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.

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....