This album astonishingly justifies its 3-volume, 3-hour runtime. But that doesn't mean it's not long as fuck. I think the point of entry has always been the biggest flaw. I, as an example, was always intimidated by just how gargantuan the record is to really dive into it. I mean, who has 3 hours to sit and listen to an album in one sitting? Well, today, that person is me. The more popular tunes on here are classics (Book of Love, All My Little Words), but I was wondering if the lesser known tracks really belong on here, or if they're worth listening to. They are, mostly. There's a beauty in the simplicity of every song, and it never gets boring enough or repetitive enough to switch off. Could some of the fat be trimmed and we still be left with an indie darling masterpiece? Yeah, I'd say so. I would even argue you could cut out 75% of Volume 3, but then I guess you'd have to change the album title...and I mean you already made posters.

The coolest things about this album might be Neanderthal Han solo on the cover. This shit sucks.

Cool. Cool cool cool. So glad I got to hear this before I died. Look, I've heard plenty of "weird" shit in my time, and I'm completely open to absorbing all forms of artistic expression. And yes, I hear the Primus and Ween and all of that in this album. But this is just boring. It's not particularly challenging or satirical the way a Zappa or Beefheart record would be, and there's nothing here that keeps me invested in terms of melody or production. It feels like Outsider music without sparking a sense of curiosity for how it was created. The band's decision to keep their identities anonymous is perhaps the most intriguing thing about all this, but even then, I really don't care who's behind the masks. Maybe people did back in 72.

Give me a whiskey sour and sit me on a front porch somewhere so I can contemplate the decisions I've made in life. Granduciel and company care so much about the production going into their work. I would argue most TWoD material wouldn't be nearly as impactful without the level of care and attention put into every element of the tracks. I also think this is a perfect record for a younger fan trying to expand their horizons on some older classic rock. The pop influences folks like of Rod Stewart, Bruce Springsteen and Grateful Dead are there without the attempt to emulate those bands. This is what influence should sound like.

While certainly not the worst this genre of 90s rock/hiphop/jazz blend has to offer, and some of the samples are fun, I can't say I'm a fan. There's an inescapable element of trying-too-hard-to-be-hard to make me invested in the music.

This album is a classic for a reason, and it deserves that credit. Tracks like Breaking the Girl and Give it Away still hold up, but overall it’s a product of its time. RHCP would go on to develop their sound a lot more subtlety and with a better focus on songwriting. The production here is “sharp” in a pretty unpleasant way, and the album is weighed down by filler tracks like They’re Red Hot. Give me Californication, let’s go.

This album is completely ahead of its time. Absolutely solid production, and ear worm tracks great for testing out a new pair of headphones. The opener, La femme d'argent, brings you right in with a ripping bass line and catchy hook. Throughout the album, you get complete Daft Punk vibes. Must've been that 90s French music scene air everyone was breathing. Some tracks like Remember feel a little too B-side, but overall, I'd throw on this record after a long day at work to just mellow out to when I'm not quite up for Daft Punk or Justice energy.

Can't say I'm the biggest fan of pop country, but this album works well for its genre. It's 100% better than the majority of country being made these days. I caught a few catchy tracks here like the opener Slow Burn. I probably won't revisit this one too often, but I get its appeal for sure.

Classic record. Some of S&F's best material here like 59th Street Bridge Song and Homeward Bound. Also some fun digs and political songs like A Simple Desultory Philippic or 7 O'clock News. Not their best album, but certainly a must for any fan. Can't deny Paul is one of the best songwriters of all time.

This one's definitely an album built around its singles. Not much of interest here, but Rio and Hungry Like the Wolf are strong enough to make Duran Duran one of the more notable groups of the 80s.

If Miles was the only musical artist to have ever existed, I'd be okay with that.

I always had a tough time really getting into new wave. Some solid entries in here like Behind the Wheel; I just want this album to get to a place it never really gets to.

Suburban white parents, get in your bunkers! Obviously this record was a big no for me growing up. I would've been beat with a belt if I had caught listening to it. But even then, as a kid who just disliked hip hop in general, I just never payed much attention to this type of parental advisory album. I migrated toward the metal stuff. Nowadays you couldn't pay me to own a Twisted Sister record. This album is almost too influential for its own good. It's great, but I think the reputation it has is bigger than what it actually is. A lot of the lyrics are sharp, clear, and still relevant today, but after six or seven tracks, it gets stale. There's not much in the way of production that's mind blowing here, and I think the album suffers from being the first of its kind. Other artists (including ones IN this group) would come along and perfect hardcore hip hop using what they learned from NWA.

I fucking hate Joy Division. I'm sorry. I don't think you're supposed to hate this band, but boy are they overhyped. Unknown Pleasures is up there with my least favorite "popular" albums of all time. I hadn't listened to Closer, and I came into it with an open mind, but it's just as grating as anything else I've heard by these guys. Maybe I didn't smoke enough cigarettes outside dive bars in the 90s.

I pulled a list of albums that came out in 2010, and man, I always forget just how stacked of a year that was. MBDTF, This is Happening, Plastic Beach, Age of Adz, The Suburbs, good gravy! Anyway, this one is a behemoth. Throw it in there with some of the all time greats of the 2010's. Janelle has that style that transcends target audiences. There's seriously something for everyone here; from callbacks to Prince records with soaring electric guitar, blended perfectly with pop production and slick vocals. But it's also a concept album that feels incredibly cohesive, every track serving a purpose that lends to the overall record. Not to mention a great feature from of Montreal (my absolute favorite band).

Kurt and co wrote some of the most iconic songs of the 90s, there's no doubt. While my love of this band has definitely faded over the years, I recognize their importance, and this album is a prime example of a band showing they're multidimensional. The Bowie cover and the ending track are seriously great. I remember seeing something on VH1 years ago about the audience's P-O-ed reaction at the end of the show where everyone was waiting for Smells Like Teen Spirit, and they didn't play it. Always thought that was funny.

Not much left to say about this one. Take your 5 stars and get out of here Paul.

The greatest band ever to write the same song 400 times and remain famous. I'll give this album its props, because it's managed to remain integral to any teenager learning about rock music for the first time. It's essential listening, but if AC/DC is still your favorite band after however many years, let's talk.

Harmless, classic record. Post punk has always been a meh genre for me, The Replacements.

At its best, this album traces back to some of Stevie Wonder’s more memorable tracks. At its worst, the lyrical content is kind of eye roll worthy. Funky as hell though. Not sure Jamiroquai ever got their due. Vote for Pedro.

To be honest, I listened to two tracks and just knew this one wasn’t gonna work for me.

Yeah, this album rips. Back in my middle school days, I had Corona on my first MP3 player because of Jackass. Never bothered listening to the whole album, but this is about as authentic as rock gets. Don't be intimidated by the 43 tracks; they go by quick, and this one doesn't slow down.

I'm going to give this one 5 stars. I'm going to say it's in the top 5 of greatest albums of the '80s. And then I'm going to say Doolittle is better. Man I love this band.

While Tom's never really been my flavor, I completely get his appeal. I just find a lot of his music lacking in...SOMETHING, but I can never put my finger on it. On paper, he has all the ingredients I want in an artist, but the execution always leaves me somewhat disappointed. I do really appreciate the dynamics throughout this one, with strange rhythmic pulses on tracks like 16 Shells from A 30.6, followed by melodic piano work on Rainbirds and Soldier's Things. This album has some definite highlights, but I wouldn't say I'm a full convert after listening closely.

Give me a whiskey sour and sit me on a front porch somewhere so I can contemplate the decisions I've made in life. Granduciel and company care so much about the production going into their work. I would argue most TWoD material wouldn't be nearly as impactful without the level of care and attention put into every element of the tracks. I also think this is a perfect record for a younger fan trying to expand their horizons on some older classic rock. The pop influences folks like of Rod Stewart, Bruce Springsteen and Grateful Dead are there without the attempt to emulate those bands. This is what influence should sound like.

I’m a little fuzzy on the logic of this album. Ha, it’s fine. Just kind of harmless 90s rock that has a slight psychedelic twinge to it. There wasn’t anything that really jumped out to me, but I appreciate some of the left field tracks.

I have a soft spot for disco, and will argue that it directly inspired a lot of artists I love today. But boy oh boy am I glad this era of music died violently. For an album consisting of 8 tracks, C’est Chic sure does drag. But still, Le Freak has one of the most recognizable commands in music history, so I won’t be too harsh on this one.

Of all the albums I’ve listened to, this is one of them. Honestly not a bad first swing out from a band who’s widely considered the founding alt rock group. Not their best record, but there’s not a lot to really complain about here. I always like major keys and poppy bass lines. Maybe it’s not challenging, but it’s fun to hang out with.

I really love this album. No shortage of A+ material to be found, but it has a fair share of filler too. I think this one would be just about perfect without the extra Weight.

I forgot how much Babylon took over airwaves in the late 90s. I think overall this one suffers from being built around its hits without containing much substance. White Ladder is pretty vanilla.

I was pleasantly surprised by this one! Only having known Tainted Love, I kind of assumed this would be another album built around the sale of one song, but even at an hour plus of runtime, it doesn't feel all that bloated. There's some certified bops here like Chips on My Shoulder, Frustration, and Say Hello, Wave Goodbye (which funnily enough, yesterday's artist David Gray covered). Also it gets weird with tracks like Sex Dwarf, Memorabilia, and Seedy Films. I really dig this one.

I don't know if this is held up as a shining achievement for its songwriting or the fact that it's one of the most prolific artists of all time's 30th record. 30?! Say what you will about Bob, but the man doesn't slow down. But either way, I can't say I agree with that assessment. I found myself dozing off a few times throughout this. I'm not trying to take anything away from the man, but your place in the echelon of music has been earned bud; you can rest easy.

My opinion on Tom hasn't changed too much since we had a record of his last week. While it's not really for me, I won't turn away from anyone making a case for him. Jersey Girl is a great song that forgives some of the less-than-stellar tracks here.

I always kind of dismissed Snoop as Dre’s side guy. Never listened to his solo records. But this rips. But it should be no surprise at this point that anything Snoop attached himself to is going to be successful. Side note, this album cover reminds me of the McGruff the Crime Dog album cover. McGruff was the spokesperson for the DARE movement in the 80s-90s. You can find that album on YouTube. You’re welcome.

Hardcore punk meets complex rhythms; what’s not to love here? I really enjoy bands that just let a bass line ride mid-song, then build it up to something. I compute.

Completely delightful album. I challenge anyone in a bad mood to listen to this and NOT feel better. Prima's voice is one in a million, and instantly injects you with cozy nostalgia for a time you may never have lived, but certainly want to.

One of my college favorites and first vinyl purchases. T. Rex is completely underrated in the grand story of rock legends, but I still love Marc Bolan’s ability to move across genres and styles seamlessly. This album holds up, even if gets kind of stale after 6 or 7 tracks.

I wish this had been my first exposure to Flavor Flav instead of Flavor of Love.

One of the all time great records from one of the all time great artists. I'm not sure there's anything else to be said about Ziggy. He's the reason I got into music. An album like this would be considered most other artists' best offering, but Bowie has no less than 5 albums I would rate as 5 stars. While I wouldn't consider this one flawless, it's highly influential, and a great follow up to Spiders from Mars (a perfect record).

Just when this album starts to bland out a bit, Go it Alone kicks in and redeems it. Still pretty impressive that more than a decade into his career, Beck was able to test out new styles and sounds while making a competent kick ass record.

There aren’t many reasons to be a proud American these days, but god dammit, I’m proud to live in the country that offered jazz, and by extension, Jimmy Smith to the world. Listening to a record like this makes you, I don’t know, live?? I feel alive when I hear a group of players who just FELT the music. And to have it all on tape is a gift. Take me back to the chicken shack.

Gotta admit, I gave up on this one a few tracks in. This era of music is just not my thing.

A highly personal, introspective album focused on a life filled with struggles like suicide, homosexuality, and religion, that ultimately falls a bit flat for me. There are some shining gems on here like Outer Space, and I think as a whole concept, there are redeeming qualities. I just wanted something a bit more hooky to catch my ear from the start.

After the first 4 or 5 tracks, I was prepared to trash this; but you know, the back half has some great moments on it. Jennifer feels criminally underrated, like it could fit on the Drive soundtrack, and Somebody Told Me kind of slaps. I was never a huge fan of the title track, and like many many records of the 80s, this album is built around its hit. Cut off a few sleepers here, and I might have some sweet dreams to this one.

An album that I'm sure was groundbreaking in 93, but really just a wet dream for audiophiles looking to show you how good their speakers are.

Kind of a straight-down-the-middle early alt record. While it has the general comparability to classics like London Calling or even The Cure's first outing Three Imaginary Boys, it doesn't manage to capture the creativity, rebellion or catchiness those albums do. I found myself wanting to just move on to the next tune on virtually every track here.

Well, I don't know what I expected. I'm really stuck on this one. On one hand, I appreciate the almost cinematic orchestrations here with wild lyrics and showmanship. On the other, this is tough to get through. I can appreciate the move from mainstream pop to avant garde like this though. I want to say this was ahead of its time for 1968, but it also sounds like a complete product of its time. I don't think I'm educated enough to rate this one so take these stars with a grain of salt and make your own call.

If the title, average track length, album cover and fact that this album is entirely instrumental (aside from some interesting monster growls and a narrator telling us about a secret painting in an old house) haven't turned you off yet, congratulations. You might actually get some enjoyment out of it. Though not totally tubular, this isn't made up of all bells. It's actually a decently produced prog rock album with some lush guitars and catchy sections. However, I do feel like the two title tracks do meander for a bit too long; almost as if chasing a 25 minute runtime was part of the challenge.

I have so many questions. Why is this on this list? Where’s the fun part? Why does the production sound like someone is vacuuming over top of it? How many more new wave albums make the cut here? I didn’t need to hear this stale, white bread equivalent of a record. 2 stars for some halfway okay songs with Glittering Prize.

I don’t have an issue with Big Star as a band. Thirteen is a great folk tune, and #1 Record is a solid album all the way around. But this album is a snoozer that in between blatant attempts to sound like Zeppelin, offers nothing of interest. At most, some tracks here could be considered influential on modern folk rock bands, but at worst, I’m struggling to retain interest in songs comparing a dead mother to the death of 6 million people. Nature Boy cover is solid though.

Given his vocal styles and guitar chops, Young was always better live. You never knew what you were gonna get. It felt like a real performance; never the same things twice. I also much prefer Young to his predecessors like Dylan. He's a more relatable lyricist who's words transcend the time in which they were written...for the most part. That said, the first half of this record, made up of mostly acoustic arrangements and Neil's voice, COMPLETELY obliterates the back half, which is a much more studio-driven, full band collection of tracks.

I don’t think there’s a top 10 list out there where this album isn’t present. It’s simply the best at everything it’s doing; best Motown record, best protest record, best vocal performance, etc. Of course you have to mention the lyrics, which are unfortunately, timeless. But what this manages to capture most is the world Gaye saw that was worth fighting for in the midst of all the chaos.

This feels like the result of a time when artists were creating the rules of different genres going forward. I think Unhalfbricking kind of encapsulates that idea, where it doesn't quite know what it wants to be, but you know what, I’m here for it. This album is folksy, charming, and just grounded enough to keep me invested. I have to admit listening to Who Knows Where the Time Goes while watching my toddler walk backwards across the living room waving “bye” to me got me choked up a bit.

I remember riding in the backseat of my mom's 92' Impala having to locate this CD so she could pop it on. I didn't like it then. She listened to it on repeat for well over a year. As time went on, I didn't necessarily rush back to Alanis. But if anything from JLP came on, I was more or less at peace with it. Listening to this album today, I'm more willing to accept that it's one of the more memorable albums of the 90s, and completely encapsulates the music ideologies of the decade, for better or worse. I think it's easy to look at through the lens of nostalgia, but as someone who disliked this one during its reign (sure I was 6 but whatever), it's objectively a really fun record that's just LOADED with hits. But you oughta know that already.

This might be Neil’s best, and the first time we really hear him forming what would become the signature style. It’s dirty, but man, Down By the River has some of the best 4 minutes of recorded music maybe ever.

This is just…just awful. Whose idea was it to pack an hour and a half of music into one album like this? They could’ve at least split it into 3 albums.

I was there, in 1968. I was there at the very first Can show. But the kids, are coming up from behind. This group was their own brand of songwriting that got weird long before the days of bedroom rock and lofi. It doesn’t really matter what I rate this album, because that’s missing the point. Can doesn’t give a shit about what I think or what you think. But 5 stars because Can fuckin rules.

I guess this is okay.

I'm really wanting to give this album some praise, but I cannot figure out why it made this list. It's just another stock alt 90s record. This was a dime a dozen in its time, and I can't say anything special jumps out to me about this one.

Not much better than big ol brass smacking you in the face with Cuban beats holding it down. This kind of record will make you want to be in the venue where they played it live, sitting with a daiquiri in one and and a Cohiba in the other.

Somewhere out there, in a lonely one bedroom apartment, a 65 year old man is making the argument (to himself) that this was the last real record ever produced as he vigorously masturbates in the corner. I saw another review on here that just read, "budget Pink Floyd". I think even that's overselling this one.

This album feels like a grunge ripoff

I went through a good Smiths phase a few years ago right around the pandemic. This album was on repeat. One of the better sad boi records ever made with staying power that few albums of its era were able to capture.

Early electronic music was still finding its footing, so I can't fault this album for that, but boy oh boy about 10 minutes into the first song you start to wonder if anything of value is going to happen.

As much as I want to give this album higher marks, I just don’t know if it’s in that scope of Bowie’s best. It is a FANTASTIC move back to the older sound while still staying relevant to a changing atmosphere. This as a precursor to Blackstar (quite possibly the best final album ever released) works very well, and should be a highlight of any new listeners dive into Bowie’s rich discography.

This album marks the start of a pretty damn good three-album run for one of the most popular bands in the world, and it may be their best. I think U2 would go on to have stronger songs than any individual track on War, but as a cohesive album, nothing really comes close.

I’m starting to lose my confidence in this list. What is this doing here? Is there some kind of influence I’m missing? I mean, it’s fine I guess, but a complete product of its time.

Can’t say I’m the worlds biggest Oasis fan. This album is a good line drive, but in the heated debate of the better Brit rock revival band, Blur wins every time for me. There are some fun hooks here, and my daughter danced to a few tracks. Anyway… … …here's wonderwall

In the middle of the counter culture movement, Cash, a country music icon at this stage in his career manages to stay relevant by doing a tour of prisons in the US. This album marks a pretty insane moment in the music history and should be given its due for that. But on a musical level, is it any good? I suppose it’s really going to depend on your feeling of Johnny Cash himself. He’s tired on this record, his vocal performance is pretty unstable, but somehow it’s a perfect fit for what’s happening.

Oh me oh my. The greatest of all time. We’ve had another Miles record on this list so far, and I think I said something along the lines of if Miles Davis was the only musician to ever exist, I’d be okay with that. If this was the only album to ever exist, it would be enough. The second note he plays on the opener, So What, and the imperfection of that octave drop just perfectly encapsulates everything I love about music.

There’s a lot of flavor blending together here, like a samba smoothie. Overall a really easy listen that offers up a lot of complexities if you sit with it for a bit.

This is a surprisingly fresh listen for me. I never had a problem with the Go-Go’s, but probably never would’ve listened to this album otherwise. There’s some really good new wave pop here, taking influences from surf and 60s pop. Recommend This Town as a good gateway outside the two hits, which are also very good.

Third Bowie record since the list began! Not that I'm complaining. Low was my first REAL intro to Bowie after hearing it in a record store one day in my early 20s. I think it was Sound and Vision? Anyway, after that I decided I'd wasted enough time not listening to his music. But while it worked as a gateway record for me, I wouldn't necessarily mark this as a great into to the wide world of Ziggy. He relies a lot more on the instrumentation throughout this album, which was definitely transitioning into the more 80s sounding, experimental material. The second half of this one gets weird and spacey (par for the course on the Berlin Trilogy albums). A lot of synths are introduced that really change the tone in an almost jarring way. But hey, I do that with my own music, so again, not complaining. I think overall, Low is compelling but maybe would've worked better as a longer EP, or just had some of the fat trimmed off.

Next one cha cha cha. For real though, I know Bollywood is a rich vein of music I’ve never dove fully into. But after hearing this record, so I’m wondering why we were given this one as opposed to countless objectively better albums. Some of the jazzier tracks kind of work here, but it’s not often we get it.

I get the appeal of an album like this. I get Madonna’s whole thing. She was the T Swift of the 80s. And it’s cool. But as much as I try, I don’t know if I’ll ever truly enjoy her music. I think this album has some really positive stuff working in its flavor, like the changing rhythms on Dear Jessie, with an almost Baroque pop feel happening, the Prince collabs on Love Song and Act of Contrition, or even the hit power of the title track. But overall this album is 20 minutes too long. Take 30 seconds to 1 minute off each track and you have a great record.

I was the first guy playing Daft Punk to the rock kids. Everybody said I was crazy…we all know. This album is wildly impressive for a first time out. Even more so when you consider it’s almost 30 years old. I would argue this album helped solidify electronic music’s place in the mainstream. From here on you saw an explosion of great electronica leading into the 2000s. This isn’t Daft Punk’s best, but it’s super solid and never fails to get me inspired in my own experimentation with music. But boy oh boy if you would’ve put this on for me when I was a teenager, I probably would’ve left the room. This was the antithesis of everything I loved.

Aggressively mid. Kravitz is talented, absolutely, but his first time out sounds like a 90s bar band doing unreleased Beatles and Prince tracks.

What’s up with one hit wonders making this list? I’m not hating on bands with only one known hit, but after listening to this whole thing, I can confidently say 95% of it is so bland you could could eat it on a diet.

I think some of this album is fun and easy to listen to. But man, some of it really doesn’t hold up well at all. I don’t know if Mathers is trying to say much on a lot of this material, but instead is just writing shock lyrics for the sake of being funny. I’m not going to recommend you listen to this fully unless you’re a diehard Eminem fan or you’re doing this 1001 albums challenge.

It’s trippy, it’s funky, it’s experimental, it’s German baby! The way you decide to listen to this album is going to make all the difference. You can listen to it passively while doing chores and whatnot or with full attention to fully soak in the sounds being conducted here. I did both. Do the latter.

Sorry, what was that?! You’ll have to speak up son, I don’t hear so good these days. I listened to this fucking album and now have tinnitus. I saw these guys at a festival back in 2015, and I had the same reaction then as I do now. This music is going to destroy you, but it has almost no staying power. Trying to grasp the insane complexities in the rhythm here is enough to drive someone insane, but you’re never going to casually pop this on at a bbq. And that’s not a knock on it at all. So no, I don’t revisit Lightning Bolt very often, but it’s always a treat remembering they’re around if I ever want to completely thrash out.

Man, talk about a band that helped define the music of the 90s. This album contains some of the best guitar work of the decade with vocals that just rip your face off. It’s not my favorite of Sleater Kinney’s, but that’s just a compliment to their discography.

Sabbath was the first non-Christian band I fell in love with (I was limited to only church-approved bands as a kid). Like REALLY fell in love with. At 13, I bought their first album on CD behind my parents’ back, and I’ve been chasing that high ever since. Of course over the years that love diminished as I learned about other bands and the wide world of music, but I’ll always have a soft spot for my first love. Vol 4 is objectively the most diverse work from the original lineup. And sadly because of that, it’s the one I always listened to the least. But sitting down today and really soaking in Iommi’s CHUNKY riffs along with Ozzy’s mature songwriting on tracks like Changes, I can say my respect for this album has grown immensely. Sabbath rules 🤘 The more you deny it, the more you’re lying to yourself.

Just lay back and the music take you over. What always amazes me about albums like these is how easy is is for critics to dismiss the creativity going on behind the result because, “Oh he didn’t write any of this. It’s all just samples.” Can you IMAGINE sitting for HOURS, WEEKS, MONTHS, just listening to music of a thousand varieties and thinking of new ways to combine it that have never been thought of? This takes so much time and dedication, and for being one of the first shining examples of master sampling work, I give Endtroducing 5 stars.

John Fogerty was born and raised in Berkley, CA, not the bayou. So, you know, do with that what you will. Any way, this album is a good collection of blues songs with some catchy hooks. Pretty harmless and fun.

This was kind of a fun little surprise the first few tracks. I knew nothing of Elbow. Then Grounds for Divorce kicked in and I thought, “Oh it’s that Chevy song.” I think this track was everywhere 15 years ago. Haven’t thought about it much since, but it’s cool. Overall this record gives like a cinematic feel, almost like if Coldplay didn’t sell out. But kind of forgettable in the end.

I remember when this album came out. We weren’t even a month into the Covid 19 pandemic. After hearing this for the first time I thought, weird how this perfectly matches what the world feels like right now. This was one of my most listened to albums of that year. But how’s it hold up? Pretty damn well overall. The level of experimentation on typical pop tropes, particularly on the percussion is just wonderful. My main critique is that it does get a bit same-sy in the back half. I think like all of Apple's records, this will stay relevant and appealing over the next 20 years.

Steely Dan is arguably the greatest studio band of all time. Most tracks are just ear candy, where every component shines through so cleanly. While I really REALLY appreciate that fact, and can dig a lot of their music, they've just never hit that sweet spot for me. Countdown to Ecstasy might be the most typical classic rocky sounding album of theirs. I think it can easily get lost in the shuffle of most albums coming out in the early 70's. I wanted a bit more of the jazzy inspiration these guys are so good at throughout their discography. This just feels a bit too bland to really make an impact.

To me, The Flaming Lips feel like that band that's just always around. Coyne and company are constantly pumping out material, which admittedly, has gotten less consistent over the years, but nevertheless, it's just nice to know that they're there when I need them. I love this band. The Soft Bulletin was my first entry into their wide discography. I was immediately into the weird changes, dynamics and in-between tracks on this record. Although these days it's pretty tame compared to some of its psych rock/pop companions, I still really love this album. The Spark That Bled and Feeling Yourself Disintegrate remain favorites of mine, but really, the best way to appreciate this (like most of their records) is to just get lost in it. I think this works as a great predecessor to the follow up, Yoshimi (an undeniable masterpiece). This album really set the band on the track they would follow for the next decade plus, and I think the Lips' sound is really perfected here.

Love him or hate him, we all have to agree, rock music wouldn’t be alive today if it weren’t for Mr. Steve Winwood’s wonderful Hammond organ sounds. Really though, I like this album. I always have. It made me feel like cool on the bus when I was sitting towards the front listening to my headphones, ignoring the rest of the kids because of my insecurities. It’s been a while since I’ve returned to it, and in a lot of ways it holds up. It might be the weakest of the three albums with this group. Kind of feels more like a hodgepodge of songs rather than a cohesive album. In a way, I’m kind of glad tracks like Little Miss Strange are on here, because they really highlight how much Hendrix was in a league of his own. But I won't dog on it too much for that. The guitar sounds achieved on this record are just the best ever recorded, and there's no argument to be had about that. Side note, visiting this man’s grave outside Seattle Washington was one of the most surreal experiences of my life. Can I say I’m experienced now?

“My flesh it doth rot!” Man this Tenacious D album sucks. Like many things in the early 80s, I’m sure this was the worst of the worst devil music any poor child could be exposed to. But in 2023, I’d believe it if Pat Robertson had this album play during his funeral. Venom isn’t doing anything here that bands like Iron Maiden or Slayer weren’t doing ten times better. It’s a shock record designed to target 15 year old boys who wanted to piss off their dads. But hey, points for helping adjust the course of metal. All hail Satan.

Most fans of the Dead I’ve encountered have this weird thing about them. They don’t love music as much as they just love the Dead. That fact has always kind of soured me on these guys for some reason. Now, I’ve listened to my fair share of their live stuff over the years, and if I had the change to see them back in ‘69-‘72, oh absolutely I’d have been there. Garcia is undeniably one of the greatest talents in psych rock history. But boy oh boy do these songs just go on and on. I think for me it’s almost easier to not think of these as songs, just an extended jam of some buddies who have good chemistry. In which case, this album kicks. It’s like a nice piece of warm toast that you save half of for later, then come back to it and it’s a bit stale.

I think Mr. Cave and his Bad Seeds are tough to fully become invested in. I've always been pretty picky-choosy when it comes to their ridiculous discography. I tremendously respect the songwriting and unique aspects that really set this band apart, but they're certainly not the most accessible group of all time. The boatman's call is a mood album. This isn't one you can easily pop on any time and get into it. But if you DO invest the attention it requires, it will be well worth it.

This one didn’t immediately click with me, but after a few tracks I was booping along. Another example of something that was super innovative for its time, but also a product of its time. If you like drum programming, this could be a great one for you.

This is a criminally underrated album. I had this on my very first MP3 player. I think I saw a Behind the Music of it on VH1 when I was like 13. You've got SO MUCH happening across the runtime; the growing, thumping synths on Virginia Plain, the David Byrne-esque vocals (before Talking Heads formed), or how about the Sabbath-like grooves on The Bob right before it dissolves into war sounds followed by a jangly glam jam? This album is the definition of eclectic, and for some that's not exactly a good thing. Personally, I love being strapped in and along for this ride.

I’m pretty lukewarm on this one. I can see the appeal, but this early 90s, shopping mall, Casio demo music sound doesn’t work for me. There are a few noteworthy tracks here, but kind of a snoozer overall.

Today is a good day. This record was my first exposure to Yeah Yeah Yeahs, and contributed greatly to my appreciation of modern music. The first half of this record is just one classic on top of another. If you don’t get pumped up listening to Heads Will Roll, I can’t help you. The slow build of Dull Life really capitalized the whole A side. The B side can drag a bit, but I’d still say none of the tracks here are skippable. It’s true, this isn’t Fever to Tell, but It’s Blitz!

I love the jazz inspiration throughout this album. Common’s flow and lyricism fits so well in the backing tracks. Also need to shout out the top tier production from psychopath Kanye. Shame. Can we just go back to 2005 when it felt like we got a new classic album every week?

Aside from a few duds, this album has quite a bit to offer. It sets itself up as a passable 80s punk album, but a few tracks in, you realize the band has a lot of surprises in store. I really dig the guitar effects scatted throughout that compliment the song structures. Not to mention the killer instrumentals.

Always an acquired taste, and one I’ve tried a lot over the years, Cohen’s style just isn’t for me. That doesn’t take away the validity of his music or this album. It’s haunting listening to someone’s final stamp on the world. Maybe it’s just a little to much for me at 5 AM when I’m trying to listen to it. Maybe it’s too much for anyone at that hour.

This was kind of a pleasant surprise. Having never listened to Weaver, I really had no idea what to expect here. There are a lot of tracks that musically remind me of my own writing style. I love the blending of electronic elements that go on for a few measures too long with the pop/folk structure of the songs. I got a mid-era Wilco feeling from the instrumentation throughout. The weak link here is the bland-as-hell vocals. Weaver can sing, sure, but is doing virtually nothing of interest with her songwriting. The album loses its luster pretty quickly, and may have worked better as an EP, but I can definitely see myself revisiting it soon. If only just for inspiration in mixing. But regardless, I'd like to see more of this kind of album on the list. Not exactly predictable, likely not to be found on Rolling Stone's 500 Greatest Albums list, not a mega-famous artist. That's discovery baby!

Ah yes, the best band ever to write a song about a train conductor seducing a married woman. Since this band has been talked about into the ground, I’ll just say this album is great for fans of the band’s early work. Each member’s contribution is on full display here. The real fun here is listening to Entwistle and Moon just go ape shit as the most wild rhythm section in classic rock. The influence live albums like this had on bands going forward almost acts as a detriment to the legacy of The Who. When YOU set the template that every other band follows, it’s easy for your template to get stale.

I don’t really need to convince anyone to listen to this album, do I? It’s great. It’s probably one of the best, and at the time, most expensive albums ever recorded. And that money was well spent. The complicated, multilayered vocal tracks send Queen straight into the stratosphere from the first track. Freddie was in a league of his own, and to this day, no one’s even come close to replicating what Queen was able to do in the studio. If there was something on this album I’d take out, it’s the more eye roll worthy classic rock songs like I’m in Love With My Car. It just doesn’t really fit with the operatic theme of the rest of the project. But even with that, I appreciate that each band meme er got to contribute their ideas even after Queen had reached mega success.

How are you gonna come out swinging dropping Zeppelin samples? But hey, it works. Although I think the group would go on to improve in what made their sound work best, this album is definitely not a bad start. It’s goofy but pretty fun. Plus you have No Sleep Till Brooklyn, so I can’t fault it too much.

Every time I see someone wearing a Black Flag shirt I ask them to name five Black Flag songs to prove they’re a real fan. And that’s because I’m just better than most people. This album is about as punk as it gets. You know what you’re signing up for, and I know I shouldn’t expect any sort of dynamics or mixing gems in this record, but without that stuff, the 35-minute runtime feels just a bit too long. But overall, this is an insane debut from a band who was doing things literally no other band was doing at the time and has had a lot of mimics since.

This is honestly a solid debut album for Grohl. There’s a vision there that comes across really well. The bummer is that this helped perpetuate a middle of the road 90s rock sound that quickly became unbearable. And Foo Fighters would never really evolve their sound beyond heavy riff + yelling vocals.

I'll never not recommend this album to someone. This is likely the perfect companion album to Kind of Blue if you're just starting to get into jazz. It's easily accessible, catchy, but also features some complex rhythms and insane musicianship throughout. Take Five has probably the most badass saxophone melody of all time and a killer drum solo to boot.

Hi there old friend! Man this album is just a really good time. There’s so much positivity in the music, and the majority of tunes here are crazy catchy. While certainly not the best Heads album, it’s a great debut and an absolute staple of new wave.

I am not the world's biggest new wave fan, citing bands like Joy Division among my least favorite. Having only listened to the "hits" by New Order, I wasn't super excited about listening to this one. It's not that I dislike them at all, I just don't get really hyped when I hear Age of Consent (although that riff rips). But I really, really dug this record. The ending of Elegia had me completely immersed into what the band was serving up. The percussive synths throughout bring a consistent life to the album, and the vocals are so much livelier than a lot of new wave stuff. I think overall this album just has a positivity to it (not necessarily lyrically, but in the music) that makes you want to drive a convertible through a mountain road. I'm a convert. You dance rock assholes got me. 5 stars.

Marley was a gift of light in a dark world. What a treat this album is. Your rhythm section here is TIGHT while Bob’s vocals just convince you that we all have a role to play here in bringing real change to the world.

Call me old fashioned, but I just don’t get down with songs about killing your mother, homophobia or fans committing murder/suicide. 🤷🏻‍♂️ Eminem is a great wordsmith, and I don’t want to take that away from him. I just wish the subject matter didn’t rely so much on shock value in his early work. God I sound like a preacher. The Real Slim Shady is a classic though.

There’s something in those croissants. I swear. This is a pretty fun dance record honestly. I’m not sure how often I’ll be revisiting it, but still a good time.

Fats is one of the more important early rock icons who frequently gets sidelined by discussions of his contemporaries. It’s a real shame when Elvis himself calls you the “real king of rock n roll”, and people dismiss that.

I took a detour off this gravel road about halfway through. Solid 90s country rock for sure, I’m just not into that sound at all.

There is an ultra clear vision happening on this record, and I really appreciate that. I think if you cut a few interlude tracks, you have a tight, chilled out record that really sticks around way after you’re done listening to it. But as it stands, I think it lingers a bit too long, and that length leaves a bigger impact than what’s trying to be communicated. Well worth it for the vocals and superb production.

Please stay as sober as possible while listening to this album, otherwise you might lose your mind. When the first track devolved into utter chaos, I wasn't sure I was still on planet earth. And as an American who's only language is English, it was even more unsettling not having any clue what the vocalist was shouting at me. But he sounded mad. I think this record is a fun, unexpected turn, even if it suffers from the 80s production a bit too much. The macabre, synthetic swells and circus music make this feel like a Tom Waits record in a few spots, and that's where I had the most fun. The industrial metal side of things turned me off for the most part.

It’s no argument that Albarn would go on to be one of the most prolific and important songwriters of the 21st century, but you wouldn’t guess that having only heard this album. Blur is a good band, and this album has moments of real rock greatness, but it’s so packed with fluff that makes it pretty hard to sit through all the way. Three stars for the tracks that go hard.

All hail King Arthur! One of the more underrated albums by one of the more underrated bands of all time. I think the debate should be, “Kinks or Beatles?” Not, “Stones or Beatles?” This one does get a bit weighty at times, but even the slower tracks have redeeming qualities to them. It’s weird and poppy with vocals that keep you hanging on every word.

Just sit back and let these delicious vocal harmonies surf over you. Maybe just don’t pay so much attention to the lyrics. I don’t think this will be everyone’s cup of tea, but man, I’m just a sucker for the 60s surf sound. This album gives off the best kind of feeling I get from listening to music; a sense of nostalgia and longing for a time I was never even a part of.

Yeah, I mean, am I really gonna rate this as anything lower than 5? It's one of the best of all time and for good reason. What I will say is I understand how it may not be everyone's cup of tea. But damn, this album just has SO MUCH to offer. There are easily five timeless tracks here, and that's only been done on a handful of records over the past sixty years.

I think I need a night light for this one. Pretty much a snoozer from start to finish with poor knock offs of classic Dylan songs.

Not exactly my flavor, but the top notch production and mind blowing vocals send this record straight into the stratosphere. There’s a reason Adele sings for world leaders.

God DAMN. Maybe it’s a stretch, but I could argue that Joplin had the single greatest voice in rock n roll history. Everything on this record is packed with undeniable soul and rawness that it’s impossible to look away from. It’s a shame that this album is loaded with such an awful story, and I fucking hate the industry for what they did to her. I dare you to listen to Cry Baby and tell me you’re not impressed.

Cheesy, sleazy, and just entertaining enough to please me, this album had me chuckling and enjoying at least the first half. It took me back to a simpler time playing Tony Hawk’s Pro Skater, unlocking the KISS level. At 16 years old, this was one of the coolest albums in the world to me. Anyway, hail satan and all that.

Honestly did not expect to see this album on the list. Pleasant surprise. I remember when this first record came out, I was cautiously optimistic given that Murphy made such a big deal About 2011 being their last time out. The first three records are near perfect, and this fourth attempt almost seven years later almost didn’t feel right. Anyway, the album is great. In a weird way, it’s exactly what you want from an LCD project. There are new, unexplored sounds happening while bribing you back to what was so encapsulating about the band to begin with. I don’t think it’s an immediate banger upon first listen. It’s one that grows on you, the slower pace of the first half leading up to something really special. In the back half, there’s a three-song run where each track keeps topping the previous one. Murphy does this consistently on every album, and I think some of his best is sandwiched in between how do you sleep? and american dream. All that to say, this isn’t a perfect album by any means. It’s too long, and really does overstay its welcome, but it certainly proves Murphy hasn’t lost his edge.

It's a perfect day to listen to Transformer. This was one of my more informative albums coming up. It taught me what glam rock could be, and what good songwriting actually looked like. I don't collect a ton of vinyl, only albums that I feel are going to be be consistently important to me in 10+ years...I bought this record in 2011. It's still important to me. Obviously the big tracks here are, well, perfect. Perfect Day and Walk On the Wild Side are pretty untouchable in rock history, but I'd challenge you to dig deeper into some of the lesser known tracks like Andy's Chest or I'm So Free.

What a wild blend of instrumentation and song arrangements! This album really grabs your attention from the first track, and continually takes you on unexpected routes as you breeze through it. I don't even know how to classify it; almost as if Beck and a Mariachi band had a baby and ran it through a sampler? Highly worth the listen if you want to expand your tastes a bit. Please check out the 20th anniversary edition if you can, and listen to at least the live version of Pepita for that slide guitar. OOFA DOOFA!

While it kind of suffers from falling too much into the generic 70s rock sound, I think there are a lot of redeeming qualities on this record that I had never heard. Fade Away And Radiate rips! The ending psychedelic/reggae beat just ties it all together so well. Then of course, you have the immortal Heart of Glass. No one can make the argument that that's a bad song.

About as straight down the middle as it gets, but you know what? That’s what Tom was best at, and he might be the best that ever did it.

Dre's genre-altering album is angry as hell. There are a lot of records I wasn't allowed to listen to as a kid, and I still don't really understand why. With this one...I get it. It was pretty inaccessible to me growing up, but I remember peers wearing the shirts and talking about it. I was always curious. I really sat down with it for the first time in college, and it kind of didn't make sense to me at the time why it was such a big deal. 10 years later, having been through it a few times, it makes total sense why this album is considered one of, if not the best hip hop record of all time. I mean, just the beats alone are enough to solidify that idea. Snoop is at the top of his game throughout, and the production is top tier. One thing I always struggle with in discussing albums like this is the blatant misogyny sprinkled throughout. I have to look at it through a lens of privilege, so it's really difficult to speak on the reasoning for some of the lyrics here, but on that level, I can't commend the album based on lyrics alone. But I think the biggest detriment to this album is the cultural impact it's had, i.e., you can buy T-shirts of the cover at Walmart. It suffers the Nevermind effect. But either way, it's the go-to template for a reason, even if I'm conflicted about it.

Okay list…you and I both know a 2+ hour live prog rock album from 1973 doesn’t belong on this list. No shade at the genre, but I certainly didn’t need to hear this before I died. These albums are fine, but they’re a dime a dozen. To be honest I checked out around the hour mark. You kind of get it. Give me King Crimson or Pink Floyd Live At Pompeii.

Record exec 1: “I don’t know guys, the album’s kind of a snoozer. We need something to spice it up a bit.” Record exec 2: “What about a quality single that could get some radio play?” Record exec 1: “No no no, that’s been done before.” Jimmy the intern: “TIDDIES!” Record exec 1: “Bingo.” Honestly, I can see the appeal in this record; I think it just missed the mark for me. Maybe I wasn’t in the right mood for it.

Alright Stone Roses, you got me. Totally expected a nothing burger with this one, having only ever heard the first few tracks. But hot damn, I was surprised. There's so much good stuff happening throughout this album, especially in the back half. I literally looked up from my keyboard while working at the midpoint of I Am The Resurrection. The funky psychedelic breakdown was just sexy. The other later half tracks like Shoot You Down have a great folky pop sound to them that's undeniably catchy.

Iceland's finest exports in order of importance: 1. Aluminum 2. Björk 3. Fish Björk has always been an artist who, on the surface, is very easy to dismiss. Never the most accessible, her music requires the listener to be active. But if you do that, it's beyond rewarding. This album contains some of the most complex, insane, but rewarding vocals I've ever heard. If you have the luxury, please listen to this album with a good pair of headphones and block out everything else from your daily routine. I promise it'll be like a religious experience. Or maybe you’ll go insane (looking at you, Ancestors).

Although it might be the weakest of the legendary run from OK Computer thru In Rainbows, this album still has a lot to offer. There's a near perfect blend of electronic and acoustic elements here that remains unmatched by any other band that's attempted it. But that also acts as a detriment to it in some ways, causing a lot of tracks to feel like leftover B sides from Amnesiac (which was already leftover sessions from Kid A). I think if the band would've put a bit more time into the song structures, a lot of what's good on this album could've been GREAT.

If I didn’t know any better, I’d say there were some superfuzzes and bigmuffs on this album! Mudhoney was always one of those bands to me that had a fan base I just knew were way too cool to talk to me. I guess that’s why I mostly stayed away from them. But that’s all different now. I’m a big boy, with a job! Didn’t care for this one too much. The mixing on these late 80s heavy albums just doesn’t resonate with me.

Grab a fresh julep, a rickety old rocking chair, and sit back on the porch with the best mountain boys this side of West Virginia. It really feels criminal that I'm not more familiar with The Band. I grew up on bands that ran in the same circles as them, I've read interviews and seen documentaries about how important they were to the musical landscape, shit, Helm is this seminal figure in music, yet I couldn't name 5 of their songs. I guess that's all going to change now. This album is tremendous. It feels like it's always been there, hanging out in the background just waiting for me to discover it. It gets just a touch weird (which I love) with tracks like Jawbone, but is rooted in traditional Americana. I'll definitely be revisiting this one often.

Charles was one of the most monumental talents in music. I remember covering What’d I Say at live shows with an old band of mine. I grew up on his music, so of course I was excited to see this album pop up. It’s great, but of course it’s great. This album transformed the cultural definition of pop music. It’s a monstrous record loaded with some of the most recognizable (and covered) tracks ever written. Let’s get personal. I don’t care for this album that much. It’s overlong and pretty stale. I always dug on Ray’s early material more. But let’s be clear, just because I don’t care for an album too much doesn’t mean it’s not great.

Had a hard time getting through the first track. Half the tracks were missing off Spotify. I’ll come back to this one but really wasn’t feeling it.

Two Björk records in a week! I don't know what that says about the randomness of the list's selections, but hey, who am I to complain? This record feels like one of those nights in your early 20's where you don't really want to go out, but end up on the backstreets of your city, slightly drunk, maybe a bit stoned, and you end up having one of the more memorable nights of your life. It's not entirely a party album, but the aspects of one are certainly there. It's not entirely an avant-garde record either, but you feel the atmospheric influences. I really don't know how to classify it. But I guess that's Björk for you. If anything, I'd say some of the tracks linger just a bit too long for this to feel as tight as it could. Even so, it's a strong debut, and an insanely brave one at that. This was NOT the pop sound at the time, and the risk paid off. Björk is in her own world, and has been since the beginning. You're welcome to come along with her, but don't expect anything to be normal.

Looking at this album through the lens of an angsty 80's teenager who was desperate for something relatable in a sea of hair metal and glossy pop, I can get behind what SY was trying to do. Looking at it as a 32 year old in 2023, boy is this tiring. There's nothing exciting to me about this record. I do like the band, and really get on board with some of their later 90's/2000's stuff, but this one is just a drawn out noise/goth record with some depressing production.

This must just be the week for strong debuts! What a swing for '96. Personally I think this album has a timeless sound to it. Like a lot of the band's material, it hasn't ever really gone out of style. Belle and Sebastian continues to be a favorite for hip college kids discovering "real" music for the first time, and there's something to be said for that. Although I'd argue the band's sound would never progress or evolve much past what we hear on this record, it's still a very strong, cohesive one that has a lot to offer in the way of songwriting.

You can hear the influence almost immediately on bands like Daft Punk and LCD Soundsystem. I'm pretty sure I was too harsh on this group the last time we had one of their albums. They were immensely important in the electronic landscape, I just want the music to be a bit more interesting on a surface level.

Is this where cool started? Was nothing cool before this? I’d say democracy was pretty cool. Pizza, that showed up before this. But hey, can’t argue with Miles. This is another great collection of studio sessions, further solidifying that the man was the goat.

I’m not sure what happened here, but this sounds like it should’ve been a lot bigger album than it was. It’s not exactly my flavor, but Buffalo Stance is a GREAT opener. The album does lose some steam from there on, but it is peak 80s pop.

This is someone’s favorite album of all time, and I know with a repeat listen, I would appreciate it more. Just the production alone is pretty astounding for 2000. That said, as a first time listener, I found it hard to really get hooked in as every song kind of just went a direction I didn’t care for. I wanted a hit, but maybe they don’t do hits. I will say the back half of the record seemed to flow more freely and sounded a bit more cohesive than the first half. Overall just more enjoyable.

Sorry...she was 19 when she recorded this? 19?! Good God. Talk about a jazz vocal prodigy. This is the work of a singer who's honed their craft after 20-30 years. The pure talent here is almost distracting from the record as a whole. I think the songs are just fine. I'd happily put these on at a BBQ, or just for a chill night of drinks and hanging. Nothing in particular about the musical structure pops out here, and it's pretty safe production wise. But that's the only reason I don't give 5 stars here.

Oh sorry, I fell asleep. Did you say something? I don’t know what it is, I just feel like Del Ray’s putting on a front here. I always feel that way. There’s a hint of inauthenticity or pretentiousness, maybe both? And that’d be fine if the songs were at least interesting, but after the third track of straight breathy vocals, I kind of faded out and focused on something else. And that’s not to say there’s anything wrong with slow records; they can be beautiful (looking at you Carrie & Lowell). Lana even has a few tracks that are remarkable, they’re just not in this album.

Kendrick’s over here just throwing out Shakespearean level bars. GKMC kicks off a pretty unbeatable three-album run that’s just in its own league. What I appreciate a lot about Lamar’s writing is his ability to tell an intricate story across the whole album. You’re drawn in on every verse just based on the story alone, but also in appreciation for the wordsmithing.

Man I’m a sucker for Rod Stewart. That horny old bastard. He really helps bring energy to these songs that feels Zeppelin-esque. Oh, and Beck’s great too.

Said it before, Paul’s one of the best. You can hear the graduation from the Garfunkel days here. This feels wholly unique from the duo’s records, many of which are nearly perfect in their own right. I don’t know if it’s the songwriting, lyrics or both, but something about Paul’s sound just puts you in another level.

The story behind this album is far more interesting than the album itself, but I really love hearing what other countries can do with the blues.

Elvis who? Mr. Lewis doesn’t miss a beat here. The man could certainly light up a crowd. What really impressed me on this record though was the drums. One Barry Jenkins (of The Animals fame, not the Academy Award winning director). Jenkins just let’s it rip here, like a modern punk drummer. Obviously you know most of the tracks here, and have probably heard them a thousand times, but I really liked the live setting here. It allows for some great band chemistry between the band that you just don’t get in studio.

Take me home, Country Joe. I can really respect this album as one of the first American psych records. That said, I hear a bigger focus on the guitar effects being used than the song structures. Seems like everyone was happy with the first or second takes of each song and moved on. Overall it just sort of feels…there? Pretty inoffensive, probably groundbreaking for the time, but would be quickly outshined by basically every other San Francisco band that came after.

Ms. Jones comes out swinging with some top tier jazz pop. Put this one on with a good cocktail on a lazy Sunday light and get swept away in the vibes.

Wild sounds and synths galore keep your attention, but even beyond that, the songs are just fascinating. This feels like the only album needed to be the influence on every synth record to come after it. There’s so much happening. I know I have to go back myself just to pick up on every detail.

I’ll admit this record had diminishing returns in the back half, but when your first four tracks are some of the most recognizable, influential and important songs of all time, I think that’s kind of okay.

Anyone on here using The Dude quotes in please of an actual review, you know, that’s just like, your opinion man. I mean let’s be real. Are you gonna tell me that Don, Glenn and Joe were a bad group? That’s a tough argument friend. Now are these songs overplayed and over discussed by every Reebok-strapped dad in the country? Sure. But that doesn’t mean they’re bad. Classics get that way for a reason man. But fine. After listening to Hotel California for the 18599276544th time, I’m more sympathetic with The Dude.

From the half album I was able to listen to on Spotify, it seemed decently good for a protest album. For the most part though, I found myself drifting off in between meandering guitar solos over melancholy piano chords. No hurry to revisit this one.

I remember when this album came out, and I wanted so badly to dislike it because it was the Green Day sell out album. But man, it was catchy and cool and I wanted to fit in. Does it hold up nearly 20 years later? Eh, it’s a good time if you’ve never grown in your music tastes since its release. It’s definitely a hit machine if nothing else. I think it’s been talked into the ground, and I have nothing new to say about it. Armstrong’s voice gets pretty grating after a few tracks. You like Green Day and haven’t heard this album? I’d go ahead and do that.

I don’t know what kinds of criticism you can really give this album. Maybe the funk is too funky? Maybe the groove is too groovy? The wacka wackas are too wacka wacka-y? The soundtrack is a character in the film, and without it, I can promise you no one would be talking about Shaft today.

This could be the most beautiful gobbledygook you'll ever listen to. An absolutely stunning achievement that takes its time to explore what sound can do in the right hands. I go back to this album pretty often when I'm feeling lonely. It's a perfect companion to sitting in those isolated, nostalgic feelings. Pop on your best headphones, light up a jazz ciggy, and sink back in your chair with this one.

Imagine being a 15 year old kid in 1970. You've just come back from the record shop with this dark, ominous looking record, and you have no idea what a Black Sabbath is. You get home, pop it on the player, make sure to plug in your headphones because if mom and dad catch you with this, you're going to catholic school, and hear the first track...but there's no music...just a soft thunderstorm and bells ringing. What could this be? What's happening? Then suddenly, the devil's tritone kicks in. Tony and co greet you with the DARKEST riff you've ever heard. Ozzy comes in whaling about meeting Satan in his dreams, pleading for help. FUCK MAN This was the very first album I ever fell in love with. As a church kid, this broke me. I was conflicted for loving it so much. I truly believed I bought a one-way ticket to hell just for being into this. Of course, 32 year old me laughs, and obviously there are thousands of more "evil" or "intense" albums out there. But the most intense band I was allowed to listen to then was Switchfoot...so it was real for me back then. But DOES this album hold up almost 20 years after I first fell in love with it? To be honest, yeah it really fucking does. It rips from start to finish. N.I.B. remains one of the greatest bass lines of all time. Ozzy's vocals are on point. Drums are wild yet tight. The jazz rhythms on Wicked World. Mmmmmm good. My name is Lucifer, please take my hand!

Look, I know all about how Zeppelin ripped off their predecessors on this album. I understand that virtually every track had already been written in some way or another, and due credit was never given to the artists who really wrote this music. I know about the troubled history of Page's dating habits, and the band's general attitude toward women. I KNOW. And that will always be a footnote tied to the history of this band, and should be. We should not throw away or excuse horrendous behavior just because "that's how it was back then." And I condemn the members of Led Zeppelin for doing some of things they did. But when Plant is screaming in the VERY back of the mix on Babe I'm Gonna Leave You, followed by that same moment at the front of the mix a few bars later, "I can hear it callin' me babe!" that kind of moment sticks with you. It stuck with me at 14 years old. The opening bass line on Good Times Bad Times when everyone drops out but Jones...that's pure euphoria. Dazed and Confused contains maybe the greatest bridge in a studio-recorded song ever (even better live at MSG. For god's sake please watch it). In my own small world of music appreciation, I can confidently say every track on this record is timeless. There are no skips, and that euphoria is on every song here. There is no argument that these four musicians had the best organic chemistry for a band possibly ever. Page was a master of tone, albeit a sloppy guitarist. But it worked. It was THE sound of Led Zeppelin. Bonham had thunderous chops that did so much more than drive the track. He was a god on the kit. Plant. Just. Fucking. Whaled. The raw vocals throughout this record have never been matched. Jones was the glue that kept all the ferocity and chaos together. Anyway, I like this one. 3 out of 5.

This album doesn’t really challenge any genre, nor does it stand out from the rest in any meaningful way. But does it need to? I’d argue to be on this list, yeah it does. It’s harmless, and for that reason I’m just kind of bored by it. Sounds like it was a fun time to make. Some lyrics are fun, and Black relievers them in a way that keeps some tracks mildly entertaining, but meh. On to the next.

I wish I had a friend as cool as Goo. But all I have is the chance to live through Kim. For 1990, this record had a sound all on its own. I certainly would've eaten it up. Like many SY albums and songs though, I never really feel that SPARK of energy I can get on the same level with. Everything just kind of feels, there. Like a group of friends just playing middle of the road garage tracks for the fun of it. I just never felt those creative juices working with this band. I'm definitely not Thurston for Moore here. That's a good fucking joke, I don't even care. All that said, this is certainly not a disappointing record, and for any create diggers, it's an important one.

Pretty far from Bowie's best, but he is at peak form in his vocal approach on this album. Some of the middle tracks get to be a bit of a slog, but there's certainly a strong start and finish (Young Americans and Fame, respectively). The Beatles cover is a welcome addition, even if it fits better on an earlier record. Wouldn’t put it in his top 5, but certainly required listening for any fan.

[insert Anchorman joke here] Mmmmhm. Just let that phased out guitar take you away. Yeah this record has some sexy bits for sure. Its hit is the best track, and unfortunately right up front. But it’s still worth listening to for the fantastic soul/funk production.

In between bouts of atmospheric repetition that lulls you to sleep, there’s a bit of fun energy here. But boy do you have to work for it. For a mostly instrumental album, I needed something a bit more involved to keep my interest. This one just wasn’t it for me.

At its best, this album is reminiscent of a late stage Kinks record; at its worst, it sort of forgets what it is in its attempt to be whimsical and weird. Overall a fun listen with some catchy pop rock hooks that sound outside the new wave format.

I gotta stop listening to these albums before I’ve had coffee. Violator is a classic, and probably falls in the top 10 of new wave albums. But I've said it before, new wave as a genre in general is just so tough for me to crack into. I don't know what it is. I want to be a bigger fan! Personal Jesus, Enjoy the Silence, and Policy of Truth are all timers for the genre, and legitimately great tracks. But I'm not rushing to throw them on any personal playlists. I'll leave my own biases out of this rating as much as I can, because I understand I'm fully in the minority here, and I want more people to listen to this record. There's no doubt influence here that would go on to inspire a lot of bands I really love.

I mean, I’m not gonna say anything revolutionary here; no hot takes. This is one of, if not, the best arranged album of all time. I don’t think there can be an argument. No skips, no lulls, nothing that should’ve been left off the track list. It’s not my favorite Beatles album, and I don’t think it’s their best, but if you think that, I wouldn’t fight you on it. Do yourself a favor and listen to the 2022 mix if you can!

There’s so much happening on this album, it can be easy to miss the good stuff. I feel this way about everything Ocean touches. Dude has a voice like Jesus, but I usually find myself getting sidetracked by the songs content, most of which I’ve just never been too interested in, and then I forget just how good the arrangements and vocals actually are. Yeah, this album is a modern classic. To me, some tracks feel a bit empty, and maybe there could be 10-15 minutes shaved off here, but the rest is good enough to forgive that.

This album should be a textbook on how to write funk. The craft on display here is among the best of all time. Not only is Mayfield's voice incredibly smooth and buttery, but the instrumentation and the mixing is next level. I'll be listening to this one again just so I can focus on the drums and bass. It's layer after layer of depth while still sounding simplistic and tight.

Just a bit of innocent rock and roll with some macabre thrown in for the heck of it. There’s nothing here that’s going to blow your mind, but I doubt you’ll be offended by it. Maybe the band was sensational, never saw them live. I’m sure there’s a story as to why it’s on this list, but I don’t really care to hear it. Next!

Noted psychopath Ginger Baker’s appearance on this album doesn’t really mean anything. It’s just as good, or not good, as any other African jazz/jam project. Most of these tracks could’ve had any drummer playing on them and sounded just the same. That said, it’s pretty par for the course in this genre. I felt the musicians on stage had a good time, and that’s fun. Not the most mind expanding thing you could listen to. This is the 3rd of 4th live album I’ve run into from this list, and I’m starting to question each one that’s been here. I have no problem with live albums, but with the quantity of good music out there, are these the records that we need to hear before we die?

My word, what a voice. I don't typically go for Morrison's style, but I can't deny the man can write a song. Madame George is just a wonderful piece of music, and any music fan should be familiar with it. Top tier songwriting from start to finish.

I'm glad that songs like She's So Fine exist. They prove just how vital Jimi's voice was to this band. When he's not at the front of the song, The Experience goes from astonishing to mediocre really fast. It's easy to talk about his guitar playing, sure. And a lot of snobby critics have less-than-positive things to say about his vocal chops, but man, the dude had a perfect fucking voice for taking rock music to its next logical state (which he pretty much single-handedly did). Yeah, this album's a certified banger. Take away She's So Fine and anything where Jimi's not the main character, and it's pretty much perfect. I'm five years older now than Jimi was when he died. What does that say about me? I don't know, maybe nothing, but maybe not. I think about this a lot.

As good as this band is, and for as much as Lou commands the direction of the album, this one kind of missed the mark for me. I never cared for the decision to scale back on the “abrasiveness” of White Light, and I would’ve preferred a continuation on the weird train. That said, Pale Blue Eyes is a beautiful track, and this is still far from a bad album.

The king of all, Sir Duke. I mean, it's two plus hours of the greatest jazz/big band composer of all time letting his band go nuts. What more could you want? To be fair, I didn't listen to this one all thew way through, but I'm going to make a safe bet that it stays consistent. I also have the same gripe I've talked about before with live albums being on this list. Sure, this record is great, but isn't it kind of cheating to give these spots to all these live albums?

It's fitting for the band to make their last record their best record. And yes, this IS the best Beatles record. I don't know if that's much of a hot take, but it just doesn't get much better than this. I could spend hours writing about each individual track and how they're all responsible for some dramatic shift into modern popular music, but the fact that they're all here, on this album together is just mind boggling. Come Together is the strongest opening track the band ever released. Sure it's overplayed and every boomer dad's "last good rock song", but come on. That bass line, those drums. Ringo was not a technically proficient drummer, but I don't think there was another drummer alive who would've thought of THAT for the intro to Come Together. Follow that up with Something...Something?! George's BEST contribution to the band ever, and one of the best love songs of all time? That's the ticket. The wall of sound at the end of She's So Heavy followed by a dramatic cut to nothing was so experimental and weird for a mainstream pop album, and could be argued as one of the driving forces that influenced heavy metal music. That's just something you don't get too much these days with popular releases. I've listened to that track a hundred times and still get caught off guard by that shift. Not to mention it goes into Here Comes The Sun (The Beatles' most popular track on Spotify). Let's talk about the suite. Can we talk about the suite please Mac?! You Never Give Me Your Money to The End is musical mastery. On their own, each of these songs is a masterpiece. The blending of them together just solidifies George Martin as the official "5th Beatle". Without going too much into the production of this album, I'll just say it's damn near perfect. Golden Slumbers into Carry That Weight is one of my personal favorite moments in music, period. I know there's been a lot of debate on whether Her Majesty should've been left off the album, but I love it. It's such a pleasant and strange epilogue not only to the record, but to The Beatles' entire career. I don't know if the "perfect record" exists out there, and of course everything is subjective, but this is always the one that comes to my mind when I think of perfection in music. It's not my favorite album of all time, but it is the one I can speak on the most and make the strongest case for being the GOAT. Its influence is heard in some capacity on virtually every album that's come since, whether you love or hate The Beatles.

Funky, catchy, and meaningful. This record is here to say something, and maybe the biggest detriment to its messaging is that listeners will be too distracted by the insane musicianship to pay attention.

A powerhouse of power pop! I was eager to dive into the rest of this album, having only heard a handful of tracks off it. I like to pretend the massive hit doesn't actually exist when rating a record like this. So here are some disconnected thoughts as I listen in real time! Shout is an incredibly strong opener. What a hook. The Working Hour may be a bit dated (looking at you roaring sax intro), but nevertheless a pretty solid track. I could see this in a Michael Mann movie...maybe it was? I didn't realize EWTRTW had over a billion plays on Spotify. I guess people like this band or something. Mothers Talk is slightly forgettable, but has another really strong chorus. I believe I Believe is a pretty skippable entry, but if you like ballads, stick around. I also like the way it transitions into Broken, a weird, reminiscent psychedelic track that hints at the beautiful melody to come in the next track. Would Head Over Heels be the same song it is for me without having seen Donnie Darko at 14 years old? I'd like to think so. This is easily the best song on the record, and might have my vote for best pop song of the 80s. Listen is a perfectly acceptable closer, albeit a bit long. The wave of synths blending together with minimal vocals offers a nostalgic feeling that's almost bittersweet.

Missy does her thing really well. It’s just not exactly my thing. I really enjoy the production here, and a lot of the beats work in the context of the song, but it feels like Missy runs out of ideas pretty quickly. She fills in some gaps with album highlights like the Beyoncé or Jay-Z features, but mostly I was kind of bored after 15 minutes.

If Bruce was my boss, I wouldn’t get much work done. I think we’d drink too many warm beers in the summer rain. I’d never given this album a real chance. That was my bad. It’s an anthemic staple of rock that leaves you longing for middle America, running into the great unknown, and finally looking back realizing the grass may not always be greener on the other side of the river.

Man. Now I’m just sad.

The vocals save this from being an extremely mediocre album. Maggie May is a great tune, but not enough to redeem the rest of the record. Most tracks here have little to no staying power. I might make an argument for the Elvis cover, but even then, meh.

If you already exist on a higher plane than every other human when you’re alive, what happens when you die? Aretha probably knows. Every song on this collection is jaw dropping. People should not have this ability, like it feels almost unnatural that her talent existed in nature. A voice like Franklin’s comes around once in a lifetime if you’re lucky. It’s sad to think we probably won’t get another like hers soon, maybe ever.

Punky, funky, and just a bit spunky. There’s a good chance this is your favorite band’s favorite band, so, you know, study up. This album has so much going for it, toeing the line between punk and glam. It’s incredibly catchy with tracks like Personality Crisis, Looking For a Kiss, or Trash, while remaining unforgiving for its time.

Although it’s not my flavor, I can find a lot of value in this record, and drum and bass music in general, for those looking to study or rave.

This continues to be a very divisive album for me. On one hand, I love how weird and raw it is for 1966. It’s one of the first proper psych rock albums, meaning virtually every band I love owes 13th Floor their due. On the other hand, it’s not very good. I mean, it’s good for 66, when there was nothing else like this happening, but it’s a bit tougher to get through now a days. The mix doesn’t sit right, songs feel rushed but also too long. But mostly, it’s just kind of boring. There were bands doing similar sounds much more successfully imo. Do check out the opener, You’re Gonna Miss Me. It’s a fun track, as well as the bands only charting song.

A mainstream pop album with an opening track where vocals don’t come in until almost one minute?! IMPOSSIBLE! They’ll never get payed through Spotify that way. Wake up Sister! Holy shit this is funky. Soaring (and pretty sparing) vocal melodies over TIGHT rhythm sections is all I need. I really appreciate that the songs here can take their time instead of following tired formulas. Added this to the driving playlist rotation. Big Willy style’s all in it.

This album is a perfect example of everything working together to serve the song. The haunting harmonies on vocals, sparse but effective lead guitar, even the drums are so complimentary to the overall purpose of each track. What a knock out debut. Even though I don’t think Pecknold and co would ever top this effort, the follow up albums are nearly as good and well worth listening to.

It can be pretty intimidating diving into GK’s discography. There’s so much Wu Tang I haven’t checked out just because the quantity is kind of overwhelming. But this album is a great entry point! Honestly, it’s 4:45 am, and I have no words to make a coherent review. So in place, here’s the rest of my review autofilled by my iPhone… The album was written by a very young woman and she was a very good listener and a very good friend of mine who was very good at it and she was very good with it and she was really good at it and she was so good at it and she is a great singer so she was very passionate on the topic of the song. I think that was the first time she had ever heard of it.

An all time classic by one of the all time greats! I can't help but equate this album to a Monty Python skit for some reason. It's like in that realm of specific British humor with its musical tone, even though the lyrics are pretty dense. Davies does a great job of balancing happy, silly, baroque pop music over top of concerning lyrics about the fast-approaching modernization of our world. The compositions here though are what I'm really drawn to. Unique chord progressions like on Do You Remember Walter? really challenge the typical pop structures of the time, and only a handful of bands managed to achieve this well. The vocal panning is also bizarre in ways that wouldn't work for hardly anyone else. It continues to amaze me that The Kinks aren't talked about the same way The Beatles or Pink Floyd are in terms of their songwriting abilities. Sure, they may not have defined what studio production would mean for the next 40 years, but the Davies were so damn good at BEING this band that continued to evolve their sound across their whole career.

It’s really easy to dismiss this album for being overrated or overplayed. But going through it for the first time in a long time today, I gotta say, there’s not a bad track in the bunch here. This is a pretty incredible debut regardless of what you think of the band. The ability to spit out this many hits on your first record is wild. And from what I know of this band, they started as a joke band. These songs were meant to be dumb parodies of over saturated pop music of the time. Funny how that happens. It’s rare to have a record where you have at least two songs that virtually everyone on earth knows.

Is this the sister album to Yankee Hotel Foxtrot? Having missed a lot of early UK electronica, I didn't really know what to expect here. It's quite lush and beautiful. There are some swelling jams here like on Like The Swallow or Stoned To Say The Least. The in-between tracks are a lot of fun as well, and provide a good breath in between the more expansive tracks. I found myself involuntarily bobbing my head to Nothing Can Stop Us. I can’t decide if I love or hate that the biggest song on the album is a Young cover. What follows is, in my opinion, better as a whole album, but the track works well enough as an opener.

The arrangements and Stevie’s legendary voice save this album from being just another pop/R&B album from the 70s. All in all, many tracks here are pretty forgettable outside Sunshine, Superstition and the closer, I Believe, which has a very fun, almost psychedelic feel near the end.

This fucking album cover. Hahaha. Anyone else remember the time when some dumb ass hole drove an emergency vehicle through the crowd at the Fatboy Slim show during Woodstock 99? There is a lot to be…praised…here. When it’s on, it’s ON. the opening track into Rockefeller Skank is wonderful. And then we’re treated to In Heaven, which is impossible to not get stuck in your head. But the record is 10-15 minutes too long. It is very much a DJ set in album form, and I don’t know if that works for me. But hey, strong closer and a very important album for 98. My booty isn’t dead, cause it was movin.

I couldn’t shake the feeling of, “The Smiths but trying to be edgier” throughout this album. Then you’ve got a lot of late 80s early 90s classic rock hanging on here. Some of it works when they’re leaning into the surfier, more psychedelic aspects, but overall this is pretty forgettable.

While it may not be completely for me, this is a great mood album with swelling strings and landscaped tracks that take the listener on a somber journey. In some cases it’s like a Tom Waits record produced by Phil Spector.

Just sit back and let the buttery guitar and bass tones take you away on this one. Obviously Shining Star is, well, the star here, but stick around for the rest of the album too. There are a lot of funky tracks with incredibly solid instrumentation, particularly in the horns. The softer moments really work too, and don't cause the album to slow down or lose momentum.

This is gonna be a big no for me dawg. On the nose lyrics about the worlds problems over outdated 80s pop production is a recipe for disaster. I don’t care. Janet’s voice is…fine, but buried so far back in the mix that it just gets lost in the random percussion slams.

A perfectly listenable folk album that'll put Grandpa right to sleep. Seriously though, I didn't dig it too much, but it achieves everything it sets out to. There is some beautiful guitar work throughout, even if the songs linger just a bit too long. Jansch isn't Dylan, and he doesn't need to be, but sometimes it feels like he wants to be.

Okay, don’t brush this one off immediately, like I nearly did. Is it a great album? No. But I think a case can be made for having it on this list. It is pretty groundbreaking for metal music. I might be wrong, but I don’t think anyone had ever done blast beats before this. It’s nowhere near as melodic as popular metal of the time (Metallica, Megadeath, etc.) but it’s LEAGUES more technically proficient. I won’t say I enjoyed it, because honestly the shock, glamour, value, whatever you want to call it, wears off pretty quickly, but I would recommend anyone looking to expand horizons a bit listen to it. It’s an important piece of music filled with history and a subculture of its own.

It might be sac religion to say this, but I was never the world’s biggest Zappa fan. He’s great, and this album is by all definitions, great. But it’s a jam record. He was doing things in his day that no one else even came close to, and the inspiration he had on many modern artists is nearly is unrivaled. So why am I not a fan? The music isn’t too “unlistenable” or “weird” for me. In fact, this album is very much on the more normal side of Frank’s offerings. I’m not exactly sure I know what it is that deters me from it. I think I just get sort of bored with jam songs, even if they have a lot more to offer than a Grateful Dead or similar jam bands. There are elements here that are a blast, but it doesn’t feel cohesive, or like it really has a point. Maybe for me I’ve just heard all this so many times now that this just feels kind of…there. Anyway, listen to it. It’s important, and I’m sure I’m an outlier here.

I mean…it’s The Doors, man. Are you gonna tell me it’s bad? It’s about as straight forward as rock n roll gets. You already know the big tracks here. I don’t need to tell you that Riders on the Storm is iconic, or that Ray Manzarek’s organ work holds the whole thing together (not just on this album but their whole discography). But does it hold up? Do I like this album the way I should? Eeehhhhhh…yes.

I’m pretty lukewarm to this one. It’s not the worst record I’ve ever heard, and I like the post punk elements in the instrumentation throughout. I just don’t really connect on a songwriting or lyrical level to what the goal was. It feels pretty “there” but not genre defining or groundbreaking in any way. I’d say it’s a mood album for being drunk at the pub around midnight.

I'll never forget my reaction to hearing The White Stripes for the first time. It was the video for Seven Nation Army on VH1. I had it on in the background while doing homework. I must've been 13-14. I...loathed...everything about this band. The drummer couldn't drum, singer couldn't sing OR PLAY GUITAR, and they didn't even have a bass player. I couldn't fathom why anyone would ever like this band. Fast forward to five years later; some friends and I have just finished a night swim in the neighborhood pool (hopped the fence to get in). I'm saying goodbye to a buddy, and as he starts his car, the song Ball and Biscuit is playing. Completely intrigued, I ask him, "Who's this?" He says, "The White Stripes." I say, "Really? That shitty band who does the Seven Nation Army song?" He says, "Yeah. They have more than just that song." I immediately begin questioning everything I KNEW to be true about music (there was no good music made after 1994, rock and roll was dead, etc.). I went home that night and torrented The White Stripes' entire discography. Within a week, they were my favorite band of all time. Suffice to say, this band changed my world for the better, and I owe them a lot for that. My initial feelings of them melted away pretty quickly, and everything I disliked before became my favorite aspects of the group. Let's talk about some of them in relation to this album, White Blood Cells! Jack's scratchy, whiny vocals are responsible for carrying most of, if not all melody on the album. And the way he approaches recording by limiting to only a number of takes to get the "rawest" sound really works in favor of the simplicity everywhere else. The guitar playing also needs to carry a lot with the lack of a bass player, and thanks to Jack's blend of effects and recording techniques, the low end is filled out fantastically without sacrificing a "guitar sound". Meg...oh Meg. She makes the band. Period. There wouldn't be a White Stripes without her style. It's so easy to dismiss her ability as "she can't play" because it's true, she's not a traditionally taught drummer. But she's a human metronome, and she READS Jack so well. Their chemistry as a duo is nearly unmatched across the entire rock landscape. Their sound relies entirely on the way she plays drums. And it's beautiful. Anyway, some of the songs on this record are among the band's best, and while the album can drag a bit in the latter half, Dead Leaves is a mind-blowing, heavy opener, followed up by Hotel Yorba, a cute folk tune you play with your SO when walking in the park. Fell in Love with a Girl might be the best hit song ever under two minutes. And of course, We're Going to Be Friends is up there with Jack's best songwriting, and forever immortalized in Napoleon Dynamite's opening credits. This is a great reference point for any songwriter, including myself. On those days when you feel like your song or record needs MORE, listen to some White Stripes. Sometimes the best songs are the simplist songs. Simple does NOT equal bad.

I was more than a little amazed at the production value of this record. I guess I shouldn't have been. Wilson was involved in some of the most important and groundbreaking production evolutions of all time, so why wouldn't his first and only solo effort bring some of that to the table? This sounds timeless. But boy, outside of the literal sound of the album, the songs are a serious bummer throughout. There are a few highlights like the opener (honestly one of the more dated songs, but still great), or Pacific Ocean Blues. But there's a pretty depressing tone to the rest of it. The "troubled genius" trope is on full display, and given the right mood, you could easily sink into this record and be completely at one with your emotions.

Oh come on...really? REALLY Robert? THIS is on your list? You're gonna make me sit and listen to it so I can trash it more than it's already been trashed? Or are you just trolling us all with this one? I got two songs in before switching it to a much better nu metal album (System of a Down’s debut)

It’s not as good as Smith’s previous work, and to be honest I’m not sure why this album is here at all. But I’ll take it. The songwriting is still some of the best to get sad with. I also like the work the instrumentation does on this record compared to some of Smith’s other material. You can hear the influence in later bands with the diy, “indie” sound on display here.

After all these years, I still don’t know if I’m experienced. But Jimi has given me a lot to think about. Yeah, of course this album is 5 stars. It IS rock and roll. I don’t trust anyone who thinks otherwise. Now please excuse me while I kiss this guy.

As much as I like hearing an aging Young ramble on about his nice country home, this one missed the mark a bit. The jams are pretty fun, but become sort of stagnant after a while. Far from his best, but by no means bad.

I just wanted to crack open a cold beer and sit on a porch overlooking the Smokeys. Not much substance to discuss here. It's good. Is this album important enough to put on this list? Sure! Could you replace it with any number of bluegrass country albums from the same time period? Also sure! Four stars because why not?

After listening to and rating 211 albums over the past year, I can confidently say this is in the top 5 of best albums on the list so far. It does not get funkier than this. For me, a track list of four songs, half of which are 10+ minutes, is like heroin.

I don’t care how much reggae these guys ripped off to make ska popular. Ska sucks. Some tracks here are a bit more entertaining than I thought, but I still got way too little enjoyment from this record to make it Special for me.

The superior Elvis?? I always liked this album. It’s just a lot of fun, even if it never reaches any particular peaks.

I could spend some time complaining about how much I didn't care for this record, but at the end of the day, it's just not my thing. That's not the album's problem, it's mine. Some records are made for existing fans of the genre, artist, or whatever. This is one of them. I'm not a convert, and that's perfectly fine. Sullivan's vocals can really soar in places, and I wanted more of that! The song structures, production, and writing approach were just kind of stale overall. It feels like an inauthentic attempt at female empowerment, where Sullivan just throws around a lot of key words without any substance or meaning behind them. Faux Tales? I do wonder what the criteria is for including albums this recent on this list. Heaux Tales is two years old. I don't really remember anyone talking about it that much. Anyway, hope you're doing alright today. The Anderson .Paak and Ari Lennox tracks were solid.

I’m a Ziggy Stan, but can absolutely get behind the Thin White Duke era. I think this album is packed with gold for being a brisk ~40 minutes. The extended jams on most tracks really work for me. My biggest issue with Station to Station is in the vocal mixing. Outside one or two tracks like Golden Years, most vocals feel too buried when they should take center stage, as there isn’t a whole lot of unique instrumentation happening to cover for it. Great record, never not going to recommend listening to Bowie.

I saw some reviews call this album abrasive. I won’t disagree with that, but to me it was just too trebly. Bring in some low end or mids, and it’s suddenly “listenable”. Let’s pretend the production value was better. Is it now a good album? Eh, not really. There’s not much here Black Flag wasn’t doing better, or John Mellencamp.

Put me back in jail if it means I don't have to listen to this album anymore. Look, I like Thin Lizzy fine. I may even have a fond memory or two of playing their music on Guitar Hero, but I don't need a bloated live album of Thin Lizzy. No one does. And this album isn't even "live." It's a compilation of live shows overdubbed with studio fixes. Again, all fine and good, but this type of album does NOTHING to enhance the average listener's appreciation of the whole wide world of music. No reason to include it on this list.

It's kind of funny how quickly Paul dismisses George's ideas in the Get Back documentary. I think it was the song Something that George was showing the band for the first time, and their reactions are all just, "meh." George had a lot of ideas that were more or less blown off by the band, and maybe that was for the best. I think a few of them make it onto this album. Some of them are brilliant, others, not so much. A double album (triple album for the initial LP release in 1970) is bold, no matter who you are. There needs to be GOOD reasoning for making your album 2+ hours long. And while I don't think the runtime is earned here, this really is a monumental achievement of a record. All in all I’d say this is the best post-Beatles solo effort. This album has some of my favorite guitar work, maybe ever. It separates Harrison from his pre-existing legacy while helping create a new one. George was always an incredibly underrated songwriter, and I think this album proves that. Unfortunately he wouldn't go on to top this, as most of his solo work is entirely forgettable, but this certainly solidifies the idea that George didn't need The Beatles to be successful.

A seriously underrated punk album that probably should be in the same camp as London Calling or Never Mind the Bollocks. That said, how many more British punk albums are we expecting on this list?

This feels like the lounge act playing at a downtown, smoky bar I wouldn’t have been cool enough to get into. Really enjoyed the vocals on this one, and the flourishes of horns were icing on the cake.

What a fucking TRIP man! I had never heard or heard OF this record. Shame, honestly. From start to finish I was completely entranced by the whimsical, trippy, eerie and sometimes incapacitating sounds. Right off the bat, we're treated to a circus theme that bursts into a chilled out, Pink Floyd-esque psychedelic tune. After that it's tempo changes on tempo changes on tempo changes; yet somehow it all feels structured and intentional. It's an even bigger shame that TUSOA never capitalized on this album and mostly faded into oblivion. This is a great example of 60's experimentation done right. You can hear the competencies of each musician, even when they're going off the rails. Huge props to the rhythm section; the drums and bass are phenomenal and incredibly solid. I want to write bass lines like this. The main criticism I can give is that it can get just a bit silly (or "extra") at times. A Gregorian chant to kick off Where Is Yesterday is fine, but sort of took me out of the overall feeling. Just keep it a cool, multi-layered Beach Boys feeling track, and you're good. Don't put this on at a party. Curl up on your couch, light a j, and sit back. Your mind and soul will thank you.

This...right here...this. Albums just con't get better than this. The way Mitchell can deliberately make the structure sound free and loose is unprecedented, and hasn't been replicated since. I love everything about this record. Each song stands on its own as a total classic, but they all complement each other to paint a complete picture of how music was evolving in the early 70s. The guitar work here is astonishing. Most singer/songwriter artists don't bother putting this much work into crafting unique acoustic guitar parts that don't just complement the vocal performance, but stand alone ass just pure craft. I think River pretty much sums up the absolute poetry that is the lyrics of this album. "Oh, I wish I had a river I could skate away on But it don't snow here It stays pretty green I'm going to make a lot of money Then I'm going to quit this crazy scene"

A hot, freaked out? debut that would set the basis for Zappa's ever-evolving sound in his career. I'll pretend I'm a 16 year old in 1966 popping this on the record player for the first time. How would I react to it? I have to imagine the barrier of appreciation for an album like this would be almost impossible to break through. It's easy to see the influence and admire it in retrospect, but honestly, I don't think I'd have been on the Zappa train back then. Either way, one thing's for certain...rock needs more kazoos.

A band you might enjoy seeing at Woodstock, but wouldn't care too much about missing next to the rest of the lineup. I'm pretty lukewarm on this one. On one hand, the almost fairytale-like orchestration of strings and airy vocals are pretty beautiful. But that gets quickly dropped for bluesy guitar melodies and uninteresting lead vocals. A more stripped down track list probably would've done this one more favors.

Yes, I am bouncing. Thank you. This is probably my most listened to album since I first heard it in middle school. And that includes like, every album I’ve ever listened to. It was absolutely my introduction to hip hop. You have something really special on your hands when you’re able to use it as an entry point to a genre of music, while still having it be the GOAT in that genre. I had an old family friend who’s kid went to the same school as Andre 3000’s. She used to talk about how he would wait in the car pick up line with the other parents for school to end. He drove a Mitsubishi. They chatted about their kids a few times. I always liked the idea of Andre just being a normal dad, waiting for his kid in a modest car. Anyway, want to get more into hip hop but aren’t sure where to start? Here’s your Abbey Road.

Experimentation CAN mean good. It can even mean great! And I want this album to be that so bad. But it just never reaches that peak I need it to. SY teeters on valuing experimentation over writing good songs here, and again, it's tiring. I know I said that about EVOL as well. I like this band, and I want to like them a lot more. They were doing things in the 80s that no one else dared to; that's commendable. It's like, yes, if you slide your guitar pick down the strings through a fuzz pedal, it makes a fun sound. I completely understand. I like doing that too! That said, the influence this album leaves earns it higher stars from me. Also Kim Gordon.

Kid: “Mom, mom, can we get the new AC/DC album please?!" Mom: "We have AC/DC at home honey." AC/DC at home... This was pretty much disposable from start to finish. Completely derivative of any and every mainstream rock band of the 70s with a glossy hair metal production sound. Your dad probably loves it.

A once in a lifetime kind of talent that got ripped away way too soon. That said, even Mark Ronson’s ridiculously good production skills don’t save this album from being a bit of a snoozer after a few tracks. Winehouse’s voice can only carry the album so far before I start to tune out.

While I understand the mass appeal of the whole second British Invasion, and I would say some fun is to be had I. This album, I just got bored with it a few tracks in. It’s not a particularly cohesive album. More of just a jumbled collection of “oh yeah rock n roll” songs. The opener is almost a cringy eye roller, and even the catchier songs are more or less forgettable. Anyway hereswonderwall

There’s a lot of fun to be had here in the jazzier/poppier tracks, but the tone of this album is a bit too inconsistent to keep me holding on the whole way. The softer piano tracks are a bit sleepy, even if the lyrics and talent are there. And I’m not sure where the rap came from. I honestly thought I accidentally put on a different album. But even with all that, it didn’t bother me enough to dislike the project. I’d like to understand a bit more about how this record came to be, and try to understand Weller’s vision. I can sort of see it, but maybe it just wasn’t executed as expected. Trim some of the fat, and this is an easy 4 star.

An all around timeless folk album who's brisk runtime feels like a lot more time than I had time for. I won't say anything new or revolutionary about the great Cat Stevens. He's a great songwriter, and the world is better with his music in it. But it's a little too plain for me. This album just feels..."there" to put it in a word. There's some clever and thought provoking lyricism, even if half the album feels cringeworthy just because of how much we've heard the same proclamations coming from folk artists about the ever-decreasing state of society, but the songs are just kind of songs. I'm very middle-of-the-road on this one.

As much as this album really is not for me, I can't deny the absolute insane levels of talent on display here. Call it pretentious or whatever; there aren't many groups of 3 musicians who can create soundscapes like this. That said, because of the focus on virtuosity, ELP always felt a bit soulless to me. In the softer moments of this album, where we put down the bass slapping and drumsticks for a bit, the songs get tired and boring. But I do really dig the synth experimentation, especially for '71.

This album astonishingly justifies its 3-volume, 3-hour runtime. But that doesn't mean it's not long as fuck. I think the point of entry has always been the biggest flaw. I, as an example, was always intimidated by just how gargantuan the record is to really dive into it. I mean, who has 3 hours to sit and listen to an album in one sitting? Well, today, that person is me. The more popular tunes on here are classics (Book of Love, All My Little Words), but I was wondering if the lesser known tracks really belong on here, or if they're worth listening to. They are, mostly. There's a beauty in the simplicity of every song, and it never gets boring enough or repetitive enough to switch off. Could some of the fat be trimmed and we still be left with an indie darling masterpiece? Yeah, I'd say so. I would even argue you could cut out 75% of Volume 3, but then I guess you'd have to change the album title...and I mean you already made posters.

It's about one of the most straight forward rock n roll records ever, and often considered the Stones' best. I don't think I'd disagree, considering pure, middle of the road rock n roll and blues covers was always their strong suit. That said, there's not a lot going on here that really challenges any norms or pushes any boundaries. The Stones were at that stage in their career where they had certainly gotten comfortable with the sound they had. Exile is that sound on full display. I always wanted to see this band push just a bit more. They had hints of experimentation throughout their discography, but never managed to make anything that was truly experimental. Maybe I'm just spoiled by the massive amount of music that followed this album's formula, that this one just doesn't feel very special to me anymore. I dunno. Richard's distinct tone and style will never get old though. To this day there aren't many duos as iconic or impactful in the spectrum of music as Mick and Keith.

This album is 21 years old. That means I can legally have a beer with it. Which, I did! Chock full of hits that we now consider timeless classics. I tend to forget there was a considerable time when Coldplay was a tremendous band doing things few others were doing at the turn of the millennium. They kind of kept stadium rock alive, like it or not. It’s not perfect, and I would consider one or two songs on here duds, but you can’t deny the staying power this record had on popular culture.

I can’t deny that White Rabbit is one of the greatest psych rock songs of all time. But I can deny that this album should be included on this list. Most of it is so so, with hardly any memorable riffs, lyrics or complete tracks.

Here’s an objective timeless classic that gets a little robotic for me after a few tracks. I love Bob, and he’s put out some of the all time greatest, but this one just kind of goes stale after a while. That’s said, the last two tracks are GREAT.

Hey kids, look! It’s everything Matt loves about music wrapped up into 36 tight minutes. Man oh man do I love this record. It’s punk, it’s simple, it’s the rawest of the raw. Give it to me straight and let us be, please. Thank you.

As much as I want to like this album, it’s fucking exhausting. There aren’t many redeemable qualities in between the abrasive, sparse production. I do like the drums for the most part, and the majority of the vocals are at least bringing something different to the table. But man, it’s one harsh song after another. Even when the band slows down and introduces a steady beat, it’s so tough to get invested because you’re still coming down from what the hell happened in the previous track. Maybe I’m just an old man, and the music’s too loud.

I won’t do any research into this, but is Teen Town the song that gave Vulfpeck the inspiration for Dean Town? A mostly bass driven, grooving instrumental? If so, that’s fun. I think this album made a lot of people happy in 77. It is peak jazz fusion. For as dated as that may make it sound (and yes, it is dated), it has a nostalgic feeling to it that makes you feel like you’re watching a gritty cop movie.

Though probably not The Police’s best work, this is without doubt their most cohesive project. Copeland is criminally underrated, and should be in the same conversations as Peart and Bonham. You know what, you’re gonna make me say it, I don’t care that Every Breath You Take is the best song on the album.

What in the hell kind of experimental, tripped out, multi-genre, wonderful album is this?! And where was it when I was coming up? You know, a lot of times I think to myself, music in the 90s was more or less in a stagnant place because with technology limitations, a lot of bands would be able to experiment new sounds and ideas until the late 90s-early 2000s. Then I hear a record like this. And I realize, that’s all bullshit. I never listened to this band, having only heard of them in passing before. But I can confidently say this is one of the most creative pop rock albums I’ve ever heard. There are so many genres blending together here, and for the most part, very well. I think it’s too long, but even with that it doesn’t get too stale.

This feels like a milk toast REM cover band got together and tried to write some original songs. There’s nothing that stands out as ear catching, which makes the record more of a chore to sit through as opposed to an experience.

I don’t hate AC/DC. I just never care to hear them again. I’m not gonna rate this album lower just because I’ve heard it so much it makes me physically ill. There’s a reason it’s held to the status it is in rock n roll history.

Personally, I'm a much bigger fan of Navarro's later career, where he judges tattoos while having no skills in the art of tattooing himself. I have a lot of tattoos...can I be a judge on that show? For real though, dude's a killer guitarist, and tangentially, One Hot Minute is a better record with his presence. I like the structure of this album, mainly coming from the instrumentation in the back half. I wanted Farrell to stop yelling for a second and actually sing something, and we actually get that on side B. I understand it's this distinct vocal approach that put the band on the map, but something about it just gets grating after a few tracks. Glad it mellowed out a bit. I think this is where we get to hear the real Jane's Addiction, and it's better than the singles.

What a risky album to make in 1969. I have to imagine audiences had no idea what to do with the information TFBB were giving them. That said, this is great. A seminal album for the country rock genre, with some slight psychedelic twinges. It doesn't overstay its welcome at a brisk 37 minutes either.

With no shortage of love for drama, Scott once again delivers what he hopes is the most majestic, cinematic record you've ever heard. And if you can get past the silliness of it, it's a lot of fun. Certainly better than Scott 2 (an earlier album on this list). I guess I feel this way because I knew more of what to expect this time around. Makes it easier to get past the barrier of entry. But the songs are just kind of better too. I went back and listened to a bit of Scott 2, and there's certainly an evolution in songwriting there. I'm not in any hurry to revisit this one, but it's completely bearable with some actual great tracks on it.

Absolutely no notes. THIS is Zeppelin's best album, and it's not even close. Finally, they're able to separate themselves form the early days of ripping off blues artists, and completely situate themselves into the sound that makes them a great band. When those keys kick in right after the guitar intro of Custard Pie, I mean come on. It doesn't get any better than that. Every song here should be here. It's a double album, and next to maybe The Wall, the best double album in rock. Each member is at the top of their game with being able to stand out in the best ways while still contributing to a cohesive, tight project. No showboating that FEELS like showboating.

Man, I need a cigarette. This album just rocked my world. Unfortunately, I really only know War for Low Rider, which is a great song, but absolutely not representative of this band as a whole. This is top tier, slow burn funk/soul. And I loved the hints of blended genres throughout, including a heavy psych rock influence, and even some reggae. 5/5 for just being a most welcomed surprise. I really don't understand why this album isn't talked about more in the grand narrative of soul music.

Dripping with drama, angst, and a fucking unrelenting rhythm section, this album really doesn’t let up. Dulli’s distinct vocal style really resonates here in a way that virtually no other artists in the 80s-90s were capturing. There are a lot of great tracks on their own, but I think the record works better as a whole, slow burn piece. The miserable cycle of a break up digs a bit deeper as you get more into the album. The more you sit it in, the more it sits in you.

Damn...why did I make a declaration three days ago stating, "Physical Graffiti is Zepp's best album."? Stupid me.

Here we have CSNY at the height of their collective powers. The vocal harmonies are unrivaled, but remain highly influential across genres, and the style changes from straight on folk music to jam band really work well. Neil Young remains my favorite component of this band, and his absence is heard when CSN would go on without him. Not that either of them needed each other to be successful. I'm just more partial to his input. The songs missing from Spotify on this record were his, and they're the best tracks here.

Yep. That’s a Stones album. Pretty introductory blues rock with plenty of covers to go round. Early British Invasion stuff is hard to find incredibly impressive these days. But of course this record is on this list. It’s among the most influential albums of all time.

It's sonic, it's youthy, it's all a little loopy. It's the fourth damn SY record on this list so far. Were these guys really THAT important in the collective scene to warrant four+ albums on a list? Anyway, this is probably my favorite overall effort from Moore and co. It's unstructured, but in a good way to the point where you're kind of always hanging on to hear what's coming next. In a way, I felt like the entire album was building up for some big reveal, and while I may not have gotten exactly that, I did enjoy the ride. I enjoy the more mainstream rock tunes here more than the soundscapes. Each individual track goes a bit too long, but the whole things blends well enough together to where I'm not completely bothered by it.

Beautiful crooned melodies over iconic arrangements. Fitzgerald had one of the most recognizable and unforgettable voices of all time. Nothing to dig into too deep here. Maybe this is an album where it’s either your thing or it isn’t, but I’d wager that anyone who says they don’t like this is lying to themselves.

Innocent enough pop rock that does virtually nothing for me. This kind of music should probably stay in the Farrelly brothers movies it was originally used in. I know for certain I didn't need an hour and nine minutes of it.

Although it gets a little too derivative of bands like Arcade Fire, LCD Soundsystem or Flaming Lips with a hint of Krautrock, this record is a LOT of fun. The way it plays with time signature changes on tracks like Ullswater keep your ear invested in a 7-minute long track. I wish more longer tracks would take this approach. If you had asked me to name the year this album came out, I'd say no later than 2010. It feels like a lost millennial gem, and that's not a bad thing. That said, this sound had its day in the sun, and I'm okay not having too many more out there.

The fact that this album got mixed reviews at the time of release speaks more to the time than the music I think. It's absolutely timeless. Buckley comes out of the gate swinging with hands down some of the most impressive vocals you've ever heard in your life. The versatility in his range is unmatched. Combine that with eclectic instrumentation that effortlessly blends pop, rock and psychedelic sounds, and you've got nothing but eyebrow-raising tracks. It's a damn shame Mr. Buckley left us as early as he did, and in one of the more unfair tragedies among rockstars. I can only imagine what a collab would sound like with a modern master like Yorke (who was very much influenced by Jeff).

This was just a bit insufferable for me. I understand the post punk influence, and I can certainly hear it. But man, I was begging for this album to be done when the Helter Skelter cover played. Virtually every band who was inspired by this album ended up doing it way better than Siouxie and the Banshees on their first time out.

Adele is a vocal powerhouse who deserves every bit of success she's had since this record. I used to roll my eyes when someone talked about Adele as if she was Aretha Franklin. I don't roll my eyes so much anymore. The thing that doesn't really resonate with me on this one is the complete overproduction, particularly in the instrumentation. There's not exactly a 'warm' sound in the instrumentation, which makes me want to spend less time in it. We also have an overuse of strings, almost as if Phil Spector got a hold of it. It's catering to the mass audience of listeners, which is fine, but I think this would be an easy 5 stars if I got that throwback sound in it (think Sound & Color by Alabama Shakes).

Yeah yeah, Clapton is God and all that. Sure. But where's the love for my man Bruce? Seriously, I feel like we hear so little about how Jack WAS this band; at least, he was responsible for most of what's worth listening to with Cream. Anyway, I don't have a lot to say with this one. It's probably their best record, but I always liked Wheels of Fire more.

As much as I love Beasite Boys, this album always felt like it was a misrepresentation of their best work. There are absolutely some gems on here, but as a whole project, I feel like they have better to offer. That said, the sample work here is among the best for early hip hop.

Anyone talking about GOAT records while not mentioning Maggot Brain is doing it wrong. This is a genre defining masterpiece. It’s honestly still wild to me how little it’s discussed among music fans. Come for the epic guitar solo of an opening track, stay for everything else.

Sure, you’ve got two of the biggest classic rock radio hits of all time on this album. And that might be enough to earn it four stars, but everything else here is just so meh, I gotta take away one. This is right before the golden age of the Stones, and it’s a fine blend of that new sound we’d eventually associate the group with and their blues roots. A good sign of things to come, but just never really reaches the peaks of Stick Fingers or Let It Bleed.

This is where Prince starts to feel very comfortable before transitioning again into new territory. On one hand, for an artist who never stopped challenging himself to create something new, it's a little complacent. One the other, I think this double album is nearly perfect. There aren't really any singles that hold the same status as some of his mega hits, but man, this record works SO WELL as a whole experience. I would even argue this album is the most direct influence on one of my favorite artists today (of Montreal). It's weird, sexy, funky, and filled to the brim with Mr. Linn and his wonderful drum machine.

Having no context for this album, chanson, or Brel to begin with, there was a tough barrier of entry for me to get through here. I didn't quite understand why this was on the list. Normally, with foreign language albums, I can still get an idea for what it was the artist wanted to communicate through the music, even if I don't understand the lyrics( which, if I think about it, really isn't that different than a lot of English-speaking music). The problem here is that aside from Jacques' impassioned voice about what he was singing, we really get no indication of what the music is communicating without understanding the language. I dug into the Wiki a little bit, and discovered that Brel was known for his word play in lyrics, which makes sense given the less-than-stellar musical accompaniment throughout this record. I'm honestly stuck here with a rating, because I'm certain if I spoke French I'd be digging this one. But I don't. Maybe I should've payed more attention in Spanish.

Even though some tracks felt like they were just playing on a loop playing on a loop playing on a loop playing on a loop I still had a lot of fun with the great pieces of ear candy throughout. I don't know much about the trance/techno scene, but it's pretty hard to dislike a good beat with lush synths and vocal tones. Not much to say about this one. Would listen again, added a track or two to the 'best of' playlist.

Certainly an appropriate album title. The man was one of the most prolific artists of his time, and of all time. I don’t find anything super incredible about this album, but mostly because I wouldn’t want it to be someone’s introduction to Ray. For a fan, it’s required listening.

Yeah, this album is fucking cool. If I would’ve discovered this in high school, I’d have been the baddest kid on the block. But sadly, that is not the case. And even sadder, I probably wouldn’t have liked this back then. PJ is criminally underrated as one of the best alternative songwriters of the 90s. And this record spans a great wavelength of sounds and styles. The Yorke tracks stand out in particular here, but everything comes together cohesively.

I appreciate the simplicity across this album. Its minimal approach allows for...something to happen. What that something is, I'm not sure. This record is just pretty boring, and unfortunately a misdirection into diminishing returns after the killer, and iconic, first track.

A personal favorite of mine, and one that just holds up more year after year. This album has been praised into the ground, so I won't say anything crazy or unsaid, but it did so much to solidify Wilco as a groundbreaking band. Tweedy's writing on this record alone puts him in a new arena. And while he admits time and again that he has no idea what he's doing, his approach to lyricism is completely unique and lasting on listeners. The structure of this record is also unmatched. With each track, we're exposed to net new sounds that blend folk, psych, midwestern emo and country in a way that just keeps you hooked in. All that said, you may not be an immediate fan, as a lot of what's here isn't exactly put-on-at-a-party music. You're forced to sit with it and in it, and that is a (understandably) tough barrier of entry. You'll get a lot more accessible Wilco songs on later records, and those are great! In fact, I like most of the band's singles on other records more than anything here, but this really only works as a whole record, and it's pretty damn close to perfect.

I was pretty shocked at how timeless this record sounded in 2023. The writing is beyond relevant for today, but it's also sharp, quick and fucking clever. Not to mention the amount of massive hits it produced.

Really just kind of a slog to get through. Yet another example of the early 90s alt rock sound I just cannot get into. It sounds so...I dunno...plastic? I don't think drums should sound like that. They feel so soulless and just add to the thin production across the board. I'm also not a big fan of overdrive powerchords throughout an entire song. Bring a little levity to your guitars, do something fun with them. It's not a punk record, so stop playing like punk. I have the same question as the last track on the record, which incidentally may be the best on the record.

I kicked out some strawberry jam on toast while listening to this. That's about the level of flavor I received form the album. It's good, even a bit fun if you haven't had it in a while, but it gets bland pretty quickly. I'll give credit where credit is due though, these guys helped pioneer garage rock. Can't take that away from them. The title track rips.

Eh, I don't really get down with the edge lord, industrial rave stuff. This one has merit, and I don't want to criticize it too hard. The Matrix is a good movie, but one of the things that dates it the most to me is the music, and more than one song off this record is on the soundtrack. It's very much of its time. I don't like using the word 'cringy' to describe anything really, but that's the main feeling I get with this record.

I don’t really get down with Cohen too much. I just never seem to be in the mood for it. But this album is pretty astonishing considering the year it came out. Reflective and personal lyrics that really make a lasting statement.

Stan Getz it right on this one. Paired with Byrd’s Brazilian style, this blend of sounds creates a unique and stylized bossa nova standard. Won’t be quick to put this on at my next BBQ, but as a regular fan of good jazz, I enjoyed this quite a bit.

Yeah, pretty much no notes here. I said Abbey Road was the band’s best, and I still feel that way, but this is their most innovative and significant album. Hell, it’s THE most innovative and significant record.

A perfectly okay alt rock album from the turn of the century. It feels a bit too late for 99. Hadn't we sort of moved beyond this sound by then? 94 maybe, but this just sounds outdated for its time. There's nothing on display here that Oasis hadn't already covered. Why is it on this list?

This album taught me that everyone was gay. Which I’m glad about because for a while I didn’t know. Not really hot on this one, but I have fond memories of playing Heart Shaped Box on Guitar Hero, so that gets it points for me.

A smart and competent album that’s just not for me. I feel like this record wants to be smarter than it is. There are solid beats, and great production all around. But SZA talks about heavy topics in a way a 17 year old would.

A surprisingly nice, chill album to listen to on New Year's morning with an upset toddler at 5 am, but ultimately left me questioning its place on this list. It's an hour + of lofi instrumentals that just didn't leave much of an impact on me. There's not much here I can see revisiting, and no real ear worms I might get from a contemporary like Fatboy Slim.

Asiago, pepper jack, sharp cheddar, Meatloaf, gouda. Those are my favorite cheeses in order. I don't even care how over the top or nonsensical it is; I fucking LOVE this album. I have very fond memories of listening to it in the garage at 14 years old. I acted like it was a guilty pleasure to me too. Like it would've been embarrassing to be caught listening to. Yes, this album is everything people say it is; it's cheesy, theatrical, operatic and quite silly, but I couldn't tell you one artist today who's putting out albums like this. Just look at the lineup of personnel here! You've got Todd Rundgren, Roy Bittan of the E Street Band, Edgar Winter on sax, and entire world class orchestras! One of the more eclectic groups of musicians working to make this insanity come to life. It's pretty easy to see why this is one of the highest selling records of all time. So does it get 4 or 5 stars from me? Eh, let me sleep on it.

A fun, experimental pop album with a punk loaded first half that sounds like it was just a bit more fun to make than it was to consume. I’m projecting, because I used to make bedroom rock that had a lot of these same elements; out of tune guitars, minimal production, vocal styles that didn’t match the tone of the track, etc. and I always felt like no one would be very interested in hearing it.

I want to talk to you guys a little bit about dancing, okay? Now back in the 50s and the 60s and the 70s, people used to dance all the time. That’s how they solved their problems! THROUGH DANCE! Then all of a sudden we stopped dancing, you know! Grunge came in, people dressed in plaid and oversized jeans. Then later on kids wore trenchcoats and shot each other in school and that’s not cool. But guess what?! Guess what’s going on in high school now. Kids are dancing again! They’re doing organized, choreographed dance to solve their problems. They also give each other blowjobs.

I mean what do you want me to say? Am I going to make a declaration that the record with Livin' On A Prayer is bad? Every person on Earth knows this song, and probably most of this record. I'm not going to have any hot takes here, aside form maybe that it shouldn't be on this list, because of my statement above. If this is 1001 Albums to Hear Before You Die, this can be confidently removed, because everyone's already heard it. It's cheesy, of its time and an unarguable classic of 80's rock. We can talk about the balk half a bit; the ones that aren't on the karaoke machine. They're pretty okay. If you like Bon Jovi, or any of the criteria they fit in, you'll be happy with this record all thew way through. There's nothing as anthemic as the first few tracks, but you gotta fill the runtime with something right?

Of all the solo Beatles attempts over the years, this one might take the cake for my least favorite. It’s not that John wasn’t a great writer for his time, but I just think he needed Paul more than Paul needed him to write quality music outside of the title track, there’s nothing of value here. And Gimme Some Truth is not a good song. It’s a track I would’ve written in 8th grade.

I’m pretty lukewarm on this one. There's only so much experimentation I can appreciate before I need something a bit mainstream to hit me. I don’t care for vocal mixing being so far back, especially for as sparse as it is. This just felt so drum heavy all the way through. That said, I did like the transition about halfway through the final track. I wish it would’ve led to a bigger payoff. We built up to something across all four tracks but never really got anywhere.

Talk about an album far ahead of its time. And what a shame that it seems all but forgotten in the history of early punk/garage music. This is easily one of the more fascinating records we've had on the list so far, just for the band's history alone. But after listening, I'm not too hip on this one. It gets pretty grating a few tracks in, and likely would've worked better as an EP. But because it's clear to see the influence this had on artists who would blow up in the next few years, I'm giving it a higher rating.

A bona fide classic of psych pop that might get slept on more than it should. Yeah, Time of the Season is the home run track here, but the band brings a lot to the table in terms of song arrangements here. The tracks are tight, and contain compelling chord structures that keep you moving through a breezy 35 minutes. No, this wasn't one of the more experimental or groundbreaking records of the late 60s, but it's genuinely great.

Among forrest of fluff, there are actually a few gems to be found in the odyssey of a record. I didn't really dig the first few tracks, and was kind of worried about having to sit through all of this, but I think there's enough here that challenges musical norms of the time while managing to capture my attention. I like albums that take sharp left turns, and we have that in spades here on tracks like 'You...' and 'Safesurfer'. But I also like being brought back down to Earth on some of the groovier jam-based tracks. That said, there's a bit of garbage as well, like 'Beautiful Love'. I felt the urge to skip quite a few times. Overall it was a fun surprise I didn't expect to vibe with.

This is a mildly enjoyable post punk record that didn’t stick with me much after listening. Some solid grooves and guitar work, but I could do without all the extra horns and overall goofiness this gave off. Could just be me. I dunno, it’s early.

Even though this loses a bit of the unpolished appeal of their debut, KoL delivers another garage rock revival record with that signature southern twinge. This is just one of those records that’s undeniably catchy. I’m not a major fan of the band’s later efforts, but I’ll admit they know how to write a hook. I always have a good time going back to the first few of theirs.

This album was far ahead of its time, and 100% left a massive (tehe) imprint on what would come after. Personally I like everything MA would go on to do more than this record, but the sampling is solid, the beats are top notch, and a handful of tracks are all time greats. That said, most of this is pretty forgettable or just subpar. Some of the production remains stuck in 91, and I just don't dig that sound too much.

At its best, this album reflects Prince, which I’m not complaining about. At its worst, songs drag on just a bit too long, like I Want Your Sex. Yeah, it’s a two parter, but the last half of the track just meanders on without much consideration or direction. Michael’s lyrics even get about as blunt as they can with “have sex with me.” But I did like this more than the previous Michael record, which would come out a few years after this.

If you're willing to engage with Wyatt's wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wa- wild songwriting structures, this one might be worth hanging around for. It's certainly not easy to warm up to, nor a particularly comfortable ride, but does share a lot of dream-like instrumentation with early Pink Floyd, which I really enjoyed. There's definitely a lot going on here that was far ahead of its time, but as a listener, you kind of have to keep reminding yourself of that to get the enjoyment.

The undisputed kings of dad rock, and quite possibly the best studio band of all time, Steely Dan proves here that sometimes technical perfection does not have to come at the cost of writing a subpar song.

Me at 12 years old definitely not crying while watching Almost Famous for the first time. This was the first Elton John record I had access to, and I played it on repeat monthly from the time I saw that scene until I was probably 18. Taupin and John have this strange trend of front loading their albums with some of the greatest, most timeless songs ever written, and then abandoning the back halves with mediocre, forgettable and sometimes downright silly tracks.

James Brown has always been one of those weird success stories to me, where I don't fully understand the timeline of how he got to be the greatest soul entertainer of all time. I'm not disputing the man's talent. He's marvelous, but I don't know one full album by him that's not a compilation of pre-written blues songs with a single or two thrown in the mix, and having listened to this record, without reading about it, I'd have no idea if this was in his early or later career. Anyway, yeah this is objectively great. Brown's unmatched vocal style is on full display on virtually every track. But boy I'd much rather watch the recorded show than just listen to it. This alone really isn't my bag.

What a way to go out. I didn’t want to believe this was the last we’d ever hear from one of the all time greats when this album first dropped. But it’s settled in for me as not only one of Bowie’s best, but one of THE best records ever made. If we could all come to terms with death the way Ziggy does on this record, how much better of a place would this be?

I felt like cleaning the dusty ceiling fans when listening to this one. Man that joke sucked. Son of a Preacher Man is a certified banger. Outside of that, this one’s pretty forgettable to me. Run of the mill folk music, which a lot of folks at the time were doing better.

Every time I thought 4 stars for this album, there’d be a track that just completely lost me. I wanted to equate this to a YHF or Nick Cave of eclectic, weird song structures, and in a lot of ways, it gets there, but then it just falls flat in a monotone attempt to be something more. It sounds almost timeless on some tracks, but then completely dated on others. Kind of stuck on a rating to give here.

I wasn't particularly excited about going into this one. Mainly because I'm not a jam band guy OR a southern rock guy. So of course I'm not the world's biggest Allman Brothers fan. And coming out of it, I can the level of technical skill on display is obviously astonishing, but I'm not a convert. If you like jams, this one won't let you down. If you want a bit more substance in your albums, don't look for it here. I will say this, around 2:35 or so into In Memory of Elizabeth Reed, there's a transition that made me stop what I was doing. Groovy.

As my personal favorite of the group’s discography, this one is going to get 5 stars. Not because it’s perfect, but it’s been the Zepp album I go back to the most. Why isn’t it perfect? I dunno, because I already called the other Zeppelin albums on this list perfect I guess? Or because it doesn’t quite have a perfect direction? In a perfect world, I might off one or two tracks here, but then it wouldn’t really be a full length album, sooooo. Then why is it my favorite? Maybe because the acoustic guitar tones Page solicits from tracks like That’s The Way are nostalgic to me in a way I’ve never been able to fully explain. Or how about Plant’s angelic, soaring finale to Since I’ve Been Loving You? Oh, wait, I know. It’s because Immigrant Song is the greatest hard rock song ever written. Don’t make me explain why this album is amazing. Just go listen to it for god’s sake.

This record has a lot to offer for reggae fans. And I’m a fan, but I have to admit I got pretty burnt out after the fourth track or so. Musically speaking, this isn’t revolutionary or life changing, but it’s solid jams for a good night of hanging out with a J and your favorite video game.

lol

While the first half of this album definitely brings memories of a better time that I was never alive for (or maybe I've just seen Dazed and Confused too many times), it sort of runs out of steam by the end to the point where the Grande Finale feels unearned. It's a classic classic rock record, and I really love Alice, but I wanted more juice here.

Costello has always felt like that guy in the background who wanted to be a star, but the THING just wasn’t there. I will say though, after hearing this, the man left a lot more influence than he gets credit for. This is a solid debut that has stayed (for the most part) relevant and stylish over the years.

About as versatile of a “punk” record as you’ll ever hear, this albums biggest flaw is how it’s been mislabeled for years. This is so much more than a punk record. It’s up there with the best of all time, and deserves all the praise it’s received.

If you've always been quick to dismiss Green as the guy who did "Crazy" (a solid track for sure) and just moved on, this album will force you to pay more attention. I don't really pay attention to Twitter controversies, so all the early 2010's stuff Cee-Lo got involved in never really crossed my radar, and to be honest I don't really care. I won't let that affect how I feel about this record. This album on its own is pretty astonishing. You've got incredibly well produced beats with bars upon bars that blend so well with Cee-Lo's unique vocals. The features here are great, especially Ludacris on Childz Play. If anything, I'd say the runtime can be a detriment. Some tracks don't quite feel like they belong. Also that album cover. Big oof.

Here’s me, a slightly chubby, nerdy 14 year old kid, having only recently discovered a wider world of music outside of CCM, knowing absolutely nothing about hip hop other than it must’ve been terrible because I wasn’t allowed to listen to it and “all they ever talked about was guns and sex.” I hear Hey Ya on the radio, and decide to explore that more. I borrow a friend’s copy of the CD to listen to on my Walkman on the bus because I will be thrown out of my house if I get caught with it. What follows is an expansive double album that covers virtually every base of important music styles I would go on to discover and love over the next two decades of my life. This album informed so much of my taste in music, it’s really astonishing. And while I don’t think it’s the best hip hop album of all time (hell, Love Below is hardly hip hop), I think it’s one of the best double albums ever, and certainly in the top 10 of greatest 21st century records.

I mean what do you want? It's the boss. In all honesty, I really do appreciate the majority of Springsteen's work over the years, but as a whole, I'm not super hot on this album. I think it strikes a nostalgic chord for listeners who grew up with his music, but I didn't. I was a late bloomer, so a lot of the less-than-iconic tracks just don't strike that same chord with me. That said, there is a bit of greatness to be found here like on Promised Land or the title track. And this isn't a bad one to start with if you're looking to become more familiar with the catalog.

Yeah. Okay. Sure. I get it. This is the ultimate, "meta commentary on the state of music. We're saying 'fuck you' to genre and tradition while paying respects to a real master of his craft. We actually don't want you to like this music. We have no intention on catering to mainstream audiences." Or maybe it's not saying that. This whole album calls into question the idea of creating art for art's sake. Is it more important to create something that represents YOU and is 100% what you want, regardless of how accessible or listenable it might be, or do you need to respect that audiences require a base level of accessibility in order to enjoy your art? I think for me, while the former is certainly more important (great art is never made for someone else), an artist needs to realize that once they put something out into the world, it's no longer theirs. It's their audience's. And I also think there needs to be SOMETHING for the audience to grab a hold of. In this case, tempo, some semblance of melody or structure at least. And we DO get those things in spurts here. This isn't some mess devoid of anything you'd call "music," but it's pretty far from accessible. I don't want to hyper criticize this album, because I do relate to Zorn in a way here. He's a creator that tries very hard to not to fit in any mold. And we see too many artists find their niche and stick with it, which can be very limiting. I think this album needs to be on this list. I needed to hear this before I die so I could understand the depths of how batshit free jazz/hardcore could get. In all honesty, give it a few tracks. Let the initial wave wash over you and stick with it. The back half stabilizes quite a bit. I don't know if that does the album any favors, but I think there might be more here than what's presented on first listen. What that more is...I'll let you know when I figure it out.

An absolutely stunning, ethereal and beautiful album from start to finish. I don't think enough praise can be given. Openly, I don't care for a lot of late 80s-early 90s pop albums, but this is a shining example of a standout dream pop record in an over saturated environment. There are no bad, or even subpar tracks present. The runtime is a breezy 37 minutes, and every one is essential and very welcoming.

This live album is pretty much superior to the studio album, 'Machine Head' in every way. I used to listen to this record so much, I thought THESE were the studio versions of the songs. But just like with any live album on this list, your enjoyment is going to depend, not on how much you like live music, but how much you enjoy 15-minute noodling on what would otherwise be a 4-minute track.

The Pretty Mediocre and Sometimes Sleepy String Band. I can appreciate what this album is attempting, and in a lot of ways, I actually enjoy the idea of it. But in execution, it just falls kind of flat. The use of experimental instrumentation (especially for '68) sounds like something that would've inspired the Elephant 6 Collective, and the odyssey of songwriting on tracks like A Very Cellular Song is ambitious as hell. I just could've used a little more pizzazz, a little more pop.

This is a pretty critical album to the continuing success of rock and roll music in an ever-saturated landscape of newly developed genres of the 2000s. While nothing Franz did after this debut would quite reach the same level of success or importance, without it, I think we would've seen a much different environment in the later aughts.

Hard to say if the world was ready for this insanely quality blend of genres when it arrived in 96', but here in the year of our lord 2024, I can say with confidence, it still holds up. This record rules. While it's not Beck's best, it solidified his place in reshaping the way we defined genre.

Although there isn't much gold here, and overall the album is pretty forgettable, I can get down with some of the instrumentation and production. There are a lot little guitar licks sprinkled throughout that build a fun flow to the tracks. Combine that with the unique drum choices, and this works pretty well as an instrumental album. The vocals really aren't doing any favors to the record. Their mixing is off, and everything is just presented as pretty stale.

If Bob Dylan ever went to a Ren Fair. I didn't come away with too much here, but this record is pretty fun and strange. It helps solidify just how much crazy shit was happening in the late 60s.

Now THAT'S what I call country! Dolly and the gang deliver big time on this one. And if you're able to take your ears off the marvelous vocal harmonies throughout the record, you might notice some pristine and gorgeous slide guitar, mandolin and various other strings that accompany these angelic voices. This is not my general flavor of music, but I honestly have nothing negative to say here. Maybe this isn't the most ambitious album of all time, but it doesn't need to be. I'm gonna go with my gut here and say 5 stars, well deserved.

It’s safe to say Apple doesn’t miss. With only five albums across her whole career, I guess they all better be good. Anyway, this debut rules. Maybe the most underrated of her’s. I think some tracks flirt with a more typical 90s production aesthetic, but aside from that, no notes. Pop this on with a good pair of headphones and take a moody walk through your neighborhood.

I’m not going to do any hot takes here and say this album is bland, a bit forgettable outside 2 or 3 tracks, or imply that Nirvana as a band was always just mediocre. I won’t do that. All I can say is personally I’m not a big fan of the band. I thought some other grunge bands did the sound better, and had a lot more interesting material. I do recognize and understand this albums place in history. It gets my respect for that, but it’s not a great album. It’s an important album that should not be anyone’s favorite past the age of 16.

My initial thoughts on this one a few tracks in were a bit subsided as the album moved along, but overall I thought this was too bland for the ambition it was attempting. I wanted a bit more dynamics to flesh out what I feel like the band was trying to achieve. Maybe it was intentional. The vocals were mixed wonderfully, which made the whole experience even more off putting given the less-than-stellar production everywhere else. There aren't too many memorable tracks here either, and when a good chunk of the 36-minute runtime is taken by sound effects and in-betweener songs, you need to have something with more sticking power.

It's a bit cheesy and of its time, but it's also glamorous, bombastic, full of energy, and just fuckin rips. This is peak 80s heavy metal (with a strong punk core) and something we all could use a refresher of every now and then.

Although I'm struggling to understand the reasoning for including it on this list, I can't find too many faults with this album. It's a cover-heavy sitar album that might've had George Harrison creaming in his pants, but it's a mood lifter and a welcome blend of popular western and eastern music at the time.

Breaking news: Funkadelic is a band you should listen to. I don't know what else to say about this band, or this record in particular. It's a perfect jam record. You don't get funkier or trippier than this.

To have an album like The Bends in your discography and it still not be considered among your best is pretty impressive. Or maybe it is among their best? I don't know. Either way, this album is a stone cold stunner from start to finish. I think the biggest detriment is that a few tracks are sort of stuck in the 90s, but even then, there's enough that sets this band apart from what so many peers were doing at the time to leave a mark. And you can hear the direct inspiration this would go on to have on major, major bands like Muse, Coldplay or any anthemic rock groups to come from the later aughts.

You know, when I first listened to this album I thought, "Guitar, guitar guitar guitarguitar, but guitar with guitar is guitartar." Then after a while, I found myself really soaking in and saying, "Guitarguitar on gui- guitar is guitar tar tar tar gui targuitar guitar!" And now after having heard it all the way through, I can confidently say, "Layla."

As much as this album might sacrifice substance for style, you have to admit, absolutely no one does it better than VH. The use of pure talent to create the most intriguing and sexiest rock songs of the decade is something special. This is the band at their peak, and while it would all be downhill from here, it’s a hell of an ascension.

If you’re ready to learn something about eastern music theory, this album is for you. In terms of a memorable record for the actual music it’s bringing, it falls a little flat for me. It feels like an unfair criticism because the main intent of this is to literally teach the listener something. It’s a music lesson, and if you don’t know that before going into it, you could very well leave disappointed. But for 57’, making an album with an attempt to appeal to western audiences and open them up to new worlds of music was pretty bold. Points for that.

A truly spectacular introduction to an entire new world of sound. If you're like me, this album will certainly reward you upon repeat listens. I first discovered this back in the glory days of high school, and it wasn't for me. Then I heard it again years later, then years later, and each time it became more and more magical. This is an inspirational masterpiece that has driven so many ideas for my own music, and I have to thank it for that.

Otis Redding died when he was 26 years old. 26... What the fuck are even doing here? I got my first office job at 26. Jesus. I've Been Loving You Too Long is a GOAT, and the man could sing circles around any contemporary or anyone making soul music now for that matter. He sounds like he's been in legend status for 40 years on this record. It's criminal how fucking mature his voice was.

If you ever lose faith in Country music (like I have many times over), just remember that albums like this exist, and you'll believe again. With someone as iconic as Willie, whose persona has been consistent in popular culture my entire lifetime, it's easy to forget exactly what he's iconic for. I don't frequently revisit his music, but damn, I will now. He has a gift for crafting heartbreaking stories that explore complicated themes while still sticking true to authentic Country music. You don't see too many concept records coming from Nashville these days, so I'm extra thankful for this. Here's to 90 more years on the road from the greatest to ever do it!

Something about the vocal production in Offspring tracks has always bugged me. It's a distinct style of mixing that never goes away, and I can't move past it. It almost sounds like all vocals are doubled all the time, but they're...not? That said, this album does have a few bangers that are always a good time when you hear them at a bar. Another reviewer on here said something along the lines of, "the Offspring are like the Taco Bell of punk." And holy nasty shits, that is spot on. You know it's not authentic, you know it's not very satisfying, but sometimes it's kind of tasty. But man, it was a stretch for me to get all the way through this one. The last track spanning over 10 minutes was a breaking point. Not in a rush to listen to this again anytime soon.

Gave up on this after halfway through. I get it. The whole UK early industrial electronic scene is not for me. I’ve tried, I’ve failed. Some okay beats here and fun experimentation but it’s so grating.

I was one of the very lucky few who got to see this album played in full as part of the introduction to the engineering marvel, the Las Vegas Sphere, and I’m eternally grateful for that experience. But that also makes it very difficult for me to rate this album on its own. First off, this album serves as a great departure from U2’s previous entries that brought them to mainstream audiences. It’s toned down while still managing to be anthemic in almost every track. The opening run from Zoo Station to Until The End of The World is among the band’s best series of songs. You’ve also got Edge doing probably his best guitar work across the entire discography here, paired with sharp commentary in the lyrics, which at this point is nothing new for the group. There are some moments where the album feels a little one-note with repetitive tracks that don’t pay off the way you’d hope. I’d drop 10 minutes somewhere to streamline it just a bit.

Ah! What a fine way to wake up on a Monday morning. I have too many memories tied to this album to give a fair assessment. For a long, long time, I would’ve told you there was no better album out there. This was my absolute favorite. And you know what, maybe it still is. It is today anyway. Everything hits just right here. Yes, there are blues ripoffs and yes, you can view all that as problematic. But here’s the truth - Howlin’ Wolf never did it as good as these guys.

While certainly not the worst this genre of 90s rock/hiphop/jazz blend has to offer, and some of the samples are fun, I can't say I'm a fan. There's an inescapable element of trying-too-hard-to-be-hard to make me invested in the music.

If Wilco and, I don't know, The Clash? had a new wave baby. This was an unexpected and pretty wild journey. I was ready to sit through a bland, mid country album based on the cover and title, but was pleasantly surprised. Just because there's violin throughout the record doesn't make it country music. This band doesn't seem to give a shit about appeasing anyone but themselves, and I really dig that, even if not every track clicked for me. The best thing this record offers is inspiration. You can hear so much of what major artists would go on to do in the next 10 years here.

And the hits just keep on coming! I’m not the world’s biggest PJ fan, but they were far and away the catchiest grunge band of the time. I get a little bit bored, listening to this record, having been so familiar with all of the hits for years but that’s not fair assessment to judge this album because the hits are GREAT! If I had to, I would rename this album 7 out of 10 by Pearl Jam.

The last ten years or so have not been kind to Elvis’ legacy. He’s been widely considered by younger audiences as a “racist”, “thief”, etc. and while I strongly disagree with most of these harsh criticisms, there is some truth in that the man did not write his own songs. And whether it was his intent or not to take credit for them is irrelevant. And I would label any one of the artists he covers on this album as the Real Kings of Rock n Roll. But I’m not gonna sit here and deny that the man was a once in a lifetime vocal talent and showman, the likes of which we’ll never see again. He single-handedly shifted pop culture. And his death was a tragedy that summed up a life of struggle and addiction due to the massive fame that came with his talent. But how’s this record? It’s…good. Elvis sings the hell out of every track, even if they don’t necessarily hold a candle to the original artists who sang them. You can hear him playing around with different styles and finding what would be his distinct sound in his later career. It’s fascinating, if kind of plain.

I’ll say it quietly, I’m not black and I’m not proud. Especially after listening to this album. But damn, what an unexpected, eclectic trip. There’s so much experimentation going on here, but the record still manages to stay grounded in what it is. I just wish it POPPED a bit more. There’s an inherent disconnect between the carefree and chill feelings of lofi hip job/soul music and the message being sent in the lyrics here. All that said, SAULT paints a picture of what our society was like at that moment in time, and it’s hard to hear this without realizing that nothing’s really changed. This is a meaningful and impactful love letter to the black community, even if the music in it doesn’t leave the mark I hoped it would.

Oh fuck yeah. I'd like to thank the owner of Rabbitfoot Records, Rob, for getting me into garage rock and psychobilly music back in 2013. I used to run the shop on weekends, and we had a ton of 60s garage music. I'd spin The Cramps frequently to get customers invested in their shopping experience. If you don't involuntarily light up a cigarette and put pomade in your hair when I Was A Teenage Werewolf comes on, you might not be human.

ALL HAIL SATAN!!!!!

One thing I'm always blown away by with Frank's music is the sheer amount of effort it took to produce. Swelling orchestras, big bands, complex arrangements, and capturing the beautiful subtlety in his voice. Combing all of that to create what I'd consider the most nostalgic music ever made must've been no small task. You don't really hear that anymore, and that makes me sad. It feels disrespectful to give this album anything less then 5 stars, even if it's not my favorite from Ol' Blue Eyes.

I really believe some albums have magical powers. For example, this album can cause someone who’s just had three cups of coffee after a full night’s sleep to get extremely drowsy and almost drive off the road.

This is a really cool, expansive, worldly album that could be a great introduction to non-western music for new listeners. It's just not my cup of tea. The repetition wares me down after a while. And that's just personal preference. I like changes in music, and this tends to stay pretty stagnant throughout. That said, I really dug the guitar work throughout, and would absolutely vibe to this on a chill night around a fire with some friends.

This is the result of someone who's just IN IT. You can hear Jarrett's mind entirely lost in the music throughout this record. I mean, who improvs like this? These are fully realized compositions that just so happen to be created as soon as the fingers touch the keys. Remember the Pixar movie Soul from a few years ago? In that movie, the main character, a jazz pianist, gets transported to a literal different plane of existence when he gets lost in the music. That's what I imagine happening here. It's a strange thing to create something for the world that can never be replicated note for note. This recording represents the importance and power of a "moment" in time. And because of that, it's timeless. But here's the real hot take...is it entirely enjoyable to the listener for over an hour? Meeeehh.... 10/10 background noise, will passively listen again.

"So you think maybe you'll be a prostitute Just to pay for your lessons, you're learning the flute The ladies wouldn't pay you very much for this Looks like you'll never be a concert flautist You don't measure up to the expectation When you're unemployed there's no vacation No one cares, no one sympathizes You just stay home and play synthesizers" A very far cry from its name, this album becomes grating after just three tracks, which surprisingly cover half an hour of the record. But that's not even the best part...it's two hours long! Yay!

Now I understand why the only song I ever heard by these guys was Drive. And boy howdy, for YEARS I had people telling me I NEED to listen to their other stuff. "It's way better than Drive, they have a crazy unique sound!" No it isn't, and no they don't. They're one of countless bands in the late 90s-early oughts that got lost in the nu metal sauce. I'll say this, the vocal approach does separate the band a BIT from their peers. But overall this is not a unique, challenging or important imprint on music history.

Well here it is...the very first non-Christian album I ever bought, and if memory serves correctly, the very first album I ever really fell in love with. When you're a kid, music that you discover on your own, with no connection to your parents' taste, helps you take shape as a person. I still remember it as this magic feeling. This album had a transformative power over me. I tried out for the fourth grade talent show singing to In the End...I didn't make it. It was also taboo because I had to buy the album behind my parents' backs. They didn't know I had the CD until years later. I kept it discretely hidden behind a Newsboys album in my big ass carrying case filled with Tooth & Nail and worship records. Because of all that, I have a really hard time critiquing this album fairly. I haven't listed to it fully in nearly 20 years, and hearing it today I understand it's rage-core for preteens, but it's special to me in a way I'm eternal grateful for. And to be even more honest, it's pretty DAMN catchy. Maybe it's a guilty pleasure, maybe not. Who knows? Everything's made up and the points don't matter. SHUT UP WHEN I'M TALKING TO YOU

An incredibly competent and somewhat wholesome post punk album that doesn't have the most staying power, but is good fun when you're listening to it. It's the band's cohesiveness and instrumentation on tracks like Hokoyo that do it for me. We're just vibing along with them, and there's no need to introduce wild guitar solos or crazy breaks.

This album is hilarious. From tracks about lighting up with a small child to 4 minutes of 'your mama' jokes, it's kind of hard to find anything missing. This is the stereotypical example of the album "Mom didn't want you listening to" as a kid, and I like that. It's a bit too long and repetitive, but just an easy, good time.

Holy SHIT this album rules. I've seen it here and there over the years, and heard about its importance in Brazilian music history. But I did myself no favors by sleeping on it until now. It's a lush, beautifully orchestrated psych/pop record with unexpected twists and turns on virtually every track. There's instrumentation happening here that I've never heard. Think Pet Sounds with more flamenco guitars. Not to mention how timeless the production sounds. I'm baffled by the fact that this came out in '72. Extra points for the cover, which might be one of the more visually striking album covers I've ever seen.

If at least one track from this album isn't on your summer back yard evening playlist, your playlist is no good.

My opinion on Missy over the years has never really changed; she's at her best when she has complete control over the tracks. I've never cared for the features she goes with (some of the Timbaland collabs are alright). This is a solid debut that doesn't overstay its welcome, even at an hour runtime. I do wish some tracks hooked me in a bit more, as a lot of songs here get pretty samesy.

"Supergroup"? More like...super...poop. This album kept me bad company. This album let me down. I'm ready for...something else. I COULD get enough of this. I'm movin' on form this one. Seagull. In all honesty, the record is fine, middle of the road dad rock from 74. If I had a nickel for every teen who probably got to first base to this record, I wouldn't have to work anymore.

This album is simultaneously a weighted blanket and the anxiety that causes me to wear that blanket. The production is absolutely masterful, songwriting and arrangements choreographed beautifully, but good god is it a heavy record to soak in. Consult your doctor before consuming this one.

It's a marvelous night for mediocrity. Look, I respect Van as much as the next guy, but I've never been a big fan of his whole thing. He's good, this album is...good? It's a heaping helping of soft rock that'll keep your dad happy till the cows come home.

I've tried and tried so many times over with this album, and I just can't stand it. I've stated before my displeasure (heh) with Joy Division, and as much as I hoped that would change after my (easily) 5th listen, I'm convinced the only reason this album is popular is because of the t-shirts.

I’m sure a set of elderly brothers are out there listening to the Everly Brothers fondly, but for anyone not in their 80s, this one just doesn’t connect too well. That’s harsh, I just wanted a reason to say “elderly,” but this album is an easy breeze that, given the right mood, I wouldn’t mind popping on once in a blue moon. Man, women were just so much easier when they were made to love, huh?

THE BEST I EVER HAAAAAAAAAADDD As hit or miss as The Who have been for me over the years, I gotta say this album just rips. It was a teenage-hood favorite of mine, and it's easy to see why. Baba O'Riley might be the most iconic opening track of all time, and it's followed by some of Daltrey's most impressive vocals on Bargain. The album does drop a bit in quality across the middle, but certainly has a memorable closer that in my book makes up for the less-than-stellar tracks. Not to mention the most dynamic and powerful rhythm section in rock history keeps everything exciting regardless of the songwriting.

While this half hour of family entertainment did make me get my teenage kicks, much like a summer mid budget action flick, it came and went without much though afterwards.

Ah yes, my favorite Damon Albarn non-Gorillaz, non-Blur project! This one is mostly a letdown considering the personnel tied to it. A Danger Mouse produced record with Albarn and Paul Simonon on bass should be an easy knock out, but I felt myself getting sleepy and bored with this one pretty often.

Now we got the bees knees baby! Technical mastery combined with top notch production quality and complex, catchy songwriting just for good measure. This album is perhaps the best and most appropriate example of a certified classic album. Sure, it’s dad rock, but every song here is an ear worm. And every time you come back to it, you’re hearing new layers and discovering something new to love about the music.

I got worried that my eyes would roll too far back in my head while listening to this album. Talk about separating the art from the artist. Yeesh. I hate to say it, but Moz has the chops to make any grueling lyrics into a listenable bop. I just wish he'd keep his mouth shut outside the vocal booth.

Stills may still be the most forgettable member of CSNY, but still, I can't help but admire his efforts on this record. Outside a few nonsensical ramblings on tracks like Black Queen, there's a lot of great, pretty powerful music to be found here, including a fantastic closer in We Are Not Helpless.

A shining exclamation point to the career of The Man in Black, this album leaves its listener with no doubt that Cash deserves his place among the greatest of all time. His aged, haunting voice adds new meaning to every track here, most of which are covers of already legendary songs.

For a certain generation (in which I'm included), this album marked a shift in musical taste. It also opened the floodgates for every liberal arts major to go start a bedroom band and not be afraid of making music that they wanted to make. And for that, I'm eternally grateful. But how does this one hold up? While I think the band would go on to make overall better and more cohesive projects, this is quite the way to make yourself known, and most tracks here are indie anthems 20 years on. Too bad Win Butler ruined it all :/

Here’s one I’ve caught a few snippets of over the years, but never given my full attention to. And boy howdy, this is a modern classic! There’s so much happening here that I love about music; genre bending and blending while still managing to be consistent, combined with unpredictability! Every track is solid, with staple singles that completely pop thanks to perfectly crafted interludes.

While there are more than a few things on this album to appreciate (namely Mrs. Robinson, America, and the brevity), it's always just felt like another S&G project to me. I don't know if its legendary status is as well-earned as the duo's in general. IT IS THE POETRY OF DRUGS AND PROMISCUOUS SEX! But can we talk about The Graduate?! How good is that movie?

At some point in our history, Christopher Walken heard this album and rejoiced, for the cowbell he'd always wanted had come. The time has come today. Of all the albums on this list, I'd argue this is the one I've listened to the most. It's in my top 10 of all time, and I'll always rate it 5 stars, but it's certainly not everyone's cup of tea. I get it, I used to hate dancing and happiness too.

Because of the influence this album has provided to countless artists and genres that came after it, the actual music now sounds dated and overdone, which is unfortunate. There are some certified bops for sure, but I'm not a major fan of the early 80s electro sound in general, and couldn't help but think of that scene in Shaun of the Dead where they're blasting the second album he ever bought.

This is the kind of album where everything just feels effortless. The musicians on stage, Vaughan just being cool and belting out insane notes, the intimacy of a small club with an accepting and collected crowd, even down to the MC introduction. It all just feels like a group of friends performing for one another because they're really fucking good and there's nothing better to do. But there's SO MUCH talent crammed onto the stage here. This is really a masterclass in musicianship that just so happens to be in disguise as a lighthearted, playful live album.

I almost want to deduct points for a cover this bad. Did someone copy & paste a picture to MS Paint and print it on an HP laserjet? I'm guessing it was a choice to go grainy here because it would be wild to let this pass any other way. ANYWAY This one feels like a bunch of brits got together and said, "You know, OK Computer was great, but didn't get a lot of radio play. Let's just do that again but make 9-5ers happy!" Overall I do like most of the offerings here, I just think it's trying to be everything else that was popular at the time. Coldplay did the whole mass-appeal indie songwriting thing better in my opinion, but I'd revisit this. It feels like a grower, not a shower. Are shower and shower spelled the same?

Is this the one with the TikTok cranberry skate guy song on it?

I'd be willing to bet given Madness's gigantic discography, they have a lot of better tracks than the ones offered here. Our House is a solid one hit wonder, but wares pretty quickly. And after listening to the "one I need to hear before I die" I'm not tempted to check out the rest of what they have to offer. Some of the bass liens here rip though.

I liked a lot of the more hip hop centric tracks here, but like many dance records at the time, it loses its luster pretty quickly. Could’ve sworn that was Del rapping for a bit.

Ah, the Nevermind of the 21st century! Here’s one of the best and most important debuts, maybe of all time, but certainly that I’ve ever heard. The pioneers of the garage rock revival and indie scene come out swinging with nothing but bangers. And the recipe would go on to be used in nearly every successful rock record for the next 20 years.

Here's to Mr. Joshua and his marvelous tree! We hardly knew you! This record feels as if someone told Bono and company to go create a hit machine. But halfway through production, the machine ran into a few bugs and couldn't quite finish delivering, but that bug was just due to over exhaustion of the machine pumping out four ultra supersonic mega hits. What was I saying? Yeah, Joshua Tree. Good album. I don't need to tell you that. I WILL say give the back half another listen if you, like me, are more inclined to migrate toward the mega hits. The closer on this record is fantastic.

The coolest things about this album might be Neanderthal Han solo on the cover. This shit sucks.

The grooviest of the groove to ever have grooved. Try to get Chameleon out of your head, I dare you.

A solid start for anyone looking to get more invested in the boss, but outside his most popular singles, this album doesn't add up to the most satisfying, “proud to be an American” experience.

This is the greatest album of all time for theory guys who were just smarter than you and knew what classified as good music. If you don’t like this, you’re probably just not smart enough. And that’s okay. There’s always Kelly Clarkson for you. But you know what…this kind of fuckin rocks. I never really could get into these types of guys back when they were blowing up, but I’m thinking missed out a bit.

I'll be honest, I've always sort of slept on Elliott Smith. Wait, no, that's not right. I meant to say Elliott Smith puts me to sleep. I'm kidding I'm kidding. Smith was a once in a lifetime songwriter who, in my opinion, never got the chance to achieve what would've been legendary status. If you as the listener are open to it, his music will transport you to a place you've always missed, but never been to. But if I'm not ready for that, I'm not receptive to Smith's music. In short, this album is pretty amazing, but I was in too good a mood this weekend to treat it the way it should be treated.

I'm not generally a fan of the late 80s-early 90s hardcore scene, but I'll be dammed if this isn't WAY more interesting than 99% of the "hardcore" released these days. This record has an insane energy to it that you can't help but pay attention to. Complete with industrial flare, while maintaining some of the best aspects of predecessors like Judas Priest or Megadeath, this feels like the ideal metal record for that kid who was pissed off at his parents in 92.

I kind of fugot about Fugazi. But then, they're not that memorable.

Do you think Jack was born a ramblin' man? I want to criticize this album, but I think he's just trying to make a living and doing the best he can. I mean, there's nothing here that we haven't heard by some of Jack's contemporaries (or idols in the case of Woody) that they weren't doing objectively better. But this album is solid roots folk that'll make any Gen Z Lana Del Ray stan cream their pants I guess.

There's no denying that this album's title track is one of the most iconic, cryptic and overall best songs of the 20th century. But that's the unfortunate part about having the first song be far and away the best on an album like American Pie. After 9 minutes, we see diminishing returns. The songs are GOOD, absolutely, but they'er a bit sleepy and repetitive after a while.

This is easily Beefy's most accessible record, and in my opinion, a more entertaining effort than later albums (not you Trout Mask, I promise). But it's far from an immediate hit for most listeners. This one is a grower, and I only like it now because I've been around it it a few times. I wonder if that's how my wife feels...

I'm getting a little tired of The Boss constantly showing up. I don't mean Bruce, just my work boss keeps bugging me. Nebraska might be Bruce's most "Bruce" album of all time. A full, acoustic rendering of blue collar, middle America ballads? What more could you want? I guess maybe some sax solos would be cool. Meh, lifelong fans probably love this one, but it's a middlegrounder for me.

I really enjoy how simplistic this album is, with minimal synth work that would become a defining characteristic of their later records. Not that I don't enjoy that sound, but the easy guitars and drums throughout this one just create an intimate feeling. I also like the vocals kind of sitting in the back of the mix. Smith's voice just works there for me. That said, I'm not the world's biggest goth fan. There's always been a barrier of entry there I just can't seem to get past. I appreciate this one more than I actually like it.

Oh hello lo-fi friend. Pleasure to cross paths again. I really miss the days of OG DIY album production. Nowadays, bedroom rock wins Grammys and has a very monotonous sound to it. It's somehow been packaged and sold as a genre. But in GBV's day, it was the wild west. I really love how quick and dirty this is. There's SO MUCH experimentation with sounds, guitars, drums, drum machines and just kickass kookiness here, it's hard not to love.

Hey man...I don't think we NEED to say that word to make a song catchy. Slurs aside, this album is right down the middle for me, not unlike the rest of Costello's discography. Some catchy pop tunes with a lot of fluff that gets lost in the mix.

[you know the quote] I was pretty disheartened to see this was today's selection. I don't HATE this band, but for the amount of dads out there who thought they were the second coming of Christ, I just would like them to be a bit more...I dunno...entertaining? Mostly I'm just mad that my Spotify algorithm is gonna recommend more of this to me.

What the hell is going on with the vocal mix on some of these tracks? The weird falsetto just completely getting lost in the onslaught of orchestral strings just did not connect with me. Or maybe it was just my speakers? I think my biggest gripe is the level of inconsistency in tone. In one verse, you've got pretty strange mixing with an overload of synths, but then on the next turnaround, you've got dark, fuzzed out guitars complimenting a poppy, country backbeat, which was great. But hey, it's nice to get something unfamiliar for the first time in a while on this list.

It's funny to me how Davis is responsible for both the most welcoming jazz record for any new fan to get into the genre, and also the most experimental batshit intense jazz album with one of the toughest barriers of entry. Bitches Brew is not for the faint of heart, or even the strong of heart who aren't already dedicated fans. Miles bends or breaks pretty much every "rule" you can on this album, and you're either along for the ride or you're not. Don't go into this looking for structure, or one of those "chill jazz music to study to" vibes. This ain't it friendo. Granted, the back half does calm down a bit, offering at least some structure. But by golly is this one it! At nearly 2 hours, you get to hear in real time, as the album was recorded over just 2 days, the elevation of the genre that would lead to SO MUCH more experimentation from musicians worldwide. In a way, this album is majorly responsible for helping jazz music crossover with rock, which primarily drove much of the 1970's. In short, this album is just fucking COOL.

While I’m always happy to see TTWD on this list, I have to say Heroes is among my least favorite of his, and probably the weakest link in the Berlin trilogy. What saves this from being more or less forgettable is the title track, which is rightfully one of the most legendary songs of all time.

Not that this a bad album by any means, but as is typical from Blur, I just wanted more. It really drops off after the first 2 tracks, and never hits the same peaks.

Some interesting early indie sounds from a band who never seemed to really take off in the way they probably should’ve, especially when compared to some peers from the same time. Not something I’m in a hurry to revisit, but cool enough to have a few tracks charm their way into a playlist.

This was a bit of a chore to get through. We have some solid bass lines that give life to pretty dull blues tunes, and of course Jeff Beck's GOAT playing on not quite full display, but even he can't save lifeless material. That would ultimately be Page's job in this band. Yeah, I said it, Yardbirds were lifeless, saved only by the would-be legends they somehow birthed.

I don't know if I should be happy to see the yet ANOTHER Costello record on this list, because that means we can only have but SO many more before the end of this list, or angry because holy shit, we only have 1,001 albums here Bobby. There are more artists out there than Elvis god damn Costello. That said, I have to give it to Blood and Chocolate. It's the best EC record on this list (so far), if even just for I Want You.

"In an elaborate ruse, Scholz tricked the label into thinking the band was recording on the West Coast, when in reality, the bulk was being tracked solely by Scholz at his Massachusetts home. The album's contents are a complete recreation of the band's demo tape, and contain songs written and composed many years prior." My how times have changed. A studio DIDN'T want some band's shitty home recordings. Boston's debut is the gold standard for home recordings in my book. This still sounds better than the vast majority of pro studio recordings from the era. It's also just a wonderful rock record. There's really something here for everyone; technical proficiency, catchiness and karaoke friendliness.

I think at fist glance this sounds like junk, which was probably intentional. But if you stick around for a while, you'll hear some interesting rhythms being played with in various time signatures, all while blending rockabilly with free jazz, all rooted dirty blues. But I don't care for this at all. I feel the same way about a lot of Cave's early material. It doesn't bring out any emotion from me. I can't tell what's being sung/yelled here, and the production is flat in virtually every way. The only elements that actually penetrate on this record are the gritty bass lines, which ultimately don't save it, but offer the listener something to grasp onto.

The E Street Band outshines Bruce on this one in pretty much every way. The songwriting and vocal melodies are the definition of subpar. But there are certainly some worthwhile sax solos! This is the 5th Boss album on this list, and it's certainly noticeable. Given that 1,001 isn't THAT many in the grand scheme of all albums ever created, I'm a bit disappointed we're not getting the variety I was hoping for.

Here's a pretty mid album that I didn't mind having on, but did absolutely nothing to drag my attention away from the documents I was writing at work. Post-punk fans will certainly enjoy this for its catchy bops and groovy bass lines, but I'm left just wanting a bit more.

I think this album had all the ingredients to make a super cool, chilled out electronica album that I would've really enjoyed. But given the infancy of the genre as a whole, I think Orbital gets carried away with the experimentation in what they COULD do, neglecting what they SHOULD do.

A completely under appreciated album that is unapologetic, energetic and...I dunno...enigmatic? Top tier dirty punk with some of the crunchiest guitar tones this side of the Mississippi. I've been struggling with simplicity in my own music lately, so this album was a swift kick in the ass reminder that great music = simple music.

Ah, my favorite kind of reggae, the pro-legalization kind! I’d like to see a bible thumping reggae band honestly. “Let’s get together and feel alt right!” Though this feels a bit repetitive after a few tracks, it’s a good time with comforting vocals and solid jams.

As happy as I am to see Bee Gees get recognized on this list, I really wish it wasn't their dullest attempt to sound like every rock band of the 70s. This album just falls flat in virtually every way possible, and while the vocal harmonies are certainly top tier as always, the instrumentation and production just isn't there. And my god, the back half of this is a real struggle to get through. The Gibb brothers had a number of fantastic early tracks more in line with the Summer of Love sound of the 60s I'd put here before Trafalgar. Maybe we'll get some of that down the road. And look, there's a reason the late 70s were so kind to this band, and no, it wasn't John Travolta.

J Mascis...more like...J Massacre...amiright? Unfortunately you have to wait until the final track to get the best track, and it's the Cure cover that just...ends. I have always like the ingredients that make up this band, but the final dish is not my flavor at all. It's like throwing pizza, tacos, burgers and sushi all into a bowl and saying bon appétit!

In one of the most beautiful transitional albums ever made, Beck proves he has actual songwriting chops that extend beyond the goofball weirdo persona he acquired throughout his early discography. I went through a phase years ago where this album was on repeat, and now when I hear it, it’s incredibly nostalgic. I think the slower pace throughout can be a deterrent to some, but really letting this one sink in and get through you will do you absolute wonders.

Call me crazy, but I always preferred this record to The Queen Is Dead. I think there are a lot more impactful tracks overall here, especially on the first half. There's some killer guitar work, and ear catching melodies paired with that keep the listener invested.

I don't know if this is truly the case, but I was really sold on the idea of this band just having a grand ol time on stage during this show. The songs are easy to bop to, catchy and fun, and the crowd is EATING. IT. UP. In a way, I feel like this is the most "wholesome" record on the list so far. It really does put a smile on my face, even if I'm normally against the idea of putting live albums on a list like this.

You want tripped out jazz?! You got tripped out jazz mother fucker! Mingus might be at the height of his career on this record, bringing in Spanish influences, African rhythms, and complex time signatures that keep you glued to what you're hearing.

I don’t know if Jones is underrated in the greater conversation of country music history, but the man has got to be one of the finest country vocalists of all time. And this album is a wonderful example of what mainstream, fine country music should be. Takes of heartbreak and loneliness, interwoven into a beautiful orchestration that you really feel for. Eat a dick Morgan Wallen.

Few bands set the template for alternative music like REM, and this album might be the most prime example of that. Everything from the arrangement to production on this record would go on to be used in countless indie records even more than 20 years on. Not every track is memorable (or even good really) here, but the ones that stick really stick hard.

I’m a gangster, a straight up G. The gangsta life is the life for me! But this album is not. Sure, Mr. Curtis delivers some certified club bangers that ruled the world back in the day, but have very much worn out their welcome by now, given that they’re not quite timeless.

While this band's legacy should certainly be more than, "the guys who sued Zeppelin a thousand times," this album doesn't leave anything behind other than a few catchy prog tunes that leave your brain as fast as they came in.

I'm struggling to find the right words for this album beyond, "Maybe the worst one yet on this list." It's not even that it's musically awful, it's just completely dated, boring and soulless. At least shit like Limp Bizkit is ATTEMPTING something that makes you listen. I don't know if I've ever tuned out of an album I'm intentionally listening to so quick.

Packed with enough sensuality and soul to get a monk a bit frisky, this record has a power that surprisingly few do. You ever want to pull a power move, just pop this album on during the drive on your first date, or your hundredth date for that matter. All that said, Green creates a mood here, but musically speaking, I get a bit tired of the ballads after a few tracks. Unfortunately the opener is never topped, and as we all know, when your first 3 minutes is your best, it's not a good night for anyone. 2 thumbs up on the drum production though.

This group’s first outing may in fact be their best, and that’s a hot take I’ll take to the grave with me.

I struggled quite a bit during the first half of this album, but then suddenly...no, wait, I struggled in the second half too. That was a tough 31 minutes to get through. Look, it's not that this is a bad record by any means; it's just so far removed from my taste. I don't care for the thin production sounds of 80s punk or early hardcore. There is a lot of cool stuff going on here, but I was too distracted by how bad it was being recorded to even focus. Fabricated crunchy Line 6 amp guitar tones, aimless-sounding lyrics and vocal melodies, it's just unpleasant. Some tracks veer close to 80's hair metal, and I have to admit, those were the best on the record.

Bad indeed Mr. Jackson, very bad indeed. Is this an overall better album than Thriller? Yeah, probably. Is Michael Jackson a disgusting and horrifying child predator who never faced true justice while he was still alive? Also yeah probably. He can fuck off. His music is good. I don't have a problem separating the art from the artist, but I've always been lukewarm when it comes to Jackson's music.

I listen to jazz most days, all day, so when a jazz record comes along on this list, I always struggle to listen intently because it's very easy to let this music just slip away into the background while I'm working. But this one was new for me, and I absolutely loved it, especially Ricky Ford's howling sax throughout. I would encourage you to check out the context behind this, even if the album itself isn't exactly your flavor.

I was about ready to trashjthis entirely forgettable one-hit wonder track album for taking up a spot on this list, but I actually settled into it well enough. Is it still entirely forgettable, dated piece of music from the garage rock revival scene? Yeah, but it's decent enough to keep you tuned in over its brief 28 minute runtime.

I don't know if I'm qualified to rate this album. Since I have to give it something, I'll go 3 stars, for reasons I don't quite understand. I can confidently say that I do not love, nor hate this album, but I am not agnostic toward it either.

I really appreciate the vast experimentation of sounds happening here, but the real wonder is how the band made it all so simple. These tracks feel effortless, but also filled with depth and genre blends that keep you invested in what comes next.

Bloops and beeps that tickle your brain in the best way possible.

Good mixes, good beats, good god let's eat! The most unfortunate part of this album is the release date. Is it a bit dated? Sure, but I can forgive it. Jay-Z proved (on more than just this album) he had the chops to be at the top. Only thing now is how strange it is to hear him rapping about the shadiness of the music industry and those within it, given all the recent headlines.

Tom Waits is a true treasure on this desolate, lonely planet, and I truly hope his legacy outlives me and everyone I know. But holy shit I still am not a fan of his music. I really REALLY want to like it, and I SHOULD love it, but I just can't.

It's hard not to call this one of the best "punk" albums ever made, due in fact to the absolute rawness of literally every aspect of the record. Harvey's insane vocal talent, combined with the crunchiest of guitar tones, straight up crazy time signatures, bombastic dynamics and a disgusting production sound make for a harsh, brutal, and unrelenting album that everyone should listen to at least once.

Not much left to say about this one. It’s not a stretch to say this is one of the best albums in the past 30 years, if not THE best. I’m jealous of anyone here listening to it for the first time.

Well, it's heavy. But you know, it's "clean" heavy. And I like my heavy to be dirty. I feel like Slipknot has always sold us on an image, and while that image is certainly marketable and striking, I never felt like it represented the music. Like I said, it's metal, there's no doubt. And the band is ridiculously talented, deserves their success, all that jazz. But I just feel like every aspect of the sound is way too polished for the nasty, bloody, evil, villainous concoction that is this band.

"If you were a horse, I'd clean the crap out of your stable." Pure, simple poetry. I'm not exactly sure what this is trying to be, but I can't say it's doing it particularly well. It feels like a modern day crooner album, but it has almost no charm. The arrangements are...fine, albeit too stagnant for what should be a sweeping, orchestral suite of love songs. I like the idea, but not so much the execution.

I'm not quite sure what a Brimful of Asha is, but I will agree that everybody needs a bosom for a pillow. I liked this one! It's a really out-there, but still grounded blend of electronica, folk rock and Indian influences that make for a neat little record. I think it loses a bit of momentum about halfway through (Candyman rips though), but it's certainly something we didn't get a lot of back in 97.

Ah shit, wait! I haven't even poured my pint yet!

Oh boy oh boy. I've sort of been dreading this record since I found out it was on this list. Not because I dislike it, but because it has the cards stacked against it. Its status reflects that of "legendary," which I don't agree with. I've heard it often called "the millennial's Pet Sounds" and that's very unfortunate because regardless of whether or not it's trying to be, it is certainly not. But that's not to say it's bad by any means. It's actually a pretty fun, psychedelic soundscape pop record that influenced a lot of musicians to experiment and let go of traditional structure. But it's also a one-trick pony the doesn't feel very cohesive. By the time we're deep into its nearly hour-long runtime, the new things to discover have worn thin. There aren't many memorable melodies or dynamic high points that keep us invested, and the repetitiveness wares after a while. It's a good time, especially when you have your good friend Mary Jane to keep you company while listening, but it's far from a masterpiece.

A solid entry into a genre I know very little about. I’m looking forward to giving this one another spin, as I feel like there are a lot of great nuggets in here.

What initially gave off an impression I was not digging eventually turned into a unique blend of electronic influences and post rock structure that was pretty pleasing. That said, I listened to it two days ago and couldn't hum you a single melody from it.

My old bones can't keep up with these young kids and their fast music these days. Can't we go back to a simpler time when no one talked about the problems discussed on this record? Top tier "fuck you" punk that is very much served by a great mix of melodic vocals and chants, combined with tight, punctuated guitar riffs.

While I don't know if I'd say this is McCartney's best solo venture, it is no doubt the most iconic. It's almost as if someone bet Sir Paul that he couldn't write an entire album of radio friendly hits, and he didn't like that very much. This one starts off extremely solid with a Beatles-esque suite tune, gets a bit sleepy in the middle, but punches home the ending with a Beatles-esque suite tune.

Easy going, funky rhythms that set your whole soul at ease. I will never have anything negative to say about Mr. Otis' smooth arrangements.

Look, they told me themselves, "Wu-Tang Clan ain't nothing to fuck with." So I haven't fucked with them, and for that reason, I felt very nervous listening to this album. But now I'm starting to think they meant something else when they said that.

There's a lot of cool experimentation happening here that boarders on psych/dance music, but the record can't escape its desire to fall into the New Wave spectrum, and that's a shame. I kept waiting for us to let loose a little, but most tracks remain just a bit sleepy for me. 11/10 bass lines though.

Every track was a just a hair too long, and the album doesn't have any "peaks" so to speak, but I enjoyed this as a manic meditation with early electronica styles.

Lots of ear-catching material on here, but overall a disappointing experience. This felt like art rock for art rock's sake, with not much intention on making a cohesive, interesting record most users could resonate with.

Moog Raga is trippy as fuck, and I loved every second of it. I like the fact that bands like The Byrds were taking big swings in a time of dramatic change and experimentation in popular music. I think that's where this album really shines. However, there are a lot of "play it safe" tracks here too that kind of make this one lose some steam for me.

Wow, lots of hate for this one in the reviews. Who'd've thunk it? I mean, personally I think Jackson Browne is a fantastic songwriter! And I mean you got Lou Reed making an appearance too?! I'm almost tempted to give this 5 stars just because of the personnel involved and those who provided the inspiration. But I won't because Nico kinda just fuckin sucks. AND YOU KNOW WHAT ELSE?! YOUR DUMB FUCKIN SOUP CANS AREN'T THAT GOOD EITHER, ANDY!!!

I’ve listened to this album in full one other time. And I liked it. I liked it a lot! There are incredible vocal runs on top of some memorable bars, but I thought it then and I think it now, the hooks just aren’t there. Yes, a handful of tracks have catchy melodies and whatnot, but so much of this albums hour and 15 minute runtime is padded with more or less forgettable songs. Apple’s recent list of 100 greatest albums of all time was rage bait, for sure, but even then, this record always feels like the odd one out when tossed around in “the GOAT” conversations.

Here's an album that's more or less all about the stories being told within. And I'm sure they're wonderfully crafted tales of folk and magic and all that good stuff, but I wouldn't say I was drawn in to any one in particular. The production was solid as a rock, and the band knew what they were doing here; I just wanted a bit more...juice? I guess?

There's just something about these old country records and their ability to transport you to a shady New Mexico diner in the 1950s that resonates with me. Maybe it's just the very fact that an album like this has a distinct identity and knows exactly what it is and what it wants you to feel. No, this music isn't my favorite, and I don't go out of my way to seek out great cowboy artists from the 20th century, but every time I hear it, I'm transported, and it reminds me why I love music and why I do things like this exhaustive list! Thanks Buck.

Ladies and gentlemen...the Beatle! This record is proof enough that Paul would need a little polishing to find his own sound outside of the Fab Four. Given that this record was released right after Abbey Road, I can't help but compare the two albums. Because on one hand this feels like some throw away collection of jam tracks during the Let It Be recordings, but on the other, there's not a lot of personality coming through on most of these tracks. But it's still Paul, and it's still legendary, if only for the way it was recorded (at home with shitty equipment) that would go on to inspire millions of bedroom rockers. Also I guess Maybe I'm Amazed is okay.

"What the hell is this song about?" I sure would like to love Bob. I really would. Wait...no...I DO love Bob. Sorry. I got confused for a minute there. huh. Here's one of the albums of all time.

Look, I think it's unfair to many other well-respected and loved albums to call this one the GOAT. So I won't say that. I'll just say that in a hypothetical situation where you came across a human who had never listened to any music in their lifetime, and would never be allowed to again after a window of about two hours, you'd be wrong if you didn't play them this album.

Albums like this always irritate me because I can see its fans inside a really cool room, with dark ambiance, dim lighting and a fall-scented candle lit on a vintage bookshelf. They're connecting and enjoying the music together. But I'm on the outside, looking in. The door's unlocked, I just don't think I want to go in. I get it. Cohen's a genius, a poet, a master of his craft. I'm not going to dispute that, even if I don't have the context or expertise to back up the assertion. He's a songwriter's songwriter. But JESUS this album is hard work. There are times in my day when I don't mind putting in the work. But this is poetry, meant to be analyzed and reflected upon. It's not music you listen to when you want to listen to "good music." The album is almost devoid of hooks, melodies and dynamics. One could argue Cohen's voice makes up for all that, and to seek it is missing the point, but I would disagree. And no one on planet earth who understands societal norms would recommend this to a person asking you for some new chill tracks to vibe with. Given that, like a few other albums on this list, I genuinely don't know how to rate this, so we'll just go based on my current level of enjoyment and fulfillment after consuming this album. Also, I'm fresh off of finishing Songs In The Key of Life, so I'm even more bummed with that transition.

I think this one gets a bad rep for being just another "mainstream hipster, ho-hey" record. And it kind of flirts with that in some of the instrumentation. But I'll give it a pass given it was a time of transition for folk and indie music, and this was pretty common on nearly every album of that area. But by the opening track, I'm convinced there's so much more being offered. Right off the bat we're hit with dramatic dynamic changes over head-turning chord and key changes. And take a step back just to admire that bass line! Nothing about the track is boring or sleepy. Two Weeks, the most notable song off the album, and by this band, is where we can see the signs of falling into that cliche I mentioned. I still think this song is pretty great, but without the context of what came before or after, it would be a forgettable remnant of an era where everyone wanted to be cutesy twee pop. And finally...the rest. The album takes a pretty deep nosedive after Two Weeks into some very well-produced but sleepy and forgettable droning tunes. And this goes on for about an hour. I do appreciate the experimentation of beats and structure, but some straight forward jams would be a welcome break.

You don't need to understand the lyrics to resonate with the impact of this one. If you're ready to accept it, this album wants to embrace you with open arms and remind you that there's still some beauty in the world. But where's Paul?! I need my Paul!

Samba mama! Putting the boss in bossa nova! I had a delightful time easing into my morning with this one. As is normally the case with traditional inspired bossa nova music, there's not a lot fo challenging or divisive music on this record, just easy breezy tunes that will get you fixed up right!

I think the Brit Pop craze could be summed up pretty well with the following statement..."Remember how everyone liked The Beatles? Let's just do that again...but like...put some grunge in it." This album sucks. It's lazy, it's uninventive and entirely forgettable. And I hate to break it to you...but The Stones did Bittersweet Symphony first. The other singles on the record are typical at best and remind me of shit I wrote back in 9th grade for the girl I liked. The Drugs Don't Work sounds like something from a Cameron Crowe movie that people would've called "the biggest song of the summer" back in 1975.

See title.

On first listen, in between small moments of beauty and inspiration, I found myself asking what this is trying to be. I went back to a few key tracks after a full listen and realized a second listen would be well worth it. The longer I sit with this one, the more it attracts me.

Although it mimics some contemporaries like The Smiths a bit too much, I really enjoyed each track here, and everything sounded like it could’ve been the single from the record. All quality with nothing pushed aside in favor of “the one good song you like.”

An hour of early drum and bass music almost feels like I’m being punished for something.

This is the best Green Day record, and probably the only one worth listening to, if that means anything to you.

Throughout this album I didn’t have much idea of what was happening. And I was here for it, but I can’t shake the idea that Mr. Dury just wanted to mimic The Kinks with more cockney. Solid punk and funk that I’m not in a hurry to revisit.

This is 1970s rock n roll at its most cliche, most bombastic, and frankly, its peak. Everything here is dialed up to 11, but it still feels authentic, which would unfortunately fade in the following years when other radio friendly bands attempted the same thing.

This album put me into the experience of a midwest teen laying out in a field somewhere on a lonely night, staring at the stars, and there's something beautiful about that. I couldn't help but compare this to (somewhat superior) Flaming Lips records I'm very fond of, but I think it has enough unique flavor to stand out from comparable records of the time. It has a very timeless sound for 1998, and for that, I'll be coming back for a deeper dive soon.

Maybe not as crazy as promised, but definitely sexy and cool. Dim the lights and cuddle up with your partner for this one. It's gonna get hot n heavy.

Cool. Cool cool cool. So glad I got to hear this before I died. Look, I've heard plenty of "weird" shit in my time, and I'm completely open to absorbing all forms of artistic expression. And yes, I hear the Primus and Ween and all of that in this album. But this is just boring. It's not particularly challenging or satirical the way a Zappa or Beefheart record would be, and there's nothing here that keeps me invested in terms of melody or production. It feels like Outsider music without sparking a sense of curiosity for how it was created. The band's decision to keep their identities anonymous is perhaps the most intriguing thing about all this, but even then, I really don't care who's behind the masks. Maybe people did back in 72.

Oh good god dammit. I just got through listening to Duck Stab, and now this? I guess accessibility wasn't on this week's list of requirements for my 1,001 Albums. Look, I'm not adverse to experimentation or unique forms of expression. I really welcome that in music! But I do believe in a certain set of rules when writing music. Rather, I believe in one rule; when you write a song, it needs to have music. Not necessarily a melody or a beat, but...music. There's a 4-minute track here that's just people talking and shuffling? I think? in what sounds like an apartment corridor. I struggle to understand the art being expressed in so much of this. I took a look at some other reviews of this album, and while plenty of people share my sentiment, I couldn't help but look at the positive reviews and notice how many shared one word; "challenging." Now, I also like my music to be challenging sometimes, but what's the reward you receive from an album like this? What do you come away with, other than the right to say, "Yeah, I listen to challenging shit and LIKE it! Take that society!" Does anyone really enjoy this? Is it pleasurable? Maybe I'm asking the wrong questions. Maybe enjoying what you do with your limited free time time isn't a requirement for everyone. Or maybe very fact that I'm now questioning the validity of receiving enjoyment from music is the point of this album. That sounds like I'm belittling those who do enjoy this, and I don't intend to. FUCK, I'm dumb and everyone else is smart. :/ 5 stars. That said, I actually talked in depth about Hamburger Lady on a podcast a while back when tackling the subject of "scary music." It was called One Hit No Wonder. Take a listen!

In these times of great turmoil and discordance, this is a hopeful reminder that America is indeed capable of great things. Here we have the magnum opus of the greatest jazz rock band to ever do it, and there’s no question, this is among the finest albums ever recorded.

This sounds like a bland final attempt to keep a dying genre alive well past the point where it was exciting and fresh. This is "bad ass girl rock" for those who don't know about Sleater-Kinney or PJ Harvey. It's a snoozer that offers up almost nothing of note other than an opening track you've heard in movies.

Like many Wu-Tang projects, this album solidifies itself in the history books for its solid production and angry, inspired bars. If you don't feel invincible while listening to this one, listen again.

Metallica stans will argue this is where the band fully engrossed themselves into appealing to a mainstream audience, and that's completely true. And while I miss the heavy trash aspects from earlier records, there's no denying this is an absolute classic. I'll never say it's their best record; I don't care for the drums (Lars is a good drummer, that's not what I'm saying), I think each track goes a bit too long, and the production is safe and a bit dull. But these are all GREAT songs.

If you give this album the attention it deserves, you're guaranteed to get more of an experience from it. Don't be a fool like me and put it on as background music while trying to meet work deadlines. It deserves more than that. The inherent tension and discordance throughout almost forces you to drop what you're doing and pay attention, and that's not an easy thing for any album to do.

Yeah, yeah yeah! This one rips. It's raw, energetic, and its brief runtime over the course of 12 tracks will leave you feeling you just got slapped by the coolest person you've ever met. Man I wish this band never would've polished their sound in future records.

Fuck nazis, fuck Kanye, all that good stuff. He's a garbage, self-serving, pretentious human being who would do anything to get media attention. I don't really care what he truly believes, as it's not worth my time. But yeah, this album is timeless. The finale of Hold My Liquor alone is enough to set this above most other 2010s records.

This is the kind of album that just tickles the ears with the crisp bloops and bleeps coming from the wonderful synths. I can't help but revisit the days of my childhood playing GTA Vice City, wishing I had a driver's license, and lived in Miami, and owned a convertible.

We can talk about great 90s bands all day, and I'm not here to dispute that Pearl Jam, Soundgarden, Nirvana, etc. were all great bands, but THIS band, Pavement, saved rock and roll. More importantly, they made it acceptable for thousands of bands to feel safe in making the music they wanted to make, without feeling like it needed to be professionally produced or polished. Pavement made it okay to just DO IT, which in turn, kept the genre not only alive, but moving forward. Plus the music itself is fucking great.

Heaps of shit? That's mean. But pretty in line with how I feel about this one. Some records are very good at smelling their own farts, and this is one. There are a handful of compelling tracks here, most of which are the ones Eno had a bigger role in, but it’s just not enough to keep me interested.

Sleazy, cheesy, how about a game of parcheesi? Look, as a teen I LOVED this album, and while I still appreciate Aerosmith as a band, this one shows just how much they gave in to what the radio wanted more of. The singles here are all over the place, to the point where I’m not sure what I’m supposed to take away from this album. It has value, but perhaps its best to leave in the back of the school bus where I was when I first heard it on my iPod Video.

This album gives off the feeling of being invited to a house show one night by an acquaintance you don't feel totally comfortable around yet, but you figure this will be fine because there will be other people there too. You can have a few drinks, smoke a little bit, listen to a cool band. But then you get there and as you walk around you notice that the house has no windows. Strange, but, maybe you're just entering through the side door. As you step inside and make your way around, you begin to notice that the partygoers don't have distinguishable faces, and that while you hear conversation, no one's actually moving their mouth. You decide you need a drink, so you make your way to what you think, or maybe hope, is the kitchen, but instead, you slowly realize you're just walking down an endless hallway. The people slowly disappear, and you're alone. After what feels like hours, you finally hear the distant music coming from an unknown source. You walk toward it. Then you get to the band, set up in a dimly lit room whose layout makes no geometrical sense. They're playing this album, and you're entranced, but not sure if that's because this is good music or because it's the only thing that feels somewhat comforting in this place. You begin to dance. The band smiles at you while they play. You're now connected, and that's something. Anyway I had this album appear on the day Joe Biden announced he was dropping out of the race, so like, fitting title, maybe? Politics amirite.

If I have to hear one more Elvis god damn Costello record on this list I'm gonna lose my shit. My review is whatever I said about every other Elvis Costello album so far.

and a 1 and a 2 and a SKIP!

I don't think there's any denying this debut solidified West as a staple in music. This might be the most accessible, overall fun, silly and clever hip hop album ever created, and the start of an unparalleled run of quality albums in the 2000s.

Man, listening to this album makes me want to say "Fuck you" to everyone. A little repetitive after a while, but a punk staple nonetheless.

Earlier ventures into electro were always superior in my mind, mostly because the genre can get stale after a while, this record being no exception. Still, if you’re standing up and have 5-10 feet of clearance, you’re going to lose control of your body when listening for the first time.

Motown legends bring their A-game here, with wonderful vocal melodies that keep your eyebrows raised.

As disjointed as this album is, and believe me, it’s disjointed - almost disorienting - the quality of most tracks is good enough to give the whole thing 4+ stars.

Phuncky samples and beats don’t save this one from being just another run of the mill Hill. Cops, amirite?

I’m still not jazzed about several artists having a bagillion records on this list, but I can’t get too mad about including the single most important musical shift album of all time.

I had flashbacks to school clothes shopping at JC Penny when listening to this. And boy I did not like clothes shopping.

This is the good ol, grimy folk punk I live for. Obviously the opener is an all time classic, but if you dig the sound, the whole album sticks the landing.

I can confidently say this is the best album by a band I really don’t care for. Fogerty’s false identity in the band’s music just never sat quite right with me. I’m not upset by it or even bothered, just something about it feels inauthentic. But the hits don’t lie. This album is stacked.

Woah, what a pleasant surprise for a Saturday morning. This is certainly an album I never expected to see on this list, mostly because we have a few Daft Punk records already. That said, as much as I love Justice, I don’t know if this one would make my cut.

Hey, if you’re into completely forgettable 90s Brit rock, have I got the album for you. But don’t worry if you don’t like it, there are plenty more of the exact same kinds of albums on this list!

While there's certainly no doubt Wainright has a once-in-a-generation voice, and boy would I love to see him doing show tunes, this album is at most a cute, cheeky and forgettable record, and at worst, sleepy as fuck. And I just had 2 shots of espresso.

I'm always surprised that outside of Dead Heads, the widespread (heh) recognition of this band's music is almost non-existent. Then I hear their albums and it makes total sense. I heard a friend say once something along the lines of, "Phish fans don't really care for music...they just like Phish." I think broad strokes, the same can be said about Mr. Garcia and his boys.

My name is Matt and I'm here to say, The Message rocks in a major way. Dated? Sure. Influential? Without a doubt. Iconic? Meeeehhh Most of what we hear on this record is pretty forgettable, but it's hard to ignore the concrete being poured here that would form the foundation of the most popular music genre for the next 30 years.

At times a truly beautiful and jaw dropping experiment into the power of lesser-known instruments to create wonderful soundscapes, and at other times an overly long collection of material that juuuust barely overstays its welcome.

This takes me right back to the days waiting in line on the subpar wooden stairs for that grand water slide, with island music playing over the speakers.

For as impactful and important as some of the lyrics may be here, the vehicle in which they’re delivered is mostly forgettable and at times, just rough to get into.

This was genuinely fun and unique in the moment! It had my attention until it was over. Maybe worth another listen because right now I’m struggling to remember a single track.

I'm just a low middle class suburban kid who went to pretty good schools, but god damn do I wanna fight the power!

Holiday croons in a way that makes it feel like you’re being embraced by all the best holidays.

Like so many albums of the early 2010s, this feels as though it was going to decide the future of mainstream electronic music until one day, it just felt like a product of its time. I guess you could say that about most decades. Huh.

Sorry, what? Am I missing something here or is this list saying that completely forgettable copy/paste Latin American albums are vital to listen to before you die?

Spikes of something 3-star worthy, but all in all a recycled attempt at being better than Oasis.

It’s way too long to the point where it’s objectively important (yet kinda muddy) message gets lost somewhere in the runtime. A lot of hip hop is dated. This is even more so. Cube is certainly one of the greats, but not everything he touches is gold.

While I'm on the fence about whether I'd make this a usual spin in my weekly rotation, I will say that if you sit and meditate with this album, it will naturally resonate with you in a pretty unexpected way.

One part charming, one part jazzy, two parts disturbing; that's the Randy Newman cocktail. I've always admired Newman's ability to craft cheeky tunes that ease their way into mainstream consciousness, even if I've never been a big fan. Side note, I think it speaks to our lack of cultural risks these days compared to 30 years ago, when a major children's animation corporation could hire someone like Randy Newman to compose the music for the first Pixar film. Somehow, all those pieces fell into place, solidifying not only Newman's legacy, but also some of the most memorable music ever composed that virtually every human on Earth knows. What would be the equivalent of that today? Giving songwriting duties on Bluey to Yung Gravy?

I've been through ups and downs with this band for a long time. Of course, when you're 15 watching Fight Club for the first time, Pixies are the coolest fucking band on the planet. I ate EVERYTHING up that they ever put out. Doolittle was one of the first vinyl records I ever bought, and I swear I wore it out. But that hunger eventually faded, and the music became so familiar that it was almost boring. It lost the spark it once gave. I always let the songs run their course if I have a communal playlist rolling, as I know most folks still dig it. But even now, the songs on this album sound kind of thin. But for purposes of this review, let me go back to my teens and my once-upon-a-time relationship with this album. It's an easy 5 star, and if this is your first time hearing it, I'm truly envious. I will deduct one star, only because to me this album is not timeless. It will eventually ware.

My only criticism of this album is the lack of congas.

Like many early 2010's DYI indie records, most of this album sounds as if the band didn't enjoy making it. But the tracks that actually have life are certainly worth listening to.

It's no secret that Stevie is in a league of his own when it comes to songwriting. And while this album doesn't produce any mainstream hits, its sum total is nearly equal to the quality of SITKOL or Innervisions. The very fact that an artists' 17th studio album is of this caliber says everything you need to know.

You know what? I'm in a good mood this morning; coffee is hitting just right, weather is playing nice. I was ready to trash this sellout record as insufferable garbage, spouting off something about how KoL's only good record was their debut, yada yada...but then I did something I've NEVER done in the entire time of listening to albums on this list...I skipped a track. That track? Sex on Fire. Now please, don't think ill of me; I truly give every song a listen on every album, and I'm not in the business of disrespecting artists by giving up on them. But I've heard Sex on Fire a million and seven god damn times, and if I die and go to hell, that will be the song they have for me on the loudspeakers. So, what happened when I skipped Sex on Fire? Well, as you could imagine, we went on to Use Somebody, another song I've heard a lot, but is a bit more manageable for me. And it worked! We went on as if nothing happened, and the rest of the album played out. And you know what, it's not half bad. It's safe, overall a bit uninspired, and contains almost no energy the band had when they were crafting their first album, but it's got enough bits of musicianship that make for a fun arena rock listen. Seriously though, go back and listen to that debut. Album fucking rules.

A non-stop energy ride that simultaneously sounds like so much of what was happening at the time and nothing like it at all. This album seemed to be full of "tracks you remember really liking but completely forgot existed." Does that speak to anything? I don't know, it's early.

Well folks, we've come to it at last. At the time of writing this, there have been 533 albums generated on my list, and this is the first Pink Floyd. I was starting to think it was statistically impossible to make it this far without generating any Pink Floyd. I'm certain there's nothing left to be said about this album, and it could only be by some divine intervention that THIS is the first time you've heard about it, but of course I'll leave my 2 cents. This is the GOAT. Albums don't get better than this. Music doesn't get better than this. Waters, Gilmour and company brewed magic here, and that magic has never faded from popular culture. DSOTM is the first album you want to learn riffs from when you start playing guitar; it's the album you made out with your first girlfriend to in the back of your 2005 Chevy Colorado; it's the album you had your first drug experience to; it's the album cover you have tattooed on your skin; it's the album it's the album you and your dad can bond over and both agree on the fact that "albums these days just don't sound the same" when listening to it; it's the album you listen to while walking through your neighborhood thinking about how easy it would be to get the fuck out of this suburban nightmare you've created for yourself, then being comforted by the fact that you can provide stability to not only yourself, but the family you made for yourself; it's the album that gave you the appreciation for music and art that you still have today. It's the album that inspired you to take on listening to 1,001 albums over the course of nearly 3 years. But, I mean, how does it sound? Eh, 2/5 stars -- too many guitar solos.

I can’t explain why, but I wanted to be the bass getting slapped throughout this whole record.

I was hesitant to step outside my comfort zone this morning, but Makeba quickly brought me into her world, and I was very happy. The tones here are ALL over the place, and in the best way. You've got songs that make you move, make you laugh (One More Dance is absolutely cold blooded, and one of the funniest songs I've heard in years), and songs that make you sit and be with them. One day I'll find out where that naughty little flea went...mark my words.

I think this is pretty easily the band's most divisive record, and that makes a lot of sense. It's proof that the double album is always a risky endeavor that in my honest opinion hardly ever pays off. Don't get me wrong, there are great double albums out there, but even The Beatles show that it's very easy to jam pack them with filler. Too much of this album feels like The Beatles' Appalachian Vacation, and if you're a familiar listener, you know exactly which tracks I'm talking about. Not to mention no one is arguing that Birthday is a generation-defining masterpiece. Even if you're a diehard fan, you have to be questioning what some songs are doing here. That said, The White Album is responsible for producing some of the most iconic songs in the catalog. Blackbird, Back in the USSR, Helter Skelter (arguably the first "metal" song), Happiness is a Warm Gun with its insane time changes, and WMGGW are undeniably great. It also almost single-handedly changed the direction rock music would go in for the next 40 years. So I guess there’s that.

Okay okay. Let’s get the good stuff out of the way first. This album is held in such high regard for good reason. It’s the world’s introduction to prog rock and 21st Century Schizoid Man pretty much earns it that reputation. But boy oh boy is this album just not very consistent. We hit 100 fucking miles per hour in the opening track, pulling off insane rhythms and technical skill no one had ever done in rock music before…then a screeching halt to I Talk to the Wind, a 6 minute keyboard flute ballad that (I guess) is attempting to bring us into a real king’s court of medieval times. Talk about taking the momentum out of the record. Then we ssssort of get back to speed on Epitaph, which genuinely has a great sound but is too long and just a bit too corny. From here on out it’s tough to get back on board to really any greatness being offered. I like this record. I really do. But I don’t love it. It’s too boring and dated to be considered among its all-time great peers.

Gritty, grimy, gross, gorgeous? Maybe I'm forgetting another G word to describe the tone of this straight up classic UK punk album. The tracks here keep you guessing right up until the end, and nothing feels like it belongs in a box.

Here's an album that's obviously very tied to the culture from which it comes. The songs are almost hymn-like in nature, with consistent repetition and chanting, each at roughly 7+ minutes apiece. As a common westerner, there's a tough barrier of entry, even if the songs are technically proficient and vocally dynamic. It was pretty tough to keep invested in this one, but I feel it's a bit unfair to rate it low just because of that. As with most World albums, I just don't think I'm qualified to rate this fairly.

Let it be known that all my stars are here for Child in Time.

I've always felt the same way about this album, and it's really no different after this listen -- if this is your favorite album, no it's not. I really do understand the background history and the appeal of a record like this. I understand the approach to a free jazz/blues/garage, wild rhythm, "fuck you" to the industry approach and all that. And it's great. But this is not a good album on a pure musical enjoyment level. I think other albums (and I'll give this one credit for starting it) have approached the same ethos with a better end result. I just son't revisit this one often because at best it's silly, and at worst it's downright hard to listen to.

Although I really wish some tracks here had a bit more happening dynamically, this album is a sonic gem full of ear candy.

Iggy and Ziggy work very well together, but I have to say, this feels so much more like a Bowie record than Iggy's, and I'm pretty okay with that. I'll also say, this album contains the superior version of China Girl.

I already have a slight issue with multiple albums by the same artist appearing on this list. I don't care if it's The Beatles or whoever. I certainly don't need three CCR records. This band might just be the pinnacle of, "Yeah, I get it."

I'm fully in favor of everyone listening to the music they enjoy, and if you enjoy this, we can still be friends, maybe. But I also believe if I ever made a playlist with songs from this record on it, I'd have a lot fewer friends, and I already don't have many. Therefore I cannot like this album.

What a lovely surprise on a lovely Monday morning! I definitely did not expect to see these guys make the list. Talk about an underrated band who never got the fame they deserved. Back in college I wanted to be in a band exactly like this. Hell, I still want to be in a band like this.

I'll admit this album was all over the place stylistically, and as much as it tries to be Pet Sounds 2, it's not for so many reasons. But GOD DAMN I'd be lying if I said I didn't eat up every single track. I've never given this album my time, and now I truly regret it. This is the equivalent of going to see Star Wars 7 in theatres. Is it a ripoff of the OG that mostly exists to to provide fan service of what we all loved 40 years ago? Yes. Am I smiling ear-to-ear like a 10 year old boy listening to all the bells and whistles? Also yes. "Oh, oh, you see what he did there?! That's Good Vibrations!" A few months from now my rating won't be nearly as high, but in this moment, I love it. Not a hot take: Good Vibrations may be the best song ever written.

Out of pure nostalgia, I'll give this 2 stars. Sweet Emotion became a favorite of mine at 14 after watching Dazed and Confused for the first time. Most other tracks here are essentially drunk dad garage night tunes that neither he, nor I will remember in the morning. I'd give 3 stars if Steven Tyler hadn't adopted a 16 year old groupie so he could sleep with her.

Solid UK punk with a surprising amount of melody that was often left out of similar bands' work at the time.

With 15 minutes cut off, this could be a brilliantly coherent album. But as it stands, it sounds like Mr. DrawnBoy got carried away with playing with toys in his bedroom while crafting this. No shame there, I do it all the time too, when I’m trying to write a defined song. Still, there’s a lot to take away from this. It’s really ahead of its time, and easy to hear how it inspired later indie giants like Arcade Fire, even if it is taking a play or two from Elliot Smith’s book.

A bit of a snoozer but it's something to listen to. Like many albums on this list, I can absolutely see how this was important at the time, but the staying power just isn't there.

I don’t know if recent bias is the right word to use here, but I’m kind of shocked that of all the albums in 2018 and onward, this made the list. It just feels very plain. I’m not sure what I was supposed to take away from it, and sure, there are a few decent pop tracks, but you can’t have an hour + long record filled mostly with, well, filler.

The melodrama is strong with this one. In a way I do miss this era of the 90s when a mainstream album could be filled with sad love songs. But I can't say I'm in a hurry to revisit this one.

I ripped this album from LimeWire when I was like, 15. And I remember the copy I downloaded was labeled as a Beatles album. I just believed that for years before I realized it wasn’t them. Anyway this is my overall favorite Kinks album and without doubt my most listened to.

The CW's wet dream. Jesus Christ.

A beautifully charming and encompassing collection of bloops and bleeps.

Certainly one of the better Stones albums on this list, and certainly a favorite of mine. Though having done a full listen for the first time in a long time, I will say the middle of this record drags just a bit too much.

One of these days, Cohen’s music will connect with me, but it is not this day.

Elvis Costello's ska-punk side project? Cool. I will say, it's not easy to put so much hardcore energy into an album and still have it come out dry as toast, so congrats there.

Look, I'm not trying to take anything away from Knopfler here at all; he's one of the greats, and deserves all the praise he gets...but he's kind of a one-trick-pony on this one isn't he? He can play the honky tonk like anything, but you know, I DO give a damn about trumpet playing bands. Still, when a guitar solo is so recognizable, you can just hum it note for note, someone's doing something right.

This might be my favorite metal album, period. What a fuckin' swing right out of the gate. The amount of creativity, talent and relevant messaging on display here is absolutely insane; not to mention the dynamics in the playing (a rarity in so much modern music). I don't know if I can say this about most other records, but if you don't like this one, you're wrong. I mean come on, everyone needs a mother... FUCKER

I would've taken a whole album of Hong Kong Bar. The rest was too "Broadway showman meets sex addict folk star" for me. Buckley's vocal range is impressive, but it comes across here as silly; like we're not supposed to take any of this seriously. And maybe that was the intention. Who knows? Tim and Jeff reunion tour 2025? Sorry.

I remember the hype going into this album a few years after The White Stripes announced their breakup. Of course, I don't think anyone expected it would be as good as any WS album, given that band was literally something that couldn't be replicated, but I was still excited to see what Mr. White would do with a full band. And it's...pretty okay. I remember really enjoying it upon first listen, but as time went on, it lost a bit of its luster. But the guitar licks here are solid, and the backing band is really giving White a new lane that he would go on to polish in future albums. And White has certainly put out better solo albums since, and better work with bands like Dead Weather and The Raconteurs. So, you know, go check those out. After hearing this today, man I just really miss Meg.

It's weird, you know, all this time I've been exploring music, trying to expand my tastes, discover new and challenging artists, I was totally unaware that the vast majority of important albums to listen to before I die were mediocre Britpop records from the 90s. Crazy.

Slip not for me.

From now on I'm going to ask my wife to call me the Tennessee Stud. I mean, I don't know how you rate an album like this negatively. It's a collection of timeless classics that defined the Country music genre. And it's proof that Nashville was, at least once upon a time, a great city for music. Y'all ever watch The Righteous Gemstones? That's a good show.

I can't remember why exactly, but this was my first exposure to Wilco, and even after becoming more acquainted with their music, this remained my favorite of theirs for a while. I think the band's early sound combined with Bragg's vocal delivery was a perfect vehicle for what a modern Woody Guthrie might sound like.

The not-so-subtle subtlety makes this one worth while. I don’t know if Mayfield is capable of sounding not sexy when composing his music. I didn’t want to be turned on, but god dammit I was. For real though, the instrumentation throughout this record is what REALLY does the teasing; giving you just enough to want more without ever reaching the peak you so desperately want it to.

Pretty straight down the middle folk album. I dunno, I was pretty bored and didn’t come away feeling any different than before hearing it.

One hour is too long for me to gaze at my shoes. They're white, pretty plain. There's some good stuff here, but it's wedged in between too much time-wasting material.

"Mom, can I get this David Bowie album please?" "No son, we have David Bowie at home." Seriously, 8-minute long whisper songs are my kryptonite. That shit sucked. I was tempted to give one star for Seductive Berry alone, but have two and go back to the 90s where you belong.

The title track here always gets high praise, but I think the back half of this album is where it's at. The instrumentals across Broken Heart and No God are top tier progressive psych.

I’m not sure if it’s the before photo in a weight loss billboard of an album cover or the overwhelming mixing in the bass/low end, but this “masterpiece” did not resonate with me the way I hoped it would.

This was a slightly exhausting experience. That said, some tracks are certified bangers.

I don't think any pope has ever done anything wrong. If you read that and chose to keep reading, know that that was a lie. I lied to you...just like the pope does. This album is a lot better than I unfairly assumed it would be. Like most, my exposure to O'Connor's career is limited to Prince covers and anti-establishment practices. I almost didn't want this album to be any good, because I didn't want to dig any more into O'Connor's other material. But now I guess I'll have to.

Good god damn what an absolute classic. This album is all over the place, yet so polished. Somehow it manages to touch on so many different genres and do it so well. If you weren't taking Beastie Boys seriously before this album, you certainly were after.

Just shove those alt hits down my gullet baby. I can't say I'm the world's biggest SP fan, but for the time, this record had everything a guy like me could've wanted; powerful anthemic rock hits accompanied by crispy unique guitar tones. Chef's kiss. I listened to this album a lot coming up, and it's still great, I just don't get the same feeling listening to it I did back then.

Eh. Easy-to-forget psych record that maybe unfortunately got buried by its contemporaries. Regardless of whether The Who “stole” the idea for Tommy, Tommy is leagues beyond this album. Sorry.

What sets this album apart from normal 60s Brit rock is the insane rhythm section, capped by Moon’s unique approach to every single beat on the record.

Mariah's voice is undeniable, I don't think anyone would argue, but holy shit this material is enough to put a caffeinated toddler to sleep.

Picture this album as a lego set. You give the set to a 5 year old to complete, and they don't follow the directions. Once assembled, you can kind of tell what the final product was supposed to be, but pieces are all over the place where they don't quite fit, and even though it could be interpreted as "alternative," it really isn't pleasing to look at. But the child is happy, so you play along and say, "Well done!"

Let's say a prayer that we get some more interesting albums than this on the list. I can see why this was hot upon release, but I don't think anyone's talked about this album in 20+ years. Production is as plastic as it gets, and the hooks just aren't strong enough to keep me invested. Bit of a snoozer, but makes sense why it was chart topping in 87.

Your first girlfriend's dad's favorite artist! I don’t really have a lot to say about this one. It’s pretty milk toast, but hard to dislike if you’re a fan of folk. Straight down the middle, safe bet type music that may not be valued or remembered in 50 years.

This one actually had a lot more going for it than I assumed. It's a (mostly) effective blend of psychedelic instrumentation/song structure and folk contemporaries like John Denver. A lot of the guitar work here gave Gilmour vibes. It doesn't overstay its welcome, and there's enough to be mined here for a pleasant second listening.

I mean it’s techno. It’s good. It’s repetitive. I don’t normally take much away from 90s techno albums. They all feel like the artists knew they had something new and great, and they drove it into the fucking ground.

I admire how Nick doesn't give a fuck about what anyone wants. He manages to do his own thing every swing out, and it's always gripping. Love the music or hate it, you have to admire how Bad Seeds albums take you to another world; a noir western world with a seedy underbelly.

I'm not sure why the culture as a whole has decided that Thriller is a better album than this. This is far and away Jackson's best album, and honestly, it's not even close. Every track here is a groovy, funky disco hit. When you have a whole album of songs that could be used to get people moving at the middle school dance, you're doing something right.

What is this doing here?

There's certainly no denying the power in Sinatra's voice, even if the genre he's singing doesn't quite match up to where he excels. At best, this album is a solid entry into Frank's discography, but at worst, it feels lazy, sort of sleepy and a bit underwhelming.

If this whole list had been compiled in 1990, then I'd say sure, throw this one on there. But as it stands, this is incredibly dated and honestly not a whole lot of fun. I'm not the biggest fan of proto-ska covers and samples of Curtis Mayfield and Prince. All that said, I'll bet this band put on a great live show.

The king of Blues, you cannot deny But all things must eventually die And after ten repetitive songs That are all a bit too long You start to understand why Look, I would never speak ill of the great Muddy Waters. He’s single handedly responsible for inspiring some of the greats to pick up the guitar in the first place. And he’s immortal for his contributions to blues and rock music. But like, I get it. After three or four twelve-bar Blues jams, I get it.

Cheesy, sleepy and very very forgettable folk music.

This is the equivalent of a TikTok video that has been reused and stitched together so many times that whatever was originally there is just total garbage quality at this point. The production here is just awful and dated. The songwriting quality doesn't add much either, as nearly everything feels like bad Bowie or Smiths knock off music. Apt album title.

Ray Manzerek’s defining keyboard riffs are the cherry on top of the sundae that is Morrison’s commanding vocal presence.

Boy howdy was this one a big tease. The first few minutes of track 1 are almost unlistenable, and they remove any hope that this album will be anything more than a collection of noise someone made in a studio. And even then, the rest of track 1 is just randomly cut together...jams?...I guess, that were obviously a collection of interspersed thoughts edited together to make a 20 minute track. But after that, it's actually quite a delightful jazz/prog/space album! Still, too long, and not enough connective tissue to make me want to revisit this one any time soon.

Funny how time changes things, huh? There was a period of my life where simply looking at this album cover was a death sentence. My dad told me the "lore" behind it from his Christian perspective, and it scared the living shit out of me (but of course, also enticed me. I love how when you're a kid, your parents unintentionally make the "bad" things sound like the greatest fucking things ever.) If I had ever been caught with this album in my possession, I would've been grounded, beaten, and probably starved from dinner that night. That's how much my parents wanted me to stay away from it. And I did. I was literally scared that if I listened to this, I would A) summon the devil to my house and B) buy a one-way ticket to hell. But of course, time makes fools of us all. When I finally did listen to this, my main thought was, "I don't get the fuss. Doesn't SOUND evil to me, just really fast and technical. That's not evil." And then I heard it today for the first time in years and thought, "Eh, low end's pretty weak throughout." I laughed at my past fears, and then thought more on how something so harmless like a mainstream studio album (produced by god damn Rick Ruben) could insight so much fear in me. Then I realized, it's not the world that instills fear, it's the people who want to keep you strapped to their ideologies so they remain in power. So, you know, fuck the fascists. Vote blue 2024.

It's poetry...you just don't understand it. That's the problem -- YOU don't understand!

The year is 2004. You're 14, and headed to your buddy Tim's house for a sleepover. Gonna watch Lord of the Rings and gorge on some pizza. Tim shows you in through his garage. Tim's dad, let's call him Rolph, has a band. They're practicing in the garage. The three of them are a combined 13 Michelob Ultras deep. It's 7 pm. You like music, so you strike up a conversation with Rolph, wherein he says something to the extent of, "Yeah we're really just trying to keep rock n roll alive man. I think we're pretty solid, kind of just waiting on our big break. There's still an audience for our sound." Rolph is very much aware of his age, but he leaves that out of the conversation. Rolph is 54. He is the lead guitarist (the bassist sings) and plays an Ibanez Joe Satriani Signature model run through of 2 Marshall Stacks. The band is called Demon Resistance. It's fucking cool. You nod and accept what he's telling you. Maybe you even compliment the band's sound. You're really into bands like Led Zeppelin and Cream, and they sound a lot like those guys. Rolph throws you guys 20 bucks and says, "Have fun fellas." Then you go inside and proceed to order your pizza. That's the last you see of Rolph, even though you hear the practice continue until about 10. You fall asleep halfway through Two Towers. Anyway if Rolph's band ever made a studio album I'd bet it would sound like this one.

Wow, what a slog of 70 minutes. I read in the Wiki that Adam's was "attempting to write a modern classic" when making this album. Hate to break it to you man, but that's not exactly how classic albums work. This shit's dryer than Melania.

This was...nice. Not life changing, not something I'll be quick to revisit, but it was nice. I always feel when I'm struggling to come up with more to say on an album, that's a clear indication to me that it probably doesn't belong on this list.

So much solo wankery, Dave Mustaine’s guitar needs about 4 bottles of lotion a day to keep from chaffing. Honestly, this is fun thrash metal you don’t really need to think twice about.

Well, I WAS having as good day. While I can totally see how this is someone's favorite album, I think it's no secret that it's 100% a mood album. You had to be in the right palce at the right time to really resonate with this one, and like I said, I was having a nice morning when I popped this on. I felt it was too easy to tune out to while I wrote emails. I would like to (and plan to) come back to this one when I have the time to dedicate wholly to it. I'll drink a glass of bourbon and sulk in my existential thoughts. Or wait, you know what, today's election day in the US! That's depressing enough. Got all I need.

Old Man is one of those special songs that gets more poignant every year. 34 and, who knows how much more? This record is an undeniable masterpiece, and perhaps not even Young’s best!

A tremendously fun album whose most memorable song comes just a tad too late. Not every song here fits exactly, and I think we could lose 15 minutes throughout, but it’s hard not to feel uplifted after a listen.

"How can a person go to work in the morning, come home in the evening, and have nothing to say?" John Prine will have you thinking about the tough questions in life while charming your ass off with the exceptional country album.

If you're willing to soak up the indie rock atmosphere dripping from this album, you'll have a good time. But don't come here looking for ear worms and loads of hooks; it ain't about that. Future Beach House records will manage to deliver on both!

My thoughts on this album and why it's included on this list can be summed up by the title of track #4.

If you take a look at any critical list of 'Top 10 Albums of the 2010's', you're likely to find this one on every list somewhere. It's widely agreed upon at this point that this album is cemented as one of, if not, the best album in the last decade. Who am I to disagree? Regardless of its status as "best" or whatever, it's by far one of the most introspective albums I've ever heard. After years of revisiting it and peeling back the layers, it has genuinely changed the way I think; the way I think about America, the way I think about the Black experience, the way I think about materialism, and so much more. It's rare that you have an album that gets better and even more interesting every time you listen to it; and that's just through the lyrics and themes. I haven't even scratched the surface on how good the production is. Flying Lotus, Thundercat and George Clinton offer their jazzy influence all across the record, and guest spots from Snoop, Pharrell Williams, Rapsody and more just boost already great songs to another level. "The only hope we have left is music and vibrations." I think that quote a lot. I also think about this one: "Life ain't shit but a fat vagina."

Drake's ethereal folk jazz has never hit me in the sweet spot. There's certainly no denying his music is poetry, but it's always just been a little too all over the place for me to grasp.

Herein lies the eternal struggle with Roxy Music; when the album covers turn more heads than the music, you've got a problem. I think on one hand the theatrical, left-field approach to a mainstream rock album here is fascinating, but on the other, it doesn't entirely come together for me.

Safe, predictable punk album calls for safe, predictable review. This is definitely one of the albums of all time! It had music in it; guitars, basses, even drums, if you can believe that! And how could I forget the vocals? They were there too!

idk why lead singer man has to be giving me a stinky face on the album cover. So I'll deduct 2 points for that right off the bat. Otherwise, this one is pretty plain and forgettable. I've said this before, but it's really tough for me to get behind a band like The Verve having not one, but multiple albums on this list. Surely we can kick one out in place of another.

An insanely fun, easy-to-digest album that you can get loose with. This might be a hot take but I’ve always enjoyed this more than TH’s debut.

Oh man I love Destroyer!

The absolute best parts of rock and roll excess bottled up into one killer debut record. You know every song on the album, and every song is worth knowing.

The album may be a bit pandering, but I can't help but swoon over Mr. Stewarts one-of-a-kind voice.

I really wanted to like this more than I did. All the ingredients are there, it just never came together into a solid meal for me.

Call this a biased review, but seeing one of my favorite hip hop artists in recent memory show up on this list is a bit of an early Christmas present to me. And GREY Area is all in all her most impressive work to date. Simz' flows and writing would certainly improve on future albums, but paired with rock solid and unique instrumentation and sampling, everything comes together so well here.

Break out the Natty Lights and turn it up boys! It's time to show mom just how much we don't give a shit about her dumb rules.

This is the type of blend in “real” and “synthetic” I enjoy the most. And while this album has a pretty stunning sound, I think the overall tracks leave a bit to be desired.

Full of fun, varied tracks with a consistent theme of “radio show” throughout that helps you get accustomed to the variations on display.

While the focus here seems to be shifted more toward the endless possibility of sound experimentation as opposed to catchy pop tunes or immediate ear worms, the level of craftsmanship and beauty of synth sounds on display is more than enough to keep the listener hooked. Recommend a good pair of headphones for this one.

The musicianship and (kind of) buried talent here indicate that a-ha had something special beyond the trappings of 80s pop this album would lead us to believe. This was pretty forgettable outside a few key tracks, but I’m interested to see what else this group has to offer.

Probably worth another listen, but as it stands, this ended up being exactly what I thought it was going to be, and I don’t think I like that very much. An hour plus of bleeps and bloops and loops with some Samba influence, which would be fine if there was anything to hook me in.

Kind of just that Matrix Reloaded rave scene if it were stretched into most of the movie, with Madonna there.

When did the Allman Brothers become big band?

Dude, give me a fucking break here. Does every "post-something" album on this list need to be a depressing piece of shit? There are solid albums out there that fit into the genre way more than this. Maybe this was important to someone at some time, but it's very very much not a necessary listen before death's inevitable arrival. Now I'm just sad and bummed. Gonna put on some Carly Rae Jepsen or something.

Although Mr. Win hasn't had many wins in the past decade or so, the initial run of AF records can certainly be counted as a big W. I like to come back to this album every so often just to see how well it holds up when compared to a now, much more saturated "indie album landscape" and I gotta say, it's still among the best. Not many albums manage to have such simplistic arrangements that sound this big. I do think the album drags a bit throughout, but not in any one song in particular. But there are some tremendous tracks here that are required listening for anyone looking to understand more about indie rock.

Improv that cannot be improved—this album stands as one of the finest examples of what 4 masters of their craft are capable of when getting in a studio together.

Here we have an album that will make you feel like you're journeying through a secret, funky world in the clouds, with build ups and payoffs that stick with you long after you're done listening. Easily in the top 5 prog records of all time, and undoubtedly the best Yes record.

I should've paid more attention in French class, but honestly, the language barrier didn't sour this album much for me at all. I vibed with it every step of the way, and even without an understanding of what's being said, you know the flow of Mr. Solaar is on point.

I'll admit, I was pleasantly surprised by this one. I expected a more traditional approach to Brazilian pop music. This was anything but. Come for the powerhouse vocal delivery, but stay for the striking arrangements throughout. Really, the chord progressions and and instrumentation, especially on that classical guitar, are the stars of the show.

I've never liked listening to this record; for, what I think are, obvious reasons. It's very difficult to get enjoyment or satisfaction out of it on purely sonic level. But I've always been extremely fascinated by it; the real-time deterioration of a genius' mind as he tries to keep doing what he loves. It's an important piece of history, and a peak behind the curtain for anyone who wants to further understand Pink Floyd. Syd Barrett as a human is a tragedy. And I will say this in favor of the album; the production makes you feel like you're in the room with the band. There are tracks here where we're just waiting for Barrett to get it right before the take starts, we hear missed chords and flubbed vocal notes, and the mixing is far from what you'd consider a "done" album. And it's unfair in so many ways how the world would go on to admire PF as a band, when the founding member and primary driver of their sound would go mostly uncredited and uncared about for decades. Anyway, I don't have any idea what an appropriate rating would be for this, because it's the equivalent to an Outsider Music record to me. Syd, take 5 stars from me. You are responsible for the band that gave me the most of any band, so here you go. Shine on you crazy diamond.

A mostly forgettable R&B album from a time where this type of R&B was taking over radio. And while a few tracks really stand out here with innovative beats and solid vocals, they get lost in the middle of a pretty bloated album.

This is the soundtrack that plays to my interpretation of the typical UK millennial's college experience. Pour me a Guinness and let me commiserate with my mates over times past.

Simone's voice feels other worldly, haunting and mesmerizing all at once. We as the listeners are kept hanging on her every word, almost like listening to a great story.

If you look at the face of the woman in Grant Wood's American Gothic, I shared that same expression while listening to this album. There is a chance this music is too..."advanced"? maybe...for me, but I think maybe it just kind of sucks.

One of the great debuts of all time; not only for the tremendous songwriting and production on display, but for how it was able to bring an entire genre to the next level of evolution. Tribe's effortless lyricism accompanying timeless beats leaves a lasting impact and influence that would stretch way beyond hiphop.

A Clapton classic for sure, but here's the thing about Clapton classics—once you've heard one, you've kind of heard them all, haven't you? Look, I'm the last person who would speak ill of one of the all time great guitarists, but the truth is, I never understood the comparison to almighty God. He's...great (as a musician; please don't cancel me). But when it comes to the Clapton solo material, I'm always left asking, "Where's the chops?" Especially on 461, Clapton seems purposefully reserved on every track. That's not inherently a bad thing, I just know how good he can pull out the dirty blues tones and truly make his instrument sing. I will say, the one track I respect a whole lot here is I Can't Hold Out, and it's precisely because of the reservation. The hushed vocal delivery, followed by the little-engine-that-could slide guitar pushing its way through the music really works for me.

The British are coming...to do this sound much better! I mean this was totally fine. I'm not mad at an American band from nearly 60 years ago making bland psychedelia music. It was a dime a dozen. What I really didn't care for on this album was the stylistic choices that seemed to clash. On one side, this is a Doors album; then we move over to Beach Boys. And none of the tracks have the same personality of a Morrison or Wilson. This one's meh, not in a hurry to revisit.

The attack is far from massive here, but indeed very chill. The album has a great way of putting you into a groovy trance and sort of forces you to accept what it's offering.

I’ve been transformed into a young farmer’s daughter who’s grown unhappy with her small town and longs for bigger things out of life. Seriously though, what ever happened to THIS Country (music…but also…)? When did the target audience grow tired of seeping melodies over heartbreaking lyrics and lush production in favor of “BBQ stains on my t shirt?”

Sure, fine, yeah, whatever.

Layne, you're not yourself. Have a Snickers. As much as this album has never really been for me, by golly did I know every song from my youth. I think this is a staple of grunge music, and certainly an important album, but I don't tend to revisit this stuff too much.

One too many adult contemporary albums this week. I was pretty much checked out the entire runtime here. Lang’s voice is solid, but the songwriting is about as milktoast as it gets.

I don’t have a lot to say about this album. So I’ll tell a story about my listening experience. I was about halfway through the record while driving my three-year-old daughter to school. She jumped up during the ride and said “I wanna listen to something else” I said, “me too kid, me too.“ so I put on the Moana soundtrack for the 10,000 time, and that was a nice relief from the album.

The man is certainly a wonder. I spent half this album just bewildered at the chord changes and progressive soul sound in tracks like Don't You Worry Bout a Thing. It's a rare talent to craft a pop song while still offering a unique flavor rooted in jazz, not to mention write powerful lyrics dealing with racial divide in the 70s that manage to resonate with all listeners. While this doesn't have the same legacy as SITKOL, there's no world where it wouldn't be 5 stars.