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.

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.

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.

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.

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)

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.

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.