A perfect example of a cult masterpiece. This is one of those gems I discovered in high school scouring through the RS 500 and ratings guides. Just so many good songs, the harmonies are fantastic, the instrumentation is beautiful. Wild to think the Butcher’s Tale was released as a single, just shows you how the record companies completely failed on marketing this one. Also sad that the commercial failure resulted in the band breaking up. Another one of the great what ifs of music history. The album is such a joy front to back every time I rediscover it.

While I had heard Birdland before (in music history class), the rest of the album was not very memorable. Maybe I’d spin it again when I’m looking for upbeat work music, but honestly it just wasn’t that interesting.

Wow I love it. This is so so much music. It’s a labor of love, an indie magnum opus. There are so many songs, so many good ones, so many mediocre ones too, but still just so much. It’s like the unabridged version of The Little Engine that Could. It just keeps chugging along. Probably 5 classics, 10 great ones, and another dozen that are really enjoyable. I don’t know what to do with this, but I’ve got it on repeat.

My perception of Sinead O’Connor is forever jagged by the backlash of public opinion that followed her tearing a picture of the pope on SNL. However, in retrospect it was such a punk move and she was fucking right. That doesn’t mean her music is as memorable as that event, but it does deserve a second look after being discarded for decades. Emperor’s New Clothes is actually a fantastic song, and so are a few others like Three Babies and Black Boys on Mopeds. Her cover of Prince’s Nothing Compares 2 U obviously carried her to the level of stardom where she had access to the platform to deliver her polarizing statement, but I still think Prince’s version is much better. But viewing hers in conjunction with the conflicted pain of her mother’s death, it does hold a strong message. I watched the video of her appearance at the Bob Dylan tribute that occurred a few weeks after the SNL event - it is actually such an astounding moment of personal strength as she basically says fuck you to the crowd who is primarily booing her and breaks out in an acappella version of Bob Marley’s War, again repurposing it’s message against racism as one against child abuse. If I ever teach a course on music history, I’m devoting a lesson to that video.

I always thought of Jamiroquai as a singles band, but this album proved me wrong. The acid jazz mixed with Jay Kay’s compelling vocals make for an enjoyable spin. They would drive this formula to poppier heights, but this debut is a fresh introduction. It’s a little drawn out at points and doesn’t flow like a cohesive album should, but there are plenty of highlights.

Peak synth pop. Some great singles. A few weak points, but solid overall album. Never dug into this before. Wouldn’t really recommend to a friend though.

I like it, I respect it, but I wouldn’t search it out.

While I respect this and what it meant to the progression of hip-hop, pre Wu-Tang rap just isn’t listenable anymore.

Boring. Might have been groundbreaking 60 years ago but now it’s just fancy elevator music.

Very enjoyable collection of weird songs that chug along like a groovy train

Impressive collection of songs and interesting to hear how this came together. Not something I’d pick up and listen to regularly, but clearly an amazing group of musicians coming together to capture the beauty of traditional Cuban music.

Wow this surprised me. Never heard of this album or Keith Jarrett, but this one was great. Amazing that he improvised the whole thing on a substandard piano.

Definitely enjoyed certain songs and the rawness of a debut, would probably come back to it, but I prefer some of their other hard rock contemporaries better. This is more like a 3.5 for me, but can’t give half stars so I’m rounding down.

I’m a sucker for the sleazy. Always loved Pulp’s two albums that preceded this one, but never made time for This Is Hardcore. Now that I’m approaching middle age, this one hits home. There’s a lot here to dissect, so will definitely be back.

This album has one or two decent songs and the rest is just awful. I was embarrassed to be listening to this even with headphones on. Kiss is basically the hard rock equivalent of the Monkees: not the first, not the best, not original, just a show band.

Just a perfect little album of songs. Love how they switched it up from the experimental avant/grade edge of White Light/White Heat and came back with such a soft and delicate collection of bedroom pop that brings in vocals from some of the other members at just the right times. A building block of many great bands to come.

Still haven’t forgiven Lars for Napster, sorry but that dude sucks. While I understand the impact this album had, and did enjoy this more than I thought, the idea of a poppier metal is kind of cringy and reminds me of where this took us (i.e. Nickelback, Creed, Puddle of Mudd, etc.). Would give it 3.5 if we could do half’s but I’m rounding down cause fuck Lars.

Lush production, jazz influences, solid songs. There is an amazing crispness to this one too, doesn’t sound dated. Would give it a 3.5, but I’ll round up this time as I feel like this gets better with age.

Enjoyable, but not memorable. Also, sooo long. Not an album I’d say I needed to hear before I died. It’s not even the best Roots album. I feel bad giving it a 2 though because it is quality music, just not anywhere close to classic or essential.

Amy Winehouse had such amazing control of her voice. The way air and sound flow in and out, it’s like a virtuoso saxophone player. The nostalgic sound of the album meshes so well with that voice. In her short and tragic career she managed to make two of the all-time best break-up albums. This album has hit after hit, only weakening slightly towards the end. A modern classic.

Some excellent and memorable songs, mixed with some complex, slower bleeds. This one gets better the more times I listen to it. Also threw on Jack Goes Boating to see how this holds up as a movie soundtrack and it’s great. A nostalgic one that is essential listening from the 2000-2010s indie era.

This album has great vibes and instrumentation, but the songs aren’t that strong or memorable in my opinion. While this certainly captures a time and I understand the influence and how groundbreaking this was, it’s more like a historical document rather than something I want to throw on again and again. I think “Curtis” has much better songs that stand the test of time. Also, I know from his time in the Impressions his voice has more range than this - sort of annoyed by the falsetto throughout but that’s just me.

As close to perfect as an album can get. The songwriting is outstanding, the music is timeless, and King’s singing is just the right balance of emotional honesty that makes her versions of her own songs sound better than the various covers that may have charted higher over the years. It’s also extremely rare that an album yields this many classic songs that also managed to be classic songs for other artists. The influence of this album is immense and it has such a clean sound that it barely sounds aged. Truly one of the all time best.

This album has always been oddly enjoyable to me. In some ways it’s a recipe for disaster; Gordon Gano’s whiney vocals, the wild bass playing, the minimalist production. But somehow it all meshes together and the album weaves in and out of frustrated angry punk and gentle radio-friendly pop songs like they were always meant to be together. The fact that Blister in the Sun, a song that’s played at stadiums to this day, is on the same album as the menacing Add It Up is just amazing. Also this came out in 1983! Thinking about all the alternative/indie bands this influenced is also wild.

Similar to the city of Bert’s birth, Glasgow; visited once, wouldn’t go out of my way to visit again.

Was actually a little surprised when this came up as I always thought of You’re Living All Over Me and Green Mind as the classics in the Dino Jr. catalogue. This album is also strong, but does tail off towards the end, especially the somewhat unlistenable track Don’t. Still, this holds up very well and barely sounds aged at all considering it came out 35 years ago. This is borderline 3/4 for me, I think if I spin again I’d get to a 4, but 3 for now.

I come back to Echo a lot thinking I will like them more, but always get kind of bored. They are certainly a high quality band that made some excellent songs, but I’m not convinced this is classic.

I was initially trending towards a 4 here because the tape effects and synths sounded a little dated, although they were so groundbreaking at the time. Also, I am just not a big fan of prog rock, the drawn out songs annoy the shit out of me sometimes. But after a weekend of listening to this, including one spin with my audiophile headphones, I came around to the 5. I have this one on vinyl too and I remember the experience of running through it in that format was awesome so look forward to doing that again soon. Shine On is so epic and it’s just amazing how this came together as a concept about Syd Barrett but also about Roger Waters and David Gilmour and their own existential shit. Wish You Were Here the song is a classic. Have a Cigar I never realized was Roy Harper vocals, but that song rocks. Welcome to the Machine is still my least favorite, but it does give me those 2001 Space Odyssey vibes. It’s a classic album what can I say.

Bookended by two of the all time great rock songs, plus Behind Blue Eyes is there. The other songs, while not as memorable or “classic” are all generally very strong. Standouts include Bargain, My Wife, and Getting in Tune. The use of synths holds up surprisingly well and the songs that employed it actually sound the freshest. End to end it is a joy to listen to.

Came into this one pretty skeptical of the merits of the Monkees. If you get past the fact that they ripped the Beatles unabashedly, you can find some redeeming qualities on this album, and some generally solid songs. It’s also somewhat impressive how they fought to gain control of their music and legacy, a true stepping stone for artistic/creative control. So although not musically groundbreaking, it’s quality era-specific music. I’d still take an album of Ringo tracks though.

Wow, never heard of this band or this album, but what a hidden gem this was. The compositions are very intricate, production came across as lo-fi upon first listen, but actually it all works well. Watched part of the 1998 live performance of this with the story told along with it, these guys were impressive musicians even in their 50s. Can see how this may have influenced some of the neo-psychedelic bands of recent times like Ty Segall and Oh Sees. Great stuff.

I wavered between 3 and 4 on this one. If we had a 10 point scale this would definitely be a 7. Clearly some powerful vocals from a woman that has dealt with a lot. The instrumentation teeters between her rocking funky vibes to straight-up junky 80s muzak. Also, while some of the covers are great reworkings (I.e. Help!), some are just mediocre songs that actually sound worse (I.e. 1984). But definitely some certified bangers like I Can’t Stand the Rain and Better Be Good to Me.

This band is definitely important, but not everything clicked on their debut. They wear their influences on their sleeves, sounding like a half-rate Doors (Ann) or MC5 (1969) at times. It has its moments for sure, but they didn’t really come into their own until Fun House, which is miles ahead of this.

The production and use of instruments over samples makes this album hold up much better than Paul’s Boutique. Sabotage still sounds fresh and just a landmark song for the melding of rap and rock. Overall this could be the best album in their catalogue.

Excellent songwriting and harmonies. Always amazed at how much talent came through this band and how much influence they had. Chris Hillman came out of nowhere as the principal songwriter for this one and he didn’t disappoint. Laid the groundwork for the country rock he further develop with the Flying Burrito Bros.

A singular talent and tortured soul. This was her best band and album. Interesting to hear the stories of how this came together. Very solid collection of songs that she carries with her distinctive voice. I’m sure like others that went too fast that we missed out on some amazing music from her passing. Will come back to this one.

I like how this is broken into 4 parts based on the sides of the vinyl. It is a bit long though and the middle is definitely slow at points. They are some great jams and songs in there. It’s crazy how much Stills pushed to get this finished and I do enjoy the country rock stylings of Chris Hillman. Not exactly a masterpiece, but would come back to this one.

Definitely a hard listen. I ran through it twice, but had already heard some of these songs before. I liked the reviewer that said this is Music with a capital M. It’s certainly not something enjoyable, but I can appreciate the artistry and complexity of these songs and the emotions they articulate that I’m sure have been meaningful for so many people. Personally I am not a fan of the vocals, which are a bit like nails on a chalkboard, but the songwriting and lyrics are very good. Would I seek this out again? Probably not. Do I hold Tori Amos in high regard after listening to this? Yes I do.

I was at a 3 initially, but probably got to a 3.5. Think I’d appreciate this more on repeat listens. On the surface it sounds like boring electropop, but after a few listens the layers reveal themselves. I also eventually got over the way she pronounces words in this baby talk style. Green Light is an absolute banger, and the production on the album overall is very strong.

While I had heard Birdland before (in music history class), the rest of the album was not very memorable. Maybe I’d spin it again when I’m looking for upbeat work music, but honestly it just wasn’t that interesting.

I remember when Tom Petty passed I was at a bar in a casino in PA debating his significance in the echelons of music history. This middle America girl told me how much his music meant to her, while I had to break it to her that he wasn’t all that important. And that’s Tom Petty to me, some A&R driven nostalgia machine that had a bunch of great singles, but never really had anything important to say. Maybe I’m being harsh, but I couldn’t imagine a need for this album beyond mindless fun at some local bar on a Saturday night.

This album isn’t exactly a classic, but it definitely rocks. Could imagine this would have been very cool to see live around the time of its release. Just love that real sleezy desert groove. Could have been part of the soundtrack for the drive from LA to Las Vegas in Swingers. Overall though the album is more of a vibe than anything, not many notable songs on their own other than Regular John and Mexicola. Would call it a 3.5.

Enjoyable mellow tunes, couldn’t say it wowed me though. Just some solid music to work to and chill out. Atmospheric. Never really took hold for me though, but I’d come back to it. Another 3.5.

Listened once, was pretty boring. Like the Gene Clark period with the Byrds, but this was super mediocre.

Just amazing how this band came up from the ashes of Joy Division and delivered such great music and managed to continue to be innovative and groundbreaking. This album blended post punk with electro dance and it worked so well. There is a lot to like and decipher here, it gets better with repeated listens.

I always thought of these guys as a one-riff wonder joke, there’s a reason every record store in the country has their albums in the dollar bin, they aren’t that interesting. Technical chops might be there, but these songs are pretty lame. The singing is particularly mediocre.

It’s pretty hard for a rap album to remain relevant and listenable over time given how much styles and sounds change. It’s crazy that this album is over 30 years old and still sounds so fresh. The raps from Q-tip and Phife are poignant and powerful and surprisingly don’t sound dated. The jazz production is timeless and love the fact they used a real bass player. Probably one of the best early rap albums.

Has some songs and some attitude, but I was surprised how much acclaim this album garnered, it just didn’t do it for me. Hanging on the Telephone holds up with some of the better punk songs of the era and Heart of Glass was a disco jam, but punk and disco are like oil and water to me. Couple other solid songs, but nothing that memorable. Overall a solid meh.

I probably started at a 1 for this album based on my preconceived notions about Rush as this shitty prog band my lame uncle loves (Tom Sawyer blows). Also, what about the voice of Geddy Lee, how did it get so high? I wonder if he speaks like an ordinary guy. Never really gave them a chance before, but was pleasantly surprised at how good this album is. The albums layout made it feel less proggy overall having one super long title track on side 1 but then solid shorter songs on side 2. And that title track is actually really enjoyable and showcases the bands strengths (Neil Pearts drumming wow). Also dig the Ayn Rand connection. The side 2 tracks are all pretty strong too - Lessons was a standout. So far my biggest surprise final rating.

From my time in London, I’ve always been fascinated by the Manics. They were in many ways an uncompromising band and somewhat unconventional having their primary lyricist and figurehead in Richey Edwards barely contribute via instrument and then disappear in mysterious fashion. Holy Bible is certainly a cornerstone of the Edwards era and Everything Must Go is the best of the albums after his disappearance. I also always thought of them as very cerebral British and the content on this album definitely aligns with that (see A Design for Life, Kevin Carter, etc) and is sometimes challenging for American ears to digest. I’ve grown to enjoy this album quite a bit though.

A strong album, but not as classic as Curtis or Superfly. So in Love is a standout.

What can you say that hasn’t been said about this, it’s a top 50 all time, probably top 25. Definitely one of the best double albums ever, 18 songs and none are bad or throwaways. So many classic tracks: Loving Cup, Tumbling Dice, Rocks Off, Sweet Black Angel, Happy, Shine a Light, etc. This was the Stones at the height of their powers.

I have always viewed Coldplay as this wet blanket Radiohead wannabe that somehow made rock music so watered down and soulless even your mother in law could dig it. Other than their first two albums, which have some decent, if ubiquitous, songs, I have never dug too deeply into their catalog. And if this album is considered to be their best, I can’t imagine I ever would need to. While the 3 lead singles from this album are good enough to garner radio play, I couldn’t imagine seeking them out other than to make an early 2000s playlist (I think the video for the Scientist is permanently burned in my brain given the excessive MTV rotation). The rest of the album is pretty average. No edge, no charm, just a shitrock on which Ed Sheeran was born.

For some reason I feel bad giving this less than a 3, but I also feel like that’s too generous. I mean, all my life I’ve heard about Willie Nelson and he’s such this icon and pot and yada yada yada. But seriously this dude’s most famous album is one filled with standards. Are you fucking kidding me. His outlaw country output must not have been notable enough. OR was this such a CRAZY 180 at the time that wow who would’ve thought this guy would’ve done this. Maybe I could convince myself, this album is then just a mindfuck. Touché Willie. It’s a 3.

Ryan Adams you fucker. Dude has so much talent. The modern day Gram Parsons. But he’s eccentric and did some dumb shit and now his output has somehow flipped to bedroom cover albums.I always fucked with his Whiskeytown shit, just such swagger, depth and soul. Heartbreaker is his best solo album, then Prisoner, then Gold, but Gold is so long the Side 4 disc isn’t even on Spotify. There is so much there for Gold, that the back half when you get there it’s a holy shit moment the album is still this good. He’s the unsung troubadour of the 2000s.

Let me just put this out there, I love music with an infinite passion, but there is one genre I absolutely disdain: country. However, Johnny Cash is the most punk country has ever been. He recorded MULTIPLE albums at fuckin prisons. You think Luke Bryan or whatever truck loving motherfucker these days would do that shit, no fucking way. Johnny was punk. Are there songs on the album that I would seek out, not really. But I do respect this enough to give it a 4.

David Bowie is a singular talent and this is one of the many examples of his genius. Every song sounds innovative or groundbreaking. I feel like I never sunk into this one as much as some other Bowie classics, so would want to revisit this, but there’s no doubt it’s excellent.

Never heard this specific album before, but definitely heard these songs from various other artists. Rating this based on Ella’s voice alone rather on the merits of this 59 song compilation (which the site didn’t properly link). She could sing a song about anything and make it sound effortless and her own. A great singer is a master of tone, tempo, pitch and phrasing and Ella hits them all. Knocking one star off because hard to compare a compilation against other true albums.

A perfect example of a cult masterpiece. This is one of those gems I discovered in high school scouring through the RS 500 and ratings guides. Just so many good songs, the harmonies are fantastic, the instrumentation is beautiful. Wild to think the Butcher’s Tale was released as a single, just shows you how the record companies completely failed on marketing this one. Also sad that the commercial failure resulted in the band breaking up. Another one of the great what ifs of music history. The album is such a joy front to back every time I rediscover it.

Has some grooves that make it a solid evening/ breakup album. It’s silky smooth too. Doesn’t sound dated either despite being nearly 30 years old. The sound is minimalist, just the right amount of vocals and beats. Not a classic, but definitely enjoyable for repeat listens. 3.5 but I’ll round down because I can’t think of anything else to say about it.

Very enjoyable jazz album, very tight. Jazz requires a lot of focus to really appreciate and I tried hard to give this as much as I could. It’s an exciting album that could have soundtracked a number of car chase scenes (was this in French Connection?). I think I’d need at least 10 more spins to truly appreciate this and I intend to come back, but for now it’s about a 3.5.

I’ve been conflicted on MJ since the Leaving Neverland doc, pretty much avoiding his music. I’ve always been a proponent of separating the music from the man, but in the case of MJ that’s part of the problem. The music was so good. This isn’t Gary Glitter where we can block him out, boycott him entirely. This is MJ, the King of Pop, there is no avoiding his impact on the fabric of American popular music. So with that aside, I never really dig into this one before, but it has a lot of classic tracks and some surprising gems. The production hasn’t aged well, but the songs are still very good, even if this is probably his third best album. It’s a strong 4.

A classic of my post-college experience in NY. Even though this came out in the fall of 2012, I remember by the summer of 2013 this was playing on every speaker and headphone in the city. It had universal appeal. We played it at parties, we played hanging out with the homies, we played it with girlfriends, we played it and it never got played out. This is essential.

Polly Jean is so cool and this is such a strong debut. The band rocks, the lyrics/singing are dark, sexy, and mysterious. There is this great visceral energy about the album, sweat and spit drip off of every song. Every time I listen to this I like it more.

Third wave punk classic. Other than the throwaway last track, which might be a Daniel Johnston diss track?, there is not a bad song on this album. The run from Longview to When I Come Around is flawless and plays like a greatest hits compilation it’s so stacked with classic tracks. They hit the perfect mix of punk/slacker ethos and pure slap happy fun on this album. The next few albums that followed carried some of that forward, but they never did it again as authentically as Dookie.

I can imagine this would have sounded fresh at the time of its release, and refreshing in light of all the gangsta rap filling the 90s boomboxes, however, it hasn’t stood the test of time for two reasons: the production is spirited but rudimentary and it is lacking notable songs (other than the excellent Tennessee). Mr. Wendal and U are solid enough, but I’ll probably forget that I liked them.

Never really dug into this one. I thought most people wrote it off as not as good as their debut. After listening a few times, I don’t think my mind changed on it, but it is better than I thought. Its fine, but its not an album I would seek out.

The life of Marvin Gaye always fascinated me, he had a lot of success but also a lot of hardship and tragedy in his life, including his untimely death. Like the man, this album is sprawling and complex, definitely not possible to digest this in one or even five listens. So much is tied up in these lyrics, it’s like listening to him read autobiography chapters on his marriage. Crazy to think reviewers summarized this as “weird” when it came out - they just couldn’t reconcile this album with some of his simpler pop tracks. This is an album that demands to be listened to in the evening hours through big audiophile headphones on a record player while enjoying a few adult beverages.

Probably the worst of The Smith’s proper albums, but even their worst album is still pretty decent. Girlfriend in a Coma is a pure joy. Last Night I Dreamt is one of their saddest songs. No bad songs really, just not as fully realized as some of their earlier releases.

Fuck this album. It’s not important, it’s not good. Why is this even on the list?

I love this album. It’s so layered and filled with little nuggets that you want to keep coming back over and over again. It may not get as much spotlight as its shoegaze cousin Loveless, but it is every bit as lush and amazing. The phrasing of the lyrics is so intricate as well, it makes it somewhat hard to understand the words, but the feeling is so strong in the delivery, it could be another language entirely it doesn’t matter. I started at a 4, but then probably listened to it 10 times in 2 days because it’s pretty short and I could probably listen to it another 10 times and love it more.

This album is pretty much ruined now. Will Smith ruined He’s the Greatest Dancer, weddings and school dances ruined We Are Family. Lost in Music is actually pretty annoying. But I never realized Thinking of You was such a jam, definitely the highlight. The other songs are fine, but not memorable. And it’s disco so that knocks off a star.

Groundbreaking. Chuck D’s rapping and the top notch production keep this album relevant over 30 years later. Even Flava Flav’s hype man antics add a layer to this that somehow holds up well. If they set out to create the hip hop equivalent to What’s Going On, they came pretty close. I’d call it a 4.5 and round down because although I really enjoyed and appreciated this, I don’t know how often I’d come back to it.

Cool that this blends punk and metal, although they’ve said that wasn’t what they were trying to do and they hate punk, so I guess it was a happy accident? I don’t find these songs to be that memorable though, mostly just testosterone fueled guitar pyrotechnics for teenage boys. Phantom of the Opera is pretty good and some of the first few tracks are decent.

Solid enough blues rock album. Can’t say there is really a bad song here, just nothing that exciting or notable. La Grange is obviously a classic rock staple, I enjoyed Hot, Blue, and Righteous and Master of Sparks. A solid listen overall, just wouldn’t search it out. There are much better blues rock albums I would rank higher than this.

First two songs are excellent, then it kind of trails off, although Night Train and Dust end it with a strong finish. Overall this grew on me, but the highest I’d go is probably 3.5. Steve Winwood’s career is still awe inspiring though, looking forward to the other albums on this list that he was involved in.

Really liked how this started off with the first half as ambient music with Brian Eno vibes and then flipped to a Wire-esque art punk/proto punk sound. This is the kind of obscure diamond in the rough kind of album I was looking for from this list. It’s amazing also that this one is 50 years old and sounds like it just came out yesterday.

I wanted to dislike this more because the song Hotel California is so played out it’s actually painful to listen to it, but there are some pretty good songs on this album like New Kid in Town, Wasted Time, Victim of Love, and Try and Love Again that this does fit in well as a weaker companion to its late 70s competitor for best harmonized seventies soft rock album via California, Rumours. I still think the Eagles are pretty lame, but this album is alright.

Beautiful bedroom pop. So minimalist and sparse, with just the right touch of everything. The interplay of the vocals, the simple guitar melodies, the subtle production - it all blends together so well. Something about this album sounds so timeless, like 50 years from now it will still sound fresh, but I also can’t believe it’s already 14 years old. The songs also have a great cohesiveness, where each sounds distinct but also closely connected to all the others in sound and feeling. I feel weird giving this a 5 since it’s so recent, but it really is flawless.

Now here is an example of one to hear before you die. Steve Albini captured the pure anguish and despair that exists within the human experience through a sound that can only really accurately be described as razor blades grating against sheet metal. From the first track about the tragedy of Jordan, Minnesota (told from the offenders perspective), to the menacing opening of Fists of Love, and notable melody? from Kerosene, there is a constant development of more horrific soundscapes that builds throughout. This is not an easy listen, but it is important.

If nothing else, this album completely changed my perception on The Bee Gees. Who knew they had a White Album/Sgt Peppers-esque album in their catalog, this is almost completely unrecognizable from their later disco work. Moving past all that, as a concept album, this is definitely sprawling and complex. I could see myself finding on repeat listens that this has some fantastic gems, by the third listen I was already greatly enjoying the three song run of Marley Purt Drive, Edison, and Melody Fair. Even the Moody Blues sounding opener grew on me. This album is somewhat proof that you couldn’t walk around in the late 60s without tripping on a good album.

Pretty daunting at over 2 hrs long. Couldn’t tell if it was actually that long or just Spotify bonus tracks, but after reading more it is really about 140 minutes which is somewhat excessive. It’s definitely enjoyable and the songs are well crafted, but can’t see what made this standout enough to win a Mercury Prize over fucking OK Computer! (or over Dig Your Own Hole and Vanishing Point for that matter). Going to knock a star off for that royal fuck up. I feel somewhat bad at not really getting through the whole thing, but I’d rather listen to Massive Attack.

Books have been published on why this is classic, and I agree with them.

This was the first Radiohead album I was old enough to be excited about prior to its release. I even had a poster of the album cover in my room (pretty cool). This album encapsulated the fear and gloom in the world in the wake of 9/11 and the failings of the Bush administration. It has some songs which can only be described as frightening - literally one song is about fatal rabbit disease. I love the way many of the songs build up and change tempo and structure, like you don’t know what hides behind each corner. I think this one often gets overlooked because of where it sits in the bands overall progression and the fact that they didn’t set out to do anything overly groundbreaking, but in many ways this one was groundbreaking in that they just brought together everything they’d developed to that point in merging rock and electronic and made it sound completely organic. That is the hidden beauty of this album, it’s possibly the most tangible thing Radiohead has released.

This one hits different every time I hear it. As I get older I appreciate it in new ways, it’s like an old friend. One of the all time great indie albums that spawned so many other great indie albums. It’s amazing listening to this right after Hail to the Thief and the juxtaposition of post and pre-9/11 albums. This one, while melancholy, has such a brightness shining through, like there is hope in the world.

Always loved Suite: Judy Blue Eyes despite how played out it is on classic rock radio, the build up to that last minute or so hits me every time. The rest of the album is pretty good, but I never thought of this as essential. CSN and then CSNY were a solid band, and certainly impressive as an early supergroup, but their albums don’t rise up into the echelons like some of their peers.

I always thought of Jamiroquai as a singles band, but this album proved me wrong. The acid jazz mixed with Jay Kay’s compelling vocals make for an enjoyable spin. They would drive this formula to poppier heights, but this debut is a fresh introduction. It’s a little drawn out at points and doesn’t flow like a cohesive album should, but there are plenty of highlights.

I still standby the assertion that George Michael is vastly overrated. This album is clearly stealing heavily from MJ and Prince, he even went as far as to say he was looking to make a “black” album. Not sure that would play in 2022, but the 80s were a different time. Some songs have held up well (i.e. Faith, Father Figure, One More Try, Kissing a Fool), but others sound very dated as many 80s tracks do (i.e. I Want Your Sex, Monkey). Impressive that he played many of the instruments himself, but the drum machine usage hasn’t held up.

Robert Dimery showing a bias to his countrymen here. This will certainly be replaced in future revisions to the list - could even replace with Tranquility Base if he wants to have a better and more recent Alex Turner release (I think TB will rate favorably in retrospective reviews). This one is interesting, but not deserving of this list.

Wow I love it. This is so so much music. It’s a labor of love, an indie magnum opus. There are so many songs, so many good ones, so many mediocre ones too, but still just so much. It’s like the unabridged version of The Little Engine that Could. It just keeps chugging along. Probably 5 classics, 10 great ones, and another dozen that are really enjoyable. I don’t know what to do with this, but I’ve got it on repeat.

I’ve had this one in my vinyl collection for a while, inherited from a girl I knew in high school, but have never drawn much joy from it. It has always fallen flat on my ears despite knowing the acclaim it has garnered. There is a complexity and depth here, but I haven’t been able to unlock it. Mason’s songs are stronger I think, but Joe Cocker took Feelin Alright and made it a song, whereas the Traffic version is just a sketch. Some songs are straight up annoying (Pearly Queen). Will revisit again I’m sure, but just ain’t doin it for me.

Sounds like a half rate David Lynch soundtrack. Respect to how innovative this probably was at the time, but it doesn’t hold up as a worthwhile listen now. I’d put it on as background music, but that’s about it.

I was borderline 4 on this one. It’s a really good effort and I enjoyed this a lot. Supergrass have some great hooks despite their eccentricities, but actually those eccentricities also making them charming. It proves they were much more than just the hit Alright. They were a bonafide contributor to the Britpop movement and maybe one of the more underrated.

What can you say, it’s a 5, but it does have the song that broke them up (Maxwell), so I guess it would 4.5, but then round it up.

Dig this dreampop vibe, was a solid zone out album on plane ride watching the sunny clouds. Seems pretty layered and lush and decent hooks. Nothing that memorable though, but would revisit and rotate into some playlists.

None of Morrissey’s solo stuff is as good as the Smiths, but he does prove that he can put together a strong collection of songs on his own. This sounds generally more evil compared to the morbid humor of the Smiths best, Moz was definitely salty about a number of topics, but it also has some excellent songs that standard up with some of the lesser Smith tracks. Giving it a 3, but could be convinced on 4.

Never got into Adele. Yes she has a great voice, but I genuinely don’t believe she has soul. Watching her do carpool karaoke with (never very funny or relevant) James Corden proves this to me. She’s a pop star with an above average voice and some solid songs, but I wouldn’t put her material up there with the all time great singers.

Traffic kind of blows and somehow that makes me sad. I always thought they were better than this, but the folky songs are just so bad. First couple tracks were solid. Empty Pages is one of those Steve Winwood gems, but the album just doesn’t do much else.

Never heard of this artist, but thoroughly enjoyed this album which weaved between rollicking rock and soulful R&B/funk pretty effortlessly. Love and Affection is a jam that sounds so familiar, but so unique. A lot of innovative song structures and singing.

My perception of Sinead O’Connor is forever jagged by the backlash of public opinion that followed her tearing a picture of the pope on SNL. However, in retrospect it was such a punk move and she was fucking right. That doesn’t mean her music is as memorable as that event, but it does deserve a second look after being discarded for decades. Emperor’s New Clothes is actually a fantastic song, and so are a few others like Three Babies and Black Boys on Mopeds. Her cover of Prince’s Nothing Compares 2 U obviously carried her to the level of stardom where she had access to the platform to deliver her polarizing statement, but I still think Prince’s version is much better. But viewing hers in conjunction with the conflicted pain of her mother’s death, it does hold a strong message. I watched the video of her appearance at the Bob Dylan tribute that occurred a few weeks after the SNL event - it is actually such an astounding moment of personal strength as she basically says fuck you to the crowd who is primarily booing her and breaks out in an acappella version of Bob Marley’s War, again repurposing it’s message against racism as one against child abuse. If I ever teach a course on music history, I’m devoting a lesson to that video.

Better than I expected, but I still consider Don McLean a one hit wonder. And what an annoying played out hit American Pie has become. Some decent other tracks mixed in here, almost convinced myself this could be a 3, but let’s not get ahead of ourselves.

Confident debut, but not as strong as her other releases. Some songs sound a little similar with this brooding vibe. First half stronger than the back half which feels pretty long.

The Band hit the feeling of the expanse and history of America and the complexity of the American dream better than any of their peers or many that would come after. Always surprising to me that they were mostly a group of Canadians, but I suppose it’s the natural landscape that drives so much of the sound here. Whispering Pines is one of my all time favorite songs and the centerpiece of this album, with Richard Manuel’s beautifully tragic voice flowing over it, to me it’s the ultimate Band track. This album reminds me of a road trip through the Adirondacks.

Always was a fan of the Black Keys and their minimalist stompy rock. This album catapulted them to a new level of fame, and rightfully so, it’s an excellent showcase of their talents and probably the best of their catalogue. A few songs are a little too simple stupid, but the majority prove that there are new and innovative ways to play the blues. Although this came out when rock music was branching into new directions, and sounded somewhat pastiche, I think over time this will hold up well against its peers.

A very solid hard rock album, maybe even one of the best front to back. Really strong songs, some virtuoso playing, nothing that sounds bloated, overdone or too long. Is it a stone cold classic? Maybe not. But definitely the best Aerosmith album.

This is one of those albums where every song sounds like a single, the pop sensibilities are so strong. I come back to this album often, there are so many great songs and the lyrics are fantastic: Grass, Supergirl, Earn Enough, Big Day, Mermaid Smile. My least favorite song is probably the one that was actually a single, Dear God. Despite its year of release, it does not sound dated given the avoidance of many of the 80s musical excesses, which may be attributed to the production from Todd Rundgren, although his impact is sometimes questioned. There is a dreamy fantasy feeling to this album in terms of sound and instrumentation, but also a working class Englishman vibe given the lyrical subject matter, the two meld oddly well together, presenting a surprisingly optimistic take on some benign topics. Love this one.

Never really listened to the Damned, but I really dug this. The brooding gothic vocals definitely must’ve inspired a number of 80s bands like the Misfits and Echo, and the speed of the punk here is on par with many hardcore bands to come like Minor Threat and Black Flag. A diverse set of tracks as well, showing a broad range of genres beyond just early punk.

Sprawling and complex, hard to really connect with the vibe. Some moments felt like an onslaught of samples without a cohesive purpose. I appreciate the artistry of this, but I’ve enjoyed many other electronic albums that were much simpler than this. Impressive that this has over 3000 samples and no live parts, but sometimes less is more.

Always thought this was the best collection of Zep songs. There’s hits, there’s riffs, there’s wailing, more riffs. It’s a good time and a great document of the band at the peak of their powers.

I always found this album to be a little bit overrated. Yes it has some very good songs (What’s Going On, Mercy Mercy Me, Inner City Blues) and it’s strong evidence of the mastery of Gaye, but what about the stuff in between those 3 songs? Maybe I’m missing something, but it’s a lot of filler in my mind. Also, Save the Children is not a good song. Going against the grain here and giving out a 4.

I like Roxy Music, but I like some of their other albums better than this one. Don’t think I’m in the right spot for this, so feeling like a 3.5 and will round it down.

The last album in the 11 albums in 10 years run Elvis put together during the late 70s/80s with the Attractions. This one sounds a little less dated than some of the albums in that span. I also followed his catalogue chronologically, so one of the last I dove into from that period (alright I never dove in Goodbye Cruel World). There are some outstanding tracks on this one - the first 5 songs or so are some of his best and the back half is also very strong. This one is almost a culmination as well of all the genre hopping Elvis did during the period. A classic among many classics in his catalogue.

Nilsson is an excellent songcrafter. He also has an amazing voice, which he famously destroyed in a moment of bravado hanging with John Lennon. Sometimes called the American Beatle, he certainly holds his own with this collection of songs. It’s a little varied and the styles kind of zig zag all over between rock n rock tracks, full on ballads, and oddities. Overall it’s a very enjoyable listen.

The layering of the guitars on some of these songs is just amazing. The sound they captured is so flawless, the cleanest crunch you could imagine, it’s clear Corgan was such a perfectionist. The effort paid off though. Other than a few weaker tracks on the back end, this album is very nearly an all time classic, but certainly a classic of the alt rock era.

Doesn’t strike me the way 36 Chambers does, but it’s a strong first solo effort from the group. To me it’s not as classic of an album as Raekwon or even ODBs first solo albums, but still has some good tracks that hold up. Generally though it sounds a little dated - and the best track isn’t even on the album - You’re All I Need to Get By with MJB.

Maybe the best Steely Dan record and certainly the easiest to listen to. Has a lot of their best songs. Sounded very odd following Method Man, but after a few listens I got into the mood. Would give this a 3.5 if the scale allowed for it, just never fully jived with Steely Dan, maybe it’s because I was never into coke?

The run from Girls Just Want to Have Fun to All Through the Night is pretty impressive. The strength of these songs is evident even though many of them sound pretty dated or overplayed. Never realized how good a song Girls Just Want to Have Fun is, it’s actually pretty clever. Cyndi Lauper rode the fame this album brought her to nauseam, but for a brief moment she was a massive hit machine.

Fine as background music, didn’t impress or excite me beyond that. Wouldn’t say this was deserving of this list or my time.

A strong and assertive album where Kiwanuka really finds his voice. I would say I kind of wrote this off when it first came out or maybe just missed it, but it’s actually very good. Definitely not a classic, and borderline whether I’d call it great, but still very good.

Solid alt rock album from one of punk’s pioneers. Love how crunchy and melodic this is, definitely one that influenced many. It doesn’t exactly jump off the page, but a solid listen overall.

Is there a more classic rap album than this? It’s amazing how fresh this still sounds. The melding of samurai mythology with eerie minimalist beats and a myriad of talented flows was ahead of its time and sparked a new era in rap. Listening to the intermission at the end of Can It Be All So Simple its also amazing how confident they were in their plan and how well they executed on it, rolling out one fantastic solo album after another following this. This has classic track after classic track, top 10 rap album all time.

While I do feel bad giving albums on this list a 1, the bar set by “albums to hear before you die” is pretty high. With that in mind, I would never casually listen to this album again. It had a couple decent tracks, but more often than not I was just annoyed by it. The name drops on the title track did give me some ideas on other artists I’d rather be listening to other than Mylo.

Jack White’s output since the White Stripes ended has been a number of things; prolific, eccentric, inconsistent. But this album captures lightening in a bottle to some extent and finds White at a personal and professional turning point where he demonstrates so many of the talents that he uniquely possesses without Meg White at his side. He is a fantastic songwriter, band leader, and guitar virtuoso - all on display on this album. I had almost forgotten, and couldn’t believe this album is 10+ years old, that this album was this good. Part of me feels an odd comfort knowing that Jack White is out there in the musicsphere continuing to make music even if it’s just for himself to enjoy.

I would sum this up as a couple of poignant tracks (My Generation, The Kids Are Alright) mixed in with some half rate James Brown covers and then a bunch of average filler. This early in their career, the Who were really just a singles band. Given the year of its release, I would say it’s “heaviness” is somewhat revolutionary, but overall I think this one has been vastly overrated.

Musically not horrible. Concept is a bit interesting, but you could make the argument that a lot of albums could be film scores. Overall, not a significant or meaningful enough album to warrant my time.

I didn’t want to like this album. I’ve always written it off as boomer junk, a guy with a few radio friendly granola songs. But actually was surprised after digging into this one that it is actually very good. Sure there are some weak snoozers like Sad Lisa and Longer Boats, but the rest of the album is very good. The singing is very emotive, which at first seemed annoying, but after a few listens I really enjoyed the dynamic aspect similar to the way one can give that effect with an acoustic instrument. Wild World is a classic break up song, and there are many others that are equally as strong.

It’s hard for the production on a rap album to sound fresh after 5 years let alone 20, but Kanye and Just Blaze hit on something here that was inherently timeless. Match that with Jay-Z at the top of his game and still looking to prove something and it was a recipe for a classic rap album. I got the most joy and nostalgia from this one when I threw it on my car speakers; a flashback to the days of subwoofer bravado. Some of the lyrics haven’t aged that well, but overall this is still up there in the echelons of rap history.

I don’t think I could realistically listen to this album on a regular basis, Eminem has never been my thing, but as I dug into this one I did gain a new appreciation for him as a rapper. Especially considering this was effectively his debut, the flow and the metaphors and use of language is so strong. Found it interesting, especially listening to the Blueprint before this and Doggystyle after, how he never used the word “nigga”. Every word is very thought out. And while many of those words were construed as misogynistic when this first came out, it’s clear that generally speaking most of what he is saying was meant as parody, black comedy, or in many cases fantasy. The production is also surprisingly strong for how old this now is. At the of the day this album is more like a critically acclaimed movie where you know the plot is full of hard, painful moments, but ultimately provides a vignette into a certain section of humanity.

Alright I’ll cave - this is a 4. It’s a rap classic that hasn’t aged well. Misogynistic lyrics about rape and gang banging prevent this from being stone cold, some songs just sound comical and inappropriate to listen to now,. What I would have found exciting at 15-16 is now pretty bland and cringy. But the production and songs are still strong throughout, solid G-funk and Snoops best raps and hooks. He never attained this level of pure honest bliss again.

Indie classic. Can we cuddle up in chunky sweaters and read a book in the snow/rain? This is college rock in a nutshell, the imagery is fantastic and the instrumentation is top notch. Pretty straightforward that this one is outstanding, but this still seems under the radar, which gives it a niche boost.

Brian fuckin Wilson is the Wall of Sound

Moody moods. The bridge between David Bowie and the Cure/New Order. Sounds pretty dated and the gloom is real, but it warrants consideration.

A “classic” of the nu metal/ rap rock genres, an era of music that was generally regrettable. I will admit I owned and blasted this at various points of my teenage years, and it certainly is packed with hook ridden tracks. The lyrics are comical and overly aggro and just plain bad in most cases. The “rapping” is also pretty pitiful. I’ll throw this a bone for nostalgia’s sake.

Hands down the best post-Beatles solo release.

Kitschy and overplayed, Slippery When Wet is definitely not a thinking man’s record, but it is still a lot fun. This opened up the masses to metal, so it has value beyond 80s bar nights. The top selling record in the year I was born and forever burned in my mind given the prevalence of Livin on a Prayer at frat parties and post-college 3rd avenue bars. There are some solid lesser known tracks here like Raise Your Hands, featured in Spaceballs, and Never Say Goodbye which is maybe one of the best 80s ballads.

Not as iconic as some of their other albums, but still very strong. Not sure if they were trying to be “poppy” but this definitely has some of Sonic Youth’s most accessible tracks. Sugar Kane is fantastic, so is 100%. Some interesting topics explored on the album as well. Would definitely come back to dig into this one more.

This sounds like a half-rate EL-P album you’d find in the $1 CD bin (EL-P even features on the album, and I’m not sure if that helps). Never heard of Mike Ladd before, now I know why.

Despite the fact that I have no idea what they are saying, the music here is so beautiful. Whether they’re speaking Icelandic, jibberish, or nothing at all, they evoke such a broad range of emotions. Can see why this album has been used so heavily in film soundtracks, it just helps to illustrate the complexity and beauty of life.

Definitely very polished, but maybe that’s its strong suit. Kanye’s production is lush and layered. Common’s raps are probably the strongest he’s done. Combine that with some solid songs/hooks, and this is much better than I originally gave it credit for. Certainly not a masterpiece, but very good - 3.5.

You can always learn a lot about a band based on the covers they play and this set showcases not only some of Nirvanas best songs but also some of their best influences. It’s also a treat to hear the mild banter of the group and Kurt Cobain’s surprising sense of humor. Hearing these songs played acoustic also gives them new life and feeling, and reveals a lot about the songwriting depth of Cobain. This album is like the inverse of Bringing it All Back Home and I don’t think such a heavy band has ever sounded so good stripped down.

A timeless, perfectly accurate depiction of the human condition. An undisputed classic.

Solid jams, very vibey. Loved the horns. Lots of interesting percussion. And the singing is great.

Never been that big into the Dead Kennedys. Jello Biafra’s singing/talking I always found irritating, and they were a bit too overtly political for me. This album is solid enough, with some decent songs, but not one I ever seek out. There’s probably 20 other punk albums I’d rather listen to first.

This has to be one of the most overrated albums of all time. The fact that this has sold 30 million puts into context the 74 million Americans who voted for Trump. Clearly a large chunk of the country is filled with mindless trolls that want to drink Bud Light, listen to Paradise City and objectify women. Sweet Child of Mine is probably the only decent song despite its ubiquity. Everything else sounds like a rip off of better bands that came before.

A little bit moody compared to some of the more upbeat or jubilant releases from Stevie’s classic period, but still a classic nonetheless. Hadn’t dug into this one as much as some others, but as with most of his output there are always surprises and great moments around every corner. Boogie On Reggae Woman has always been a favorite, but Smile More, Creepin, You Haven’t Done Nothin are all excellent too. It turns a little preachy/religious at points, which I didn’t enjoy, so I’d probably knock half a star off and say this is 4.5, but still so good.

Probably pound for pound the best grunge album.

Not horrible, but really not notable. Couple decent songs, but most sound like a rip off of Roxy Music or New Order. Wasn’t this band basically a one hit wonder? Think this is another example of the author projecting his personal interests and nostalgia on to us.

Massively influential, perfectly executed. You Don’t Know Me is one of my all time favorites.

I always loved the late night menace of this album. The sampled beats mixed with mysterious female vocals and eerie keyboards evokes the feeling of a modern day film noir. The songs do sound a little similar at times, I couldn’t really name a track specifically, but there are always little nuggets I pick up on every time I listen to this. It may not be a classic album, but it’s definitely a fascinating album.

Cool band. Album was interesting when it first came out. Street Joy is a 2010s jam. I wouldn’t say this belongs on any list of this nature though.

This is some crazy psychedelic pop and definitely a big difference from Something/Anything. I’ve always admired Todd Rundgren’s studio skills, he’s produced a lot of great albums, including his own. This one has a lot going on, it’s hard to pinpoint what’s good and bad, but it’s easy to see how influential it has become. Effectively the 70s answer to Brian Wilson, he crafts so many left turns and trap doors, it’s like riding through a funhouse. I’d like to give this one another 4-5 listens to really appreciate it, but it does feel like a solid 4.

A classic debut from a classic band. Zep at their most bluesy, with their influences clear on their sleeves, it showcased how hard rock could become. Every song is outstanding, but How Many More Times is still an all time favorite.

No one before or since has made music this heavy and funky with so much conviction behind it. For all the anger and frustration they convey, it is still pure joy to hear something that is so honest. Tom Morello is a wizard of guitar sounds. Zack de la Rocha rapping, singing, shouting, screaming is all so powerful. The thought of rap rock or rap metal barely crosses my mind - Rage stands on their own as a brilliant convergence of sounds and styles that never feels overdone.

I go in and out of appreciating and understanding the Who. In particular, I never really got Tommy before, but this time it clicked for me. Overture lays out all the musical themes to come, the songs then build up through Tommy’s back story. A highlight is definitely Keith Moon’s drumming, he’s like an artist painting a picture of movement and time. One instance that stuck out to me was on Fiddle About, the drumming speed and sound accentuate the terrifying action of the song. Pinball Wizard might be the most overplayed Who song, but hearing it in the context of the album breathes new life and meaning into it. The second half of the album in general is pretty awesome. Go to the Mirror is probably the next closest thing to a single and it’s great. Not sure I’d casually listen to a 75 minute rock opera, but when in the mood it is definitely one of the best.

Not as great as the unavailable Trout Mask Replica, but still a great introduction to the acid blues of Captain Beefheart. Some of the tracks are more straightforward blues than others, definitely a lot of drug fueled experimentation, but it never feels overdone. There are some tracks that border on radio friendly. Also surprisingly fresh given its age. Sort of sounds like if someone made nails on a chalkboard pleasing to the ears. Ry Cooder’s guitars playing is phenomenal, as are Van Vliet’s vocals.

Slightly faster, slightly angrier Metallica. The lyrics are just comical - maybe this sounded heavy and cool back when it came out, but now wow this sounds pretty lame. Even listening to this at the gym it barely gave me anything to push myself, just couldn’t stop from thinking how silly it sounds. Guitar work is impressive, as is the drumming. Pretty sure I’d take Megadeth or Anthrax over this any day though.

Couldn’t quite get to a 4 on this one, but I did really enjoy it and lingered on it. Sounds on the surface very similar to Coldplay, but after a few listens I hear more depth in the music and lyrics than I’ve ever heard from those soulless bastards. There is a gospel feel on some songs, but then others merge electronic elements effortlessly. The singles that effectively bookend the album are both outstanding.

Was actually surprised this came out in 2007, thought it was more recent than that, but then again Electric Feel and Kids were college jams. Listening to MGMT live shows now with my son, I can see why they were basically a one album wonder, they don’t have the strongest chops. They put together an album with a handful of great singles and then some other space rock tracks, but I wouldn’t call any of it classic or even noteworthy. I was originally considering a lower rating for this, but the non-singles are actually decent enough.

I liked one reviewer’s description of this as soul-jazz. It certainly has a lot of introspection and beautiful moments. Minawa was a highlight. All the players are very strong, but I especially found the piano playing to be fantastic. Loved the instances where the composition turned to a completely solo piano. The mix of cultural influences is also a strong suit, with the players coming from different countries and backgrounds, but they meld it well together. My knowledge of jazz is not as strong as I’d like, but this one was definitely special.

First half stronger than the second half. Really liked the first 3 songs, and Go or Go Ahead is a great song. Some slower songs on the back half that were kind of forgettable, but this album surprised me overall, never really knew Wainwright past some of his covers. Really solid production, very operatic, with Bjork-esque vocals.

Solid early rap album that clearly influenced a lot of west coast rap in the 90s, and not to mention other bands from the area. Production has held up despite its age, solid sampling that builds a lot of good grooves. Although its subject matter is mostly violent, the production really keeps it upbeat and fun. The rapping is also pretty innovative, B-Real nasally drawl blends well with the beats.

A messy murky brand of funk. Hard to decipher and hard to listen to at points, overall it highlights a dark time in American history that also corresponded with a dark time in Sly’s personal life. When it works, and it does quite a bit, it works so well. Side A is excellent, with the classic Family Affair and Luv N Haight and Poet. Second half has some weak spots. Overall a borderline classic for me.

Nina Simone is a singular talent, that is clear. No one has sounded like her before or since. Other than the opening track, this is filled with such melancholy sadness. Four Women is a heavy song. Lilac Wine and Wild as the Wind are both excellent, although I would say I prefer the Jeff Buckley and David Bowie versions, respectively. Does that make me sexist? Album closes out with the great Either Way I Lose. Could use a few more listens, but this feels like a 4.

This is over 60 years old and it still sounds so good. So influential. The Rolling Stones, Led Zeppelin, and even the Beatles owe so much to Muddy Waters. It’s a great live set and Muddy works the crowd. Harmonica playing is great. It’s so embedded in popular music it’s hard to step back and realize how important this was. Just listening purely on the merits of the sound, it doesn’t create in me an urge to listen to it frequently, but when I do rediscover it I am reminded of the power of the blues.

Interesting album. Sort of reminded me of the Butthole Surfers without the humor (I think?), but also like a French Swans. The sampling technique is innovative, if jarring (is this what comes on in French people’s heads when they see tourists?). Couldn’t listen to this casually, but will file it under the gym agro Euro edition.

Solid enough if excessive at times. The first track’s first half is pretty strong, but the second half sounds sort of like a pinball/arcade game. I would take Fragile over this album. The idea of rock as classical music was interesting to explore, and they execute it well, it’s just a little pretentious.

I’ve always liked this album, but never loved it. It’s a solid multi genre effort packaged as punk, with pretty good songs, unique vocals, and solid playing. Everything I’ve read about Bad Brains leads me to believe they were probably a better live band than album band. The fact that H.R. rushed his vocals before heading to prison and then phoned in some afterwards is impressive, and very punk, but doesn’t mean it sounds good. The production on this album has always sounded poor to me and doesn’t seem to capture what I imagine was a pretty powerful live band.

This album has always sounded antiseptic to me, there is no spare note or phrase, it’s basically perfectly executed, but somewhat robotic, like music a machine or maybe a serial killer would truly enjoy. Sweetest Perfection gives me straight up Jeffrey Dahmer vibes. Personal Jesus is a jam, that twanging riff with the stompy beat is timeless. Enjoy the Silence and Policy of Truth are also great singles. Overall not a bad or even mediocre song on this album. If it didn’t come out in 1990 I would’ve said it was one of the best albums of the 80s, but I’ll say it’s one of the best albums recorded in the 80s.

One of the best soul albums all time no doubt. The selection of song’s showcases the power and sensitivity of Aretha’s voice at her prime. Is there a more sublime moment in popular music than the chorus of the title track? Love this album.

When I first listened to this with my tinny AirPods, it sounded like elevator music. Gave it another listen in my car, and it sounded completely different with the bass drawn out. While I have almost no appreciation for the evolution of UK Garage, I can tell how an album like this was influential to the Disclosures and Jamie XXs of the world in developing the electronic dance music landscape in the UK. To me it does still have the vibe of a European coffee shop lounge singer rather than an underground club scene, but I wasn’t there in the late 90s/early 00s to know. What I do know is this doesn’t belong on this list and is clearly another example of the author favoring nostalgia over true classics.

Took some time to get to listen to this one given Neil Young’s boycott of Spotify, but glad his music is finally back on the platform. This album has a very live late night bar band feel to it. Like it’s near closing time, the alcohol and drugs have been flowing for hours, and we’ve all realized the inescapable heaviness of life. A lot of tragedy surrounded this album, and it shows in the fragility of the vocals and song structures. I had never heard it before, but could see how this could easily become a favorite from his catalog. I’m torn between 3 and 4, because I don’t think even 5 listens is enough to make a call, it’s definitely a deep album. Will round up for the memories of Danny Whitten and Bruce Berry.

Solid morning album. Some good guitar work and really enjoyed the vibraphone. Buckley’s singing is a little melodramatic and doesn’t work all the time. Dream Letter was particularly annoying. He definitely didn’t have the pipes his son had, nor did he have the sharp songwriting skills. The album has its moments, but overall is meandering.

Wow this was better than I was expecting. I’d heard Jerry Lee put on a raucous live show and this seems to be an excellent document of it. He rolls through a well chosen set of covers and originals with a ton of power and speed, I could hear glimpses of punk in his playing. He controls the audience and then blend well with the recording. His piano playing also stomps and is a clear highlight.

Probably the best break-up album ever. The lyrics are filled with such sharp witted phrases and metaphors, I’d have given him the Nobel prize based on this album alone. The lyrics are so good Hootie even bit a whole line and made it into a hit. But even lyrics aside, this is one of Dylan’s strongest and most enjoyable albums cover to cover, it’s a stone cold classic.

Steely Dan’s production was always so meticulous and their songs so acerbic, sometimes they lacked the feeling and the heart to truly be an enjoyable listen. Fagen’s solo effort, raises the bar on meticulous by adding in the new capabilities of digital recording, but dials back on the cynical flavor of Dan in exchange for sweet nostalgia. What initially came across on first listen as a more 80s sounding Dan actually revealed itself on a second listen as a modern (at that time “modern”) take on 50s jazz and pop. The second half in particular grooves along, with New Frontier as a joyous take on a party in a fallout shelter. Overall I enjoyed this more than most Dan albums.

Thrashy lo-fi indie apparently recorded for next to nothing following a huge advance, it speeds along like a rollercoaster barely taking a pause on tempo or even gaps between songs. A couple of great tracks mixed into what genuinely felt like one single song - yet somehow there are over 20? Probably need to listen to this more intently to pick out the best of it, but it was charming anyway.

More raw and dark than some of their later releases, it makes for an excellent debut. Even though this is clearly very moody and brooding, there is a weird coziness to these tracks, like they all sound very familiar. There is barely a spare moment or note, nothing sounds extraneous, no solos, nothing meandering, it’s very to the point and I love that about it. They have a punk ethos at heart.

Here’s a question, would ZZ Top had been as famous as they were if they didn’t have those beards and sunglasses? My guess is no. This is mediocre blues rock overlaid with some mindless radio friendly hits. Did I like Legs and Sharp Dressed Man as a teenage? Yes I did, because they are juvenile and simple. As I grew up, I learned there are so many better bands that played the blues than these clowns.

This album fcks so hard. I had never heard this one before, but wow it’s awesome. The opener, Supernaut, Cornucopia are all so heavy, the drums and the bass bring so much power and Ozzy’s wail is in its absolute prime. It’s so sludgy, but also has moments where it does a 180 like on Changes and the beautiful Laguna Sunrise. It’s druggy and doomy and evokes a feeling of supreme loneliness.

As so often is the case, it’s hard to put ones personal opinion of an artist aside and just focus on the art. If I think about the great painters, like Monet, Renoir, Van Gogh, etc., I don’t often think of their personal lives. They didn’t have social media or the internet in their day, so it was easy, I imagine, to put the art first always. But alas, we live in the era where artists have platforms beyond their art to discharge their personal thoughts and beliefs. With that said, this album is monumental for rap and for popular music in general. Kanye pushes the envelope, he’s an auteur, he takes the turns that no one thinks to take. That’s what makes him special and complicated. This album is special and complicated. It’s dark, it’s thrilling, it’s sexual, it’s humorous (but dark humor). It’s dissonant, but it’s also desirable. It doesn’t conform to anything anyone knew before or after, it’s punk, it’s industrial, it’s audacious, and above all its art of the highest quality.

Solid enough Britpop. Alright is one of the best songs of the genre/era, I’m surprised they aren’t more of a household name in the US based on the merits of that song alone. Caught by the Fuzz, Strange Ones are also very good pop rock. They are basically a rattier sounding Jam. It’s impressive for a debut too, they sound more confident than cocky. Nothing about this is innovative or unique though, just solid Britpop.

Prog rock has never been my forte, honestly it bores the hell out of me. This album is no different, it’s so bloated and banal. I’m scratching my head wondering how this went to number 10 on the Billboard charts, it is neither critically or commercially appealing. It’s basically just something you’d find in the record store junk bin. Their attempt at transferring classical to rock is so pretentious, they even try to make this grittier than it never could hope to be by inserting gravelly shouts now and then. The last track Nutrocker is an embarrassing kitschy cover with an even more embarrassing title. Certainly the nadir of prog.

When Green Day decided to “reinvent” themselves and came out with all this black and red branding/dress, high school me was like - fuckin posers. I hated on this album, I won’t lie. I was short sighted. This album is awesome. Although I’d say their second best, it is still a latter day punk classic, and one of the best of the 00s. The punk rock suites they created on a number of tracks are some of the best explorations of the genre and proved that punk was not one dimensional. I get chills every time I hear the “hurricane of fucking lies” line in Jesus of Suburbia, it’s a powerful build-up. For a west coast band it also has a very east coast feel, with a number of songs written or conceived during Armstrong’s time spent in the East Village. It trails off a little on the back end, but it’s probably one of the most enjoyable front to back punk records ever. I’m torn between a 4 and 5 here.

A psychedelic rock masterwork by one of the brightest flames that ever burned.

One listen was enough to remind me that J5 are just mediocre thinking man’s rap. Basically copped the Tribe/De La vibe without be groundbreaking or interesting.

It’s crazy to think Holly was only 22 when he died. In his brief time on this Earth he left a mark on the music world that is evident to this day. It’s sometimes hard to hear what now sounds so rudimentary and appreciate how groundbreaking it was and the impact it’s had. I like to think of Buddy Holly as the spark that set rock and roll ablaze and without who there may likely have been no Rolling Stones or Beatles or Yardbirds. Holly was one of the first dominoes. The songs on this album are beyond classics, they are etched into the rock and will forever roll.

This album reminded me of a soggy dish rag. A little edgy, but ultimately pretty mundane. Somehow I did own an Ash album in my teens, although not this one. Their brand of Britpop/pop-punk is a little less clever, a little less hooky than some of their peers. What is the single here? There was no standout, I almost fell asleep despite the crunchy guitars. I assume that once again the author has favored a nostalgic album from his youth.

Beach House are one of the top 10 bands of the last 15 years. They put out consistently great albums that build on their beautiful sound. In many ways Teen Dream started it all, even if it’s not my favorite album of theirs. Victoria Legrand’s voice is subtle and sultry, to me it evokes a more restrained Grace Slick. The songs are vibes with surprising hooks. Each song is linked by a familiarity, a sameness, while also being uniquely beautiful, effervescent. I don’t know if I’m biased the way the author is biased towards 1990-2000 British artists, but to me this is a borderline classic.

I love the Pixies first 3 albums (I’m counting Come on Pilgrim here), but this album is where they started to get painful to listen to. A trend that pretty much continued from this album onwards and only got so much worse. The album has some decent highs, like Allison and Dig for Fire, but some horrible lows like All Over the World. The rest of it doesn’t draw out anything new in their style that they didn’t already demonstrate a mastery of on Surfer Rosa and Doolittle. I’d say this was their attempt at pleasing the college radio crowd they helped create, without straying too far outside the lines. It disappoints me every time I listen to it.

Decent enough indie rock, electrofolk with a little trip hop mixed in. Always remember that scene in High Fidelity when John Cusack’s character says I will now sell copies of 3 EPs by the Beta Band and then proceeds to play Dry the Rain, which is probably their best song and not on this album. This album doesn’t really have any memorable songs. It’s just chill music that you’d probably hear in the background in an independent record shop. I can’t really stand behind something more than a 2 here.

Decent enough, repetitious British dance rock. Heavy baselines, spluttered lyrics. A couple of songs are strong, the rest is not memorable. Sounds a lot like they borrowed heavily from Bloc Party and Arctic Monkeys. Not sure this was important enough to go on the list.

This album is such an underdog. It’s like a long lost cinematic masterpiece. So many of the songs evoke this majestic vibe. Holes, Opus 40, Hudson Line, are all indie gems. The Funny Bird and Delta Sun Bottleneck Stomp are both jams. Why don’t people talk more about this album? I’m at a 4.5 here.

I’ve never been a fan of AC/DC’s brand of testosterone driven stadium rock. The most interesting thing about this album is the production. It manages to bring out a richness in what are generally pretty annoying vocals from Bon Scott. The guitars also sound great. The songwriting is boring and/or dumb, every song seems to be another take on lusting over girls, as though the big bad wolf hooting at little red riding with his jaw down wrote all these tracks. It’s basically sex predator rock, it even inspired an infamous serial killer. So yeah, I’d say this is vastly overrated and did not age well.

Simple in all the right ways. This one holds a special place in my heart, I remember being enamored with Fell in Love with a Girl and it’s crazy Lego video, it opened the door for me to explore so many other great bands. The striped down guitar, drums, piano sound is so honest and refreshing. It spawned so many more bands who figured it could be that easy, the garage band ethos. Not one bad song on this album, it’s hard to choose the highlights. My only negative is that the songs lack a bit of cohesion, like they were pieced together from different ideas and different times rather than crafted collectively. Teetering on 4 vs. 5, so I’d say 4.5.

Sometimes overshadowed by Exile and Sticky Fingers, Let it Bleed is just as much of a Stones classic. Although ultimately ubiquitous through use in various films and shows, Gimme Shelter and You Can’t Always Get What You Want are two of the Stones best songs, and probably top 50 greatest rock songs ever. But that’s not why I come back. I come back for the acoustic ballad Love in Vain, the rascally title track, the roadhouse boogie of Midnight Rambler, and the funky groove of Monkey Man.

Would have just brushed this off had I not looked again at the year, this was way ahead of its time. Some how they managed to make a doom and gloom sound that is casually accessible. The opener is an electro industrial jam. Other songs evoke Public Image Ltd and Big Black. This is largely the bridge between punk and post punk, I’d call it proto post punk. Not memorable enough to be classic, but definitely one to bookmark for dark days ahead.

Sort of weird and nightmarish. Complex instrumentation. Not exactly likable, it’s mostly dissonant. Biko is a fascinating track, love the slow drums, the bagpipes in the background, the repetitive lyrics, the vocal sounds, it’s a brilliant blend of sounds into a droning and somehow uplifting dirge.

Maybe not as flawless as some of Zeps other classics, III showcased a new found diversity in sound and style. Immigrant Song and Friends add to their canon of rock classics. Since I’ve Been Loving You is a powerful blues burner. Tangerine is probably the most notable example of their ability to craft a well made folk tune. Some lesser tracks are sprinkled in, but even a lesser Zep track is better than what most can muster.

A funky nearly flawless southern rap classic. You can hear the labor of love this album was to create, the intricacies that can only be borne out of long hours spent on carefully crafted production. The only fault I can find is that it does feel somewhat bloated at nearly 75 minutes, a function of the longer length afforded albums from the CD era.

I know very little about house music, but this album does bump. Space Shanty really got me grooving, and the singles spread throughout were also solid. The bass is really heavy on most songs, and I love that. I don’t think I have the context to truly appreciate this one, but I can see how this would have influenced Disclosure or the EDM crowd. Would plan to come back to this one.

This is a lot less horrible than I wanted it to be. Yes the lyrics are comically bad. Yes Kid Rock’s persona is laughable now. But there are aspects of this that oddly work. For example, the sound of the raps/vocals over the solid backing band is surprisingly crisp. Despite the god awful genre it spawned, Cowboy is actually not the worst song. The album also makes an early use of auto-tune. I’m conflicted because usually being a pioneer is a positive thing, but then again you don’t see people praising the inventor of the selfie stick. So just like we can muster the courage to ask a stranger to take our picture, we can also bravely reject the need for country rap rock and auto-tune.

An album of mostly covers that showcase Stewart’s raspy vocals, but also the fantastic guitar playing of Ronnie Wood. The covers are well chosen, some obscure, some contemporary, all demonstrating Stewart’s unique ability to envelope his voice around the sentimentality of a song. The handful of originals are strong in their own right, especially the title track. Not a classic, but still a good collection of tunes.

Hard to deny an album that spawned seven singles. These songs are now weaved into the American experience. The title track has almost become unlistenable given how overplayed it is, but still fascinating for how misunderstood it still is. To me, the perfect song on the album is Glory Days. There is nothing more American than a song about baseball and broken dreams. I’m on Fire is Bruce’s best Roy Orbison impression, a song that has rightfully graced many a film soundtrack. As with much of 80s music, Dancing in the Dark hasn’t aged so well given the synths, but it is still a well spun pop rock tune deserving of its megahit status. I’m Goin Down may be the most underrated of the singles, with 50s drive-in romance nostalgia driven by a solid backbeat. The five songs that weren’t lucky enough to be singles are all at worst decent filler, but at best they’re well written vignettes of working class wit. There’s a lot to dissect in this album, but overall it’s a clear classic.

Not as uninspired as I originally thought, and much better than In Rock. Still not sure how these guys get mentioned in the same breath as Zeppelin and Sabbath though, they are clearly inferior in every way. Sometimes I wondered if I was listening to rock or elevator music. Ian Gillan has one of the most boring voices in rock. Smoke on the Water in retrospect is not that great of a song, yes it’s an influential riff, but it’s super rudimentary, a child could have come up with that riff. Best songs are Space Truckin and Maybe I’m a Leo.

Unsettling, desolate, sexual, political, sparse. This album is a landmark. The vibe of the droning keyboards, synths, and drum machine and the off kilter crooning, leads to something other worldly. It is very punk in its attitude, it’s minimalistic and it’s edgy. I imagine there are many who would pick this up and hate it because of how eerie and unnerving it can be, but also because of the simplicity of the lyrics. But it is rarely about the lyrics. The lyrics are just enough to convey the framework for a song, as is the case with Frankie Teardrop, but it’s the playing and the mood that is created that really tell the story. This is always a fascinating one to come back to and get completely blown away by again.

I don’t think any band merged the somewhat conflicting styles of punk and new wave better than the Pretenders on their debut (maybe Elvis Costello is the only other than comes to mind). They thread the needle of punk attitude and new wave pop sensibility, and somehow this barely sounds dated at all, amazing for an album from this era. Chrissie Hynde is such a unique vocalist, mixing delicate crooning with snarly chatter. It’s always a slow burn for me to realize the greatness, but there is not a bad or even mediocre track on the album. Unquestionably one of the best albums of the 80s.

An interesting fusion of salsa, jazz and hip hop. When it works it sounds great, like Los Lobos meets A Tribe Called Quest, but when it doesn’t it’s super annoying, like Ricky Martin meets the Black Eyed Peas. I almost wrote this off completely given my ignorance around Latin/World music, but when I heard the banger that is Nadie Te Tira, it clicked. This is definitely the perfect example of a band that wins a Grammy, mulit-cultural enough to seem like an “edgy” pick, but with enough radio friendly presence to score an animated film. Overall pretty mediocre.

I find Iron Maiden to be more enjoyable than most of the bands of their era/genre, although I wouldn’t say overall I’m that big of a fan. This album caused a lot of controversy cause of the whole Satan thing, and it does have a nice edge to it. Prisoner and Number of the Beast are highlights.

Part of me wanted to write this off as a vain retrospective of Cash’s life and career. I always thought this album was somewhat overrated. Yes, it’s amazing that Cash put an album like this together for his sixty seventh (!!) album. Yes, his interpretations of a broad range of artists are impressive. But is someone really going to tell me his versions of In My Life, Bridge Over Troubled Water or even Personal Jesus shed some new light on those classics? He even recycled some of his own songs. But then I realized the whole point was that this IS a vain retrospective, captured as he was nearing the end, something he must’ve known given the starts and stops of these sessions. The covers are autobiographical, he’s telling his story through words others have written, but which in many cases he has now taken as his own. When you view it in that light, it does make you reconsider the value and meaning that can be derived from a song, and that wrinkle is the charm of this old man’s collection.

Eleven songs roll by at a break neck pace, but without many standouts. Our Lips Are Sealed is great, We Got the Beat is well known, but what else here is memorable? None of it is bad, it’s all well executed new wave bubblegum pop punk, but if those two songs weren’t on this album what else would we talk about?

Tim Buckley was a musical chameleon. This album is vastly different from Happy Sad. It’s sexual and funky and somewhat inappropriate, but also sounds much more alive than his folk stuff (and much more interesting). His style of singing is still dated - the opener sounds like a flower power hippie singing Brown Sugar - but he does show off some vocal pyrotechnics that I’m sure his son may have emulated. I want Tim Buckley to be the long lost misunderstood troubadour that I’ve always imagined him to be, and this is the closest I’ve gotten to believing that myth. 3.5/5.

Started out strong with the first half. The title track is probably their strongest, where Courtney Love’s snarly Billy Corgan impression works best. Awful is also a surprisingly sunshiny jangle pop tune. By the second half though, the vocals are worn out and annoying and the lyrics are just bad (Northern Star, yuck). Overall it’s much longer than it needed to be, they could have scraped 3-4 songs and this would have been a much better album. 2.5/5.

This starts out super exciting with the horns and the drums and the chanting. I got a little lost in all the drum solos though. This is a fantastic soundtrack for walking around NYC in the fall during rush hour, people walking everywhere, taxis wizzing by, me dodging bicycle riders. The music has an intense urgency to it. It definitely makes me want to explore more of Fela’s music as I hadn’t really dug into his albums before. Also love the side commentary between the songs, he’s got a great sense of humor and stage presence, which helps maintain an overall playful vibe.

This album is the perfect encapsulation of who Bowie was. Someone capable of reinventing himself personally and professionally while simultaneously trailblazing a new path for popular music. It’s an album that requires a dedicated ear to uncover its true merit, but one that is so rewarding. It’s one of the purest examples of the value of experimentation and innovation. I’m not sure it’s my favorite Bowie album, but it’s definitely my most revered.

A strong debut from one of the best bands of the 00s, showcasing their unique ability to blend multiple disparate styles, like post-punk, electronic, hip-hop, doo wop, etc. The first half is great, with Dreams and Ambulance as standouts next to the previously released Staring at the Sun. The second half is darker and more overtly political, which I think makes it a bit weaker.

Lightning in a bottle

I haven’t been to many concerts in recent years given COVID and kids, but I did have the pleasure of seeing The Flaming Lips this year during their Yoshimi tour. They closed with Race for the Prize and it was glorious and euphoric. I’ve loved this album since I first heard it back in high school and it still sounds amazing. They managed to channel their sweet and poppy weirdness into an album that was borderline commercial, while at the same time retaining their thirst for experimentation. The first half is so strong it makes up for some of the weakness in the back half, but the back still has great songs like Waiting for Superman and Feeling Yourself Disintegrate. It’s a fascinating listen and it brings a lot of joy every time I come back to it and here those first pounds on the drum kit.

The first classic Bowie. Changes, Life on Mars, and Queen Bitch are some of the best songs all time. And then you have subtle burners like Kooks and Quicksand. Its weird to think, but Bowie would never sound this pure or unvarnished again.

Sinister, seedy, campy, eerie. One of the best art rock albums ever. Beauty Queen is probably the best song Bryan Ferry ever wrote. This album sounds like nothing else, it’s truly an original.

This is like the polar opposite of Roxy Music. Fairly dumb straightforward stompy rock. They borrow a ton from the Beatles. Despite the mindless lyrics (and obnoxious song titles), these songs do have an earnest boogie to them. Slade is kind of like a less aggressive, less sexist, and less musically adept AC/DC. So I guess in 2023 I could feel fine turning them up to 11, but no one would really be that interested.

A sublime artifact of an acclaimed trio at the top of their game, forever capturing the mastery of their symbiotic playing before it ceased to exist only days later.

This album soundtracked a large part of my college experience, you couldn’t go to a party in the late 00s without hearing Mr. Brightside, and All These Things That I’ve Done was the perennial late night closer with its chanty fade-out. Say what you will about the quality of those and the other two singles, this album basically cribs from a range of new wave, post-punk, and Britpop bands. You can hear Adam Ant, the Cure, the Smiths, Pulp, Blur, plastered all over this thing. Sometimes it works, but most times it’s a feeble tribute disguising a band trying to make some cheesy dance tunes. When you wear your influences so blatantly on your sleeves I wonder how many could wear you as an influence in turn.

Solid ratty early punk album. Surprised at how clean this sounds. They had some great songs and some clever ideas. Doesn’t have the iconic edge of some of their peers, but still a very strong debut.

Not as clever or cool as the Strokes, not as innovative or virtuoso as the White Stripes, the Hives have mostly faded into obscurity following the short peak of fame they experienced in the 2000s. The one thing they outmatched their peers on was energy. These songs are fast, loud, and wild. They demand to be played at 11. Not a classic by any stretch, but a good example of garage rock revival that still gets me amped up.

I think most people stateside assume The Verve were just a one hit wonder, but this record is proof that they had chops before Bittersweet Symphony overshadowed their whole career. A mix of Madchester acid rock and a more alternative sounding Britpop, their psychedelic leanings make the album standout a bit more than some of their peers. At the same time they lack the “pop” that made many of their peers endearing. Overall an enjoyable and well executed listen, something I’d easily recommend to fans of The Stone Roses or early Primal Scream.

Punk rock classic, all time classic. This album inspired me to explore so many other great bands, it really is a fantastic gateway album. More than many other punk albums, it is truly a very fun listen every time, impossible to not sing along to almost every song. It’s also amazing that with 19 songs, there are really no low points, every song is memorable and unique, it plays like a greatest hits album. Arguably the best song is the last, but there are probably at least 10 classics it’s hard to decide which are the best. Such a great album.

Average weirdo indie rock

The first four songs are hits. The rest of the songs are lackluster. New York is probably one of the worst songs about New York I’ve ever heard. U2 has always been one of those bands that think they are more important than they really are. This album and all its Grammys permanently stoked that ego, to the point where they eventually had the balls to push a shitty album no one wanted out to millions of people’s devices. Wankers.

A precursor to emo I guess, but aspects of this sound more industrial to me. Closer to the Big Black side of the bridge than to Thursday or At the Drive-In. For a first and only self-produced album this sounds really crisp. The sound quality is great. The songs are heavy and emotional (there we go), and induce a sense of panic and aggression. The cover and the aesthetic remind me of Milo Goes to College. It’s DIY done right. I could barely get through the whole thing, yet I know I really do like it a lot.

A derivative of AC/DC, but with less annoying vocals and slightly smarter lyrics. There were times when I could see this as a natural stepping stone from hard rock/metal to grunge. Very possible that Alice In Chains and Soundgarden borrowed from this sound. The Born To Be Wild cover is bad, but overall this album is pretty decent. If anyone still knew who the Cult was, especially in the US, I could see the relevance of this at sporting events and testosterone fueled evenings.

I know how acclaimed this one is, but just couldn’t get to more than a 3 on it. It’s a great merger of art rock and pop rock. Sledgehammer and In Your Eyes are obviously fantastic, well written pop songs that deserve their place as some of the greatest of the 80s. The other singles don’t hold up so well, particularly Big Time sounds very dated. The two “duets” are interesting tracks, although the Laurie Anderson one sounds like a second rate Talking Heads song. That Voice Again was the best non-single. But overall didn’t think this was that amazing.

The five singles in the first half kind of feel like poor sequencing (or premature ejaculation, if you want a sexual analogy). We all know these songs, they are fine songs, but not great songs. The remaining ten songs are decent enough, no real clunkers, they just lack the hooks of the singles. Guitar and bass playing is top notch throughout, singing is alright, lyrics are generally bad. Like the Hollywood culture this is aiming to criticize, the album is mostly vapid.

Couldn’t put my finger on this one, some acid house sounding tracks similar to Happy Mondays, jam band vibes like Phish, and the evil and angry undertones of Pixies. Had to listen a few times to really get a grasp on it. Overall it’s an interesting listen and Cope is definitely a talented and a clever songwriter. Nothing about this blew my mind to the point where I’d say it was anything close to classic, but still a solid and enjoyable album.

It’s crazy to think this came out between Pet Sounds and Sgt. Peppers. To me this album operates on a completely different plane, like it was created in an alternate world. It still sounds so ahead of its time, and nothing has matched its level of attitude and cool.

Solid noise rock, but nothing really notable about this. A couple decent songs. I liked Firefly Child.

The skill of Otis Redding was his ability to make a song sound like it had just been written, sung, and recorded in that moment with that level of feeling. This album in particular, recorded in 24 hours, captures his soulful mastery so perfectly.

Loud quiet song structures. The perfect guitar fuzz sound. Vocals oozing with angst. A grunge masterpiece.

Big snooze. Elevator music.

Stevie is a genius. The layering of the vocals is unbelievable. No one has achieved this level of artistry on an album in 50 years.

This might be a controversial statement, but the National are just a mediocre indie band. I’m not sure I can ever get behind a band with a vocalist as bland as Matt Berninger. It’s like listening to milk sing about the heartache of being a cow. It doesn’t click with me.

Hands down the best Elvis album. There are so many excellent tracks on this one, but it also captures a comeback that was years in the making and that’s fascinating in itself. Elvis was a force and this shows him at what was the final peak of his powers. Every song on this is great, but a few of my favorites are Gentle on My Mind, Any Day Now, and True Love Travels on a Gravel Road. Also, not part of the original release, but Suspicious Minds is a stone cold classic.

Seems to be a similar story, but the first half of this is so much better than the second half. Debaser, Wave of Mutilation, Here Comes Your Man, and Monkey Gone to Heaven are all indie/alternative rock classics, but there is a lot of bad in the back half. Crackity Jones, La La Love You, No 13 Baby are all pretty awful and signs of what would come later in the Pixies’ and Frank Black’s career. The redeeming qualities of Hey and There Goes My Gun save it from being a complete switch off after Mr. Grieves. With that said, there is enough great here to offset the bad, even if this pales in comparison to Surfer Rosa.

Could make an argument for this as a clear influence on the likes of Kurt Vile and War on Drugs. Could also make the case for this as a huge rip off of Bob Dylan. Sultan of Swing isn’t that cool of a song, but there are some decent to great tracks that showcase some excellent guitar work overlayed with Knopfler’s monotone Dylan drawl. Really enjoyed In the Gallery and Wild West End.

Just short of classic, this is an excellent soul album. The title track is one of Green’s best, but the rest of the album is no slouch even if no other song reaches LSTs heights. Green’s voice pairs so well with the brass, it all seems effortless, but there’s complexity in these arrangements. Surprised to learn that Green wrote the majority of the songs (a la Sam Cooke), although the next two best after LST, I’ve Never Found a Girl and How Can You Mend a Broken Heart, are excellent covers that Green makes his own. Also refreshing that this is only 30ish minutes long - it’s a perfect length, crisp, concise.

I find it very hard to evaluate a foreign language album. A lot of what impacts me personally is derived from the lyrics of a song. It’s also important in contextualizing the music. This album is definitely musically very eclectic and innovative. The song structures and varied instrumentation are certainly reminiscent of Sgt. Peppers and other contemporary psychedelic albums. But I couldn’t tell you for certain if this was classic or even great because I never really connected with it.

Not groundbreaking like 36 Chambers, not a classic solo effort like Only Built 4 Cuban Linx, but still a strong addition to the overall Wu-Tang canon. Production is really strong, builds on the dark soundscapes of 36 Chambers. Some really clever and vivid lyricism. A few truly notable/memorable tracks.

Beautiful earthy album, always reminded me of The Band, particularly Richard Manuel’s tracks. A real ethereal other worldly quality, like I’m living in a forest in the winter chopping wood for the fire and technology doesn’t exist. It’s a nice place to go away to for a while. The harmonies are angelic, the instrumentation is gentle. An excellent debut.

A little more melancholy than their earlier albums, and Britpop in general. Sometimes that works, like Death of a Party, and sometimes it doesn’t, like I’m Just a Killer for Your Love. A couple of great upbeat songs sprinkled in (Beetlebum, On Your Own). And a cutting take on American culture from the Brits, Look Inside America. Song 2 is there also, woohoo.

I get stuck on albums like this - it’s not immediately wow, but it’s solid, and then I read about it, and it grows on me, but I usually end up at a 2 or 3. It’s an interesting jazz record for sure, but I don’t think I’m experienced enough to appreciate this. The melodies are pleasant. The playing is really solid. This almost sounds like what would be playing at a nightclub on the edge of the world, it’s a combination of a lot of vibes.

Queen is so overrated it’s embarrassing. Everyone gets so wowed by the vocal talent that Freddie Mercury was that they overlook the fact that the band was really just a mediocre singles band. I can’t in good conscience listen to this album in full and say that it is anything more than a combination of Mercury’s talent/charisma and some quirky production techniques. Even the songs I’ve heard before are mediocre. Bohemian Rhapsody is the most obnoxiously bloated rock song of all time. I mean, what the f-ck is this song about, defiance? It’s a bunch of gibberish that idiots like to sing along to at the bar. It’s the 70s equivalent to Don’t Stop Believin’. Bearable songs include Death on Two Legs and You’re My Best Friend.

One of the best rap albums ever. The production is so complex. The raps are impeccable. This is Kendrick at the top of his game in the midst of the best rap album trifecta of all time.

Really solid soul/funk album. The riff on the second track is so funky. Was a little turned off by the lengthy talking intro of the final track, sort of unnecessary babbling to make the track 18 plus minutes, but overall this was an enjoyable spin that made me appreciate Hayes as more than just Chef from South Park.

I like it, but I don’t think I fully get it. Can definitely tell this was ahead of its time, and has influenced so many bands from new wave to electronic to the EDM of today (including one of my all time favorites, LCD Soundsystem), but as a standalone effort I don’t get that much enjoyment from listening to this. I view this in the same way I view early rap albums, I understand their importance in laying the foundation for the genre, but they don’t hold up well given the passage of time.

Decent electronic record. Takes some interesting turns (Quality Seconds). Really liked Kein Trink Wasser, that piano riff reminded me of All My Friends. The Alison Goldfrapp led Are We Here? is also great. I think there is some social commentary weaved into the samples, but I’m not well versed enough in early 90s UK issues to connect with that.

Funky, soulful, and highly imaginative. Strong influence from Stevie Wonder, Prince, and Lauryn Hill. Comes out with a ton of energy from the start and blazes through to the two singles. Tightrope is such a jam. After that it trails off with some weaker and slower songs, especially that of Montreal feature. But ultimately this is a fantastic, compelling debut and one that I’m sure will garner more acclaim as time goes on.

A stompy glam classic, one of the most fun albums to listen to all time.

It’s a Christmas album, it’s only viable 4 weeks of the year. This should be on the list of albums of songs you’ll hear a 1001 times before you die.

Loved how this album mixes the funky psychedelic sound they began developing on Side 1, but then returns to their classic style on Side 2. They may not be stylistically aligned, but it shows the versatility of the group and the broad vocal talents and excellent songwriting. Didn’t realize this was the first album without David Ruffin, but Dennis Edwards is a respectable replacement and carries the group through this fantastic album. It’s not a perfect outing, but it’s definitely a strong contender for the best album in their catalog.

This band took the artsy noise rock of Suicide, drugged and spaced it up, and made something compelling and slightly more listenable. This is also the stepping stone to Spiritualized, which is a much better band. This sounds like a prototype, rather than something fully in flight, but can hear how many bands were influenced by it, especially those from the Britpop and Shoegaze era.

The Offspring were in the right place at the right time and they rode the third wave of punk right to the top of the charts with the ubiquitous Come Out and Play and Self Esteem (which would be followed a few years later by two very annoying songs that haven’t aged well: Pretty Fly for a White Guy and Why Don’t You Get a Job). They wrote stupid catchy songs about simple concepts and people ate it up, but their recycled version of punk rock ethos is insincere and intolerable. They are basically the Weird Al Yankovic of punk and outside of the two decent singles, this album is a complete dud.

Going to quote some other reviewers here, because I think they got it spot on. From Emily Mackay (NME) - “an album that combines mass accessibility with much greater ambition. Pretty much perfect, in other words – and despite their best efforts, listening to it feels just like coming home." From Alastair McKay (Uncut) - "[it] explores the badlands between safety and boredom. It's nostalgic, with a sense of future dread. There is pain and pleasure, loss and hope. It feels like the anesthetic is wearing off." While I don’t think it’s “perfect”, I do think it’s one of their strongest albums, maybe 2nd best after Funeral, and it’s one that gets better every time I listen to it and deserving of the accolades it garnered.

There is no denying the significance of this album in influencing punk and even heavy metal. The attitude, the power of the guitars, it’s all there. I had sometimes viewed this negatively having only ever heard the original mix, which is pretty horrible and completely flat. This time around I dove into the Iggy mix and Bowie mix, and I’d say the Bowie mix is probably the most even, whereas the Iggy mix gives it the punch of Fun House. Both have their merits, and breathe life into all these tracks. Iggy sounds more like a rockabilly singer on this album with his shrieks and squawks, the lineage from Jerry Lee Louis is now more obvious. There is also a clear sense of danger, dread, and devilish fun throughout.

The jangles are poppin’ on this one. Love the songwriting. Love the mumbled vague lyrics. Love the rhythmic beat that flows throughout. An indie rock trailblazer.

Very introspective and pensive album. The subtle string arrangements in the background color these songs beautifully, especially on the excellent opener. This album also sounds like it could have come out any time in the last 50 years, its era-less.

Angelic harmonies tell the stories of the dreary, the daring, and the determined souls roaming the streets of New York. The production of the album is revolutionary, so much warmth, the kind of album that begs for the highest fidelity. It is also meticulously crafted, but still feels effortless given the mix of serious and lighthearted songs. Classic.

This might be the best power pop album of all time, or at least the best front to back. There are 3 actual singles, 4 songs worthy of being singles, and 2 remaining tracks that are not bad. It really is Ike a greatest hits album. The production is dated given the band’s penchant for using the latest “technology”, but there is no denying the hooks and pop sensibility that Ric Ocasek delivered with this album. My Best Friends Girl and You’re All I’ve Got Tonight have always been two of my favorites. The wry and sarcastic songwriting fits well with the punchy choruses. Just What I Needed may be overplayed, but it is a template for so many great bands and songs to come. It’s remarkable that this came out in 1978 and basically ushered in the 80s and set the bar high for what new wave and power pop could be for a decade and beyond.

Not as masterful as Bryter Layter or Pink Moon, Drake’s debut is nonetheless a very strong entry point into an all too brief career. There are a number of beautiful songs that outline Drake’s clever songwriting, fantastic guitar playing and orchestration, and his melancholy singing and lyrics. There are also some songs that border on being overly maudlin, like Way to Blue and Fruit Tree. This album does have one of my all time favorite songs, Man in a Shed, the playful interplay of the guitar, bass and piano is so perfectly executed. It is the prime example of when Drake can be at his best, when his songs are melancholy but hopeful. Something he executed more consistently on Bryter Layter.

Given Radiohead’s illustrious career, this is maybe their 4th or 5th best album, which says more about the quality of their output than any real shortcomings of this album. It feels like a natural successor to Hail to the Thief, building on that album’s sound without taking too many left turns. It starts out very heavy with 15 Step and Bodysnatchers, but then finds some beautifully uncomfortable quiet places punctuated by a subtle blend of acoustic and electronic elements. As with most Radiohead records, there is not a single bad or even mediocre song here. Even at 4th or 5th best in their catalog, still a 5 overall.

Maybe this was ahead of its time with the clubby electronica pop, but wow can this album be annoying. The lyrics are completely mindless, the production is so overdone, and that autotune on Nobody’s Perfect almost made me hurl. There are a few decent moments, like the title track, the jittery acoustic Don’t Tell Me, and the feminist anthem What It Feels Like for a Girl, but otherwise this album is completely avoidable.

What’s impressive and amazing about this album is that Dave Grohl created this completely on his own following the suicide of Kurt Cobain, allowing himself to move past the tragedy while also proving his skills as a songwriter in his own way. The album has some moments that are a little too aggro and of course the lyrics are mostly nonsensical, but what brightens this up and gives this life are Grohl’s multi-tracked vocals that sound like harmonies on a number of catchy choruses. Big Me has always been a favorite and I really enjoyed Floaty and For All the Cows. While it may not be a classic or even essential listening, I agree with hearing before you die this man’s truly solo effort.

This album will forever remind me of the movie Dark Days. This is the perfect gritty urban soundtrack. The sampling is so seamless, it’s effortless. This was a landmark in instrumental hip hop and its impact is still felt.

Probably the only Elliott Smith album I hadn’t really listened to, this one sounds very different from his other releases. Much less melancholy, even poppy at times. As his last album, it was a sign of what could have been. L.A. is such a good song. The man could craft a hook and this is definitely his most accessible album. It does feel very long at 16 songs, but there really aren’t many low points. A great album all around.

This album is devastatingly sad, not only because of the music, but also because of the Greek tragedy that is Nico. In some ways she was in the right place at the right time, but you could also say she was in the wrong place at the wrong time. She objectively does not have a good voice. She was cast in a role with the Velvet Underground that Andy Warhol forced upon her due to her beauty, even though she clearly lacked any musical chops. Lou Reed famously wrote Femme Fatale about her, for her to sing, a devilish 60s burn. Who knows if given the production and control she desired for this album, maybe it would have been a hidden gem classic. At the end of the day it’s just an empty shell of an album, with various throwaways from Lou Reed and the other Velvets, a few decent Jackson Browne songs, and one very solid Bob Dylan cover - none of which couldn’t be made better with someone other than Nico singing them.

The jazz-rock fusion here is spot on. I loved the shorter lighter tracks mixed with the gritty longer freak outs. The small bit of vocals from Captain Beefheart are well placed and set the mood for the whole album. I think Zappa himself described this as a film, and it definitely evokes vivid imagery and could easily be a compelling soundtrack. I’ve never really delved into the Zappa catalog, but this one has peaked my interest.

A very British reggae/dancehall album, can hear the influence of the likes of the Happy Mondays and the Specials. Quaye (is that pronounced “key”?) has an average to below average voice, which really dampens the potential of these songs.There are some decent tracks, but mostly this is as bland as elevator music.

It’s rare that an album is this universally acclaimed both critically and commercially, but it is just that good.

This album zooms by, you almost miss how good it is. The Clash were always the right mix, not as snotty and ratty as the Sex Pistols, not as arty as the Jam, but just enough of each to craft memorable tunes as forbearers of the genre. While I don’t think this album is nearly as good as London Calling, it does hold up surprisingly well, the production is high quality, and there are enough classic songs here to make it a classic album.

Familial harmonies have a different quality to them, the matching of the vocal timbre creates such a unique sound. These songs have a sneaky darkness to them that is paradoxically lightened by the brotherly harmonies. First time I’ve heard the concept of murder ballads. Others would master this sound into something less primitive, but this is still endearing, even if it is mostly a snoozer.

This album is sneakily very good. The pop sensibilities are strong with this one, highlighted by the sugary Streets of Your Town. The blend of clever instrumentation and vocals drives a buoyant catchiness to the whole album that is light but not insincere. This is the kind of bargain bin gem that is worth searching out.

Nice ethereal folk/country album. The intimacy of the session, recorded in a church with a single microphone, is magical. The vocals sound a little monotone at points, and lacking emotion, but the delicate playing is beautiful. The covers are also well placed to sprinkle in some familiarity with well known influences. Great addition to the late night repertoire.

Classic. Currently my favorite Beatles album, but I do believe that can change. Here, There, and Everywhere might be my favorite all time Beatles song. There are so many classics here. The heartbreakingly sad Eleanor Rigby, the psychedelic Harrison tracks like Tomorrow Never Knows, and McCartney at his most McCartney on Got to Get You Into My Life. It’s their best front to back.

Taylor Swift is everywhere, aargh! This album is synthy ubiquitous pop; can’t avoid it, but can’t deny the syrupy sweetness of Shake It Off and Bad Blood. The rest of the album is mostly meh, filled with quotable one liners about break-ups, ex’s, etc. that were well designed to be quotable one liners. The first few songs are pretty solid, with Blank Space probably the most notable, before the absolutely horrible Out of the Woods. The mega singles follow, and then the back half of the album is so so. Overall better than your average pop album, but this doesn’t rank as a classic.

Bjork is a singular talent. She is constantly innovating and taking popular music into new territory. This album, her debut, is a fascinating blend of jazz, electro-pop, and trip hop. Human Behavior and Big Time Sensuality are jams, Crying and Venus as a Boy are excellent, and the slower songs such as Like Someone in Love, ground the album in a timeless sound. It’s not her masterpiece, but it is a great start to her brilliant solo career.

The album that cemented Kanye’s status as a generational talent capable of creating complex art. This album is like a vortex of unrelated tangents that suddenly became cogent when synthesized through the beautiful dark twisted mind of the auteur.

Beautiful guitar playing, sombre vocals. Little vignettes of English life. The title track is an underrated classic. A few other songs standout, mostly from the first half, before it ends with a run of very miserable dreary Englishness. I guess sometimes you need that, but right now I don’t, and I could care less about the Great Valerio.

I don’t really like prog rock, it’s often so pretentious and bloated. This album is a rare exception, maybe because it was one of the earliest it wasn’t self aware or self absorbed and so it comes across as earnest. There are a lot of horrifying moments (as in 21st Century Schizoid Man), but also beautiful moments (I Talk to the Wind). The two lengthier tracks on Side 2 feel more like classical suites than rock songs, but they avoid being too abstract by retaining an overall form and theme. I couldn’t decide if this was good or great, I think I’ve had differing views over the years, but it doesn’t have many spare moments and it’s really a well executed document for its time.

Solid alt rock album that pulls on trip-hop, grunge, and Britpop to create a unique sound led by Shirley Manson’s silky gravel vocals and Butch Vig’s shiny production. Some standouts include Vow, Only Happy When it Rains, and Not My Idea. Nothing monumental or innovative about this, but it’s a well written and honestly delivered debut worthy of a listen.

Fantastic folk rock album. Harmonies are on point. The songwriting is excellent, although maybe not as mature yet as Bridge Over Troubled Water would be. The first half is stronger than the second with Cloudy, Homeward Bound and Feelin’ Groovy all classics of the S&G catalog. A Simple Desultory Philippic is a pretty bad attempt at a diss track? And the last track has lost the punch it may have had 60 years ago. Those slight flaws prevent this from being a perfect effort, so I’d probably give it a 4.5, and then round up.

A whole lot of noise that says a whole lot of nothing.

I used to hate on JT so hard, primarily because of the white collar vanilla fan base he has established over years of churning out the blandest white man music on Earth. However, this album was before all of that. This album is a photograph of a young artist, just starting out, going through a number of personal struggles. And it’s honest as hell. Fire and Rain, for all the faults it inspired, is such an honest heartbreaking song. The songwriting on this album is great, but I’d also give a shoutout to the well timed usage of percussion to significantly enhance the potency of these tracks. Sunny Skies and Country Road are also standouts.

Very few albums are this perfect. The Band had already honed their chops before this debut was released, with many of the group kicking around in other bands beforehand, but once the five of them came together it was pure magic. Garth Hudson’s organ playing and Richard Manuel’s gutting vocals always standout the most to me, but the whole band is so tight, they all make meaningful contributions. Always amazed me too how a group of mostly Canadians captured such an American sound, taking you back to a time and place that is so far in the past it’s sometimes hard to grasp. It feels like the album came out in 1868 rather than 1968. They don’t get more classic than this.

It’s funky and soulful, a snapshot of the struggle in the streets. It’s crazy an album like this went to #1. It’s not exactly the poppiest or the most accessible with its themes of social inequity, poverty and day to day strife. And multiple lengthy jams. But hey I guess this is what the people were feeling in 1973. An interesting moment in pop history for sure. In terms of its merits, while it is well crafted, even methodical at points, it lacks a certain memorable punch. I’m torn between a 3 and 4, but don't think I can get to the high end.

While it would be easy to hate on Boston, and how passé this album is, it is also hard to deny the pure unbridled joy these songs can bring to your day. I think I’ve heard More Than a Feeling at least a 1,000 times, but there’s just something about that sugary chunka chunk guitar progression with the clapping and Brad Delp’s golden vocals that puts a smile on your face. The first 3 tracks are such staples of classic rock radio, it’s hard to believe they are all on the same album, but I was actually more surprised at how good the non-singles are from this album. They follow a similar formula, acoustic guitars mixed with electric, intricate solos, and flawless vocals. I’m not sure if these guys invented power pop, but they sure are the clear forerunners. There is definitely weakness in the lyrics, which are rudimentary at best, and the over abundance of soloing, which seems unnecessary at times (and would be lambasted by punks for decades to come). The album cover is also probably one of the worst all time. Despite those downsides, this is still a hell of good time.

The disappointing thing about this album is that I always come back to it hoping that the rest of the tracks will be as good as Birthday, but they never are. Sure Motorcrash and Delicious Demon are very solid, but the rest do a poor job of highlighting the talents of Bjork. Birthday is such a gem, it shines a light on the otherwise unremarkable album, to the point where it is passable as recommended listening.

Depression never sounded so blissful. Smith’s ditties are outstanding, candid, and punchy. Every song on this album is so good. It weaves in and out of slower and fast as well, keeping the listener engaged and enthralled. A classic album from a tragic soul.

This album is bad. Blending metal with an orchestra was an interesting idea someone had when they were high, but highdeas don’t always turn out the best. This sounds the score to a shitty action movie. No part of this was enjoyable.

As classic as you think it is.

Aggressive and sardonic, like a humorously grim piece of sandpaper. Grating at times, but rarely boring. Like the Stooges with more speed and teeth-on-metal vocals. Could imagine the violence and release that could come from seeing this live. Visceral. Cathartic. Punk classic.

Solid dance rock record. I would have thought their debut would make the list over this, but actually I think It’s Blitz! is more well rounded with its dance hits and softer ballads. Nothing too special about this one though.

Little punk vignettes tied together by the frantically jazzed up play of Mike Watt and D.Boon, and Boon’s varied political ramblings. Proved that punk didn’t have to be all fast guitars and ratty vocals. Punk could extend to a mindset, overlaid with an arty jazzy fusion, an early imprint of indie rock, a classic of both genres.

I always start out listening to Rush thinking I’m going to hate it. Must be the voice of Geddy Lee, or my general aversion to prog, but something about the thought of them just makes me feel disgusted. Tom Sawyer in particular just sets me off on a bad vibe. But then as you get more into this album, the awesome riffs, bass playing, and drums on Red Barchetta and YYZ shine through. Limelight is a tight concise rock song, far away from the prog of their early days. The Camera Eye is pretty long, but it doesn’t feel indulgent. As I circle back around and listen a few more times, I realize I don’t hate Tom Sawyer as much as I thought and actually this album is very good. There is some really virtuoso playing, the time signatures are wild, and they wrap it all up with riffs that are borderline catchy.

The title track is an exciting anti-government, anti-military political statement that may have directly led to his mother’s death and nearly his own. Songs that have that sort of impact are rare and should be celebrated for sure and I’m glad that I’ve now heard it. The rest of the album is solid afrobeat jazz fusion, but nothing as poignant as Zombie. Certainly opened me up to the world of Nigerian music.

Ethereal of course, but I’m just impressed by Elizabeth Fraser’s voice and the way she uses seemingly nonsensical lyrics that barely resemble English to create sounds with her mouth and voice that are so magical. In many ways she reminds me of Bjork, with her exploration of vocal sounds. A lot of it is about shape and the power of repetition to create mini melodies. This magic on top of the shoegaze guitar and bass and pulsing drum machine makes for an otherworldly experience. Lorelei is probably the best example of their sound and one of the greatest indie/dream pop songs of all time. The rest of it is also very good, but maybe not as fully realized as Heaven or Las Vegas.

Solid trip-hop, electronic album, but nothing too notable about this one. Side note: probably one of the worst album covers I’ve seen, looks like something a shitty ska band would’ve put out, doesn’t match the music at all.

A borderline 3/4. While it starts out strong with Tunic and Kool Thing, it kind of lost me towards the end. Big scuzzy guitars contrast the monotone delivery of Kim Gordon and Thurston Moore, which isn’t a bad thing, it’s just hard to find the melody. I feel like even at 49 minutes it flew by and I barely know what I listened to. Would come back to revisit, for now I can’t justify the 4.

One of my favorite bands growing up. Saw them at MSG on NYE in high school. They are an excellent live band, but also have some solid albums. Their version of blues rock was never as raw as this debut. Chris Robinson’s vocals are so crisp and soulful, like a reinvention of the best blues singers of old. The songs are tight and well written, it’s hard to pick a favorite, but the beautiful use of harmonics on She Talks to Angels gets me every time. Their revivalist blues is certainly not original, but they execute so well you forget this has all been done before.

Soundtracking misery and heartbreak for 35 years, the ultimate emo album that spawned a thousand more. It’s a beautifully executed dark and gloomy color palette, with short bursts of happy love and angry love. It reminds me of a seaside Victorian pub in the midst of a storm that splashes the tide against a rocky cliff. Incredibly English, incredibly wrenching, Incredible.

Menacing, difficult, rarely delicate, but wholly unique. It’s an easy listen when you’re in the mood for it, but a challenging one when you’re not. It challenges you to rethink what you knew about jazz, but it’s not easy to digest in one sitting. I know it’s a classic because it pushed me into the new places it found.

The repetitive and obnoxious vocals on this album completely ruin it. There are brief moments where the electropop sounds great, but those moments are completely overshadowed by someone repeating a line like “Lucifer rising in my head” multiple times. There were also at least a few times the sound of this album reminded me of the Ghostbusters song, which isn't exactly a good thing. The only decent track was Mdc vendredi.

I was about to write this off as a very average classic rock album. While everyone knows Black Magic Woman and Oye Como Va at this point, those are not the reasons to come back to this album. The beauty of this album is in its fantastic instrumental tracks. The mysterious jam of the opening track, the jazzy groove of Incident at Neshabur, and the tragic romanticism of Samba Pa Ti are what really make this album interesting. The other tracks are solid Beatles/Stones/Small Faces copies, but not nearly as notable. I’m drinking to Samba Pa Ti tonight.

Mesmerizing songwriting. Fast Car was a classic before Luke Combs brought it back to the charts. Talkin Bout a Revolution and Baby Can I Hold You are excellent and showcase Chapman’s ability to craft protest songs and pop songs with equal aplomb. The second half of the album has a mix of hits and misses, but overall a very strong debut.

A third of the album is expended on the great but somewhat bloated 12 minute Papa Was a Rolling Stone. The other 22 minutes is spent on a mix of political/social commentary and standard Temptations fare, but nothing that notable. Love Woke Me Up This Morning is a decent cover, but I can’t see someone preferring it to the Gaye/Terrell original. Most of the songs just fall flat.

Good enough to start your car in the morning, but not enough to drive you to work everyday. The opener, Firestarter, and a few others are cheap thrills, but there’s not enough staying power. It’s adrenaline fueled house music, with little need or want for a muffle. And sometimes constraint goes a long way to preventing an album from just being a fib.

A dreamy dance/synth pop album. There are moments that feel almost cinematic, the band paints the picture well with instrumentation and vocals. I was surprised this came out in 1993 though, it sounds way more 80s than 90s, in a bad way. The first 4 tracks are very good, Can You Forgive Her? is probably the best track on the album. Then there’s the random melancholy Dreaming of the Queen, which is very British and very odd. Yesterday When I Was Mad and To Speak is a Sin are decent tracks that carry the second half, but god Go West is awful and a horrible campy end to a Very dated album.

There’s something endearing about Mark E. Smith and the Fall, they are in many ways the anti-band. The sound of this album is so inventive, it is dissonant yet there is enough of a melody to feel connected to it. It reminds me of a less jarring and less desolate PiL, kind of like a rough day that you got through and were better for it. The production is surprisingly crisp for a punk debut with “Live” in the title. It’s not an album of hits, but more like a collection of well thought out schemes. The impact of this album and this band is pretty wide reaching, given how prolific they would be following this. Many post-punk, alternative and indie bands owe a debt to the Fall.

Supertramp kind of exist on the classic rock spectrum somewhere between Queen, Pink Floyd and Yes. Not as poppy as Queen and not as proggy as Pink Floyd or Yes. I had always known them primarily from the slew of hits from Breakfast in America. This album is a bit more raw and in that way a bit more exciting. The first half is a showcase of some surprising pop gems. They have a knack for striking a balance between artsy prog and hook laden pop. The last 3 songs are more prog than pop, but they avoid being excessively drawn out and spacey. It may not be as classic or essential as some other albums from the era, but it’s a strong effort and worthy of a listen.

Solid R&B/soul mixed with pop standard vibes. Dusty’s take on some classic tunes doesn’t necessarily make them all her own, but her husky voice adds her own special blend of soul that contends with the best versions. Out of print and cobbled together on a Spotify playlist, I really wish there was a stereo mix of this, the mono tracks sound so flat. Mama Said, You Don’t Own Me, and Wishin’ and Hopin’ are such great songs, but they really don’t sound as punchy as they should be in mono. This album could be so much more if someone would give it a proper remastering.

The soundscape of this album is certainly dystopian, but there is also an odd magic to the whole thing. The rhythms are powerful, the vocals are innovative, and the fusion of sound just works. It’s crazy what people were into in the 70s that this had 3 singles and was a top 25 Billboard album, it has always seemed to esoteric to me. Really it’s an art rock masterpiece.

It’s lacking in notable Smith singles, but it’s still a solid album. Still has the same sound, same melancholy rainy day jangly tunes. They probably couldn’t have made the Queen is Dead without first finding their stylistic footing with this album, so it’s a logical sophomore stepping stone, but it’s not a classic. This album is almost more poignant for what it doesn’t have - shitty 80s synths and effects - it’s an honest indie pop record that could have come out any time before or after (i.e. it’s sound is timeless).

Pretty cool folksy/pensive album with a Latin feel, but not much notable beyond that. I liked Not Even Stevie Nicks…

The magic of this album is its ability to weave excellent blues and gospel samples into compelling electronica without sounding like a misappropriation. I won’t lie, I hated on Moby when this album came out. It was everywhere, the videos were everywhere. I distinctly remember thinking Gwen Stefani was a sell out for South Side (really she was a sell out for Hey Baby). Listening to this 20 plus years later I realize teenage me was wrong about this music. It’s actually an excellent example of how accretive sampled music can be, basically proof of the adage as it’s greater than the sum of its parts. The downbeat and mostly instrumental back half is fine mood music, but doesn’t hold up as well as the vibrant front.

This album basically doubles down on The Slim Shady LP, but also reflects on the new found fame that album brought Eminem. Shocking, painful, and innovative, Em continues to explore the dark sides of humanity with his cutting lyrics and twisted sense of humor. It takes me back to high school and the people I knew that came from broken homes, this album struck a chord with a lot of people for more than just its shock value. Whereas The Slim Shady LP was mostly black comedy, this album blurs the lines between what is serious and what is satire. Dr. Dre’s sparse production on the first half also gives room for Em to get the message out clearly before the second half when the lyrics weld with the production to punctuate the anger and despair on tracks like Amityville and Kim. Human nature is complex and messy, it’s not all sunshine and butterflies, there is anger and grief in all of us, and so for all the love songs in the world there is also Eminem to balance things out based on reality.

The Byrds really should have been called the Chameleons given how many times they changed their sound. Between the Gene Clark folk pop era, the David Crosby psychedelic era, and this the Gram Parsons country rock era (and then whatever miscellaneous came after that), they really did not fear change. Gram Parsons was the kind of lightening-in-a-bottle talent that lived a short life but made anything he touched into gold. This album, along with his solo albums and time with the Flying Burrito Brothers, are all nearly flawless. He ushered in the country rock genre, making a beautiful marriage between tragic country storytelling and the sweetness of steel guitar. The album sounds so cohesive, you wouldn’t know that it’s such a mix of borrowed songs and covers with only two Parsons-penned originals. Excellent.

This album always gets me amped, it’s one of my favorite running albums. Right off the bat the energy from Block Rockin’ Beats is electric. It doesn’t really slow down from there. The guest vocal tracks, Setting Sun and Where Do I Begin, are two of the best tracks, but the album is full of rockin bangers that have held up surprisingly well. It’s a little long and honestly the last song always kind of throws me off with the eastern world music sitar vibes, but overall this is a great electronic music album.

Could just be me, but I don’t find Daft Punk as exciting or interesting as everyone makes them out to be. Their songs are often monotonous, repetitive blah. The only track I found notable on this album was Phoenix. The rest of it kind of blended together, some solid electro dance/house, some just plain boring. Maybe this was innovative in ‘97, but now it’s just pedestrian.

I’m no jazz connoisseur, but I can tell this is very good. Just how good a jazz album is I think becomes a little subjective once you get past the virtuosity of the performers and the craftsmanship of the composition. Both of those are clearly top notch on this album. So then I ask myself, what does this album make me feel? Sexy chaos.

Comes out hot with Chic Cheer, famously sampled by Faith Evans on Love Like This, followed by Le Freak, a song so ubiquitous that in listening to this album while walking to pick up my lunch, it was actually playing on the speakers at the lunch spot when I got there. Coincidence, I think not. Le Freak, a staple of the disco era, is now, for better or worse, weaved into the fabric of America. Savior Faire is a solid slow jam that I was happy was instrumental considering how annoying Le Freak’s vocals can be. And after that, the album is basically forgettable elevator music. In summary, this album is lame.

Never heard of this one, but was pleasantly surprised at how good it is. Kind of like a mix between XTC, the English Beat, and Adam Ant. Lots of new wave Englishness, but nothing that sounds dated or campy. There’s a solid funky riff permeating throughout that helps. This honestly could be the bridge between 80s new wave and 90s power pop even though it came out in ‘82. Baked Beans and Snow Girl were two of my favorites, but the whole thing was enjoyable. Sad to learn this was really their only album. This feels like a 3.5, but I’m rounding up for the hidden gem factor.

The name of this band and album completely threw me off, this is super fun energetic punk rock. The horns add a bouncy buoyancy to the songs, they hop along like a pogo stick. Some great songs, especially the first 5-6. Young Livers and Used were highlights for me. Interesting that this seemed to garner more success in the UK and Europe than the US, I personally had never heard if them. I think if I grew up with this I would probably be more inclined to rate it at a 4, but I don’t have the familiarity with it to get me there, it’s a very enjoyable album though and a great find I’ll definitely be coming back to.

Not my top Beatles album, but still an all time classic. Some of my favorites are the lesser known songs like Fixing a Hole, She’s Leaving Home and When I’m Sixty-Four. Within You Without You might be the best Harrison track. Absolutely essential.

Jethro Tull to me is one of those bands that took themselves too seriously, like they were doing some heroic work putting a homeless man on the cover of an album, exposing the dark side of humanity and religion. Songs like Aqualung, Cross-Eyed Mary and Locomotive Breath have all become staples of classic rock radio. Hearing them all together in the context of this album, they are decent, but the acoustic snoozers in between differ greatly from those rockers and really aren’t very good or they’re songs too stuck in their convictions to be any good (as on My God).

There is an evil magic to the Doors music, completely askew to the hippie and flower power of the 60s, harbingers of metal and punk rock. They are equally accessible and inaccessible. Jim Morrison’s gruff voice is as eerie as it is often monotone. This album is probably their most consistent, from the roll licking Roadhouse Blues, to the political anger of Peace Frog, and the dark romanticism of The Spy and Queen of the Highway. It doesn’t have any “hits” per se, but it is strong throughout, a borderline classic.

The instrumentation, vocals, songwriting, everything, it’s all so innovative. I listened to this 3 or 4 times just because, but it’s clearly a modern day masterpiece.

The saddest part about this album is that they could never recapture the magic they found here. So many good songs, but I Am the Resurrection is always a favorite. I love the whole thing even the weaker songs, it’s just so joyous and full of outstanding hooks.

To call this album theatrical feels like a slight, because although it is very dramatic and highly romanticized, it is not campy or maudlin. How impressive is it to self produce an album like this that your critics called uncommercial but goes to #3 on the charts. This album is visionary, I can hear the broad influence this has had from Bjork to Fiona Apple to Grimes. It’s surprisingly brilliant, even if it is jarring at times. I really enjoyed the opener, Suspended in Gaffa, Night of the Swallow, and Houdini. Vivid imagery and fascinating instrumentation. Really enjoyed this.

One listen was enough to know that ABBA is as vapid as I always thought they were.

A solid blues album that showcases the power of Waters’ voice and his inspired guitar playing. Excellent production all around and a fantastic group of players. The thing that I found lacking was the songs themselves, outside of Mannish Boy this is not the most interesting set. I’m at a 3.5, but can’t get to a 4.

Surprised that I missed this one on my journey through punk rock, but their new wave tinged sound is borderline pop compared to some of their rawer and edgier sounding peers. However, songwise, it doesn’t get more punk than Peaches. Get a Grip on Yourself is also a great song. The rest of the album is less notable, but still exciting enough to warrant an entry on this list. Clearly not a classic, this is another 3 vs. 4 battle.

The opening track is harrowing. George Jones is a master of phrasing, and drawing out the syllables of a word to evoke a different emotion. The majority of this album follows a similar vein. It is a surprisingly soulful country album, with Jones clearly wearing his heart on his sleeve. To be perfectly honest, country is my least favorite genre, but this album took me. I read Jones’ whole bio, and am compelled to dive into his crazy extensive catalogue to hear other snippets as magical as this.

As advertised

As innovative as it is bloated, The Wall surprises me as much as it annoys me. Personally I don’t know if I can stand hearing Another Brick in the Wall one more time, its sing songy chorus is burned in my head forever. Pretty much can write off any song with a children’s choir as shite. However, it does sound better to me in the context of the album rather than as a single. There are great songs here, like Comfortably Numb, Hey You, and Run Like Hell, and songs I’ve rediscovered, like Goodbye Blue Sky, One of My Turns, and In the Flesh. Roger Waters’ voice sounds at its best in the louder, angry moments, whereas it fizzles when he attempts to be sentimental or delicately villainous. There’s a lot to pick apart on a 26 song double album. You could spend months dissecting this. It’s definitely an album you need to hear before you die (you can avoid the film though), but I wouldn’t go as far as to call this a classic.

The weak points are easily overshadowed by the massive strengths of this album. It’s not perfect, and it trails off after Killing Me Softly, but it’s definitely essential. It might be the most essential hip-hop album ever.

I always thought of Tupac as more of a singles artist, but this album is so good. The production is g-funked and crisp as hell. Tupac’s flow still sounds fresh 30 years on. There’s something so emotive about Tupac’s raps, a complex song like Dear Mama evokes so many feelings, but even one as simple as Old School has the same impact. The formula of rap verses and R&B choruses also helps punctuate the vibe. I didn’t think Pac had a classic album in his repertoire, but I guess I was wrong.

Always liked Atlantic City, but never really dug into this album in detail. It is definitely one that a deserves repeated focused listens to truly reveal its stark magic. The tales of the dark and tragic sides of Americana are beautiful. Springsteen never sounded more like Dylan, but also mixes some unique influences like Suicide into the album. The stripped down sound brings surprising life into the harrowing stories, and stands in contrast to the heavy instrumental of Born in USA, which was developed around the same time. A bold move at the time, it now stands out as a high mark in Springsteen’s career.

A just alright collection of sludgy electronica. Poison is the best song.

Impressive that they followed up Rumours with this, which really sounds so different, even experimental. At 20 songs it does feel pretty long, but there are a lot of gems here. Think About You is solid good, Sara is a magical build up. That’s All for Everyone reminds me of Animal Collective for some reason, it’s slow, melodic psychedelia. It’s hard not to compare this to Rumours, which is probably one of the top 10 best albums ever. There was never a chance this could match that greatness, but it is still a really strong and interesting album from a band at their peak.

A tight collection of bebop. The instrument pairing and memorable melodies shine through. It doesn’t speak to the emotional palette the way later Davis albums do, but it is a simple sharp record of songs that could easily be surmised as jazz standards.

There are some excellent hip hop tracks on this album. Soul Flower and of course Passin’ Me By are definitely the best. The jazz beats and native tongue raps are top notch. The flow overall is very strong. Some tracks and skits that are meant as comical are still pretty cringy, but easy to look past. Surprisingly great album from a lesser known 90s rap group.

Nothing groundbreaking about this album, it is just well executed alternative rock. I always considered this grunge, but it actually came out 5 years after Nevermind, so not exactly part of the “wave” and definitely a less angsty than some with that moniker. This album has some really great songs and hooks, not a single bad track. Mark Lanegan’s gravel voice is spot on and he kicks it into the next register at just the right times. It sometimes lacks the emotional intensity of its peers, at points even sounding monotone, but there are a number of beautifully crafted moment.

Point blank: the Ramones are overrated. They came first, maybe. They had style, maybe. They had songs, some. They could play, not really. This album will forever adorn the walls and t-shirts of the same posers who owned Legend by Bob Marley and said they were reggae fans. There are so many bands that came after, and some that came before, that did it better than the Ramones. With all that said, as (one of) the forefathers of punk, they have a place in history. In the hands of a lesser band, these songs would sound flat, but the Ramones had the New York panache to execute on the ethos. The second half is not as strong as the first, but overall a notable album.

Take Me Out is a great single, but there is no world where this album is worthy of more than a passing listen. Basically a modern rip of everything Adam Ant, Roxy Music and Talking Heads did much better in the 70s.

This is so long, it’s hard to digest and determine its merits. Nick Cave has never really sunk in for me, I’ve tried but haven’t connected yet. There are some solid songs here, nothing that stuck out as amazing though. I get a strong feeling of unease listening to it though, like something evil or unexpected is lurking behind the next corner. This would be solid thunderstorm music, I’ll revisit it then. For now it’s a 2.5, round it up for the content overload.

This was such a long awaited follow-up, my expectations were definitely high. While it is hard to live up to Loveless, m b v was probably the best result anyone could have hope for after two decades. In many ways it picks up right where its predecessor left off, but it also sounds surprising fresh. There are delicate lush moments throughout, but there are also some sharp corners that give the album an interesting edge. I wouldn’t say this is a classic like Loveless, but it’s the next best thing.

I recently saw the Flaming Lips live for the first time and they performed this album in full. Giant pink robots, tons of confetti, and an exuberant performance by the band. The album has a quirkiness to it for sure, but also a poignant timelessness. It has become even more relevant as we move into the world of AI. Will the robots take over? What place does human emotion have in this world? What does it all mean? Put that all over a psychedelic folk electronic pop album, it just sounds right. One of the top 10 albums of the oughties.

The droning repetitive groove of this album, mixed with the magical vocals of Laetitia Sadier, makes for a very soothing listen. It’s like stepping into the hippest Parisian cafe on a June afternoon, sunglasses and smirks, cool cocktail in hand. There are also some very big sounds, walls of sound, that build up like the best cinematic imagery. Favorites include Olv 26 and Percolator. Overall hypnotic and mesmerizing.

Sounds like early Sun-era Elvis. Robbins’ singing is impassioned and delicately controlled, with subtle backing vocals that add an eerie texture to these tales of western murder and romance. Big Iron and El Paso are definitely the standouts, but overall it’s an enjoyable listen front to back. Most of the songs exhibit a simple beauty with strong vocals mixed with minimalist guitar and percussion. I know this was influential for outlaw country, but I can also see how indie bands like Pixies could have cribbed from Robbins.

Looking past the kitschy aspects and separating the art from the artist, this album was, is, and will always be a masterpiece.

Decent electronic pop mixed with rock’s harsher elements. I liked the distortion crunch throughout. The Party and DVNO were favorites. Wouldn’t really have a good reason to return to this though.

Overall a pleasant almost dream-like listen, but definitely some bits to just sleep through in there. Best songs are It’s Only Natural and Weather With You. The songwriting is strong, catchy power pop and ballads, somewhat Beatles-esque, or Squeeze-like. Don’t think Crowded House gets the notice they deserve in the US, I always thought they were a one-hit wonder, but they were really a solid band and Neil Finn was a great songwriter and this is probably their best album.

The soundtrack for most of my 20s. A lot of great memories listening to this album. Managed to see them before their farewell tour, during the farewell tour, and after. Yes, I was there. Looking back and trying to be objective through the nostalgia, this album is great but it does have some weak spots. Never been a fan of the track Sound of Silver, and Watch the Tapes is somewhat forgettable. The rest of the album is pure joy. I would often pack my headphones for a night out so I could play New York, I Love You But You’re Bringing Me Down on the cab ride home. Someone Great got me through the loss of my grandfathers. And I can’t count how many times I danced (or jumped) to All My Friends. It’s an important album and it’s essential listening.

Please no, not the Eagles. One album on this list was enough. The Eagles are not an essential band and this is not an essential album. If classic rock radio didn’t overplay the shit out of Take It Easy and Peaceful Easy Feeling for the Margaritaville crowd, then no one would have remembered these guys. There are a few redeeming moments, but overall this is dollar bin fodder.

There is really nothing like this album. If you want to talk about something you should hear before you die, it’s this wildly unique blast of sounds. Every time I listen to this one I hear something new or I hear a snippet of another band this influenced. Albatross and Poptones are my favorites, both are so stark futuristic and nihilistic, but almost all the song are great (the exception being the somewhat annoying The Suit). The close out Radio 4 was my new favorite this time around, reminiscent of Angelo Badalamenti’s work on Twin Peaks. One of the more astonishing things about this album is that John Lydon basically tore down everything you knew about him from the Sex Pistols, he is almost unrecognizable from his punk guise. The guitar work is also fascinating, it drives the dystopian soundscape that permeates through the whole album. This one is important.

Enjoyed this one more than I thought I would, it’s light and humorous and Prima, Keely Smith and their band are very sharp. Surprised this was the first time I’d heard of Keely Smith, her velvet tenor steals the show more than once. There are a few dull moments, like the instrumental Body and Soul. Prima is really at his best when paired with another singer (as on For My Baby) or when he’s being playful with the band (as on Oh Marie - or his more famous take on Pennies From Heaven), and thankfully that happens more often than not. It’s the kind of fun, lighthearted album we all need sometimes. Definitely a contrast after Metal Box!

I’m a pretty bad judge of the quality of jazz music. This album is technically very strong. Innovative as well. But ultimately I didn’t connect with it. I think I listened to it at least 5 times and just couldn’t get there. I know this is highly regarded, but I’m a sucker for melody and this basically had none. No disrespect Miles Davis, I’ll come back and try again another time.

John Lennon is probably my least favorite of the non-Ringo Beatles. He was always a whiney little bugger, and that is clearly on display here with the childish How Do You Sleep? For all the “peace” he preaches in Imagine, he sure wasn’t practicing it. There are also a few throwaways that sound like Beatle derivatives (i.e. Crippled Inside and It’s So Hard). I realized though that part of Lennon’s appeal is his ability to connect with the human nature in all of us. He is hypocritical and paradoxical, because we all are. Jealous Guy is probably one of his best solo tracks, and How? was the surprise gem of never heard. Overall one of the stronger solo Beatles albums.

Always forget how good CSNY were, so much talent packed into one group. Teach Your Children and Our House are classics of the flower child era, as is Woodstock. The songs in between are so good. The Stephen Stills opener Carry On, Young’s slow and sweet Helpless, Crosby’s defiant Almost Cut My Hair. The climactic Country Girl rounds it all out. Beautiful and powerful album.

Was a little surprised to see this on the list. While it’s a solid album, and I actually forgot how many good songs are on this, it’s probably not even a top 3 Beck album. E-Pro is a jam and the run from Girl to Earthquake Weather is one of the best of the early 00s. There are a few other good songs, but overall this is just a bit better than decent.

I was skeptical at first. I always thought of Lenny Kravitz as a Prince/Hendrix rip off. I’m not entirely wrong in that assumption, but the quality of these self-penned, self-performed tracks can’t be denied. The first half is especially strong, with the title track, My Precious Love, and I Build This Garden For Us all standouts. The back half veers into some social consciousness territory that does not come across as genuine or spirited (Mr. Cab Driver, Be, Blues for Sister Someone). Not perfect, but it has its moments.

Another one I probably had some preconceived notions about, but tried to approach it objectively. First off, k.d. lang has a beautiful voice, sort of sultry, like a 1950s crooner. Secondly, she is a strong songwriter. Save Me, The Mind of Love, and the hit Constant Craving were all highlights. The first 6-7 songs were all really good, and then it tailed off before finishing with Constant Craving, sort of odd sequencing. Probably need to be in the right mood for this sort of cabaret style album, but walking to work on a rainy humid summer morning was spot on. I started at a 2 on this, but got close to a 4.

Stevie Wonder went through such an era of explosive creativity in the early/mid 70s that a double album with a bonus EP almost seems so fitting as the quintessential example from this period. There are too many great tracks on this monster album to count. At nearly 2 hours with the EP, it’s long as hell, but I always end up finding something new to love about it. The eight song run from Sir Duke to Joy Inside My Tears might be one of the best ever in popular music.

It’s definitely stark, but it’s also kind of boring and rudimentary. The Cure needed this album to continue developing their sound, but I don’t think anyone really needs it in their life on a regular basis. Would rather listen to Joy Division.

It’s really unbelievable to me that Nick Drake basically went by unnoticed during his lifetime. How? Why? This is definitely his masterpiece, so heartbreakingly beautiful. Always look forward to listening to this one.

I distinctly remember buying this album on CD when it came out, reading through the lyric book, being somewhat enthralled by its odd mix of Beatles meets Nirvana sound. It’s possible the author of 1001 has similar nostalgia because in retrospect this band was a blip on the radar of early 2000s garage rock revival, and this album is mainly a snooze with some pretty weak lyrics (really, Outtathaway?) and pretty average songs. Doesn’t belong on this list, period.

Exciting and unique, there is a lot that works well on this prog heavy album. Part I sets the stage, with its free jazz improvisation mixed with hard rock elements. Exiles and Easy Money are excellent “shorter” songs to weave in between the bookends of the Lark parts. There’s a lot to this and I always find new nuggets every time I listen.

The quintessential Sinatra album. Perfect in almost every way. Just a joy to listen to on a breezy summer day.

Probably the first real super group, or at least first to put out something that truly matched the individual talents of its members. Sunshine of Your Love, Strange Brew, and SWLABR are all hard rock classics. The rest of the album is a heady mix of pure psychedelia and the occasional blues homage.

Had never recently listened to this one, never completed my journey through all the notable Sonic Youth albums, but wow this was a surprise. They really turned up the charms with this one, some excellent songs and an excellent brooding dark mood throughout. The apex of the album Expressway to Yr. Skull (or Madonna, Sean, and Me?) is so so good, maybe one of the top 5 best songs in their catalog. Also really enjoyed Shadow of a Doubt, that sets the tone for the whole album. Will be coming back to this one a lot as the seasons turn to fall/winter.

Would agree with other reviewers, this is really a transitional album, and is not very strong in its own right. Shouldn’t have taken up a space on this list when the truly classic Byrds albums are already here.

Probably the hardest album ever. I am always in awe that an album from 1970, over 50 years old, still rocks this fucking hard. I mean the world was still listening to Simon and Garfunkel and the Partridge Family at this stage, they were not ready for this level of sweaty angry aggressive music. This is more raw power than Raw Power in my opinion. One of my all time favorite albums.

A solid album with excellent blues playing. I was starting to connect with it after the 2nd listen and feel like it’s one that would grow on you as you get past the non-English vocals. Probably an ignorant comparison, but this reminds me of Buena Vista Social Club in a way, the expert musicianship mixed with a new age air and international grooves. A good effort.

A sprawling indie epic. This album has so many layers to it. The sheer complexity of researching the history of Illinois and building an entire album around the state is impressive on its own. Throw in the fact that the arrangements are so imaginative and rich, and this thing is filled with catchy songs front to back. It’s a joy to listen to. I get chills whenever I hear John Wayne Gacy, Jr., Stevens captures the tragedy of that story so perfectly, and reflects it back on all of us. It’s a long long album, with long long song titles, but it keeps you engaged the whole time. Someone could craft a college course on this album. Really wish Stevens did continue the states series. This is a masterpiece.

This is probably the only album in the Husker Du discography that I never got around to listening to. It’s interesting to follow their evolution into a borderline poppy band. You can hear how significantly they influenced 90s alternative rock, all those one hit wonders that cribbed their scuzzy yet hooky sound. The competitiveness of Mould and Hart, like any great songwriting duo, is clearly what propels this album. I like how it generally goes back and forth between the two, so you can see the contrast of their styles. It’s a great exclamation point on a strong catalog from one of the best bands of the 80s.

Started out pretty strong, I was intrigued by the groove of the opening track, kind of had Curtis Mayfield vibes. One Two Cha Cha was kind of kitschy, but still a solid groove. I also liked the repetitive chants of Naag Devta. Another English language groove with Baby Let’s Dance Together. A unique mix of Indian world music, some traditional ballads, and then this funky 70s brass. I don’t really know what to make of it all, but yeah it was alright.

This sounds pretty dated, but it was alright. Couldn’t really pick out a highlight. I could see how fans of Metallica or Megadeth would find this to be an interesting foundational step towards their favorite bands, but there’s not much else here of value. The production is pretty clunky and the songs aren’t very memorable.

I don’t think I can give a CCR album less than a 4, they were a magical band with an amazing sound. Born on the Bayou and Proud Mary are classics, the other tracks are solid, the best being Penthouse Pauper. Keep on Chooglin’ isn’t the strongest ending and the cover of Good Golly Miss Molly is alright, but this is still the most fun you can have in a swamp.

This seems to be the point at which Queen were figuring out who they would be. There is a glimpse of what could have been had they continued on a journey of copying the Who and Led Zeppelin, as the first half of the album clearly does. There’s also a glimpse of the eccentric creativity of their quintessential years in the fantasy laden suite that is the second half of the album. The foundations of what would become Bohemian Rhapsody are clearly present in Ogre Battle and The Fairy Feller’s Master-Stroke. It’s an interesting album to hear a band finding itself and there are enough mini-hooks to keep you coming back for more. It’s also a lot more endearing to hear Queen not knowing they are Queen yet.

Innovative, exciting, dissonant. Eno was always pushing boundaries. The idea of bringing together musicians that are incompatible, mixing out of tune instruments with nasally snotty singing, it was punk before punk. Baby’s on Fire is such a fucking good song. I don't think I’d rank this album as a classic, but it’s definitely an underrated gem.

Couldn’t put my finger on whether this is good or not. It’s quirky and a bit mystifying. No tracks to call standouts, but nothing overly bad either. I feel unsettled listening to it, maybe that’s the point.

Impressively epic electronic/ambient album. Considering this was made in the 70s, on analog equipment, it’s amazing how fresh and futuristic it still sounds. If you close your eyes you can imagine yourself on a distant barren planet, but it also soundtracked a beautifully gloomy post rain morning walk. One to pack for the flight playlist going forward.

Absolutely essential

The Doors are not a perfect band and this is not a perfect album, but there is no denying the far reaching influence that this album had on the culture of America and the direction of music for years to come. This is literally the door that opened up so many to the power and excitement of rock and roll.

Never heard this one before, but I loved the subtle soulfulness of it. Everything I read described this as folk rock, but it was a lot more than that. A mix of jazz, soul, and psychedelia with a small bit of folk. The recording has this airiness to it too, which gives some of the songs an added sense of beauty. Definitely interested to explore more from this band.

A sunshiny fun album full of harmonies and good grooves. Sort of sounded like ska with the syncopated riffs and horns, but some songs were a little more indie-esque, like an Animal Collective offshoot. Eclectic mix of sounds really, even veering into jazz territory. An interesting and enjoyable listen.

Wow this was abrasive. Reminded me of Big Black a bit. The intense scraping of metal and yelping gloomy vocals from Nick Cave add a sense of menace, like you’re in the wrong part of town. The nihilistic nature of the songs makes them almost a little too unpalatable. Maybe that’s the point and maybe that gives this an odd sort of allure, but it really makes me feel sick to my stomach. Gut wrenching is probably the best way to describe this, subway rat slime even. It sparks a strong wave of emotion, and for that I applaud its unforgiving artistry.

What a voice. Sarah Vaughn could play her instrument like the finest virtuoso. This performance captures her in such subtle charismatic way. The little mistakes with song lyrics turn into happy, even magical, accidents. Her command of the audience is apparent, they are soaking up every curve of word she accentuates. The instrumentation is gentle and sparse enough to allow her voice to float up front undeterred. A great moment of raw talent captured in prime form.

Sort of like your prototypical prog album: 1) lengthy songs with varied time signatures that could be characterized as “suites”, 2) songs about space, mythology, or general fantasy, 3) obscure instruments, and 4) passages of mild catchiness / melodic soloing. The one thing that makes Yes a bit more interesting than some of their peers is their ability to weave some beautiful harmonies into the mix. I’ve Seen All Good People is a solid single (although it wasn’t a single?) and the rest of the album is generally solid, the only throwaway being “The Clap”. I could probably get to a 4 here, but hey it’s prog.

This is so British and so 80s, it hurts. It starts out reasonably well with One More Chance, and What Have I Done to Deserve this is a very good single, but then it goes downhill. Shopping and Rent are extremely annoying, by the time I got to It Couldn’t Happen Here I was about to turn it off, but I knew It’s a Sin and Heart were two of their biggest singles from this era, so I held on. And wow was I disappointed. It’s a Sin is so dated, it would have been embarrassing to play it in the 90s, Heart is not much better. Maybe this album made a splash in the dance clubs of the late 80s, but there is no magic flowing into my headphones in 2024.

There is a lot to like here, Skepta is a charismatic rapper, if not the most technically gifted. The production support from Pharrell is subtle, it keeps things interesting without seeming overbearing. I feel like this album helped reignite the interest in UK rap in the US. Skepta seemed like he was everywhere after this album. This is also the rare rap album that has minimal filler, barely any skits, it’s just 12 straight up grime tracks for the mandem. Not a classic, but it’s notable.

The Saints are one of those bands I probably remember more as a patch on someone’s jacket or backpack, rather than ever listening to their music. You can hear the influence an album like this would have had on the skater punk/ska era of the 90s and even early 00s garage rock revival. There are moments when I thought I was listening to the Hives, but I can also hear how they were influenced by bands like Johnny Thunders and the Heartbreakers. They feel like the missing puzzle piece in the evolution of punk. The production on this album is also surprisingly crisp. The horns really add something. A very likable album.

Better than what I was expecting. They were definitely loud and heavy and I’m sure they would have been an exciting live show in their day. But all the technical soloing and heaviness can’t make up for their weak ass songs. Jimmy Page had more riffs in his right pinkie than this band. This album is a detour to Meh City.

So damn good, probably my favorite Hendrix album. Spanish Castle Magic, Little Wing, Wait Until Tomorrow, Castles Made of Sand…this thing plays like a greatest hits collection it’s so stacked.

Atmospheric and ethereal, some really beautiful songs. Like sitting on a foggy beach at dawn. Martyn’s singing reminded me of Dennis Wilson, gruff, impassioned and slightly muffled. A nice listen.

The true start of Young’s remarkable solo career. Raw and rocking, it’s filled with excellent songs that demand to be played at max volume, but also a handful of beautiful slow burners with magical harmonies. Running Dry may be the only weak point, but a minor fault on this otherwise excellent classic.

A dreamy, mythical sounding album. I remember when this came out, they were indie darlings. It still holds a lot of water, especially the three singles. Really no weak points on the whole album, it maintains a certain sense of sparkly romanticism throughout. This Is Our Lot is a highlight of the second half. Not groundbreaking or necessarily a standout, but a really strong album overall.

To quote NME’s review of this album, it is “totally rivetted and fettered to a thoroughly unhealthy aroma of evil and twilight zone zombie-time unease.” Yes, agree. I definitely felt that sense of unease listening to this, Iggy’s voice is so cold and robotic, like a needle with a microphone. The interesting thing about this album is it’s more a Bowie album than an Iggy album. “The Idiot” in this case can be interpreted to be Iggy, acting as the jester in Bowie’s dystopian court. Bowie puppetmastered this whole thing, appearing to “help” his friend by writing these songs and having Iggy sing over them while subsequently ensuring his album Low was released first so as not to give the impression that The Idiot influenced it (although to his credit, Bowie did use Low as leverage with the record companies to get The Idiot released, ensuring financial success for his friend, something he would do again by releasing his own version of China Girl). But to me this album is really about codependency, Bowie needed Iggy and this project as much as Iggy needed him, to help pull each other out of addiction. It’s also about the breaking of Iggy’s codependency on The Stooges, as elaborated on the Dum Dum Boys, proving he could be a solo force without them. I would also agree with another reviewer who noted this is an album that was “more respected than loved”. It is an important entry into both Bowie and Iggy’s catalogs, an intersection during a friendship that proved fruitful for both of them.

THE shoegaze album. Masterpiece.

Listening to this shortly after Everybody Knows This Is Nowhere is an interesting contrast. Young has clearly tried very hard to reinvent his sound, 10 years after that epic opus. The acoustic first half sounds minimalist, with Young’s knack for turning simple progressions into something beautiful on clear display. The second half is filled with distortion heavy burners, like the fantastic Powderfinger and the crunchy Hey Hey, My My (Into the Black). Maybe not as “classic” as some of his other albums on this list, but still excellent.

Started out thinking some of this was hokey, but after about 3 listens I grew to love most aspects. The first 3 songs are gold. The Ho Hey Hos on Mrs. Vandebilt kind of bug me, but it’s an alright song. The 3 songs after that are also gold. Last 2 were so so. Overall McCartney showed on this album that he could still do it commercially and critically. It ranks up there with the best Beatle solo releases, and definitely the most quirky British (like the sub story of how this album was recorded in Nigeria and pissed off Fela Kuti before McCartney assured him it was not stealing sounds from the region). Bottom line: McCartney is one of the greatest popsmiths ever.

Harvey sounds even more confident on this album than she did on her debut. The first 5 songs rock and sway like a ship on an angry sea. Man-Size Sextet followed by the Dylan “cover” creates an interesting midpoint. There’s a beautiful 90s-ness to this album, gritty and cool, the cover photo says it all “douse hair with gasoline, set it light, and set it free”. Second half highlights: Yuri-G and Dry.

Maybe enjoyable for fans of British tabloids, but for the rest of us, this is like half rate Brit Pop. Watered down for your mum and your nan.

When I saw the date in Spotify as 2016 I did not question it, this sounds so futuristic it could have come out in 2216 rather than its actual release of 1979. It’s like futuristic world music, with random found sounds and this beautiful guitar throughout. Reminds me of The Durutti Column. A bit surprised I hadn’t heard this referenced as an influence for 2010s indie rock. It’s a little overly eccentric to be in the upper echelons, buts it’s an interesting entry nonetheless.

This album, like Parsons’ life, seems too short. Released after his death and compiled from various sessions, including a fake live medley, it feels incomplete. With that said, the songwriting, the emotive singing, and the magic mystery of Parsons can’t be denied. All the songs are great, but especially the three Parsons’ penned tracks on side 1: Return of the Grevious Angel, Brass Buttons, and $1000 Wedding. Emmylou Harris’s harmonies are also fantastic and add an additional layer to an already beautiful set of songs. I Can’t Dance and Ooh Las Vegas are solid burners that mix in well with the ballads. It’s not a perfectly executed compilation, but it’s one of the best documents we have for a talent that left too soon.

Tricky’s production on this album brings to mind Enter the Wu-Tang and DJ Shadow, dense and dark urban soundscapes. Martina Topley-Bird’s singing adds to the sense of unease, but also brings in the occasional softness to keep this a multi dimensional album. The cover of Public Enemy’s Black Steel also reminds me of Bring the Pain for some reason (or maybe Mindless Self Indulgence’s cover of that track). The found sounds in Tricky’s production and his spoken word that weaves in and out both create this eeriness throughout, like I’m walking through a dark subway tunnel. Favorites include: Black Steel, Aftermath, Suffocated Love, and Feed Me. This is also one of the rare albums where the second half is actually better than the first half. I feel myself coming back to this a lot as the weather turns colder and the days get shorter.

This album is silky smooth with its production and subtle grooves, but it also feels like a warm blanket with its nostalgic lyrics. Tracey Thorn sings passionately about love, loss, and a yearning for days past. Felt like a more complete album than Walking Wounded, solid songs throughout. The most notable were Love Is Here Where I Live, Oxford Street, and Goodbye Sunday. Not a classic, but definitely a band worth exploring. Borderline 3-4.

Really need to be in the right mood for this. I tried a few times to like this, but ultimately I found that I could only respect it. I’m sure this was the cats meow in the late 50s and early 60s when people were still into big band and standards, I’m sure it sounded revolutionary. Now though it’s more like a Starbucks soundtrack, which is kind of sad to think about. This collection also feels incredibly long, not a lot of variation across the roughly 1 hour and 16 songs. With that said I respect its merit as a strong example of folk and the influence it’s had on succeeding generations.

A spot on title for an album that melds the musical palette of so many styles; metal, pop, soul, rap, funk. Vernon Reid’s guitar playing and songwriting are beyond impressive, and Corey Glover’s singing reaches heights that few metal vocalists ever attained. I’ve managed to see them live a few times, and they always deliver on the tracks from this album, it was their finest hour. Really not a bad song on the whole album. The standouts for me are the two excellent ballads, Open Letter and Broken Hearts, as well as the dig against fake NY culture on Glamour Boys, something that still resonates today. Good example of a band that was overshadowed by a single MTV song and doesn’t get the full respect they deserve.

White boys with synths being ironic.

Funk uncut

Frank Black getting his chance to explore other genres and making the most of that opportunity.

This is what I love about this list, finding the gems that I’ve never heard before. This album is great. Atmospheric, with jangly guitars, 80s emotion, and just enough pop sensibility to reel you in. The run side two run from Joan of Arc to Georgia is excellent, but I really enjoyed the whole thing. This is borderline 4/5 - I’ll go 4 for now but will definitely be back.

Eccentric and dissonant, but occasionally beautiful. Robert Wyatt’s album post his life changing fall is interesting, but not accessible. I didn’t find anything memorable enough to recommend other than the opening track. Songs like Alifib I actually found to be pretty annoying. Probably a 2.5 in my book.

The music world needs more Tom Waits, the innovators who beat to their own drum (or in this case, an African squeeze drum). This is unconventional pop music. It reminds me of the seediness of a Raymond Chandler plot, but also the little slices of miserable life that appear in a Raymond Chandler short story. Waits employs so many different instruments, its a tapestry of subtle sounds. The title track is one of my favorite Waits songs, it’s the intersection of all the great sounds and ideas that make this album a classic.

Alternates between exciting Latin-infused electronica and elevator music. Samba Do Gringo Paulista and Abraco were the best songs. Good late night driving music, but thats about it.

Highly enjoyable electro funk and R&B masterwork that is a passionate expression of female sexuality and feminist ideas. Drunk in Love, Blow, Partition, XO are all classics now, but also love the D’Angelo-esque Rocket and falsetto No Angel. The production is flawless, the guests are all stars, and Yonce is at the height of her superpowers.

I don’t know if it’s an Australian thing, but this band reminds me of a mix between The Go-Betweens and Nick Cave. It’s got the pop sensibilities of the former mixed with some of the brooding of the latter. I was also reminded of the sweeping and soulful country rock of Gram Parsons. It’s certainly compelling, but it’s not exactly essential. Definitely some great songs though. Bury Me Deep in Love and A Trick of the Light are great singles, and could rank up there with some of the best alternative rock of the 80s.

The vibe of this would make Neil seems pretty enigmatic, but it sounds like he was everyone’s friend/helped a lot of people get their start, and ultimately he really did love the dolphins. Some very good songs, and the voice is just something you don’t find in folk. Felt more like blues folk, I can dig that.

I once thought that Kicks was a good song. As I’ve grown older, and realized that Paul Revere & The Raiders were basically just the Monkees in revolutionary war costumes, my respect for them has greatly dwindled. This album did nothing to halt the deterioration of my perception of them.

A fun lighthearted album with only subtle political tinges. Tosh steps out from under Bob Marley’s shadow and reveals himself as a creative force in the genre. There is a sweet simplicity to these songs that is a strength as much as a weakness. Highlights are the Marley co-authored Why Must I Cry and the spicy closer Brand New Second Hand. Three point five.

Snarly virtuoso thrash

Fuck yeah

One of Elvis’s best albums, shows his versatility as a singer with a varied collection of genres and styles. It’s crazy this was marked as a comeback, given his time in the military, his career had only just started 4 or 5 years earlier. It’s definitely more mature than his first few albums, but still has that unerringly crisp youthful sound throughout. Such a Night is probably my all time favorite Elvis song. Great album from a man with immense talent.

Dissonant and brooding, clearly the title is tongue in cheek. The beginning is pretty good, but it loses me at Little 15. This is like the soundtrack for a dark alleyway behind a church. Nothing is probably the best track, but nothing else is that enjoyable.

Incredibly brief, but also efficient. The only thing that could be described as filler is when the old folks talk, but that track sets the mood to an extent. It’s not as good as Bridge Over Troubled Water, but it’s still very very good. With such a short playing time, every note and every word seems to have more meaning and intention. It’s powerful, it’s poignant.

Nothing too important about this one. It’s fun, it’s soulful, but there are so many better albums than this in the genre, not sure why the author picked it. It has some good songs, buts it’s just an OK overall experiences.

Powerful riot grrrl indie rock. The interplay of the vocals and guitars is awesome as on One More Hour. Also loved Little Babies. The rest of the album is really strong.

This is rubbish - the tribal flutes or whatever trendy shit this was trying to emulate comes across as disingenuous and nothing else really makes up for that.

I wanted more from this album. The songs were good, but not memorable. It had the makings of a solid 4, but I got exhausted with it. The last couple songs aren’t great, although most of the first half is very good. Some of the Parsons magic rubbed off on Harris, but maybe not quite enough.

Pretty much flawless

When I saw this I was like “Ugh not another Robert Wyatt”. While I probably liked this more than Rock Bottom, I was so fatigued from that album that this one could never really settle in. The first song was good, but it was kind of an eccentric slide downward from there. There’s definitely an interesting complexity to the album, but maybe too much for its own good. Could not connect.

Underbelly. Dirt under fingers. Flowers growing through cracks in the pavement. This is the world of Tom Waits. He’s a wonderful storyteller and magician with wordplay. I’m not confident enough to say 5 stars but it’s certain exciting.

Fuck it I’ll give them a 5. This album rocks and is super innovative.

Moody cool, but also moody lame.

Very enjoyable honky tonk record with darkness hiding behind shimmering fiddles, guitars and harmonies. The first five songs are the best.