"We have The Smiths at home"

Ill Communication is like the Beastie Boys threw a party, invited punk rock, hip-hop, jazz, and funk, and things got wild. While this 1994 album offers head-bobbing tunes like "Sure Shot" and mosh-worthy jams like "Sabotage," it lacks the cohesion of their other iconic works. Their lyrics still pack a punch, serving up wit and humor in each rhyme. But let's face it, it's not the lyrical goldmine of "Paul's Boutique." Though not their magnum opus, Ill Communication proves the Beastie Boys' unstoppable creativity and genre-defying skills. Not their pièce de résistance, but a funky-fresh, genre-hopping adventure worth a spin.

Annoying drugged out hippies!

My kind of humor, my kind of madness. I like things that both alienate and fascinate which this album does in abundance. Disjointed melodies, surreal lyrics, and unsettling atmospheres, what more could you ask for?

The game changed once Bee Gees found out about 'drum beats'. Sadly, this album was before that phase, and it's pretty terrible.

What an unexpected gem! I really liked this one and had not heard it before. It has a kind of Peter Gabriel vocals meets the music of Kate Bush’s 80s albums. I will be revisiting this one often.

Krautrock forever!

Not the worst country album I've ever heard. As always, Merle's lyrics steal the show.

I remember when this album dropped. Puff Daddy and his crew teamed up with Mariah for her departure from her more pop-infused ballads. I even remember music video for Honey. Not my favorite from her, but far from her worst. My biggest issue with this album is that it's over produced, littered with Puff Daddyisms, and just generally reeks of the pop-music scene of the late 90s. Someone else on here said it best, "Mariah doesn't really sing songs so much as just moan scales."

A very interesting album with a mashup of styles and genres. The tracks range from soulful ballads to upbeat pop songs, but the standout track is undoubtedly "A Gospel", a rap track that tries to incorporate religious themes but falls flat. The delivery is awkward and the lyrics are underwhelming, making for an unenjoyable listening experience. However, the rest of the album is just okay. The instrumentation is solid and the vocals are decent, but the tracks don't necessarily stick with you after the first listen. Overall, worth a listen for fans of The Style Council, but don't expect it to be a standout album on this list.

Lemmy is God, 5 stars.

This was a surprising okay album. Enjoyed it more than I suspected I would.

Not my favorite album by them, but there were a couple of tracks that stood out. "Eple" and "Poor Leno" were the only two I saved. Röyksopp offers better albums from this discography.

As a fan of poetry and songwriting, I have always been drawn to Cohen's ability to craft lyrics that are both profound and deeply personal. The music on this album serves to elevate the poetic lyrics and give them a punch. The melodies are simple yet haunting, and the arrangements are stripped down, allowing the focus to be on the lyrics and Cohen's unique vocal style. What I find particularly compelling about this album is how it has become more important to me as I have aged. When I first discovered this album, I was in my late teens and was drawn to the melancholic yet beautiful sound. But as I have grown older and experienced my own share of love and loss, I find myself connecting even more deeply with the lyrics. The songs on this album are timeless, and Cohen's view on love and loss speaks directly to my soul. Overall, "Songs of Love and Hate" is a masterpiece that has stood the test of time. Leonard Cohen's ability to craft profound lyrics and his unique vocal style make this album a must-listen for anyone who appreciates great songwriting. It is an album that has influenced my taste in music and will continue to be a source of inspiration for years to come.

Raising Hell is often considered one of the most influential hip hop albums of all time, and it played a significant role in bringing hip hop into the mainstream. While the album certainly has its merits, it is not immune to some of the criticisms that apply to 80s hip hop as a whole. One of the main criticisms of 80s hip hop, the production quality, also applies to Raising Hell. The album's beats and instrumental tracks can sound a bit dated compared to modern hip hop music. For example, some of the samples used on the album may not sound as crisp or polished as contemporary producers would like. However, it's important to note that Raising Hell was groundbreaking in its time and helped to establish many of the production techniques that continue to be used in hip hop today. Another aspect of 80s hip hop that has not aged well is the lyrical content, which is also present in Raising Hell. While many of the album's lyrics deal with themes like street life, partying, and hip hop culture, some of the language and references used can be seen as outdated or even offensive. For example, the use of homophobic language in the song "Proud to Be Black" may be difficult for some listeners to reconcile with today's more progressive values. On the other hand, Raising Hell features some of Run-DMC's most memorable and influential tracks, including "It's Tricky" and "Walk This Way," a collaboration with rock band Aerosmith. The album also features the classic hip hop anthems "My Adidas" and "Peter Piper," which continue to be popular with hip hop fans today. Additionally, Run-DMC's distinctive vocal delivery and rhyme style have had a lasting impact on the genre and influenced many subsequent generations of hip hop artists. While Raising Hell is a seminal album that helped to shape the sound and direction of hip hop, it is not immune to the criticisms that apply to 80s hip hop as a whole. Given that, it remains an important part of the genre's history and continues to be influential today.

Not the best Kate Bush album, but a great album!

90s version of the Wire. This one has some serious Pink Flag vibes, and that's not necessarily a bad thing. They pull it off well enough. There is also a very distinct 90s sound here that takes me back to acts like Breeders, Pixies, and Blur.

Containing some of my favorite Cash songs ("The Man Comes Around", "I Hung My Head", and "Hurt"), this album is a classic. Released the year I graduated high school, the themes of loss and growing old seemed to pair well with my 18 year old world. 2 decades later, many of the feelings don't hold up and where this album drags, it drags hard. Still one of my favorites, but it didn't age as well as I've would have wanted. But man, when this album hits, it hits hard and deep.

The album that saved rock and roll! This was a birthday gift for my 15th birthday and I've been a fan ever since.

I bet this was more enjoyable on acid in the 60s.

The production on this album is insanely good. So good that it makes Jay-Z sound better than he is. Dude has great lyrics but his flow is kinda like "we have Biggie Smalls and Puff Daddy at home". Saved tracks: "The Ruler's Back", "Girls, Girls, Girls", "Jigga That Nigga", "Renegade" and "Lyrical Exercise".

I always thought Scott Walker was like the Frank Sinatra for alt kids. And I mean that in the best ways. The vocals and orchestration pair extremely well here, but the experimental elements of the song writing, as subtle as they are, really elevates this album for me.

There are a lot of sleeper songs on here, such as "Artists Only", "I'm Not in Love", and "Found a Job". You can hear the Eno in this album, and it's very good because of it. A gripping mix of punk, new wave, and art rock this album belongs in the collection of any music fan. A great album, but not the best Talking Heads album out there.

Classic album that combines Oasis and Radiohead sounds into something very 90s. The Rolling Stones had no business suing them for using a sample on Bittersweet Symphony!

"We have The Smiths at home"

Terribleness incarnate

Very interesting album but I liked it. I enjoyed the different directions it would take me on.

The back half of this album is fantastic! Things took off with "Clocks" and kept going from there.

This was legit a great surprise. When I woke up and checked what album I would be playing today, I kinda didn't want to play this one. "It's too early for post-hardcore" I said. lol But I played it anyways, and boy oh boy it was great end to end. At The Drive-in and Mars Volta vibes through and through, this album was an instant save for me.

This album is just banger after banger! Love it!

This was the definition of a middle of the road album. I didn't hate it, but I never found a way to get into it either.

I played the original release, ending with 'Worms'. A great mix of rock, punk, and Celtic styles. Being a fan of the Celtic music style, and of the Irish Bar Band scene of the 80s and 90s, this fit right in with my preference.

The Byrds' "Fifth Dimension" is an album that has its merits, but it doesn't quite manage to reach the heights of some of their other work. Released in 1966, this record sees the band venturing into a more experimental territory, incorporating elements of psychedelia, folk-rock, and even Indian music. While some may appreciate the adventurous spirit of the album, others may find it falls short of being a classic. One of the standout tracks on "Fifth Dimension" is undoubtedly their rendition of "Hey Joe." This cover showcases the band's ability to breathe new life into a familiar tune, making it feel fresh and distinctive. The Byrds' take on the song has a certain charm, with their signature jangly guitars and harmonies, that elevates it from being just another cover version. The album's title track, "5D (Fifth Dimension)," is also worth noting for its innovative fusion of different styles. This song combines a catchy folk-rock melody with more experimental sounds and lyrics that touch on themes of spirituality and cosmic exploration. It's a unique track that may resonate with those who are open to exploring diverse musical landscapes. However, "Fifth Dimension" as a whole feels somewhat inconsistent, with the quality of the tracks varying significantly. Some songs, like "Mr. Spaceman" and "Eight Miles High," may captivate listeners with their distinctiveness, while others, such as "I See You" and "John Riley," seem to be lacking that special spark that would make them truly memorable. Additionally, the production on the album is somewhat uneven, which can occasionally detract from the listening experience. While the band's experimentation with new sounds and ideas is commendable, the end result doesn't always come together in a cohesive manner. In conclusion, The Byrds' "Fifth Dimension" is a decent album with some highlights, like the standout track "Hey Joe." However, it's not a flawless record and may not be considered a classic in the band's discography. Fans of The Byrds who are keen to explore their more experimental side will find something to enjoy here, but those looking for a more polished and focused listening experience might want to look elsewhere in their catalog.

Ill Communication is like the Beastie Boys threw a party, invited punk rock, hip-hop, jazz, and funk, and things got wild. While this 1994 album offers head-bobbing tunes like "Sure Shot" and mosh-worthy jams like "Sabotage," it lacks the cohesion of their other iconic works. Their lyrics still pack a punch, serving up wit and humor in each rhyme. But let's face it, it's not the lyrical goldmine of "Paul's Boutique." Though not their magnum opus, Ill Communication proves the Beastie Boys' unstoppable creativity and genre-defying skills. Not their pièce de résistance, but a funky-fresh, genre-hopping adventure worth a spin.

One of the first albums I found and then bought myself. I remember the first time seeing their video for "Under The Bridge" and the sound just blowing me away. Up to the point where I got into 90s alternative music I was straight hard rock and hair metal. Hearing George Clinton's fingerprints on this album broke my teenaged brain. This album still holds up and is one of the better ones from this group (not too many songs about California on this one!). It's easy to see how these guys and this album blew up, it's a masterpiece of funk rock.

Events in my life have shaded 2 tone and ska in a bad light. Despite that, there were some gems on this one.

Annoying drugged out hippies!

dude....

Decent album but could have been a lot better if it were shorter. Tons of songs on here that could have been cut. Singer sounds a lot like MJ, which isn't a bad thing, but it's for sure hard to escape.

Awesome album! Never played the entire thing before. Fading Fast hit the spot like no other.

The essence of a great Rolling Stones album is here, but never actually realized. The songs end up sounding stale and bland before the end, like un-buttered mashed potatoes. Okay, sustaining, but you know it could have been a better meal.

While the sound of grindcore doesn't much appeal to me, I at least know what it is I am listening to. The back half of the album was way better than the front half.

It's like the non-alcoholic, diet, fat-free version of R.E.M.

This album just keeps getting a little better as each year passes from its release.

When you feel the album is too long hearing these guys tune their instruments and talk every couple songs drives in a little deeper on the frustration scale. There are some real good songs on this album, but they are scattered among about 30-35 terrible songs and whole tracks of them talking and tuning. This could have been condensed into a single album.

Radiohead if Radiohead sucked.

I like Madonna but this album wasn't very good.

Cale is one of my favorites, but this album was not my favorite.

The game changed once Bee Gees found out about 'drum beats'. Sadly, this album was before that phase, and it's pretty terrible.

I rated this one a 3 and not a 2 because I was in high school when this dropped and it has a lot of memories tied up with it. Objectively, it's far too uninteresting to be considered worth the 2 hour and 13 minute run time. A product of it's time and a band that was having fun trying new thing after an already long and fruitful career, and for that I cannot fault them. Just not as engaging as I was hoping for.

Not too great of an album, but there are moments when the singer sounds just like Stevie Nicks which is nice.

Painful...

A meticulously crafted album that strikes a perfect chord with those who appreciate the finer details in musical storytelling. Its sophisticated blend of jazz-pop elements and thoughtful lyricism resonates with my affinity for deep narratives and complex, emotionally charged arrangements. Each track is a reflective journey through Fagen's lyrical dexterity, capturing the vibrant spirit of an idealistic past with a contemporary sonic polish. The album's standout, "The Nightfly," exemplifies this blend, with its introspective exploration of night-time radio broadcasting—a theme that personally resonates due to my own passion for radio and its power to connect and communicate. The Nightfly is a testament to Fagen's artistic genius, presenting a sound that's both timeless and deeply evocative.

I didn't expect to enjoy this, not generally a fan of live albums, but this one had the right combo of mixing, sound quality, and choice tracks. I could have cut the set down though, it was a bit too long.

Why can't the entire album sound like Inner City Blues. Still a decent album though, great lyrics.

I did not expect to like this album as much as I did. Love surprises like this!

I give this 2 star album 3 stars only because I was in high school when this was popular, and there are a lot of memories tied to many of the songs. Without those memories, it's just a boring nu metal album.

"Leben - Tod", "Trans-National", and "How the West Was Won" saved this from being 2 stars. I like industrial stuff, I just don't like the flirtation with show tunes and national anthems in this album.

Timeless classic!

The lack of great production sets this album back.

This could have been a single disc great album but instead it's a decent at best double album.

I really ended up liking this a lot more than I anticipated. One of the better chill out albums I've heard on this list so far. A bit of trivia: At the time of recording, Sarah Cracknell was not fully part of group, and as a result she does not sing on Only Love Can Break Your Heart, which is sung by Moira Lambert.

Kinda like a female Tim Buckley. I like it!

Has some decent songs, but the entire album is far too long.

At first I was thinking this was nothing more than a Pulp rip off band, but the first half of the album is pretty solid. Definitely one of my favorites from the seemly endless UK indie bands on this list.

This is the best 3 star album I've played from this list so far. It's as close to being a 4 star album as possible. Everything is perfectly slightly above average.

Perfectly weird and schizophrenic!

This album was done extremely well it's just too damn long.

The name is Shaft, John Shaft, can ya dig? Shut your mouth! (but I'm talking about Shaft!)

Seeing Biggie in an all white suite standing next to Puffy hits different in 2024. Still a solid, damn near perfect gangster rap album.

This was a lot better than I anticipated!

The singing destroyed this album. Why is this on this list?

The drums make this album not as boring as it seems to be. Everything else is flat. I've never been a huge Slipknot fan.

This is a Missy Elliott exclusive.

The outro ride out grooves on every song is killer. Makes me excited for the next track every time. Some great gems on this album, including 'Connected', which was made famous by the 90s movie Hackers.

It's crazy how over the years the hits from this album became less interesting and enjoyable while the lesser known songs have aged quite well. The skits are still dumb though.

I really enjoyed this album, more than I thought I would.

With Eric Clapton I am use to the idea that any given album there are going to be a few really good songs, and the rest will be mostly boring. But with this album it's good end to end. Well worth a spin, this is slow hands working OT.

This album is extremely overrated, though I respect that it's widely acclaimed. One of its most glaring issues is its excessive length. The album drags on without offering enough engaging or varied material to justify its duration. The tracks often blend into one another, lacking the distinct qualities that make each song stand out. This results in a listening experience that is monotonous and tiresome.

This album has a kind of Tragically Hip vibe to it. I dig it.

terrible and boring.

I love this album as a whole, even though none of the individual tracks stand out to me. That’s a rarity for me, and it’s precisely what elevates this album to greatness. It’s a 5-star masterpiece composed of 3-star songs—proof that sometimes, the whole truly is greater than the sum of its parts.

My kind of humor, my kind of madness. I like things that both alienate and fascinate which this album does in abundance. Disjointed melodies, surreal lyrics, and unsettling atmospheres, what more could you ask for?

Night Train is a jam!

I think I might be the only Ministry fan that prefers the 80s synth pop era. But the industrial stuff is still pretty damn good.

This classic album takes me back to my teenage years, vividly recalling the first time I heard Sugar. For a nu-metal record, it has aged remarkably well, showcasing a sound that still resonates today. Without a doubt, it stands as the band’s strongest and most enduring work.

Perfect poetry.

If only this album could have been a set of songs like J'ai fait tout.

This band did not need 3 albums on this list.

What a surprise of a gem.

This is a damn good guitar album.

I don't know who came first or whatever, but this guy sounds a lot like Father John Misty.

What a fantastic back half of an album. Loved the last 4 songs.

Pretty good album but it's about 3-4 songs too long.

Fantastic album that was way ahead of its time.

While there are a couple of really good songs on this one (Real, The Instrumental, and The Cool being stand outs) by the end of the album I could not wait for it to finish. Way too long.