album. One time he convinced a girl who wasn't repulsed by him from our algebra II class to listen to it by burning her a copy of the CD. She came back the next day and just said "that was really weird," and stopped flirting with him during class after that. Yeah, I can see why that happened. If you don't listen to the lyrics it's fine - full of interesting, mellow beats and fun flow. But the lyrics are truly bizarre; sometimes funny and certainly unique, yes, but mostly gross and strange. Not for me but I can definitely see a 15 year old boy being really into this.

Album: Third Artist: Portishead Year: 2008 Album #: 300 (264 rated) first impressions: I feel like this is supposed to be an influential album and artist so...I was looking forward to it, but now I'm looking forward to the end. This just seems like if Radiohead decided to make songs without traditional structure and more synths and truly grating, mewing vocals. after listening through: the song "Plastic" is honestly one of the worst tracks I've listened to as part of this project; "Deep Water" is like, the origin story of the awful twee ukelele hiphop YouTube covers of the early 2010s? The rest is like, the Social Network Soundtrack mashed up with Kid A, but replaced with the vocals of the woman who sings at 8 am mass at my parents' church. post-reading reviews/wiki: ...did I listen to the same album people love? I guess I really just don't like Trip Hop. recommended for: someone who hates melody in their music and just wants.. slightly unpleasant noise.

Album #: 310 (issued, #287 rated) first impressions: Oh this might be interesting (& what felt like 40 minutes and 3 songs in -- ok maybe I was wrong.) after listening through: I will not be listening to the extended version. I get it. It's kind of fun for a little bit and I'm sure sounds better when you're on ketamine. But I don't like contemporary EDM much and don't like this prototype for it. post-reading reviews/wiki: *Imagines everyone who loves this album dancing in that cybergoths dancing under a bridge meme video* recommended for: cosplaying club scenes in early seasons of Sex & the City

As someone born in the last decade of the 20th century, I don't really know a life without this kind of minimalistic math rock-y sound. And it also sounds like its time to me (90s -- it must have been so weird to go to college in the last years of life before everyone was Online....) Its easy to listen to and easy to imagine it playing at a climbing gym or in a yoga class led by a Gen Xer. Pleasant enough music for the background, but not novel or particularly interesting- sounding to me.

FIRST IMPRESSIONS: Realizing I've confused XTC with INXS in my mind; wasn't jazzed to hear INXS either, but this feels somehow worse & less interesting. So many artists credit Bowie when discussing their sound but the connection isn't always clear to me. Connections here seem clear but not in a good way. This sounds like the corniest of Bowie to me - very dated/of a certain time to my ears. This style of pompous masculine vocals triggers a reaction in me that's probably how some men get SO irritated by young women's vocal fry. It's just...grating. I'm trying to temper my takes by recognizing that I'm pre-annoyed because I had to use Youtube music for this, yet I don't feel optimistic 2 songs in. AFTER LISTENING: Although I was worried it would be a marker that the rest of the album would be plodding, I liked "Knights In Shining Armor"'s Simon & Garfunkel- like vocals (it helps when you stay within your range, I think...) & gentle but subtly unique instruments. Most of the rest sounded distinctively UK-based (derogatory.) "Your Dictionary" was uniquely embarrassing to listen to in 2024 but maybe it was fun and quirky in the 80's or whenever this came out. I'm interested to learn why this album might belong on this list because it's not apparent from listening. AFTER LEARNING MORE: I guess art rock just isn't a genre for me. I'm stunned by how many people really liked this. RECCOMMENDED IF YOU LIKE: Spandau Ballet/Squeeze/The Outfield bands in that genre/of that time, musical theater, men trying really hard

first impressions: absolute dread at yet another album from between 1965 & 1972) this sounds like just another Beatles-esque folk/psychadelic rock album. after listening through: I barely remember what this album sounded like aside from the singles that I'd heard before, which I don't think I recognized as all by the same band since they all kind of blur together to me. Time of the Season is honestly kind of an all time bop which means that I understand why this album is on here even if it is only for this single. post-reading reviews/wiki: No impressions have shifted, tbh. recommended for: the youth who have never heard that song they heard on TikTok

Album #: 331 issued, (289 rated) first impressions: this might be funky fresh after listening through: this is like the portuguese version of that red snapper album; vaguely ominous/sexy/cool hold music. post-reading reviews/wiki: . I can't believe I gave that Red Snapper album a 4. I would be inclined to 3 this one bc at least there's some fun world-music influence on it, but i'd have to take away a star for the whistling and for being at least 10 minutes too long. recommended for: someone interested in getting zooted and pretending its the 90's

FIRST IMPRESSIONS: This could be interesting; ambient sort of a shoegaze / lo-fi precursor maybe, but could also be awful and pretentious/unlistenable after a while. AFTER LISTENING: I have had to return to this album multiple times because I kept forgetting what it sounded like. But I think it's sort of a...if goth music from this era were less dark vibe. I am anticipating that the commentary will refer to this album as groundbreaking for its recording techniques or something that doesn't really translate well into listening without context. AFTER LEARNING MORE: Sorry, I'm not reading all that. I guess for a list that loves Spiritualized and that whole vibe so much, this pick makes sense. Unfortunately, the Wikipedia authors for the Spaceman 3 page lost me at "neo-psychedelia" and "drug band." RECCOMMENDED IF YOU LIKE: Spiritualized, Suicide (the band,) taking edibles and zoning out

FIRST IMPRESSIONS: 1968 automatically sets off red flags in my head. I hope this is interesting & not more homogenous folk/psych from this era. What in the Medieval Times is this? This feels weird for the sake of being weird. But I feel like this band is supposed to be Important so here we go... AFTER LISTENING: well the first couple of songs were a good indicator of the rest of the album. I'll remember this as an Important band to Avoid in my personal listening. AFTER LEARNING MORE: Important due to weirdness/originality. Can't argue with that, I guess. RECCOMMENDED IF YOU LIKE: ren faires, bob dylan, acid, the idea of watching a busker in san francisco during ~a certain era~, bands adapting a vaguely ethnic sound to be edgy [#338 generated / #487 reviewed]

FIRST IMPRESSIONS: This should be fine to listen to/educational. It sounds like 1994, but I can also hear how this influenced contemporary hip hop already. AFTER LISTENING: I immediately went to the deluxe edition to relisten to some of the singles and assess if I wanted to do a deeper listen. AFTER LEARNING MORE: The lore is simply too deep to really give it justice on a weekday. RECCOMMENDED IF YOU LIKE: Learning about the East Coast rap scene, want some background sounds with a vaguely ominous but not too stressful (if you're not listening closely) vibes... 339 issued / 488 rated

FIRST IMPRESSIONS: How it that not Katherine Heigl on the cover of this album? / how am I just realizing the Cars & the song Cars by Gary Numan are...very much not the same thing? AFTER LISTENING: this was unexpectedly fun & not corny for such a synth heavy LP AFTER LEARNING MORE: seems like a lot of people agree? RECCOMMENDED IF YOU LIKE: mid-tempo bangers, synth music that would appeal to people who went to graduate school 340 issued / 489 rated

WHAT I ENJOYED: some beautiful & nostalgic mid/late 90's guitar tones; easy to listen to mild pop hooks and instrumentation; the themes of alienation and sadness expressed on songs like Guest List & Mental are pretty universal and easy to relate to GRIPES: I find the album artwork upsetting; the album felt really mopey and narcissistic (I guess the lyrics really hammer home that the depression/self-pity might have been a key ingredient here...) RECCOMMENDED IF YOU LIKE: the idea of Rod Stewart covering early Weezer (what it sort of sounds like), the film Garden State, dressing like an elderly man, having no rizz, & complaining that women you're attracted to don't find you attractive #341 revealed / #490 rated

WHAT I ENJOYED: a lot of familiar tunes by a band I wasn't at all familiar with; listening felt sort of like being at a bar with a really good cover band playing -- easy enough to tune out the familiarity, but when you pay attention, better than you would imagine. GRIPES: this sounds like it was recorded on a potato -- it's hard to judge the quality of bass and drums (which maybe aren't even on some tracks?) because the sound quality is so poor. As with other albums of this genre & era, it is kind of sad to think about the erasure of Black artists who pioneered many of the styles showcased here. RECCOMMENDED IF YOU LIKE: the (early) Black Keys, Little Richard, Elvis' rock catalog #345 revealed / #493 rated

WHAT I ENJOYED: There are some classics on here, probably. I didn't grow up with parents who were into Neil Young so this was my first time (outside of like, dive bars, probably) hearing some of them. I think it's cool that this album sounds like the beginning of a bridge between 70's soft rock and 80's grunge/lo-fi indie. GRIPES: I can see how the vocals are not for everyone.But at the same time, I feel like they're not SO bad...imo they add charm to melodies that would probably sound too precious and yacht-rock-y without imperfections and texture. Then again, it seems like a lot of the lyrics were just an afterthought. I have no idea what most of the songs are about. RECCOMMENDED IF YOU LIKE: Other Neil Young stuff, the Pixies, Elliott Smith #347 revealed / #494 rated

If Lin Manuel Miranda wrote a Skins musical

Album #: 350 (#298 rated) first impressions: this is probably going to be weird. it's like nick cave meets barry manilow so far? after listening through: i mean, is he just andy shauf/jens lekman for boomers? i kind of get it in that sense. post-reading reviews/wiki: no relation to the former (trash) governor of Wisconsin, or his dad or anything, in case you were also wondering. recommended for: those looking for easier listening than some of the other late 60's singer/songwriters without as vapid as some of the pop music from that era.

WHAT I ENJOYED: some nice mellow classics, the sound is really lovely for the age of the record GRIPES: some of the vocals are especially giving Tiny Tim on this one; there doesn't seem like a lot of emotional range or variety to the music so you really have to be focused to give it a real listen (if you're easily distracted, like me.) RECCOMMENDED IF YOU LIKE: Beirut, other Neil Young, mellow ballads #351 revealed / #496 rated

Album #: 352 (#297 rated) first impressions: this is going to be a slog. after listening through: it was kind of a slog. i thought about not finishing it, but i've listened to some that were harder to ignore all the way through -- the noise rock aspect means you can just kind of tune it out. post-reading reviews/wiki: glad to not be the only one who found this tedious and weird for no reason. recommended for: teen edgelords looking to "impress" online, haunted house soundtracks for halloween

Steve Winwood - Arc of a Diver (1979) WHAT I ENJOYED: a few new to me standouts - I liked "Slowdown-Sundown," especially. GRIPES: the synths on many tracks make it really *sound* like 1979 -- even if it was ahead of its time, it didn't age all that well imo RECCOMMENDED IF YOU LIKE: the Doobie Brothers, Steely Dan minus the funkier parts #359 revealed / #498 rated

Album #: 363 (#305 rated) first impressions: this is going to be weird and very 90's, I think. after listening through: that was not unpleasant -- kind of an amalgamation of the Flaming Lips + Radiohead, but fun + early Coldplay? Anyway, I'm pretty sure I will forget this album in a few weeks at the longest. It was fine, but didn't really resonate emotionally for me and the music was just too weird on purpose for me. post-reading reviews/wiki: I tried to read the Spotify bio for this band and it was entirely too long to comprehend. You know it's going to be juicy when they immediately bring up tensions in the band and lineup changes. Also, sorry for piling on with the Flaming Lips comparison. I really didn't cheat and peak at the comments before writing that. recommended for: Fans of the bands this album sounds like, people who hate music that fits into one genre; people who like "musicians' musicians"

American Music Club - California (1988) WHAT I ENJOYED: dreamy pedal steel on the opening track, general dark, hazy, dreamy feel on the whole album GRIPES: Not on Spotify, the vocals feel a bit monotonous. Bad Liquor sounds like something that would be blasting out of an angsty neighbor's garage during a Dads' Night Off jam session. RECCOMMENDED IF YOU LIKE: Third Eye Blind (but less edgy,) the National, shoegaze, the Cure (but less jangly) #374 revealed / #499 rated

WHAT I ENJOYED: vibey, trip hop beats that (mostly) sound fresh even 20 years later; really layered, rich soundscapes that make me want to look up the sample tracks. Some of it is a little out there but...I respect it (organ donor.) GRIPES: I don't know if I really have any??? I guess I wish this were a more popular record and I'd discovered it sooner? RECCOMMENDED IF YOU LIKE: Lofi beats, curating perfect playlists for listening to while riding public transit after dark #380 revealed / #500 rated

Probably my favorite of anything in the garage genre or anything adjacent that I've heard so far. Some of it is catchy and interesting, but I will most likely not come back to this.

In 2017, I traveled to Ladakh in the Jammu & Kashmir region after attending friends' wedding in Delhi. I'm pretty certain it was one of the most otherworldly and beautiful places I've ever been (do a Google image search of Tso Moriri and know that it actually looked like the photos. And not only from specific angles!) I know a large part of my admiration was because it was so unfamiliar and is now because I know how few US Americans have and will be able to travel there. Anyway. This music truly fits the type of gorgeous, pristine, and kind of dangerous vibes and kind of makes me understand why so many rock bands in the 60's incorporated elements of Indian music into their own.

oh, i -suffered- through this one. there isn't a single song i ever want to hear again on this album. i really am not sure why it's on this list.

SAIN ARE 'OUSE?

ancestral lofi beats to study/relax to

Nico - Chelsea Girl (1967) WHAT I ENJOYED: relatively short run time, some fun string fills, finally being able to say I've listened to Nico GRIPES: really strange monotonous speak-singing style (it does feel distinctly German,) v old sounding recording quality, mostly dull arrangements RECCOMMENDED IF YOU LIKE: Cate Le Bon, Cassandra Jenkins, Florence + the Machine (but not fun,) when music is "Important" and "Challenging" #442 revealed / #501 rated

WHAT I ENJOYED: I guess I like that someone took a chance on these guys (& eventually one became the Nick Cave we know and enjoy today) who sound like...they're doing exactly what they want to do. The longest songs are on the first half of the album so it goes by faster in the second half. GRIPES: They're doing what they want to do which is creating music that I really can't imagine a lot of people would enjoy. Awful, screeching guitars, plodding bass and drums, vocals that leave much to be desired. Can't forget about: unintelligble lyrics, pervasive gloomy and angry tone. RECCOMMENDED IF YOU LIKE: imagining Louis Armstrong in a post-punk band, going to shitty punk shows, unpleasant noises that might be classified as music by edgelords, gnashing of teeth. #450 revealed / #503 rated

I get it. Kitschy, easy to understand pop/rock. It feels like a less sleazy version of the Rolling Stones, a bit. A precursor to Vampire Weekend.

Big swing, naming your album Timeless. Not sure if the name exactly fits, since it does still sound sort of futuristic, but in a 90's/00's way. Definitely not something I would have chosen to listen to on my own, but not horrible. Kind of a good background for doing work that requires some focus, but not a lot of deep thinking. I could see myself coming back to some of these tracks for long runs or coding sessions.

must've been cool to be there, i guess. also cool how good it sounds for long ago it was, and that this was all live. not really something i could get into on a weekday while working though.

recommended if you like: nirvana, mac demarco, talking about how you used to go to basement shows, the mountain goats, owning ancient chuck taylors, lo-fi

I had to sigh when this album popped up, entirely too soon after their other album on this list (aka at any point at all.) This one is more polished sounding, but still sort of grimy and dirty feeling...lyrics are overtly sexual in a retro (and somehow still unsexy, to me at least) way. It feels like they've chosen to embrace the messiness of the vocal stylings while cleaning up the other aspects of the music on this record. I remember this being their breakout album. The singles were truly inescapable in 2008-2010. In retrospect, maybe I should have appreciated them more then, because they really came at the end of rock on the pop charts for...a while. Is that why they're on the list? Commercial success and the marker of an end of an era where indie rock went mainstream, thanks, in no small part, because of the Twilight soundtrack? I have no other theories. Overall, it's fine. I don't think I'll return to this album anytime soon, but thanks to the magic of drugstore soundtracks, I'm sure I'll remember it exists.

So I didn't think I would know any of these songs since I didn't recognize thea artist's name or any of the tracks, but I recognized the opener in seconds. It's one of those songs where I'd bet that if you're 30 or older in an English speaking country, you somehow just know the song? I can't remember ever hearing it in a specific place or at a specific time in my childhood but somehow I knew most of the lyrics and felt like it was just...around when I was a kid? Everything else sounded sort of like that song. So I suppose if you like it, the rest of the album will be bearable, if not the most interesting. I can't see myself returning to this, but I appreciate it as a sort of proto-Gorillaz type piece of music history. I'm tempted to be frustrated since really only the opening track stood out to me in any way, but I suppose music history is really littered with one hit wonders and isn't music history what we're all here trying to learn about?

WHAT I ENJOYED: some of the lyrics were (I believe I'm using this Britishism correctly) quite cheeky GRIPES: musically a little melodramatic, lyrically kind of creepy (but I'm guessing/hoping it was satirical??) RECCOMMENDED IF YOU LIKE: Morrissey, Rufus Wainwright #490 revealed / #521 rated

1.5 WHAT I ENJOYED: the kind of fun/ominous instrumentation on the quieter pieces like Hello Skinny, the fairly short track length. The idea that if someone finds this appealing, I can definitely make music, too. GRIPES: really awful, crunchy & strident guitar sounds; pervasive sense of doom/glowering vocals throughout. Zero sense of who might actually put this on and enjoy it without something to prove in the Year of Our Lord Twenty Twenty Four. RECCOMMENDED IF YOU LIKE: annoying your neighbors, triggering tinnitus, Halloween music. #492 revealed / #524 rated

I think the only Talk Talk song I'd heard before was "It's my Life" and then, only because of the No Doubt cover. This album was fine. The songs all felt like 1-4 minutes too long, but otherwise inoffensive. Will probably not come back to this one.

WHAT I ENJOYED: little hits of ska horns & absolutely HAM drums in many songs. This is an album where, because I was (sort of- I was a kid!) there for this era of music -- I start to have some empathy for why editors have chosen albums with limited staying power but a v strong impression of a specific time and place in music. It definitely sounds like the blueprint for the SoCal Ska-infused punk/pop punk/rockabilly era. GRIPES: I have a hard time listening to bands where the vocals feel so throughtless (like they really just picked a random guy to sing vs. considerting getting/becoming a real singer?); I'm not saying you need to GIVE VOCALS to perform satisfying music, especially not punk, but like...this guy doesn't really even sound angry or anything in some of these songs. Some of the songs seem like they'd be much more fun if they perked up a little -- you could convince me Drop Out was a low-energy interpretation of a Stooges song, for example. RECCOMMENDED IF YOU LIKE: early No Doubt, Hot Snakes, Fugazi (but calmer) #497 revealed / #512 rated

Some technically impressive guitar and especially drums, but probably not something I'll return to as I've learned I'm not a thrash metal fan. Seems specifically engineered to appeal to men who would sooner dress like our man on the cover every day than listen to anything that doesn't feature guitar or that might express feelings other than anger or lust.

Suede - Dog Man Star (1994) WHAT I ENJOYED: the v british accent, pretty string arrangements, surprisingly run basslines, relatively unobtrusive as background music. The album felt like it had a noticeable arc and structure -- even though I was listening to it while doing other things, I had a sense of where I was in the narrative of the album the whole time, even though it was my first listen, which is nice. GRIPES: A lot of it felt showboat-y & overwraught in a Morrissian way. It's not really what I'm into. RECCOMMENDED IF YOU LIKE: The Divine Comedy, the Cure, your pop rock on the theatrical side #501 revealed/ #513 rated

pleasant enough folk-y rock. silly at times. i feel like this is a name i've heard tossed around a lot as sort of an artist's artist. maybe i am just not artistic enough to understand why this is special. its giving: man who loves A24 films & has an extensive vinyl collection but no bedframe.

listening to this felt like pulling back the curtain on the music they played at the coolest places (aka Urban Outfitters lmao) i would dare visit as a teen in the mid-late aughts who desperately wanted to get \"into\" music but had v strict parents. or like what the disgruntled ex nyc/la bartender/photography blogger/do turned barista/proprietor at the only coffee shop w a powder coated espresso machine and a pourover menu in a college town would play on vinyl during the day to discourage people from taking work phone calls from inside. sounds like Spoon x the Arctic Monkeys + weird 70s psych rock & a touch of piratesque gang vocals. i mean. it was fine but nothing particularly memorable for me.

another british punk album ? *miranda priestly voice* groundbreaking.

i don't know about this album. i wanted to like it. i mean, i hear these guys' influence on music i like as someone who sometimes dips into contemporary Americana but like...it's not what i was expecting. i thought it would be more like CCR? dad day-drinking/sports watching/bbq-ing music with gently racist and misogynistic undertones. and i guess it is. but it's like....little peeks of CCR-like guitar and drum arrangements with really dull piano and vocals that make me wonder how they had so many guys in this band and none of them could sing the songs they wrote? i found the lyrics and melodies dull. the harmonies iffy. everything kind of blended together for me, including the songs people listed as their favorites here. except king harvest. that one was pretty good. I'm not old enough to remember the 60s or 70s and I didn't grow up with a Rock Dad so this isn't nostalgic for me. I'm also a non- White woman living in the US South and i'm not charmed by the romanticization of the past in the US. to me, this is peak guys who make music for White people who are too scared and/or racist to listen to music that's actually adventurous and innovative. or even more earnest and more lyrically masterful. i found myself wishing this were a dylan or allman brothers or CSNY/some combination thereof album instead. as i search for something positive to end on, ill say i liked some of the mandolin parts. i thought it was a good length and the sequencing made sense. i feel like i "get" who these guys are now and they're...just not for me. but i understand why this is on here.

i love these ladies individually and these harmonies are angelic but the song choices here...real snoozefest, unfortunately.

This is more like a 2.5 WHAT I ENJOYED: It's palatable pop rock. The music equivalent of like, plain Lays chips. Gentle, earnest vocals, interesting lyrics. a good mix of moods respresented. There are some songs I want to go back to for another listen/adding to playlists for quiet activities, like working or reading on a rainy day. GRIPES: To continue my chips metaphor, it's fine enough, but nothing special and you've consumed too much before you realize how bored you've gotten. More specifically, I found annoying/too much of a specific time the instrumentation on a few songs (like v. 00's accordion early in the album, v. 00's funky beat on "Disillusion".) "This Song"'s biaural thing was really gimmicky and made me feel physically ill (dizzy.) I feel like the funkiness of "Disillusion" was kind of jarring and too late in the album to revive my flagging energy listening through it. Which speaks to my overall biggest gripe of this album: it's too long and feels bloated, especially but not only by the interstitials or whatever those are. RECCOMMENDED IF YOU LIKE: the idea of Third Eye Blind x Beirut x Elliott Smith #520 revealed / #523 rated (jumping around in my catch up to avoid same time period back to back)

The band's Spotify bio describes their work as "unromantic." I think that's an understatement. A lot of these songs are unsettling and grim, on top of being musically uninteresting. It wasn't *hard* to listen to, but maybe I've been desensitized by so much Britpop on this list...

cool to hear something from a relatively long time ago whose influence you can hear on so much that came later. not the most exciting, though. the audio quality was distractingly uneven.

WHAT I ENJOYED: i mean it's not 60s/70s prog rock so i guess that's cool; some fun samples GRIPES: the whole album sounds dated; the vibe is....hungover, sun-faded, lethargic, tiresome. RECCOMMENDED IF YOU LIKE: Sublime, wearing really boxy striped t-shirts from the 90s, fitted caps #540 revealed/ #534 rated

i didn't known Rod Stewart was on this level of "borrowing heavily" from Southern (US) rock sounds but as usual, better than prog rock.

more 70s prog rock BUT there's flute. which is admittedly cool.

2002 was a big year for music. I was 11, but as I relisten to this album with adult ears, I think the biggest impact of this album is how unavoidable it was at the time. And even now, the milquetoast singles are permanent CVS fodder. it doesn't seem offensive enough to merit further griping.

some fun tracks but definitely sounds like it's time and to my 2024 ears not all that innovative

odd