A surprising forgettable album from Simon & Garfunkel. The concept of side A sounded interesting but is rushed and underdeveloped. 15 minutes worth of music cover an entire life cycle, with only one stand out track ("America") and 2 full minutes of no music at all. It might have been better if they'd fleshed out a full album for this idea. Side B is much stronger. "Mrs Robinson" and "A Hazy Shade of Winter" are the best two songs on the album. Unfortunately, there's really nothing new here, aside from one leftover track from The Graduate. The rest of side B are previously released singles. There's nothing wrong with that, but we're supposed to be rating the best albums ever made. A short concept for side A and a singles collection for side B is too low effort for artists of this level. It's fine for what it is, but hardly their best release in my opinion.

John Lydon had abandoned punk when he left The Sex Pistols and had already pioneered post-punk with PiL's debut album 'First Issue'. Here, the band fully embraces the avant-garde. This is particualarly evident in Lydon's bizarre (and slightly off-putting) vocal style. The original packaging, while being novel, actually created (intentionally?) a frustrating experience where listeners struggled to get the records out of the tin case. German band Can is a major influence here though not 'Metal Box' isn't as good as Can's best work. The hero of this album is bassist Jah Wobble. Bassists don't usually get that much praise, but his dub rhythms come out in full force on this album. If anything keeps the listener engaged, it's Wobble. This album also introduces PiL's fantastic drummer, Martin Atkins, though only on one track as he joined in the middle of recording. Overall, this record will annoy a lot of people. It's not something you'd play at a party or a relaxing Sunday afternoon. But it's an interesting one and there is some brilliance among the weirdness of it. A landmark post-punk album.

It's a good album and the band probably would have been fun to see live. But is there really anything exceptional or groundbreaking about it? I've heard loads of bands doing very similar things and frankly, these guys seemed a little late the dance-punk party. I'd pick The Rapture's Echoes over this one personally. That doesn't mean it's a bad album. Not at all. I enjoyed it all the way through for what it is. I just don't know that it's interesting enough to be on this list.

I know Bjork rubs a lot of people the wrong way but if you look past the perceived "weirdness" of her style, she really is a brilliant artist. 'Vulnicura' may be her most mature release to date. In her early punk and electronic releases, she was recording in toilets at clubs. Since then she's grown and explored classical structures, world music and the avant garde and brought all of that experience into this release. This is a break up album unlike any you've heard before, particularly notable as it comes from an older woman, rather than the likes of Taylor Swift. In some ways it's a shame that this challenge doesn't have more of Bjork's early work, which is more fun to listen to. But this is definitely an impressive work of art.

Musgraves pushes the limits of the usual conservative genre of country by flirting with elements of pop and electronic music. It gives it a unique sound. Musically, country fans shouldn't be too distracted by the occasional synthesizer or vocoder but more conservative listeners might be put off by some of her progressive politics, something the genre isn't famous for.

She has an absolutely beautiful voice and I appreciate the talent that went into this album, but the style of music isn't for me.

What a difference from their later work! This album was a major disappointment and it's hard to imagine that it was ever popular. It sounds like elevator music. By far, the highlight is Tracey Thorn's beautiful voice.

I love Jane Weaver but this does seem like an odd choice for albums to hear before you die. It's fairly niche and not even her best work, in my opinion. Flock is the superior album by a mile. Still, it was a nice surprise to get this suggestion as I hadn't previously heard this album.

I hate to give a 1 star review but this album just did nothing for me. It's not my genre, to be fair. I was a little intrigued by the description of "cosmic American music" but this honestly just sounds like a standard country album to me. I'm sure it has its fans but this one wasn't for me.

Shame that the second half of the album is missing on Spotify

Even on a list like this, this is a rare perfect album. The concept is admittedly gimmicky but the breathe and depth of the music and variety of styles makes up for it. Not a single bad track.

Better than expected. While the Sex Pistols were clearly more influential, this album is a lot more interesting. It's definitely not for everyone though.

I read that this album was Beyonce exercising total creative control, which usually means you can expect a weird and wonderful collection. Unfortunately, there's not much about this album that's very unique. I don't mind all of the collaborators, but there's not much here musically that I haven't heard many times before. I'm giving three stars only because the end of the album has a few good tracks, almost hidden from the rest of the poppier songs. The standout track for me is Superpower where she seems to finally start taking some risks.

Great danceable punk album. If you had to pick one main influence for LCD Soundsystem and the DFA label, this would be a strong candidate.

It's a good album and the band probably would have been fun to see live. But is there really anything exceptional or groundbreaking about it? I've heard loads of bands doing very similar things and frankly, these guys seemed a little late the dance-punk party. I'd pick The Rapture's Echoes over this one personally. That doesn't mean it's a bad album. Not at all. I enjoyed it all the way through for what it is. I just don't know that it's interesting enough to be on this list.

I wouldn't have sought this one out myself but it's definitely a solid album. It's nice to hear the lesser known tracks. I doubt I'd personally go back to this one often but I appreciate the artistry and skill here.

Well, it's not my genre. I don't know enough enough honky tonk to say whether this is a particularly good example of it. I guess it's kind of interesting for what it is, but not really for me.

The first album on this list that I already knew inside and out. One of my absolute favorites.

An easy review. One of the best from one of my favorite bands. It's likely not the best entry point for people interested in Radiohead, but it's undoubtedly the best album of the latter half of their years performing. Here they replace political and social commentary for personal introspection. Not a band song on the album.

I appreciate the role Elvis played in popularizing rock and roll, particularly to white audiences. He also clearly played an important part in establishing the public persona of many performers who came after him. Just in terms of the music itself though, I can't hear anything special about it. There are plenty of more interesting examples of early rock and roll out there in my opinion. Maybe if I'd lived through that era, I'd see more to it. The songs are decent but I wouldn't go out of my way for this personally.

This one was completely new to me. There are definitely some catchy moments on there, although some of the chamber pop sound was a bit over the top for my taste. Overall, not a bad album and possibly one that would grow on me over time.

A very strong debut album. You can definitely hear the influence this must have had on the indie rock scene of the 80s and 90s.

This one was a pleasant surprise. Based on the fact that it's a folk band I've never heard of and the cringe-worthy title "Basket of Light", I thought for sure that this was going to be "let's sit around the campfire and praise Jesus" kind of album. It was definitely a lot more interesting than that. From reading into the band, it sounds like they were considered fairly influential, which is all the more surprising that they're not more well known now.

An immaculate debut album from one of the world's best guitar players.

The playing and improvisation on this album are impressive and the genre-bending heavy use of the Hammond organ is interesting. I can imagine this music being nice to hear played live at a jazz club or wine bar. Outside of that, I wouldn't personally seek it out but I appreciate the skill that went into it.

A good album with powerful themes. The two singles, Sunday Bloody Sunday and New Year's Day, really stand out and do some heavy lifting for the rest of the album. Even ignoring those it's a solid album from start to finish.

I enjoyed this one more than I expected. Very 80s but also pretty infectious.

I knew of Yousou N'Dour mainly from the various collaborations with western artists and involvement with different charity causes but I'd never heard his own music before. Very impressive. It's really exposing some gaps in my musical knowledge and sending down a rabbit hole of his extensive discography, the mbalax style, and Senegalese history. I'd give 4.5 if I could.

It's hard to decide how to rate this one. The intensity of Ice Cube's voice and the political commentary on institutional racism clearly give his album an important place in the history of rap music. The mysogyny however is uncomfortable. To his credit, "It's a Man's World" addresses sexism head on. However, it only highlights that sexism exists without any particular challenge to it. It also suggests a moral equivalence between sexism directed at both men and women. Even that limited response may have seemed revolutionary for a rap album released in 1990, but today it seems more like an empty gesture. Especially when the same album has a track called "Get Off My Dick and Tell Yo Bitch to Come Here". In that context, "It's a Man's World" feels more like an excuse than an apology. The message it sends is not "Let's challenge sexism" but "Sexism exists everywhere, so get over it." Overall, it's a great album, especially put into the context of the time it was released. Unfortunately, parts of it haven't aged well.

On first listen, I was put off by the adult contemporary smooth jazz saxophone. The stand out single "Money for Nothing" sounds nothing like the rest of the album and contains uncomfortable homophobic slurs (apparently the lyrics are all based on quotes from someone who was mocking MTV and rockstars. That explains the use of the slur but it's no less uncomfortable to listen to). The rest of the album felt all over the place. On listening again, it grew on me. There's a lot that's impressive about the album and how eclectic it is. I've enjoyed parts of it more than I expected to. I'd be tempted to give it 4 stars but I doubt it's one I'd return to often.

One of the rare examples of a supergroup that really worked. I don't love every track, but there's enough here to make this album memorable.

A surprising forgettable album from Simon & Garfunkel. The concept of side A sounded interesting but is rushed and underdeveloped. 15 minutes worth of music cover an entire life cycle, with only one stand out track ("America") and 2 full minutes of no music at all. It might have been better if they'd fleshed out a full album for this idea. Side B is much stronger. "Mrs Robinson" and "A Hazy Shade of Winter" are the best two songs on the album. Unfortunately, there's really nothing new here, aside from one leftover track from The Graduate. The rest of side B are previously released singles. There's nothing wrong with that, but we're supposed to be rating the best albums ever made. A short concept for side A and a singles collection for side B is too low effort for artists of this level. It's fine for what it is, but hardly their best release in my opinion.

This album was a pleasant surprise. I've never listened to a Willie Nelson album before but always thought he seemed like an interesting person. I'm not a country fan but was willing to give this a chance. Reading that this release was a more conservative album of old cover songs, I really didn't expect much. But I ended up really enjoying this one. Very relaxing with some great performances. I'll definitely revisit this one occasionally.

There's some great genre-bending on this album. It's firmly rooted into its era of late 60s rock, incorporating elements of country and jazz. It's not going to be my favorite album of all time but it's definitely worth a listen.

I can see why this was so popular at the time. At a time of psychodelic rock and experimental albums, CCR delivered straightforward and memorable rock, with elements of country influence. Personally, I love the exact music that they were rebelling against. Despite that, I can definitely see the appeal of a band like this. It feels only fair to give this 4 stars for the song writing and performances, even though it's not my personal favorite.

This album feels like a missing link between the Velvet Underground and the Smiths. One of the great early indie rock albums of the 80s. Equal parts post-punk and pop.

The first of many perfect albums by Bowie.

The term "rock opera" is slightly embarrassing these days but this one must have been exciting back in 1969. It's impressive and definitely one to be experienced as a whole (and ideally live). Most songs wouldn't work on their own though and you really need to be in the mood for a full length concept album to appreciate it. But it's definitely an important album in the history of rock.

Easily the worst album Ive had to listen to in this challenge. Aside from genre mixing, what is noteworthy about this one? Just unremarkable music and toxic masculinity.

I'm not normally a big fan of live albums but this is certainly an exception. It's definitely the best way to experience James Brown. What a performer. There's not a note (or scream from the audience) that's out of place here. The second half is surprisingly calm but still performed flawlessly.

It's obviously an important album in the history of rock and roll but it's not the best by The Rolling Stones. It's a great glimpse of what was to come though, especially when they started writing more of their own songs.

It seems kind of uncool to give this album a good review but it's hard to deny that it sounds unique and has some pretty catchy songs, particularly the singles. It really does seem like it's captures a time and place (California/America just before the turn of the century) perfectly. I might not seek this one out myself but definitely wouldn't mind listening to it again.

It could be easy to dismiss this as a Daft Punk rip off but Justice brings an intensity and unique production style to the French house scene. There's often a fine line between sampling as a lazy way to make music and being a genuinely interesting process. With over 400 samples and micro-samples, Justice are firmly justified in their approach, akin to artists like DJ Shadow or the Avalanches. The result is an album that's deeply rooted in the 70s, disco and funk traditions but is coated by an industrial sheen. Perfect for a good pair of headphones.

It's surprising to see a bootleg on this list. Back before the days of YouTube, bootlegs were the only way for the diehard fans to hear any unreleased content (especially live releases) and an entire hidden sub-industry sprang up to support it. The often sloppy nature of these releases is captured in the title: The "Royal Albert Hall" Concert that wasn't recorded in the Royal Abert Hall. As far as the content of the release, the first half with the acoustic set is straightforward Bob Dylan. Impressive and classic songs, but not much that you won't get on the early studio albums. The second half with the full band is more interesting. Performed during Dylan's controversial transition period to electric guitars, the music is much fuller. What's missing is the audience reactions that were cut out for the official release of this album. In the original bootleg, you can hear the hecklers between each song. In that context you know that the band is loud and defiant, and feeding off the energy of the rest of the crowd who is along for the journey. The infamous "Judas" incident before "Like a Rolling Stone" was featured in Martin Scorsese's documentary and is worth looking for. It's a shame that the heckles were removed from the album as they only help to make Bob Dylan even more significant.

Undeniably cool. This albums gets better the more I listen to it.

Genre-mixing Brazilian artist hoovering on the edge of the Tropicalia movement.

A beautiful album, sung from the heart. It's not one that I'd revisit often myself, but I can see why it's a favorite for so many people.

I never really followed Arctic Monkeys. This side project from their lead singer is clearly having fun experimenting with the sounds of 60s cinema and French pop. The singles are catchy but there's definitely some filler on this album. I'd give it a 3.5 if I could.

If you had to pick the best Bowie album, Ziggy Stardust is probably the strongest contender. It's a perfect record from start to finish. While it's definitely not Bowie's only perfect album, or even the first one, it's the most accessible, driven by a great concept, strong lyrics, and represents the first (maybe best) of Bowie's many characters. This is an easy 5 out of 5.

I have such a soft spot for this album. There's something both vulnerable and bold about it. Thinking that this would be his last album and that few people would hear it, gave him a lot of freedom to make a very different album of the music he loved. The fact that it exploded in popularity was a shock to everyone, including me. I bought this album the day it came out and loved it but always assumed that it was going to be this secret album that I listened to in my bedroom but no one else had ever heard of. 12 million copies later and that secret was out. Maybe 5 stars is too generous but this one brings back good memories for me.

Very engaging concept album about growing up and trying to get out of a rough place. The lyrics, music and production combine to tell a powerful and honest story.

Definitely notable for bringing grime and UK rap to the world's attention. It was a unique album when first released. The single 'Fix Up, Look Sharp' is by far the best track, but the rest is a bit repetitive in my opinion.

If you ignore the lyrics, the whole album sounds like it could the soundtrack to a Pixar movie. If you don't, be prepared for a very surprising number of racial slurs! It's an interesting album, for it's social commentary on class, race and the divide between North and South in America. We're meant to laugh at the "redneck" narrator, but also to admit that he has some good points (e.g.: racism still exists in the North). I'm never entirely comfortable with the idea that singing as a character gives you license to say whatever you like but that opening song, and its bigoted lyrics are undoubtedly the most memorable part of this album.

I can't help but wonder whether the Christian groups burning their records were aware of how much that probably helped their album sales. For the rest of us, the skill of these performers is obvious and it's easy to get sucked into the fantasy of this music. It's great escapism.

A noteworthy album for a few reasons. Partly for being such a successful break from Swift's previous country albums. Partly for arguing for pop music as a serious form of artistic expression. And partly for attempting (unsuccessfully) to challenge the rise of streaming music platforms. To me, this album ticks all of the right boxes for a good pop album, but it's unlikely to be one I'll revisit.

I need to be in the right mood to listen to an album like this but it's undoubtedly a masterpiece and was hugely influential.

It works well as a showcase for Carey's very impressive vocals performances. The hip hop influenced tracks are ok but the ballads, adult contemporary and smooth R&B that make up most of the album aren't for me.

By far the best album by The Arcade Fire. It perfectly reflects the feeling of being young in suburban America. It's both comfortable and uneasy, with a longing to get out.

A very fun hipster dance record. Probably not as significant as most of this list but a great album nonetheless.

The influence Buddy Holly had on rock music history is enormous. The Beatles, Bob Dylan, Elton John, The Clash, among many others. However, the artists who learned from Holly dwarfed him and this album doesn't quite hold up against what came later. It's a little unfair considering he died so young and likely could have continued to innovate for many years to come. Thankfully, many others picked up from where he left off and gave us so much amazing music thanks to Buddy.

Those first three tracks really cement their status as rock stars. They're soaring and expensive and bring to mind vast landscapes and stadium concerts. The rest of the album has some high points but doesn't quite reach those same heights as the singles.

A noteworthy album in the Big Beats (or if you prefer, Electronica) subgenre of the late 90s. There are some great tracks here, from the cracks and distortion of Elektrobank to the oddly touching hangover anthem of Where Do I Begin. I've always thought that the original opening track, Not Another Drugstore (later released as a b-side), would have worked better. Overall, it may be a bit repetitive and grating at times, but for me, there's loads of nostaglia value in this album.

There's a few decent songs and some good production. The lyrics are largely raps about having a lot of money, dissing other people, and misogyny. It's obviously a very popular album but I really don't see the appeal.

This album is partly a fairwell to lost rock icons of the 60s (Jim Morrison, Jimi Hendrix, etc). It also helped established punk rock while simultaneously moving it into a more avant garde space, with the help of producer John Cale. It's a great document of what was happening in the underground rock scene of the mid-70s in New York. Massively influential.

Bands rarely survive the death of their lead singer. Rarer still that they can continue to be hugely successful and create another rock n roll classic.

A "no instruments" album. The samples are arranged perfectly. You'd think the samples had been made to fit together.

Is there any other double album that gets as much universal acclaim as this one? It's a punk rock classic that goes well beyond the genre. You can dance to it, drink to it, protest to it. It's energetic and varied without a single dull track.

Never heard of the band before but it sounds like a gritty punk classic and an affectionate tribute to the less savory sides of London in the 70s. Lyrically, the sexist language is very outdated and unfortunate. Supposedly it's satire but nothing makes that obviously true. Maybe it's why this one isn't more well-known.

Maybe not the very best of the Kinks but an important evolution of their sound and an early example of a concept album. This is definitely an album that gets better the more I listen to it.

Note quite what I expected from The Doors. I don't love the blues tracks, but the combination with psychedelic rock is fun.

I guess it was noteworthy when it first came out. It has shock value and decent beats. But the lyrics are misogynistic, homophobic, egotistical, and incredibly childish. The songs sound like anthems for incels with misplaced anger and entitlement issues.

The best solo release from John Lennon and one of the best of any of the post-Beatles albums. This is Lennon at his best, at a high point of his career but totally free to make his own art. It's close to perfect but I think could have been improved by using some alternative takes of a few songs. But there's still a lot to love about this album.

It's impossible to talk about this album without talking about the companion album, Kid A. Originally planned as a double album, Radiohead decided to break the massive recording sessions into two releases. That decision allowed Kid A to shine on its own. Amnesiac is the less impressive of the two albums but helped solidify their status as one of the best bands of the 2000s and not limited to their electronic direction of the last album. When these two albums were reissued together, it was a joy to hear then side by side as orginally intended. But it needed to have been separated at the time to have worked.

The more I learn about Eric Clapton, the more I hate him as a person. But I have tried to look at this album objectively and it's a solid work from start to finish. I enjoyed the music more than I thought I would or wanted to. Too bad it comes from such an awful person.

This is music that's best listened to live in a jazz club where you're forced to pay attention and focus on the music. For me, this album evokes images of a rainy day in New York in the autumn.

A culture masterpiece. This group had so much potential to go further but were derailed by poor sales and in-fighting early on. The Odessey and the Oracle showcased what they were capable of. The Zombies had other great songs too but this was their own one perfect album.

Written following the death of Nick Cave's son, his voice pierces through my skin with grieve, introspection and a very cautious optimism. This album will stay with me for a long time.

It's a good concept. Travelling the world via drum and bass and the tablas. Singh also has some high profile collaborations both on and off this album so there was a lot of potential here. Unfortunately, the result is ok but most forgettable, aside from one or two songs.

A mess of psychedelic folk experiments, but it's oddly endearing. I can see why this would be a love it or hate it kind of record. I can't imagine being in the mood for it often, but it was interesting to listen to.

Depeche Mode's masterpiece. A perfect, stripped down synth-pop album. It's hard to pick a favorite song.

Such a beautiful and haunting voice. I'm not that familiar with Cohen's discography, aside from a handful of greatest hits. This album feels more like one complete piece than a collection of individual songs, to be taken in in one sitting, reflecting on love and hate.

Fun, high energy, classic hip hop. Musically, the beats are tight and the samples are perfectly placed. Lyrically though, this album is all over the place. One moment, they're not taking themselves seriously enough. The next, the group is introspective, politically aware, and vulnerable. The next, they're transphobic, womanizing, and glorifying violence. It might have been 5 stars for me if not for that.

One of the two masterpieces from the Flaming Lips. Whereas Yoshimi Battles the Pink Robots might bring you into space and off to other planets, this album keeps you within the upper stratosphere, still feeling the pull of earth's gravity and heaviness of the human condition. Yoshimi has better singles, but the Soft Bulletin is arguably the better album from start to finish.

Neil Young is one of the most frequent artists in this challenge with 9 appearances. He's undoubtedly a great song writer and has recorded some great early work. But I really don't see what's noteworthy about this album, aside from being a Neil Young album. It's not terrible, just some pretty standard garage rock songs. Hardly his best work.

A significant figure in South African jazz and a symbol of apartheid resistance. There's not much information available on this specific album. "Manenberg Revisited" is version of a song written in 1974 (when Ibrahim went by the stage name Dollar Brand) about the destruction of Cape Town neighborhood and the forced removal of communities of color there. Supposedly when a copy was smuggled into the prison where Nelson Mandela was held and played on the loudspeaker, Mandela said "Liberation is near." Given this background, the album undoubtedly has many layers of meaning that aren't obvious to a casual listener outside of South Africa.

This is such a palate cleanser of an album. If you're feeling down and just need to feel good about the world for a while, listen to Mr Blue Sky. The rest of the album almost as well.

Like a strange dream that you keep thinking about throughout the day. Kate Bush has clearly inspired many weird and wonderful artists who came after her. Nearly 40 years old, this album still sounds bold and unique.

A theme of romantizing the past and a blend of various styles, including folk, shoegaze and electronica. The result is an album that sounds like particularly raw, unpolished, and melancholy indie rock.

Raw and powerful, PJ Harvey channels Patti Smith for her debut album. This record fits perfectly among the early 90s indie and grunge scenes and still holds up well.

The dirtiest grunge polished into a pop record. Butch Vig's various experience gels together into something both angsty and danceable. How could a teenager in the 90s not have loved this album?

It's hard to get too excited about a 26 minute psychedelic jam band cover of a Bo Diddley song. This is an album that needs to be considered in the context that it was originally performed. It may have been significant at the time for helping to establish the genre, but doesn't hold up compared to some of their contemporaries like the Grateful Dead and Jefferson Airplane. Not a terrible album, but not one that I'd return to.

It's impossible for me to give an objective review of this album. It's the soundtrack of my childhood and was always on in my house. While I know many of Springsteen's songs, I have never actually listened to a full album. The whole album has a cinematic quality that really comes to life when listening closely to the lyrics. It's easily at least a 4 star album, but for sentimental reasons, it's a 5 star album for me.

Darlings of the indie scene. I enjoyed this more than I expected.

Absolutely no one will be surprised to see Little Richard on this list. Even if you're not familiar with all his songs, his legacy is well known and well deserved. This is rock and roll in its purest, classic form. Although it predates the concept of the album as a complete work, it's a great collection from start to finish.

While I'm not a huge Neil Young fan and generally think he's overrepresented on this list, this was a great album and really demonstrates more range than I expected. Bluebird is just a gorgeous song.

This album is just embarrassing. Buckley seems desperate for us to believe that he has a lot of sex. Any merit the music had is subverted by the very cringe lyrics. Wait, he was Jeff Buckley's father? Wikipedia says they only met once when Jeff was 8. Right, that tracks.

Such a beautiful, classic voice. This album also offers a bit of insight into the time, with the novelty of a live recording made evident by the introduction. You can imagine being in a small jazz club, knowing that this was going to be on a record.

It's an ambitious project. It really showcases Stephin Merritt's range and songwriting abilities. The modern, thoughtful and often humorous takes on the subject produces some great songs, focused on many different kinds of love. But it's a tall order to produce a triple album based on a simple concept, without ending up with a lot of filler. As enjoyable as it is at points, it's a slough to listen to the entire thing. It's a missed opportunity to be honest. If Merritt could have whittled this down to a single disc of the best 20 or so songs, it would have an amazing album. Save the rest for a special expanded edition, maybe. As it is, it's a good album, but it's just too bloated. The novelty of the length is too much of a gimmicky distraction and disservice to what could have been a great album.

An important figure in the early folk scene, connecting the dots between Woody Gutherie and Bob Dylan. Much of the music doesn't hold up as well against those heavyweight names but there's some impressive performances on here. It's certainly noteworthy as a document of that era.

I always expect to be blown away by Rolling Stones albums but (aside from the occasional great song) I just find them ok. This album is noteworthy for the band having broken with their album and gained artistic freedom. And of course for the innovative and risqué album cover by Andy Warhol. But for me, most of the music isn't that memorable.

Such a sensational performer and an amazing voice. What else needs to be said?

Hugely influential on a diverse range of genres, including punk, glam, and hair metal. This is rock at its least pretentious. It's just unpolished, screaming rock and roll to get you out of your seat.

Musgraves pushes the limits of the usual conservative genre of country by flirting with elements of pop and electronic music. It gives it a unique sound. Musically, country fans shouldn't be too distracted by the occasional synthesizer or vocoder but more conservative listeners might be put off by some of her progressive politics, something the genre isn't famous for.

If I had to pick one album to represent the 90s, this would be a strong contender. Its complex studio productions, courtesy of Butch Vig, combined heavy metal, grunge, and shoegaze, into something both melancholy and highly energetic. Even their look fit perfectly into the 90s indie scene, just slightly odd and rebelous but completely relatable to all the lonely kids. A classic album.

Nu metal was all the rage back in the day and this was probably the most popular example. It really does not hold up well though. A lot of growly music, adolescent lyrics, and the embarrassing memory that we once thought this was cool. I do like Jonathan Davis's scatting but it's still a cringey album overall.

Leading figures in the psychobilly subgenre. It sounds like if you mashed up The Sonics, The Ramones, 60s surf rock, and B horror films. They must have been intense live.

Part homage to the funk and soul singers of the 70s and part reaction to the state of hip hop and R&B in the 90s. Probably the smoothest album you'd have encountered in 1996. In some ways, it borders on self-parody but it's an impressive work when listened to as a whole. While I wouldn't seek it out often, I liked it more than I expected to.

An impressive album, a triumph of jazz, and surely one of the most incredible albums that had ever been released by anyone up to that point.

Against the backdrop of an industry that's always chasing music that's faster, louder, and harder, sometimes you need to go quiet instead. Here Eno coined the term 'ambient music' and effectively launched a genre that's (in his words) "as ignorable as it is interesting". By eschewing rhythm and predictable patterns, the sounds can surprise and intrigue the listener, just enough to shut out anxious thoughts, while remaining quiet and calm enough to prevent new ones. The music is perfect for study, self reflection, or sleep. It's also a welcome change of pace when other music starts to all sound the same. A calm-inducing, and secretly chaotic, palate cleanser. In the words of John Lysaker, "it holds together no better (and no worse) than a cloud."

I remember being a teenager watching MTV in the middle of the night and seeing The Residents for the first time. They had played "The Act of Being Polite" and I genuinely felt deeply unsettled and mildly terrified. But I have always been morbidly curious about The Residents ever since. They're more Dadaist art project than rock band, touching the edge of commercial success while still making sure to make you firmly uncomfortable. Like all good art should, it definitely evokes a reaction. You'll either love it or hate it, or possibly both at once.

What happens when a 70s soul singer confronts the realities of war and addiction? When he stops singing love songs and starts singing protest songs? You get something that's both angry but remarkably calm. It's doubtless an important album. I really appreciate both the skill and meaning behind it but unfortunately I didn't love most of the music.

A perfectly executed feel-good disco album. Nile Rodgers is a sensation. Little wonder that he'd be recruited by both Bowie and Daft Punk.

Beck's masterpiece. With production from the Dust Brothers, they create a storm of folk and hip hop, grabbing chunks of any other genre (punk, grunge, Latin soul, etc) that gets in the way. A very nearly perfect album.

The album where The Prodigy (mostly) abandoned their early techno sound and invited the punk rock kids into the clubs. For album from angry ravers, this album holds up surprisingly well, nearly 30 years on.

And with this the transition from the blues to heavy metal is complete. This is definitely one to think about in the context of when it was released. Supposedly recorded in its entirety in 12 hours, it's rough, chunky and dark. And it effectively launched a genre.

Although clearly an accomplished musician and producer, it seems like Dennis Wilson must have lived in the shadow of his more famous brother and former bandage, Brian. This album puts aside most of the experimentation of the Beach Boys and shows that he could craft a mature, well produced album.

The hype around this album was genuinely cringeworthy. A shoegaze White Album by a Brian Wilson-level genius inspired by John Coltrane, etc, etc. Ignoring these pretensions and ridiculous comparisons, I was pleasantly surprised to find that it's actually a really good album. No need to overhype it. Just enjoy the beautiful mess they've created.

By the end of 1994, you'd have been forgiven for thinking that Radiohead were a one hit wonder at the tail end of their 15 minutes of fame. Suddenly The Bends comes out to prove everyone wrong. Not only had they created more great singles, but they've crated them into a near perfect album. Quite a leap from their humble debut of Pablo Honey. It's hard not to compare it to their later, earth-shattering work. But the truth is that this album holds up very well, especially when you're seeking some 90s nostalgia. This was the album that proved Radiohead are a force to be reckoned with.

It's taken me far too long to really listen to Echo and the Bunnymen, a band that sit comfortably next to the likes of The Cure, New Order and other early 80s moody post-punk bands of that era. I only really knew The Killing Moon before, so I wasn't familiar with anything from this debut. I look forward to exploring their discography more.

When I saw this, I worried that it was going to be another dime-a-dozen punk band. I was instantly proven wrong. Trumpets in early 70s punk? It worked perfectly. Digging in a bit more, I found that The Saints were well ahead of the game. Contemporaries of The Ramones who brought punk to Australia before the Sex Pistols formed. Why are they not better known?

Pioneers of the fusion of punk and reggae. I don't want to belittle them by pointing out that they were an early example of a girl punk band because their influence and experimentation go well beyond that. But credit where it's due for helping to break the glass ceiling of punk. They may be lacking in talent but punk was never supposed to care about that anyway.

I don't mind a bit of prog rock and this was good enough to warrant a listen. Slightly interesting in that they changed musical directions slightly by poaching a electronic keyboardist from David Bowie. The musical interludes were a clever way to save a buck in the studio but are a bit boring. The rest is straightforward prog rock. Not very noteworthy but some great performances nonetheless.

I'm always happy to hear some Kinks but this album isn't their strongest. It feels somewhere in between Face to Face and Village Green, both of which are better albums. Apparently this is a cult favorite but I don't see it. Certainly not bad at all, but hardly their best work.

Coldplay get a lot of flak for being overly safe or a cheap knock off of Radiohead. But this is a solid album with great songwriting. It won't appeal to everyone but you can see why this album was so successful. A very comforting listen.

There's no denying the power of this album. A legend performing at the very end of his life. Full of pain and exhaustion from old age and back fractures. It's his final attempt to complete his legacy and his condition means that he has no other responsibilities or needs than to write, sing, and record from his living room. R.I.P. Leonard Cohen, a true great.

This album sounds like a drunken haze of personal introspection, empowerment, raw sexual desire, and the places where those areas clash. There's some great production on here. Standout tracks for me are 'Drew Barrymore' and 'Prom'.

Bob Mould influenced by Kurt Cobain is about what you'd expect. Very 90s, grungy with some poppier songs in there. Not a bad album at all for a good nostalgia trip. But it's a far cry from Nirvana.

There are some definite rock standards on this album, particularly Walk This Way and Sweet Emotion. It's hard to deny their significance. Unfortunately, this period is arguably the height of Steven Tyler's sleaziness. While it's tempting to try to separate the art from the artist, it's hard when you hear songs like Uncle Salty. In Tyler's words: "Salty worked in a home for lost children and had his way with this little girl." That's a little too close for comfort to the accusations against Tyler. Sadly, some of these songs hit a lot differently when you know the background.

An upbeat new wave album. A fun listen from start to finish. You can imagine the influence this must have had on young women in the early 80s.

I didn't have high expectations but this album was pretty impressive. The blend of hip hop, R&B and reggae all fits in the right places and keeps the content interesting. The empowering feminist lyrics are particularly striking for 80s. Appearances by De La Soul, KRS One and Prince Paul were added bonuses.

I appreciate the ambition of this album and my interest was definitely piqued a few times with some odd studio experiments. I was really tempted to try to like it more. But if I'm being honest this one just isn't for me. Too many 70s soft rock ballads for my taste.

Try as much as I might, I can't hate this music. It's just a classic album whose influence is obvious. It's a shame that Lynyrd Skynyrd helped so much to perpetuate the use of the Confederate battle flag and the myth that it wasn't connected to racism. The last surviving member of the original band did eventually denounce it in 2012 at least. This aside, the music is great.

The National's sound is beautiful, hypnotic and melancholy. There are some fantastic songs here but for me, it doesn't gel together very well as a complete album. In my opinion, their previous album, The Boxer, would have been a much better choice and an easy 5. But I certainly didn't mind listening to The National in any event.

I can understand how Ackles could have been both a major influence on artists like Elton John and Elvis Costello, and also be largely forgotten to history. I don't see myself revisiting this, but for certain people, this will be a treasure waiting to be discovered. For my taste, the theatrical pop sound would be better suited to Broadway than the recording studio, but I'm sure that many would disagree.

Musically, this album is great. The production is slick, the beats are tight, and the respect for old school hip hop and funk shines through. Lyrically though, this does nothing to dispel the stereotypes of the genre, particularly from this era. With some exceptions, all songs are about glorified violence and constant misgony. I guess it's reflective of Biggie's reality as he saw it, but it doesn't age well. This is to say nothing about the painfully tedious and unlistenable skits of sex noises. What I wouldn't give for an instrumental version of this album (minus skits). It would definitely be a 5. Best track: "Things Done Changed".

It's been called the album that really started the 60s. It's hard to imagine higher praise than that. The recording sessions come straight off the back of Dylan's famously controversial electric performance at Newport. Yet the songs are seeped in blues tradition, pointing to both past and future simultaneously. It's not his strongest album, but it has a very significant place in music history.

What an amazing album from Brian Eno's label. The music is strange, varied and experimental but they manage to do it with a deep sense of calm and a lack of pretentiousness that's unusual in the avant garde. Very refreshing listen.

There seems to be a strong following for this album. The fans love it and it's included on many different lists of the best albums of all time. I'm sorry to say that I genuinely didn't see the appeal. It just sounded like a generic indie rock band shopping around for a record deal. The vocals were off, the music a bit dull. I'm clearly missing something here but I really don't know why it's so revered.

I'm not a big fan of the whole pop-punk sub genre, but there's really nothing to criticize here (aside from the awful ablum title). Young kids with punk attitude, slick production, socially aware lyrics, and good songwriting. Lots of earworms on this album. It's not my style so I wouldn't return to it often but I can still appreciate it for being a solid album.

An early example of ambient music and the potential of stereo recording. It's also a great homage to the pioneering early French avant garde electronic musicians like Pierre Henry. Ultimately it's great backroom music, as any ambient album should be.

The final recordings of The Beatles. I often forget how good this one is. The album gives a glimpse into what a Beatles of the 1970s might have sounded like. The song writing had, in many ways, matured but there's still a playfulness that comes through. The use of the Moog synthesizer stands out. The studio recording process is more transparent here than in previous albums, fitting for a band that had stopped performing live several years earlier. On the other hand, the schism between Lennon's and McCartney's styles seems to be growing here. The temporary truce helped them to make one last wonderful album but it's also clear that their short time together ran its course, much to the detriment of fans everywhere who didn't get to hear enough.

I knew some of this album already but never listened to the entire thing. It's really two solo albums from Big Boi and Andre 3000. I worried that it would feel bloated but the stylistic shift between the two halves is refreshing and there are loads of hits throughout. Speakerboxxx is the stronger album overall but The Love Below has so many great moments (including, obviously 'Hey Ya!'). My biggest criticism is that The Love Below is longer than it needs to be. It could definitely take out about 20 minutes or so and it help the entire project flow better. I'd skip the sophmoric and misogynistic song Roses, which was apparently a popular single at one point? Go figure. But overall, this is a great album with more hits than misses.

Legend has it that Television once walked into CBGBs and asked the owner what it stood for. "Country, bluegrass, blues," he said. Television replied, "That's what we play." The end result of that deception was the creation of punk rock's Mecca with Television as its first mascots. Their debut album lives up to the reputation as icons of the scene. The music still holds up against countless imitators that have come since.

Possibly the most famous of so-called Krautrock genre, though it sounds very unlike most of their contemporaries. Can were focused on abandoning the past. The older generations had brought Germany war, human rights violations, and made their country the ideological main battle ground of the Cold War. Can looked both to the West but also to the future for influences. They sought to abandon hierarchy but giving equal prominence to all members. This is their most celebrated album, super charging the German music scene and spreading its influence far beyond those borders. As brilliant as the album is, the second half is very experimental and rough to listen to. The first half works perfectly as a short album though.

Not the first punk album and arguably not the best. But it definitely set the standard for the genre, in terms of look, energy, and attitude. The Sex Pistols were the stereotype of punk rockers and influenced countless acts. The band itself is a little artificial though, created and led by their manager and surviving only long enough for this single album. While that is antithetical to the spirit of punk, I'll be damned if Malcolm McLaren didn't give the world something interesting though.

Not my favorite by the White Stripes but it's always fun to see what these two come up with. It definitely has some stand out tracks, particularly "Blue Orchid" and "My Doorbell".

Raunchy blues from Rod Stewart and his band. It's not going to change anyone's life but it's fun for what it is.

A beautiful voice, recalling the talent of Nina Simone, and a lyrical story rarely heard in popular music. ANOHNI is a very rare talent. It was a nice surprise to hear Lou Reed on this album. Fistful of Love is definitely a highlight.

I'm only a little familiar with some of Waits' later work. Evidently this was his last album before he reinvented his style and I definitely enjoy the more eclectic sound that he'd evolve later. The music has a few highlights but others are forgettable. Lyrically, I can see the significance of his songwriting. As a reviewer said, Tom Waits can see as much beauty in the gutter as others can see in the Garden of Eden.

I can't believe how much I enjoyed an album that has a song called "Space Truckin'". Genuinely great metal with psychedelic and funk influences.

A band from New Jersey that was clearly influenced by the British Invasion of the 60s. It's eclectic, moving between styles with ease, and it has some catchy songs. There's not much that you wouldn't find elsewhere though. It's a good example of the music of the 60s. It's just not the best.

What would the 90s music scene have been without Jane's Addiction? They coined the term 'alternative' to describe their particular style of indie rock, a term that would be regularly used to describe the scene that followed. Their members were closely intertwined with the Red Hot Chilli Peppers. And their festival, Lollapalooza, brought many 90s artists to early fame. Jane's Addiction is another staple of my youth though I'm less familiar with this album. I prefer Ritual de lo Habitual but there are some amazing songs here too, including Mountain Song and Jane Says.

My knowledge of reggae is very limited but I never quite clicked with the genre. A lot of it sounds the same to me, though I'm sure I'm missing things. Bob Marley is the one exception for me where the music really stands out among the rest. His music seems to me to be more dynamic and less predictable than his contemporaries and it does make me want to explore the genre further to try to see what I've been missing.

A prime example of what would have once been called Big Beat. The music alternates between catchy, silly, and acid-laced dance party. I loved this album when I was young. Now, I'd need to be in the mood for it. It has retained some of its charm over the years though.

A stunning debut album from Chrissie Hynde's Pretenders. Her experience in numerous other bands and connection to the Sex Pistols brought her all the experience she needed to explode onto the punk and new wave scenes.

One of the defining albums of trip hop. There's so much going on here. The vintage/film noir sound, the unconventional instruments and recording process, the incorporation of hip hop techniques seemlessly throughout. On top of that, Beth Gibbons' voice is gorgeous. She sounds like someone whose been crushed by the weight of the world and come back slightly jaded but stronger than ever. This is an easy 5 and one of my favorite albums of all time.

If U2 tried to make a Radiohead album, you'd have something like Muse. That may sound cringe worthy to many people but the end result is varied, bigger than life, and worth a listen. For my money, Muse is not Radiohead and it's debatable whether they deserved a place on this list. A few songs really stood out though, like Map of the Problematique and Knights of Cydonia.

The beats have an infectious energy and the production has some great depth. Some of the lyrics are cringe (how many times can someone use sugary foods as a euphemism for genitals?), occasionally misogynistic and homophobic. But overall, the album holds up pretty well, particularly the title track.

Full disclosure, about 20 years ago, I spent a lot of time hanging around hardcore punk kids. I could kind of see the appeal at first, but I pretty quickly started to feel like there were several dozen cookie-cutter knock off bands all doing the same thing. Simple songs, played as loud, fast and angsty as possible. For me, this got boring very fast. How much of that same thing can you really listen to? How edgy can your music be if it's following the same formula for decades? Credit where credit is due, this is obviously a defining album of the genre. And the fact that it's been copied so often clearly means that set a certain standard for others to follow. At less than 16 minutes long, this is likely going to be the shortest album of the entire challenge. But that was about all the time I needed.

How heavy can you get before actually being heavy metal? It's easy to see why Led Zeppelin are so celebrated and influential. The music really does stand out among many of their contemporaries. My possibly controversial take is that this isn't their best album. But that's by no means an insult. I've got four more albums by this band to explore in this challenge, including some I don't know very well. I'm definitely looking forward to them.

Hot Shots II has always been a favorite of mine. It's like a perfectly smooth surface with small intereting kinks and imperfections that become obvious the more you zoom in. I can easily listen to this one on repeat. Does it deserve a place on the list? It's a tough call but I do think there's something unique here, even compared to their contemporaries, like Beck, Four Tet, or Caribou.

Arguably, Chic didn't need to have two albums on this list. In terms of style and performance, there's not much here that you can't find on their previous album, 'C'est Chic'. It's still nice to hear an occasional feel-good disco album though.

Some very chill music from a great band. But it's an odd choice for this list. The music is good but not as good as other albums by Air. As a rare example of a film score in this challenge, again, it's good but hardly the best one out there. I'm always happy to revisit an old Air album but I really can't find anything significant about this release. I'd replace it with 10,000 Hz Legend of Talkie Walkie.

The first of many true reinventions of Bowie's career. Having reached a peak of popularity during his glam rock/Ziggy Stardust period, he took a major risk by moving into plastic soul. By doing so, he proved that he could effortlessly move between genres and continue to be influential. Aside from soul artists, this album was also heavily influenced by Bowie's friendship with John Lennon, contributing to the very unique sound of the album.

Electro-clash before there was electro-clash. As a result, it sounds both ahead of its time and outdated at once. The best moments would fit in nicely on a Daft Punk playlist, but there's a lot of filler too.

I'm not a fan of Van Morrison and was dreading that it's a live double album. But I will say that this is an excellent live performance and that it does bring some new life to his songs that makes them a bit more interesting. It's not for me but I can see what makes it an impressive album.

It's impossible to talk about Pop's first two solo albums without mentioning David Bowie. Both 'The Idiot' and 'Lust for Life' were recorded with Bowie during the frantic year of 1977 when they were both living in Berlin, recording and touring relentlessly. 'The Idiot' was the perfect companion piece to Bowie's album 'Low'. Bowie had rescued Pop from drug addiction and the loss of his band, The Stooges, but he also took over the project. In response, 'Lust of Life' was Pop's desperate attempt to make the music his own before his mentor could exert too much influence. Despite most songs being written by Bowie, the album definitely sounds closer to a Stooges album than its predecessor. In turn, the change in direction would also later influence Bowie's next experimental album, 'Heroes'.

Possibly the best example of early electro music. While Kraftwerk took you on a journey across Europe, Bambaataa took it further by bringing them into the Bronx and merging them with rap and funk. The rapping style doesn't always compliment the music well and Bambaataa's legacy has been marred by scandal. But this album was definitely very unique and influential for its time.

This is arguably Joy Division's masterpiece, despite being less well known than 'Unknown Pleasures'. The music and lyrics are darker and more claustrophobic, reflecting the mental health challenges of Ian Curtis shortly before his death. But it's also much tighter and freer than their debut. 'Closer' is possibly the most important post-punk album ever released, as well as template for early goth bands.

My first exposure to Kraftwerk was the video for The Robots where they looked like mannequins and moved like very crudely designed machines. There was something kind of otherworldly about them. There was an uncanncy valley quality to them. This was in the late 90s and by then, countless artists that I loved had been inspired by them. Despite that, I felt like I had never really seen or heard anything quite like them. Later, I'd come to realize their place in krautrock and everything that came after them. 'The Man Machine' may be their best album. The music is at once more refined and more spacious, almost completely abstracting out anything human at all, aside from the content of the lyrics. Even today, the music feels strange, unique and hypnotic.

'Protection' was the album I put on on September 11th, when I needed to stop watching the news and find something comforting. Tracey Thorn's lyrics on the opening track felt like a warm blanket insulating me from the world. The whole album continues to feel like a safe space, escapist but with one eye still on reality. I know 'Blue Lines' is their celebrated album but I always found 'Protection' to be a huge leap forward for Massive Attack. It's not a perfect album but since I don't get review 'Mezzanine' (as it's not on the list), I can't not give 5 stars to at least one Massive Attack album.

I knew of this band but hadn't heard them before. It sounds like a missing link between punk and 90s rock/grunge. The screamy vocals have now been done to death and don't do much for me. But the music is refreshingly complex and tight.

Fun, unpretentious swing music. The combination of Prima's and Keely Smith's voices is magnificent. I can only imagine that this music might have once been considered scandalous.

There's a definite roughness to the vocals. The guitars are simple but heavy as hell. It all just kind of works though and it resonates pure rock and roll. This one seems like a big influence on heavy metal bands of the 80s and 90s. My only complaint is that much of it sounds the same.

I knew a couple of songs but I have never listened to a full Elton John album. What better place to start than his magnum opus? It's far more cinematic and experimental than I'd expected. It reminds me a lot of The Who's "Tommy". I can't say that every song is equally strong, but there are plenty of great tracks to keep returning to here.

I have mixed feelings about this album. I'm adding a point because it's a different Cockney perspective on popular music and song writing. From the sounds of it, Dury had a rough life. There was clearly a huge influence on Damon Albarn here. Dury even manages to sound like Blur occasionally (e.g.: 'Clever Trevor'). To start, this album sounded like a drunk guy at the pub playing a cheap keyboard and doing mediocre early rock and roll tributes. Side 2 goes much more punk, which suits him better. Odd that they omitted the single 'Sex & Drugs & Rock & Roll'. It's much better than the other single, 'Sweet Gene Vincent'. Overall, sort of interesting with a few decent songs, but not good enough to save it from obscurity nearly 5 decades later.

The Smiths took the sound of New Order away from dance/pop and brought it back into the post punk realm. Morrissey always was fairly pompous but it was easy to ignore that when he was just singing about militant vegetarianism. It's Johnny Marr and Andy Rourke who really carry these songs. Some of the best tracks these guys ever made are on this album.

Noteworthy for its slow, deep style of heavy metal. I'm very familiar with all of the singles on this album and liked them alright when I was younger, although I never owned anything by Metallica or listened to a full album. They feel a bit overplayed now but they definitely stood out back in the 90s.

That first side sounds triumphant. Seemless blend of soul, funk, psychedelic rock and cinematic landscapes. The song lengths look intimidating at first but once the songs start, they're so comfortable and detailed that there's really no rush to move on. The second side slows down quite a bit but with isn't without its soul and style.

An interesting art rock album from before Brian Eno's solo work. 'Editions of You' is the clear highlight here. The rest is varied and often unexpected. I feel like I'm listening to something halfway between Bowie and The Residents ('The Bogus Man'), which is a confusing place to rest, but at all a bad one.

This is a peak blues album. It's not a genre I listen to often, but when I do, I'll now reach for Muddy Waters. From start to finish, this album is great. It's impossible not to be affected by these sounds.

One of the greatest glam rock albums. Marc Bolan always gets compared with Bowie, but T. Rex beat him to the glam scene. As late as 1972 (before 'Aladdin Sane'), it was still fair to ask which was of two was better, in no small part to the strength of 'Electric Warrior'. Bowie was always going to win that battle in the long run, even if Bolan hadn't died tragically young. But T. Rex still stands as an important contemporary that holds up today.

Of all the nu metal albums, this was easily the best one. Mainly because they don't just sound like self-centered frat boys. That's not a high bar. I haven't listened to it in a long time and wasn't sure how it would hold up. And it does a little. It's not my favorite album or even within my top 100 albums, but it still has some nostalgia value. It's still infinitely better than their contemporaries from the time.

After being briefly banned from touring the US, The Kinks started looking inward to their own homeland for inspiration. The result is a concept combining the traditionalist British culture with the loose, unrefined and experimental youth culture. An early concept album, a cult classic and some of their best music.

I'm not really a Metallica fan, but "One" is an absolutely amazing song. The rest is a mix of thrash metal and prog rock. It's an impressive work, if a bit repetitive at times.

I knew some of Stevie Wonders' albums already but knew nothing about this one. His classic era is great and this album fits in nicely. It doesn't impress quite as much as 'Innervisions' or 'Songs in the Key of Life'. But it's still great to hear more from this period.

The blurred line between post-punk and new wave.

Elvis is obviously an important figure in the history of modern popular music and this album marks a return to form after nearly a decade of mediocre film soundtracks. It is also heavily influenced by the Memphis scene. As important as Elvis was in the 50s, by 1969, rock and roll had left him far behind. For Elvis fans, it's undoubtedly a noteworthy album. But I am just not an Elvis fan.

The beginning of Bob Dylan as a songwriter. It's hard go overstate his significance as a lyricist. This album is such a statement of the early 60s and would have been unparalleled at the time of its release. Musically it's generally sparse, which doesn't make for great background music. But it's not supposed to be. The music is a vehicle for the lyrics that deserve attention.

Classic new wave that's catchy as hell.

Apparently one of Raitt's biggest supporters was Prince? That's unexpected. Slightly intereting background story. The music is fine but it's not my style.

A sometimes overlooked gem in Bowie's discography. On one level, this album is almost forgettable (including by Bowie himself who claims to have no memory of recording it due to intense drug use) in comparison with his many noteworthy and more easily defined albums. On the surface, it is a transition album between the "plastic soul" of "Young Americans" and the post-modern Krautrock-influenced "Low". Multiple listens to this album reveals that it's one of his most complex albums. It's completely free and beyond simple categorization. It also has some of Bowie's most beautiful vocal performances. This one is a must have for any fan who really wants to explore his work in depth.

There's certainly a lot of drama behind this album. But unlike some other bands who can turn drama and internal tension into great music, this is just ok. I can see how they might have seemed exciting at the time though, touring with legendary acts and also performing underground gigs in their flats. The excitement doesn't really hold up unfortunately and it mostly sounds like just another punk band.

Melancholy folk and bluegrass. I've never heard of this one before but it was incredibly absorbing. Music to close your eyes and daydream to.

Heavy, danceable rock that sounds like a modern take on Can. It's hardly controversial to say that this isn't their best album though. QOTSA were still establishing their sound at this point. Later albums including Like Clockwork or Era Vulgaris would have been easy 5s.

Mixed feelings on this one. To start with, I only know Scott Walker from the excellent song '30th Century Man' and was hoping for an album more like that. I've also heard that Walker went avant garde later in life and there are some early flashes of that here. Overall, it's more interesting than I initially gave it credit for but there are only a couple of songs that I would want to return to. There are definitely some unfortunate and outdated lyrics here and there too.

This one doesn't deserve the hate it gets but it also doesn't deserve a spot on the list. The music is pretty solid to be honest but the vocals are so comical that it's just a distraction. If you're going to go falsetto, you need to either do it really well or commit to being a bit silly. This album achieves neither, which is a shame because the compositions would have been great without that.

I was very late to the party when it came to The Strokes. I dismissed them as overhyped rich kids making standard rock music. Probably not bad but I didn't have the time to bother. When I finally got around to listening to this, I could see what I had been missing. The album is so much better than I'd expected. It's not often that a band manages to balance on the fine line between mainstream radio-friendly rock and unpolished underground indie. But the Strokes managed and the album still holds up well. Easy 5 stars.

'Low' may be the most striking of all of Bowie's transformations. He'd already managed to move effortlessly from glam rock to plastic soul, which was a commercial success but drove him into a coccaine-fueled frenzy. To escape both addiction and fame, he took Iggy Pop and Brian Eno to Berlin. Bowie and Eno were heavily influenced by Krautrock artists, as well as Eno's own ambient style for the start of this incredible era. Combined with the paranoia of a divided Berlin, there was really nothing quite like this album before. His record label refused to release it for 3 months for fear of failure. 'Low' has gone on to be massively influential for post-punk, industrial and synth pop artists in particular. It's not everyone's taste but for many, this is will always be Bowie's masterpiece.

I've always meant to listen to this one but never prioritised it. It sounds like trip hop with a heavy lean towards ambient music. Perfect for a relaxing Norwegian holiday.

There's really no album quite like this. There was a move in the 90s for dance music to get more serious. Artists like Underworld and Faithless were making albums that worked equally well in a club or in your bedroom with headphones on. A catchy beat wasn't enough, you needed more complex production, interesting lyrics and engaging art. Leftfield were definitely part of that corner of the music scene, but took it in a different direction. This is a very eclectic collection, covering all different styles of music. It's all over the place but fits together perfectly. Who ever would have thought that getting Johnny Rotten to sing on a techno song would work so well?

For me, this is the point where the Beatles became really interesting. They finally had artistic freedom and they used it to really push through music that was both more mature, more eclectic and more experimental than anything they'd done before. This is no longer just a band for screaming teenage girls. It might not be as impressive as later works but this is truly the album that launched the second half of their careers. There's not a bad song on here.

This strikes me as "you needed to be there" kind of album. I can see people having connected with it in the 80s and made some strong memories around it. The sound is not bad, but it's definitely very dated. I kind of see the appeal but it's not for me.

I once bought this album solely because Thom Yorke was on it. I very quickly realized that he was the least interesting part of it and this album became one of my all-time favorites. Partly a tribute to New York City. The imagery of being on a rooftop in Brooklyn, seeing the five bridges, will always be a powerful one for me.

I can't think of any non-western musical instrument that had as such a pronounced 15 minutes of fame as the sitar, and particularly as performed by Ravi Shankar. It's interesting Shankar himself was so disillusioned with the 1960s rock and roll scene and the hippie movement, both of which had embraced him. He had so much love and respect for music that anything getting in the way of it (drug use, Hendrix setting fire to his guitar, etc) was blaspemy. That reverence for beautiful music certainly comes through here. Indian classical music might strike some as just a brief (and possibly tedious) additional to Western music, but you can't deny what an amazing musician he was.

Such a unique voice. This album had fewer of the songs I knew than the Big Brother and the Holding Company album but it represented an increased maturity of her as a songwriter. This is perhaps a glimpse into what her future sound could have been, had she lived longer. Very sad to have lost this talent at such a young age.

I'm not usually a big fan of the early California hardcore scene. A lot of it sounds the same to me. I'd heard of the Germs before but never listened to them. I enjoyed it more than I expected, possibly aided by Joan Jett's production work. Some tracks were tiresome though, particularly the tedious 9 minute finale, which is infinitely long on the vinyl due to the locked groove.

I know Bjork rubs a lot of people the wrong way but if you look past the perceived "weirdness" of her style, she really is a brilliant artist. 'Vulnicura' may be her most mature release to date. In her early punk and electronic releases, she was recording in toilets at clubs. Since then she's grown and explored classical structures, world music and the avant garde and brought all of that experience into this release. This is a break up album unlike any you've heard before, particularly notable as it comes from an older woman, rather than the likes of Taylor Swift. In some ways it's a shame that this challenge doesn't have more of Bjork's early work, which is more fun to listen to. But this is definitely an impressive work of art.

Raw, mid-90s energy. A lot of the album really holds up well, due largely to the unique vocal style that lingers somewhere between singer-songwriter and grunge. It does lag a little here and there but the singles are very strong.

A technical very impressive album throughout, resulting from coccaine-fueled marathon recording sessions lasting days. There's a bit too much twang for my taste but there are also a handful of stand out tracks. If I'd had any say, I would have cut out about half of the album but I recognize that I'm not the target audience. Despite that I enjoyed this much more than I expected to.

This is one of those albums that I would have never gotten around to listening to if not for this challenge. The very large overlap with the Flaming Lips, both in terms of style and their careers, was a pleasant surprise. The album itself took a few listens to really sink in but it's really gorgeous and ahead of its time. It sounds really free and honest, particularly as the band held no hopes for commercial success and just wanted to make something they could enjoy.

I've always been curious about Hawkwind. They seem like a crossroads between jam bands, hard rock, psychedelic, and electronic music. I don't know of any other bands that are quite like them, though there is a lot of overlap. It took a few songs for me to warm up to this album but it slowly won me over. While I would have preferred a studio album to showcase their sound, it must have been something else to see them performing back then.

Learning about the Nashville system has helped me explain a lot of what I don't like about country music as a genre. It's often manufactured, cookie cutter copies of the same concept, designed by conservative music executives. Fortunately, outlaw country exists as a much more interesting counterpoint and Nelson is one the most famous of it's artists. I've liked some other of his work better but there is something really genuine about this album and I'm glad I've heard it.

Impressive performances and a huge influence on the blues and what would later turn into heavy metal. This album's significance is easy to see. It feels like a showcase of Clapton more than anything else though. Interesting album for what it is though.

Sounds like a poppier version of My Bloody Valentine. Not a bad album at all but I don't see why critics were so excited about this one.

A rare example of a compilation on this challenge, though it could be thought of as a Phil Spector album, given his heavy involvement and his name on the title. This album is at once a showcase of his "wall of sound" recording style, an extremely modern sound for the time of its release in 1963, and contains a number of songs still held up as modern Christmas classics. Given what Phil Spector would later become, it feels odd to associate him with the holiday. But honestly, it's hard to think of a more iconic Christmas collection than this one.

In the mid to late 90s there was a movement of increased maturity among dance music artists. Be it connection to the art world (Underworld), eclectic production (Leftfield), or deeply personal lyrics (Faithless), dance music was demanding to be taken seriously. The Basement Jaxx rebelled against this and just wanted to make feel good music that you didn't need to think about. There's nothing wrong with that in principle but they took it so far as to border on self parody. There are a handful of songs here that are genuinely enjoyable in small doses. The rest of the album tries so hard to avoid the depth of their contemporaries that the songs are instantly forgettable. It serves it's purpose in the music world. If you want to just dance, it's fine. But it's a bit ridiculous that they styled this as a 'remedy' to more interesting artists than themselves.

I can't quite conceptualize the distance that would have been felt between Rio and Hoboken in 1967. Viewed as a Sinatra album, he applied his crystal clear voice to the bossa nova style. The results are nice but less interesting than the same material from Brazilian singers. Viewed as a Jobim album, he is an ambassador for Brazilian music into the US, teaming up with one of the heavyweight crooners to bring his sound in. It's a good and maybe unexpected collaboration but overall, Sinatra is kind of watering down Jobim here in my opinion.

R.I.P. Gil Scott-Heron. An amazing voice whose lyrics speak to the same disenfranchisement that exists today. The union with Brian Jackson's keyboards works great. I just wish this was still on Spotify.

Johnny Marr's songwriting is near perfect, to the point where I can almost ignore my intense dislike of Morrissey. It's a strong album though, despite him. With a different vocalist, it might have been among my favorite albums.

Am amazing debut album. The Clash were one of the world's best punk bands right out of the gate.

Echo and the Bunnymen might be a little harder to get into than some similar bands like The Cure and Sisters of Mercy. They are worth the effort though as there are some great tracks here. I definitely need to be in the right mindset but the dark and desperate sounds are perfect for a specific mood.

Certainly an icon of the 60s and an early example of the British invasion, preceeding The Beatles. Her voice is stunning. The music itself is largely standard covers but that wasn't uncommon for the early 60s. I preferred the second half. She deserves a place on this list.

It's less iconic and recognizable than their classic album Tago Mago but it's easier to get lost in. You may find that you even start dancing to it unconsciously.

I was pleasantly surprised by the very strong opening track on this album. 'Can't Let Go' is another impressive song. I could easily imagine Jack White covering it. Those two tracks aside, the album is objectively good but not really that interesting to me. It's a fine example of modern country music but that's not my style.

Lampchop lean heavily into the chamber pop style. A bit too much for my taste. There are a few great tracks but others really lose me. Aside from some brief praise from the music press, I don't know see much significance to this one either unfortunately.

As a huge fan of Nirvana back in the day, I always wanted the Foo Fighters to sound like a continuation of that sound. They don't. They're more accessible, far less experimental, and less daring than Nirvana was. Because of that, I kind of dismissed them. Nothing against Dave Grohl, it just didn't tick the box that I was looking for. Now I'm trying to give this a fair shot and trying not to see Grohl as standing in Cobain's shadow. Judged on its own, this is really an excellent album. In retrospect, copying Nirvana exactly would never have worked. Apologies to Grohl and the rest of the band. They deserve the acclaim they get.

Being the younger sister of (arguably) the biggest superstar on the planet must be a real double edged sword. On one hand, imagine how many doors are opened through nepotism. On the other, you will inevitably always be in their very large shadow. Thankfully Solange took a different path than trying to imitate her sister's success. Instead she's made much more interesting music that defies categorization. It's somewhere between R&B and Boards of Canada, with a healthy amount of political statements. I'd like to imagine that it speaks to many lonelier thinkers and dreamers who don't quite fit in with their peers but nevertheless have a lot to say.

This album is like a masterclass of 80s pop music. Whether it sounds dated or classic if a matter of personal taste. 'Buffalo Stance' is the highlight here by a wide margin. Overall, it's a more daring and eclectic album than her contemporaries but it's very firmly rooted in the 80s.

The fifth appearance by Neil Young for me so far in this challenge. Aside from Buffalo Springfield, most of what I've heard by him so far has ranged from mediocre to just ok. This is the first one that I actually felt compelled to go back and listen to a second time. It has some beautiful songs for a broken heart. The title suggests the feeling of melonchony or depression after a period of excitment, which fits the music. Nice to see a bit more of what makes Neil Young a great artist.

This isn't an album I would have chosen to listen to myself. Nothing but respect for Tina Turner and her dynamic voice and personality. But the music never really appealed to me. Truth be told, most of this album isn't my style, but I'm rating highly mainly because it was a pleasure to hear her and there were some nice surprises. This version of 'I Can't Stand the Rain' is fantastic and the highlight for me. I also wasn't expecting a cover from Bowie's unrealized Orwell musical.

Regional folk music runs the risk of sounding a bit gimmicky, like something that is played for tourists in UNESCO site gift shops. Unless of course you have something to have something to back it up. Shane MacGowan (R.I.P.) had a connection to the music, fantastic lyrics and the punk edge that the music needed to feel more authentic and modern.

This was quite simply the album that got me into music in the first place. I'd never heard anything like it before when I was first exposed to it. The radio and other kids in school were focused on pop music and Nirvana seemed to have come out of nowhere. 'Nevermind' is considered the archetype of grunge music but Nirvana were so much more than that. There was punk, noise, antiestablishment, anti-sexism. Cobain was defiantly questioning absolutely everything my young mind knew about the world and I loved it. I can still feel the surge of excitement over this discovery and how much it shook me. From here, I found a whole world of different genres and artists that I never knew existed. But my journey started with 'Nevermind'.

Another from Depeche Mode's classic period. This is some of the best 80s synth pop out there and represented a major development and maturity of their sound. I didn't immediately like this one as much as 'Violator' but it has really grown on me. Fantastic album.

A famous name in the blues scene. Unfortunately, his voice and style are a bit drowned out by the very dated sounding production and mediocre collaborations. I feel like there must be better examples of Hooker's music out there. Personal opinion, there are better blues albums in this challenge.

The Stooges represented a huge step in the evolution of what would eventually be called punk. This album is a bit less listenable than their self-titled debut but it sounds more raw and at times more dangerous.

If I had to pick a favorite White Stripes album, it would have to be 'Elephant'. The whole thing sounds tighter and more powerful than their previous releases. It's amazing how much variety two people can produce using old instruments and recording equipment. There are a few stand out songs here, including the amazing and instantly recognizable 'Seven Nation Army'.

I'm so glad to see some Malian music represented in this challenge. It's such an interesting country in terms of its music and has produced some really great artists, including Toure and Toumani Diabaté (listen to him too if you enjoyed this album). Toure himself was an interesting person. He grew up in a culture where musicians were the lowest caste but he wanted to play it anyway. He combined traditional Malian music with a heavy influence from African American blues artists. He was briefly mayor of a small town where he gave his money away to help build the infrastructure. And in his final years before succumbing to cancer, he created a recording studio in the hotel he was staying in because he couldn't travel far enough to reach any others. His album represents his final recordings, yet it's still full of life and a blend of musical traditions. For me, this is music for when you want to feel miles away from home.

The only song I previously knew by Bobby Womack was 'Across 110th Street'. This album is lot funkier and sexier than that song but also a bit less mature. That's not to say it's bad, just not what I expected. I can imagine loads of artists being inspired by Womack and his music really fitting a niche at the time. But to be clear, this isn't Stevie Wonder.

Wow, what an experience this one was. I'm not normally big on live albums, but there's so much feeling and power in this one. What's absolutely fascinating is that this recording was kept in a vault for more than two decades. It says a lot about the state of the music industry that the label was afraid this recording would harm his image as a pop star in the early 60s. The fact that Cooke appeared to be in his most free form when performing for African American audiences (and that the label felt the need to tone this down and hide that side of him) speaks volumes. This isn't normally my favorite genre, but I was just blown away by this album.

This album established Talking Heads as a band to watch. The first of their work with Brian Eno, as well as their move to being a more danceable band. Although David Byrne gets the most acclaim, the whole band sounds great and there's not a bad track on the album. It's a classic and really enjoyable to listen to.

Often referred to as the unofficial sequel to Beck's masterpiece 'Odelay'. 'Guero' doesn't have the same impact and novelty, but it's great hearing Beck and the Dust Brothers working together again. I haven't listened to this album in many years and I forgot how strong it actually is. There are a lot of great songs here and it's a solid album from start to finish.

About as edgy as smooth jazz can get, I suppose.

After bouts of writer's block and internal tension, Talking Heads came back to record their magnum opus. Producer Brian Eno continued the work started with Bowie to combine elements of work music with post punk. But 'Remain In Light' is a lot funkier than anything on 'Lodger'. This album is another benchmark for a band who reinvented so much during their time.

The album that paved the way for the Talking Heads album 'Remain in Light' (coincidentally, the album I got yesterday in this challenge). The experiments with world music and samples are very interesting and influential, particularly for the time. It lacks the hooks that you might expect from Byrne's music. Talking Heads is the album you play at your party. 'My Life In The Bush Of Ghosts' is the music you play when everyone has left and you want to spend some time alone with your thoughts. Definitely an album for people who are interested in experimental music and recording processes, not for everyone.

This album really exceeded my expectations. It's a great blend of classic and very tight hip hop beats set against gritty rap. The collaborations were particularly a nice surprise as I didn't realize how involved MF Doom was on this album. In contrast to a lot of mainstream rap albums, this one isn't afraid to experiment. One of the best Wu Tang projects I've heard. On the negative side, it's really unfortunate how it falls into the stereotype of including misogynistic and homophobic lyrics. Also, the skits. So unnecessary and boring.

I like The Who as much as the next guy but this hardly feels like their best album. Putting it in context, it seems like it was probably a return to form after 'Tommy'. And maybe for 1970, it was a particularly impressive live rock album. By today's standards, it sounds fine but I'd take a studio album over this any day.

I always struggled with this album, only because 'Heavy Metal Drummer' is such an earworm and nothing else on the album sounds quite like it. I've tried a few times to listen to the full album but never engaged. This challenge has forced me to finally sit down and listen straight through to finally hear it for what it is: a very good indie record. Not perfect or especially groundbreaking but absolutely solid and worth revisiting.

A landmark shoegaze album. Marked by turmoil, overspending and a seemingly endless number of different recordings studios to get the sound right. But man, 'loveless' does sound otherworldly.

I'm fine with a bit of Elvis Costello but this album was just ok. I can see some excitement over its initial release and whether it was actually a reunion of the Attractions. But taking the long view, is that that really very interesting? It's not a bad album but not as impressive as his other work. It doesn't feel significant enough for this list.

The Rolling Stones took the album template, experimentation, and world music influence of The Beatles' 'Rubber Soul' and ran with it. They did so with a lot more edge and grit. If parents hated Lennon and McCartney, Jagger and Richards were probably a nightmare. Their best song from the era, 'Paint It Black', is sadly missing from the original UK edition but there are still plenty of standout songs here. I have mixed opinions about The Rolling Stones but I think this is one of their better works. Unfortunately there's also a lot of misogyny that ruins would have otherwise been a very good album.

Although I'd argue that 'Post' and 'Homogenic' are stronger examples of Bjork's music (and not included in this challenge, sadly), 'Debut' is still a very powerful album. Bjork's voice is sensational and unique. She's long been one of my favorite vocalists. She's been a lifelong singer, releasing her first album as a child and then spending her teenage years jumping around punk bands, some of which were better than you might think. She finally found early international fame with The Sugarcubes, who produced some wonderfully weird music. But Bjork always needed to go her own way. She is and always has been a force on her own, not a mere singer in someone else's band. She would eventually leave Iceland for London where she had the freedom to do her own thing and was embraced by the emerging electronic movements of the early 90s, with an explosion of subgenres having their moment, including trip hop, drum n bass, and acid house, among others. These sounds all seemlessly made their way into the appropriately titled 'Debut', with the assistance of 808 State's Graham Massey and the album's producer Nellee Hooper. While electronic music made up the backbone of the album, it is also filled with Bjork's early concepts and demos that never fit into her previous musical efforts the right way. The saxophones feel slightly out of place at first but on multiple listens they make up an essential part of the whole recording. While her later work in the 90s may have been more easily digestible, 'Debut' is full of slow burns. I didn't immediately like songs like 'Aeroplane' or 'The Anchor Song' but sooner or later, they really clicked. It's a little harder to track it down, but the Brodsky Quartet version of 'The Anchor Song' is among my favorite pieces of music ever recorded.

As I'm not usually a fan of the genre, I find it hard to be completely objective. I was intrigued by the idea that he was rebelling against the Nashville establishment, as all the best country stars (Willie Nelson, Johnny Cash, etc) had done before him. But I really don't hear anything special here. Experts in the genre will likely hear something that I'm missing but all I hear is run of the mill honky tonk with shamefully toxic lyrics. 'Streets of Bakersfield' is the only song I found noteworthy and pretty decent here but that's not enough to justify being on this list.

I was a little late to the party with R.E.M. I never disliked them, I just didn't spend enough time actively listening to them to appreciate how good they are. This one is definitely something of a landmark in their career, marking a shift in style and their biggest success up to that point. There are some absolutely classic songs here. Overall, not my favorite work of theirs, but definitely a solid effort.

This album taps into a time, a place and an angry determinism, and still feels as raw and relevant as ever. This is Black Lives Matter before many were aware of just how bad the situation was. To top it off, the music is phenomenal and the best output that I've heard by Public Enemy. The social message deserves strong beats to back them up and they definitely delivered here.

A pivotal release for the psychedelic movement and the debut of one of the best selling bands of all time. It's also interesting to hear Syd Barrett leading the band here. It's particularly bold for a debut album in the 60s and doubtless it turned more than a few heads. It holds up fine, both as an experimental record, but with enough pop elements to keep it listenable. It's obviously not as iconic as their later work, but it definitely deserves its place in music history.

A good example of what trip hop can be, focusing on the influences across multiple genres and great beats. It's not exactly genre defining the way the heavyweights of trip hop (Massive Attack, Portishead, etc) are. What it does showcase is how well bedroom producers can put together a solid album of very chill music. It's more background music than anything and it's a bit repetitive but it's a good album for what it is.

Eminem always claimed that his music was supposed to be like a horror movie, in that it's for entertainment purposes only. It's a lazy and overused way to be able to say whatever you want. It's also very easy to pick apart. The opening disclaimer is clearly tongue-in-cheek. Eminem surrounds himself with layers of aliases to seem like characters rap bigoted and violent lyrics he wouldn't. The problem is that unlike other artists who can lose themselves in different characters, Eminem, Slim Shady, and Marshall Mathers all sound the same. Maybe it's fictional that in that he wouldn't really murder his partner or members of the LGBTQ+ community, but it's clear from the songs that part of him really wants to. The fact that he is self-aware of his toxicity doesn't make it any less toxic. It really just sounds like it was all written by an angsty teenager who thinks that shock value, humor, and art are all the same thing. Why Dr Dre chose to produce this is a complete mystery to me but he's contributed the best quality of the whole thing. The beats are undeniably good. It's not enough to save the album, but it does illustrate how good this album could have been if it wasn't filled with bigotry and misdirected anger.

This is the kind of album that's a must have for hardcore fans but will bore most everyone else. The concept of a prog rock take on classical music is novel enough but the general silliness distracts from the impressive performances and high quality recording. It's an alright album but hardly deserves to be on this list in my opinion.

Apparently these guys were huge in the San Francisco psychedelic scene and leftist circles of the 60s. My initial impression was that it's a less memorable version of Jefferson Airplane. But this album really picks up a few tracks in. The sound becomes muddier and more electronic than their contemporaries. It hasn't exactly survived the test of time and maybe not that many people today know who they are. But I can definitely see an enduring cult following for this group.

The idea of a soundtrack for a movie that doesn't exist seems less like a novelty and more like a resume for Adamson. But as that was his intention, I can't really fault him there. The music is fine and indeed would make a good backing for a neo-noir film. For me, soundtracks, real or imagined, are not usually that interesting to listen to on their own. But there are some interesting pieces here. 'Sounds from the Big House' could have influenced some early textures used by Nine Inch Nails. Indeed, Reznor would later tap Adamson for songs on the Lost Highway soundtrack. I don't know that this list needed two imaginary soundtracks by Barry Adamson but it was fun to hear this one.

Wow, what a find this was. I've always liked desert blues, but haven't properly explored the genre. Songhoy Blues offer a slightly more modern take on the genre, showcasing influence by the incredible Ali Farka Touré, as well as a wide range of Western styles. Interesting that they cite hip hop and R&B as their 'main diet', while staying firmly connected to Northern Malian music. An added bonus here is the collaboration with Nick Zinner of the Yeah Yeah Yeahs. None of this says anything about their personal stories of being internally displaced persons, in exile from a fundamentalist group who wanted to ban music from Timbuktu. Despite their modern sound, Songhoy Blues are also keeping their Northern sounds alive.

Are The Who responsible for the concept of skits on albums? If so, thanks a lot guys. Putting that aside, it's not bad for such an odd little album. The fake ads are fairly listenable and the rest of the songs are pretty good. It's gimmicky, sure, bit also documents a period of ads and pirate radio pretty well. Too bad they got a off of legal trouble for all of the unlicensed material.

It's a popular criticism of this list that it has too much Elvis Costello. While I agree that six albums is a lot and that some were particularly average, I am glad that Costello is featured on the list. 'Armed Forces' may not be the strongest release overall but it does feature some of his best work, including 'Oliver's Army' and '(What's so Funny about) Peace, Love and Understanding'. Unfortunately there's also a lot of filler here that's less memorable.

There is something appealing about Lorde's music that I've never been able to put my finger on. Maybe it's her vocal style, or just that the music feels a little unorthodox for a pop star. I really only knew her debut album 'Pure Heroine' before. Unfortunately, 'Melodrama' doesn't appeal to me as much. There are some stand out tracks like 'Green Light', but it's lacking the eerie minimalism of her debut and has fewer tracks that stick with me. I still like it, but it's a shame that 'Pure Heroine' didn't make the cut for this list. It might have been a 5 for me.

I'd always been curious about Peter Frampton but never sought out his music. All I knew about him was that he was a school friend (and eventual collaborator) of David Bowie, and that he appeared on an episode of The Simpsons alongside Cypress Hill and Sonic Youth. That was enough to convince me that he must be cool. The actual music hasn't hit as strong as I thought it would. At times, it sounds like waiting room music. It's saved by the expert guitar playing and effects, particularly towards the end of this album. All of that is strong enough that I might eventually give Frampton another shot. But on one listen, it's not quite as strong as I'd hoped.

Very nice (if a bit leftfield) modern folk. As much as I like the music, the vocal style doesn't do much for me. At times, it seems borderline silly to the point of distraction. I can't help but picture the stereotypical Williamsburg hipster of the early 2000s while listening. Tone down the vocals a bit and you'd have a very good album. Alternatively, go full experimental and really make it weird all around. 'Rejoicing in the Hands' is somewhere in between those extremes. The result is a ok album with some interesting peaks but not enough to really be memorable. There are better alt folk albums out there but it's not bad.

An undisputed pop masterpiece, even among many people who normally hate pop music. There was something different about Prince. He brought in influences from a diverse range of music. His music was larger than life, tightly produced, sexy and danceable. No one else has ever managed to sound quite like him.

The last Doors album I heard was 'Morrison Hotel', which I wasn't that excited by. 'L.A. Woman' really stands head and shoulders above that one in my opinion. There is great energy, strong songwriting, and some daring experimentation, documenting the (perhaps too extreme) final days of Jim Morrison's life. Definitely attention grabbing and memorable.

I really didn't expect how strange this album would be. Written during a stay in a psychiatrist hospital and hastily recorded as intended-demos, 'Oar' reminds me in some ways of Van Gogh's final days of life when he was painting frantically. That isn't to say that Spence is the kind of genius that Van Gogh was but there's a similarity in that both men where attempting to do something more conventional than what finally came out. 'Oar' is both uncomfortable and endearing. Unsurprisingly, the record label had no idea what to do with it and it quickly faded into obscurity as a cult classic.

The first rock concert I ever attended had Frank Black as the opener when he was promoting this album, so this music really brings me back. That made him the first rock star I ever saw live, long before I knew who The Pixies were. Listening to this album now, it sounds like what you often hear from lead singer solo projects, which lacks the chemistry of the rest of the band. Despite that, it has some real gems. 'Headache' is the standout track and rivals most material by The Pixies. But there is enough else on here to make for a good album. My only complaint is that it's a bit longer than it needs to be. Trim about 20 minutes off and it would be a tighter album but I still really enjoyed listening and imagining that first live experience again.

This album is dated and a bit campy but I can't help enjoying it. The funky rhythms, the smooth synths, and the ultra cool brass all come together perfectly. Despite being such a huge group (by my count, there were nine members at the time of this recording), everything fits right into it's place, even with a refreshing amount of empty space in between sounds. I could pass on some of the more ballady songs but the rest is hard to hate. Classic album.

John Lydon had abandoned punk when he left The Sex Pistols and had already pioneered post-punk with PiL's debut album 'First Issue'. Here, the band fully embraces the avant-garde. This is particualarly evident in Lydon's bizarre (and slightly off-putting) vocal style. The original packaging, while being novel, actually created (intentionally?) a frustrating experience where listeners struggled to get the records out of the tin case. German band Can is a major influence here though not 'Metal Box' isn't as good as Can's best work. The hero of this album is bassist Jah Wobble. Bassists don't usually get that much praise, but his dub rhythms come out in full force on this album. If anything keeps the listener engaged, it's Wobble. This album also introduces PiL's fantastic drummer, Martin Atkins, though only on one track as he joined in the middle of recording. Overall, this record will annoy a lot of people. It's not something you'd play at a party or a relaxing Sunday afternoon. But it's an interesting one and there is some brilliance among the weirdness of it. A landmark post-punk album.

The The walk the fine line between post-punk and new wave, not really fitting into either genre correctly. 'Infected' follows the pattern of extremely bleak lyrics accompanied with upbeat music. But the main significance of this album was probably the unusual decision (particularly for such a minor group at the time) to produce a video for every track. The videos themselves were extreme, fueled by drug use and putting themselves into dangerous situations. The police refused to try to protect them filming by a cracked house in the middle of the night. They were attacked by communist rebels in South America. The band appear to keep going on pure adrenaline. Shock factors aside, it's a good album on its own, deserving of time and consideration for the period it was made. Top track for me is 'Slow Train to Dawn'.

I sometimes cringe went that I'm getting yet another 'punk classic' and 'proto-hardcore' album. The genre, while great, has a lot of cookie cutter copies out there. Not so with The Damned. Very endearing and varied with guest appearances by Lemmy and members of The Clash. Surprisingly catchy for such a rough and rowdy punk album.

I don't know how I made it so far in life not listening to Led Zeppelin. I worried a bit about this being a double album, particularly after reading that some songs were seemingly tacked on from previous recording sessions just to make it fit. But 'Physical Graffiti' was great and without a single bad track. There's a refreshing diversity of styles here that doesn't hit immediately but listening straight through, it really solidifies. Any time a song starts to feel forgettable, it quickly turns into something new and novel. I'll definitely be revisiting this one.

The original 'art rock' album. There's a lot to say about this one. Lou Reed brought a classic rock and roll sound and married it with the gritty subject matter of New York poets, singing about topics previously off limits in the genre, including drug use and prostitution. John Cale brought in a fearless experimentation inspired by early 20th century avant garde composers. The addition of Nico is a strange choice for a debut album but she adds a further sweet strangeness to the songs she appears on. Andy Warhol, supposedly the producer, did little beyond paying for it and adding a phallic front cover image. Yet his presence is all over the album. Without his reputation and fearlessness, this music wouldn't have existed. Few albums have ever been as influential as this.

The phrase "white reggae" really sounds like cultural appropriation by today's standards. Ignoring that, the Windrush generation brought Caribbean influence to the UK and why shouldn't that influence rock music? 'Message in a Bottle' is one hell of a song and carries the album but there are other peaks, including 'Bring on the Night' and 'Walking on the Moon'. There's also some filler here but I'm enjoying it all more with every listen.

Springsteen brings a brighter, poppier flair to his working class American ballads. His music was always on when I was a kid so I was really familiar with a lot of this album, but there were a few songs I had never heard before and they sounded just as strong as the others. It's a classic album.

Ray Charles knocks you off your seat and makes you pay attention. The abrasive horns attack your senses and lead you directly into Charles' sensational voice. The force of side 1 flows into the smooth ballads of side 2, with the incredible singing still with you. As another reviewer said, he exudes pure class.

A pioneer of early heavy metal and very influential in the genre. I keep wanting to dismiss Deep Purple but I'm always pleasantly surprised by how good they are.

I was disappointed to see another San Francisco psychedelic 60s album on the list but this one was pretty unique. The instrumentation is impressive. The style feels like it's pulling all different genres from the era into a Tolkien-sequence world. The vocals are a bit distracting though. He sounds like he's trying to imitate Bob Dylan. Tone that back and let the music stand out more and you'd have a stronger record in my opinion. Despite that, there's a lot going on here that's worth a listen.

Finally! This album is how I always hope a Rolling Stones album will sound, with the right energy and depth to match their style.

'Born to be With You' is a good example of an album that takes some time to get into. The first few tracks left me a bit cold. It was only about halfway through listening that I clicked with the production and the impressive vocal talent present. Specifically the song 'Only You Know'. It was enough to make me go back and listen again with an open mind. I can't say that I loved every track but definitely a good record with Phil Spector's fingerprints all over it.

I can't help but feel like Beach House were a 'flavor of the week' kind of band. Pleasant enough to listen to and maybe something you can briefly get very excited about. But longer term, it's kind of forgettable. I really liked 'Norway' and 'Real Love'. The rest is sort of nice and calming background music. Nothing wrong with that but there's also not a lot to hold onto unfortunately. I remember these guys having their moment about a decade ago. I see it but can't imagine them being anyone's all time favorite band.

The Flaming Lips' second masterpiece, after 'The Soft Bulletin'. A very ambitious album combining themes of science fiction, love, humanities struggles. 'Yoshimi' introduces electronic elements into their sound, mixed with acoustic instruments and hip hop influences. At times, it recalls parts of early electronic music experiments, like Pierre Henry's musique concrete. It's very modern, very strange, and very human. A very unlikely album to hold the official rock song of Oklahoma.

A beautiful voice and some of the best known songwriters of the 60s. This is a lovely album. Not the kind of thing I would normally seek out myself but a pleasure to hear.

I really don't know what to think of the Rolling Stones any more. At first, knowing only some of the bigger singles, I really wanted to like them. The first couple of albums I listened to were letdowns, and a bit toxic at points. Firmly wanting to dislike this band, I was exposed to 'Exile on Main Street' and there I could finally see the hype, though I figured it may be a 'one album wonder' situation. Over the first few tracks of 'Beggar's Banquet', I feel that my initial image of them as a singles band is still pretty accurate. 'Jig-Saw Puzzle' onwards, I've warmed up to it more than most of their albums. It's not my favorite album of all time, but where it works, it works. It's rock n roll, it's bluesy, it raunchy, it's still feels a bit creepy at points. But damn if there's not some good music on here.

Some good, intelligent modern hip hop. The singles are strong and I would definitely return to 'Kick, Push' sometime. The social consciousness really comes through from the perspective of a black Muslim man in Chicago. Overall though, it's not the strongest hip hop album I've heard. 'Outro' is 12 minute acknowledgements track with very repetitive beat and has been one of the more tedious songs of this entire challenge so far. But there's enough here to show Lupe Fiasco's talent.

One of the better Elvis Costello albums. The songs 'Pump It Up' and 'Radio Radio' alone make this one worth your time. As with his other albums, there's some filler too, but here are enough hits to ignore them. Here Costello continued the momentum of his strong debut album.

It seems funny to think of anyone being offended by something that sounds so ridiculous. The very over the top artwork and lyrics make Megadeath like a parody of themselves. But the performances are great and it works as long as you don't attempt to take them seriously.

Rush are undoubtedly legends of prog rock. I'm no expert in the genre but from what I know, this album doesn't feel like it represents the best of the band, or an early landmark in the style. It's maybe a breakthrough for Rush themselves, as they're previous works weren't very successful. It's definitely good, just maybe not the best example of the genre out there.

I only really knew 'Everyday People' before listening to this album and I definitely wasn't prepared for what I was about to hear. 'Stand' is energetic, socially aware, sexy, pop, funk and psychedelic. I can see a strong influence on funk music that was to come. The album also feels like an appropriate document of the transition from the 60s to the 70s.

Describing an artist as a 'singer-songwriter' sometimes feels like being served white bread. It's often comforting and familiar, and made by the right people, it can be amazing. But more often than not, it's sort of plain. Great for background music in a coffee shop, but it can all sort of sound the same after a while. I had heard of Suzanne Vega before but never knew her music. It was a nice surprise and had a bit more character than I imagined it would, with distinct different sounds to each song. The music seems both timeless but with subtle hints of 80s pop music. Really nice album.

I've never listened to Ryan Adams before. For an alt-country album (not usually my style) it has a few genuinely good songs. But for me, it really struggles to keep the quality high throughout. He sounds like a less interesting version of Jack White. From what I've read of Adams, he does seem like a bit of a mess. He seems to always be frantically recording albums, many of which he label refuses to release (including one with the very questionable title 'The Suicide Handbook'). He's had sexual harassment cases. He seems to kind of want to play punk rock but keeps going back to country. Are you ok, Ryan? Anyway, I can see why some people like him but for me, this album was about 40 minutes longer than it needed to be.

In a sense, Miles Davis did the unthinkable with 'In a Silent Way'. He took a genre that was already defined by experimentation and freedom and he dared to change the rules even further. The reactions were very mixed. Was he taking the liberation of jazz to its next step? Or risking new confinement by bringing the genre closer to rock and roll? His use of electric guitars, extensive editing, and other studio tricks further alienated purists but excited many others. The result is something that doesn't quite sound like rock or jazz at all. It sounds like possibilities and at many points feels like a preview of what Brian Eno would later coin as 'ambient music'. I'm no expert in Davis's music, but this album has always been my favorite.

Amazing to think that the first hip hop album to reach such mainstream success and get a Grammy nomination didn't come out until 1986. And that it took rock elements and a cover of Aerosmith to make it happen, acting like a Trojan horse for the entire genre. But it definitely worked. Dated as it is, some of these songs still work. The inclusion of the song 'Dumb Girl' is unfortunate but there are plenty of hits here to help ignore it.

My first time listening to Girls Against Boys. I've heard them described as post-hardcore, and I wasn't quite sure what that was supposed to sound like. And to be frank, a lot of it sounded like 90s grunge. Not a bad thing. Parts reminded me of Nirvana and Sonic Youth, though not as great as either. Thought about in the context of its time, I can see it feeling exciting, like an important part of a scene at its height. In retrospect, it suffers from being a bit repetitive and doesn't quite stand the test of time. But it has its moments and it's fun to imagine having been there.

Incubus lie somewhere in between the high point of System of a Down and the very low point of Limp Bizkit. Which is to say it's ok nu metal but not much to write home about. I think I listened to this entire album multiple times when I worked in a record store but the fact that I'm not sure says a lot. The songs 'Stellar' and 'Drive' are good enough to be a little enjoyable but it's not enough for me to say that this album deserves its place on the list.

Echoes of Electric Light Orchestra and Elton John. Supertramp sounds cinematic and larger than life, much like those others. It's an odd choice of albums though, as 'Breakfast in America' is the more polished and more celebrated album. 'Crime of the Century' is fine but it pales in comparison to their masterpiece.

Apparently a landmark grindcore album. It sounds like the band started writing each song and halfway through decided to make it very loud in the hopes that no one would care that it's not complete. The longer tracks are a bit better. 'Siege of Power' is the only one I'd return to. Obviously though, the effect of jumping from one track to the next in rapid succession is part of the charm for fans, to the point of absolutely absurdity. I have to kind of admire the ridiculousness of releasing a 1 second song as a single. But as a listening experience, 'Scum' is mostly tedious with a handful of good moments that disappear as fast as they emerge.

Creedence are undoubtedly great musicians and songwriters. Their music is refreshingly simple and focused. While they're not a band I'd personally put on heavy rotation, I can definitely see why someone would. Previously in the challenge, I got 'Cosmo's Factory', which I would argue is a stronger album than 'Green River'. I also don't know that there's anything particularly significant about this album, other than being a popular CCR release. But it's certainly a well made album.

Very strong start on this. It has a classic, minimalist alternative hip hop sound. I know a bit of Q-Tip's later stuff and have liked his style. The quality varied a bit, but I can definitely see the influence that this album has had, given that it was released in 1991. The standout track here stands out for questionable reasons though. Is 'Infamous Date Rape' social commentary, or celebration of misgony? Given the group's messages in other songs, I can entertain the idea that it might be the former and that there is a hidden message against sexual violence. However, the fact that that same song is riddled with period jokes makes it harder to buy that message. It's an odd miss on an otherwise great album, but it's striking enough that it's hard to ignore.

An incredible, raw, and politically charged album. Tom Morello's guitars cut right through you and force you to open up to Zach de la Rocha's assaulting vocal style and powerful lyrics. Where are these guys when the world needs them now? RATM also were among the first to successfully merge metal and rap. It would inspire a lot of terrible bands to come, and angsty young Republicans who didn't get the lyrics. But Rage were always the real deal. Here is probably one of my most controversial comments for this entire challenge: I always thought this was Rage's weakest of their three albums. But I accept that I am odd man out there. Having said that, they are just a great band and it's always a pleasure to hear them.

The first Beatles album containing only original material and an important step in their evolution as one of the most important bands in pop music history. Lennon and McCartney proved themselves to be serious songwriters by this point. The fact that there were no cover songs was already unusual for pop music of the era. This album won't do much to convince the nay sayers though, as it's little more than a 60s pop album, albeit a good one. Their real breakthrough albums were still to come but 'A Hard Day's Night' was a significant step in their journey.

I don't understand the hate that Lenny Kravitz gets. I also don't see the comparisons to Prince. Listening to this album, I feel like Kravitz is trying to channel John Lennon, Jim Hendrix, and maybe Stevie Wonder. The songs are generally good and have some impressive moments, particularly on the song 'Let Love Rule'. It also has a few misses and feels like it's missing something as an album. But overall, it's impressive for a debut album.

When reviewing albums, should you separate the art from the artist? No where is this question more relevant than with Michael Jackson. The artist (allegedly) committed unforgivable crimes. Though depression and mental health issues may have explained this, we shouldn't dismiss the seriousness or the long term effects on his victims. On the other hand, this is one of the best selling album of all time by (arguably) the biggest pop star who ever lived. It's an album full of huge hits and was trailblazing in many respects. The blending of styles, the innovative use of music videos as art form. Jackson carried the torch from the ashes of disco's remains, and brought in the likes of Paul McCartney, Eddie Van Halen, and Vincent Price to help cement his status. This album broke racial barriers like none before it. Jackson couldn't even get on magazine covers due to his race, and yet he still managed such a huge impact with this album. And not just in America, but all over the world. Michael Jackson was more well known than most US presidents. So how do we reconcile these two things? For the purpose of this challenge, I'm separating the art from the artist. Put another way, I want to hear this album as it would have been heard on its release. So I'm putting aside (for a moment) the feelings of discomfort about Michael Jackson the man, to focus on Michael Jackson the artist, singer and performer. And I mean, it's a great album. Not all songs are equal quality but the sheer number of hits is more than enough to save it. Case in point, Jackson and McCartney arguing over a girl is a bit cringeworthy but it leads directly into the incredible title track. I hate that this album is marred by history because I really want to like it more.

I agree with the other reviewers who say that Dexy's Midnight Runners didn't need three spots on this list. Sometimes it really feels like the author is just inserting his personal preferences to fill up space. Having said that, it's a better album that I expected. The band are talented songwriters and performers who did well in the UK, if not so much in the US. They have real talent. Despite that, it's just not the most exciting album in my opinion. It has its moments, but it's hard to stay excited when they keep switching to long passages of very quiet spoken word sections in the middle of songs. They are really trying to make you pay attention. For the dedicated fans who are willing to shut out the world and pay strict attention to every lyric, the pay off is probably great. But not everyone wants to devote so much energy to Dexy's Midnight Runners.

A classic New Wave album owing a heavy debt to German experimental rock band Can. Devo were yet another part of the ultra productive period of Bowie and Eno's Berlin years that also included Bowie's most experimental releases and the first two solo albums from Iggy Pop. In other words, they were in very good company and really tapped in at exactly the right moment. I love Devo though it's far from a perfect album. The imperfections kind of add to its charm and the whole devolution image. I can't explain why but I can easily listen to this album on repeat. At the time of this writing, 'Gut Feeling' isn't on Spotify. I hope that gets sorted soon because it's the best song on the whole album.

One reviewer said it "sounds like a post-midnight ceremony recorded in the bayou swamp". I stealing this as I really can't think of a better way to put it. The blend of New Orleans styles with psychedelia is utterly unique, though perhaps only appealing to a niche audience. It's bizarre and haunting, somewhat hard to listen to but very deserving of a chance. 'Gris Gris' is wonderfully experimental and daring.

I had a copy of this album when it first came out. Like so many others, I discovered The Verve due to 'Bittersweet Symphony'. It is undeniably a great song. The rest of the album was always just background music for me. Pleasant enough to listen to but nothing memorable. Revisiting this album many years later, it's much the same as I remembered it. The music is good enough but nothing really stands out. It's still great background music with one stand out single. But generally I just don't understand the excitement around this band.

The quintessential grunge album and arguably one that helped usher in 90s rock. Nirvana may get the main credit for this scene, but Pearl Jam were probably the purest demonstration of the sound. The music immediately takes me back to that time. The music holds up incredibly well, particularly given how short lived grunge was.

An instantly recognizable title track. Everyone knows that song but few could probably name it. I personally would have guessed that it was written about a decade later than it was. The Hammond organ and excellent guitar riffs are a perfect combination. Enough so that the rest of the album can follow the same formula. It's simple enough but the execution is fantastic.

Wow. I haven't never listened to a single Frank Ocean song before today. I knew nothing about him except a vague idea that he was a RnB singer. Not a genre I was ever invested in. But this album blew me away. The music is impeccable, mixing elements of various genres and influences. The content is free and vulnerable, taking on numerous voices vividly. I never expected that this would be an album I play on repeat, but it's incredible.

The whole 'good versus evil' album has been done by many. But few could do it as well or with as much excitement as this band. This is the album where Queen really became Queen, with more complicated structures, multi-layered songs, and heavy use of overdubs. The various talents of the band are on full display here, particularly the progressive rock stylings of Brian May and the louder than life vocals of Freddie Mercury. What's striking is how little known this album is. It speaks to Queen's ability to create both iconic and instantly recognizable singles elsewhere, as well as perfectly crafted albums like this one. 'Queen II' is heavy, detailed, and utterly fantastical.

I'm sorry to say, this one just wasn't for me. I'm not a country music fan, though I do appreciate a bit of the outlaw country subgenre. The fact that Willie Nelson supported this one did pique my interest a bit. Unfortunately, I just couldn't get into it. The honky tonk style just doesn't do much for me. I appreciate that Jennings is one of the stars of the subgenre and I didn't explicitly hate it. But it's just not one I'd return to.

I was exposed to Beth Orton through her work with the Chemical Brothers and a remix by Four Tet. I've always loved her voice. And I always attached very high expectations on her. Because of that, I never really gave her a proper chance. This album isn't as perfect as I'd hoped. But it's still very enjoyable. Maybe I should search through more of her discography sometime. There are definitely some gems on this album (like 'Stolen Car') and wading through the filler is still a pretty pleasant way to spend an afternoon.

A neo-soul record with amazing vocals. Winehouse is always smooth, jazzy and just slightly sleazy. It sounds classic while remaining modern. There's a nearly unanimous feeling that 'Frank' is the lesser album compared to 'Back to Black', but it's nice to hear this out as the showcase of young potential, as opposed to the tragic later days of a tortured soul. Amy Winehouse was definitely a talent and cut through much of the mass produced music of her era.

I had another Divine Comedy album on this challenge many months ago. I gave it a 3 and wrote that maybe the music can grow on me. Since then, I've largely forgotten it. So this album came as a surprise because I enjoyed it more than I expected and (again) feel like it could grow on me if I let it. I don't love orchestral pop but Divine Comedy are more pop than orchestra, which helps. One of these days, I may spend more time listening to this band.

A popular one from my childhood and one of the best examples of the Big Beat subgenre. Is it a great album? Maybe not. It's all surface level repetitive dance music without much substance. But it sure is fun to listen to.

An absolute classic of the San Francisco psychedelic scene and the summer of love. A handful of standout tracks really make this album shine. 'Someone to Love' has an intensity rarely heard in the genre. 'Embrionic Journey' feels like a destined journey across the country. 'White Rabbit' is the tribute to Alice in Wonderland that we all needed, whether we knew it or not. Truthfully, a few tracks are kind of forgettable but the hits more than make up for them.

Matt Groening, creator of the Simpsons, has the best review of this album. He said that the first time through he thought it was the worst album he'd ever heard and with each listen he warmed up to it a little more. By the 7th time around, he decided it was one of the best albums he'd ever heard. Unsurprisingly, many people's first reactions are pretty negative, as reflected by the fact that this is one of this lowest rated albums on this site. It's definitely a challenging one and it requires some effort on the part of the listener. Those willing to try it are in for an experience though. Personally, I love 'Trout Mask Replica' in all it's bizarre glory. It's a different view of the 60s, more chaotic than the typical flower power, summer of love vibes. This album is part bad trip, part confusion. It's blues, it's psychedelic, it's avant garde. The background of the recording reminds one more of the Stanford Prison Experiment than Woodstock, with the band effectively locked in the house, converted into a giant recording studio, under the watchful eyes of Frank Zappa. Officially, Zappa is the producer here, but his involvement is debated. More than likely, he created the space and opportunity for Captain Beefheart to fully explore and experiment, with both music and people. It's a challenging album but it is brilliant if you give it enough time.

I've always thought of ska as the music that (to quote a popular meme) 'plays in a 12-year-old's head when they get extra mozzarella sticks'. I'd heard of The Specials and figured they were more of the same. The first thing that struck me was how true they sounded to the reality of the genre, truly a mix of reggae and punk, in the '2 tone' sense. Then the album continues and just unravels in a bizarre sprawl of different genres, including... elevator music? It is pretty endearing though. A successful band, burnt out, exhausted and unsure how to approach their follow up album. Everyone has different ideas so let's just try it all! The result is an album that according to the band, people 'won't even know if they like it or not', least the first time around. Spot on description. It grows on you though. It can't be described as a typical ska record.

One of the classics of the 90s electronic music scene, and maybe the most successful French act in the history of recorded music. It's repetitive, sure, but by design. The music is for you to get lost in, and to get up and dance. The beats are all perfectly placed and the album has aged incredibly well compared to many of their contemporaries. Having said that, Daft Punk went well past these humble beginnings with two later albums, 'Discovery' and 'Random Access Memories', both of which are tragically missing from this list. Those albums deserve 5 stars, while 'Homework' should really get s 4. Still, it's Daft Punk and I can't miss the opportunity to give them a perfect score.

A classic bossa nova record featuring many of the greats of the genre. The music sounds effortless and impossibly smooth. It's understated, saying only what it needs to, exactly as loudly as it needs to, and nothing more. This is music for when you and your partner get home late after a night out but are still wide awake.

It sounds like The Smiths directly passed their torch to Suede and in doing so it created Brit Pop. This album is incredibly 90s, guitar driven alt rock. Definitely not a bad thing. Overall, I say it was a bit overhyped on its release and I don't hear the Bowie influences that others have mentioned. Nevertheless it's an impressive work.

Giants of folk rock at the peak (and soon to be the end) of their career as a duo. Paul Simon is the sole songwriter here and he gets the opportunity to shine. Despite the two drifting apart, their collaboration still works here. There are so many great songs. This is one of the best selling albums in history and it still sounds timeless today.

I had this album when I was young, but I tended to skip around the tracklisting a lot. Oddly enough, revisiting this album years later, I found it easier to sit through the entire thing. Like many double albums, it can feel like a slog at points, but there's a refreshing variety of styles which means that the low points are far from fatal. The music is orchestral, dirty, dark, and light all at different points. And it's seething with Gen X against and energy. Truthfully, this is an extremely 90s album, but it has aged pretty damn well (even if the band didn't as much). Personally, I'd have cut a few tracks out, but it's still strong enough to support being a double album.

Such slick production and performances on this. To me, the music paints a picture of urban landscapes as places where people live. They're beautiful, imperfect, a little unsettling, but more than anything, the cities depicted here are alive with people's energy. What a great listening experience this was.

The Western fascination with Indian music (particularly among psychedelic artists) began here. A deceptive simple instrumental recording about a day in the life of a shepherd from Kashmir. The musicians inject elements of Western music which are subtle but helped them break into the 60s rock scene. It's not hard to see why it was so popular, despite the odds. The music really transports you to another world and a different lifestyle. For those questioning the daily hustle of capitalism and the pursuits of seemingly endless wars, this must have felt like the perfect escape. It still does today as well. It's beautiful, relaxing and escapist. I'll also add my voice to the many other reviews cautioning that you should avoid the Spotify version which isn't the original.

Imagine a band making two albums that defined a genre, disappearing for 11 years and then coming back with a completely different sound. Few bands could pull that off quite as well as Portishead. 'Third' is a haunting Krautrock and soundtrack inspired record that throws their trip hop roots to the winds. And it works, largely with the help of the flawlessly beautiful voice of Beth Gibbons. She sounds equally strong and vulnerable and it compliments the nervous droning of the music, as well as providing relief from it. If only Portishead would ever give us a fourth one.

Any band that achieves the kind of meteoric rise in pop music will instantly attract naysayers. The Killers may not be pushing any particular boundaries. And maybe they were (and still are?) overplayed. But when the dust settles, this is just a great album, filled with hits, even if it's not cool to admit it. The opening four tracks are a complete onslaught. While the second half doesn't quite maintain the same momentum, 'Hot Fuss' is still an impressive debut. Naysayers be damned.

A murky, painful blend of grunge and metal. If the music doesn't make you uncomfortable, the lyrics surely will. Unfortunately, there's nothing that unique about a tortured vocalist, addicted to heroin and soon to die far too young. But Layne Staley's voice, married with Jerry Cantrell's guitars, has a way of dragging you down to the pit of your stomach. Love it or hate it, but it's not to feel anything here.

I imagine a lot of peope come to this hoping to find a lost Bjork album. While her unique voice and contributions are clear, it's better to think of this as a post-punk album by separate band. Anyone who followed the Sugarcubes back in the late 80s must have felt like they discovered something very special.

Wikipedia says that this album brought hip hop to a wider audience. Previously the genre was dominated by themes of either partying or political empowerment. Dr Dre helped popularize the gangsta rap subgenre, with the main attention given to excessive violence, drugs and blatant misogyny. That may have sounded shocking in 1992 but it's fairly embarrassing now. Many rap albums of this era are similarly outdated, even if they did honestly reflect a part of the culture. By leaning into the 'tough guy' image so much, there's little left after the smoke clears (pun intended). The drug use isn't offensive but it's a bit childish. The constant need to sound threatening and boast their sexually accomplishments, points to a level of deep insecurity. The production is certainly a significant step forward, bringing the dense rhythms of Parliament/Funkadelic into the genre. But for me, it doesn't hold up well against other, better hip hop albums. Regardless, that production, along with the album's popularity make it an obvious choice for this list. But it really hasn't aged well.

An early gothic rock classic. The blurry, abstract cover art perfectly reflects the music. The dark and moody lyrics over the fast basslines and drums are a perfect combination. You can picture the stereotypical goth kids dancing while staring at their own feet, completely lost in the music. 'Play for Today', 'In Your House, and 'A Forest' are the stand out tracks here. This isn't The Cure at their absolute best yet, but they're well on their way here.

This album (and band) will always sit under a massive Fatboy Slim-sized shadow. It's impossible to listen to this album without thinking of Norman Cook's remix of 'Brimful of Asha'. It's a shame because it's quite a good album on its own. While the blending of Indian and rock styles is nothing new, Cornershop revived it for the 90s in a more unique and contemporary way. The fact that it's made by British Asians also feels more meaningful than George Harrison picking up a sitar. The balance of Indian and Western sounds shifts from track to track but always feels very modern. I really enjoyed this album, despite a bit of filler. Production by the amazing Dan the Automator definitely doesn't hurt.

They don't come much cooler than Kathleen Hanna. As lead singer of both Bikini Kill she's a deserving option for figurehead of the riot grrrl scene and holds her own against the punk rock bands. But Le Tigre had a unique energy, channelling elements of the early 60s and new wave, with a strong backbone of punk. Lyrically, the album shifts between angry and a yawning boredom of right wing patriarchy. You can almost see Hanna holding the classic 'I can't believe I'm still protesting this shit' sign. The music is full of bangers that could have been singles. 'Deceptacon' and 'My My Metrocard' are some of the best punk songs of the 90s. All in all, it's just a great album.

When you're a former Beatle and decide to release a triple album, no one is going to stop you. It's still an ambitious effort though. 'All Things Must Pass' contains more of Harrison's compositions than songs than the Beatles ever recorded, despite his efforts. Had the band stayed together, Lennon and McCartney owed him more room to shine on their next album. Harrison really cements his legacy as being much more than the backing performancer to his famous bandmates. It's long and sprawling, showcasing a murkier and more jam oriented sound. But it's definitely one of the best post-Beatles albums and some of the best music of Harrison's career. As a side note, the version on Spotify has 5 bonus tracks snuck in at the end of disc 1. Kind of overkill for such a long album if you ask me. Disc 2 changes the order from the original release as well.

Part of me wants to appreciate ABBA more. I can see that they're talented, that they bring in a wide range of styles, and they certainly made something unique and far reaching. I get why they're popular but I can also see why some people hate them. It's campy in a serious way, which itself seems a bit ridiculous. It has a very important place in themed parties and wedding receptions. Not so much in my regular rotation I'm afraid.

On my 6th Rolling Stones album of this challenge, I'm running out of things to say about them. My constant complaint is that they produce very strong singles on mediocre albums. 'Let It Bleed' is a bit better in that respect. 'Gimme Shelter', 'Let It Bleed', and 'You Can't Always Get What You Want' are all fantastic. The rest is ok, if a bit forgettable. Despite that, I enjoyed this album more most of their others. They demonstrate a lot of skill and the album has some character. I can't really see this album being more significant any of the others though and there's not enough to keep it in regular rotation for me personally, except maybe those standout songs.

Al Green's voice was both effortless and emotive. The music is velvety smooth funk that's been completely soaked in soul. I really enjoyed the sound of this one.

I really didn't expect much from this album at all. A supergroup of 80s country singers is really not something that I'd ever seek out on my own. With only a few exceptions, it's just not a style I've ever enjoyed. But wow, these three really created something special here. The harmonies between the three women are perfection. The brokenhearted and down to earth lyrics are a welcome change from male-dominated (and sometimes toxic) genre. If I was ever going to warm up to country music more generally, this would be a great starting point.

I've never heard of John Martyn before this challenge. Listening to this music, that's not surprising. This isn't exactly music for the masses but it's still has it's charm. How on earth do you categorise this album? It's experimental jazz with dub reggae influences, mixed with a heavy dose of folk music. If I'd read that description before listening to 'One World', I still wouldn't know what to expect. This album desperately needs to be listened to more than once, if only to determine whether or not you like it. And it is a slow burn. The husky vocals and overlapping echoes, add to a general feeling of being out of your element but in a calm way. Like being transplanted from a big city to a small farm and forcing yourself to be in the moment even when your mind is still racing at 100 miles an hour. The closing track leans into this even further by recording at the edge of a lake in the early hours of the morning, with geese and trains audible in the background, leading to the general feeling of being miles away from your life.

I've tried listening to this album many times in the past and always gave up pretty quickly. Not that I didn't like it, I just wasn't engaged. I'm fine with the whole 'space rock' thing, but it just made me want to swap to something more familiar like Flaming Lips, and less like the Verve. Thanks to this challenge, I've finally listened to the entire album as a whole and man has it opened up for me. On repeat listens, it's finally clicking. There are a few stand out tracks, including 'I Think I'm in Love' and 'Broken Heart', but it's the chaotic 17 minute final track, 'Cop Shoot Cop' that really makes it for me. That song alone made the rest of the album come to life. It's a simple journey to start, but it's a wild ride by the end.

One of my absolute favorite albums and a gem of the downtempo style. Whether you're on a date, falling asleep, or gently floating through space, this is the perfect soundtrack. I bought this album 25 years ago and it's still just as fresh as my first listen.

The more I listen to The Smiths, the more I come to realize that Johnny Marr was the genius and Morrissey was just the lead singer. 'Your Arsenal' is the first Morrissey solo effort I've listened to and it only cements that belief. It's an OK album but it's definitely not The Smiths. To its credit, Mick Ronson's production does help. As always with Morrissey, we need to try to separate the awful human being of the artists from the art. I'm willing to do that for The Smiths but it's quite a bit harder when so much of the lyrics sound so Brexity. Imagine thinking that the line 'We vote Conservative' is edgy. Also, 'You're the One for Me, Fatty'? Really Morrissey?

Interesting to hear an early 90s house group making a (somewhat tongue in cheek?) concept album with a story. It's enduring enough to work as a a narrative or in a club. There are clear influences from acid house, punk rock and reggae. Strange though that there are so many variations of this album. It's hard to pin down what is the "correct" version.

My first exposure to Steely Dan and I can kind of understand why they have such mixed reviews. I really struggled to connect with it the first time around, though I can see that they're impressive performers. I can see the whole 'Dad rock' label, which is a weird thing to say about a band named after a sex toy. I appreciate the music a bit more after a few listens, and also dipping into some of their other releases. But I'm just not blown away by this album.

A common problem with a lot of 90s hip hop is the bigoted lyrics that haven't aged well. Sadly, Raekwon is also guilty of this, as the album is littered with examples of racism, homophobia, misogyny, and obsession with proving their sexual worth. It's not the worst offender by a long shot, but it's there and needs to be mentioned. That aside, the beats are great and the lyrical style is impressive. Once again, the Wu Tang bring their unique style to another project. It's not as strong as some other entries on the list though, particularly GZA and Ghostface Killah, but it has its moments. As a side note, this album cover is rough. Out of focus, both people's faces partly covered in shadows, a weird assortment of fonts, and a headache inducing color scheme. They look like they're pretending to rob someone's bottle of wine. And the background is, I guess, a Wu Tang necklace on fire? Or is smoke coming off of (Chef) Raekwon's head? I know we're reviewing albums and not artwork, but yikes...

Waits recreated a small jazz club, complete with audience, inside the recording studio for this album. That may sounds gimmicky but it definitely works exactly as planned. If you didn't know any better, you'd swear it was live. Waits' crude, humorous, and growly spoken word is always likeable and is made all the more accessible by the accompanying jazz band. There's no sign of his later avant garde style here. This is something you might take a date to, as long as they had a good sense of humor and weren't easily offended. This is a great showcase of his early work. I'm not sure it needed to be a double album though. Enjoyable as it was, I was ready to change albums by the middle of side 3.

An early example of blues mixing with psychedelic rock n roll. This album is most notable for the single 'Over Under Sideways Down', one of the first explorations of psychedelia within British rock, and for being the Yardbirds' only album with Jeff Beck as guitarist, in between Eric Clapton and Jimmy Page's tenures. But the rest of 'Roger the Engineer' is also pretty strong. More boldy experimental and hard hitting than most other music you'd have encountered in the mid 60s. They even beat The Beatles to the punch a few times. This one keeps getting better the more I listen to it.

Prince's sound was definitely unique. Like a sexual revolution coming in via a mix of every sound of the 80s. While I didn't find this album as good as 'Purple Rain' and possibly a bit too long, there are definitely still a lot of bangers on here. Prince was unusual and it makes some of the less popular tracks a little more difficult to crack. But it's hard not to be intrigued by the show he puts on.

I remember being exposed to Coldcut a long time, specifically the video for 'Timber' which was unlike anything I'd ever seen. And it was absolutely impossible to find any albums by them in America in the 90s, which further added to their mystique in my mind. I did eventually track down a copy of 'Let Us Play'. It was a strange album, like a massive collage of samples. Unlike artists like DJ Shadow who managed to seemlessly blend the samples into something new, Coldcut's sampling was exposed for all of the world to see. They were playful, funky, and even politically conscious, and anything was fair game to be sampled. This debut album was already long out of print by this time and remains so, as far as I'm aware, not even appearing on Spotify. It's less developed than 'Let Us Play', which is the better album in my opinion. But 'What's That Noise?' already has many of the key signatures of their sound. It's a pretty fun record that deserves a reissue, at least on streaming platforms.

Who says avant garde can't also be fun? I get that Animal Collective may be a bit too unconventional for many people's taste but I find something very accessible hiding right below the surface here. There are shadows of The Beach Boys throughout the album albeit much more experimental. If nothing else, I don't know how you can hate 'My Girls', by far the biggest standout on the entire record and arguably one of the best songs of the early 2000s. 'Brother Sport' is also extremely fun. The rest may be more interesting to think about and not exactly music you'd play at your next house party. But sometimes it's exactly what I'm in the mood for.

A classic of melancholy folk. The music is sparse, despite frequent arguments with producers who wanted a larger sound. It's hard to blame them. Before hearing a complete Leonard Cohen album, it might have been difficult to imagine his iconic sound compared what else was available in the mid 60s. This debut has some perfect moments. Even if it's a bit rough around the edges, the complete album still works well as whole. It marks Cohen's first steps into music making that would influence people across genres. In some ways, the music is less than important than the tone and the feeling of the songs. Describing it as mere folk music doesn't do justice to the beautiful bleakness of Cohen's voice. Time has been a lot kinder to this album than the contemporary reviews would have you imagine. But if the reviews on this site are anything to go by, it remains a controversial record for many.

I can see why Anita Baker is accused of being bland supermarket music. It's extraordinarily non-offensive and easy to listen to, which turns a lot of people off. The production almost flattens the entire sound. Having said that, I liked it a bit better than expected. 'Sweet Love' and 'Same Ole Love' both having enough texture to keep the music interesting and compliment Baker's gorgeous voice. Much of the album is pretty sanitized 80s adult contemporary, which isn't really for me. But when it works, it works pretty well.

A pleasant enough indie rock album. Not a bad listen but I don't really see much significant about it, apart from praise from Michael Stipe and Noel Gallagher. There is indeed a 'fuzziness' as the title suggests but I hear much novelty to it. It's an alright album but one that's unlikely to stick with me.

Sometimes it's nice to get a straightforward minimalist pop album. There's a granular quality to the sound that I really liked. The album is loaded with singles, most of which are pretty strong. As a full album, it does drag a bit from lack of variety but there's enough on here to enjoy.

A strong mix of classic blues rock created using both new and old recording techniques. You can definitely feel the power of the instruments here, particularly the grief-addled drums reverberating through the defunct recording studio.

This is definitely an album that requires several listens to fully absorb. Stylistically, it moves all over the place the ambition of the album is very much intentional and really requires your attention. Genres shift significantly even within songs. No where is that more dramatic than the sweet folk of 'No Sympathy' that morphs into a chaotic acid-tinged drill n bass song. It's a clear highlight for me, along with the title track and 'Receptacle for the Respectable'. The latter is another genre bending track, featuring the likes of Paul McCartney munching on vegetables against poppy rock n roll before diving into a heavy metal influenced breakdown. The more I listen to this album, the more I enjoy it. I'd love to hear the surround mix one day.

Nice enough pop from an 80s Australian band though I'm not sure what the significance of this album is. It's pleasant to listen to and the first few songs are pretty strong but the rest isn't particularly memorable.

I have to apologize to Nick Drake. Even though I've known and loved 'Pink Moon' for many years, I never took the time to explore his other albums. I don't know what I was waiting for but I now know what I was missing. This album is fantastic and near perfect. The fact that Nick Drake's music wasn't popular in his short lifetime is criminal to me. To call it melancholy doesn't do it justice. The vocals are incredibly lush and engaging and the music is varied and layered. He deserved so much more and the world needed more of his music.

My impression of the Charlatans has always been that they're the stereotypical 90s Brit Pop band. Like Oasis without the occasional chart-topping hit. Listening to 'Tellin' Stories', my impression hasn't change significantly but it was a bit more interesting than I expected. There's a lot more character to the music than I thought. Overall, I thought they provided a modern take on the Rolling Stones, but there are actually quite a wide range of influences that show up throughout the album, albeit subtly. I wasn't blown away, but I was pleasantly surprised to discover that I liked this album.

A very impressive debut album. Boston boasted huge rock and roll. The music started in a small home studio but is large enough to fill stadiums. The production is crystal clear and guitars are powerful and the hooks are undeniably catchy. There are hints of prog rock throughout but it remains perfectly accessible. The hits may have suffered a bit from being overplayed but that's not without good reason. This is iconic 70s rock created to be heard by the masses.

It has to be stated that Loretta Lynn delivers an incredible vocal performance. Unfortunately that's where the highlights end. The music is typical honky tonk country, nothing really special. And the lyrics are exactly what you'd expect on this kind of music. Toxic relationships and alcoholism. It's really not my cup of tea at all but it gets one extra point for Lynn's amazing voice.

The Yardbirds ended before their time, but in retrospect, they needed to move out of the way to make space for Led Zeppelin to emerge from their ashes. As the New Yardbirds had none of the original members, Page made the wise decision to rebrand. This powerful debut, without any label influence, sounds absolutely massive and still does. This album is an important piece of history connecting the blues to hard rock, even containing some completely reimagined blues covers on the way. This record is the first classic from a band that kept producing classics. It hasn't aged a day.

The title song could be the anthem of the EU, though the European Parliament probably wouldn't go for that. But what better example is there of the celebration of post-war Europe? When people abandoned nationalism and embraced a European identity. High speed train travel helped further unite previously warring countries. The past was full of mistakes but the future looks bright here. Kraftwerk took krautrock further by turning to minimalism and adapting the sound of trains into something danceable. Influenced by the recent work of Bowie and Iggy Pop, 'Trans Europe Express' went on to become a seminal work in the history of both post-punk and electronic music, even influencing pop and hip hop along the way.

Two people frantically trying to make as much noise as possible, as though their lives depended on it. This feels like being in the middle of a storm. But unlike noise artists like Merzbow, Lightning Bolt achieve this without relying on cheap tricks and synthesizers. They're just a rock band with as much adrenaline as they can muster. Rough as hell and certainly not destined for any radio airplay off of college campuses. I would have picked 'Hypermagic Mountain' over this album personally. While you still get a sense of their style here, 'Wonderful Rainbow' is a weaker album. It's saved largely by '2 Towers', one of the band's best songs.

Fun and catchy indie rock from the early 2000s. Some music snobs will lump Franz Ferdinand into the unfortunate 'landfill indie' label, claiming that the era was flooded with bland rock band all trying to sound like The Strokes. The criticism isn't completely wrong but there were still plenty of greats who cut above the noise. Songs like 'The Dark of the Matinee' and 'Darts of Pleasure', definitely kept this album securely above the landfill.

Well, expectations were a bit low for a 1950s country album so I wasn't exactly disappointed. Having said that, the lack of variety in the music is pretty egregious. Musically, I can't tell one song from the next and after 35 minutes, I was ready to switch to something else. The Louvin Brothers do some nice harmonizing. Lyrically, it's pretty dark as well, which I suppose may be notable for the 50s. It's also nice to be reminded of Nirvana halfway through.

Sometimes this generator really surprises me. I really was not impressed by 'Grievous Angels' by Gram Parsons, an early album on my journey. Yesterday, I got the Louvin Brothers and similarly didn't really like. So today, I get a project by Gram Parsons with heavy influence by the Louvin Brothers. And actually, it was pretty good! I remember being disappointed by 'Grievous Angels' and the claim of a 'cosmic American music', meant to be a merger of country and 60s rock, but really just seemed like run of the mill country music to me. But here, on 'The Gilded Palace of Sin', it actually works. It's strange and wonderful, transcends both styles, and feels like it keeps leaping from the American West into the stratosphere, watching everything in between. My immediate thought was that this must have been a later album in Parsons' career, but no. So I'm happily confused by this one. Maybe I need to give Parsons another chance.

An early leader in the Afro-Cuba jazz scene, this is frantically danceable in a way that would have made the stiff upper lipped people of the 50s scowl. Machito's legacy influenced a wide range of other artists including Dizzy Gillespie and Charlie Parker. Not a personal favorite but fun to hear.

This is about as dated as music gets. Adult Contemporary and Sophistipop were niche even during their heyday and neither were ever considered particularly cool. Listening now just reminds me of music that might now have been played in the dentist's office. It was an ok distraction at the time while heavy amounts of laughing gas, staring at the ceiling while I underwent root canal. But I'm not eager to relive any of that now. The brightest spot on the album for me was the penultimate track, 'No Direction', which sounded like it could have been a lost Talking Heads song.

There are stretches in this challenge when you hear a lot of similar music. Even when it's good, it can all start to sound the same. Then suddenly, they slip in some funky Bollywood soundtrack and it forces you to pay attention again. Man, this was a fun album. It's almost abrasive at times ('Naag Devta') while also giving off strong James Bond vibes. It really speaks to the power of music in cinema that I can almost create a movie in my mind while listening to this. My biggest complaint is that I don't know where to seek out more music like this.

I'm always happy to see albums from Warp Records on this list as they have a long history of innovative releases. Kelela's 'Take Me Apart' is no exception. The blending of electronic music and R&B works flawlessly and gives both genres so much needed variety. 'LMK' is the standout track and centerpiece of the album. For my taste, I'd have preferred the rest of the album have a bit more of a punch to it, but I appreciate it's hard to do that while maintaining an R&B grounding. Regardless, it's an interesting album and has me interested to hear more from Kelela.

Tom Waits is at his best when given free reign and the freedom to pick up any instrument that he feels like experimenting with. This will certainly not appeal to everyone, but this is experimental blues for the eccentrics among us. This album marks the beginning of his most interesting period and evolution as an artist. Love it or hate it, nothing sounds quite like it.

I have a slight distrust in anyone who calls Kate Bush 'too weird'. I do kind of understand though. Her vocal style is unique, her music refuses to be complacent, and she's routinely compared to Bjork (not a bad thing in my opinion). The last point is slightly unfair as Bjork was still aimlessly jumping around Icelandic punk bands when Kate Bush was already established. If anything, it's Bjork who sounds like Kate Bush. I've always been intrigued by her music though it didn't immediately make complete sense to me. Repeated listens and multiple albums really help to connect the pieces though. There's something different and truthful about Kate Bush that's sitting there waiting for new generations to discover. Thanks to 'Stranger Things' that's exactly what has been happening. If you didn't like this one or found it 'too weird', I'd encourage another listen. Like a good wine, sometimes you need to let it sit for a short while before drinking it.

A great example of classic early hip hop. Unfortunately, the music feels very dated, but it's still good to revisit and parts still work. 'It's Like That' is the stand out track by a large margin, though it's not as good as the fantastic Jason Nevins remix.

If this challenge was only the 10 Albums You Need to Hear Before You Die, it would surely still include Sgt. Pepper. It's often credited with legitimizing popular music as a true art form. It's perhaps the first example of a band adopting alternate personas to free themselves creatively (undoubtedly, Bowie took note). It's arguably the creative peak of one of the most important bands in living memory. It's an eclectic tapestry, refusing to be bound by the strict confines of live performance and allowing the band to take full control of the studio environment. It's a defining statement about 60s youth culture, including the obsession with drugs, mysticism, and love. Though there are stand out tracks, the album is definitely intended to be experienced as a whole. Because of that, it also helped cement of the idea of an album being a whole idea, rather than a collection of individual songs (sometimes hobbled together by a marketing team). The artwork is densely layered with intellectual and historical icons, unually for a pop album. In short, this is simply one of the most significant albums of all time. Those who weren't alive at the time (like myself) might mistakenly only hear oldies here. But taken in context and as a whole album, it was truly revolutionary.

For me, this was always Pink Floyd's best album. I appreciate that that may be a controversial statement, given that 'Dark Side of the Moon' and 'The Wall' are so celebrated. But 'Wish You Were Here' always resonated with me in a different way. It adds a much needed emotional dimension and bleakness to their sonic experiments. There are reflections on their status within the music industry. And most powerfully, the 9 part opener/closer is a tribute to their former band member who had fallen from grace since his departure and was nearing the end of his short life by this time, as may have been evident by the rest of the band upon his final visits to the studio. Overall, it's powerful album, intended to be heard as a whole.

French electronic artists celebrating Argentinian tango with a Frank Zappa cover mixed in. This is the kind of album that transports you to another place and time. It has a tendency to blend into the background which suits it very well for a trendy bar setting. But unless a lot of background music, it has an interesting style that you can drift in and out of. It's always nice to remember that Gotan Project exist.

One of my favorite albums from the 90s. To me, this was Nirvana's best studio album, aided significantly by Steve Albini's (R.I.P.) production processes. In some sense, it's a marriage of the roughness of their debut, 'Bleach' with the commercial success of 'Nevermind'. Cobain thought of the album as using a handful of singles to grab the attention of mainstream kids who didn't have access, or just didn't know, about more experimental and abrasive music being made. They'd buy the album and be exposed to something that they never heard before. Well, it certainly worked on me. 'In Utero' opened up my musical horizons in a major way. It sounded fearless, emotive, and completely uncompromising, despite the occasional radio friendly song. I was so into this album that I remember hunting down the German import singles to get my hands on the b-sides (now all easily accessible on streaming services). Cobain claimed that there's nothing personal within the lyrics, but whether he knew it or not, the songs are seeped in his personal experience. The themes of birth, disease and death are unmissable and surely must have reflected the conflicted feelings of the birth of his daughter and the dark clouds gathering within his mind through his final year. The lyrics still manage to shock because Cobain was never trying to shock anyone. He was simply giving us a window into his mind. I was young when Kurt Cobain took his own life. It was the first time that I really thought about death seriously when I saw the news late night on MTV. I didn't really have a concept of depression yet, but it taught me a lot about mental health. 'In Utero' is in a sense a powerful reminder of that to me. In another universe, this album was also a signal of where the band may have gone next, if they'd had a chance. The other hint was their MTV Unplugged appearance, but I'll save that for the another review when the time comes.

Another impressive debut album on this list. The guitars are absolutely shredding and redefined the sound of rock and roll. The vocals are certainly charismatic. The album is concise and maintains a satisfyingly steady pace without major lulls. There's really nothing bad to say about 'Van Halen'. It's a staple of any hard rock collection. Personally though, I'd have to be in the mood. I really respect their accomplishments here but it's hard not to hear them as a parody of themselves at times. But that's unfair because I recognize that they're great.

I went in expecting a one hit wonder that didn't deserve a place on the list. What I heard was a slightly unpolished gem. What a shame that these guys only ever had one album. Though judging from their 10 releases on Spotify, they gave people enough to obsess over. According to Wikipedia, they struggled to get the sound they wanted over the course of three years. I'd say that those efforts paid off pretty well, as this is a varied and interesting debut, with loads of great songs. 'There She Goes' stands out like a manicured thumb on an otherwise guitar callused hand. I suspect that it may have been there undoing. It must be hard to manage the expectations of people only want a full album of that but miss out on brilliant tracks like 'I Can't Sleep' and 'Looking Glass'. But I genuinely loved this album and think that one hit could have easily been removed, or replaced with one of the many outtake versions. Hopefully they're still getting royalty checks for all of the soundtracks that used it in the 90s though.

The more I'm exposed to Tom Waits, the more I love him. Part of me completely understands why so many people dislike him. These aren't exactly accessible, radio-friendly pop songs that you put on for a nice dinner party. But another part of me thinks you're all crazy for not loving this raw, humorous, genuis mess of a person. Waits is a rare combination of vivid poetry, rough authenticity, and experimental musicology. His use of unusual instruments add to the feeling of being in the shadows of polite society. 'Bone Machine' leans heavy on percussion and was recorded in an echoy boiler room, to further cut into the listener and remind them of death and decay. Ok, fair enough, it really isn't for everyone. The two more stand out songs 'Goin' Out West' and 'I Don't Wanna Grow Up' are equally memorable but completely different. Such a great album.

I recognize the cover from my years working in a record shop, but I had never actually heard it or known anything about Julian Cope. It's definitely an interesting album that takes a bit of time to process. There's a lot of experimentation and playfulness on it. It's also something that seems like it could have only existed in the early 90s alt rock scene, which is not an insult. There was a particular freedom to that era, like some artists were ready to embrace a bit of dadaism and continually break out from any perceived boxes imaginable. Bands like The The and They Might Be Giants seem to work in a similar ambitious vein and I always find it refreshing to hear them. 'Peggy Suicide' is a great example of this, complete with various left leaning politics that would come to define Gen X, from women's rights to environmentalism. Unfortunately, the 90s were also marked by the rise of the CD and the obsession (from record labels maybe?) to fill up as much of the available 80 minutes as they could. I get why, but the 40-50 minute range has always been the sweet spot for most albums and could have really benefitted Cope here. Focus a bit more and take out 4 or 5 songs and this could be a stronger album. Still, it's a great discovery.

Mitchell is one if the great 20th century folk music poets. Her lyrics are often compared to the likes of Nobel prize winner Bob Dylan. 'Hejira' was inspired by her travels across America in the mid-70s and document a time of wandering, drug use, spirituality, and experiences with different lovers. It's refreshing to hear all of that from a woman's perspective, breaking the mold of traditional feminine roles in music and society. Musically, Mitchell moves away from her folk roots here with traces of restless experimentation and subtle jazz influences. Quite a few big name artists have named this one of their all time favorite albums and it's certaining interesting.

I have very mixed feelings about Scott Walker. I always wanted to like him more and a few songs stand out, but the last of his albums I got wasn't particularly memorable to me. 'Scott 4' is apparently a favorite of Radiohead's and was very influential on Bowie's 'Low' so I know that I need to take this seriously. And indeed this is exactly what I'd be hoping for from Walker. It's more original, more free, and more sparse. The previous albums bogged down by baroque-pop orchestrations. But what he really needed was room to breathe. 'The Old Man's Back Again' is now my favorite of his songs.

Johnny Cash is the king of outlaw country, and he brought a new element to that reputation by playing a series of concerts in prisons. The entire concept of conservative values, so often associated with country music, are challenged here. The Republicans are often associated with being 'tough on crime.' But Cash dares to address prisoners as human beings and prisons as places to be detested. It's hard to think of many live albums where the audience is just as prominent as the artist. This is really heard on the the title track, so popular that it was sung twice, denouncing the very institution he was performing in, to thunderous applause. Of particular note is the fact that this concert was televised, daring to bring the faces of those society would prefer to forget directly into people's living rooms. And a as particular anti-authoritarian gesture, Cash famously flipped off the camera men for standing between himself and the incarcerated. Does this list need two live albums from Johnny Cash recorded in prisons? I'll need to decide when the other one comes up.

A landmark album. Hugely influential on a wide varieties of genres, including post-punk, synth pop, indie rock and (whether they like it not) especially goth rock. There's some very interesting guitar work and experimentation. This album fits equally well into the art rock and pop worlds. It's dark, brooding, and infectiously upbearr. There's not a single boring track and I could listen to the entire thing on repeat. I only really one have criticism. Siouxsie and the Banshees have always walked a bit too close to cultural appropriation line for me. There's nothing wrong with paying homage to African music but there's something uncomfortable about just titling an album 'Juju' and slapping an African mask on the cover. Especially from a band that's made some other questionable decisions. This kind of stuff hasn't aged too well. Their music, on the other hand, certainly has. I really love this album, that one point aside.

The list of influences on the making of 'Sound Affects' is pretty strong. 'Revolver', 'Off the Wall', Wire, Gang of Four, and Joy Division. Before even listening, we are off to a great start. The Beatles and post punk inspiration come out in full force, but less so Michael Jackson. The album is not more than the sum of all parts but it's still pretty great anyway. A lot of good hits here from start to finish. Sorry to say to Paul Weller that I agree with his record label though, 'Pretty Green' is the strongest single. Overall, this has been a great discovery.

I was pleasantly surprised by a Julian Cope album in this challenge last week. So I was interested to hear what else he had done. Unfortunately, The Teardrop Explodes isn't quite as noteworthy. It generally sounds like a typical 80s indie rock band, recalling The Smiths or Echo and the Bunnymen. It's a decent enough album though and has some highlights. It's a fun album and has some good guitar work. It's a bit of a stretch to say it deserves a spot on this list though.

'Alien Lanes' contains an ambitious 28 songs over the course of 41 minutes. Inevitably, that ends up feeling more like a collection of half-formed demos than a proper album. The music sounds like a cross between the Beatles and pop-punk, which isn't terrible. Beatles fans may recall the suite of songs on 'Abbey Road' formed from incomplete songs. It's a similar effect here but arguably out stays its welcome fairly quickly. It's a novelty and as with other similar albums, any tracks less than 90 seconds are frustratingly short while the others are pretty decent. For me, I'd have cut out all of those micro tracks and called it a quick EP. There is something interesting about including a load of sketches of songs but for me, it's not something that I'd ever want to listen to again. Which is a shame because there are some genuinely good songs that get lost in the sprawl here. I may need to save them in their own playlist.

Funny enough, I was just thinking about this album yesterday and the fact that I never gave it a proper chance. I always loved 'Stories from the City, Stories from the Sea' and this challenge has made me really appreciate PJ Harvey's earlier works. I was intrigued with 'Let England Shake' when it came out, given its Mercury Prize win. But I just didn't click with it. Now that I've given it a proper change, I kind of see why. It's very different from her other work and requires a bit more work to appreciate it. Unlike her previous dives into blues-tinged post-punk, and her love songs to New York City, 'Let England Shake' is more like a tribute to early 20th century poets and the legacy of past wars. To understand what makes it special, you need to really focus on the lyrics, which take far more influence from T.S. Eliot than Captain Beefheart. The effect is to make the album feel firmly rooted in the past, while incorporating many musical elements of modern day PJ Harvey. The more I listen to her music, the more convinced I am that she's one of the most significant artists of this generation of music.

The stripped down final album from The Police. 'Every Breath You Take' is far and away the most famous song here, but I actually think it's one of the weaker songs (and the lyrics are pretty creepy but people have collectively chosen to ignore that). 'Synchonicity II' and 'King of Pain' are both a lot stronger and highlightsfor me. A note about 'Mother': I enjoy the occasional experimental number as much as the next guy, but The Police just aren't the kind of band that can pull it off. Overall, I didn't enjoy this as much as 'Reggatta De Blanc' but I still see the appeal of the band.

Call it dream pop or shoegaze, but neither label completely fits. They're a bit too muddled to be completely dreamy and a bit too light to be shoegaze. It feels like being pulled between the earth and sky, or as they've aptly named it, 'Heaven or Las Vegas'. The clear highlight is Elizabeth Fraser's vocals but the music also has an unusual quality to it, like a daydream you can't quite wake up (no matter how much you might want to) from on a mild afternoon. There's a mild discomfort about it but also a temptation to lie back and let it wash over you. It's hard to say how much I actually like it, but is growing on me.

It's insane that this album was released in 1967. In terms of production, performance, and experimentation, it feels miles ahead of pretty much everything else of its time. I would have guessed that it was at least mid-70s. Stylistically, 'Axis' draws from rock n roll, blues, and experimental jazz, but doesn't really sound like any of those. It has a unique character that feels indifferent to their contemporaries. This is our music, do what you want. An attitude that would keep resurfacing in punk and grunge acts to come. The big highlight for me is the excellent 'Spanish Castle Magic'. As good as the songs are, I do feel like the songs could have flowed together a bit better. In that respect, it's maybe not Hendricks' best album. But there sure are a lot of genius moments.

We can't talk about 'The Idiot' without talking about Bowie. The story is very familiar by now. By 1976, Bowie and Pop were struggling with addiction and desperate to escape their fame. So they moved to Europe to have freedom from their past lives. 'The Idiot' is both Iggy Pop's radical departure from the proto-punk of The Stooges and the beginning of Bowie's frantic Berlin Era. Bowie later admitted to using Pop as a guinea pig to experiment with new styles that he hadn't quite figured out get. For that reason, fans rightfully argue that this isn't a true representation of Iggy Pop. But seen as a collaboration, it's really brilliant. Pop's vocals fit the bleak, industrial soundscapes perfectly. Together, the two artists created a really inventive album, drawing heavily on influence from the German rock scene of the 70s, particularly Kraftwerk. The title and artwork further add to the feelings of discomfort, recalling Dostoevsky and displaying Pop in a twisted, unnatural pose. 'The Idiot' has been cited as a influence of a huge range of artists. Most notably, Joy Division, as it was famously the last album Ian Curtis chose to listen to. It also ushered in a heap of post-punk artists and would continue to be felt through industrial, goth, and synth pop acts for years to come.

Rock n roll is filled with great performers who were terrible people. Jerry Lee Lewis is an early example of both. As a performer, it's easy to see why this album is considered one of the best live albums and best rock n roll albums of all time. He's really setting a template here for how musicians can act going forward. Lewis sounds raw and growly (for his time). He sounds as though he's trying to break his piano here. Instruments are replaceable, the audience isn't. This album also represents a landmark for live recording and captures the energy of both the artists and the crowd. Of course, no one has much positive to say about Lewis as a person. Take your pick of accusations from racism to pedophilia. But to do this challenge, you need to try to separate the art and the artist. And the music is definitely noteworthy. As a side note, the version on Spotify is not the full release, which seems to be lost due to some rights issues at the time of its original release. Despite that, a tight 22 minute album gives you all the information you need. But for the purists, there are 5 extra tracks out there that don't appear on Spotify.

'In My Arms' was a massive hit back in the day. Though it's kind of feels lost to history now, it holds up surprisingly well. The rest of the album is decent with some occasional strong tracks. 'Drop the Pressure' and 'Paris Four Hundred' are fun and danceable. The title track reappropriates a fire and brimstone preacher by twisting his words into a celebration of popular music. Ultimately though, 'Destroy Rock & Roll' isn't particularly memorable as an album. Daft Punk does the style better. Fatboy Slim does humor better. Loads of artists do sampling better. Despite that, it's a decent album with a few highlights and one great song. But you probably didn't really need to hear it before you die.

Wait... Tom Tom Club were a Talking Heads side project? With Adrian Belew?? Why have I never known this before? Truth be told, I always knew of Tom Tom Club but never took the time to listen to them. That was definitely much better than I anticipated. I can understand now why Frantz and Weymouth always seemed annoyed to not get much credit for Talking Heads. Outside of the shadow of their larger than life frontman, they really shine as Tom Tom Club. A weird and wonderful album, pulling in influences from early electro, hip hop, disco, and reggae, firmly pulled into an art rock album. 'Genius of Love' is the stand out track but everything on here is really fun.

'Drunk' sounds like 70s Adult Contemporary, mixed with old school funk and modern hip hop, with lots of references to alcohol and old video games. I appreciate that it really doesn't take itself very seriously at all, but I'm not sure the novelty really merits an entire album. It does have some fun tracks though, including 'Uh Uh', 'Friendzone', and especially 'Them Changes'. For my taste, the album suffers from a lot of filler. It's definitely unique though.

Ah, what idealism we had in the 80s. Yes, the world is terrible, but we can imagine a world of peace and harmony where we stop hating each other and just dance! It's an obviously optimism worldview, but it's very tempting to let yourself enjoy it. Though I have far less optimism in 2024 than Janet Jackson did in 1989, it still makes for nice escapism. Despite that, she was addressing very real social issues, which did feel a bit risky for a major pop star at the time so I have to respect that. The music is very typical of the 80s, including very big, fun dance numbers with heavy drum machine beats, alongside ultra smooth ballads. I'd pass on the latter but some of the pop songs could develop into guilty pleasures if I was ever gave it a chance.

Some people might call this THE proto-punk album. The very first band to lay the groundwork for the genre. MC5 were also mentors to the Stooges, the best known of the Detroit proto-punk bands. The significance of this album is clear. You can kind of hear the influence of psychedelic rock of the era here but it's completed muddled by the raw energy of the performances. Truthfully, what makes this album interesting is the rough, distorted guitar playing of Wayne Kramer, which sounds amazingly skillful but still quite off and noisy as hell. Also worth noting is the battle between the band and stores who refused to carry the original version of the album due to its use of profanity. That's a familiar enough story now but at the time, probably gave them the majority of their fame. Truthfully, there are better punk bands out there. But credit to MC5, the trailblazers who set the whole forest on fire with their sound.

I never realized that I like Judas Priest before, but this was a great album. It definitely helped set a template for heavy metal going forward. Hearing about Rob Halford's struggles with his identity and alcohol during this period definitely made it more interesting, but let's not dismiss the solid performances here.

Metallica are the kind of band who I wouldn't seek out personally, but if I friend put it on for me, I'd genuinely have a great time listening. Similarly, it's been a fun listening experience in this challenge. The music is as massive and heavy as a mountain. The energy carries you from the start to the end effortlessly. I really don't have anything negative to say about 'Master of Puppets'. Having said that, by the time I get to the end of the album, I'm satisfied and feel like I've had my fill of Metallica until the next one comes up in this challenge. But that's just me. I can see why other people might be more obsessed with it.

I get that Winwood is a pretty talented musician and I really want to say something interesting about this album. But I was honestly kind if bored by a lot of it. When an artist tries to sound equally edgy and safe at the same time, it kind of doesn't sound like much of anything at all. While I appreciate some experimentation, it doesn't really suit Winwood in my opinion. But I did enjoy the more subtle tracks like 'Slowdown-Sundown' and 'Spanish Dancer' more than I expected. 'Night Train' also grew on me the second time around. Overall, it's fine and has some better moments, but nothing that memorable.

The debut album from the Pixies, particularly notable for the production by Steve Albini. The mix of punk rawness with pop elements would become a defining feature of many 90s acts. Nirvana, PJ Harvey, and Smashing Pumpkins, among others, have cited 'Surfer Rosa' as a massive influence. 'Where Is My Mind?' is the album's (and perhaps the band's) strongest song by a good margin though it would need to be included at the end of 'Fight Club' before most people heard it. I love the rough style and the clash between high and low. But if I'm completely honest, I prefer 'Doolittle' overall.

I never really listened to Kanye before he started drifting into the world of extreme right-wing racist conspiracy theories. It's a shame that he turned into such an awful, hateful person. This album was alright. There's some good variety and great beats. West broke the mold for mainstream hip hop of the time, straying away from the dominant lyrics of gang violence and toxic masculinity, and instead portrays an average person with introspective thoughts. Though to be frank, I kind of feel like he's just trying to rebel against his university professor mother a bit too much here as the key theme here seems to be how her profession is useless and he's not going to go to college. But there's no question that it was influential and it does what it does well. Personally I think that some underground hip hop still does it much better but for this to reach the mainstream was definitely significant for the time.

1977. What a year that must have been to be a David Bowie fan! Bowie recorded 4 albums that year, including two collaborations with Iggy Pop. 'Heroes' was the last of these four and the second of the Berlin Trilogy with Brian Eno. By this point, Berlin was the main base of operations. The city with its Cold War paranoia and its famous Wall permeated the recorded sessions. Despite that, it's a brighter album than 'Low', as though his frantic experiments away from fame and towards the avant garde gave him a new lease on life. Bowie allowed himself to take some inspiration from Pop's recording style in the 'Lust for Life' sessions. He invited Robert Fripp of King Crimson to contribute, a move that certainly paid off and led to the title track, one of the most loved songs of Bowie's career. But it's Brian Eno who really shines here and acts more as a collaborator than a mere producer here. It's here that Bowie began to use Eno's Oblique Strategies cards to inspire creativity and a large degree of random chance. The two would use this technique extensively on Bowie's next album, 'Lodger'. Fans will disagree about this but for me, I'd rank 'Heroes' as the least interesting album of the Berlin Trilogy. It feels like an exact halfway point between the very experimental 'Low' and much more accessible (but very underrated) 'Lodger', demonstrating elements of both. Nonetheless, it's an essential listen for any Bowie fan doing a deep dive into his music. Like most of his albums, it gets better the more I listen to it.

What better response to the bleak austerity and right-wing economics of the Thatcher era than to blend Jamaican ska with English punk? What made The Specials unique is that their blending of styles was very genuine. They're not a punk band stealing bits and pieces from black musicians (which rock n roll history is filled with), or the occasional special guest appearance, but they're actually working together as one band. Equal partners working to make something greater than the sum of their parts. Ok, maybe it falls a bit more on the side of punk, but the principle is there. And more importantly, it works and makes a very fun album. I have a slight preference for their follow up album 'More Specials' just because it's so bizarre, but this was also a great listen.

David Gray was certainly popular enough back in the day. Gray also claims that he paved the way for artists like Ed Sheeran by being a male singer-songwriter willing to bear his soul. Well, maybe, although I think it's a stretch to say that he pioneered that idea. It's enjoyable enough background music but I'm struggling to find much to sink my teeth into. It's just a bit too safe. Which is fine, just not very exciting. I feel guilty giving this a 2 as much of it is pleasant enough to listen to. But it's not something I could put on repeat and I didn't find it particularly interesting.

I'm very conflicted on Tim Buckley. The previous album I got from him, 'Greetings from L.A.' I scored 1 star. The music was a bit boring and the lyrics were trite and obsessed with proving to everyone that he sleeps with a lot of women. Wikipedia calls this his 'sex funk period'. 'Happy Sad' stands in pretty stark contrast to that later work, it's introspective, somber and remorseful. It is as much influences by folk music as it is jazz, with long and winding songs throughout. It's hard not to be transported to a bleak seaside view during ' Love from Room 109 at the Islander'. He sings an apology to his ex-wife and son. Apparently it would take another five years to actually meet his son, which undercuts the sincerity of the apology, but as an emotional expression, there's truth in it. In general, it's kind of good and without the cringeworthiness of his later work. If I had heard this album first, I might have even started to feel like a fan.

Brian Eno's debut solo album sees him moving from the world of glam rock into the avant garde art rock that he would become famous for. Here are the early experiments that would one day come into the studio with the likes of Talking Heads and David Bowie, among many others. It's surprisingly poppy for an album with so many dadaist techniques involved. Lyrics are largely non-sensical sounds later turned into words. The performers are brought in with the intention for them to clash and make some mistakes as they go. Eno would try to instruct them via non-verbal communication. It's certainly an odd album, but also oddly engaging. The most notable of the guest musicians is King Crimson's Robert Fripp, who adds an impressive guitar performance to 'Baby's on Fire'. 'Here Come the Warm Jets' certainly isn't for everyone. But if you want to understand how later art rock artists developed, it's essential listening.

'Smash' was one of the first CDs I ever owned as a kid. I used to listen to it constantly. To the point where, despite not having listened to it for nearly 30 years, I'm surprised by how well I remember it. This album triggers a flood of memories of being in my childhood bedroom and secretly lip syncing the profanity-filled 'Bad Habit' over and over again. It was so easy to feel like a rebel at that age. After a while I outgrew Offspring and had no interest in their later work and probably felt embarrassed that I ever liked them. To my surprise, 'Smash' is better than I remembered and I actually feel a little proud of myself for having this early exposure to punk. Granted, it's not amazing but in the context of what else I would have been exposed to on MTV and the radio at the time, I can see why I liked it. And it certainly left a mark by both resurrecting and popularizing punk (along with Green Day) in the early 90s. Knowing a lot more about music as an adult, I can see that it's pretty juvenile and pales before the great punk bands of the past. But it's still kind of fun, and a little shot of nostalgia definitely gives it an extra boost too.

John Cage once praised electronic music for its ability to create "any and all sounds that can be heard". In practice that means that artists sometimes spend as much time sculpting individual sounds as they do entire songs. This can definitely be heard on 'Haunted Dancehall' which is filled with unusual sonic experiments, backed up by downtempo beats. It reminds me a bit of the days when the first synthetic colors were being created. The colors themselves were more exciting that what most artists did with them. Of course, not everyone is going to love that and there is possibly a fine line between electronic music like this and a sound effects library with added beats. I enjoyed 'Haunted Dancehall' more as it went on but to some extent, it does sound more like a musical CV than a real album. Indeed, Andrew Weatherall was a highly sought after producer and remixer, before and after Sabres of Paradise. Love it or hate it, they were at least trying new things.

For many people, 'Dark Side of the Moon' is *the* great rock n roll album. As of this writing, it's the number 3 best album on the generator's global stats. It's the fourth best selling album of all time. So we need to take it seriously. Let me start by saying that I like Pink Floyd, but always preferred 'Wish You Were Here' to this one. I understand that 'Dark Side of the Moon' is a very good album, but I never quite understood why it was so particularly revered. It's obviously a huge step forward for Pink Floyd as a band and their most accessible album, but if you weren't already a fan, where's the extra appeal? I've listened to it quite a lot in the past and never really saw it. On revisiting this album now, I'm trying to be a bit more objective and two things strike me. First, the lyrics are fairly universal, focusing largely on the discontents of the modern Western citizen, to occasional point of madness. Secondly, it's a kaleidoscope of various rock styles up to (and slightly past) 1973. There's prog rock, blues, winding rock ballads, musique concrete and even glimpses into early pulsing electronic work that would later find their way to the likes of Kraftwerk and eventually David Bowie. Yet, it all feels almost seemless. I say almost because my biggest criticism is the insistence on littering the album with unnecessary sound effects, which (personal opinion) are a bit jarring and take one out of the flow of the complete album. So I accept that it's a significant album and maybe even a great one. But for me, it's not quite a perfect album, but I appreciate that I'm in the minority there.

If Paul Weller's goal was simply to make something that didn't sound like The Jam, mission accomplished. It's a little harder to pin down any secondary goal for this album. It's certainly eclectic, which I normally don't mind, but the styles feel fairly disjointed here. 'Cafe Beau' is firmly rooted in the Sophistipop style that had it's moment in the 80s. By that measure, it's probably the most impressive thing I've heard from that genre. It's ambitious and some of the instrumentals are pretty fun. But Sophistipop is just not for me. Then we get to the second half, which is full of 80s white guy rap. That's about as cringeworthy as you'd expect, though the music is actually a bit better than the first side. I can hardly call this the best of Paul Weller.

I've always been curious about Pere Ubu but never knew how to get a foothold into their music. Like there was a wall separating me from understanding what on earth was going on. The key, I now realize, is brute force. You just need to sit down and listen to it, and then listen to it again. Now, it's starting to click and I love it. 'The Modern Dance' is like a punk rock version of 'Trout Mask Replica' (I mean that in the best way possible). It sounds like jazz and punk musicians trying to record together in the middle of a minor earthquake, with resulting happy accidents throughout mingling with moments of genius and raw energy. It's musique concentrate with angst. It's the Stooges in space. This album could exist no where but deep underground. It's not about to get any radio play outside of college campuses. Yet its influence is all over modern music, in particular Joy Division and Talking Heads. I know a lot of people will hate this one, but I'm honestly mad at myself for sleeping on these guys for so long.

Listening to this album really makes me think about what the early post-punk scene must have been like, when it was still called 'new musick'. The punk scene in the mid-70s seems to have spread like a forest fire and burned out as quickly. So many of those artists were reventing themselves, rejecting the oversimplicity of the genre, while holding onto the D.I.Y. attitudes. Post punk embraced art, literature, eclecticism and experimentation, and brought it to the masses. Or whatever portion of the masses were willing to listen. Johnny Rotten formed Public Image Ltd. Joy Division took an immediate left turn early on. Iggy Pop escaped with David Bowie to Berlin for his early solo work. But I never knew about Magazine. As others emerged from the embers of punk, so too did Magazine follow the Buzzcocks. Unlike some of their darker and more avant garde contemporaries, 'Real Life' is a damn fun album. The energy of The Buzzcocks is maintained flawlessly, but the music is completely unbounded by the strict limits of punk. In this way, post punk is a more honest reflection of punk ethos, given that it rejects any predefined rules of what the genre should look like. Magazine's more upbeat style and incorporation of synthesizers may have been an early step towards New Wave. They were certainly influential on the indie rock scene, with likes of Johnny Mar and Jonny Greenwood (among others) claiming to be big fans. Supposedly, Greenwood even declined to join them in 2009 because he felt too shy. This is despite Radiohead being one of the biggest bands in the world at the time. I might not be quite as big a fan as he is, but I definitely enjoyed this discovery.

I've admittedly completely ignored Santana. I remember when 'Supernatural' came out in 1999 and vaguely understanding that it was a comeback from a rock legend filled with contemporary pop artists. I was always tempted to dismiss it as a shallow marketing gimmick but truthfully, I never disliked what I heard. Still, I was too anti-mainstream in my misguided youth to ever let myself grow to be a fan. Deep down though, I was curious. 25 years later, I finally see what I'd be missing of Santana's history. This album is fantastic, filled with great guitar performances and a heavy influence from Carlos Santana's native Mexico. It's expertly crafted and doesn't overstay its welcome. Really nice discovery.

I've always liked The Dead Kennedys. They're a bit ridiculous and hyper politically conscious. Many songs are sungs sardonically from the perspective of right wing warmongers and capitalists, but there's never any doubt about Jello Biafra'a leanings. Despite being a fairly niche band, they were a particular target of Tipper Gore and her crusade to eliminate bad words from the recording industry. Maybe their provocative name caught her attention. This is what the Dead Kennedys are best known for. And to top it off, the music is great. They were a punk band after most of the original punk bands had moved on, but they also included a lot of surf rock and a bit of experimentation. This combined with the biting political lyrics are what made this band. At least if you're like minded to Biafra. If not, expect to hate this album.

I appreciate the novelty of Motorhead but I really don't know why we needed a live version AND a studio version of basically the same thing in this challenge. Admittedly, it's a fun performance and they recreate their songs perfectly live. But all the more reason that we don't need both versions here. If you love it, you'll have a blast listening. If not, do yourself a favor and ignore the more than an hour of bonus tracks.

Try as I might, I just don't get the appeal of Husker Du or any of Bob Mould's projects. I get that they were supposed to have been a hugely influential band but I really don't hear it (Ok, yes it does sound a bit like early R.E.M. but not nearly as good). 'Warehouse' has its occasional moments ('Ice Cold Ice' stands out) but for the most part I just don't feel much of anything listening to it. A lot of it just sounds like a dime-a-dozen local indie rock band who should keep trying. Maybe I'm judging it too much against all of the indie rock that would follow and not seeing it enough in the context of its release. The length definitely doesn't do it any favors. Cutting out the weakest 40 minutes could have persuaded me to give it 3 stars. Apologies to any fans of Husker Du. I tried, but it's just not doing much for me.

You hear over and over again how this album is filled with hits and how any track could have been a single from another band. With a few expections (no one would have thought that 'Oh Daddy' is anyone's hit single), I definitely see it. This is a powerful album, produced amid turmoil, obsession, excessive drug use, infidelity and jealously. The music seems to float above it all, compartmentalized and untainted by the chaotic lives of the musicians who made it. The background adds to the lore of the album. The idea of every track being a potential single misses an important point, which is that it works really well as an whole album. Like any good album, the music varies from one track to the next, but perfectly compliment the whole work. It's a difficult balance that only a relative handful of bands manage to achieve. As of this writing, it's the second highest rated album on the generator, having recently been knocked from the number 1 spot by none other than The Beatles. For me, it's not the best album I've encountered here and I'm surprised that it's been on top of the list. But I appreciate that it's a near perfect album. My one and only criticism is that I hate the very campy and nauseatingly optimistic 'Don't Stop', partly because it's so widely played. But the inclusion of 'The Chain' more than makes up for it. I hate to feel like I'm jumping on the bandwagon here, but I don't feel right not giving 'Rumours' 5 stars.

With sincere apologies to Ms Spears, there is a lot I hate about this album. The music is the campiest of bubble gum pop, mixed with high school crush love ballads. I appreciate that for some people, that was part of their childhood and still has strong nostalgia value. I also appreciate that it takes some skill to craft pop hits to reach such a massive audience. But to me, this is just the most vacuous, juvenile, lowest-common-denominator fluff. The music was generated to move content units, as Britney herself. Would this album have reached the heights that it did if not for sex appeal? And can we reflect for a moment on how creepy it is that the world was collectively sexualizing a teenage a girl? Britney's struggles are widely known. She was clearly being exploited by her family as well as record company executives, with an eagerly complicit media eating it all up. If this was something you grew up with, I get how it would be appealing. It's designed to be marketed to kids and to speak to what they feel. It delivers what it promises. But as an adult, and especially seeing what happened to her through her fame and eventual decline, I just can't in good conscious give this a strong review. This is the only time I've been tempted to award an extra star out of pity for the artist. You dserved to have had a real childhood Britney.

Music like this makes me wish I understood music composition better. I have a general understanding about things like time signatures but I also know that some people will be able to hear a lot more in this album than I can. Despite that, even to my amateur ear, this a brilliant and complex album. I have to be in the right mood to listen to jazz but sometimes it's really the perfect thing to listen to, particularly when it's as beautifully composed as this. 'Blue Ronda a la Turk' and 'Take Five' are major highlights, complimented well by the rest of the album. You can imagine how cool a listener in 1959 might have felt playing 'Time Out' for friends. Jazz always runs the risk of seeming pretentious that way, but there's something also deeply accessible about The Dave Brubeck Quartet. At least if you're even a bit curious about the genre. It's an great introduction.

'Ys' is one if those albums that's very ambitious and an stunning achievement for any artist. Yet I can't exactly say that I like it. Maybe it's more interesting to listen to from an artistry perspective but not something I'd really listen to for fun. I get people's comparisons to Bjork. I also get the people who add 'but Joanna Newsom is no Bjork'. Maybe I just need to be in the right mood but this strikes me as the kind of album that would just sit on the shelf for years hoping that one day I'm ready to listen to it. I used to own a lot of CDs like that. But life is too short not to just listen to what you really like. I'm giving it 3 stars, mainly on technical ability and the fact that I really want to like it more.

I really don't pay enough attention to this album. I'm a casual Beastie Boys fan and like them in small doses only normally. But this is really a perfect album. The Dust Brothers extensively layers sampling style fits like a glove to their vocal style (which admittedly isn't for everyone). It's a messy collage of samples from any genre you can think of, but it's still incredibly accessible. 'Paul's Boutique' shouldn't work but it does. It should feel like an assault on the senses but it's more fun than it is work to listen to it. The 100+ samples couldn't have been sampled so easily today, when record labels realized that there's good money to be made from licensing 3 seconds of a song. That alone keeps 'Paul's Boutique' unique and years later such famous samples would need to be used extensively to make it worth the cost. But in 1989, this all flew under the radar of pop culture and kept the commercial failure of the Beastie Boys a hidden secret for the few who connected with it at the time. The secret's been out for a while though and it's now recognized as a classic of hip hop, and one of the best in the genre.

What a great find this one was! A beautifully eccentric portrait of the lesser seen sides of New York. It sounds like if Captain Beefheart was both weirder and more accessible. I never listened to Waits before this challenge. This has been my fifth (and I believe final) of his albums in the generator and it's been my favorite. It's hard to explain why exactly. It's just humorous and raw, and like it came directly from a different reality that most people don't see. Eccentricity is on full display here. Waits' recording technique was physical and deeply connected to the sounds, eschewing simple studio tricks for anything that we could make himself in a bathroom with a microphone, like a foley artist on a dare. I know not everyone would enjoy this but I loved it.

How should a band follow up a hugely popular double album rock opera? With another double album rock opera? Well thankfully not. Not that 'Lifehouse' didn't sound like an interesting concept. But sometimes it's much more refreshing to have a tight single album instead. The original plan gave the tracks a larger than life quality but editing down the best songs makes it a lot more accessible. I'd give 4.5 stars if I could, but on the strength of 'Baba O'Riley' and 'Won't Get Fooled Again', I lean towards a 5.

I suppose I'm going against the grain here with this review. I've always thought that Oasis had a good handful of strong singles but also a lot of filler. 'Morning Glory' is their most successful album, so it's a good place to look. 'Wonderwall' is a classic of course and the best song on the album. Oasis are always compared with The Beatles and there is obviously a heavy influence there. But they lack the sheer boldness of Lennon and McCartney. The songs are straightforward and safe. Not necessarily a bad thing, but the Gallaghers are no Beatles in my opinion. Their mastering technique recalls the old Wall of Sound method (which The Beatles did use at the end) and exchanges dynamics for pure loudness. But the effect works and sounds very big. There is a simplicity to Oasis which I suppose helps explain their mass appeal. Undeniably, this is a major benchmark of the 90s and the Brit Pop movement and sold like crazy at its peak. I'm not saying it didn't deserve to sell well but for me, it's far too safe to be that interesting, save a few big tracks.

I am vaguely familiar with Baaba Maal, largely due to various collaborations he has done for many years. But I haven't ever listed to an entire album of his before. I really wish there was more information available on what was meant to make 'Lam Toro' a significant release. From a small amount of reading, it doesn't seem to be among his most popular albums, just one release among his early years. So I'm taking an educated guess at what I'm meant to be hearing. Maal is clearly bringing traditional African music (specifically, that from Senegal) to wider audience and introducing what sound like early experiments merging it with Western instruments and composition. More than a decade into the world music movement, it's maybe not the most successful blend of worlds, but refreshingly, it gives dominance to Senegalese music. You'd be forgiven for missing the Western elements altogether, if not for the heavy use of synthesizers in some songs. It's not always successful unfortunately. The electronic sounds on 'Gidelam' in particular are dominant and sound like a cheap Casio keyboard that a 10 year old might learn on, but not really used by serious musicians. It works a lot better when those sounds are subtle textures to accompany more traditional sounds. Fortunately, that's the majority of the album, minus a few misses. 'Sy Sawande' is a personal favorite. There's enough here to make me curious to explore Maal's discography one day.

I've got a real soft spot for post punk, even the ones that border on early goth. I only knew Bauhaus from their earlier singles, 'Bela Lugosi's Dead' and 'Dark Entries'. Truthfully, they're not quite as good as some who came before or after, such as Joy Division or the Banshees. But they do occasionally hit just right. 'Mask' is considered more accessible than their debut album and sure enough some tracks are very catchy and danceable. 'Kick in the Eye' is a highlight. The album drags in some spots. In others, Bauhaus maintain their experimentalism, which is good or bad depending on who you ask. If you're not a post punk fan, Bauhaus are unlikely to convince you otherwise. For the rest of us though, it's still a good album.

There are two different kinds of punk bands. The ones who want to tear everything down and fight every single establishment value, and the ones who want to revel in the space that's separate from that establishment. You need the first group to have the second but the second group can also be a place filled with solidarity, hope, and fun. You could argue that it's all pointless and a bastardization of the punk ideal. But fun is the big thing that revolutionaries often forget about. No where is that more obvious than the clearly most memorable song, 'TV Party' (imagine the horror of other punks that they're celebrating television!). The lyrics are stupid and bordering sounding like a frat party, but damn if it isn't fun. As a side note, Henry Rollins is an awesome human being and I'll always be a little more generous with his projects. Having said all of this, there are clearly better punk albums out there.

Beastie Boys' debut. It sounds dated, a bit cringew8orthy, and no where near as good as their later work, particularly 'Paul's Boutique'. There's some toxic masculinity (which they later apologized and repented for), it was maybe the music of 1980s fratboys, and it ushered in an era of terrible rap-rock artists. Despite that, it was completely groundbreaking and undeniably fun. 'No Sleep Til Brooklyn' and 'Brass Monkey' especially still hold up as some of their best ever songs. Despite some filler, it's still ranked among the best debut albums of all time.

I am really not sure if this album needs to be on the 1001 Albums to Hear Before You Die or not, except perhaps for the involvement of Juliana Hatfield. It’s fine, standard indie rock. It bring me back to some carefree days of the early 90s and maybe it represents that moment in time pretty well. ‘Rudderless’ sounds like something that I could have heard on the radio during that era without knowing who it was. Is it the best example of the era though? I really can’t decide. It’s a good album, with a few strong songs. The only song that I already knew was their cover of ‘Mrs Robinson’, which is certainly good enough, but not as good as the original. Ok, so I don’t know if it’s really significant enough but I definitely don’t hate it.

A decent example of that indie means adult contemporary style that had its moment in the early to mid 90s. Hootie and Blowfish fans take note. It's an alright album but I confess that I tuned out on a lot on this one, even during repeated listens (to be fair, I picked a day when I was quite tired to try this one out). 'Weather With You' is a good song and it does some heavy lifting of the others. But it's an alright album.

It's Brit-Pop from a time when Brit-Pop albums were a dime (or 10 pence) a dozen. Having said that, for my taste, I'd take Supergrass over Oasis any day. It's a fun, heavy hitting album that's easy to listen to and lacking pretentions. I'm not sure it needed to be on the list, but it's made a fan out of me.

Incredibly smooth blend of soul and funk. Music for when you want something a bit more lowkey and digestible than Stevie Wonder.

I've always liked Doves, particularly 'Catch the Sun', which is a bit of an earworm for me (in the best way possible). But honestly, I can't really see why 'Lost Souls' deserves a place on this list. It's a fun, catchy album, sure. Praised by critics upon release (but when was the last time you heard them mentioned anywhere?). There's some fun trivia about the album too. Following a fire in their ffirst studio, they started over and recorded in New Order's studio. And they were the backing band for Badly Drawn Boy, who I quite like. I don't know if that's enough to warrant a place on this list, but I'm happy enough to hear it again.

There's so much to be said about this album. It is perhaps the most important album in the post punk and goth scenes. The influence runs incredibly deep. It was the only Joy Division album released during Ian Curtis's short lifetime, though he wouldn't see their later success. Interestingly, 'Unknown Pleasures' has none of the songs that Joy Division would become famous for. For those, you'll want to listen to the excellent singles collection, 'Substance', which is arguably a better introduction to the band. But 'Unknown Pleasures' also represents the purest document of Joy Division, the bleak soundscapes and depression-fueled lyrics by Curtis. The band members famously attended a small Sex Pistols concert in Manchester before they formed and the punk sound was strongly felt in their early pre-album releases and live shows. But also present here is the influence of Bowie's Berlin Era albums. It would take Martin Hannett and his unusual (particularly for punk bands) production techniques to really create the album's sound. Equally, this is Hannett's most famous work, as he had completely freedom to record whatever sounds he felt could compliment the songs. In truth, the band and Hannett needed one another, and both needed Factory Records to keep it altogether. The label's anarchist-tinged philosophy protected them all from the kind of interference that a major label might have insisted upon. It all came together to create the perfect storm for a few short years. Later, the world lost Curtis and the newly formed New Order would embrace Italian dance music to become one of the biggest bands of the 1980s. Many others would take Joy Division's style and run with it. But 'Unknown Pleasures' remains a unique document in music history.

It's probably an unpopular opinion, but to me this is the best Led Zeppelin album by a wide margin. There's so much depth and variation to the music here. The band that took heavy metal to the mainstream here demonstrates what else they could do. What's a better environment for a metal band (given that hell isn't an actual option) than a cottage in the middle of nowhere with no electricity or running water? That setting influenced a blend of heavy rock, acoustic blues, and other styles. Many panned this album upon its release, as too confusing and varied, and it never quite recovered to reach the celebrated heights of the other self titled releases. While later Led Zeppelin work owes a lot to these experiments and would come to be celebrated, 'Led Zeppelin III' remains a hidden gem, with only the opening track, 'Immigrant Song' (rightfully) loved. But for me, the entire thing is brilliant and engaging, and still my favorite.

This is one of those albums that I've been meaning to listen to for years but never got around to it. Thanks to this generator for finally making me sit down with Buena Vista Social Club. What an incredible album. In some ways, it shouldn't even exist, given the US embargo of Cuba. Ry Cooder had to travel illegally to bypass this. The original plan for his collaboration was to include musicians from Mali as well. When their visas were denied, they had to recruit some new musicians and rethink the whole project. With so much going against it, you wouldn't expect it to work. But from the very first notes of 'Chan Chan' you can tell this album will be something special. It might be tempting to dismiss the traditional Cuban music on this album as a novelty that you might find in a tourist gift shop. Despite Cooder's involvement, the Cuban musicians dominate here. But this is truly an incredibly produced collection that earned its place as the top selling world music album of all time. Close your eyes and listen and you can imagine being in Havana, surrounded by beautiful people, colorful buildings, and classic cars. Truly a pleasure to hear.

Everyone knows that Dolly Parton is country music royalty. That alone doesn’t do much for me, as I’m just not a big fan of the genre (with a handful of exceptions). But Parton is clearly something special. Her voice is majestic, haunted yet confident. You can feel her heartbreaks and jealousies from miles away. It is what country music is meant to be, but she does it well and better than the vast majority of men who dominate that section of the industry. To top that off, she’s also just know to be very cool. I won’t listen to this one often, if ever again. As I said, it’s just not my genre. But I said that with the utmost respect.

I remember listening to this album when it came out and liking how unusual it was. My first reaction to seeing it on this list was surprise though. Surely, it's not even Damon Albarn's most noteworthy release by a mile. Upon revisiting it though, I have renewed affection for 'The Good, The Bad, and The Queen'. Particularly considering the status of the band members (including members of The Clash, The Verve and Africa '70). Usually you expect such an impressive supergroup to put out some big, chart-topping singles. Instead, the music is an unsettling portrait of a hyper bleak, but eerily beautiful, version of London. It's bizarre and tells a story that's quite unlike anything else I've heard. It owes a debt to some of the baroque pop of the 60s and 70s but feels like it's made by a post apocalyptic band of survivors trying to find joy amongst the rubble. At least that's the image that some to my mind. I'm always uncomfortable listening to this album but I find it very hard to stop. And surely that's one potential sign of a good piece of art.

My initial thoughts are that it was certainly successful but probably not as significant as most of this list. The Beatles rose through their creative outbursts so quickly that there was obviously still a market for their earlier sound. The Monkees were clearly a record label creation with the teenage heartthrobs on the cover and unrelated writing and performing credits on the actual record. Here was their first attempt to prove themselves as actual musicians. The result is fine. I admire them for demanding creative freedom while risking a winning formula. It worked for them as the album sold well. But let's be honest, among the giants of the 60s (The Beatles, The Rolling Stones, The Kinks and The Zombies), this album really doesn't hold up that well. Maybe if it had come out four years earlier, but the fact that it came out one week before 'Sgt Pepper' just makes it feel well behind the curve. Despite that, it's a decent album anyway and there's some experimentation that's especially evident on the b side.

This was a new one on me. Arguably, ABC didn't quite stand the test of time and faded into 80s obscurity. Ok, it's a very 80s album, but it's really not a terrible one. It's got a great energy and it's well produced. It's less cringeworthy and gimmicky than other reviewers would have you believe, despite the occasional sax. It's not particularly memorable though. It feels somewhere in between the dark crooning style of Echo and the Bunnymen and the quirky energy of Talking Heads, but not as great as either. Interestingly, this album led to the creation of avant garde pop group, The Art of Noise, from the various session musicians and producers. They might have been a more interesting addition to the list than ABC. There's something endearing about 'Lexicon of Love', but if I'm honest, it's not one I'm likely to remember for a long time.

This is one of those albums that's faded in almost complete obscurity today but is actually still pretty decent. It's 80s indie pop, loosely influenced by Bob Dylan, with literary references and honest examinations of relationships. The style seems to owe a small debt to some of the more digestible post punk bands, but is a lot more radio friendly. 'Rattlesnakes' may struggle to be remembered these days, but honestly, you could do a lot worse than the Commotions.

It's always fun to hear what Pharrell comes up with. If memory serves, this album was released shortly before he became particularly well known, but he was already well established within the music industry. 'Fly or Die' doesn't have the perfectly crafted earworm pop of some of his later work, like 'Happy' but it clearly displays some of his evolution as a writer, performer and composer. Particularly noteworthy is that the group learned to play the instruments for this album, something admirable but not strictly necessary within a genre that liberally uses samples and guest appearances. It's a good album but truthfully it's just a taste of what Pharrell would accomplish later in his career. Side note, the DFA remix of 'She Wants to Move' is fantastic.

Ok, what to do with this one... Musically, it's a good album. Ignore the lyrics and keep your expectations on the low side and you'll have a good time. Turbonegro's energy is great and they can clearly make a good album. But the lyrics... guys, really? 'Rock Against Ass'? I'm tempted to think it's an elaborate joke that the fans are all in on but the band's attitude really comes across like a bunch of teenagers who feel like they're making the heaviest and most shocking music that was ever made. I mean, maybe if it had come out in the early 70s, but just throwing around swear words, seemingly aimlessly, is really not as edgy as they might think. The band name is suspicious but they claim it's not racist. I could suspend disbelief until I read about their blackface phase. Nope, sorry guys, I'm done. 1 extra star for some good rock music but it's not good enough to ignore the rest, which is just embarrassing.

Donovan is one of those artists who had a large following during his early years but seems like a more a footnote of the flower power generation today. To my knowledge, he only had a handful of really big songs (my favorite one, 'Atlantis' is sadly not on this album). Having said that, I genuinely like Donovan, or at least the little of his discography I've heard. He sounds genuine and passionate and cool in his own subtle way but without pretension. The music is heavily folk influenced with shades of psychedelia and sitar music. While that description could apply to any number of 60s artists, Donovan stands out as something special. One day, I think I should do a deep dive into his discography.

Kraftwerk themselves consider 'Autobahn' to be their true beginning. Even now, their first three albums are hardly known and not even made available on streaming services. 'Autobahn' was the album that set them apart from their contemporaries, by rejecting traditional instruments for purely electronic ones. Previously, electronic music was solely for avant garde composers and sci-fi movies. You'd never consider making a pop album out of it. Kraftwerk took inspiration from the experience of speeding on that famous motorway to create their sounds. It's a perfect match and there was something both ultra modern and atomizing about the experience. The band also formed their ultra clean cut and minimalized image during this era. That would prove to be influential for decades to come, including eventually the likes of Daft Punk. Truth be told, the title track is the much better than the second half of the album. But the whole thing is revolutionary.

Once again, we have to set aside Morrissey's toxic personality (we'll get back to that) and just focus on the music. As his first solo effort, one really can't help but compare it to The Smiths, which doesn't do him many favors. The absense of Johnny Marr is felt strongly here. Longtime Smiths engineer Stephen Street takes over Marr's music writing here and it's ok and fits the vocals well enough. But honestly, imagine for a moment this album existing without Morrissey's voice and celebrity attached to it. Who besides the most hardcore music fanatics would have heard it? Again, it's not bad and even has a few tracks that I really liked, like Late Night, Maudlin Street'. It's just not quite strong enough to stand up on its own. Back to Morrissey, he obviously has a distinct voice, which people love or hate. I don't mind the sound, but we already have The Smiths albums, which work so much better. Add to that the constant reminder that Morrissey is a right wing extremist and it's hard to put with only a decent output. At the time, we might have had some plausible deniability, but songs like 'Bengali in Platforms' really hit differently now that we now clearly where his politics are. I put up with it (albeit with some discomfort) to hear Johnny Marr. Otherwise, life it too short.

'Beautiful Freak' took me by surprise. I expected some introspective modern indie rock, which is definitely is on the surface. I didn't quite expect the uneasiness of this album though. It almost manages to reach the style of The Flaming Lips but stops but a little short of proper art rock. The music sounds introverted and kind of alien but also inescapable. It's a shame I didn't know about it when I was younger because I probably would have loved it. Despite having never heard it before, Eels have still managed to take me back in time to the late 90s and a period of subdued angst that just wanted everything to sound different from everything I had heard before.

There are some bands that, despite the lyrics, aren't really about anything at all, other than the music itself. Just a celebration of sex, drugs and rock n roll, in all of its excessiveness. Aerosmith fits the bill for me. I'm not knocking it, although I don't exactly condone it either. Particularly in the case of the ever creepy Steven Tyler. But separate the art from the artist and just listen to the music and you can see the appeal. It's a good hard rock album (not heavy enough for metal though) and it influenced a generation of 90s band. Axl Rose is not surprising. Kurt Cobain is though. But again, it's just the power of music, isn't it? Personally, it's not a favorite and it lacks any standout singles present in other albums. But it's a good document of rock n roll of the era.

This is easily the Chili Peppers' masterpiece. There's so much going on here, with the band breaking from their heavy metal style and hugely expanding the number of genres in their music. They had the freedom to experiment here, the respect for the music to play fewer notes which gave the music room to breath, and the maturity to understand how to structure a great album. Rick Rubin's production elevated them to a different plane. John Frusciante demonstrated his excellence at songwriting. All of the pieces just fit here to create one of the most iconic albums of the 90s. Two criticisms: Anthony Keidis trying to sell himself as a sex god is fairly toxic, though he at least acknowledges this with 'Breaking the Girl'. Also, the album is longer than it needs to be, a trend of the early days of CDs when everyone felt like they had to fill the entire length of the disc. This would have been a tighter album if they'd cut some of the weaker tracks. Fortunately it's still a strong album overall.

Young Johnny Cash was a hero of the outlaw country subgenre who celebrated the forgotten corners of society. Older Johnny Cash forced us to look at our mortality, while continuing to show us how to appreciate life amid the darkness. His voice, once a youthful rebel, now haunts us and cuts to the bone. 'American IV' was the last album released in Cash's lifetime and also one of his most famous. It's made of covers, carefully chosen to reflect a long and interesting life. Truth be told, most of the covers aren't as good as the originals, aside from 'Hurt' which rivals Nine Inch Nails, by Trent Reznor's own admission. But they work to showcase the power and life of Johnny Cash. Aided by the likes of Rick Rubin, Fiona Apple, Nick Cave, and John Frusciante, this remains one or Johnny Cash's masterpieces in the twilight of his life.

Leonard Cohen's second album features reflections on love, war, and modernity. It's more stripped back than his debut, allowing his voice to stand out more. It wasn't necessarily a welcome decision as the album had mixed reviews on its release. Retrospective reviews are far kinder to this and Cohen's other early work. The most revered piece on 'Songs From a Room' is the opening track 'Bird on the Wire'. Cohen took inspiration from his time on the Greek Island of Hydra where he'd purchased a home around this time. When he arrived, the island was disconnected from the world, as those a place lost in time. Perfect for a singer needed to escape his fame. Cohen watched as telephone lines were first installed, signalling that the modern world was creeping in everywhere and inescapable. In the song, he longs to hold onto to the simplicity of the place as he knew it, from a choir of drunken men singing in the night to watching a bird gently land on that newly installed telephone wire, hanging amid the serene nature of the place. 'Songs from a Room' may not be Cohen's greatest work but it still manages to leave its mark.

Strange to think that this album came about with Scritti Politti trying to get off of Rough Trade and quitting Marxist groups. Whereas today, many major bands trying to get off major labels and reject capitalism. I really wasn't familiar with this band before but you can see why they'd have been big in the 80s and largely forgotten now. This music is heavily dated and the vocals sound like a Michael Jackson impersonator. But even for a band who didn't quite survive the test of time, the 80s really did have its charm. The music sounds vibrantly (or even blindingly) bright and purely synthetic. It's like rejecting the real world and deciding to live inside the set of Tron. 'Cupid & Psyche 85' is bound to be someone's guilty pleasure.

Courtney Love certainly got a lot of street cred for hanging around (and sometimes dating or marrying) rock royalty of the 90s. I confess that I primarily still think of her as the wife of Kurt Cobain who publicly cried and swore at his funeral. It's disrespectful (and a bit sexist) to only associate a person by their more famous partners, so I'm trying to evaluate this music on its own merit. It's difficult because I feel like I'm hearing so much of Billy Corgan's influence here in the collision between grunge and pop music, but Love does bring her own style and sound in as well. Hole was never really on my radar, but Love did undeniably manage to become a star in her own right, outside of the shadow of her famous associations. As an album, it's a pretty good piece of 90s rock. And it feels weird not to include Courtney Love in that history.

I great album for when you're in the mood for Brian Eno, but want a bit more indie rock mixed in too. This is shoegaze without the extreme melancholy, or rock to listen to while you're floating in space (appropriately enough, that would be the title of a later album). Sit back, close your eyes and let it wash over you. When you wake, you'll feel refreshed but remember only bits and pieces of what you just heard. If none of that appeals to you, then this album isn't for you.

I guess this album is most notable for the being the one that finally broke up Simon and Garfunkel. Apparently, it started as their next album (following their first break up and long hiatus) before Paul Simon decided it would be better as a solo album. Art Garfunkel got offended and quit and Paul Simon removed him from the recordings. Given the significance of that group, I suppose it's a fairly important moment in music history. But I confess that I find the actual album to be a bit boring. It strikes me as a moment in time the long gap between 'Bridge Over Troubled Water' and 'Graceland'. Slightly interesting background, but it's hardly Paul Simon's best work.

I liked this one much more than I expected. The Gun Club sound like rockabilly meets punk, with a heavy influence from pre-war blues. That description wouldn't have excited me as much as the music itself which feels like it could have gone back in time to have influenced The Stooges. It did however very clearly influence Jack White. The blueprint set by The Gun Club are all over The White Stripes' albums. The Gun Club featured members of so many other bands over the course of its existence that it's hard to believe I haven't stumbled across them before. The band described their own early work as "too arty for rock people, far too rock for arty people, too cuckoo for the blues crowd and too American for punk". Spot on. The music really does exist between those worlds.

I really didn't expect Brazillian death metal to be my 500th album, but here we are. I've heard of Sepultura but never listened to them before. I know they're big in that scene. It's good for what it is, a shredding metal album. The noteworthy elements are meant to be that they started taking more influence from industrial bands (I don't really hear it to be honest) and was the first experiment in incorporating traditional tribal drumming to their music. I was interested in that but it's only really obvious on one song, 'Altered States', which was the highlight for me. The rest was fine, but was pretty standard metal without much that stands out to a non-metal head. They've got another album on this list and I'm curious to hear how they have evolved later in this career.

Man do I love this band. TV on the Radio were so incredibly cool and it's a shame that they haven't released anything in the past 10 years (as of this writing). Tunde Adebimpe, David Andrew Sitek, and Kyp Malone had such great chemistry and made such fun albums. 'Dear Science' is arguably their greatest work (although personally, I'm torn between this and their debut album). My biggest criticism is that my favorite song, 'Family Tree' is right there in the middle and always delays me listening straight to the end, as I can't help putting that song on repeat.

One of those albums that I've never heard before, except that I have. I knew a lot of those songs even if I didn't know they were on this album. It's hardly surprising given the massive fame that Michael Jackson had. I'm putting aside the troubling allegations that dogged him later in life to just look at the album itself. Undoubtedly, it's a classic that helped set the template for decades of pop stars to come. It's not as good as 'Thriller' but this is probably the point where he became the pop star that would be world famous. Not just the kid from the Jackson 5 but a force himself, harnessing disco, pop and R&B into his own creation (very much aided by Quincy Jones). It definitely deserves attention as a significant part of music history, even if it's not a personal favorite.

As a Sonic Youth, I somehow never got around to listening to 'Sister'. I always knew of it but had dismissed their pre-Daydream Nation material as them still finding their sound. Having finally dived it, it feels crazy to me that I've been sleeping on 'Sister' for so long. This is a fantastic album and very worthy of their name. It's up there with Daydream Nation, which I'll still give a slight edge to. The song structures are poppy enough to balance out the noise rock sound to keep it just abrasive enough to keep listening. The nice thing about these kinds of discoveries that hide in plain light, is that I now have these amazing new songs to listen to, despite being released almost 4 decades ago. I will definitely be returning to this one.

Nearly halfway into this challenge, I'm starting to encounter fewer and fewer surprises. There are only so many punk records I need to hear (though I like them enough). Occasionally I still get surprised by a new artist. Very rarely do I get to hear an entirely new genre. But that kind of find is what I love most about this challenge. Rai music is completely new to me. I can hardly call myself an expert after just one album and a handful of Wikipedia entries but it definitely sounds pretty interesting! From what I can gather, it emerged in poor communities in Algeria as a rejection of both traditional Arab values and French colonialism. The style appears to be characterized by political stances and incorporation of various other genres, most notably Western popular music. Though I'm mostly ignorant of this movement, I can see that Khalid is a major player in it and it's not hard to see why. The music definitely has its charm. It's varied and infectiously good. I can't help but put it on repeat despite having no background to it. The most memorable moment is also my least favorite, the cover of 'Imagine' which feels a bit gimmicky. But it doesn't prevent the rest of the album from being a great listen.

They are clearly good musicians. 'Peg' is a decent single. But I just cannot see the appeal of Steely Dan and I am trying. Robert Dimery clearly thinks that I need to, as there are 4 Steely Dan albums on this list. I'm really trying to approach with an open mind and listen multiple times. I got 'Pretzel Logic' a few months ago and thought "maybe if I get a more famous album, it will stand out more." The music does get a bit better after repeat exposure, but it just really doesn't blow me away. I'll give it a three because I can see that it's ambitious and well produced. I don't know hate this album, but would just rather be listening to something else. I'm clearly missing something with this band but I'm unsure how much I care.

A landmark album from Stevie Wonder, where he proves himself as an independent artist and someone to be taken seriously. Previously, he'd been considered a child prodigy, acting mainly according to the directions of his management and record label. Really, it's his second album displaying his new artistic freedom and explorations of layered electronics. But 'Talking Book' is huge step forward from 'Music of My Mind'. You only need to listen to 'Superstition' to understand that he's becoming a whole new kind of artist here. I hadn't listened to this album before, but it's really impressive. For me, it's not quite as good as the follow up, 'Innervisions', but still a great album marking the 'classic era' of an incredible performer.

There are two ways to view Paul McCartney's debut solo album. Either it's a rushed, half-assed record trying to take attention away from Lennon's (then secret) departure from The Beatles. Or it's a masterpiece of lofi recording from one of the century's greatest songwriters. In truth, it's a little of both. After Lennon's decision to quit, McCartney isolated himself and started to record an album in secret. When he then butt heads with Harrison and Starr over the rushed release, it caused the final breakup of the group. Due to the nature of the recording, the music sounds incomplete and unpolished, like early demo recordings. The lack of his bandmates feels striking here and one can imagine the layers they could have brought in. But 'McCartney' also has a certain minimalist charm. When does a song become a finished song? There's no right or wrong here. The Beatles had already experimented with that idea by stringing together various incomplete songs into a medley during the 'Abbey Road' session. But now he took that a step further to showcase exactenugu at he could bring on his own. Whether it's good enough without John Lennon is for the audience to decide. These home recordings are fairly austere but certain songs really shine, particularly 'Maybe I'm Amazed'. Reviews of this album have been mixed. I'm argue that it's not McCartney's best work (I prefer the very offbeat 'Ram' personally). But it's certainly significant for the backstory and the template it set for lofi recordings. That idea would later be embraced by punk and garage bands who no longer felt that they needed a fancy studio to be able to make a good album. You just need instruments some good ideas, and something to record them.

Ok to start with, the music on Spotify is not the same album as what is listed in the book. Near as I can tell, 'Logical Progression' is accurate long out of print and at some point was replaced by an inferior but confusingly titled 'Logical Progression Level 1' compliation. The tracklisting is almost entirely different. This is one of those rare occasions when I won't listen to the full album. First because it seems impossible to find a version online that matches the original 100% (you can find some of the music but with gaps and without the continuous mix from Bukem), and secondly because I used to own the original CD. I did revisit some of Bukem's original songs on his 'Producer 01' album, which is a pretty good representation of what this compliation was going for. Bukem took a background in jazz fusion and used it to mix ambient textures with drum and bass. For my money, it's pretty decent. I'd take it over Goldie any day, though it's not as good as Roni Size or Photek. If you like the genre, you should take time to explore LTJ Bukem. If not, he probably won't convince you, especially not with this version on Spotify.

I haven't heard of this band and frankly struggle to see why it's included on the list. The Wikipedia page quotes an Icelandic newspaper's review. No offence to Iceland here, but it does feel a bit like they could have found a more well known publication for a review of a band that's within this list. Having said that, I can definitely imagine this album being an early influence on Sigur Ros, albeit within the same level of innovation. The music isn't bad, just not the level I'd expect for this generator. I like 'Blue and Grey Shirt' and 'Highway 5', but much of this was a bit forgettable unfortunately. It's nice enough as calming background music though.

Famously, this album is thought of as the soundtrack to sex, and probably has been more times than we can count. You only need to listen to the first three notes of the album to evoke images (both serious and comedic) of a provocatively dressed person in seductive poses. I honestly can't think of any song that better represents sex than 'Let's Get it On'. The rest of the album continues the themes of passion and intimacy that Gaye became famous for and it holds up as a classic. More interesting is the background to the album, which is worth reading. But fair warning, that this next section will definitely kill the mood for you. I honestly would have never guessed that Marvin Gaye was ever traumatized about sex from his preacher father. The story really adds so much to what the album represents. We all know it's a celebration of sex and love, but who knew that this was actually about healing for Marvin Gaye as well? Turning sex into something healthy and beautiful in constrast to the demonized view he'd been given in childhood. The story gets crazier when you realize that his father, who he's clearly rebelling against here, would kill him about a decade after this release. However, you look at it, as a soundtrack to sex, or as a lighter chapter in a very difficult, tortured life, 'Let's Get It On' is an indisputable classic.

I had previously dismissed some of Steve Winwood's solo efforts as proficient but too safe. Like he just needed a bit of a blunt edge to him. I hadn't listened to Traffic before, but that was my first instinct here too. But I have to say, this album really grew on me and I honestly think it's excellent after a few listens. While I'm not crazy about Winwood's voice, the music is fantastic mix of rock and jazz with a heavy nod to traditional folk music, particularly notable on the title track. The song writing is very impressive. It twists and turns all over the place, weaving a complex narrative. For me, this really benefitted from repeat listens. The first time thing, I was tempted to give a fairly generous 3, but man has it opened up now. Turns out that I kind of love this.

This is definitely case where the album cover really does not reflect the music. I get it as there's a theme of nuclear war, and the image drives home the seriousness of that danger. But musically, you really expect something more dramatic and heavy than what we have here. But maybe it's more striking that way because it's not a heavy metal album, which often have an element of self-parody. As for the album itself, 'Beyond Skin' is a decent example of world music mixed with Western influence, especially drum n bass. It's similar to Talvin Singh's work, though it's a much more serious statement. There are two ways to listen to this, as background music in a trendy coffee shop, or as a serious contemplation of the fragility of the modern world. The former is easier, as it's tempting to ignore the subtle clues about the dark theme and just let the (somewhat Westernized) images of India wash over you. But then you suddenly hear Robert Oppenheimer's chilly words (quoting the Bhagavad Gita, tying things back to India). They end the album in stark contrast to the very light music. It rips you out of the comfort of your travel daydreams and urges you to listen to the whole album again, but paying more attention this time.

I guess I'm in the minority here, but I love this album. Drum n bass (or jungle as some people used to call it) is a genre that was just flooded by artists who all kind of sounded alike. It simple enough. Grab a sample of the famous 'Amen break', speed it up, and put some synths on top and you've got yourself a jungle track. It's simple, it works, but it gets a bit boring. The mid-90s saw a handful of artists who managed to do something a little more interesting with the genre. Goldie's 'Timeless' was heralded as a classic, but personally it leaves me very bored, despite many attempts to get into it. LTJ Bukem has some decent songs if you just want some chill background music. Photek is interesting, though he never really managed to create a strong full length album. A lot of this now sounds pretty dated. Goldie doesn't really seem so timeless any more. But for my money, the true heroes were always Roni Size and his group Reprazent. 'New Forms' is (for me), the one really impressive drum n bass album that actually survives the test of time, if only because it has more character than the others. It has the dynamics that are severely missing from Goldie, the urban landscapes missing from Bukem, and the variety missing from Photek. It's heavily influenced by hip hop, and lightly by jazz. It's rooted in an urban landscape but occasionally lifts you up into space before you plummet back down and hit the ground running. The vocalists aren't merely singing on these songs, but feel slightly chopped up, as though their words are trying to fit into the space in between the beats. 'New Forms' won the Mercury Prize when it was released and it's well deserved. My main complaint about 'New Forms' is that the 2 disc version starts to drag (never mind the anniversary edition with 4 discs!). Technically, this is the original, with the single disc version coming out later. The album only needs the first disc, no more and no less, and I treat the other one as bonus tracks.Aside from that, I think it deserves serious consideration as a classic from that era.

This is a complete Who's Who collection of artists who I should probably know more about than I do. It's very hard to deny the Crosby's songwriting, and the importance of this group of musicians to the San Francisco music scene of the time. In contrast to much of his other work, this album is chilled and airy, evoking the image of the album cover of looking out to the sea at sunset. It's calm and introspective and beautifully done.

Right, another Kanye album... OK first, we have to start with the man himself. He's an egotistical racist and seems pretty unstable. Some song titles remind me a little too much of Kanye the man. 'I Am A God' is obviously how he sees himself. 'Black Skinhead' is how the rest of us see him. This is only the second album I've heard by Kanye, the first being \"College Dropout', which was ok but not good enough to ignore his antics. The thing is, if I'm going to try to separate the art from the artist, 'Yeezus' is actually pretty damn good! It's bound, abrasive, experimental and it doesn't quite sound like anything else out there. For the list of collaborators alone, it would make me sit and take notice. Daft Punk, Arca,, Hudson Mohawke, Lupe Fiasco, Rick Rubin. Clearly not everyone's cup of tea but I have to admire artists who can risk their fan base to make something truly different and exciting. This puts me in the uncomfortable position of actually enjoying a Kanye West album. Had he been a different person, this would be an easy 5 stars but I have a really hard accepting that for such an outspoken Nazi.

Ok, it's maybe not the best of ABBA but it has its charm. 'The Visitors' sees the group becoming more mature, both musically and lyrically. You don't really expect Cold War lyrics in ABBA songs, but maybe we should have. The band was also undergoing two divorces among its members so it's kind of amazing that this album exists and it's as good as it is. But hey, it worked for Fleetwood Mac, right? There's more depth and emotion on this album than their previous works, though it's lacking the obvious singles. This was the final ABBA album before they finally made a new one 4 decades later. It's one of the first digitally recorded albums and one of the first issues on CD, which seems fitting.

There's never been a group that sounded quite like Boards of Canada. They rejected the trend of electronic dance music that was growing in popularity at the time. Instead they drew influence from early electronic composers, mainly from film scores. Their name refers to the Film Board of Canada which produced documentaries that the brothers used to watch and were influential on their sound. The music evokes strong feelings of nostalgia, childhood and nature. I've always felt that there was also something unsettling about the music. For me, it recalls the feelings of being a child and experiencing a huge world. There's innocence, wonder and some fear in this music. This is the mature world of adults seen from the vantage point of a child. I also find a sense of isolation from the world in BoC's music. Like it's separated from the city and from home, to discover a new place. For an adult that might just be a camping trip. But for the child, it's the opening up to a new and curious world. Few artists can manage to create such vivid imagery with no lyrics.

I can't say that I'm a huge fan of The Doors generally. I have found some of their music to be a bit boring and some a little more interesting. Their self-titled debut however was something special. With all of their best known tracks in one place, this is surely the best of The Doors right from the beginning. The organ sounds throughout the album give them a unique psychedelic vibe, matched with their rock energy. Arguably, this album has some filler, but it's still significant if only for the inclusion of 'Break on Through', 'Light My Fire' and 'The End'. Surely 'The Doors' is one of the best debut albums out there, even if their later work couldn't quite match it in my opinion.

'Sweet Baby James' is a pleasant album. It's introspective and relaxing. As far as folk rock goes, it's decent, but maybe not at the level of some of his contemporaries. Bob Dylan, Simon and Garfunkel, and Carole King among others, did it better, though King does appear on the album. Taylor does incorporate elements of country and what I'd almost call funk, placing him firmly at a crossroads of the early 70s. Also interesting to note that he was effectively homeless when recording this album. It's not a favorite, but it's not a bad album.

The world of art rock was split wide open by 'Another Green World'. Eno utilized his Oblique Strategies cards to generate ideas and overcome writer's block. The cards were something like odd, minimalist writing prompts. Although Eno had used them before, the results really shine for the first time on this album. Other musicians (including Phil Collins and Robert Fripp) would receive their own cards, often with strange contrasts to what their fellow musicians were playing. Eno would randomly shuffle cards to instruct the others what to play, or imagine instruments such as 'snake guitars' which he'd then have to figure out what that meant. The result is an utterly unique piece of art that's also quite accessible, as long as you don't mind the lack of traditional song structures, which are certainly out of the window here. The legacy of 'Another Green World' for Eno was two paths. One, as a producer for the likes of David Bowie, Talking Heads, and others, he's apply the ideas of this album to their music, to much more commercial success. The other was to take the minimalism of these songs to their logical conclusion when he create 'Music for Airports' and essentially launch the ambient music genre. Either way, this is a landmark album.

The Darkness are a band that came several decades too late but that clearly didn't stop them. I always respect the bands who just seem to be having fun. You may dismiss the idea of glam rock from the early 2000s as gimmicky. You may laugh at some ridiculous lyrics. But honestly, try not to have fun listening to this album.

As of this review, this is the most recent album to feature in the list, at least until a new version of the book is published. Recency bias is hard to overcome. It's definitely a good album. Is it a great one? Arguably. Deserving of a spot on the list? I'm not sure. I suppose Lana Del Ray was a big name in music for a while and should feature somewhere, so why not 'Chemtrails Over the Country Club'? It's a nicely done, bittersweet singer-songwriter affair. It evokes feelings of rainless clouds covering an otherwise beautiful country scene, echoing the lyrics of beauty and loss. I nice surprise is the guest spot by Jackie-O-Motherfucker singer, Weyes Blood. Though frankly, I might have preferred one by her instead. Note to the author, 'Titanic Rising' would be a great addition in the next edition of the book. Until then, Lana Del Ray has been a lovely, melancholy listen.

My first thought about this album was that it's a British white guy trying to sound like Michael Jackson and Prince. By George Michael's own admission that's exactly what it is. The desperation to be taken seriously after years in Wham probably led to the blunt titles like 'I Want Your Sex'. Sublty won't do when you're trying to prove that your pop album isn't for kids. Having said all for that, George Michael does achieve much of what he set out to do and it was certainly reflected in sales of the album. Although his influences did it better, he did earn a place among them. The album is surprisingly good and manages to have its own identity, with a good energy and jazz elements that give it character. I could do without the rather bland 'One More Try' but I suppose the album had to have a ballad on there. 'I Want Your Sex', 'Look at Your Hands', and 'Monkey' are all great songs. I was fully prepared to dismiss it as an outdated pop flavor of the month and I'm genuinely surprised how good it was.

Clapton is certainly a good blues guitarist. Equally, he's a pretty awful person. I partially put my dislike of him on hold for Derek and the Dominoes, as it's really an excellent album. This one is a lot less interesting. His cover of 'I Shot the Sheriff' is the only song that interested me that much. But it's hard to appreciate his engagement with Black culture while also remembering his racist views. The rest showcases his skills but not.much else, and not enough to ignore the person behind the music.

I'm not very familiar with the (apparently famous) Wainwright family. To the extent that I always thought Rufus was the father. So I went in quite blind to this album and was pleasantly surprised. On first listen, I was hooked by a couple of songs ('I Don't Know What It Is' and 'Beautiful Child'), and the rest of the album has continued to open up with repeat plays. The music reminds me a lot of Sufjan Stevens and sounds very cinematic at points. The album as a whole is quite dynamic. It's easy to stop paying attention during some of the quieter moments, like the first half of 'Go or Go Ahead' but it always wakes up again draws me back. It is maybe a bit pretentious of hipstery (the album cover doesn't really help), but I really did enjoy it, much more than I expected. If it's good enough for Bowie, it's good enough for me.

Sometimes I think I shouldn't dig too deep into Wikipedia when reading up on daily albums. I'll get to that. First, this album was surprisingly good. It seems to have been a landmark release for metal, particularly thrash metal, picking up where Metallica left off. There's something ridiculous about these lead singers doing their best cookie monster impersonations, but I still love it. Even though it's not my usual style, sometimes I'm really in the mood for something exactly like this. It's raw, energetic and heavy. And it's great. I was a little familiar with Dimebag Darrel and his story. But I kept hearing people call the lead singer an asshole. I was tempted to ignore this until I heard the lyrics to 'No Good (Attack the Radical)' and I found the message to be a little too vague. So I went a bit deeper into Wikipedia and Phil Anselmo. Sure enough, he is a racist asshole. Just when I was about to call myself a Pantera fan. Never meet your heroes. In the modern day, maybe don't Google them either. Great album otherwise.

'Come Away With Me' is a pleasant enough album. I listened while watching the rain out of my window, which was very fitting. I don't think that Norah Jones necessarily broke any boundaries with this album, but it's a nice, relaxing jazz standards record and sometimes it's just what you need. It was released by the legendary Blue Note record label, which had released albums from many of the greatest names in jazz, including Miles Davis, Thelonious Monk, and Dizzy Gillespie, among many others. I don't have much in particular to comment about this album, except to say that she certainly has a beautiful voice. Great music for a coffee shop or rainy afternoon.

The Soft Boys really feel lost in time. But was this album released too late for the 60s psychedelic movement? Or too early for 90s indie rock? It exists somewhere in between but not along the usual evolution of rock music in the intervening decades. Instead, it opts to revive the Byrds and the Beatles while injecting it with experiments from a future beyond 1980. It's punk, new wave, classic rock, and psychedelia all rolled into one. At many points, it reminded of Velvet Underground, if they'd gotten their start in the early 80s. The more I listen, the more I love this. What a hidden gem this album is!

'Back to Black' sees Winehouse shift from the neo-soul of her debut album, to heavy influence from 60s girl groups like the Shangri Las. The innocence evoked from that early pop music contrasts starkly with the very tragic lyrics. You can't help but imagine the scandal of one of those 60s artists singing about rehab but Winehouse does it truthfully and bluntly. It's a bit unsettling to think of so many people singing along to one of popular music's most obvious cries for help. Winehouse's early death was shocking but probably surprised few of us, given her lifestyle. She was a unique talent and filled a void in the music industry that few knew we had. Truthfully, the tracks produced by Mark Ronson are a lot better than the Salaam Remi ones. But it's a definitely a powerful album regardless.

The Everly Brothers are obviously very dated. The lyrics are sexism dressed up as teenage heartthrob romanticism. Although I don't care for the music much myself, I can clearly see the importance in music history. This is a huge influence on loads of artists, including the Beatles, Simon and Garfunkel, the Rolling Stones, and the Beach Boys. They'd all go on to do things much better but the Everly Brothers helped shape the direction of rock n roll to come, incorporating elements of country and R&B. It feels intrinsically wrong to think of these guys as playing a crucial role in the development of all popular music to come but credit where credit is due. They did inspire a lot.

I do like a bit of T Rex now and then. I wrote in my review of 'Electric Warrior' that Marc Bolan beat Bowie to being the early champion of glam rock and probably could have gone on to achieve a lot more if he hadn't died so young. 'The Slider' is another impressive performance, this time showcasing more of a heavy metal influence. It elevated T Rex well beyond their teen pop reputation and earned the praise of Johnny Marr, Gary Numan, and Guns and Roses, among others. I liked it but also went back to relisten to 'Electric Warrior', which in my opinion, is still the better album. But as a follow up to that masterpiece, 'The Slider' is a powerhouse of a record.

Fleetwood Mac as a post punk band isn't something I ever knew existed. Well ok, they're not quite post punk here despite Lindsey Buckingham citing the Talking Heads influence. But it's certainly more experimental than 'Rumours'. It's the frequent question for successful bands, how do you follow up your masterpiece? You typically either try to recreate the same success (to the excitement of record label execs) or you do something totally different. Either way is a gamble but I have a real soft spot for the ones who risk a totally new direction and 'Tusk' may be the thing that makes me a fan (though I already respected them as musicians). It's a double album which is an added challenge and really this one has required multiple listens to fully absorb it all. Many tracks do seem to stop abruptly which will put some listeners off. Comparisons with demo collections are common. I can't quite give it a 5, though I'm tempted to. Despite this, 'Tusk' is an excellent record and really shows what else they were capable of.

As always, Bob Dylan is an incredible songwriter. Fueled by personal heart ache, he paints a vivid picture of vulnerability and conflict. His son said that the album sounded like his parents talking, which must hit hard given their separation. Musically, I don't think it's strongest album. Half of it was re-recorded following the urging of Dylan's brother. It has some great songs from both the New York and Minneapolis sessions, including some of his best. 'Tangled Up in Blue' is one highlight for me, as is 'Shelter From the Storm', which recalls his early work. I really like 'Buckets of Rain' for reasons I can't describe. Overall though, the music isn't as strong as other albums. It's carried mainly by the power and poetry of the lyrics.

Well that was something... These guys clearly looked at all of the most experimental music of the Beatles, Pink Floyd, Velvet Underground, and San Francisco psychedelic scene and decided it was all conformist, capitalist garbage. 'United States of America' is a very reactionary album in multiple ways. Clearly, the message is a far left rallying cry, disguised as a patriotic Trojan horse. I do wonder if anyone bought this based only on the name of the band and were severely disappointed. Musically, it's kind of all over the place. Certainly experimental and very psychedelic, owing a massive debt to some of the top bands of the late 60s. But it also blends in a large amount of traditional American styles, like Dixieland Jazz. Electronic sounds (not exactly music) are layered throughout the album. It's easy (maybe too easy) to be put off by the over-the-top barage of styles, which sometimes comes across as overly silly. It has some genuinely good moments, but most of the album is challenging, and probably by design. But I really can't call it a good or bad album exactly. It's like a storm of different music that doesn't belong together and would be boring on its own. But as a montage, it has the ability to awaken some creativity. It's possibly more fun to think about than to listen to, but it's still fun.

The title track is (to me) one of the most overplayed songs on the planet. It's objectively good and quite catchy but how many times can you listen to it? Quite a few, it seems, for some people. Personal opinion aside, I was a bit curious to hear what else The Eagles could do. Frankly, my opinion hasn't changed much. This album is country-tinged cinematic rock and it helps to think of it like a movie. To that end, it reminded me of going to the cinema on a rainy day with nothing else to do. There's nothing in particular I want to see, but I've seen the trailer for 'Hotel California' quite a few times so I decide to give it a shot. It's a good movie, with a fairly predictable storyline and good acting. I'm not unhappy that I watched it but I'm not likely to watch again. Other people are obsessed with it, which is fine, but I don't really get why. Surely there are better movies out there. Maybe I'll try it again one day. Possibly on a long plane ride or something. The most interesting detail of this album on Wikipedia was the fact that Black Sabbath were in the recording booth next to The Eagles and frequently interrupted the recording by being too loud. I feel like that says a lot about 'Hotel California'. Full disclosure, I'd have been pretty annoyed by that too. But I've never had the illusion that I'm cool.

The music is incredibly simple folk music, with most tracks simply Baez and her guitar. The recording apparently took place in a community hall with a couple of microphones and Baez sitting on a rug. "As long as a dog didn't run through the room or something, you had it." There is something refreshing about that simplicity sometimes. And for a very simple recording from 1960, it sounds pretty good. Her voice is gorgeous and distinct and deserves the space it gets to breathe. It's obviously not the most innovative album ever released, but put in it context of its time, you can forgive that. She beat Bob Dylan to a debut album by 2 years and did it pretty well. Her politics are obviously divisive, and even some on the left may have felt that she was a bit much. But I personally admit her stances. Regardless of what you may think of her, she certainly left a big mark on the 60s, on popular music, and American culture.

The great thing about punk rock was that it was meant to be something that anyone can do. The bad thing about it was that many people did. That's not to say that The Only Ones are bad. Not at all. It's just that how many variations of the basically the same thing do you need? This album has some decent punk songs and they're a little poppier than most of the other bands at the time, which is something. They also were influential to the likes of Nirvana, Blur and others, which is also worth noting. It's a good album, but it just kind of fades into the general background of every other punk band out there. There are a handful that stand out above the crowd, but The Only Ones aren't quite at that level, to me.

As far as hip hop goes, this is some of the best around. Sleek, soulful and jazzy. Common's rapping style matches the music. Some underground stuff is better but I'd call Common one of the best of the mainstream. As others have said, the album is too long but that was a common problem of the CD era. Had he trimmed about half an hour off, this would be a stronger album. The lyrics deserve some attention here. Common stood out as a more progressive voice around the time of this release. He has numerous mentions of women being equals and calling out violence against women. That's great but it seems like a pretty low bar by 2024 standards. Given the context of the time and the genre, it's still noteworthy. It's undercut a bit by the homophobia and fat shaming though. Overall, not a perfect album but Common is definitely talented.

When I think of Alice Cooper, I imagine a typical shock rock star, the Marilyn Manson of his day. So I was surprised that the music more closely resembles the glam rock bands of the early 70s. But you can tell the difference in the lyrics and the visual style. Most glam rock bands didn't sing about necrophilia or dental horror but clearly they missed a niche. Cooper's visual style was groundbreaking though and likely inspired loads of artists to focus on theatrical elements of their tours in a new way. It wasn't just about being big and flashy. They wanted to get under your skin. This line from Wikipedia is worth copying: "In preparation for the tour, two semi-trailer trucks carried a wide variety of props including a dentists drill, four whips, a surgical table, six hatchets, 33,000 program books, 300 baby dolls, 22,000 sparklers, 58 mannequins, 280 spare light bulbs, 1,000 patches, 6,000 mirror parts, 14 bubble machines, 28 gallons of bubble juice, and 250,000 packages of bubble bath." 'Billion Dollar Babies' is of course ridiculous and fairly tame by today's standards. It still has the power to shock some while the rest of us appreciate the Halloweeny silliness of it. The bands would inspire a mix of artists, some great, some cringeworthy. But he was definitely influential.

There's a spectrum of rap-rock. It starts with Run DMC using rock as a Trojan horse to gain a wider audience for hip hop, and ends (more or less) with the heavy rap rock of the late 90s (Linkin Park, Limp Bizkit, etc). Fun Lovin' Criminals seem to fit somewhere in the middle. They're not particularly innovative and not particularly cringeworthy either. Well maybe the whole 'drugs and crime are fun' shtick is a bit ridiculous, but fine. The music probably filled a small niche during it's heyday and does incorporate some unexpectedly jazzy elements. Had I discovered this when I was young, I might have liked it. Now it feels a bit boring. It's fine for what it is but life is short and there is better music out there.

Very inoffensive ambient music. It could be music to study to, which will sound a bit boring to some people. Unlike some similar artists, William Orbit mixes in a fair number of live instruments and vocals to give a bit more texture and commercial appeal. It's a lot safer than than the greats of the genre which is good, bad, or just dull, depending on you look at it. It's good background music though. Madonna enlisted Orbit to help with her more electronic stuff in the late 90s, supposedly after Aphex Twin turned her down (or, if you believe the story, after she rejected his offer to produce an album of her making barnyard album noises). Orbit is a good artist and producer, just not particularly innovative compared to others.

Right, another live double album I think. I don't mind the overdubs personally but for the first half of the album, I was a bit bored. The turning point for me was the one song I knew 'The Boys Are Back in Town'. Ok, I have to admit that it's catchy. The album really picks up from here and was pretty good. Not sure I'd listen again but if given an opportunity to see this show live, it does seem like it would be a good time.

I'm not usually a fan of hardcore but I enjoyed this one. It sounds different from most hardcore bands, maybe because it's a kind of prototype of the genre. But also I think it avoids of a gimmicks that (to me) make these bands all too similar to each other. The simple fact they're not doing the growly hardcore voice on every track is refreshing. Thank you Bad Brains for challenging my conception of music that I didn't think I'd like.

I've been dreading this one since I started this challenge. The brief period of Nu Metal produced some truly cringeworthy artists, but none were obnoxious than Fred Durst. Like an entitled frat boy, he just always seemed like such a toxic human being. To my surprise, I didn't hate quite as much as I'd thought. 'The One' was actually a decent track reminded me a little of New Order. But that's about where my positive comments end. It's an embarrassingly juvenile effort where Durst likes to show off how many times he can say 'fuck' in one song, while also dissing Trent Reznor. The album seems to get worse as it goes on, culminating in the unlistenable 'Outro', which features someone laughing at his own joke for a full few minutes with no music. Why on earth anyone would want to listen to this, I don't know. The album was extremely successful on its release. Though it obviously aged extremely poorly, it's interesting to try to imagine who this massive audience was. It's definitely not me.

I'm pleasantly surprised by how much variety there is on this album. Given their history, I kind of expected Bob Dylan without Bob Dylan and thought I'd get some middle of the road folk music. While 'The Band' certainly has a folk backbone, there's strong influence of early rock n roll and Americana, with a nod to psychedelic rock. 'Jawbone' is particularly experimental. 'Whispering Pines' sounds like it could have been a Flaming Lips songs. I enjoyed this album more and more with each listen.

The Modern Lovers were a small but important stepping stone between the New York art rock of the Velvet Underground and the abrasive London punk rock of the Sex Pistols. By combining the sounds of straight talking lyrics of Lou Reed, the droning experimentation of John Cale, and the post-rock n roll energy of the Stooges, they recreated this proto-punk classic. The Modern Lovers struggled a lot and never released anything during their original run. Aside from this one album, released after their first breakup, their discography consists of various compliations of unreleased songs. 'Roadrunner' stands head and shoulders over the rest of the album and is easily their best song. The rest of the album is interesting and has some high points as well. But if I'm being honest, it's not as good as any of the groups that came before or after them. It makes the Modern Lovers a controversial cult band, highly sought by collectors but never able to achieve a very big audience. Despite that, there's a lot to take from this album and its place in music history. Side note to the band: Picasso most certainly was an asshole.

Soul and funk produced via a mid-90s bedroom DJ aesthetic. It's ok for what it is but I'm not blown away. 'Back to Life' is the clear highlight here but even there, you need to dive into the bonus tracks before you find the more iconic version of the song. Give me an album worth of that level music and we can talk. The rest is fine but a bit boring and dated.

'Close to the Edge' is the second album I've heard by Yes. I'd previously had 'Fragile' in this challenge, but it was over a year ago and I honestly don't remember much of it. I listened to both albums today, out of curiosity. I think I was a bit harsh on 'Fragile' as just another prog rock album and more of it interested me today. Having said that, of the two I prefer 'Closer to the Edge'. The songs are bigger, longer, and more complex. I appreciate that that won't appeal to a lot of people, but if you're going to do a prog rock album, you want to do it right. It's all over the place (in the best way possible) and demonstrates more openness and lightness than other similar bands. It has more moments to let the music simply breath, which is refreshing. The fact that side A is partly inspired by one of my favorite novels, 'Siddhartha' is a nice bonus. Returning to 'Fragile' after this did make me appreciate it more though. It's certainly more accessible and has more highlights than I'd previously given it credit for.

Nothing (except many some of Brian Eno's work) can calm me more than 'Agaetis Byrjun'. I remember hearing about Sigur Ros and searching everywhere for this album before I finally found an import version. I'd listen to it over and over while lying on the floor, staring at the ceiling. Jonsi's cello bow playing on the guitar mixed perfectly with the atmospheric music which seems to reach up to the sky and reflects the beautifully stark Icelandic landscape. I saw Sigur Ros during their tour for their third album '( )'. The venue allowed a 100 college aged kids with CMJ Music Marathon passes to attend. The crowd was rowdy, rude and drunk. They booed the opening act and generally were frustrating to listen to. But three minutes of Sigur Ros playing was enough to shut them up for the rest of the show. Years later 'Agaetis Byrjun' remains one of my all time favorite albums.

Terence Trent D'Arby (or Sananda Maitreya, as he's now known) was clearly influenced by just about every big 80s act. In this album, I can hear Prince, Michael Jackson, 80s Bowie, Genesis, Michael Jackson, and more. The cynical part of me hears this as a record label executive's attempt to capitalize on the popularity of others. I can certainly see talent agents courting him for that reason. Having said that, it has its charm, despite falling well short of the greats. This album obviously hasn't stood the test of time very well, although it's certainly not the cheesiest 80s album out there. There's a handful of decent songs here, including 'Rain', 'Wishing Well', and 'Seven More Days'. The rest is fairly forgettable and not that interesting. The album has been considered as a soundtrack to 80s prosperity, although I don't know that the image of a Wall Street banker dancing to it makes it any cooler.

It's very difficult to give a proper assessment of Jacques Brel with my very limited knowledge of French. Based on that, I'm giving this album 3 stars because it feels fair. That aside, I can appreciate the dynamics of the music, at times larger than life, and others gentle and soothing. There are certainly stories being told even if I don't know what they are. The influence on Scott Walker is very evident, even if he hadn't covered so many of Brel's songs. Francophone listeners, I hope you enjoy this one!

This is the first album I've heard by The xx. I was familiar with the name, as well as front man Jamie xx. But I hadn't really predicted what I've be hearing. I expected something a bit more dance pop. And The xx clearly have all of the elements of that but packaged in a surprisingly slow and sparse format that fits better in a quiet bedroom than a lively dance floor. For that reason, I didn't initially connect to 'I See You' but it really shines on repeated listens. There's something beautiful and open about the sounds. It's not only room to breath but room to reflect, which is certainly unusual in this genre. The rhythms fill the empty space and sometimes tempt you to get up and let them run through you. But it's never demanding and also lets you rest well before the point of exhaustion. The four singles are the perfectly curated high points of the album. The rest is perhaps a bit of filler but the album works as a whole very well regardless. It took a bit of listening but I'm now impressed enough to seek out more.

When you think grunge, you probably think of Nirvana, or possibly one of the handful of other big names, like Pearl Jam, maybe Soundgarden. But there was a budding scene that was developing in Washington state before 'Smells Like Teen Spirit' hit big. Mudhoney is about as pure grunge as you're likely to find. Energetic, fuzzy, and roughly recorded. This is the first album I've heard by them, but I was impressed. It's maybe not as good as Nirvana generally, but I'd picked 'Every Good Boy Deserves Fudge' over 'Bleach' at least. It's a great album that lets you feel more intimately part of that original scene, rather than the worldwide sensation that grunge would soon become.

Public Enemy was a force within the genre. Even some great artists of the era suffered from toxic lyrics and glorification of violence, even if they exhibited brutal honesty between the lines. Public Enemy on the other hand focus on social commentary. The anger at the system comes through loud and clear. Chuck D and Flava Flav complimented one another's vocal styles. The music is forceful loud, fast, and abrasive, as it should be. This is their breakthrough album, at least as far as the rock kids knew. 'It Takes a Nation of Millions to Hold Us Back' is a bit dated musically, only because it inspired so much else that would come later. Despite that, it has some of their best moments, particularly 'Black Steel'. Politically, the album is as relevant as ever. It shouldn't be as we've had nearly 4 decades to make more progress. But it's still a powerful anthem for change.

One of the four top solo selling albums released within a year of the Crosby, Stills, Nash, and Young's 'Deja Vu'. Neil Young's 'After the Gold Rush' seems to have survived the test of time the best. David Crosby's release was a pleasant surprise in this challenge. But Stephen Stills' self titled release hasn't blown me away as much. There's an impressive collection of collaborators, including his CSNY bandmates, Ringo Starr, Eric Clapton, and Jimi Hendrix. For 1970, that's quite a line up! And it's not a band album at all. It's well produced, the performances are good, the soulful backup vocals sound like they could have inspired some of Primal Screams works. But I'm just not as excited by the album as I'd like. Maybe another day if I'm in the right mood it would speak to me more.

This one has guilty pleasure written all over it. I can't in good conscience give such a ridiculous album 5 stars but it's definitely earned 4 by being so fun. 'Groove is in the Heart' is obviously familiar and by far the best track but the rest is better than expected. The clashing color scheme and charmingly obnoxious fashion sense give some hint of what you're about to hear. Some absurdity and avant garde filled the void of the music scene as the 80s turned into the 90s. Deee-Lite couldn't have emerged at any other time but it's a fun reminder of that brief era. If you're not having fun with this one, you may be taking things too seriously.

Where has this one been hiding all of these years? A half-Somali woman-led 70s punk band with saxophones? It's as amazing as it sounds! It seems obvious that this would be a major influence on bands like Bikini Kill. While the classic punk bands like the Sex Pistols needed to demonstrate their angry and disenfranchised attitude at every corner, it's bands like X-Ray Spex that dared to actually have some fun doing it. The gaudy, bright outfits on the cover stand in stark contrast to standard Vivian Westwood punk style that the genre is famous for. As early as 1978, it was the women who were keeping punk fresh.

'Appetite for Destruction' is certainly a rock n roll classic. I can't describe the sound better than the Billboard review which praised the album's mix of \"metal's forceful playing, punk rock's rebellious themes, glam metal's aesthetic, and bluesy guitar riffs that appealed to purists.\" The big singles should already be familiar to most listeners, including 'Welcome to the Jungle', 'Paradise City', and 'Sweet Child O' Mine'. Those are powerful rock anthems that Still hold up today. Axl Rose is the epitome of a rock star in all the best and worst ways. It's as easy to picture yourself on stage belting out lyrics like he does, as it is to pick again the sometimes toxic, often drug-fueled lyrics. The non-single tracks also don't have the same impact as the others. Still, for an 80s rock band's debut album, it obviously made a massive impact on the music scene.

Adele has a sensational voice and I can definitely understand the appeal of her music. It's powerful. It's drives through you and helps to lift you up to the sky. They're great songs with very relatable lyrics. For my money, I'd love if she took a few risks. But I suppose you don't get to be a massive superstar by ignoring what works. And it does work and I might actually return to this one. Though to be frank, it also makes me want to listen to Florence and the Machine.

Well I'm not sure whether it deserved a spot on this list but I'm glad it has one. There's a lot of harsh criticism in these reviews calling it too hipstery. Which... OK yeah, I get it. It has a bit of an Animal Collective vibe (which is not an insult). But it's more accessible and has some really stunning arrangements. The choral elements add to the general atmosphere of the album, which feels equally grounded and experimental. My only complaint is that it could be a bit shorter, or it needs more hits on the level of 'Two Weeks'. But the second half of the album really picks up and keeps it interesting. Whether it's very significant or not, I still like it.

Wow, I didn't expect a lot from Black Sabbath. I've heard their debut album before in this challenge. It was good and an important piece of rock history. But 'Vol 4' blows it away. There's so much going on in this album without being overly indulgent or too much to process. It's just a great rock album with heavy guitars, furious drum breakdown, and simple minimalist ballads to balance it all out. The experimental 'FX' is maybe a little pointless but it doesn't overstay its welcome. The addition of the mellotron adds so much with so little. It gives it an unearthly feel that the music desperately needed. What a great surprise this one was.

I love John Lennon so it pains to me say that I never really liked this album. It of course gave us the amazing title track, which is arguably one best composition of his entire career. It's a beautiful song that's been used to evoke feelings of calm and memories. It was possibly the most famous song on the post-9/11 'do not play' list for American radio stations which worried that the anti-religion message wouldn't sit well with people. Despite that, people urged it to be played anyway, for it's powerful anti-war message and the 'brotherhood of man'. The song has lived so far beyond what the Beatles had achieved, which is no easy feat. It combines a beautiful melody with a plea for peace, while still being challenging and shocking. Now imagine (pun intended) that that song was taken off the album. Imagine it was released by an artist you'd never heard of. Would it be on this list? Would you have ever heard of it? It's frankly a pretty weak album overall. Comparatively, Lennon's debut solo album is varied, experimental, energetic, and freeing. 'Imagine' (the album) is surprisingly slow with only a few highlights. It lacks the hooks and risk taking that Lennon was so well known for. 'Oh Yoko!' is the next best song and holds up well. 'Crippled Inside' is also pretty good. The rest doesn't excite me much. Yes there's some of the powerful political messages that he was famous for, but that's washed out a bit by confessions of jealousy and pettiness towards Paul McCartney. I acknowledge that McCartney did his part in this very public feud but at least 'Ram' is a great album. The album obviously sold very well and gets a 4 from me. But honestly, that title track is doing a lot of heavy lifting. It just deserved to be on a better album.

This album, unofficially titled 'Car', is another example of a musician sounding technically impressive but not really doing much for me. 'Solsbury Hill' proves Peter Gabriel's ability to make a hit song without his Genesis bandmates. Some if his later work is a lot stronger. 'Car' just doesn't move me like I'd hoped it would.

Arguably one of the most incredible and interesting albums ever made, but there's a LOT to unpack here. It's maybe best to start with the controversial, angsty, and often misunderstood lyrics. Here I'll be honest and admit that some of them appealed to me much more as a teenager than an adult. 'Heresy' is the kind of song that I feel self conscious listening to, even if I'm listening on headphones. 'Closer' is interpreted by many as an obsession with sex, rather than a piece of self loathing, as intended. But this confusion isn't surprising given the intense sexual imagery of the chorus and outro. 'Big Man With a Gun' has been alternately described as a satire of toxic masculinity, or a description of total loss of control. Despite the intention, it comes across as cringeworthy by today's standards. It's the song I'm most likely to skip. But setting that unfortunate misstep, the lyrics paint a vivid and disturbing picture of depression, sexual frustration, suicidal tendencies, and loss of humanity. People are likely to be either shocked and offended, or to feel seen. While parent groups would worry that it might have driven children to kill themselves, I actually wonder how many lives might have been saved by teenagers receiving a strong feeling of validation. Depression doesn't just go away because you ignore it, but it can get better if you don't feel alone. Now there's a very strong element of macabre in 'The Downward Spiral'. Famously, the album was recorded in the house where Sharon Tate was murdered in 1969. Reports vary on whether or not Reznor knew this when he bought the house but he certainly didn't shy away from that imagery until much later (after being confronted by Tate's sister). Reznor himself was in a very dark place at this period in his career. It's hard to think of many albums that have such difficult and personal images in their lyrics. The rumored song 'Just Do It' was believed to have been about the act of suicide. Producer Flood talked Reznor out of including it and it remains unheard to this day. What requires special attention here is the music and sound design, which were heavily influenced by David Bowie's 'Low'. The sounds defy conventional palates of rock bands, drawing on synthesizers, extreme manipulations of sound, and industrial effects. It's little wonder that Trent Reznor and (his eventual bandmate) Atticus Ross have become so celebrated for their film scores in recent years. The music has a cinematic quality to it, resembling elements of a horror film mixed with a drama of personal traumatic events and depression. Love the content or hate it, you really have to admire the craft that went into the sound. 30 years later it still sounds incredible. For me, the peak of Nine Inch Nails was their third album 'The Fragile', which takes the exploration of depression into stranger, more varied, more ambitious, and more experimental spaces. But 'The Downward Spiral' remains an absolute classic. Some will loathe this one, others will love it. But like any great art, you're likely to feel something.

A good example of 80s metal and a pretty decent debut album as well. I didn't enjoy this as much as their other entry in this challenge, 'The Number of the Beast', but it's still an ok album. It sounds like Iron Maiden were still trying to find their sound here, which is fair enough for a debut. According to Wikipedia, they were constantly fighting producers who wanted them to sound more like punk bands or Queen. That stubbornness probably paid off with early examples of what would become their signature sound, such as 'Running Free' and the title track.

This has got a real Beta Band quality to it. It really sounds like the kind of thing that had a short moment in the early 2000s British scene. Artists like Simian, Badly Drawn Boy, and of course Beta Band, where putting together some very eclectic and fairly upbeat albums, mashing different styles together like they were picking up used records at random for inspiration and turning them into something pretty decent. The Bees may not be the most noteworthy example of this short lived indie rock genre (what would you call it anyway?), but it's still pretty good. The Os Mutantes cover was a nice surprise as well.

This album really hit my mood perfectly today. It's lucky because it's the kind of album that you do need to be in the right kind of mindset for. It's also the kind of album that doesn't stand out until you start really paying attention and thinking about it. The film adaptation helped a lot in that regard. When you do connect with it, it's a quite a work. The story is grand and ambitious while still feeling strangely grounded as the story of one person. Like many Pink Floyd albums, the shadow of Syd Barrett looms large over this one, with a lot of autobiography of Roger Waters as well. When the world feels unbearably tragic, the traumas we endure sometimes feel like more bricks in the wall isolating us from everything. It's not a happy album but it's powerful (if you let it be). Although it works best as a whole, it also has some standout tracks like 'Comfortably Numb' that work well as singles. For those with access to it, you may want to experience this one through the film to help feel the full impact. For others, try to focus on it or at least read the full Wikipedia description. The story matters here.

'Doolittle' is, for me, The Pixies' masterpiece. I appreciate the temptation to say that 'Surfer Rosa' is the better album, solely based on the involvement of the great Steve Albini. Albini did some incredible work over his career and certainly helped to give The Pixies the start the deserved. 'Surfer Rosa' has some amazing songs, including their (possibly) best known hit, 'Where Is My Mind?' But I actually think that The Pixies and Albini were not the best match. They're not a punk band and they didn't quite fit into grunge. Toning down the abrasiveness and adding more pop stylings sounds sacreligious, but it really worked. 'Doolittle' is perfect album. It flows, it hooks you, and there's not a bad track on there. It has more memorable tracks including 'Debaser', 'Waves of Mutilation', 'Monkey Gone to Heaven' and the surprisingly upbeat 'Here Comes Your Man'. Least anyone accuse the band of selling out, the album's lyrics are nothing for Top 40 radio. The album works. The short tracks balance out the 15 song tracklisting. The Pixies really hit their stride with this one.

The only thing I knew about The Coral before was that their fourth album was produced by Portishead's Adrian Utley and Geoff Barrow. It was apparently that the creative spark that got Portishead to reunite a few years later. So it was a bit disappointing to discover that the generator didn't give me that album, but their debut one. That sounds harsher than I mean it to. I can see why Portishead would have been interested in The Coral. They share a love for krautrock bands like Can, which is always a good start. They were also influenced by Captain Beefheart, although I can't hear it in this album. There's enough here to keep me intrigued and make me want to hear a bit more. But there's not quite enough to make me into fan, at least based on one listen.

Growing up, I felt like all of the coolest older kids were into Dinosaur Jr. I never quite got it though. I can see comparisons with Sonic Youth, and influence on the grunge scene. But it just didn't click with me. I'm sorry to say my opinion hasn't changed much. It's fine indie rock but kind of forgettable. I guess maybe you had to be there. But I'd take Sonic Youth over this any day.

Yesterday I got an album by Dinosaur Jr. Coincidentally, today's album comes from former Dinosaur Jr bassist, Lou Barlow's band. Sebadoh was Barlow's outlet when he found his creative voice being pushed out by bandmate J Mascis. To my surprise, I enjoyed this one more. It sounds more developed, more accessible, albeit a bit less groundbreaking. Sebadoh sounds more like the 90s indie rock I would have known from my childhood. Deeply influenced by punk and post punk, with nods to experimental music but poppy enough to dominate college radio stations of the era. I really feel like I can hear loads of hints of early Beck releases on here. What a great discovery. I wish I'd known this album earlier.

Ok, my strong feeling here is that if you're going to put Aphex Twin in this list, this is the wrong album. 'Selected Ambient Works Vol 2' is a lucid dreamscape. The tracks eschew traditional titles and each have vague pictures attached via a cryptic key. 'drukqs' is a twisted, chaotic jungle pushed to its breaking point and intercut with strange prepared piano tracks. 'The Richard D James Album' is a dark humor-tinged and deeply experimental but with enough pop qualities that he thought he could get on Top of the Pops. Aphex Twin is deeply weird and a fascinating artist. This album doesn't do his legacy justice. It's arguably the safest album though. It's probably the only Aphex Twin release you could put on at a party. Others would have your friends either too focused on the music to socialize or looking everywhere for an excuse to leave, depending on their styles. 'SAW 85-92' is still a great album though. The style of chilled out ambient techno was pretty different than anything out there. It's techno but not to dance to. It's ambient but more engaging. If the title is to be believed, Richard James started writing these ages around age 14. He was heavily involved with the music scene of Cornwall, whose dramatic landscapes often seep into the music. He would later be surrounded by various myths, some surely made up by James himself. He recorded in a disused bank vault, he bought an old tank to keep on his front lawn, he DJed with sandpaper, he went deaf and played music by smelling the grooves on records (that one was obviously one of his stranger jokes). Do yourself a favor and listen to some of Aphex Twin's later work in addition to this. Love it or hate it, it's definitely interesting. There's never been another artist quite like him. I'm giving this one 5 stars on the strength of his entire discography, since I only have one album to rate.

I honestly didn't expect to dislike this as much as I did but I think it's really cemented the fact that I really dislike the majority of Nu Metal bands. It's some consolation that the members of Slipknot seem to also dislike this album. But then, why are we listening to it? I mean, it's better than Limp Bizkit but surely we can set the bar a bit higher, can't we? Well I doubt I'll be listening to Slipknot again. Unless... ah they've got another one on this list... alright, I'll try to keep an open mind when it comes along.

What's funny about Dexy's Midnight Runners is the difference in their success on opposite sides of the Atlantic. Usually US and UK opinions are (mostly) in sync. But here you had a pretty successful artist with multiple hit albums and singles in the UK but who were a textbook case of a one hit wonder in America. I can kind of see why. The music is slightly celtic tinged which is kind of a novelty for Americans but that much of a novelty. It's enough to support one song (obviously their best one) but the rest sounds just a little bit like something you'd buy in a tourist attraction and never listen to. But that's not a fair assessment. The music is fun and better than expected. There are elements of post punk here, along with celtic influence, jazz, and rock with the combination of strings and horns. It's an interesting album. Maybe Dexys didn't deserve massive super stardom, but calling them a one hit wonder sells this album short. I genuinely wouldn't mind revisiting this one.

I don't really think much about Rod Stewart. I have the vague idea that he's sort of a self parody of a rock star but I don't know if that's fair. There's an edge to his music that's sort of blunted, despite the raspy voice. He strikes me as someone that Baby Boomers can still get into to feel young again, which is fine, albeit not necessarily very cool. But hey, he's got talent and there are some catchy songs here like 'It's All Over Now' and 'Cut Across Shorty'. I can't exactly say that I'm a convert because there are better rock stars out there but credit to Rod Stewart for exceeding my expectations. It's a good album, though maybe not a great one.

Sometimes in the early days of a new genre, before it's really settled into a predictable pattern, you can see a lot of experiments. Techno came about from African American teenagers in mid-80s Detroit before quickly finding a more permanent home across the Atlantic. The UK in particular loved the genre and early artists helped space the house. Much later, people would criticize the endless repetition and squelchy noise, all designed to keep people dancing and spending money, without much need for creativity. 808 State were different. They programmed complex beats and sought out more organic samples to contrast the synthesizers. They became heavily influential among so called EDM artists like Aphex Twin and much of Warp Records' roster. Graham Massey would later gain particular notoriety for working with Bjork on her early solo material. Bjork, along with New Order's Bernard Summer, would also appear on 808 State's third album. The music on '90' is strange. Tracks like 'Pacific' feel like a dream layered on top of reality. I picture the California coastline under a bizarre multicolored sky. I appreciate that this album won't be most people's favorite but 808 State have always intrigued me.

I really can't separate 'Out of Time' and 'Automatic for the People' in my mind. The two albums together represent the peak of R.E.M. The former is the poppier one but 'Automatic' is arguably their best and their most confident record. At this point, indie rock had really arrived thanks in large part to R.E.M. who took the post punk and new wave of the previous decades and crested something uniquely 90s. Some of the most classic songs of the era are here, including 'Everybody Hurts', 'Man on the Moon', and 'Night Swimming'. The production is perfect, with string arrangements from Led Zeppelin's John Paul Jones. This is one of the most significant albums of the 90s and holds up perfectly.

To start with, the tracklisting on Spotify is very confusing. 'Superfuzz Big Muff' started as an EP, turned into an album (with previously released singles rounding out the tracklisting, and later turned into a deluxe edition with 20 additional songs and the order completely changed. If you want the original version only, focus on tracks 4 to 9. These are (in my opinion) the highlights of the entire release. Maybe the early singles were Mudhoney trying to find their sound. But among the EP tracks, you really hear the beginnings of the murky grunge sound. Kurt Cobain would have surely taken notice.

I guess a humorous concept hip hop album was something of a novelty in 1990. I can see how this could have been pretty influential some other 90s artists, particularly Dr Octagon. It's not without its charm, but man, it really didn't age well. The non-stop obsession with sex is fairly cringeworthy. It has some genuinely good moments in the music, but it suffers from many songs and the album itself really outstaying its welome. Sorry but five songs are longer than 6 minutes and each of them desperately needed to be edited down. Amazingly, the cassette version is even worse, with extra songs and extended versions. The music just isn't good or interesting enough to warrant these lengths. A trimmed down version could have gotten 3 stars, but as it is, it was a slog to get through.

What an amazing voice. It's like silk and evokes the most relaxing beach vacation imaginable. It lacks any distinct hit like 'The Girl from Ipanema', but on the other hand, it's nice to hear Astrud Gilberto shine, following her separation from Joao Gilberto, the father of Bossa Nova. This is a great background record that lets you occasionally close your eyes and get swept up in the vocals and the sounds that recall Rio. I only wish they were a few more risks on there and make it stand out among the other Brazillian albums on this list. But I'll take it for her voice alone.

'Rubber Soul' was the point where the Beatles took their first steps into the avant garde, but 'Revolver' is where they finally took a deep dive. It's such an interesting album. To the extent that that's not obvious, it's only because the Beatles set the precedent for decades of artists to follow. There are a lot of firsts here. This is the first album where the Beatles rejected touring and gave themselves the freedom to strength the limits of what the studio could do without pressure to ever play it live. It was their first time breaking from the endless cycle of quick recording, promotion, and touring, which gave them more time to devote to crafting the album. It was their first attempt (and maybe the first by any Western pop artist) to incorporate non-Western musical style. It was their first properly avant garde recording with 'Tomorrow Never Knows'. The album is full to the brim with studio experiments which would later become standard practice among rock bands. They reversed tapes, doubled their vocals, and misused everything. They had the express goal of making sure that no instrument sounded like the instrument itself. Lyrically, they broke from their pasrt convention of poppy love songs, exploring drugs, death, politics, isolation, and love for mankind. I have to admit that I always viewed 'Revolver' as more of a stepping stone between 'Rubber Soul' and 'Sgt Pepper'. I'm rethinking this now. While 'Sgt Pepper' is a bit more developed and cohesively, 'Revolver' is truly groundbreaking. So why doesn't it have the same level of fame? It seems that America had a lot to do with that. First was the (infuriating) tendency of Capitol Records to slice up the Beatles' albums and repackage them with different tracklisting. The idea of the album as an art form took a bit longer to reach the states, apparently. The American release of 'Revolver' left off three John Lennon tracks (previously released in a different America-only release). This greatly affected the sequencing of the entire thing. It would take 20 years before the original version was released in the states. Add to this, Lennon's comments about Jesus and Vietnam and you can see how the conservative wing of the US would try to turn kids away from The Beatles of 1966. Whatever the case, people see to now be waking up the brilliance of 'Revolver', myself included. It's hard to really imagine it now, but it must have been revolutionary when first released. As one former fan put it, it's the point where the Beatles went stark raving mad. Luckily for the rest of us, they certainly did.

Some uplifting 80s hip hop. The most obvious thing is how much this stands apart from the grittier hip hop that would soon dominate the genre. It's tempting to dismiss The Jungle Brothers as a lesser copy of De La Soul. But on closer listen, the music is different. It's got more funk, it's more danceable, and it's even got some influence from African music. But the Jungle Brothers never got the same level of fame. Maybe the lyrics come across as a little preachy at times. Maybe it's too eclectic for a genre that was only just being discovered. Maybe it was just bad timing. Either way, it's a great discovery and helps fill the gaps of upbeat 80s hip hop.

War on Drugs is one of those bands that I've always been curious about but never took the time to seek out. I guess I've been missing out! They cleared have picked some great influences to emulate and they pull it off well. The likes of Springsteen and Neil Young are here but with a heavy stadium pop/rock sound. I can see taste makers getting very excited about this band and then abandoning them for getting too mainstream. But those are often some of the best bands, able to straddle the line between underground and pop audiences. I also hadn't realised that Kurt Vile was part of this band (though not on this album). 'Lost in the Dream' has been a great find.

When shoegaze legends, My Bloody Valentine, released their first album in over two decades, there was a considerable amount of hype in the music press. And unless you really dislike shoegaze, it didn't disappoint. The opening tracks recall the band's famous past releases. The remainder of the album evolves their sound to more experimental stuff, apparently heavily inspired by drum n bass (which is a combination I wouldn't have imagined). Whether My Bloody Valentine deserves 3 spots on this list, I'm not sure. But it definitely was a pretty cool comeback.

Earlier in the week I got The Beatles' 'Revolver' which was released in the same year as this album. What that seems to reveal to me is how far ahead of the game the UK was at this point (ignoring a handful of interesting artists like The Beach Boys). Maybe that's harsh but it does feel like Americans needed a year or two more to catch up (insert some joke about Paul Revere being the response to a British Invasion). Nothing against The Raiders in particular. It's fine, just not particularly interesting. It has a few good points though, especially 'I'm Not Your Stepping Stone' which is easily my favorite track here. Otherwise it's ok, if a little forgettable.

It's hard to talk about Christina Aguilera without mentioning Britney Spears. They were both former Disney child stars who appeared on the bubblegum pop music scene in the late 90s. Both had the same sort of creepy manufactured, highly lucrative, innocent but sexualized school girl image. Spears kind of leaned into that image (no doubt under tremendous pressure from record labels and hoards of fans) but Aguilera broke free. It sounds surprising to me now that this album was considered risky at the time and panned by so many critics. This is the best kind of pop album. It's honest, diverse, and alive. The ballads are larger than life and balance out the other tracks. There's a lot happening here, including R&B, rock, salsa, hip hop and soul. It works because it doesn't stay in one place long enough to get boring. The lyrics don't shy away from sex but turn it into something empowering rather than encouraging objectification. In some ways, this album didn't just allow Aguilera to better define herself, but also helped to usher in the (thankful) end to the wave of Disney-bred bubblegum pop that was inescapable for a few years before it. It was hugely influential on a lot of later pop artists who wanted to do something a bit more interesting than simply fit into the old cookie cutter mold.

I definitely can't claim to be an expert on reggae but 'Exodus' is a fantastic album. Written against the backdrop of political turmoil, an assassination attempt on Marley, and his departure from his native Jamaica for London, there's loads to focus on here. This is very likely the most famous reggae album internationally. Purists may say that it's not a true reggae album and that it incorporates elements of other styles. Maybe Bob Marley was ready to branch out, or maybe the sounds of London seeped into his music. Very likely, the album's popularity comes from these influences. But most people would agree that the album works. From start to finish, it is still the best reggae album out there for legions of fans.

I can't pretend that I was very excited by the sound of country-influenced adult contemporary. But k.d. lang has put together a pretty decent album here with more going on than I expected. The opening tracks didn't move me much but I appreciate the stylistic shift of 'Miss Chatelaine', which sounds like it comes from an upbeat musical. The instrumentation on 'So Shall It Be' and 'Still Strives This Love' are striking and soulful. But 'Constant Craving' is very clearly the stand out track on the album. So much so that it's surprising that it's been left for the final track. I can't say that I loved the whole album but k.d. lang can clearly write some good songs.

I'd often heard of these guys but never took the time to seek them out. This sounds like the album Beta Band could have released if they stayed together and were binging Animal Collective albums for 6 months. It's equal parts experimental, eclectic, and very poppy. It's just the right mix to be interesting and accessible at once. Take it too seriously and you risk being dismissed as a hipster. But just have fun with it and you'll have a great time.

Ok, controversial review time. I love Massive Attack. I absolutely respect that this is universally seen as the start of trip hop as a genre. This is also the only Massive Attack album that had Tricky as an officially member, which is another massive plus. But 'Blue Lines' just never clicked with me. It sounded to me like an early sketch of what they'd later become. Yet, it's seen by so many as their classic album. I tried many times in the past to get into it, but I always ended up switching back to 'Protection' or 'Mezzanine' (by the way, why on earth isn't 'Mezzanine' on this list??). But the 1001 Albums Challenge is a chance to try to listen to everything with fresh ears, right? And it's always a nice surprise when old albums come back to life in unexpected ways. And sure enough, there are some great songs that I've been neglecting here, like 'Blue Lines' and 'Five Man Army'. There are elements of rock, hip hop and reggae that come through a bit clearer than in their later work. Like the elements haven't quite melted together yet but they're well on their way. But ok, here's one of my most controversial takes in any of my reviews: 'Unfinished Sympathy' is not their best song. It's good, very good, but I still find it a bit overrated. Sorry to any fans! Overall, this was well worth another listen. A bit more maturity in my musical tastes helped a lot. I can really see how this album was a launching point for a genre full of great artists and I really can't give less than 4 stars on that basis. But I will always maintain that 'Mezzanine' is their best album by a mile.

Holy shit, everything about this album is amazing! A group of American soldiers stationed in West Germany just when the Germans were getting eager for American rock n roll. They were possibly the most free rock band on the planet at the time, benefitting from a language barrier that allowed them to access unimaginably dark lyrics and a budding German record industry that didn't quite know enough about commercial appeal to stop them experimenting with everything. The Beatles had to earn the right to experiment. The Monks were just in the right place at the right time. And thank god they were. This album is one of the most influential works in the history of recorded music. It immediately shaped the budding German rock scene.

Ignoring the fairly blatant plagiarism, 'Elastica' is a great album. It really shows where new wave and post punk transformed into Brit Pop, but it does a far better job than most others. Blur is great but if I'm being honest, they don't have any albums that can match this one (although they have some amazing singles). There's so much variety and energy here. There's also loads of unmet potential if I'm being honest. With the right producer, this could have been an absolute classic and there are hints of greatness. It's all mixes well together but doesn't quite melt into one whole the way I'd like it to. Still, there's a lot to love here.

The consensus about this album seems to be "Morrissey is an awful person now, but he was so cool 30 years ago!" I'd like to challenge the second part of that narrative. The Smiths were obviously amazing, thanks in a very large part to the genius of Johnny Marr's songwriting. But Marr never wanted to be a frontman. Credit where credit's due, Morrissey has a unique singing style and had the ability to address bleakness is a distinctive way that has been a massive influence on indie rock. And sure enough, he kept that momentum going after The Smiths broke up. But Morrissey always needed others to write his music and is only ever as strong as his collaborators. And let's also acknowledge that Morrissey has always been pretty insufferable as a person. We all just put up with it for decades because sure he was an asshole, but he was *our* asshole. It was only really when he turned from animal rights to embracing right wing racism that people turned on him (fair enough). The transition was already well underway by this point in history. His previous solo album, 'Your Arsenal' has hints of what was to come. 'Vauxhall and I' thankfully doesn't have much of this but many of these lyrics are still pretty cringeworthy. The Simpsons' parody of Morrissey sums him up perfectly with the song 'Everyone Is Horrid Except Me', which honestly could have been the name of this album. Having said all of this, the music is a big improvement over the other Morrissey solo efforts on this lisy. Alain Whyte (who wrote most of the music) has really matured as a songwriter here. And despite Morrissey having his head up his own ass, there is at least nothing much here to remind me of his politics, which is a plus. If I forget about his personality for a moment, I actually kind of enjoyed a few of these songs. But let's be honest, this is not The Smiths.

Don McLean demonstrates a melancholy that sounds like a poppier version of Nick Drake. While I personally prefer Nick Drake's style, I will hand it to McLean that he crafted some classic songs on his brand of introspective calming ballads. Overplayed as they are "American Pie" and "Vincent" are still beautiful and tragic. The rest of the album continues in the same vein and would perfectly fit a lazy, rainy day at home.

Another great mystery on this list is why on earth it needs to include two albums by Slipknot. I received another one (the appropriately titled 'All Hope is Gone') only a few weeks ago and was actually surprised by how much I disliked it. Nu Metal had some occasional successes but still generally just feels cringeworthy to me. Having said that, Slipknot's debut is a bit better. It's still sounds like an angsty adolescent trying to imitate Cookie Monster on meth, and I can only roll my eyes at some of the lyrics. But some of the music is actually pretty decent. Particular praise goes to the drummer who's really carrying the album. Give me a different vocalist and cut out some of the filler, samples and scratches, and this would be a pretty good album. It's at least a hell of a lot better than the other album on this list.

The title track (an alteration of "In the garden of Eden") is clearly one of the most famous examples of psychedelic rock out there. It's long sprawling 17 minute journey lets you get completely sucked into its strange and wonderful soundscapes. Nothing else sounds quite like it. It's like taking an acid trip in the middle of a cathedral. It's bizarre, unpredictable and yet grounded in vageuly religious imagery. Not many bands can get away with filling an entire side of an LP with a single song and make it their best one. But there's a reason that people tend not to talk about Iron Butterfly otherwise. The A side is fine, but nothing really special. Plenty of other bands of the era had more great songs. Although I'm usually loathe to award points based on a single song, it does at least cover a large portion of the album.

"Femi Kuti" is an uplifting afrobeat record from the son of the legendary Nigerian artist Fela Kuti. Based in London, Kuti incorporates Western (particularly jazz) influences to craft this album. The sound fits in extremely well to the World Music movement that was (arguably) started by David Bowie's "Lodger". The album is frantic, extremely danceable and larger than life. "Plenty Nonsense" indeed, in the best way possible!

I really don't get the connection to the hardcore scene on this album. The music is a lot more complex and varied than what I usually expect from that cookie cutter genre (my personal opinion). There's loads going on across the 43 tracks, including lots of influence from jazz, punk, and folk music. The album title is a rebellion against rebellion, declaring that outrage against national speed limits from the likes of Sammy Hagar were pointless. Drive 55 but make better music, they declared. And indeed they did. It's eclectic, bizarre and cool, but too niche to have ever gained mainstream popularity. The extreme length only really becomes a problem when we get the final side, called the Chaff side, which were seemingly leftovers to fill the record. Before that, this is a great record filled with gems that work together very well as a whole.

When I saw today's album, I briefly thought "Interesting. Maybe this will make a fan of Culture Club." By the third track, I'd given up hope for that. Absolute respect to Boy George as a person and trailblazer for acceptance of queer people in the world. And "Karma Chameleon" is still a fantastic song. But the rest just feels underwhelming and dated unfortunately. Fair enough that it was big in the 80s but 40 years later, it doesn't really hold up.

"The Message" is a slightly frustrating record for me. It's very dated but a hell of a lot of fun. Grandmaster Flash & the Furious Five demonstrate what was happening in music when soul and funk were merging into early hip hop. The electro subgenre never really took off, but the marriage of rap and electronic music in the early years was really interesting and there are some great examples here, like "Scorpio" and "The Message". The frustrating thing for me is that they couldn't commit to it fully. The attempts at soulful ballads are fairly boring in comparison and the album could have been a lot stronger without them, albeit a bit short. A few lull points aside, I love this album. The lyrics are mostly positive (aside from a very unfortunate homophobic remark). That album cover is locked into a very particular time and place, but I don't care. It's great.

Right, I just don't get the way people worship Neil Young. I can see that he has had some amazing releases, including 'After the Gold Rush', 'Harvest', and his work with Buffalo Springfield and Crosby, Stills, Nash and Young. But so much else of his discography feels a bit flat to me, including much of what's on this generator. It's not bad exactly, and I appreciate that there's a very emotional backstory here, having known two people who died of overdoses shortly before. To quote one review, "[t]he record chronicles the post-hippie, post-Vietnam demise of counterculture idealism." I can see it and maybe that's why it doesn't resonate with me. It seems to fit into this depressive place between 60s and 70s culture using country music as a crutch to barely hold itself up. Well ok, I guess it's an interesting concept, but it's not one that resonates with me especially. "Come On Baby, Let's Go Downtown" is the highlight for me, and interestingly was written and sung by one of Young's lost friends. I also enjoyed "Mellow My Mind". After that, it's a bit too country for my liking but it's kind of interesting.

I definitely didn't expect a second kd lang album in this generator and I'm not sure that it was really necessary. But as modern country goes, it's ok. Also pretty interesting that an androgynous woman had made such waves in a genre known for its conservatism. There are quite a few big names on here which would be exciting for country music fans but don't mean much to me. I don't love this one but she's got a good voice and there's nothing really to be offended by so I'm inclined to be kind.

I absolutely love this one. It's like being punched in the face by blues, and I mean that as a very strong compliment. I do kind of get that that's just not going to be everyone's cup of tea. I'd probably be reluctant to play this one for many of my friends. But tell me that you love this and we can definitely hang out. It's abrasive, noisy, challenging and completely free. Add in a video directed by Weird Al Yankovic (!) which is bizarre and fun. The many bonus tracks are a bit of a slog though. The 45 minute audio assault is plenty on its own. It's great, but needs space to breath again after it. Otherwise, this album was great.

Some classic songs by a classic voice. There is plenty here that will sound familiar to even casual music fans, from 'My Girl' and 'Respect' to 'Wonderful World' and 'Satisfaction'. Add in writing from Sam Cooke and music by Isaac Hayes. It's hard to deny that this is a great album.

Wow, where have these guys been hiding? Never heard of this band but it's a very impressive outing! The music is complex without drowning out any elements. It's upbeat, humorous and triumphantly full of life. I need to keep relistening to fully absorb it all but I'm definitely a fan already.

Despite the band members being in their 20s, Kiss has always sounded like a midlife crisis to me. There's just something kind of embarrassing about it all. Maybe it's the whole rock n roll cunnilingus clowns shtick. Maybe it's the constant merchandising of absolutely anything, including the Kiss Coffin. Or maybe it's just the feeling that they seem to be taking Alice Cooper and Ozzy Osborne and ultra commercializing it all. It's kind of gold plated rock n roll. Sure, it sounds like the real thing but there's not much substance underneath it. Still, I was curious about this album. Love them or hate them, Kiss certainly made at least one extremely well known rock song. Sadly, it's not on this album (apart from a small snippet during the annoyingly long intro). And the rest is just so uninteresting. They enjoy parties, rock n roll, and money. Got it. The one attempt to write an emotionally potent song is about how women can't love them for them. All they care about is the stardom and the money and they don't know the real men. This is undercut by the real of the album where they offer no suggestion that they have any more depth than that. And by the song that came immediately before it where they make fun of a woman who actually did want a genuine relationship with one of them. Jesus christ... I appreciate that the so-called Kiss Army has a lot of devotees. But I just can't.

\"1984\" is an impressive collection of songs, which really stretched the sound of Van Halen. The introduction of synthesizers was met with great reluctance by lead singer David Lee Roth, but most would agree now that it led to really classic songs that sat perfectly alongside the guitar driven tracks. What's great about this album is how no two tracks sound alike, but they all manage to work together as a whole. There's synth pop, metal, classic rock, and art rock, all merging together and with some chart topping hits coming out in full force. I absolutely hate the fact that a song called \"Hot for Teacher\" is great, but despite some cringing at the lyrics, the music is fantastic. \"I'll Wait\" is a surprising art rock piece along the lines of Talking Heads and the unexpected highlight for me. There is a bit of filler on there if I'm honest. A few tracks are a bit forgetable, but the rest is classic.

A goth classic from The Cure's darkest days. The music channels the self loathing soundscapes of Joy Division. Popular music is filled with musicians who wrote from a point of absolute despair. Sadly, not all come back from the brink. Thankfully Robert Smith stared into the abyss and was able to show us what was there before coming back and transforming yet again.

Today I learned that The Stooges debut album was produced by John Cale and man does that explain a lot. Iggy Pop and his band reached to all kinds of rock and roll influences, both contemporary and classic and imbued it all with a truly raw energy. The sound of the singles would later be called punk but we're not quite there yet. True to form, The Stooges produced only a few short tracks for their demo, insisting that they had more, and were given 5 days to record a whole album. With Cale's influence, tracks were torn apart and turned into long avant garde pieces to fit alongside the proto-punk tracks, sounding like a Velvet Underground for the non-art school kids. Pop would later revisit this kind of structure on his first solo albums, with help from Berlin-era David Bowie. This album helped pave the road for punk, with an extra lane open for the experimental post punk era that would come later. Anyone who likes punk and art rock will love this one. If not, steer clear. Recommended additional listening: the unused John Cale mixes on the bonus editions.

I'm not very familiar with the Pet Shop Boys and oddly enough, I've gotten two of their albums this week. I've gone out of order so that I could start with the earlier album, "Actually". In contract, "Behaviour" doesn't have of the handful of PSB songs I knew, but it does display a more mature sound that I was expecting. There's an intense calmness to it that I really hear in songs like "This Must Be the Place I Waited Years to Leave", which is the best track in my opinion. There's more seriousness and orchestration in songs like "My October Symphony" and "Jealousy". If I'm honest though, it hasn't hit me in quite the same way as "Actually", at least so far. It may be one to revisit in the future, but on first exposure, it's a respectable 3 stars.

The former member of CAN channels his roots as a student of German avant garde master Karlheinz Stockhausen. Czulkay combines rock and pop with musique concrete and the budding world music genre, pulling sounds from global music scenes. It's an impressive mash up and took some underground ideas of the 70s further. It's not exactly inaccessible but it's not one that you'd play over and over, unless you're a student of modern music theory. In some ways, it's more interesting to think about than to listen to. It's cool for what it is, but I'd take CAN over this any day.

The Pet Shop Boys always struck me as a great band for when you wanted some synth pop but found Depeche Mode and New Order a bit too indie. They definitely lean just a little bit heavier on the pop side of things. It's slightly misleading until you take time to explore some of the lyrics though. A song like "Shopping" sounds like it should be the soundtrack to a date out at the mall. But dig a little deeper, and you find that it's really a critique of capitalism's influence on society, with special interests and lobbyists buying their way into power. "Actually" is full of darker moments like this, if only you can see past the dance styles of the music. The album's singles really stand out, particularly "It's a Sin", which sounds like Tears for Fears if they were injected with New Order's energy. One extra point for that song alone. I can't say that I loved every single equally and there is some filler. The slower songs don't work much for me. But there are some incredible 80s synth-pop songs throughout that make the album great.

"S.F. Sorrow" is an interesting enough album. Psychedelic in a similar vein to many of the greats from the genre. Most notably, it's considered one of the first rock operas, very similar to "Tommy" though The Who deny any influence. Truthfully, I never would have picked up on the fact that it's a concept album if I hadn't read it or tried to listen very closely to the lyrics. It doesn't work as well as other attempts by more famous bands but Pretty Things get credit for trying out the concept first. It's not a bad album and maybe it deserves more of my attention. But it's not one that was destined for fame, apart from the historical footprint it gets. It's cool for what it is.

This is great and very close to what I expected from A Tribe Called Quest's more famous entry, \"Low End Theory\". That album suffered significantly (in my opinion) from a song about date rape. There's nothing so glaringly awful in \"People's Instinctive Travels\", despite some occasional womanizing. And man do I love this kind of hip hop. In their own words, they weren't trying to be tough, they just wanted to be. There is really skill in the use of samples here (some that would be impossible to clear now) and the marriage to the beats and lyrics. It's positive, it's self assured, it's funny, it's real. There's plenty more like this in the underground hip hop scene but this was a rare triumph in the mainstream.

Cyndi Lauper sure made some good earworms back in the day. Love it or hate it, those singles are infectious. And the whole album is also surprising. It feels like the moment when New Wave finally abandoned its post punk roots and took off as 80s pop music. It's a lot better than I expected. On a side note, being a Weird Al fan as a kid introduced me to a lot of music but some songs just never recover his parodies. Cyndi Lauper is a strong example for me and it's hard to take it seriously now. Sorry Cyndi.

"Hard to Handle" is pretty catchy but the rest didn't do much for me. They strike me as a bar band who could have stuck to covers. Nothing really to hate here but all a bit forgettable in my opinion. It sounds like a cross roads between the 70s and 90s, skipping the 80s altogether. I see the appeal but I just didn't connect to most of the album.

Public Enemy had their data stolen before completing this album the first time around, so this is the second attempt to put it altogether again. You would have though that the original version would have resurfaced by now somehow, and maybe one day it will. You can imagine it would be pretty demoralizing to have to start it all from scratch and indeed the music doesn't quite match the revolutionary energy of their previous releases. The production is more rushed and simplified, leading to a different kind of style. Public Enemy are always pretty good, particularly when you're angry with the world and just need to vent to some great beats. The album isn't their best, but it does have some unique moments and was likely influential due to its cleaner production.

There's a lot to love about this album. George Clinton is like a caricature of himself, but it adds to his personal charm. He embodies funk in a way that even the greats can't manage to do. James Brown was a great performer but he maybe took himself too seriously. Clinton on the other hand, dared to imagine and dream and present visions that others would have never dared to let themselves think. Why the hell shouldn't a funk album be a blueprint for equality where African Americans can become the bravest astronauts that ever lived? The Afrofuturism may have almost sounded silly but it's too inspiring not to love. Packaged in a fantastic, feelgood album with some great performers, and Parliament more than earned their place on this list. Just try to have a bad time while listening to "Mothership Connection".

To paraphrase another reviewer, "No Other" sounds like what Graham Parsons set out to do, combining country and rock into a "cosmic" new genre. Only Gene Clark did it a hell of a lot better in my opinion. I find it hard to believe that this album was a commercial and critical failure in its time and Clark's lifetime. It's a great find.

It's amazing how well this album holds up today, 65 years after its release. For many Westerners this was the first exposure to African music at the time and it's easy to see why. The music comes through powerfully, and sounds like the band is playing in your living room. Not bad for an non-Western record from 1960. There are bit and pieces that sound a bit familiar now but would have very novel to the early audiences. In addition Makeba may have been an ambassador the anti-apartheid movement, long before it became mainstream and eventually changed South Africa for future generations.

Brazil is pretty heavily featured on this list. Outside of the English-speaking world, it's possibly the most represented country on here. Or maybe that's just my impression based on the relatively little information I had on that music scene previously. Now I've heard Brazillian samba's influence on American jazz, the Tropicalia movement's rejection of both traditionalism and right-wing dictatorship, and Jorge Ben's Afro-Brazillian style, seeming to be a representation of thinking of the "Global South". But Milton Nascimento is completely new to me. My impression listening to this collection is that Nascimento and his main collaborator Lô Borges took the energy and Western-influence of Tropicalia and attempted to turn it into a real joy of playing with no political aim. Of course, under a dictatorship, most actions are political, whether you want them to be or not and they still faced trouble from authorities in releasing this album, due to the cultural restrictions and the influence from non-Brazillian artists like The Beatles. This is simply the Street Corner Club playing for the sheer love of it, in spite of the dictator, not as a reaction to him. I find it hard to explain what is so special about this album. Stylistically, it's all over the place. It's long and sprawling, yet some songs really sound incomplete. But the spirit of the performances really comes through and you can imagine a group of friends playing on the street corner, only for the love of it.

I've always kind of liked this album. It's a bit like electronic music that doesn't quite belong in the club or in the bedroom, but exists just out in the world somewhere. Orbital craft some pretty interesting sounds that tell a story. I'd argue that it's not their best work, but it was the first album that married dancefloor techno with a poppier kind of ambient. For me, their previous album "Orbital 2" had the best hits. Their follow up album "Insides" is where they really hit their stride, but "Snivilisation" set the blueprint for it first. It takes a bit more time to think about and it works best as a whole experience, complete with subtle bits of social commentary reflecting the political end of rave culture, effectively setting the sounds out into the larger world.

From what I've heard of Nick Cave, he seems to be at his best when he's experienced devastating life events and he's certainly had no shortage of them. I can't imagine having to bury two of your children, let alone one. "The Boatman's Call" is a heartbreak album though, following the end of his relationship with PJ Harvey. It's bleak, completely stripped down to the core, and also beautiful. "Into My Arms" is such a strong opener that it's difficult to get past it. But the entire album is somber and perfect for when you just need to feel sad and apart from the world, as any good break-up album should be.

I grew up hearing Bruce Springsteen, but was never exposed to this full album. I've only ever heard the single "Atlantic City" because it was on the (excellent) Greatest Hits compilation. It's the best song by a mile, so fair enough, but the whole album is an interesting part of Springsteen's discography. As always, he paints pictures of the joy and despair of working class America. What makes "Nebraska" interesting is that it's recorded without the E Street Band, based mostly on the original demos. It makes the entire thing feel more stark and sad. The characters in the songs feel a bit lonelier. The towns feel emptier, like it's the break of dawn and you've been out all night with no where to go. The sun has risen, but only a handful of disparate people are awake because they have to be. I can't call it Springsteen's best album, but it certainly stands out against his better known anthems and gives a reprieve. You don't need to feel the excitement of "Glory Days". You can just be.

Compared to later Who albums, these sound like humble origins. It's amazing to think that "Tommy" came out only 4 years after this debut and sounds completely different. "My Generation" is particularly impressive because it could have had a spot on this list even if they've never released anything else. The Who literally declared themselves the voice of a generation and came out swinging rougher than most of their contemporaries. The Rolling Stones are maybe the closest comparison, but The Who were more abrasive, eclectic and interesting. It's a strong debut album for a band that would achieve monumental heights within a few years.

I thought that I'd completely understood Joni Mitchell's music before, but this one really surprised me. It's poetry, folk, jazz and avant garde all mixed together. This album is like a flower that keeps blooming and unfolding completely new and different layers with each listen. It should be jarring to shift between the different styles so abruptly. But it kind of works, particularly in a song like "Harry's House / Centerpiece" which really is two different songs stuck together but I still love it. I like "Blue" ok. "Court and Spark" was interesting, but not my favorite. "The Hissing of Summer Lawns" really hit a cord with me though. Enough that I probably need to revisit the others sometime.

Remember 2020? A lot of us would really rather not. The year was dominated by a global pandemic, rolling lock-downs, social distancing, face masks, and politicalization of vaccines. But that wasn't the only thing happening. 2020 was a massive year for the Black Lives Matter movement, with cities all over the US seeing demonstrations and demands to end systematic racism within police and justice systems. You couldn't ask for a better musical representation for that time than SAULT. There's anger and outrage of course, but SAULT were different from popular African American voices that came before them. Public Enemy were angry. Parliament envisioned a future where black people had achieved a level of equality where they got to be astronauts and politicians. What's different in "Untitled (Black Is)" are the feelings of hope, love, beauty and solidarity, that sit comfortably alongside justifiable outrage. The world is broken, but we're determined to change it. It's not merely dreaming, but taking to the streets and demanding a new world that is possible. It's just a fantastic album all the way through and it really captures the spirit of that movement, motivated by both justice and love.

I hadn't heard of John Grant or his previous band, The Czars, before, but it's a great find. Members of the band Midlake supported this album in more ways than one, contributing to the music, but also by bringing Grant out of his early retirement from music. The music is both dreamy and dreadful, representing Grant's soul and struggles of his youth as a young gay man in a community that loathed his true identity. As an adult, he seems more self-assured in who is, but also tortured by the formative memories of his youth. The music drifts up into space-faring ballads that could sit alongside the links of 70s singer-songwriters, just as comfortily as it could next to The Flaming Lips. This album has the potential to really grow on me.

Oh dear God, another live double album. I like Deep Purple. They're fun, they play well. They're kind of ridiculous in a great way, as evidenced by the song "Space Truckin'". But we already got two very similar albums from them, which cover five out of the seven of the songs on this live release so it really screams "filler" for this list. But ok, let's dive in. Ok, the band can obviously play a great show. The long interpretations of the songs sound like they would have been great to see live. For all of the emphasis on audio quality though, it's surprising how many mistakes are present, but maybe the quality overall was impressive for the time it was made. It's great for what it is, but as I often find with live albums, I just feel like I'm listening to other people have fun. I'll stick with the studio versions myself.

I've never really understood the fame of Courtney Love and honestly always kind of suspected that her success was mainly to do with the people who she surrounded herself with. That's not as much as a criticism as it sounds. If someone can select the right people to create the art they want and it works, then why not? But in my limited experience listening to Hole, I just wasn't connecting to it. Hole's other album here, "Celebrity Skin" was kind of interesting but didn't really stick with me if I'm being honest. "Live Through This" is a refreshing change though. The album was plagued by accusations that Kurt Cobain secretly wrote it, despite having very little to do with its creation (Cobain does some barely noticable backing vocals on two tracks). It's an enormous compliment to Love that those rumors persisted as she really does seem to be channeling Nirvana here, much more so than other Hole albums. It's the blend of pop and sheer grit that Cobain made famous. The themes of feminism and subverted concepts of beauty would have fit perfectly alongside her late husband's work. But the album compliments Nirvana more than it imitates, displaying more anger than disaffectedness. It shows another side to the Olympia grunge scene during its peak. Hole would later change focus to themes of Hollywood and celebrity, seeming to reveal in its own emptiness. In retrospect, it seems like a natural move from the bleak suburban world of "Live Through This". But this is still the better album in my opinion.

I confess that I knew The Temptations primarily as the group that sang "My Girl", a poppy, feelgood R&B track that's a staple of wedding reception PowerPoint montages. But in fairness, it's a classic song and it's popular for a reason. I really didn't expect what was coming on "All Directions" though. The music had evolved significantly, expertly crafted and incorporating a wide variety of musical styles. The Temptations seem to have abandoned their clean cut style in favor of a more contemporary look. The (sometimes) sickly sweet, radio-friendly lyrics have been replaced by loss and a fierce social consciousness. The band may have felt like they went too far with "Run Charlie Run", but they certainly left their mark. What an interesting development from their early successes to this deep and varied album.

The Undertones sound like they existed on the cusps of classic punk rock and early New Wave. At times it sounds more like The Ramones and at others, it almost resembles early Talking Heads. The songs are very short, doing what they need to do and then ending as quick as possible. That could sound exciting, energetic, or frustrating. In this album it's a bit of all three. The Undertones seem to have paved the way for some of the pop punk bands that would take a similar approach in the early 2000s. It's an ok album with a few stand out tracks. But ultimately, for punk, post-punk or new wave, there are better options out there.

This is one of those albums that's probably a lot more interesting than I can really appreciate. If you know any music theory, the complexity of these songs, particularly the title track probably means a lot more. I can recognize that it's impressive and ahead of its time but I don't have the vocabulary to explain why. The novelty of the style is probably reflected in the incredible difficulty that he faced trying to get other musicians to play is correctly. But how do you communicate a sound that hasn't been heard before? Despite my lack of knowledge here, I still really enjoyed listening and trying to think about it all.

The breakthrough album from Simon and Garnfunkel so had a string great singles before this. "PSR&T" really sees them mature as songwriters, Paul Simon in particular. There's a great mix of songs, many of which build up over 2 or 3 minutes before cutting off, leaving you wanting more and then shifting into something different. It keeps the music fresh and interesting. The social commentary of "Silent Night" does outweigh the actual music but it does create a good juxtaposition from being calm and happy to depressing news coverage. My only slight complaint is that there's a lot of recycled elements from previous releases but they seem to have really refined their sound. It's an incredible piece of folk music history.

I've been curious about this album for a long time and wow, it's impressive. My first impression was Gary Numan meets The Smiths, but as it goes on, I really hear more Brian Eno and NEU. This is definitely an album that deserves to be heard in its entirely, and multiple times, as the whole thing really opens up the more you listen. The choral religious influences lift the synth pop style into new territory and forms a template for many 80s bands to come. But it's also balanced out by some really beautiful and interesting ambient music. It's a very influential album on a lot of artists and I can now see why. I'll absolutely be spending a lot of time with this one.

The World Music scene really hit its stride in the 80s. It's a strange genre as it's essentially a catch all term for most kinds of traditional non-Western styles, which is a pretty massive generalization. But for most Western audiences, the category does make sense as a way into different cultures. The backing of more familiar artists, like Paul Simon (who both collaborated with the group and produced this album) helps to make it feel more accessible. Then it's up to the power of the artists themselves to hold our attention. Ladysmith Black Mambazo certainly did manage to make some beautiful with this opportunity. Their harmonizing produces some great sonic depth for these songs. It's also quite refreshing to hear an a cappella album on this list. It might not be one I'd turn to often, but I hope to remember this album one day when I'm craving a change from my usual Spotify rotation.

In retrospect, Destiny's Child really seems like it was also the launching pad for Beyonce's career. It feels obvious as her father managed the band around a revolving door of group members, often with pretty bad blood between them. But really, this was the album that Beyonce first shined on, producing and writing most of the tracks. And arguably, it contains some of the most famous songs, including "Survivor" and "Bootylicious". All of the hits are tacked on right at the beginning. The singles were catchy and popular, and generally focused on women's empowerment and redefining beauty standards. That's really what makes the fourth track "Nasty Girl" particularly hard to listen to. The music is fine, but the slut shaming really undermines the message of the rest of the album and is a low point here. The rest of the album was an unknown to me going in. I expected a lot of filler, but there actually are some decent tracks throughout, particularly in the middle of the album. "Apple Pie a la Mode" and "Happy Face" stand out to me as good pop songs with a slight avant garde edge to them, though I suspect that they're generally skipped. The album ends with more ballady songs, which don't do much for me. Overall, "Survivor" has some serious flaws but just about works as a good pop album. It feels a bit harsh, but I think "Nasty Girl" knocks this down a point.

To me, Underworld always represented the sound of a very late night, when adrenaline first starts to give way to exhaustion. It's like having been in the club until 2am, and heading home on the train (or God forbid, a late night bus through London). The excitement of the evening lingers but the rough edges of the city at night also creep in. The stream of consciousness lyrics represent the inevitability of real life after the escapist hedonism of the evening. It eventually leads right into a hopefully restful sleep but your mind is still going a mile a minute. If the music sounds overly repetitive, you may be missing a lot. Like a lot of the genre, "Second Toughest in the Infants" does rely heavily on a steady rhythm necessary for a trance-like state, suitable for dancing, travel or sleep (or in some places, religious experiences). But Underworld give you a lot more as well including rich ambient textures, waves of acoustic guitar, complex song structures, and introspective lyrics. Underworld, along with a handful of other 90s groups, were techno for the art house crowd. This album marked the second release from Underworld's MK2 phase. Having tried, without much success, to form a synth pop band, Rick Smith and Karl Hyde's bandmates quit and the group fell apart for a while. When the two finally recruited DJ Darren Emerson, they resurrected Underworld and focused on a new sound influenced but distinctly apart from the London rave scene. The three albums recorded as a trio are considered the peak of the band's career and any one of them could have made this list. "Second Toughest in the Infants" is possibly their most cohesive effort, even if it doesn't have any of their most well known songs. It was released shortly after they'd contributed two songs to the movie Trainspotting, marking the start of a partnership with director Danny Boyle that would eventually see Underworld playing the opening ceremony for the London Olympics. Quite a journey from the struggling synth pop band that nearly called it quits in the 80s.

Screaming Trees sound like someone tried to mash up Nirvana with U2. It's a noble effort that falls short of both. There are loads of nods to classic rock mixed in, with elements of The Beatles and Pink Floyd evident. It's not a bad album at all. But if this is being classified as grunge, then it's grunge that trying very hard to find a wider audience and a far cry from the authencity of Nirvana. That said, it's enjoyable enough.

Listening to this album, it's particularly striking how different American folk music is from British folk music. Whereas the American tradition sometimes recalls images of migrating farmers during the Dust Bowl or working class people during the Depression, the British version goes back much further. Pre-Victorian era and even the Middle English period, as showcased by the album title. Given the comparatively long history, it makes sense. The celtic roots of the British Isles are still evident in the traditional compositions. But like Bob Dylan before them, Fairport Convention don't shy away from incorporating electric guitars into traditional compositions. They even dabble in some psychedelia. I've yet to hear Fairport Convention's "Unhalfbricking" but I understand that it's a more modern take, with more influence from Dylan. "Liege & Lief" is meant to be their real traditionalist take on British folk music. It inspired loads of other artists, but truthfully, it's a very niche sub-genre. But if you're going to listen to electricified traditional folk, you could do a lot worse than Fairport Convention.

What on earth do I do with Steely Dan? On one level, they're soft rock that would fit in a dentist's waiting room. On another, they're very good musicians and they incorporate a heavy avant garde influence into their songwriting. For the last two albums on this generator, I balanced these out and gave a respectable 3 stars. But Steely Dan is wearing me down and I fear that I'm slowly becoming a fan, despite my instincts that it's too Dad Rock for my taste. Maybe "Can't Buy a Thrill" is just that much better than the others. It's certainly a great debut album. The band has the complexity and polished sound of a group that's been together for years. But if I'm being honest with myself, I've had the creeping sense for a while that maybe Steely Dan is better than I want to admit. It's not a favorite but I can actually really enjoy them. Maybe one day I'll go back to give the other albums another chance. For now, I'm happy enough with "Do It Again", "Dirty Work", and "Reelin in the Years". All great songs.

Outkast were one of the coolest hip hop groups out there and "Stankonia" was their breakthrough album. They really took their time with this one and allowed the ideas to develop and diversify. There's a very eclectic mix of styles here, including electronic music, rock and gospel, but it's firmly held together by hip hop. Outkast were also trailblazers in the Southern hip hop movement. Before this, most big names in the genre would have been localized to New York and California, the two coasts that dominated hip hop and famously opposed one another. On top of all that, Outkast stood out for having more progressive attitudues about women than many of their contemporaries. Women in these songs are mothers, daughters, and partners to be valued. They're also sometimes victims of systematic sexism and Outkast calls on us to be allies. And through all of the social messages, experimentation, and representation of their region, the music is also just fun and catchy. Although they weren't at the level of "Hey Ya!" just yet, it's easy to catch yourself singing along to songs like "Ms Jackson" and "So Fresh, So Clean".

"Vivid" is good enough example of heavy funk rock. You can see them being incredibly cool in the 80s. It's still a good album, but it doesn't exactly stand above the crowd, save a few songs. "Cult of Personality" is still undeniably catchy. The two songs that are oddly missing from Spotify ("Desperate People" and "Broken Hearts") are some of the stronger tracks. Dig into the album credits a bit and you'll find some surprising names like Mick Jagger and Chuck D, further suggesting that this band was pretty big during their heyday. But a lot of the album feels like its shine has dulled by the passage of time and doesn't really hold up today. I accidentally let the album continuing playing into the bonus tracks and found a remix featuring Prince Paul to be my favorite song. There's still something kind of great about Living Color, but I think it's more nostalgia (and one very strong single) than anything now.

Supergrass's best known song famously declares "We are young. We run free." That tells you a lot about what to expect from the rest of the album. There are intense bursts of energy throughout, and a freeom that comes with a youthful lack of self-consciousness. In other bands, that could border on pretention, but Supergrass just sound like they want to have fun and hope you do too. It's a great debut and "Alright" is a classic teenage anthem. I have to agree with other reviewers that I prefer this to the majority of Brit pop acts from this period, particularly because you can actually dance to this stuff. I'd argue that their follow up album "In It for the Money" is a significant development in their sound. But this is still a pretty damn fun debut.

Echo and the Bunnymen departed from the gloomy, isolated rock of their previous album, "Porcupine". That release felt like it existed within someone's depression. "Ocean Rain" in contrast, is huge and cinematic, without losing the dark edge. It's like coming out of the winter into a rainy but beautiful spring time. Arguably, it's their best album and contains some of their best songs like "The Killing Moon" and "Seven Seas". But there's loads of experimental and diverse elements as well, which flow perfectly through the entire album. It took me some time to really appreciate Echo and the Bunnymen. If the other albums on this list got me interested but this one made me a fan.

In the early 2000s, there was a movement where a large portion of trip hop music drifted so completely into lounge, soft jazz, and similar music that it's indistinguishable from the real thing, except for the odd additional synth sounds. Case in point with "Tanto Tempo". Bebel Gilberto enlisted Serbian-born electronic artist, Suba, to produce it. The album also samples another electronic artist, Amon Tobin (an old favorite of mind). But you could very easily miss all of that and just hear it as a simple bossa nova record. The electronic elements are (for the most part) extremely subtle, suggesting that Suba turned his skills from crafting songs to impressive production work. It showcases Gilberto's beautiful voice and a long tradition of Brazillian music. Suba's dedication to this music went quite a bit further, as he actually gave his life to save it from a burning studio. Frustratingly, this album isn't on Spotify, though you'll find the majority of songs from other releases, with a handful missing.

"The Dandy Warhols Come Down" has the distinction of being (as far as I can tell), the oldest album to have ever been removed from this list. Most releases past 2000 have been safe from revisions since the first edition of book. It's a shame because it's actually a pretty great album. I would struggle to think of any reason why it particularly needs to be on this list but I can also think of a lot of better ones to remove. Fortunately it's still in the generator. I'm surprised how much I enjoyed this one. The first person who ever told me about The Dandy Warhols described them as an emo band and I'm afraid I've been dismissing them ever since. Art rock would be a better description with elements of Sonic Youth, Nirvana, 90s indie rock and classic rock. The singles are all incredibly catchy and there's not a bad track on here. I'm sorry that I've been sleeping on this one so long. It's a great find.

This feels like the point where Prince really became Prince. The sound can be described as heavy funk synth-pop. It's been called the beginning of the Minneapolis sound, but really can you name any other artist apart from Prince who demonstrates that style? More importantly, this is a defining sound of the 80s, a decade characterized by very loud colors and sounds. It's vibrant, fun, sexy and a little dangerous all at once. Who would have expected one of the best dance hits of the 80s, and a staple of New Year's Eves parties ever since, to be a song about the dangers of nuclear war? The whole album is a blast and really cements Prince as an incredible artist.

These are some harsh reviews for such an incredible album. Tangerine Dream were at the cutting edge of electronic music and the German rock scene that would strive to reject tradition wherever possible. They looked to avant-garde and academic circles to see what else was possible. But calling this academic-inspired electronic music doesn't do it justice. It's the post-war uncertainty and bleakness that comes through, and probably more so than from the likes of Kraftwerk or Can. Tangerine Dream were facing the future with a sense of fear but unwilling to look back. You hear it in the very rich ambient soundscapes of this album. Unlike Eno's ambient that could be listened to or ignored, "Phaedra" sounds like it wants to invade your dreams. The Moog synthesizer is on full display here, and pushed to the absolute limits of the technology available at rhe time. Tangerine Dream would spend three hours a day getting the sound just right, followed by 12 hours of recording, pushing themselves to the limit as well. The synthesizers would overheat and the change in pitch would cause the music to warble in real time. Today, you could easily pre-set a synthesizer to cut back a lot of work. However, the limitations are what makes the album uniquely human and eerie. This is the stuff of very strange dreams and alien landscapes. It's beautiful and really holds up well today.

It's pretty interesting that Harris took her first stab at writing the majority of her own music so late in her career. And why not? She'd been covering other artists for decades before this. Yet there's a certain vulnerability with putting your own literal voice against your own literal voice. It's a good album, with a lot of powerful messages. The blend of country and folk, set against the heavy, slow drums works well. It's Harris's voice that really carries the album, as with her past ones, but it's really not a bad effort at all even without that. It's not one that I'd return to much, but I still enjoyed it.

I find it incredible that this album came out in 1968. Traffic seemed to be a good few years ahead of the 70s rock scene. Already they were taking psychedelic rock and blending it with complex structures, jazz, and a diverse range of instruments. What's impressive is how accessible it all is. How does an album with so many layers manage to include such a good single as "Feeling Alright?" There are hints of Steve Winwood's synth-layered jazz that would come later as well. I've been pleasantly surprised by how much I've come to enjoy Traffic, though I liked "John Barleycorn Must Die" a bit more.

"OK Computer" is simply a classic album, one of the greatest of all time, and you could make a strong argument that it's the best album of the 90s. It's sometimes derided as overrated, possibly due to Thom Yorke's voice, which some people describe as "whiny". But I'd really encourage any doubters to take deep dive into this album to understand what makes it so special. Their previous album "The Bends" landed somewhere between grunge and Brit Pop, and was extremely popular, despite the introspective and often depressing lyrics. There was massive pressure on the band to recreate more of the same. It probably would have worked but it might have severely stunted their art. They wisely tried to do the exact opposite, starting with Thom Yorke attempting to make a happier album (you can hear hints of this in some b-sides and unreleased tracks, like "I Promise"). That direction was perhaps corrupted by requests from others to write songs about the Bosnian war and the final tragic scene of Romeo and Juliet ("Lucky" and "Exit Music", respectively). The majority of the album certainly doesn't sound as happy as Yorke intended. Contrary to what the critics say, this isn't an album about whining. It's not about themselves. It's social commentary and pre-millenium tension. It's a deep paranoia that we trust our lives to computers to automate live, consumerism to make us comfortable (if disconnected), politicians to fix problems, airbags to save our lives, etc. A huge part of why "OK Computer" became so successful is that these feelings really resonated with people of the late 90s and continue to now. Musically, Radiohead evolved rapidly here from their previous work. Whereas "The Bends" was essentially poppy indie rock and a product of that time, "OK Computer" was a like a real love of music. The diverse influences on this album will look very familiar to anyone in the middle of the 1001 Albums Challenge. Among many others: DJ Shadow, Queen, Can, Portishead, Marvin Gaye, and many others. Their styles are woken together into something completely different from all of them, a masterpiece inspired by many masterpieces before them. It's full of experimental techniques, electronics, feedback loops, live recordings, and musique concrete. While Radiohead deny that it was a concept album, the music definitely evokes a feeling of night time urban landscapes, populated by overworked people, insomniacs, technology beyond our control, and aliens attempting to make sense of what they see. The band opted to record in the countryside and it seems to have given them an objective view of the cities they were trying to escape, filled with desperate attempts to solve loneliness through consumerism. They shine a light on it, as if to say "No, it's not just you. You're not alone. We all think this is rubbish." Maybe that sounds depressing to some but it can also be extremely comforting. Nearly 30 years after its release, "OK Computer" remains a powerful document of its era.

I've tried a few times throughout this challenge but I am just not a fan of honky tonk country. I don't know why. It's fine but just not that interesting. I guess the focus of a lot of country music is the sorrowful, expressive vocal performances, often about heartache. I kind of get it. It's very human and George Jones certainly can bellow out a performance about loss, likely aided by his actual divorce. And I mean, there are some joyful moments too. Yesterday I got a Radiohead album and a lot of the reviews were complaining about it being depressing and whiny. But Thom Yorke does more than his share of interesting social commentary through those lyrics. But honky tonk country so often just sounds like it's drowning in its own self-pity. That's probably an unfair comparison but I can't help thinking about that juxtaposition of albums this week. I can't deny George Jones' abilities as a vocalist to convey sorrow and loss. But this just isn't for me.

I like Common quite a lot. The music is tight, soulful, jazz and exactly as subtle as it needs to be. The lyrics are powerful and socially conscious. But I have to admit that anything with Kanye West's name attached is a little hard to listen to. I'm trying to be objective and remember that this was before he came out as an extreme right-wing racist conspiracy theorist. And I can completely see why people loved his production work. Even when it's a little gimmicky (like the "chipmunk soul" style), it still works. So I'm going to ignore present day Kanye and say that he and Common made an amazing pair on this album.

A few days ago (at the time of this writing), Nirvana reunited for a benefit show for the people affected by the 2025 LA fires. In place of Kurt Cobain was a lineup of female vocalists, including St Vincent, Kim Gordon and Joan Jett. It's universally accepted that Cobain would have loved that. The performce on MTV's Unplugged holds up as an amazing album, three decades on. The MTV show itself was largely forgettable, apart from this show. Big name bands playing to a small audience (if I remember correctly, most music industry people) acoustic (more or less) versions of all of their hits. Nothing wrong with it, aside from being a bit gimmicky. Nirvana didn't really belong on the show, but they were massively popular at the time and it was a no-brainer for the network's programming department. High energy noisy grunge stripped down to its bare bones would surely have gotten viewers. But Nirvana weren't ones to follow the formulas. The producers were completely confused by the lack of well-known singles. No "Smells Like Teen Spirit", no "Heart Shaped Box". Aside from "Come As You Are" and "All Apologies", all but the most devoted fans might have scratched their heads at the song selection. The room was staged to resemble a funeral, in sharp contrast to the usual lively enviroment there. Add in some obscure covers as well. Even the David Bowie one was a fairly deep cut (later to be made famous again by this very performance). Further frustrating MTV executives was the choice of guest stars. Given their fame, most artists would have leapt at the chance to perform with Cobain and company for a live television performance. Instead, Cobain used the opportunity to sneak his obscure friends the Meat Puppets onto a prime time show. "Unplugged" more than any other album, really showed the potential that Nirvana had. If Kurt Cobain was still around, we can only imagine where his music might have gone next, but we get a very good hint here. There's a narrative of increasingly noisy grunge and experimental rock from "Bleach" through "In Utero". But the real punk spirit isn't about being loud and fast. It's about subverting expectations and avoiding marketability when it starts to feel too predictable. There were clearly a lot of interesting ideas floating around Cobain's head. Unfortunately, there were also too many dark ones which would eventually win out. Even this performance nearly didn't happen, as he'd been suffering from bounds of depression and had recently been in too difficult a space to perform. But he did, and it ended up being a final gift to fans, that showed just what he was capable of. If only he'd stayed with us longer to see what was next.

Queen don't get the credit they deserve as an album band. And I can understand why. Their greatest hits collection is pure gold and many fans are content to stop there. But there's a lot going on besides the hits. "Sheer Heart Attack" is a great example. Aside from "Killer Queen", these are pretty much all deep cuts. But it's an incredible collection, particularly noteworthy as it marks a transition for the band from fantasy-influenced prog rock to larger than life stadium rock band. The early prog stuff is sometimes dismissed for not sounding very Queen-like but it clearly laid a foundation for their later and it's clearly present here, among the poppier stuff. "Pop" here is no dirty word. Queen understood the best parts of pop music without falling into the pitfalls of formulaic, mass-produced, easily marketable content. They're clearly pushing boundaries here and having an amazing time doing it. The thing about "Sheer Heart Attack" is that jt sounds best listened to as a whole. As great as "Flick of the Wrist" is, it works best between "Tenement Funster" and "Lily of the Valley". It keeps this album as something of a hidden secret, because they also offer you loads of very easily accessible singles, mostly found elsewhere. But given the chance, there's absolutely nothing to dislike about this album. It sounds effortlessly great from start to finish.

Bowie's Ziggy Stardust period spanned four albums. After the first one launched to rock star status, he was faced with the classic musician's dilemma: how to follow up the breakthrough album. He was torn between doing Ziggy Part 2 and changing styles again. He ended up doing something in between. Aladdin Sane was partly a new character, but really was an adaptation of Ziggy. For some parts of the album, you'd be forgiven for dismissing it as a continuation of the narrative. Bowie called the album "Ziggy Stardust Goes to America" and there's a lot more to that idea than it may sound. America is a massive influence here and marked the beginning of a long fascination with the country. People may have found Ziggy strange when he landed in England, but he first experienced dizzying culture shock himself when he came to the US. Not only was Bowie touring extensively to his newfound audience there, but he worked during this period on albums from Lou Reed and The Stooges. This is all reflected back in an album obsessed with stardom, movies, racial tension, and urban decay. The music also draws on various American styles, like doo-wop and jazz. While it's still predominantly a glam rock album, it veers into area that other glam bands would never have dared. Particularly important here was the addition of pianist Mike Garson, whose works really shines on several tracks. The title track alone begins like a smoke filled jazz lounge, and deteriotates into a paranoid breakdown. The whole album is much darker, heavier and more experimental than it's predecessor. Save for a few tracks, it's also less accessible, but much more accomplished. The biggest criticism is the unnecessary Rolling Stones' cover "Let's Spend the Night Together". It doesn't quite fit the rest of the album and could have been swapped with the non-album track, "John, I'm Only Dancing". But it's a very small issue for an otherwise revoluntary album. This the moment when Bowie proved himself as a force who could continue to evolve.

I really wasn't excited about this one based on the cover. A band called the 'Buckaroos' lead by a white guy looking like a used car salesman in a white studded jacket. The image screamed mediocre honky tonk. It was much better than I expected and represented a bridge between traditional country and rock n roll, that would heavily influence the sound of Johnny Cash and other outlaw country stars. For my money, that's the more interesting side of the country music genre and credit where credit is due to Owens to pioneering the Bakersfield sound. I'd personally take Johnny Cash over this by a wide margin, but to my surprise, I really didn't hate the Buckaroos.

Bjork has a reputation (unfairly, I'd argue) for making music that's too weird. So I imagine that the idea of an a capella album from her will make more than a handful of people groan. If that's you, I'd urge you to put aside your preconceived notions and listen with an open mind. Because this a really fascinating album and quite unlike anything else out there. To start with, calling this an a capella album is extremely misleading. True, there are almost no instruments on "Medulla", but this isn't just Bjork singing alone in a studio. She's testing the very limits of the human voice in as many ways as possible. Choirs meet rock star growling. Beatboxing meets Inuit throatsinging. Bjork hasn't merely removed instruments, as much as made them redundant. The carefully curated selection of collaborators are able to manipulate their vocal chords in a myriad of ways that have likely never been brought together before, since, or maybe ever again. Subtle electronic effects add different textures throughout the album as well. That technical process helps to create a blending of different cultures and times. At times, you can imagine a group of women singing in Medieval European choir. The image blends into a breathless indigenous woman passionately vocalizing stories of her ancestors. Next to them is an angsty modern rock star, and the world of the Bronx. Somehow, all of these diverse peoples are all together in a cave singing together, a beautiful celebration of human voice and cultures. The content of the songs reflects all of this in surprising ways. There are universal themes of family relations and motherhood, along with stargazing and worship of nature. In some ways, it's a far cry from her early 90s London clubbing days, but in others is uniquely Bjork. This album is a triumph and of her best work (if also the most confusing to some people). Given the themes, "Oceania" was rightfully featured at the Opening Ceremony of the 2004 Olympic Games, another celebration of the world and human abilities.

The phrase that keeps popping up in these reviews is "heart breaking". The lyrics deal with poverty, social injustice, domestic abuse, and other difficult issues. Chapman emerged as a popular local singer in anti-apartheid circles. What feels particularly tragic is the sense of hope throughout it, as though Chapman is holding up the weight of the world on her shoulders and has no intention of letting go. What particularly surprised me about this album was that it came out in 1988. The sound is so distinctly 90s to me that it must have been hugely influential in bringing popular music back from the era of synths and hair metal stadium shows, back to more personal and acoustic sounds of college campuses. Either way, it's a beautiful and socially conscious album that really exceeds expectations.

My impression of Sheryl Crow has always been that she's a decent mix of country and 90s rock. Listening properly, it's maybe more like adult contemporary with strong influences from country, pop music and classical rock. The variety on the album was a pleasant surprise. The best known songs ("Strong Enough" and "All I Wanna Do") represent the rest of the album's style well. If they're overplayed, it's definitely because they're just great songs that can stand up to the test of time. Not necessarily my usual style but it's a great collection regardless and an impressive debut.

After years of different bands and collaborations, "Blunderbuss" see Jack White taking full creative control for his first solo album. While his whole experience before was generating ideas with bandmates, this album saw him directing session musicians to his own songwriting and direction. The result is something far more carefully crafted and professional sounding than the White Stripes, while very clearly following the pattern of eclectic modern blues rock. What's missing is the spontaneousness of his previous work, and some of its soul. The impersonal 12 piece bands don't come across the same way as two people (in a loving yet strained relationship) just having fun in a studio. To whatever extent music can be viewed objectively, this was White's best album best album to date and a huge leap forward in his artistry. It won't capture the attention as well as the White Stripes could. But it's still a fantastic album on it's own. The run from "Sixteen Saltines" to "Freedom at 21" and "Love Interruption" is fantastic and diverse, as most Jack White projects are. This album is well worth repeated listens.

Is there a better cultural ambassador for Senegal (and possibly the African continent) than Baaba Maal? He's long been sought after by Western collaborators from Brian Eno to Mumford and Sons, and was a integral voice and partner for the Black Panther soundtrack and its sequel. Throughout it all, he has remained true to his roots. The music travels the world but never leaves the traditions of the banks of the Senegal River. "Djam Leelii" is his unofficial debut, as the first release to be widely distributed. Along with blind guitarist Mansour Seck, Maal crafts images of traditional life and musical traditions. The music is fit for dancing, travelling or just marveling at nature. I've always found the concept of "World Music" to be troubling, as it attempts to reduce thousands of unique styles into a single genre. Regardless, Maal is a deserving star within that category.

Just a fantastic debut album from one of the most important bands of the indie rock scene. Some may call this the best album R.E.M. ever did, for its rawness. The band were already well on their way to their signature style, but "Murmur" feels a bit more like an underground classic that was waiting to be found at the bottom of a postal crate full of promo records at a college station. It's instantly recognizable as R.E.M., but it's not quite as polished and radio friendly (outside of the aforementioned college campuses) as their later work. Depending on who you ask, that's either a good or bad thing. Regardless, most fans would agree that it's an amazing start to a hugely influential band and their career.

As far as girl band RnB goes, "Crazysexycool" is surprisingly great. I wouldn't normally go for this kind of music but there is a certain understatement to much of the album that lets it breathe and allows it to just feel sexy without trying too hard. The beats are smooth, soulful, and often minimal. The vocals are young, sexy and free. It could be considered empowering in the sense of women proudly embracing their sexuality. "Waterfalls" is the clear hit here with just a hint of jazz underlining it all. The worst parts of the album are the interludes and skits, which were a generally an unnecessary bane on a lot of 90s albums. "Sexy" in particular breaks the narrative of the album by injecting crude humor into the album. It's unlistenable though part of me respects how subversive it is. And hey, Andre 3000 is on here too! Overall, a pleasant surprise.

Damn, I wish more soul records sounded this amazing! Really sensational from start to finish. I've listened multiple times trying to absorb it all and don't feel like I've experienced it all yet. Hill's lyrics are so passionate and real, focusing on self-exploration amid a political climate that shaped her. The music is absolutely perfect, so full of soul and rhythm. I've known for a long time that this was an album Worth listening to but it took the generator to sit me down, shut me up, and make me hear it. Fantastic find!

Man, the Beastie Boys really don't get the credit they deserve. If you just listen to their hit singles, you might expect that they're non-serious frat boy punk and hip hop. The full albums tell a very different story. Beginning with "Paul's Boutique", they began to really sound like artists. That album could be called a fluke, with the sound shaped by samples and the collaboration with The Dust Brothers. By the time of "Ill Communication", sampling was out and live instruments used to recreate the vibe of their past artistry. It's noticeably more focused than "Paul's Boutique" and utilizes heavy jazz influence, very evident from the basslines. They remain true to their roots as a punk van's turned hip hop act which hides how brilliant the album really is. But they have expanded their style exponentially here. "Ill Communication" is the second triumph from these guys. They had some more excellent years to follow but this is peak.

Hugely influential thrash metal album. I'm currently listening through a backlog of albums, out of order, and put this on after Joe Ely's "Honky Tonk Masquerade" because it felt like the biggest 180 I could make. What's really interesting about this album is how producer Rick Rubin sought them out to work with them. Rubin was previously known for helping to bring hip hop acts to the mainstream. How he ended up wanting to produce a band like Slayer, I have no idea, but it worked well for the band, as it helped them develop their sound and put "Reign In Blood" among the best known metal album of the late 80s, alongside contemporaries Metallica, Anthrax and Megadeath. Yes, it's over the top, but that's part of the very definite charm.

I went into this one expecting to give a sarcastic review about the influence of the humble bongo. The concept is a bit ridiculous but this album really delivers! "Apache" is the stand out track and may sound familiar to many. Any wedding DJ should take note if they need to get people energized again. The whole album sounds like it could be the soundtrack to a 70s action movie (which tracks as the songwriter was also a movie producer) with the simple addition of bongos to make it all danceable. The novelty does wear off a bit as it goes on. "Apache" itself is worth an easy 5 stars, but the rest doesn't quite match that.

This is actually the first album I've ever listened to by the legendary Frank Zappa and I suspect that it was the wrong place to start. I've been familiar with him for years from his reputation, a handful of songs, and his work with Captain Beefheart. But I've never listened to a full album from Zappa or the Mothers of Invention. As I understand it, this was Zappa's attempt to move away from the experimental rock of the Mothers and produce a more free form jazz record. Again, it's weird place to start, why do anything in a conventional way when it comes to someone so well known for being the opposite? "Hot Rats" is full of experimental and sometimes jarring or abrasive jam sessions that could turn off even the most hardcore jam band fans. But for thoe of us who love the weird and wonderful, it's quite a trip. It's not the kind of album where you might pick a favorite song. The whole experience should wash over you when you just need a frantic break from normality. I look forward to hearing the Mothers of Invention soon in this generator.

I don't quite know what I was expecting from The Roots, but it definitely wasn't this! The progressive hip hop label fits but also doesn't do the album justice. There's a lot going on here, highlighting some of the best of early 2000s hip hop and neo-soul, mixed with a diverse array of other genres and a deep social consciousness. The African American experience is the focal point, particularly how it's been shaped by centuries of racism. The title and cover art reference the debunked practice of determining intelligence and personality traits from the shape of a person's head. This pseudoscience was used for a disturbingly long time as a justification for racist policies, colonialism and genocide. The fact that The Roots draw attention to this suggests that they're focused on the historical context of systematic racism, not simply what exists today. The lyrics remind the listener of urban decay that stems from these historial roots. Despite this, there's a explosion of creativity and diversity in the sound, reaching into jazz and punk seemlessly with hip hop and soul. There are occasional moments of misogyny that feel out of place in the other socially conscious collection. This aside, it's a great album and I can see that I definitely need to start paying more attention to The Roots now.

Right... Just how many "honky tonk" albums must this generator give me? I've really tried to keep an open mind and in some cases, but I'm really struggle. Buck Owens was a little interesting for breaking with tradition and influencing Johnny Cash. But now it seems that we've gone backwards from that with a return to traditional honky tonk country. Ok, I guess it's well made, production is clear, Ely throws in some unexpected choices like the odd accordian or electric guitar. But sorry, I just don't really see the appeal of this sub-genre. It has made me crave some cornbread though.

D'Angelo was obviously a key player in the neo-soul movement, but I'd really like to think that this is not his best album. Based on what's here, he's clearly a very talented vocalist with a great soul voice, but the music isn't very exciting. It's a debut album, so fair enough. But to read the Wikipedia page, you'd expect a lot more, as it cites influence from the likes of Miles Davis, Stevie Wonder, Sly and Family Stone, Isaac Hayes, and Prince. Honestly, I really don't hear much of that in the album. D'Angelo could afford to take some risks and diversify the sound, and hopefully he manages to do so in some later works. But this is the one the generator gave us. It's good for what it is, and clearly had an audience. It's an ok listen, but not too exciting.

I can't pretend to be a huge fan of Def Leppard, but I can only imagine how fun they must have been to see live. As far as 80s big stadium hair metal bands go, Def Leppard are about as close to the stereotype as you can get. They write some good songs and know how to make themselves marketable, stylizing themselves after Michael Jackson's "Thriller" to make every song a potential single. It's not my favorite music, but one very notable thing about this album is that the drummer carried on after losing an arm! I can't help but represent the massive dedication it must have taken to carry on and relearn to play that way.

Imagine listening to this as a university student in the mid-80s, before the world had ever heard of Frank Black or the Pixies, and it must have felt like an incredibly cool find. It's a very cool female-led band vibe to it, though it's maybe not something that would be that memorable. Still, cool to hear.

When listening to the previous Todd Rundgren album on this list, "Something/Anything?", I was tempted to enjoy it more, particularly the more experimental parts, but I was fairly bored by the very poppy ballads that existed throughout the album. "A Wizard, A True Star" is a refreshing change from that, where Rundgren thankfully abandons any attempt at being commercially successful to just allow himself to freely create and shift styles at whatever whim he likes. Rundgren called this album a "flight plan" for a drug-induced trip, beginning with chaos and crashing chaotically into soul. A critical hit and a commercial failure, what's interesting is how the album turned out to be a major influence on artists from the early 2000s, including Daft Punk (who used the opening track in their film "Electroma"), Tame Impala and Hot Chip. That shouldn't make much sense, but you can definitely hear it. While Rundgren was injecting experimental electronics into his rock and pop music, those other bands brought classic rock and soul back into electronic music. I'm not too keen on the soul medley, but as a single point within an otherwise fascinating album, it's easy to forgive. There are a handful of cringeworhy lyrics as well. But honestly, I really liked this album and I'm willing to forgive a handful of poor decisions.

I discovered the Velvet Underground around the same time I discovered Wes Anderson so naturally, I've got a soft spot for Nico. I've never quite loved this album, apart from a handful of specific songs. It's top loaded with the two best songs right at the start. But some others just didn't quite work for me. Reading the background has been very eye-opening though. Turns out that Nico absolutely hated the flutes and strings that were added against her wish and this explains so much! I can now picture an imaginary version of "Chelsea Girl" that's starker and layered with drums, perhaps more closely representing the Velvet Underground, whose members contributed several of the songs. It's a bit of a stretch because the strings are so prominent in these songs that I know so well. But I'm completely with Nico about the flute! "Little Sister" and the title song in particular always kind of grated on my nerves, despite being penned by her former bandmates. They'd have been much better without that flute, as would "Wrap Your Troubles in Dreams", though the latter manages to be brilliant regardless. Having said all of that, the album is what it is and the additions give it the distinctive character, whether Nico wanted them or not. I'm not entirely sure that the album would have worked as well without the strings. But the flutes should have never made it to recording and are the main thing keeping this one from reaching 5 stars. With apologies to Nico, who tried to stop them, it's not a perfect album, but it was close.

This is my second attempt to listen to Emerson, Lake and Palmer. The last one I had in this generator was "Pictures at an Exhibition", an extremely gimmicky live prog rock cover of a classical performance. It was probably fun if you were a fan, but fairly tedious if not. I was hopeful that a studio album of their own material might be better. I like the occasional prog rock band so they deserve another chance. And yeah, it's definitely better. The gimmicks are still there. If you want to hear "Oh Susanna" in math rock form, it's there. But it's at least not a one trick pony and there's a lot going on. There's variety and a loose theme. Pipe organs intermingle with synthesizers. It's interesting and it's very well executed. But it's not exactly a great album. I'd take Rush or King Crimson over Emerson, Lake and Palmer any day I'm afraid. My favorite track is one that leans more on the classical/jazz side of their music, "Infinite Space (Conclusion)".

I'm pretty surprised by the negative reviews on this one. What more do people want? It's straightforward, uncomplicated, great live rock n roll. And I say this as someone who usually really prefers eclectic studio albums, but this one just has such infectuous energy.I find something very charming about the idea of a Western band using their "we're big in Japan!" street cred to break into the charts in the UK and America. Every song is great and the whole album is a tight 42 minutes. There's no bad song here and "Surrender" is a classic. Many other people are hearing something awful that I've missed, but I'll enjoy my blissful ignorance.

Fairport Convention had an impressive run of three albums released in 1969. Over the course of this period they transitioned (spearheaded by new lead singer Sandy Denny) from an American influenced folk band to a new style of British folk rock, rooted in traditional songs. "Unhalfbricking" represents the midway point in that journey, taking inspiration halfway between modern America and English history. Fairport Convention were given access to a number of unheard Bob Dylan songs and covered three of them for this album. They also balanced this out with their most ambitious song yet, "A Sailor's Life", dating back to the 1700s. It's easily the most noteworthy track on the album, given the history, the change of style, the song's length, and the stark atmosphere it induces. That song alone is often considered the start of British folk rock, as a distinct entity from its American counterpart. Tragically, the band's drummer would be killed shortly after this album and with him, the band itself nearly ended. Their follow up, "Liege & Lief" would complete their 1969 trilogy and the transition to English-centric music. It's arguably the more important album as it cemented their unique style and influence. But for my money, "Halfunbricking" is still the better album, as it straddles those two different worlds to make a more interesting (if less important) piece of art.

I officially can't figure out Neil Young. I love his work with Buffalo Springfield and CSNY. Then I found several solo albums to be a bit boring. Then I heard "After the Goldrush" which was excellent. "Harvest" is perhaps his most celebrated album so I've been excited to hear it. But again, I'm lost on why the generator feels I needed to hear this. "Heart of Gold" is undeniably an amazing song. But the rest? I mean it's fine. The story of his debilitating back injury forcing a simplicity to the playing is compelling, as is his then new love interest. But does it really make for great music. It has its moment but it also has a song called "A Man Needs a Maid". I'd hoped there was some other meaning behind that but he is literally singing about someone cleaning his house. I wondered if I was going crazy in remembering that "After the Goldrush" was great so I've listened again and I stand by my enthusiasm for that album. "Harvest" on the other hand... sorry Neil Young fans, I just don't get it. But I guess it could get an extra point on the strength of "Heart of Gold" and the fact that I'm really supposed to like it for some reason.

Perhaps a one hit wonder but what a hit it was. "Take On Me" holds up incredibly well today, helped in part to its current meme status. It had one of the earliest and still most innovative videos ever seen on MTV and was a technical triumph. That video catapulted A-ha to fame and was clearly significant. But the quality drops off quickly after that. The rest of the album is mostly standard 80s synth pop, with some chamber pop and what sounds like heavy influence from The Smiths and early Depeche Mode. There are some very good songs, alongside some boring ones, but only one great hit, enduring as it is.

A good example of Beatles MK1. Before they took their role as innovators of rock n roll music to come, they were mastering the early 60s pop scene. There are a handful of very noteworthy things here. The skill in playing, the normalization of the band writing their own music (since a novelty at the time), and their first artistic take on the cover art. This was also the first British album to sell a million copies. All of this would be influential. However, the thing you hear all the time about this period is "It's not their best work". Hard to argue with that. If the Beatles had stopped here, they'd still have been an important band, but wouldn't have still been a household name today. They'd have been talked about in terms of nostalgia and academic history of popular music only. Their true place in Western culture was still to come but the early hints are there. The Beatles were already different from the rest at this stage.

If you want to divide Velvet Underground fans, play them "White Light/White Heat". Casual fans of the band often mistake them for a charming pop band that hung out with Andy Warhol's crowd. Songs like "Sunday Morning", "Pale Blue Eyes", and "Sweet Jane" all feed into this illusion. In truth, they were always an experimental noise rock band in disguise. The odd avant garde songs comes in like a Trojan horse on other albums. But their second release was where they fully embrace this in all areas. The music is loud and noisy, the production is rough and abrasive, the lyrics seem designed to make the listener uncomfortable by exposing worlds unseen by polite society. The band had at this point abandoned Warhol and Nico, setting them free to push everything to the limits. This is also the final album with John Cale as a member (Cale and Lou Reed would eventually work together again two decades later on "Songs for Drella", their tribute to Warhol) and the experimental elements seem to have been heavily influenced by him. The final (legimate) Velvet Underground album, "Loaded", now stands in sharp contrast to "White Light/White Heat". Fans will tell you that you have to love both ends of that spectrum from avant garde to pop to really appreciate them. But Reed and Cale certainly didn't make it easy for people.

Call it electronica or big beat, the sub genre from the mid to late 90s certainly had a lot of forgettable acts. A handful, like the Chemical Brothers and Daft Punk, found the right formula though. Synths, bass and beats weren't quite enough. The music needed a heavy tribute to the past to give it more character. The Chemical Brothers knew how to make it work with elements of psychedelic rock, funk, and hip hop all mixed in for variety. Even their artwork from the period recalled a different era, picked from unused 70s stock photos to feel more classic and also more human than most of their contemporaries. Their first hit, "Song to Siren" found a home on dance floors, but what's great about "Exit Planet Dust" is that it works so well outside of the club setting. Some of their best songs work best as radio-friendly pop songs, like "Life is Sweet" or their frequent collaborations with Beth Orton. This is an impressive debut and really survives the test of time better than you might expect.

Ok, it's pretty clear that this isn't Springsteen's best album. He'd been away for 7 years and more than a decade past his most popular era. And frankly, there probably wasn't much pressure on him here. Much like the president's approval ratings immediately after those terrorist attacks, people were looking for comfort in an uncertain time. Springsteen ticked loads of boxes here as both a hero of the working class and a patroitic symbol of America (particularly among those who didn't attempt to understand his often critical lyrics). He could have released just about anything as his post-9/11 album and it would have sold in droves. All that being said, this is still a powerful album that really recalls a specific place and time. I could be biased here because I lived in New Jersey during those attacks, close enough to see the smoke from the World Trade Center out my window. My town was full of fliers for missing people who were all commuters working in the twin towers. There was an intense feeling of the shattered illusion of safety in America, the previously untouchable country and we suddenly realized how other parts of the world must feel when their cities came under attack. So I really do feel the context of that place and time when I listen to this album. It's somber and uncertain but often hopeful, as we all tried to be during that time. Springsteen has always been a gifted story teller and there were loads of stories from that time that deserved to be told. "My City in Ruins" is the emotional climax to this album about tragedy and has since been used to mark a sense of hope following other disasters as well.

"Rock Bottom" is one of those albums that I secretly love but would never play it got anyone else. It's obviously quite niche but it's one of those weird and wonderful albums that's really interesting to listen to. The title suggests that it was inspired by the accident that made Wyatt a paraplegic shortly before it was recorded. He was very vocal about how it changed his outlook on life and forced him to slow down from his early rock star days. If you knew nothing else about this album, you might expect a record of soft rock ballads. Instead, Wyatt is extremely subversive here, turning the concept of rock-jazz fusion on its head. This is proto-indie rock with a strong undercurrent of jazz techniques underlining it all. The result is bizarre and unsettling. It feels like being lost at sea, with delirious and happy memories of cultures left behind. I guess that won't appeal to everyone but I can't stop listening to this wonderful oddity.

What do we have today? Another country album? Alright, here we go. As I've said previously, country just isn't my genre, no matter how hard the generator tries. What I will say is that not all country is the same. While I really don't enjoy honky tonk and the Nashville sound, some Bakersfield and outlaw country has been better. Some of it is excellent. Merle Haggard leans on that side for me. He was a prisoner at San Quentin when Johnny Cash gave his famous performance there and he has ties to (the not terrible, in my opinion) Buck Owens. It's kind of interesting in that Haggard really was a convict and could use that image to sell records, a clear one up on Cash. And the music is ok. But it's no Johnny Cash and not one that I'd likely return to.

A fantastic blend of African and African American sounds, bringing in some of the best of both worlds. It's a very infectuous record, before you even know the dramatic history. Kuti dared to criticize the Nigerian government it's "zombie" military, who he claimed followed orders without question. The popularity of this release would prompt the government to prove him right, as they would later storm his commune, tragically resulting in the death of his mother. It's speaks to the brutality of that regime, the power of music to make change, and to Kuti's popularity across Africa and the world. The story makes the music much more impactful and sad, but the music itself is fantastic.

Arguably, the peak of Eno's solo rock albums. Despite being often forgotten, "Before and After Science" has a kind if maturity that his previous albums lack. It was recorded in the brief period between his work with Bowie in Berlin and his later work with the Talking Heads (who are name checked on this album, in anagram form). The Oblique strategies that he used to spark creativity was really hitting its stride by this time. Working with musicians from Can, Cluster, as well as Robert Fripp and Phil Collins, Eno brought healthy experimentalism along with a lot of accessibility, at least if you're willing to put the time in. Like Bowie's album "Low", "Before and After Science", as two distinct sides, one bordering on pop music and one resembling his later ambient works. The album takes some time to fully appreciate but it's worth some effort.

The opening track "I Had Too Much to Dream (Last Night)" is about as catchy an anthem as you can hope for from the psychedelic rock scene of the 60s. Is it a bit gimmicky and silly, sure. But it's also a great song. They tried to recreate the same kind of quirky play on words rock song with their second single, "Get Me to the World on Time", to decent results. Unfortunately, the rest of the album is a bit dull. If this album is notable for much, it's mainly the fact that the record label severely limited their control, enlisting a songwriting duo to pen most of the songs, including the two best ones and a ton of filler. Maybe it says something about the marketability of psychedelic rock by this time that it was so tighly controlled and profitable. Even where the Electric Prunes did get some artistic freedom, it's nothing to write home about. So they're perhaps relegated to the category of one hit wonders, not to be heard from again. But that song is still pretty catchy.

Where have these guys been hiding? I felt a bit dispirited (no pun intended) to see another psychedelic rock album after a disappointing one yesterday, but this is a genuinely great album and goes very far beyond the simple confines of that genre. Maybe because it was released a bit later, with the scene having had its heyday in the 60s, Spirit sound both a little too late but also way ahead of the game. It's deceptively complex and layered. On my first listen, I didn't really hear much aside from a few standout tracks like "Mr Skin" and "Street Worm", but the variety and complexity of the entire album really starts to come alive the more I hear it. It seems to touch on funk, soul, and what would be later known as classic rock. Another great find in this challenge!

I really didn't know what to expect from this one. The description of it being a country/folk album had me concerned. But I'm very pleasantly surprised by this one. There is some fantastic songwriting here, which clicks now that I realize Richard Thompson was a member of Fairport Convention. He's clearly taken a lot from that experience into this release with a fair number of Celtic inspired elements. But this album really goes beyond simple English folk music and could have really held its own against the contemporary music of the mid-70s. I say could have as it was a sadly neglected album upon its release, taking another decade before being released outside of the UK, which undoubtedly hurt its longterm legacy. But there's something kind of magical about the idea of the overlooked masterpiece, like a prized secret within the collections of people in the know. I'd say it's high to reevaluate this one. But in the meantime, I'm glad to have discovered it today.

I feel conflicted about this one. This challenge has highlighted to me that I'm just not a fan of Dr Dre and most of his projects. They alway have great beats but are often filled with machismo, toxic masculinity, or extremely juvenile boasting about sex, drugs, and/or violence. 50 Cent doesn't deliver the socially conscious lyrics that I wish he would but he does at least feel more honest than the rest. Maybe it's because he generally avoids the adolescent attempts at humor (with a few cringeworthy exceptions). Or the fact that he does allow himself some moments of vulnerability (to Dr Dre's annoyance). Or the fact that he was actually shot nine times prior to making this album. Like some of his contemporaries, the lyrics speak to an experience of actual people. It may at times sound overly aggressive or toxic. The glimpses of a softer side don't particularly make him into a feminist or anything. But we can that these attitudes were in many ways shaped by experience and decades of institutional racism. The thug persona is for some a survival strategy. The album begs for some political and historical awareness in place of the glorification of violence. But it's hard to completely blame someone who's lucky to be alive for puffing out his chest to his rivals.

A lovely, dreamy little album. The full impact of this album is felt in contrast to Goldfrapp's other dancier, electronic music. For those unfamiliar, "Seventh Tree" on its own doesn't really show their versatility particularly well. Not that people can't still enjoy it, but it possibly doesn't stand out quite as much to non-fans. The music definitely hits a certain kind of mood when you may be craving calm, optimism, connection to nature, and a slight sense of wonder. My only criticism is that the songs don't really stick with you after listening. It would be a great album to return to occasionally, but it's unfortunately easily forgettable without any prompting.

Calling this Brit Pop really feels wrong and not only because Ash are from Northern Ireland. But the music is so clearly in debt to American bands, past and present. Ok yes, there's a strong Buzzcocks vibe, but it's outweighed by the influence of the Beach Boys, Sonic Youth, Star Wars, and a slew of quirky early 90s indie bands from the states. The band were so young that they had to tour between studying for exams and needed permission from their parents and the school's headmaster. Which is both embarrassing and very cool.

Every Aerosmith album I get I just think, "It's catchy, it's fun, it's rock and roll, but I just don't feel like listening to this." Maybe it's the impression I have of Stephen Tyler but I'm just not keen on this band. Here Aerosmith are a bit older, a bit more mature. They've cleaned up their acts and gone off drugs. They seem to be carrying their style from their 70s beginnings and looking towards the 90s while still retaining a signature sound. But yeah, I don't know, I'm not thrilled by it. It had a couple of good singles that objectively work very well, and maybe it's a good story about how bands don't need drugs to fuel their creativity. In fact, maybe it's enhanced without them. On that basis, I maybe should award 4 stars. But if I'm being honest with myself, I'm just not that moved by it.

For a few decades, Serge Gainsbourg was likely the most famous rock star that France had ever produced. It wouldn't be until the 90s and early 2000s that we got the likes of Daft Punk, Air, and Phoenix, and they all had to performe in English to achieve their fame. Before then Gainsbourg was it. His influence would end up being huge by the 90s, finding new life among some indie artists, and especially the emerging trip hop scene. Famous fans included Beck, Air, Portishead, R.E.M., Stereolab, and countless others. Mike Patton of Faith No More would later join Lovage, which was practically a Serge Gainsbourg tribute band. Less flattering, but the idea of a short, sort of ugly man being a 60s sex symbol would be an a model for the character of Austin Powers. "Melody Nelson" was Gainsbourg's masterpiece and his only really fully formed album. The plot concerns a very seedy narrator (who uncomfortably resembles Gainsbourg himself) hitting an underage girl with his car before trying to seduce her. The idea is repulsive but the story is vivid. Not all main characters need to be likeable and this one certainly isn't. Musically, the album is built around themes and expertly blends rock with orchestral arrangements. He certainly wasn't the first to do this but the style is something different here. Whereas other artists might inject an element of classical music to elevate the sound, here the orchestra feels dragged down by the overall seediness of it all. "Melody Nelson" set a template for all kinds of chill, sexy, and carefree music that would eventually converge with 80s hip hop and 90s indie rock for some amazing music. Sleazy as the content may be, this album is certainly noteworthy

A fun blend of salsa, jazz, rock and hip hop, emerging from an attempt to form a workers' union. The attempt failed but led to a cultural center, where Ozomatli were formed. The music remains conscious of Latino and workers' rights, so also being a celebration of Latin culture in California. Frustratingly, the album isn't streaming and even on YouTube it's pretty spotty (as of this writing). There's also not a lot of information about this particular album anywhere. But there's enough to get an idea of the band and the mark that they made.

"Vespertine" marked a major departure from Bjork's previous work. She'd previously been the punk Icelander who found a new home in the London club scenes (including recording in the bathrooms there). Her previous album "Homogenic" (criminally omitted from this list) had been a maximal and aggressive exploration of (among other things) dramatic landscapes. "Vespertine" however was the opposite of everything that Bjork had ever been. It's a deeply introverted album, evoking feelings of wanting to stay at home and perhaps hide under the kitchen table when the doorbell rings. It's not a lonely album though. It was inspired by her relationship with artist Matthew Barney and feels like a celebration of love between two people who need to shut the rest of the world out for a while to be fully together and simply be. Fittingly, the music is also a major change from her previous works. Whereas "Homogenic" was filled with full bodied synths, distortion, and strings, everything on "Vespertine" is much more intimate. The string quartets are replaced by much more personal harp performances. The earth-shattering electronics are replaced by microbeats, largely built from recording and manipulating everyday options and actions. Microbeats are something of a forgotten art. The effect is like a having a small mouse climb over your arms. It's gentle and lightweight in a way that's exceedingly rare in popular music. Bjork will forever be dogged by the idea that she's being weird for weirdness' sake. It's a deeply unfair characterization of a passionate artist who finds beauty in such an unusual corners of life. "Vespertine" is not my favorite album of hers, but I think it may be the most unique and beautiful of her career.

Wainwright called this album the darker sibling of "Want One" and that's pretty accurate. In my review of that album, I compared it Sufjan Stevens, who has his share of dark songs, but they're usually disguised as fairly upbeat numbers. Maybe this one is somewhere in between that and Leonard Cohen, though it doesn't quite match. At any rate, it's not a bad album and one that I might return to. The appearance by Anohni was a nice surprise.

It's really interesting to compare "Spiderland" to Nirvana's "Nevermind". Both grew from the same influences, both released in the same year by mostly unknown bands, both bands had worked with Steve Albini. Yet one is held up as a redefining moment in 90s rock history while the other remains almost completely unknown. Slint broke up before the album's release which likely hurt their album sales. But also, "Spiderland" was doing something different and wasn't necessarily destined for radio play. Whereas Kurt Cobain tapped into music culture's desire for something new, he also knew how to balance it out with some pop qualities. Slint dives deeper into what we might have called grunge, sacrificing accessibility. Nonetheless, they remain deeply influential for many, including bands like Godspeed You! Black Emporer who would use their template of bleak, drawn out, urban dystopia for their own albums. It's hard to full appreciate the innovation here as much of what they pioneered has since been done by others. "Spiderland" might not be an album you're likely to encourage in the wild, but it's certainly an interesting one.

If Oasis was the modern version of The Beatles, Blur was the modern version of The Kinks, which is infinitely more interesting, albeit commercially riskier. This album was almost never recorded and we might have never known Blur and Damon Albarn as anything more than a footnote in Brit Pop history. For the number of boring British bands from the 90s, Blur was the real deal in my book. Much more eclectic and daring, and less formulaic. "Modern Life is Rubbish" saw the band move away from the then popular grunge style of the States and looking inwardly to England, as the Kinks did. But Blur put it in a more modern context of the multicultural Britain with nods to the past. Sure, cheap holidays in Spain was standard now but who doesn't love a good cuppa at home too? There's loads of variety on this album which really keeps it fresh throughout and also gives a lot of hints of Albarn's later work, like Gorillaz. It's an impressive record from a band on the brink of collapse. Lucky for us they made it.

I've been excited to hear this one as I've heard a lot of positive reviews and I know it was produced by frequent Radiohead collaborator Nigel Godrich. I have to confess that I wasn't blown away though. I see the appeal but it's not a top one for me. It sounds like what Radiohead could have sounded like if they wanted to play it safe. And that's completely fine, just less interesting than I'd hoped for. "Why Does it Always Rain on Me?" is certainly an earworm but not in a great way.

At the end of the 60s, many rock bands were beginning to veer into more experimental, heavy or glam rock styles, embracing the transatlantic explosion of youth culture's current rebellions. Leave it to the Kinks to create a rock album about England's past, with references to the great wars and Queen Victoria. Perhaps in part due to the Kinks being banned from touring America, they were looking inwards on this concept album and (unfinished) accompanying play. Surprisingly, "Arthur" had the most success from the American press, paving the way for the reversal of the ban and their future comeback album "Lola Versus Powerman and the Moneygoround". Although unsuccessful, it's excellent album bringing together a century of English history with an extremely modern sound. The lyrics are full of both criticisms and affection for England and the British empire. It's anti-war, and critical of quaint village life, and yet seems to show a significant reverence for their homeland. While the album lacks many distinctive singles (aside from the extremely catchy "Victoria"), it works incredibly well as a whole album. It's far less ambitious than other rock operas of the era but works less for its focused story and concept. "Arthur" is a wonderful hidden gem of the era.

A very cool feminist response to the only Rolling Stones album that I ever really liked (well supposedly - reports vary about whether Liz Phair actually meant it as a track by track reaction to "Exile on Main Street" but it's definitely a marketable idea). Phair takes a relatively lofi and minimalist approach here, pulling elements from 60s blues rock and the 90s indie scene. During my first few listens to this album, there are a few stand out tracks but it doesn't quite reach the status of the 90s indie bands that she's criticizing. The more I listen though, the more I heard a deep foreboding throughout the album. The song that really struck me was "Canary" which has a really beautiful bleakness to it and is now the quiet centerpiece to the whole thing to me. It needs a little extra to be a perfect album, but it's painfully close.

Many years ago, I bought this album on CD knowing extremely little about Roxy Music. I had been on a Brian Eno kick and knew that he got his start with this band. I'd also heard that this was their best album. So it was a little disappointing to realize that Eno had already departed by this time (evidently so bored that he was daydreaming about doing laundry while on stage). In retrospect, it seems to have been for the best for everyone. Even after seeking out the earlier stuff, I have to agree that this is the band's best. It's not necessarily revolutionary, just a solid album without a single bad track. It's not quick art rock, not quite glam but it feels very early 70s. It's vaguely spacey and Krautrock inspired (apparently one of the models on the riskee cover was the sister of a member of Can). There are better rock albums out there, and better experimental albums too. But that's fine. There's still a lot to love here.

The New York Dolls certainly had one hell of a reputation. Has there ever been a punk band that fit the description better than they did? An image so controversial it made even the most liberal fans slightly uncomfortable. Vulgar, anti-establishment lyrics. The rejection of any norms that say you needed to be a great musician to be in a band. The brazen attitude that they were rockstars regardless of the truth. The fast and dangerous lifestyle that not everyone survives. Sure, they don't have the same impact now that they did. Imagine anyone being offended by that album cover 50 years later, which seems incredibly tame by today's standards. The music is fairly straightforward punk, albeit a little more varied than I expected, but the attitude and the groundbreaking use of feminitity are what made the New York Dolls interesting. Embracing the feminine side would become a standard theme through the 70s and beyond. The Dolls broke that ground and did so with two middle fingers to the world. They were surely an important part of rock history. The music doesn't really hold up that well against of the legion of punk bands that came before and after. But for a short period, the world needed the New York Dolls, whether they wanted them or not.

By statistical anomaly, I am well over two thirds finished with this project and somehow this is the first album that I've gotten by The Byrds. I've heard plenty of the subsequent projects from band members Gene Clark, David Crosby, and Gram Parsons, with the vague idea that they were all once part of this band, at varying times. Listening to it this after hearing those others, it feels a bit like discovering a supergroup in reverse. This has certainly met the high expectations that I've had for the Byrds. Here is the begining of American folk rock, combining the working class traditions of Bob Dylan (who wrote four out of these twelve tracks), with the modern rock style of early Beatles. During this period, the British Invasion dominated the music sales, until "Mr Tambourine Man" broke through. It's only their debut, but it would prove to be a massive influence on American music for decades, inspiring everyone from Simon and Garfunkel, Jeff Airplane, and R.E.M., all the way to the early 2000s and Wilco. While today The Byrds are less a household name than Dylan or the Beatles, but they definitely earned an important place in music history through their contributions. This album still hopes up extremely well, but in the context of the mid-60s, this must have been a very exciting album.

Damn these guys were cool. Art school weirdos turned into New York rock legends. Karen O claimed to have been extremely awkward in her youth and retains much of that image though transformed into a sexually powered rock star. Supposedly they were just making it up as they went along. You'd never know it from this perfectly crafted debut album, though they had some good help and influence from the revived New York music scene of the early 2000s. "Fever to Tell" packs just as much of a punch today as when it was first released.

I've got some rose tinted glasses for this album, as I used to listen to it a lot. The stand out track by a mile is "Halcyon and On and On" which still holds up incredibly well, as seen by the number of appearances during film epilogues. The song perfectly captures the feeling of hope and security after the heros have saved the day. It's a gorgeous track and surely the best one Orbital ever produced. The rest doesn't quite stand up to the test of time, despite time being an overarching theme of the album. The opening and closing of the album are fairly dull studio experiments with spoken word loops and phase shifting. They're fine but you're left hoping they'll get on with it. The bulk of the album sees Orbital expanding their abilities from their early rave days, with more atmospheric layers. They were ehavily influenced by Jack Dangers' Meat Beat Manifesto (who by the way should be on this list). It's a big step forward, if a bit repetitive. The songs generally work well as part of a dance mix, or as good background music. Unfortunately that's kind of it until you get to "Halcyon". It's definitely not a bad album but it's really not as impressive as I remember it when the novelty wears off. "In Sides" is still the better album.

Equal parts psychedelic and paranoid. "Vanishing Point" feels like a tribute to a much seedier side of the 60s that you might have seen glimpses of in some the Velvet Underground's work. But whereas VU were tied up in the pop art of Andy Warhol's work, the images presented by Primal Scream recall something more gritty and uncomfortable. Forgotten B-movies and the ultra-violent work of Sam Peckinpah (the Quentin Tarantino of his day) can be felt throughout this record, though it's also ultra-modern and experimental. As in their previous work, they incorporate many elements from the 90s electronic music scene, including dance beats and ambient textures. It all contributes to the uneasiness of the album. I had this album back in the day and just never knew what to make of it. I still struggle with it. I can hear a lot that's very interesting, but it also feels kind of all over the place, probably by design. Whenever it starts to make sense, it suddenly moves into a different direction. Yet, it needs to be heard as a whole. I very much want to love this album, but I just can't quite crack it open. It's definitely interesting though.

With "The Bends", Radiohead proved that they weren't a one hit wonder. With "OK Computer", they fought against being typecast into one genre. With "Kid A", they addressed their superstar status by rejecting everything and trying some bold, new experiments. With "Amnesiac", they demonstrated that those experiments could still feel human. The most interesting thing about Radiohead's sixth album "Hail to the Thief" is that it's not particularly interesting. This is the first instance of the band having nothing really to prove any more and just setting out to make a good album. There's not much that's really challenging or novel compared to their previous work. Their approach was to work quickly and stop overthinking things. They finished a ton of works in progress and quickly recorded them (about a day per song). Even the lyrics are relatively simple, focusing mostly on post-9/11 political themes, fatherhood, heaven and hell. It's maybe a rushed album to get out of their contract with EMI, but it's done with the confidence and skill of a band that spent the previous decade proving themselves to audiences and critics. "Hail to the Thief" is not one of the great Radiohead albums and arguably could have been left off of this list. It's feels slightly too long and less cohesive than their other work. Despite that, it's a great collection and there's no bad song on it. Not all albums need to be works of art. Sometimes it's refreshing to just get a good collection of songs.

Nick Drake's last masterpiece before his very untimely death. The music is dramatically stripped down to mostly just Drake and his guitar (and one piano overdub). What's remarkable is the sound quality. These two basic elements completely dominate the room and your head space. Close your eyes and you can imagine sitting on the ground in a recording studio while he plays atop a bar stool. At the same time, it's so stripped back that it almost ceases to exist. It's like watching an ant very close up. It's something you could easily ignore but it becomes fascinating and fully engaging when viewed close up. Much has been made about the depression that Nick Drake experienced. Given his early death and poor album sales, it's easy to imagine a tortured soul in these tracks. But I don't think so. This music is therapy and expression, for Drake and for so many of his listeners, even decades later when the music is so much more appreciated.

Is there anything more Australian than Nick Cave and Kylie Minogue singing a duet about murder? (No offense to Australians of course) This album has the very literal name "Murder Ballads" recalling an old genre of songs about crimes of passion with a rock n roll edge. It's definitely interesting, but more from a storytelling perspective than the music.

A psychedelic soul album produced by Dangermouse. Somehow that description doesn't do the album justice. Kiwanuka's vocals echo back to some of the 70s soul/funk greats but the album fits perfectly in this decade among both neo soul and modern indie scenes. This is an amazing find and a perfect album. I probably would have never stumbled across it without this generator but I'm glad I did.

It seems like Robert Dimery let a compilation slip through. Maybe at the time of writing, it was difficult to find many albums from Elis Regina outside of Brazil. This is an interesting collection, where samba beats blend with rock and smooth jazz. I definitely enjoyed some songs more than others, particularly the collaboration with the amazing Milton Nascimento. I definitely feel like there's a lot more going on here than I can fully appreciate. There certainly feels like there's an intensity to the music that reflects back on her short life, filled with drugs, alcohol, failed marriages and the threat of imprisonment from the military dictatorship.

This sounds like Nick Cave is trying to mix the gritty experimental post punk of Public Image Ltd with the gritty blues rock of Tom Waits. If every part of that sentence makes you cringe, be prepared to loathe this album! For the minority of us though, it's a pretty wild ride. Nick Cave certainly refined his style and learned to calm down for the Bad Seeds albums. These humble beginnings are filled with a lot more angst, energy and subversion though, which is either grating or refreshing, depending on your outlook. 4 stars because I think it deserves better than to be one of the worst ranked albums on the list.

Blood, Sweat and Tears combine blues rock with jazz into a pretty impressive collection, albeit a bit eclectic. The playing across the different genres is effortless. "More and More" is an absolutely perfect track, seemingly mixing the showman energy of James Brown with the best of psychedelic rock. "Spinning Wheel" is extremely catchy. "When I Do" is so full of peaks and troughs that it's hard to pin down but it works. It's a pretty interesting mix of covers as well, featuring everyone from Traffic and Cream to Billie Holiday and Erik Satie. The album certainly has a lot of highlights but it's also got a few misses. The 12 minute long "Blues Part II" kind of overstays it's welcome. The two separate covers of "Trois Gymnopedies" is kind of overkill too. But despite this, there's a lot to enjoy here.

Whatever you might think of Billy Joel, this is a great album. I'm no expert on his career, but from what I can gather, he's had the occasional hit and some fairly cringeworthy pop songs in the 80s. But "The Stranger" is probably his strongest album. The performances with his choice of backup band is as skillful as it is fun. The songwriting is multi-layered and stays fresh from the first notes until the end. But it's the storytelling that really stands out here. The three part "Scenes from an Italian Restaurant" is the standout track to me. For the last several decades, it wasn't particularly cool to call yourself a Billy Joel fan. But for this moment at least, he definitely proved that he could make some great music.

I have really not enjoyed the other Elvis albums that I've heard in this challenge so far. But clearly the place to look was this debut album. In terms of significance, this is the point where rock n roll first broke through to general audiences. It coincided with the post-war rise in youth culture, when for the first time, the young Baby Boomers had enough disposable income to help shape the cultural landscape. Rock n roll had obviously existed already, but primarily within African American communities. It was daring (and maybe controversial) for a white artist to take on these styles but it was also the catalyst for change. Let's be clear, Elvis was not the first or best of his kind. But he had a unique quality and sure could sell records. The album works better than his later work, possibly because it's still a bit rough around the edges, like rock stars should be. I still can't exactly call myself an Elvis fan, but respect where respect is due for this one. It's a solid album that opened things up for so many artists to come, including the later recognition of those that came before him.

So many times in this challenge, I've thought "Ugh, another punk album" only to be won over a few tracks in. The nature of the genre attracts so many well-meaning bands with the right attitude but nothing particularly new. The standard formula is "Don't worry if you have any talent, just play fast and loud". And it's far too tempting for a lot of bands to do exactly that at the risk of sounding like all of the other dime-a-dozen punk bands out there. Despite this, there are still a ton of great ones out there. Rocket from the Crypt are a great discovery, channeling the energy and style of The Ramones, with more diverse instrumentation, and making it some thing that feels both classic and ahead of its time. The fact that this was released in 1995 feels a bit out of place here. I had guessed, I would have said it was made at least a decade later, pulling on influences from mid to late 90s pop punk, but pulled back slightly into the domain of the 70s punk classics. RFTC aren't the best punk band I've come across, but they're still pretty damn good.

The Beach Boys may get more credit but The Byrds could definitely rival them for the title of the American answer to The Beatles in the late 60s. Though much of their work was overlooked at the time, "Younger Than Yesterday" is now held up as a classic of the era. As the first full album without lead singer Gene Clark, they proved that had enough talent among them to keep making classic albums. David Crosby kept incorporating psychedelic and innovative style featured on their previous album, while bass player Chris Hillman proved his songwriting abilities and introduced country elements which would become staples of their later work. This album seems like it's at a crossroads of different eras for The Byrds, and brings in the best of both. While it lacks any familiar singles, it's a great collection.

There's a kind cheapy guilty pleasure in this one. It's like watching a Talking Heads cover band performing at a shopping mall. You might be reluctant to admit it to anyone but it's actually very fun. This is definitely on the campier side of New Wave. But if you can look past the cheesy saxophone, you'll have a great time. Don't worry if none of your friends join in. It can just be for you.

I keep wondering if I've finally made it through all of the country albums on this generator but I keep getting new ones. I'll admit that a handful have surprised me, but most have been duds. Apologies to any country fans out there, but it just doesn't do it for me. "Guitar Town" really hasn't done much to change my mind. It's filled with every cliche in the book and doesn't add much musically to the genre. Country cringe gives way to 80s cringe on "Little Rock n Roller". There are some decent moments on the album as a whole and there's nothing particularly offensive. But it's definitely not for me.

I like XTC but have never really connected with any of their full albums. My immediate thought on getting this album today was a slight disappointment that this one doesn't include my favorite track "Making Plans for Nigel". But taking the time to explore "Skylarking" was well worth it. A concept album about the stages of life seen through the lens of a single day, the whole thing works. There aren't many strong singles, aside from "Dear God" (tacked on after the initial release due to some success from American college radio stations), but as a whole it's a really good album. The background makes it seem pretty unlikely. Lead singer Andy Patridge was a perfectionist who had dominated the band's previous producers to get the sound he wanted. But "Skylarking" saw Todd Rundgren in the role and his trademark was getting things done quickly and cheaply. Whether that was a genuine belief in embracing imperfections, or a cost-saving technique at the expense of artistic vision, it's clear that Patridge and Rundgren were at one another's throats. Remarkably, none of that comes through in the album, which does seem to merge the post-punk XTC with Rundgren's style of eclecticism and quick takes. It's obvious that the pair were never going to work together again but lucky for us that they managed to complete the album. It's definitely one I'll return to.

This one was another pleasant surprise. I thought I knew Missy Elliott, but I had really underestimated her skills. If hip hop is traditionally a genre plagued by womanizing, Elliott turns that on its head. This isn't just sex positive, but she takes control of the narrative. Men are objectified here, but it's hard to complain given that she's only levelling the playing field. Even the male guest stars (including some massive names in hip hop) can't steal the spotlight. Elliott is slightly a star. Her lyrical style is rhythmic, effortless and free, often skillfully punctuated by harmonies that recall the 1960s girl groups. The beats (coproduced by Timbaland) are impeccable. The lyrics openly address female sexuality, body positivity, and menstration. It would be shocking to most audiences if the music was so damn catchy. My biggest complaint that is that the album drags a bit in the second half, with the majority of the innovation front loaded on the shunning first half. Not that the rest is bad, it's just not as engaging. I can definitely forgive that for the hits on this one though.

How to classify this one? Punk, metal, ska, reggae... all are kind of correct. While their contemporaries The Red Hot Chilli Peppers took those same influences to reinvent rock and roll, Fishbone feel more firmly rooted in ska. Though they never made it nearly as big, they still made a damn fun album. I could listen to "Ma and Pa" on repeat for ages. It's a clear stand out for me.

The not so humble beginnings for the Talking Heads. They were already darlings of the CBGB's crowd, opening for The Ramones, mentored by Lou Reed, and sought after by several record labels before they hit the studio. And they certainly delivered for this impressive and unique debut, merging punk, funk and disco, defying fears that they were becoming too commercial. Their template would pave the way for music of the next two decades so it's hard to believe that this was released in 1977. While their major fame would come a bit later with the help of Brian Eno, "77" remains a classic of the New York underground scene and it continues to inspire. Even people less familiar with the band are likely to have heard "Psycho Killer" somewhere without realizing it.

On the Venn diagram of people who love experimental jazz on one side and angry, fast punk on the other, there is a microscopic silver of an overlap. And for those people, "Spy vs Spy" is undoubtedly a masterpiece. John Zorn has invented a genre too unstable to really exist, like the Large Hadron Collider smashing particles at near light speed to see what emerges before it disappears a mere fraction of a second later. He called it thrash jazz and like those particles, it had no chance of survival for very long. Having said this, I actually kind of like it in small doses. It's frantic, bizarre, thought provoking. I spent the time listening to this one sketching whatever came to mind, trying to mimic the intensity and constant left turns on this album. Given that I'm unlikely to revisit this album, that should serve as a good reminder that at one time, I did kind of like this beautiful mess of a record.

I had really dismissed Tim Buckley after hearing his cringeworthy "sex funk" album. In comparison, "Hello and Goodbye" is a masterpiece. Buckley seems to be merging the psychedelic baroque pop of "Sgt Pepper", the British folk revival of Fairport Convention, and the American folk rock of Harry Nilsson. This album is loaded with stunning tracks, particularly the sprawling "Pleasant Street", the guilt-ridden "I Never Asked to be Your Mountain", and the painfully alone "Once I Was". Aside from some anti-war lyrics, the album generally feels like a conflicted tribute to his son Jeff (who would one day overshadow his father's modest success) and his mother. It is definitely surprising that this album didn't sell better at the time. It's very impressive.

This generator has introduced me to a lot of punk bands, including a lot of fresh and interesting ones. Unfortunately The Adverts didn't age ad well. The album is fine but it suffers from sounding a bit too much like the punk template that's been copied over and over again. The blank generation playing one chord over and over again. If you were a Sex Pistols fan back in the day and were itching for more, the Adverts could fill a void. They did so with less aggression that many others, putting them somewhere in between The Sex Pistols and the Clash. It's a good album but it's now drowning in a sea of imitators.

"Third" feels like a missing link between jazz, the avant garde side of classical music, and prog rock. Supposedly Robert Wyatt was once briefly denied entrance to the Royal Albert Hall where Soft Machine were scheduled to play. He was told "they only have proper music in there." That seems like a fitting way to describe this album. It's complex drawing on influence from jazz greats and composers like Terry Riley but it's all put into a rock context. I actually love how maddening this album is. There's so much going on and each section feels like a radical departure from the previous one. There's no need to worry about pretentiousness here, as the band are extremely playful which gives the music a nice balance. The songs get better the more I listen. My only complaint is that I wish they'd broken the very long tracks up into their different sections, just because it would really help to process everything that's going on here.

I wish I knew more about tango as a genre to be able to talk intelligently about this one. I appreciate that this was a considered a important performance and that Piazzolla had reinvented tango throughout his career. I can hear that it's a bit different from other examples and I enjoyed listening well enough. But I don't have much to elaborate on beyond that.

Fela Kuti never fails to impress. While this album doesn't hold the same significance as "Zombie", it feels like a very fun live performance. The most interesting thing about this album is the appearance on the second half of Cream drummer Ginger Baker. American blues first grew out of African styles that had come to US through the slave trade. Later it evolved into blues rock popularized by British acts like Cream. For Ginger Baker to be performing alongside Fela Kuti, well, it's not exactly that the music came full circle. But it probably says something about the history of colonialism. Why that history was certainly ugly, it's great to find these moments of joy and love of music that manage to shine through.

I've always loved this album. It sounds like The Jesus and Mary Chain, Screamadelica-era Primal Scream, and The Stooges all having a jam session together. Given that members of those bands all make appearances, that's perhaps not surprising. Death in Vegas always managed to combine a bleak dirge-filled style of rock with subtle elements of electronica and noisy ambient textures. But "The Contino Sessions" is their clear best album. It's here that they found the best mix of collaborators that their music desperately needed. While their other albums have some good songs, this is the album that (for me) hits their targets on every track. There is argubly some filler like "Death Threat", which doesn't stand up on its own terribly well. But as an entire album, it fits into the flow perfectly, leading into the atmospheric "Flying" and the energic and distorted, Iggy Pop-lead "Aisha". The penultimate track "Broken Little Sister" is the most somber and dark point to the album, but listeners get a much needed reprieve on the surprisingly upbeat closer "Neptune City". "The Contino Sessions" has been a favorite of mine for decades and still holds up today.

What strikes me most about this album is that for a collection of African jazz styles, it really feels very Western to me. It's an odd one because I really expected to exposed to some interesting world music but got something that mostly sounds like it belongs in a New York jazz club. Hell, there's even s song called "The Big Apple". The African influence is often hidden and you could be forgiven for hearing this one as a standard 70s jazz album. It's only on select tracks that the traditional styles come front and center and clearly mingle with the modern, Western sounds. Most notably "Ingoo Pow-Pow" which closes the album with the perfect balance of the two. Part of me wishes there was more of that but I'm also impressed with how jazz seems to make a perfect vehicle to expose people to African music in a more accessible way (well accessible to some people anyway). I didn't immediately see the significance of this one but it has started to click for me now.

I have to admit that there's something kind of charming about hearing someone recite such carefully crafted nonsense that it makes sense. It's like the feeling of learning another language and being surprised to realize that you can follow the conversation, albeit with some difficulty. For a novelty record, it's pretty fun and the second half has an entertaining surrealist story. Although I don't know how much value it has as something to revisit often. Focusing on the first side only, Small Faces seem to want to take psychedelia into a place of pure drug-induced whimsy, separate from the politically charged free love of their counterparts in San Francisco. They're certainly not as easily remembered though, except as a footnote to Rod Stewart's career. But hey, it's still a fun album.

Jimi Hendrix was arguably the world's best guitarist. Certainly for his time, he was a trailblazer in more ways than one. But I have to confess that he's an artist I love in small doses. Of course he's impressive and innovative, daring and expertly skilled. But unless your studying guitar yourself, how much of that do you really need to listen to. Not that his albums are fantastic but if I'm honest, I probably prefer his greatest hits to the entire discography. So with that all said, the prospect of a double album didn't excite me, even if it did end with two of his best tracks. Multiple listens have really helped this one to come alive for me. On "Electric Ladyland", Hendrix proves himself to be more than a virtuoso of the guitar. There's a lot happening here and he pulls in a variety of different genres and collaborators. "Crosstown Traffic" evokes images of busy urban landscapes. "Voodoo Chile" is a sprawling and impressive jam complete with contribution from Steve Winwood. "Little Miss Strange" recalls the early 60s rock that Hendrix was leaving in the dust. Other tracks incorporate elements of jazz, blues and soul on top of the dominate guitar performances. The undisputed highlight however is Hendrix's take on Bob Dylan's "All Along the Watchtower", one of those rare covers that equals (or perhaps surpasses?) the original.

This is probably my favorite Stevie Wonder album. I know "Songs in the Key of Life" might rank higher for some people and it's also an excellent album. But "Innervisions" is perfect. It's so beautifully crafted and impeccably performed (almost entirely) by Wonder himself. The variety over the course of 9 songs means that it never risks becoming dull. The lyrics are powerful and demonstrate that Wonder has both shed his child star roots and very much remembers where he came from. Tracks like politically minded "Living for the City" force the listener to pay close attention. And there's a huge reward for doing so. The album is at both desperate and hopeful, anxious and calm. It takes the listener on a journey of love, injustice, addiction, and redemption. I could listen to this album on repeat for ages.

It's taken me some time to really get into Dinosaur Jr. They sound like the kind of proto-grunge band that would have opened for Sonic Youth in the late 80s, which is pretty much what happened. They don't sound quite as developed as Sonic Youth, but it's impossible to ignore the comparison. I will say that "You're Living All Over Me" is better than "Bug", in my opinion. There's great energy here, and some beautiful lofi compositions, particularly "Poledo", which closes the album in a really unique way. It's far less polished than their contemporaries, but I think after a couple of relistens, I am beginning to feel like a Dinosaur Jr fan after all.

It turns out that I've really been sleeping on Hot Chip. I was familiar with them back in their heyday but these were the days before streaming was the norm. I still had to make decisions about what albums I'd spend my disposable income on. Hot Chip were always an option. I'd heard bits and pieces and was intrigued by them but never enough to invest in an album. Now I see what I've had waiting for me. Through the 80s and 90s, there was an explosion of electronic artists experimenting with the latest synthesizers and studio effects to create a multitude of subgenres. But their output was largely confined to clubs, raves and the few people listening to Underworld in their bedrooms (like myself). It takes a band like Hot Chip to gather all of these sonic inventions and turn them into more radio friendly indie rock and pop tracks. And they did so skillfully, balancing what was most special about those moments with the early 2000s indie scene. You can dance to it, sing along or simply daydream to it. It's not a top tier album but it's fantastic for what it is.

If you were throwing a party and were ready for your guests to leave, putting on Suicide's debut album would be one way to do it. This is not an easy album by any means. I have a soft spot for this band though, having seen them live at South Street Seaport in 2007. Some reviewers have claimed that Suicide carried the torch from the Velvet Underground and I think there's a decent case to be made for that. Both bands showcased a reverence for older style of rock n roll from the 50s and early 60s. Both bands married that with abrasive and daring sonic experiments. Both bands wrote about the unseen and untalked about underbelly of New York City. But the Velvet Underground would eventually reach great fame, aided by a good number of pop songs that balanced out the most challenging songs. Not so much with Suicide, although they did have at least one radio friendly song (the excellent "Dream Baby Dream" which sadly isn't on this album). Their music was often darker, unsurprising for a band of that name. They incorporated a heavy use of droning synthesizers which was pretty novel for the time. Although they remain further in the shadows of music history, their influence is surprisingly far reaching, with electronic artists, goth bands, and even Bruce Springsteen singing their praises. But would you actually want to listen to it? Well, it depends on you. Expect your blood pressure to go up and your faith in humanity to drop. This album is like a David Lynch movie in album form and I say that as a compliment. You might want a good palate cleanser ready after this one though.

I never quite understood the appeal of The Grateful Dead. Now, having listened to what's considered their best studio album... I still don't get the appeal of The Grateful Dead after the first listen. I guess the way it mixes rock, bluegrass and country is kind of interesting. And clearly they hung out with some of the best American musicians of the era, like David Crosby, Neil Young, Santana and Jefferson Airplane. And yet, I don't know. Maybe it's just a bit too jam-band for my taste. Given their massive reputation, I just kind of expected something more. More innovative, more psychedelic, more counter-culture. And maybe it's the result of hearing it 55 years after it was first released. In this challenge, I'm often able to put myself in the mindset of a fan hearing it for the first time the year it came out. But this one, I just couldn't find anything special to match the very famous cult following that the Dead had and continue to have. On my second listen, my adjusted my expectations to just listen for a well made album. And it is, but it still doesn't quite blow me away I'm afraid. Apologies to Jerry Garcia. I really wanted to like this more, but it just didn't click.

The mere fact that this is the album with Bohemian Rhapsody on it means that "A Night at the Opera" had potential to be a 5 star album. The song is just remarkable, bold, complex, and extremely catchy. It's like a little mini rock opera with constant twists and turns, and yet it remains so engaging from start to finish. They honestly could have expanded that single song into an entire album and it would have been amazing. Thankfully, they didn't, because the quick pace of each section is part of what makes this song so memorable. The album was the most expensive ever made (at the time) and it's clear that that was mainly down to the complicated nature of that single song. The record label supposedly hated it and though it would never sell. How wrong they were! The rest of the album holds up very well against its top track. "You're My Best Friend" and "Love of my Life" are two of Queen's best songs. The album as a whole represents Queen at their peak. Their fantasy heavy metal past mixes seamlessly with Freddie Mercury's love for theatrics. Even the slightly cringeworthy "I'm in Love with My Car" is forgiven within the context of the full album. This Queen's mangum opus and proof that they were much more than a singles band.

I know very little about salsa music. If I'm being honest here, my initial enjoyment of this album is that it kind of reminded me of being in Mexican restaurants, as it's probably the only place I was ever really exposed to the genre (in a pure form at least). But that exposure was just background music and all kind of sounded the same. On this album, I've heard something different, including just how varied salsa can really sound in the right hands. True, it borrows a bit from disco here and there, but there's still a lot of versatility despite this. My high school Spanish doesn't help me much with the lyrics, but the book describes them as covering social and political themes that resonated across Latin America. No wonder then that this was the first salsa album to go platinum.

Many years before this challenge, I had an early lesson in keeping an open mind for new music. My friends were all fans of hardcore band, At the Drive-In. Hardcore never did much for me. They were one of dozens of bands who (in my opinion) all sounded pretty much the same. So when they were excitedly talking about a new project called The Mars Volta from the lead singer and guitarist from ATD-I, I would zone out and think of something else. Some how or another, I was finally exposed to their music and immediately blown away. It was definitely not what I was expecting (and it also alienated a few of my hardcore-loving friends). Eventually Cedric Bixler Zavala and Omar Rodriguez-Lopez felt similarly about the genre, having grown frustrated with how confined it was. They were ready to move on and incorporate their vast love of music, blending prog rock with Latin music, jazz, blues rock and even some electronic music. The music is anything but derivative though. The Mars Volta took prog rock into new territory with this album. The pace of the album is quite unless anything else I've heard. After a brief intro, giving you only a small build up, you're immediately hit by the panicked and frantic first single "Inertiaric Esp". There are reprieves to give you space to breathe before bringing back into the furious and complex songs heard throughout the album. More than any other album I know, this feels like a true fever dream, which matches the theme of the album. The band's friend, a local artist, had injected rat poison, fallen into a coma, and later committed suicide. The album's main character is inspired by this, and the lyrics take the perspective of someone in a drug induced coma, slipping between panic, fear, and paralyzed calm. This is vivid, complex storytelling, made by musicians who clearly love music. After piquing my interest, I went with some friends to see The Mars Volta live. And then I was completely sold. I've been a fan ever since.

The humble beginnings of The Fall. The music is kind of good but also kind of... not. It's so unpolished and uncaring that it's a little charming. The cheap keyboards and performing style remind me of a high school punk band. They're not exactly great but you kind of root for them because they have potential. That kind of feeling runs through much of punk and postpunk history so I can kind of see the appeal of The Fall. But I also wouldn't necessarily return to this one.

The Onion once ran an article with the fantastic headline "Humanity Still Producing New Art As Though Megadeth's Rust In Peace Doesn't Already Exist". Jokes aside, this album is roughly what you'd expect from a leading thrash metal band of the time. It's heavy, fast, kind of ridiculous ("Tornado of Souls" for example is such an absurd image that I can't help but love it). What surprises me is how politically conscious the band seem to be, writing about nuclear nonproliferation, The Troubles in Northern Ireland and, well, alien conspiracy theories. Ok, so they're not exactly Noam Chomsky. But I can't help but enjoy the energy and destructive imagery that's so exaggerated that it's also kind of hilarious. Try not to take the ghoulish images too seriously. The crowds in Northern Ireland did take their rendition of "Anarchy in the UK" seriously though when it led to riots, but I think that says more about The Troubles than Megadeath.

"All That You Can't Leave Behind" seems to be the peak of U2's popularity, but sadly not their creative peak. The album sees the band complete their transformation from underground post-punk inspired grittiness to radio friendly stadium rock giants. And it's kind of good in the same way that Coldplay is good. The songs are undeniably well made and many are catchy. U2 were trying to regain their past success after a string of experimental and increasingly unsuccessful efforts. "Pop" in particular is widely seen as a failure, perhaps similar to Kiss's ridiculous attempt to make a disco album. If "All That You Can't Leave Behind" was meant to return to some simple roots and bring back a wider audience, it clearly worked. But is it that interesting? I don't know. It has a handful of great songs but I honestly found the album as a whole to be kind of forgettable. Even Brian Eno's involvement hasn't done much to expand any horizons here. But it has a handful of good songs at least.