1001 Albums Summary

I, in an incredible lapse of judgement, failed to write notes as I go along, so I'll just keep this short and sweet. Wow, what an interesting pick right out the gate. This kind of album can be a hit or a miss to me. I'm picky about vocal quality and dark lyrics. Sometimes the stuff hits and sometimes it misses. It wasn't until Wave of Mutilation until I felt it. That it really hit. In the end, there were more hits for me than misses, and even when the songs don't land, I still can find something to appreciate from them. And I feel like upon subsequent listens my enjoyment of Doolittle can only grow, now that I know what to expect from it. As an aside, I wish that you can give half points to albums, my correct rating would probably be 3 1/2 stars, to be perfectly honest. I kept hovering between the 3 and the 4 ...

The first thing I noticed was the bassline. It immediately sticks, catchy and striking and so, so punchy! I love a good sexy bass and this album delivers it in spades. That's entertainment, indeed. A rather cohesive and pleasant album, where each track seems to build from the previous. A good, solid, reliable piece of work.

Before choosing to undertake this album, I was struck by the divisiveness of the reviews. As someone who finds delight in chill music, who loves to soak up the ambience and does not at all consider vocals a requirement for something to be considered music, I was intrigued. And you know what? It was a perfectly fine piece emblematic of the feeling you get from driving at night through a rain soaked city.

Immediately hypnotising, the bluesy crooning of Joplin's voice seizes you in a chokehold and refuses to relent. There's a rampant intimacy about this performance, as though I'm listening to it live in a small, local, hole-in-the-wall bar. The backing band does a good job lending to this, tastefully garnishing the passionate belting of Joplin 's voice - though there are certainly moments where it shines, such as in Buried Alive in the Blues. Absolutely phenomenal piece of work.

Still relevant today, despite having tracks that reflect political and social society, Innervisions remains a pleasant listen to. Challenging at times, perhaps, but more than simply a necessary listen.

Paul Simon is a delightful mishmash of folksy music, blending genres in a way that feels completely effortless. Down to earth, quiet, and personal, I really cannot recommend this album enough!

I'm glad I was only barely aware of the "drama" surrounding Hole's lead until choosing to listen to this. Some people give me a headache. This music rocks my socks off for sure.

I wasn't really feeling this one, to be honest, but I can't really say it was the fault of the Stone Roses or anything like that. Just wasn't feeling it. Made of Stone is a right banger though, that's for sure.

Beck is such a strange fellow. I feel like his music ought not to work, not to be pleasant, but he pulls off quite the mishmash of styles with ease.

Should have listened to this with my coffee. Absolute dumb decision on my part that I did not. Extremely cosy and comfortable. Usually the live sound bothers me, but this album uses it in an intimate fashion that only heightens the experience.

Is it possible for me to go a week without finding an artist that has no baggage attached to them? Upon listening to this, I find it ludicrous that No Other was critically panned. Is it perfect? In my opinion, no. It does menader a bit in places, and Clark's voice isn't exactly my thing. But the lyricism is strong, the passion there and the production crisp. I have certainly heard much worse on albums with many accolades to their name.

This one is carried by the instrumentals, for sure. The use of guitar and strings are to die for. Some of the songs still stand out, though. And even with my least favourites, I still had an okay time.

This shit is smooth, squeaky clean, impeccable production. The tracks themselves are hits and misses, albeit with a strong start. Aja and Black Cow at least are must listens!

If someone sent this to me and told me that this was a video game soundtrack, I'd believe them. Five stars.

I desperately wanted to like this one. The folksy lyrics, the simple instruments, almost everything seemed to lie in place, but man I am not a fan of Bragg's vocals! I feel bad, genuinely, because there's more than a few, shall we say, unique vocalists I do enjoy, but alas - I can't say this is one of them. I appreciate this for what it is, and even liked a few of the songs, but I can't say I'm a fan.

An album I ought to enjoy more, but just can't fully grasp my head around. I'm fond of the rough lyrics, the world weary accompaniment, but Dylan's vocals are very much a hit or miss. A certain cadence that doesn't always rest easy on my ears. And yet, despite my gripes, I find it hard to imagine any other voice warbling these tunes.

How in sweet Jesus did I pull two Pixies albums before a single month has passed? Bizarre circumstances aside ... I don't know if it is because I am now used to Doolittle's bullshittery (affectionate), but I found Surfer Rosa an easier venture to sink my teeth into. The music on this album doesn't overstay its welcome, something of which I surely appreciate - being abrasive and loud and cacophonous as it is. The one song I couldn't stand also happened to be the shortest on the album, so there's that going for it too. While most of the highs aren't as impressive as Doolittle's, most of the lows aren't as miserable to me either.

She really is a bit of an unsung hero, musically, isn't she? Pretend this is a 4½ star review.

Oh lord have mercy, I've joined the Radiohead bandwagon.

Y'all, it is perfectly okay to let loose and indulge in some dumb junk food every so often.

I told my girlfriend that I had to listen to Wonderwall today, and she laughed at me.

I found myself going "yeah, it makes sense that Stewart Copeland composed the music to Spyro the Dragon" at multiple points. God, I'm a fucking millennial nerd.

Multiple times during this project, I've found myself going "man, it's really good that I haven't really bothered to listen to mainstream music much in the past ten or so years," because man, I can understand being SICK of these songs. When I still lived with my dad, he'd put country radio on, and god damn, I quickly decided that modern country wasn't my thing, I tell you what ... Anyway, where were we? Oh right, overplayed drivel. Appetite for Destruction is the first time during this venture in which I've wondered if that would even matter. Oh, I understand why Welcome to the Jungle and Sweet Child o' Mine are well beloved, but understanding and finding enjoyment myself are two different beasts. What is now ambivalence would surely be groan inducing pains and hair pulling if I was more in the loop in regards to radio play. I did not mention Paradise City yet, because I ... actually like it? I don't know what the science is behind this, so I'll just roll with it, I guess. The rest is similarly a hit or a miss. Rocket Queen was a fun ending, and Nightrain was a blast, but this album altogether just feels pretty average. Pretty alright.

The gods, if they are real, truly must have been listening to me, for after complaining about overplayed radio music, and after listening to multiple albums with extremely popular songs on it - including a bonafide "meme" song! - I get this. (For context, I am American, if this is a much more popular album in the UK, you are free to ignore the above statement) And wow, I wasn't expecting something so dreamy, ethereal even, that takes me on its own haunting journey. Don't know if it is because I had low expectations, but this is high praise from me.

I don't want to be a dick and give an album one star, but this was neither appealing to my sensibilities, nor interesting enough for me to forget that it was not appealing to my sensibilities. On A Rope was a banger though. I somehow liked that track on the album.

Jesus, this shit is fire. Love the Rhodes.

I find it difficult for something to be noisy, harsh, and edgy, but not so much so that it aches on the sensibilities. The Damned does a decent job at not going overboard, at least with this album.

I often forget, and with quite frequency, how greasy Aerosmith actually is. Like don't they have that rollercoaster at Disney? Did I like hallucinate that? I guess this kind of music is for some people, but not really for me. It has edge, sure, but not edge that comes across as meaningful or interesting in a way. Edge like cardboard grease stains leftover from a pizza, I guess. The only thing saving this from the dreaded single star is that I do like the arrangements when divorced from the lyrics and that Walk This Way is regrettably a banger (even if it is the inferior version)

the one thing worse than an album that is not fun to listen to, is one that is so utterly unremarkable. i can say a lot about "here comes the warm jets", but i do not believe that i could call it unremarkable. strange, eyebrow raising, and bemusing certainly. not fit for easy listening, absolutely! but not unremarkable. never unremarkable.

Objectively, this album is probably more 4 star than anything else, but holy shit this is musical comfort food. A big fat bowl of cheesy mac, a warm blanket on a cold as balls day. It's just cosy, man, and I just can't beat cosy. I just simply can't.

This doesn't quite have the folksy blend that I like best from Simon (& Garfunkel), but still a worthy outing. Must be a hoot and a half listening to this on shuffle and the Bob Dylan diss track ends up playing back to back with "7 O'clock News / Silent Night"

Dad rock really is a hit or a miss. You may get sleaze. You may get the most revolutionary shit you've ever heard. You may just get a decent time. I don't really find Machine Head to be particularly remarkable, but the songs on it were fine, and I can understand why some of them are well known. Highway Star really is *that good*

Don't think my patience was fully here for such a long album, not when I've sat through Black's vocals for two other albums already in this project. I definitely didn't hate it, the three star rating is earnest, but man, I've gone through a lot lately and this was a weird mental roadblock. I certainly saved a fair share of music from Teenager of the Year, but I'm glad I never again have to sit through the stuff I don't like to get to the stuff I do.

Well, I'm relieved I put this album off. The short story is that I've been feeling a bit poorly. Upset stomach, pounding head, coughing, nose blowing, aches… The whole nine yards. It doesn't really take a stroke of genius to wonder why someone wouldn't want to listen to loud instruments, heavy, growling vocals, and pure aggression under such conditions. But something about choosing today, the day my body aches have slipped away and only the faintest frog in my throat, to listen, feels like a strange breath of fresh air. One could call it energising. This review isn't glowing - some of these tracks feel a bit too repetitive, and I would never point to this sort of vocal style as a favourite - but honestly, I get the appeal. I wish there were more tracks like This Love and Hollow, though. I really enjoy a switch between tender and growling vocals. Utilizing different vocal styles in music can elevate the emotion in a unique way!

Relative still, and challenging to the mind, but Tracy's vocals are pleasant and earthy, nonetheless. Wow, phenomenal stuff!

Hip hop is one of those genres, like metal or punk, that can come across as abrasive or harsh sometimes, so I never really know what I'm gonna get. I can deal with abrasive, but it isn't usually my go to. I really like smooth, chill hip hop music for sure though, so I was delighted by how laid back this is. Done By The Forces Of Nature really feels like a few good mates feeling out some nice rhymes and sampling some cool beats and just letting it all flow.

I don't hate noise. I don't hate harshness. And I certainly don't hate sticking it to the man, but these are all things that can be very hit or miss with my enjoyment. You might be screaming "It's punk! It's supposed to be like this!" and well, good, if this sounds right up your alley I hope you'll take this as a recommendation and not be disappointed. I hesitated with my rating, and decided that even though I disliked this, I do think there's something worthwhile. There's heart in this, it just isn't heart that I quite understand.

Wow. Absolutely WOW. Like many others, I didn't know what to expect and also like them, I was pleasantly surprised by where this journey took me. Soulful, lush, heartfelt, and so, so smooth. I can hardly believe that this is a recent record with how much it feels like an album from the 70s. Wow.

For a moment, I was pretty hopeful. This album starts off with strong production values, a great sound all around, and okay, yeah, he's a bit of a braggart, and there's perhaps a couple of swears too many, but hey, surely, there's more to this album than just JAY-Z reminding you of how amazing he is (all while the producers remain understated). And that's definitely the case. But I feel like this certainly dragged on for too long, too. As far as number of tracks go, this has been one of the longer albums I've listened to so far. There isn't anything particularly profound being said throughout most of Blueprint. JAY-Z is heterosexual. He is wealthy. He is incredibly confident in himself. These aren't particularly horrible subjects to make music about, certainly no, but this album is so long. It isn't all dreary slog of an album, some tracks are decent, particular being one produced by Kanye West. Unfortunate, as I don't think either of these men need a bigger ego. But like, what do I know? This isn't really made for me. I'm too gay, too white, too poor. It's fine. I don't have to GET every album thrown at me. But, I'm not entirely sure how to rate this one. It kind of seemed "just okay", yet the inclusion on this list feels reasonably obvious to me. Yeah, I didn't like this, but I guess I am glad to just experience it in a way. … And all this was released on 9/11? 2001? Christ, talk about surreal.

Sincere isn't bad, it is just simply too much. If there were ten, even five less songs on this album, I'd be more favourable, but it feels as though Mj Cole has very little to say in such a large amount of time. Pickings are decent, but sameish, and that's where the inherent problem lies. I saved about four or so songs to revisit, but I guarantee that I will likely never touch the rest of the album ever again.

It's the End of the World As We Know It (And I Feel Fine) is one of those songs where I think I dislike it more than I actually do. In fact, it is actually pretty good. Oh, and the rest of the album is great too.

I just love heavy electronic music like this! The album doesn't drag on too long, and I feel like Justice performs better without vocal accompaniment. Cross is crunchy and heavy and man, I love that.

There really isn't anything I can say that has not already been said. Plenty of other reviews have more eloquent, more interesting things to say. Read them, or better yet, listen to this album and decide for yourself.

I heard these guys were right pricks, so my expectations were a bit low, but goodness, they were cleared well enough. Sure, I find the vocals to be a bit whiny at points, like the punk version of a wet cat stranded in the middle of a thunderstorm, but the excellent bass and keyboard make up for them. That near eight minute long medley was rightfully impressive.

This album is certainly a strange time capsule. The sound and the beat and the samples … it all comes across as kind of goofy in retrospect (not to mention the amount of song titles that intentionally misspell words!), almost like the work of a musician intending to parody this sort of music instead of one of the progenitors of gangster rap. Liberal usage of n-words and f-bombs and some poorly aged social stances are enough to hold it back, to remind you that these fellows are serious. And yet, despite my eyebrow raising, I appreciate this. More as a historical moment, a cornerstone of music, than something I actually enjoy. I can't say I'd really recommend it, to be honest. Likely won't ever revisit it, but its inclusion on the list makes total sense.

Well, thanks for the reminder that I ought to catch up in Stranger Things. One of these days. Eventually. It'll happen. I was surprised to know that the song made popular by the show was on the strange side. Ethereal, magical, otherworldly, a literal deal with a god put to music. It isn't the strangest on the album by a wide margin, but it is proof that one can still be bold and individualistic while also committing to making a banger that would be adored by a generation. Running Up That Hill is merely the tip of this wonderful iceberg, with bold song following bold song in succession. Even the first half, with its "safer" choices, delights the ears with a world far more alien, things stranger than what I am used to. I am absolutely enamored from start to finish.

Pure passion and romance distilled in just eight songs. Sensual, but not crass, sexy, but not raunchy. Who says that sexiness can't be classy?

Yeah, I'm just going to let my fellow reviewers speak for me on this one. Definitely one of the very best I've heard since starting this project.

If I had a nickel for every time this website generated me an album with connections to 9/11, I'd have two nickels, which isn't a lot, but it's weird it happened twice.

This isn't my favourite album that I've rated, but this might be my favourite example of a good reason to undertake this project. Truly unique and unforgettable.

This wasn't as bad as I expected, tempered expectations because I have a habit of reading other reviews before listening. I kind of expected something unlistenable, noisy or vulgar, but no, it was pleasant. Yet, it also wasn't particularly remarkable, either. Perfectly average in every little way, with but a few gems sprinkled throughout. If this album were any longer, I'd be harsher in my review, but it was just long enough not to overstay its welcome.

Dark and gloomy and heavy, but for the most part it wasn't too overwhelming. Some of the tracks pushed that boundary, Aisha straight up crossed it. As far as diversions go, there's been worse.

This is one of those albums that's in a style of music I have a soft spot for. To such degrees it is that it would take a truly awful singer to make me hate it. Luckily, this passes that test reasonably enough. Folksy, gentle, homely, just the kind of pick me up I need.

I may have over rated this album just a smidge, but I am overwhelmed and impressed nonetheless. I feel like Songhoy Blues has something that needs to be said (all without understanding a lick of what's being sung) compared to many of the other ventures on this list. This is pure passion and pure blues.

If there ever was an album hindered by its length, this is possibilty it. My feelings would not be near as scathing if it was half the length, even if that half contained only my least favourite songs. What I got was okay, but oh it was so much mediocrity. So prevalent. So droning. The songs became a mesh that just collided into a slurry and the only thing that my brain can process is that one "meme lyric" about being a rat in a cage. I sat on this finished album for a good hour, digesting it, wondering if the mere behemoth of its length alone would warrant such a low rating. I do not know if I'm being too kind or too grumpy with my appraisal.

I really struggle in rating albums like this. It is inoffensive and not remarkable, but also pleasant enough that it didn't intrude in any unpleasant way. A decent album to put on while I drink my morning coffee and browse the ol' Internet on this Sunday morning, but on the other hand, it lacks a certain spice to make me want to listen to more. It is worse off being kind of boring or being kind of painful on the ears? Settled on 3 stars based on the merit that (morbidly enough) it is a wonder that this album flows as smoothly as it does considering the circumstances behind it's production. It helps that this album does not drag.

There's a fine line between gloominess and edge, and the Cure manages to not cross that line with this album. Seventeen Seconds is short and sweet, doesn't drag on for too long. The fogginess of this music just washing over me, almost comfortingly. I'm not the biggest fan of the vocalist, but his voice isn't enough of a detriment to bump my rating down too much.

I wanted to like this one more than I did. Truly. I, like many, know them for their song "Bellbottoms" and think it a right banger. While I would not say that the music of "Now I Got Worry" is inconsistent compared to that song, it doesn't have a single track that reaches those phenomenal highs in my eyes. I may be a little generous with my rating here, but the album didn't overstay its welcome long enough for the negativity to sink through. There's some good. There's some bad. It ends before I could truly lament having listened to the latter.

I genuinely don't even know what the fuck to even say about this one. It felt like a weird dream, a combination of nonsense and the sensation of drifting upon the clouds. It was aight. Some worked. Some didn't.

Unique vocalists tend to be a hit or a miss, so when Byrne first opened his mouth, I felt apprehensive. "Uh-oh, Love Comes to Town" ended up being a strong opener - I love the tropical vibe - which assuaged my worries. For the most part, Byrne's vocals work well with the compositions, though there were moments where my enjoyment seemed to dip - "Happy Day" may just be what kept me from giving this the big ol' 5 star rating - though there were also moments that went above and beyond. "Psycho Killer" is delightfully devilish.

Listening to this made me want to take a nap, and I say this as a compliment.

Before going in, I thought "oh, is The Flying Burrito Brothers a funny indie band with quirky lyrics and clever wordplay?" Their name is so astronomically absurd, feels like some prime Internet humour. But oh no, these guys are old, enough to be my parents sort of old. Nice to see that back in '69, silliness was not dead. In the end though, this was too simple and average an album for a band with a funny name on an album with a less funny, but no less amusing name. Completely and utterly average to my ears in every way. The reasonably short length of the album and some stand-outs kept this from completely stumbling to a messy and bloody halt, but boy oh boy, it sure be struggling.

The Nitty Gritty Dirt Band's "Will the Circle Be Unbroken" answers the age old question: Is there such a thing as too much bluegrass? Before noticing the length of this album, I was tepidly interested. The style of this music can jive with me from time to time, even though I could definitely do without the whole Confederacy (and some of the Jesus and mopey alcoholic) stuff that ends up sneaking into the cracks of this genre. But boy, do I love acoustic guitars and fiddles, folksy shit that almost feels mythological in how it seems from another time and place entirely. But forty two songs? Christ, well, okay … I liked a few of the earlier songs and tolerated some of the others. But this is, in the end, a very bloated album. Don't bother listening to the entire thing unless you're a huge bluegrass simp - or you're another poor stubborn sod like me determined to push through this project with brute force. Otherwise, listen to "Black Mountain Rag", "Flint Hill Special", and "Foggy Mountain Breakdown" if you want to experience some genuinely amazing compositions. Then, with your newfound spare time, go play Bioshock Infinite. Or not. I don't know. I'm not your mom. I don't disagree with the idea of picking a bluegrass album to represent your list, but my brother in Christ, this was so bloated I found myself just listening to this out of obligation in the end.

I wondered if I would enjoy this album in full knowing how well loved it is. Sometimes I completely agree with the popuoarity of an album, and this is one of those times.

This may not be for everyone, but the earnestness of this album rings powerfully. It is personal in ways most of the albums simply aren't.

You can very much tell that this is Queen before they've hit their stride. If this were a lesser band, this would be seen as a great insult, but because this is Queen, this is still a decent album all things considered.

I was anticipating this one. This project has revealed a fondness for African music I was not aware that I carried, and this project only solidified my love for Paul Simon. So imagine my delight upon finding an African musician who has toured with Simon! I was immediately captivated. Makeba's voice is delightful, powerful, and passionate. There's a quiet intimacy, but unlike many other albums with sparse use of instruments, this doesn't feel cold, but warm. So very warm. There's many other albums that feel more impressive on a technical scale, larger in scope, but Makeba's voice quite literally carries you through fourteen lovely little songs. It helps that this album isn't a beefy one. Many of these songs are short and sweet, breezing from one to the next onto its conclusion. When I opened this album, I intended to save it for later, only for me to realise that my plan had failed seven songs in.

I spent more time trying to figure out what to rate this album than I spent actually thinking about nearly every single one of the songs. I've historically been softer on "boring" stuff if it's a genre I'm inclined towards, but this particular brand of rock n' roll has never really jivved with me. On the flipside, nothing about it struck me as something that I feel like needs to be listened to. There's a few albums I hated more than this one, but still threw them a bone because I truly found them deserving of being in the list. Exile on Main Street? Well a lotta people keep saying this is one of the best rock albums ever, and quite frankly, I simply do not understand.

Certain artists I feel can deftly handle writing long songs that don't feel their length. I did not feel that with The Waterboys' Fisherman's Blues. What would have been a solid 4 star album was hampered to me by just a few songs swathed in unnecessary bloat. Just a few! The lush, folksy vibes keep this album from being a total stinker, however, with a few tracks that I will quite happily revisit.

I love feeling like I'm sitting by the beach without actually sitting by the beach!

björk is like one of those quirky weird artsy girls except her work in engulfed in sincerity. This could have easily gone the route of pretentiousness rather quick. On paper, this probably IS pretentious. And yet, björk delivers an otherworldly gateway with one foot grounded in our reality, like some sort of musical demigod. As someone who is sensitive to certain vocal styles and pitches, her singing doesn't always work for me. There's at least one song on the album that I appreciate much more as a work of art than a piece of entertainment. The music she's working with should not be understated, either. If anything, she weaves her voice between arrangements that perfectly match it. Tracks like Big Time Sensuality and Human Behavior lift her voice with groovy riffs, while others, like Venus is a Boy and Come to Me gently nudge you through an alien landscape. This is a phenomenal debut album that will stick in your head.

I ... had no idea what to expect going in. Like, I know who Black Sabbath is. I have family who likes them, and even if I didn't, Iron Man (the film) was my shit back when the MCU was so fresh and new. I have even enjoyed a few of Sabbath's more popular tracks, but I've always considered myself picky about the genres of metal and hard rock. It's so easy to fall into the trappings of sleaze and edge, no subtlety, all roughness and loudness with this kind of music. This album starts off heavy and weighted, but not unpleasant. Not overbearing. And then Changes hit. Holy shit, what an unexpected turn! And I'm all here for that range. I'm sure folks may say that both it and FX didn't flow as well with the rest of the album, but I thought both were quite good - though the latter is unfortunate too short to leave an actual impression. I was worried that between those two (and later on Laguna Sunrise), I would have been disappointed by the lack of variety brought forth, but no, even when they're hitting as hard as a sledgehammer, Black Sabbath delivers on a variety of sounds, while still keeping their core mission statement intact. This was good. Not just good. Phenomenal. I really don't know what it is about this album that clicked so viscerally with me, but it grabbed me and just refused to let go.

Albums laced with aggression and harshness tend to be a hit or a miss, and oftentimes I find myself needing to be in a certain mood to revisit. But this, barring certain aspects, mostly hits. Even though I may not be eager to revisit, I do find it an important album. Important to hip-hop and important to the social issues that still plague American society even to this day. Unfortunately, it does drag on just a wee bit too long, as I've found myself starting to grow antsy in the latter half. I also find the inclusion of homophobic and antisemitic views to be a bit of a bummer. It kind of just leaves a sour taste in my mouth, ya know?

Going in, I can say, whether I get into this album or not, I can safely remark that it has a strong identity. Cohen has vocals that fit the spare acoustics and empty spaces. This music is the personification of a cabin in winter, as boldly stated when he opens with an Avalanche of a song. This sort of music is something I must be in a mood for, but I appreciate the vivid picture this paints regardless of how I end up feeling after this album. His voice takes some getting used to, as someone who doesn't particularly vibe with different vocal styles. As I mentioned before, it is fitting for this sort of music, perhaps scarily so. Something to be respected, even if it doesn't always jive with my ears. But sometimes, oh, it really hits, such as in Last Year's Man and Famous Blue Raincoat. I do feel like this album or at least the individual tracks it contains. At times, there's something dour, plodding, like a dying dog limping and waiting to be bled out. Cohen's voice is slow and deliberate and measured, perhaps to a fault. This is yet another of those albums where my feelings are a bit 50/50. One of those that I won't revisit the whole picture, but definitely will check out some of the individual tracks in my future. The use of Joan of Arc as a bit of a framing device was neat though!

There's just something so flawless and effortless about She's So Unusual. Delicious synthpop backing Lauper's playful energy, it would be difficult not to imagine dancing along to this album, and were I alone in my house at the moment, I surely would. Even at her quietest, she's got an infectious spirit that can't be understated.

Country music is very much a hit or miss to me - I've said it before and I'll say it again. For every moment that delights me with the rhythm of fiddle and banjo, there's another that nettles me with vocals that caterwaul about the good ol' days. It's embarrassing to admit that my good track record with this genre comes from video games imitating or paying homage to it ... The Byrds should probably be thankful that I'm choosing to only listen to the standard editions of these albums, because eleven songs seems a good enough number to avoid overstaying my welcome. This is one of those albums where when I start to grow bored of, come pleading and begging for me to return with a song that just captures my attention enough to stay. But honey, if you want me to stay that badly, you have to try harder than that.

Not the sort of vocalist I'd point to as a favourite, really, but she shines in this sort of aggressive, sharp soundscape offered by The Scream. This is still the sort of album I tend to appreciate more from a distance than face to face. It can be a little ugly, a little harsh, but damn, if it ain't influential.

At first I was like "Oh God DAMN it, another country album?? Already? This is like the fourth one this month!" But then I thought for a moment, "well, it's Dolly, so hey, it has to be at least passable." And hell, it doesn't have an obnoxious run time either. That's already two points in this one's favor. And man, was my hunch correct or what? Congratulations, Dolly Parton. You singlehandedly saved country music.

My first time listening to Back To Black, and yeah, I get the hype. This is the kind of music that's my jam though, so that's unsurprising. Unique and powerful vocal work and songs that feel both timeless and classic.

Immediately, I understand where the criticisms are coming from. I don't dislike the iconic "80s" sound, with it's simple, but punchy drums and droning synth, but I can understand why an entire album of this would be rough. Thankfully, Turner's voice does enough heavy lifting that it isn't the most distracting example of underwhelming background music. "I Can't Stand the Rain" is a good example of how her voice can work well in tandem with the background, the rhythm reminiscent of rainfall to my ears. A perfectly average album, but the standouts are real knocks in the park. I totally get why her hits are hits!

Yet another album where many individual pieces sound more appealing than the album as a whole. Not at all bad, but not knocking your socks off good either.

I don't know much about the Arctic Monkeys. I remember listening and enjoying some of their songs, but I wouldn't consider myself an expert. This, I am similarly in the dark over the lead's other project, "The Last Shadow Puppets". I don't know really how this compares or how this differs in regards to his other work, that I find myself wondering just how different this rating may be if I was. One track in and I'm struck by the daring and theatrical, yet accessible presentation. There's strong orchestration, playful whimsy, and James Bond-esque dramatics aplenty. I wouldn't say this is necessarily daring, but this is the kind of album where I'm surprised at how easy it comes down. It flows by quickly enough, sending me floating along from track to track until the album's conclusion.

4.5 stars rounded up to 5, in part because I have a soft spot for this funny duo and in part because I have a soft spot for concept albums.

I never really know how to feel about the influx of British bands I have mever heard of before. On one hand, there's something refreshing about, well, something I've never heard of before. On the other hand ... why the UK? I'm not anti British, hell I'm dating a Brit, but it just seems very specific to come across so many albums from this country. I haven't even pulled an album from Asia yet, and at the time of writing this, one of the top charting pop songs is some slutty K-pop number ... Anyway, this isn't bad. The cadence of Lloyd's voice really clicks with me. He's got a voice that has a good rhythm, but for the first two songs, does all the heavy lifting. "Rattlesnakes" is the sort of song I want to see during the remainder of the album. "Forest Fire" delivers in a similarly satisfying manner. At the end of the day, this album was serviceable, satisfying even. As a whole, it doesn't do a lot of standing out, but a decent amount of bangers were still to be had.

In a completely expected turn of events, Lady Soul by Aretha Franklin kicks major ass.

I have no fucking idea what I just listened to but I'm here for it.

Only like four of these songs made me feel something and one was the one with the weird minion-ass vocals in the beginning, so make of that what you will.

At times, dark and oppressive, and at other times, breezy and dreamy, this album truly is a journey. I have never seen the film that this soundtrack accompanies, and a part of me doesn't want to. My oｗn journey from start to end may very well and be different from what was intended. But oh, was it a journey. (As an aside, I am tickled pink but the accompanying Wikipedia article on this work mentioning a collaboration with members of Supergrass, as one of their albums was the last one generated before this)

One song in and this is smooth, well, maybe not smooth, but relaxing. There's a laid back vibe to this, while not being gutless. Smith's vocals are not lacking, not simplistic, despite how utterly quiet, for lack of a better word, that these songs are. And honestly, this sort of quiet fury was just the kind of thing I needed today.

This just felt like a bunch of noise to me, sorry to say, even with my tolerance for vocals I can't understand being as high as it is. I understand, and daresay I even tip my had to this album's conclusion, but I do not at all like it. Recommend it? Eh sure, why not. Low rating, I may give, but it was still a mercifully short scream fest.

This album may as well exist to prove that just because I am into jazz, not all jazz may be into me. I don't HATE it, but it's challenging enough for me to take pause. I kind of got used to this album as I went on, though I had to pause to scrounge up a better upload of one of the songs, which kind of dampened my mood a bit. C'mon Internet, get it together!

This is one of those albums where I think that only a minute has passed, but in reality, I'm actually four songs deep. Not even when I heard the hints of my hated nemesis "Jingle Bells" did I stir from my hypnotic trance.

I was immediately curious from the beginning. Time Travelin' is such an interesting start to an album. Fela Kuti is a name newly familiar to me, but I've really enjoyed his work thanks to this project, so to come across an album paying tribute to him is a rather nice bonus. Heat lost me somewhat. I kind of just wanted Common to sit back and let the bass take the center stage. Especially considering how ... experimental the song it follows up on happens to be. It feels as though this album is shaping up to be a hit or a miss. Cold Blooded fares better, but Dooinit I find obnoxious. The Light is also more than decent. So on and so forth, some good and some bad. Unfortunately, it doesn't feel as strange or experimental as I hoped. Instead, it is somewhat bloated, with some unfortunate instances of poorly aged bullshit sprinkled throughout. Nevertheless, when it is interesting, it is really interesting.

There is nothing at all offensive about this album save for the stink of Phil Spector looming over it. There is also nothing at all remarkable about this, save for that very same stink. Thankfully short, and grating, Dion's voice is not, but besides that, there's little at all to say.

I still don't really know what to make of the near monotone quality to Cohen's voice. There's something fitting about it, like it's the final piece of the puzzle that comprises this album of slow, pared down instrumentals, and lyricism that's sometimes dour and referential to religious text. It is fucking hypnotic and I genuinely don't know *why*. But hypnotic isn't exactly synonymous with pleasurable, and fascination isn't the same as love. Suzanne is a stellar opener, but Master Song drags and drags. Moving on to Winter Lady and, yeah, I really do think his voice is the problem that's holding me back. It's like, I'm hearing what you're laying down, but am I listening? I dunno, I just keep thinking that this would be better off as a poetry collection than a musical album! It's something I can't shake the feeling of, even halfway through. A lot of these songs have moments I like, but the full picture is quite lacking. In the latter half of the album, So Long, Marianne is the only real standout. The length of the album is the main thing keeping this score from going any lower tbh. It comes close to dragging at times, but not so close that it is impossible for me to say "well, this wasn't for me, but at least it was something different!"

It truly was a bold decision to start things off with the best song on the album.