Look, I get it. There are some really simple, nursery rhyme melodies here and the singer's voice is a little nasally but I can't keep these out of my head. Dizzying synths and a tight, bright bass litter these tracks with an 80s pop sensibility that still holds true today. Titled "Low-Life" with a downtrodden aesthetic, but tentative listeners will hear love, happiness, disgust, and even anger. The emotional intensity below the surface is grand. I mean Elegia starts the second side of the LP. If that doesn't give you chills, check your pulse (and watch Stranger Things!!)

Like most of 1970s Phil Spector produced albums, the Wall of Sound doesn't work here. While musically, Dion is quite talented and has a knack for songwriting & arrangement, its a completely overproduced and drab record. The "rock" is tuneful but meandering, the traditional songs sound like funeral wailing, and the country music is trite. Unsure how this made the list except for favoritism or something.

Some albums age like milk. Others, like this one, sound derivative because everyone copied it afterwards. The production is high and the musical ideas are fully fleshed out. Happy I listened. Glad people improved on it over tie.

Pure power pop from the very cool all girls band. Passed the singles, there are still some really tight cuts. From my favorite genre, this is a great gem.

A pleasant 60s rock album from a band that sat closely next to the Beatles during their time. This one will sit closely to the rest of the concept albums from the summer of love: near the top with its brethren.

Started off a bit derivative from 60s psychedelia. The middle point started to get really catchy and strong. Anvil Everything. Part-Yes, Part-Dead, Part-Jethro.

Bright, cheery, hopeful and spiritual. As Jean-Michel Basquiat once said, “Art is how we decorate space, music is how we decorate time.” Home Is Where The Music Is decorated my space and time in an otherworldly and positive sense.

Okay. I honestly rolled my eyes when seeing this is my queue. I'm not a metalhead, however, I do love my punk rock and I dabble in the more modernized metal/prog bands like Coheed and Cambria. I am actually impressed with some of the composition of these songs. The multiple key and tempo changes and knowing the difficulty in playing some of these songs is impressive. Sonically and melodically, its mostly unmemorable. However, the moments that switch up the straightforward single string riffs to arpeggios and moody tempos tickle my ears for those moments. Happy I took the time to listen.

Bob Dylan the songwriter, lyricist and poet: immaculate. Bob Dylan the performer, singer and guitar player: amateur at best. That's a shame because most of the underlying themes are strong. The problem is, no one but Dylanophiles can fully understand what he's saying and the music, while tightly played, sounds ripped from many blues takes and classics. In my opinion, a product of the time, and a classic for those who already have it in their rotation.

Stand! Sly and The Family Stone aren't asking you. Its a command. Not because they want to control you or tell you what to do, but because they want you to experience NOW. Get up and dance. Be happy. Be a *person*. The mixture of the soul/gospel tracks with tight funk grooves create an essential and complimentary mix of spiritual uplifting and bodily enjoyment. The mix on this record stands out on this record. Each part is articulated in its particular slot, especially considering how clean the bass and drums can be against the effects on the guitar. Delicious sounds come out of this record.

Great vocals, great guitars, solid production, tight execution. I just find the song structure to be a little lacking. Ideas are fully fleshed out but having each song littered with solos makes me exhausted.

An effects driven record that feels one part 60s "retro" and one part "modern" 90s sound, Even with heavy reverb on many tracks, each instrument has time to grow, swell and burst. A psychedelic trip through electronica and rock, its a trip back to an era when the most popular TV show was X-Files and with this album, you can tell.

When the music is as fun and varied as Innervisions, its hard not to enjoy it. Stevie Wonder's voice sounds unbelievably smooth here. Effortlessly singing and matching the piano cuts, he's able to invite you in to his world without making you feel overwhelmed by his personal "innervision." Good musicians are supposed to bring you to their ecosystem, great musicians make you want to stay.

Poignant lyrics that paint pictures, swell you up with emotions and sweep you off your feet. Nearly each song has the simple arrangement of Tracy's voice, her guitar and a drummer colored by some percussion. At times a few additional instruments join the formula. It feels barebones yet full and strong.

Modern hip hop coming out of London, Little Simz is fresh and completely ready for the international stage. She's not aggressive, but she is direct. Her lyrics will rip everyone apart without devolving into a mess of a tirade. She's smart and intelligent. She knows where she stands in this male dominated industry yet she uses her memories, experiences and thoughts to stand out on her own island. The production by Inflo is influenced by the urban sounds from Tokyo to LA which pushes this record to the next gear. Little Simz is already talented with six gears but Inflo adds that little bit of extra.

Bee Gees take there stab at a concept album and its a bit of a mixed bag. Individually, the songs are predominately strong, if at times, a bit formulaic. However, when sewn together, the album can feel uninteresting at times. They use the same "tricks" of the ballad starting off soft and then swelling up and then breaking back. When they break those up with a strong bassline or adding complex acoustic strumming patterns, the music strikes a nice balance. Their biggest offense is when they use nursery rhyme melodies instead of a well written one. However, the Bee Gees are strongest when they sing of regret, triple the vocal takes and harmonize their voices in front of strings and a piano like on "Don't Wanna Live Inside Myself". Worthy of a listen for those that can stand soft rock of the yacht kind.

Its fine. Adele is extremely talented and its a decent collection of songs. Besides being the age of 21 when writing and recording this album, there's no cohesive narrative, goal or theme. The singles are the (strong) highlights but there's no real reason to stick around past them.

Moody and dark careened with a bit of light and airy, a band that enjoys the macabre and theatrics, and a 60s pop filled spirit. Its like unexpectedly biting in to a chocolate chip cookie with rich dark chocolate: the sweetness is mixed with a bitter cocoa flavor in a rich mixture when you were expected the usual.

Long, drawn out, repetitive, and angsty. The same guitar tone, same gruff vocals, the same up-down stroke riffs in the same minor keys. Really not sure what's going on here that others hear. Other then having "Metal" in the name, what's cool about this?

Look, I get it. There are some really simple, nursery rhyme melodies here and the singer's voice is a little nasally but I can't keep these out of my head. Dizzying synths and a tight, bright bass litter these tracks with an 80s pop sensibility that still holds true today. Titled "Low-Life" with a downtrodden aesthetic, but tentative listeners will hear love, happiness, disgust, and even anger. The emotional intensity below the surface is grand. I mean Elegia starts the second side of the LP. If that doesn't give you chills, check your pulse (and watch Stranger Things!!)

Tight, Americana country music from the storytelling singer and guitar player. With a boyish voice and a beautiful acoustic, Willie Nelson invites any listener to enjoy the stories of an older, less fickle America. Still religious prone with a taste for the nostalgic, but love and heartbreak are the centerpieces of American worth. Much of the album is covers, but what sets this album apart is how genuine and peaceful it is sung.

Fine catchy, alternative, jangle rock.

If Sgt. Pepper was an amazing night out of drinking, drugs, & late night conversations, The White Album is that night's hangover. Cynical, darker, and at times, random, the White Album bends and blends genres. After each song, it turns each corner to a different one. In the span of a few songs, you'll hit a blues song, an acoustic ballad, a cynical rock track and then a happy-go-lucky reggae inspired tune. Most of the orchestra instruments and complicated songscapes have been ditched for more traditional "rock n roll" arrangements. When they do appear, its much more subdued and limited. In order to really appreciate this album, you'll really need to listen to Sgt. Pepper and then get here. All the nonsense make more sense sonically and lyrically.

Catchy, strange, and angular. Not for fans of straightforward pop music. A good use of repetition to keep listeners engaged while the riffs and lyrics feel all over the place. Yet somehow it works. It feels anxiety provoking without the strong bite of anxiety. There's little distortion to toughen the themes and tension, so it pulls off confusion without getting too upsetting. Its perfect for people who want weird without going avant garde.

Alternative rock that's loud, post-rock, post-post-punk, completely undanceable and deconstructed. While it sounds aggressive and loud, it comes across more like a "back off" creating a wall of protection from the distorted guitar, bass and synth loops. The drums are subdued and quiet compared to the tremolo picking lines that are bright. Vocals interweave in to one another which makes this record more sophisticated than the "standard" post-rock faire.

Nonsensical lyrics that are catchy and strange, jangly guitars, solid and unique bass lines and a drummer that matches pace. What more could you want from one of the original "indie" bands of the 80s?

Starts off really strong and then sputters out a bit. The themes are about life, existentialism and self-consciousness. Its a bit too clean for my tastes, but its still memorable and tuneful.

Like most of 1970s Phil Spector produced albums, the Wall of Sound doesn't work here. While musically, Dion is quite talented and has a knack for songwriting & arrangement, its a completely overproduced and drab record. The "rock" is tuneful but meandering, the traditional songs sound like funeral wailing, and the country music is trite. Unsure how this made the list except for favoritism or something.

Presented in three movements not too dissimilar to the medley on the second side of Abby Road, BWPS really does capture the essence of mid 1960s Beach Boys and eclipses any concept of the legendary "long lost" album of Smile. If Pet Sounds is an ode to the coming of age and growing older, BWPS is the culmination of that ode where, Brian Wilson as an aged, damaged old man, can still find the joys of youth & music. The interweaving of voices, the heavy Gershwin cues, the segways in to familiar rearrangements of Beach Boys classics, its quite an enjoyable record, if a tad slow. While I do enjoy the Smile Sessions better with the Beach Boys' voices, Brian Wilson has said that record doesn't exist without the framework he creates here.

One of my favorite albums of all time. Its tightly produced, dark, stokes feelings of warm summer late nights, and produced to immaculate perfection. Paul McCartney finally sounds free of the tension from the Beatles breakup that occurred 3 years prior, moving forward with swagger and excitement. Unfortunately, Paul McCartney could never really capture this magic again and meandered too much in records passed this one. Instead, he left everything out on the table here. You can hear McCartney's diverse influences and inspirations in country (Band on the Run), Little Richard piano phrases (Jet), the Jazzy horn sections (Jet), the typical I-vi from 50s-60s (Let Me Roll it), the English countryside folk (Mamunia, Picasso's Last Words), 60s psychedelia (No Words), and even funk (1985). And yet, McCartney is able to combine these influences effortlessly with sweet infectious melodies. I love my time each time I spin this record.

While I admire the two-man show, it doesn't translate well to a studio record. Listening to these songs without the live and bluesy energy they deserve makes the records feel meandering and slow. Tighten Up and Howling for You are solid cuts that are over too soon on a nearly hour long record. Nothing else is tuneful and memorable. Its just reruns of old Cream and Blind Faith riffs.

The only Rush album I like for the singles + the prog rock madness.

Tightly produced by Quincy Jones, this album is 9 songs of tight funk-pop (& sometimes rock) perfection. In each song, Jackson sounds youthful but not juvenile & trite. The lyrics are filled with themes of paranoia and darkness within the ultimate emotion of love. Jackson completely understood how his voice could be used not only as a melodic tool, but a percussive one. In Thriller, his high pitched grunts and oohs and ahhs are interwoven in his melodic delivery. In the climax of Wanna Be Starting Something, the vocal pieces melt between his belting voice and Afro-beat chants. When MJ does rock with both Paul McCartney & Eddie Van Halen, he breaks late 70s rock's insistence of manly appearance with his boyish R&B swagger. I could talk more about this, but you should just listen to it.

What a mess. Muddy sound, incoherent vocals, saxes and horns mixed too loud, a band drugged up so badly they can't tell if they want to sound like delta blues or a contemporary 1970s rock band. I mean, if you like the mess, then this record is for you. Just didn't make sense to me. Life is short.

Of course, everyone knows "Nothing Compared 2 U" but sitting down and finally listening to this album has been pretty incredible. "Feels So Different" starts the album off in a pensive fashion and the rest of the album continues to hit with all the pain & experience that comes from misfortune. The climax is the single from the record but additional highlights include the "Emperor's New Clothes" & "I Am Stretched on Your Grave"

I like all the Peter Gabriel "untitled" albums but this one is definitely the best. As a cohesive piece of work, each song works quite well with the next. Themes of paranoia, anti-war, poverty, peace are brought forward to the forefront of the psych that fit perfectly with the "melting" album cover. Musically, brooding synths are intertwined with dark marching gated drums & distorted guitars.

The Who and Ramones must've been proud to listen to this album. Its Green Day as a musical/concept album in the vein of Tommy with aggressive muscular punk-inspired rock and roll. This is all killer no filler with lyrics that are still a propos for today's political, environmental and economic climate. Personally, "Jesus of Suburbia" and "Homecoming" tell an entire story within them and could work as standalone pieces. But instead, they're paired with the opener and closer that help sandwich the amazing tuneful and forceful lyrics of Billie Joe Armstrong. This album is a Green Day high that they're still trying to fully capture again.

While not quite to my tastes, I can't deny there's something here. Initially I dismissed this as a Bruce Springsteen-Tom Petty-Modern Indie rock mish-mash, what makes this endearing is Adam Granduciel's heart-on-his-sleeve lyrics and a bright mix between moody 70s guitars with 80s drum machines. Lost in the Dream is not a fun record, but feels like it would be great to listen to while driving to the beach or through the valley.

I've been a De La Soul and Tribe fan for a while now. I can't believe I never tried the rest of the Native Tongues collective. Really need to listen to the rest of it. I'm a big rollerblader and this is 100% the right blend of educational lyrics with a long list of traditionally black music influences. There's jazz & scat singing (Ella Fitzgerald), funk (James Brown), Afro-chanting, with an eclectic number of sampling within the record. Its a tour de force celebrating Afro-centrism and Black American culture.

Moby never really tickles my fancy. Porcelain and South Side are the highlights for me. But the samples over the production is a cheap trick overused as an album. Just my two cents.

Her voice is like velvet. The band is completely in the pocket and relaxed. The crowd, while pensive about being recorded, warmed up immediately after the first note from Sarah Vaughan. Unbelievable compilation of songs and performances. Stunning all around and one I'm happy I listened to before I died.

Quite a beautiful album. Richly layered under John Cale's smooth and soft voice. While soft rock has become the poster child for "yacht rock" with juvenile or trite themes, John Cale's soft rock is soothing and mature. Its produced lusciously & decadent but not overbearing & frustrating. The lyrics are quite mature and somber while remaining accessible & meaningful. Excellent all around and I would recommend this to anyone.

One of Tribe's best albums.

If Ginger Baker wasn't on this, I don't think this gets the recognition on this list. Fela sounds a bit brash and too loud. The guitars are mixed in really muddy while the horn section is crystal clear. The rhythm section isn't even that special with Cream graduate Ginger Baker. After sitting through this, I checked out Flea Kuti's other work and his other work is quite good. Zombie is a standout album. I'd recommend that as a jumping off point than this. Really unsure why this live album is supposedly a "crown jewel."

Black Sabbath's beginning in to the world of rock and part of the introduction to metal. In my opinion, it still holds up quite well. Its artsy, dark, heavy, tight, and really dang good.

Immaculately produced with the luscious voices of the choir. It makes the songs quote accessible and very easy to listen to.

How does James Taylor write brilliant & deeply meaningful lyrics like "Fire & Ice" yet writes the juvenile "Steamroller." For every sophisticated production "Country Road" there's two trite tales of "Sunny Skies" & "Blossom." THe blues songs are nauseating and somewhat insulting. There's brilliance here but its only 3 or 4 songs, the rest is forgettable and poor effort.

Pretentious, drab and pseudo-intellectual, its pretty bland. Thom Yorke sounds like a nasally dying cat mumbling through songs and everything is produced to sound to be played at a funeral. It sounds like a bunch of college students trying so hard to be relevant, and they just aren't. The songs present themselves as sentimental & moving but there's no matching emotion behind it. Happy people love this, but I'm sitting there asking... why?

A bit weird. I won't call it bad, but its not exactly good. Its not serious music and that's why its somewhat endearing. The songs are oozing with sarcasm and smart-ass lyrics. Kind of a punk band but more of a garage rock album.

Sometimes maybe good sometimes maybe bad. It starts off a bit poor with the titular track, but it enters into an unapologetic 90s music vision of the 21st century. Its captured by focusing completely on "dance" & "partying." Maybe this improves over multiple listens, but I can barely understand Madonna's voice between the overproduced music. That may come across as a negative, but it actually gives it a very 90s feel.