Ah here's a band that I've heard so many references to, but have never actually heard a song from. Based on festival attendance, they run in a similar circle to the jam / indie bands that I like. The Things That I Used To Do opens up with a Cage the Elephant style spoke word snarl (understanding that these guys are predecessors). Super crunchy texture that I like out of the gate. Satisfying drum line with an equally comfortable bassline. Not something that would be single territory, but a low-key jam fit for a college house party. Blues Music takes over with a similar spoken word style through a reducer on top of a lazy drum and bass line. Creates a very chilled out atmosphere. Good music for munching Doritos. Garbage Man brings a little more attitude to the mix. This is about as head-bobbing as this album has gotten so far. I'm once again stricken by how similar this feels to Cage The Elephant. Digging the atmosphere. This would probably make for an awesome show song. Eyes Have Miles is a noodly number that stays in the same atmosphere. Instrumental is reminiscent of some less bright jazz / surf rock (mei ehara, robohands). Baby's Got Sauce flips into some bright guitar strokes and the most didactic vocals of the album so far. This is music tailor made for a middle of the day backyard summer kegger. I'm a little surprised this is the most popular song according to Spotify. Its a fine tune, but I actually prefer their more laid back songs so far. The chorus is kind of rough IMO. Rhyme for the Summertime is more effective IMO. It taps into the snare-tap drum beat paired with a surfy guitar tone that while brighter than most songs is still disappointed (minor) sounding. Feels similar to Mac Demarco a la This Old Dog. Cold Beverage is another head bobbing jam. Guaranteed crowd favorite that I'm sure helps to boost bar tabs. Simple concept, but honestly it works on the rawness of it all. Fatman follows this on with a fun little jam that lets things open up with a harmonica riff. Ends with some loose guitar noodling that segues into more reserved This Ain't Living. This Ain't Living feels like a more typical rock structure out of the gate; very effectively done. Walk To Slide is another standout in my mind. Love the lugubrious bassline that keeps things flowing / sliding all the way through. The echo on top of the sparkly guitar is a nice effect as well. This and Garbage Man are my favorites so far. Some Peoples Like That and Town To Town are both way down tempo crawls. Heavy blues influences shining through both. I enjoy both songs for what they are. Album finishes out with a traditional stripped down blues song with sparse acoustic guitar and hand clap making up the composition. This is a really pretty song and so far from where the rest of the album has been. I really enjoyed this album and see the appeal of G. Love. This is a rough and crunchy album that shows a decent amount of range, from the spoken word, almost rap like deliveries to traditional blues. Many of the songs sound like they are made for backyard barbeques or smoking a joint and watching cars drive by. I will absolutely come back for another listen. 4 leaning towards 5 / 5.

I have never understood the broad appeal for Meat Loaf. Perhaps it is because his music taps a similar campy vein to what I understand to be present in Rocky Horror Picture Show. In any case, this is an album I have never had any intention of listening to, yet here we are... Four songs in this is everything that I expected. Super flamboyant / campy production and compositions that feel overstuffed and theatrical at their core. There is some fine instrumental work in here to be sure, but I am not into the aesthetic. This one gets 2 stars only because Paradise by the Dashboard Light is a guilty pleasure of mine.

Late 80s R&B is a place I really haven't spent any time; I'll do my best to keep an open mind. Album opens with Keep On Movin', which is R&B on the groovier side of the spectrum. Complete with sterilized electronic drum beat and simple bass line. Instrumental is flourished with some piano meandering and sweeping strings ebbing and flowing behind the vocals. Sounds like something I would hear in a hair salon if I had hair to warrant the experience. Fairplay is a substantially more interesting song. The backing bassline walks throughout, referencing the same progression but modulating to keep things interesting. It along with a tight drum beat propel the track with some soulful vocals. Favorite song so far. Three songs in, three very different sounds. I'm into the variety. Holdin' On is driven by a more classic drum and bass high-hat beat with some disco-like elements. Not a great song, but its not bad either. Feeling Free finds Soul II Soul in hip-hop territory with an instrumental of drums and scratching with backing horns. Surprisingly effective, like proto-ATCQ jazz-rap. African Dance is an instrumental dance track putting the yazz-flute front and center. Great energy with an improv feel. Particularly enjoy the mixing effects thrown in around the 3 minute mark that send the backing rhythm through an inverter of sorts. Dance gives over to the exact same backing rhythm sans flute soloing. In place of the flute we instead find spoken-word vocals. Unsure why they decided to do this. Surely 6 minutes of jazzy instrumental dance were good enough that we did not need 4 additional? Feel Free jams right out of the gate with a sick double-bass drum line and some tight string accompaniment. Song also features a damned fat bassline, which I'm admittedly a sucker for. Second favorite song thus far. Happiness is a fine enough jam that I found myself bobbing along to. I could easily see this embedded in a DJ set to keep the crowd moving in transition. I've only heard the remix of Back To Life. The A Capella arrangement that forms the first 3 minutes of the song are damned impressive on a technical front -- credit where it is due. Hands over to a hip-hop beat that then bleeds seamlessly into the original album closer Jazzie's Groove. And what a groove it is. Stopping my review here because it is where the original album ends. I will say that I am thoroughly surprised by this album. It jams front to back and is filled to the brim with different styles, textures, and personnel. Standouts from my memory are Fairplay, Feel Free, African Dance, and Jazzie's Groove. I also do love the remix of Back To Life that is included in the 10th anniversary edition; classic jam. This is nearing a 5 IMO, but is held back by a few questionable choices. Strong 4 / 5.

Listened Before? No Album Art: 3 / 5 (calls to a simpler time; really makes me wonder what I'm getting into) Looks like this album is later into the Byrds career than those that produced hits that I've heard before (Turn! Turn! Turn!, Mr. Tambourine Man, etc.). Opens with You Ain't Goin' Nowhere, which is a country-rock twang with pretty harmonization on top. This could easily be mistaken for some Workingman's Dead era Dead. So I've always understood The Flying Burrito Brothers "The Gilded Palace of Sin" to be one of the earliest Folk Country albums; however, this one predates it by a full year. And looking into its history, it appears this is album pulled Gram Parsons (also from The Flying Burrito Brothers) into its fold. Makes sense there is such a clear continuity of the sound here. Beautiful writing and pretty arrangements throughout. I have a weakness for Folk Country and this is well done. You Don't Miss Your Water is an early highlight. Slow, but earnest progression with bluesy lyrics, beautiful harmonization, and fantastic mixing that layers the plunky piano, trudging bassline, and acoustic guitar to perfection. Yeah, this is the kind of album I can fully sink myself into and just vibe with. Song after song, I am pulled deeper into its orbit. I'm halfway through at Hickory Wind and loving it. While I could see how this might not be someone's cup of tea, I think the songwriting is immaculate (lyrics and arrangement), the production quality is superb for the era, and there is a range to the songs that Parsons goes on to refine in his follow on work with Flying Burrito Brothers. One Hundred Years from Now features a more upbeat jam with some clean Garcia-esq guitar work. I'm completely consumed by this album. The Gilded Palace of Sin is one of my favorite albums for a long drive, and this feels like a natural continuation (in the form of precursor) from Gram Parsons. While this album does not contain as many natural high points as Gilded Palace, it is extremely solid through and through. On a relative scale, Gilded scores higher in my mind, but this is a very high 4 (like 4.8). I'm going to give it the nudge to a 5 and plan on ripping through it all summer. Added to Library? Yes Songs Added to Playlists: - You're Still On My Mind (Sunny-vibes)

I can safely say I did not expect to ever listen to a UB40 album. I know them only for the song "Red Red Wine" that used to come on the radio when I was a kid, and the song "David Bowie" by Phish. Album art goes hard with an Unemployment Benefit card -- reminds me a bit of ODB's Return to the 36 Chambers. Dub out of the gate with Tyler. Had to roll it back when the song did the first stutter step -- thought I had dropped bluetooth connection, but it is just really well executed. 12 Bar is a spacey instrumental jam. Burden of Shame is a stand out I feel like I've heard it before; perhaps as a cover? Somber song about the inherited guilt that we all have as citizens aware of our nation's sins and yet doing nothing about it. Love the spaced out, unforced atmosphere and layering in the mix. Interesting, unexpected tempo change in the back quarter when this drops into a driving dub stomp complete with bright synth, echo/reverb laden effects, and a burbling bass line. Food For Thought jumps off the page as another single of note. Has an undeniable bounce and melody that is catchy as hell. Love the use of call and response between the vocals and guitar, as well as the supporting horns. This is the kind of song I can't help but tap along to. Also features some really cool effects and percussion work toward the back quarter. I will say, this album really surprised me. I went in with Red Red Wine on my mind and was surprised to find UB40 much more somber and reflective, with some really solid technical follow through. I'm not generally huge on reggae as I tend to find many entries in the genre run together with the same sounds and tricks pulled into a mediocre slurry; however, this album is an exception. Sure there are plenty of reggae/dub tropes on display, but they are well executed and extended upon. Beautiful production makes for a smokey, spacey atmosphere that spotlights individual instrument contributions. The album runs a little long for my liking, but I enjoyed just about every aspect of this one. Very solid 4 / 5 for me.

Going into this, it will probably be a 4 / 5 unless there is something to drag it down. Near perfect runtime (~40 min) and a stacked tracklist with Exodus > Jamming > Waiting in Vain in the middle and Three Little Birds > One Love / People Get Ready closing it out. The rest of the songs are serviceable, if forgettable.

I'm sure this was an important album to its time, but having experience Black Sunday, this one doesn't live up.

Leads in with energetic David Watts -- fun number with all the good late 60s feel. Death of a Clown feels like Beatles song with less harmonizing. Kind of has that polka / carnival vibe going with almost a Dylan-esque vocal track. Not hating. Situation Vacant is a low-key jam. Once again, a similar Beatles feel. All in all, this feels like a solid enough 60s rock album that borrows a lot from the Beatles and folky influences of the time. Not the best from the Kinks that I have heard, but also a fine listen front to back.

Run-D.M.C. is one of those formative hip-hop groups that I have heard of, but have never directly made a point to listen to. Peter Piper has a solid lo-fi beat. Digging the bells during the interlude, and the scratching. Interesting nursery rhyme interpolation to fit the theme. Its Tricky -- had no idea that this was Run-D.M.C.. Classic hip-hop song; solid energy that has that 80s rap cheese factor. Is It Live has some GoGo like vibes to it with the drums. Very fun. Raising Hell is a jam -- feels a lot like No Sleep Til Brooklyn with the guitar heavy beat. Lost focus through the last few songs, but they sounded okay.

I think this will be the first time I have purposefully listened to Johnny Cash. I'm familiar with this album for the cultural / historic significance. Respect where it is due; this is a great live album. Great performance and mixing with some fun stage banter mixed in to give a feel for the man's personality. While this isn't something I will go out of my way to listen to it is clearly a great album for what it is. Highlights for me: Cocaine Blues > 25 Minutes to Go, Dirty Old Egg-Suckin' Dog

I'm really into this one. There's a slight punky vibe mixed in with some epic instrumentals. To me Venus feels like it could be a Talking Heads song sans David Byrne. Marquee Moon is an epic anchor at the center.

A Bowie album I haven't actually listened to before. Expecting 4-5 territory going in, because Bowie. Young Americans is a great tune. Slow hopping baseline with some soulful sax in the background and Bowie doing his thing on top. This song always evokes a happy montage in my mental image. Win takes a turn into a smokey number with languid guitar. I had this as background noise for the rest of the middle of the album. Standouts I recall were Somebody up There Likes Me and Across the Universe. Fame is such an amazing song -- almost earns this album a 5 on its own merit. This is a hard-4 for me. Doesn't have quite the playback appeal of Hunky Dory or Ziggy Stardust, but it is a clean album that sandwiches two of my favorites from his catalog with some other more forgettable numbers. Not my favorite Bowie record, but I have not yet to experience a "bad" Bowie album; only good and great.

I've been putting this one off for a while only because my knee jerk reaction is to cringe when thinking about Cyndi Lauper. I have nothing other than Girls Just Want to Have Fun to blame for that. Album off to a rough start for me on Money Changes Everything. I don't hate the overall atmosphere, but the mixing is shit and the vocals are, well, equally bad. For whatever reason, her voice evokes in my mind a toddler throwing a tantrum. Flowers where they are due. I really am not a fan of Girls Just Want to Have Fun, but the production quality is night and day between this and the opener. And if I release myself of prior biases and pretend not to have heard this 1000 times, it does actually bang. Outside of Girls Just Want to Have Fun, I have had no fun on this album. Certain instrumentals are kind of fun in a distinctly retro sense, but the vocals rub me so wrong that it all is a net negative. High 1 / 5.

Been a while since I've listened to The Doors. Ought to be fun. Roadhouse Blues is one of the ultimate driving jams. Never tire of following that bass-line and harmonica melody. Waiting for the Sun is a solid jam with some ominous overtones. You Make Me Real has that harpsichord base that makes it seem like it was recorded in an old-time bar. Morrison owns the record with his commanding vocals -- man had a presence. Peace Frog is one of my all time favorite Doors tracks. Love the playful call-response of the tune paired with stereo production and the Hammond organ in the background. Such a groovy little jam. Enjoy how this drops seamlessly into Blue Sunday which is a toned down ballad of sorts. What a voice the man had... Beginning of Land Ho! reminds me of "Just a Girl" by No Doubt. Wonder if they had to pay royalties? Either way, I actually prefer the No Doubt song here -- more energy. Overall this is a soft 4/5 for me. The back half is weak relative to the first, but altogether The Doors at some of their finest.

Never heard of The Adverts, lets see what's up... I see why now; they fall under the british punk scene, which is something I have listened to relatively little. While this isn't something I would listen to much consciously, I will say that it makes for great background noise while I'm working. For that I give it a soft 4. Also, I swear that The Disco Biscuits ripped the guitar rift from "One Chord Wonders" when I saw them live for the first time to close out a song. I'll figure out which song, but it was this show for those who care (nobody): https://www.nugs.net/live-download-of-the-disco-biscuits-9%3A30-club-washington-dc-04-20-2010-mp3-flac-or-online-music-streaming/4964.html

As with Imagine Dragons, I swore I'd never intentionally listen to Kid Rock; and yet, here we are... I remember as a kid in the 90s, the first time I heard of "Kid Rock" I took the name literally and opposed it immediately out of principle. I didn't like the idea of Rock that was distilled for kids. "Bawitdaba" is probably the quintessential KR song that I know of. I'll be honest, it's a mood setter, and I caught myself bobbing along. I'm all about the nonsensical meaningless choruses -- words are too hard. Where would the world be without this and all of Fred Durst's contributions; a better place, probably. "Cowboy" is another KR song that I actually know. I like this one way less. I don't understand how this got radio play. Messy production with the supporting vocals floating above everything else and a bit flat. And yet, I find myself bobbing along again for some reason. Title track comes out hard with NWA fuck-the-police vibes. Actually, the entire song evokes a poor man's Easy-E with the high-pitch and punchy flow. The backing track feels like a rip off. All said, its not a bad parody 8 years after the original. Hard to feel like he added anything meaningful to the concept. Even has an uncredited child rapper on it :chef-kiss: "I am a Bullgod" is actually kind of fun and evokes an almost Alice in Chains feel with the chorus. Tuned out for a lot of the next songs until I heard Eminem come on during "Fuck Off." He seemed to be adopting the Slim Shady moniker during the verse with pitched up whiny vocals -- did pretty much what you would expect. Complete with a very on-brand voicemail recording... All in all this lives exactly up to expectations. There are some catchy parts (bawitdaba) but in general, the songs are pretty terrible and derivative. Hard to understand exactly what he was able to tap into; even harder now that we know what KR ended up becoming. 1/5

Expecting punk based on band name alone... Instead we find ourselves in a sparse electro-alternative in the vein of LCD Soundsystem, but super stripped down. I'm really digging the sound so far. Very ahead of its time and confident. Cheree is a low-key jam; twinkling keys layered on top of a fuzzy bass synth with just the right touch of modulation from bar to bar to keep things interesting while the singer wanders on ghostily amid it all. Girl brings straight up sex sounds over top of a back and forth synth baseline with some organ keys on top; can't get over how ahead of its time this all feels -- minimal-electro-psych-pop. Frankie Teardrop is a bit too far for my liking. I understand the premise and commitment, but the electro-scream had me tuning down quite a bit. Was kind of hoping it would rip out into a crazy bass instrumental, but no luck there. 4/5

I remember going through a big Dire Straits period in high school. Lets see how its held up since then. So Far Away is about as boring as Dire Straits get IMO. Not a bad song necessarily, but its a boring ballady pop number that got a ton of radio play. About as sterilized as it can get. Album takes a slow left turn into Money for Nothing, which leads in with one of the slowest yet most iconic song intros in rock history. A minute of "I want my MTV" over some SOYCD style instrumental that gives way to a man playing drum loops like a madman in the distance, then the floor drops out into a very polished guitar riff + 80s quintessential bassline / synth solo. Man I used to love this song. Lyrics have not held up particularly well; more references to "faggot" than I remembered. Still a fine song I suppose, but the cheese factor is pretty goddamned high. Walk of Life is another silly 80's number. Its gotta swingy little cadence about it and is catchy as hell. Tuned out for the mid-section; kind of boring. Ride Across the River stands out as a slow slightly-dubby number and pan-flute. One of the jammier on the album no doubt. Kind of boring, but mood setting as well. All said, I would go 2/5 on this one. Walk of Life and Money for Nothing stand out, but otherwise I find this to be a pretty generic, processed 80s pop-rock album that doesn't command much focus.

Expectations is a fine indie tune. Some acoustic strum with horn accompaniment. Solid production that evokes a vague Grizzly Bear mixed with John Mayer vibe. This seems like music for people who like lyrics. Which is not to say I don't like lyrics, I just don't care to pay attention to them right now. More horns coming in on She's Losing It. This is a boppy little pop number. I think this is my favorite song so far; a lot of depth to the composition between the horns, drums, background guitar, and lyrical guitar work towards the middle. Electronic Renaissance is the first song to actively command my attention here. Interesting introduction that inverts on top of itself before plowing forward into a synth-heavy rhythm. Interesting song -- I'm into it. I Could Be Dreaming is another jam with some psych guitar feedback effects and samples towards the end. Unexpectedly strong mid-section to this album. Album kind of petered out from what I recall; I'll have to listen back through again. All said, this was a pretty solid indie album with good production and composition. There were a few standouts that commanded attention, but otherwise the songs were more lyrical than I had attention for at the time of listening. I fall at a 3 leaning 4 on this one; rounding up because I think I would enjoy listening to it again.

Alright some more punk! At least this time its from a different "island" nation - Australia. Just gonna listen to this one and drop thoughts as they come... Opening track has almost ska-like elements with prominent horns. Progression feels very familiar; doesn't induce much feeling. I found myself tapping along to Lost and Found, and enjoy Memories Are Made of This. Almost reminds me a bit of Flaming Lips in the best kind of way. Vocal mixing on Private Affair does some interesting things with the stereo distribution. Pretty cool IMO. Guitar feels sort of like early The Offspring. Dropping out of the play-by-play mode, I will say that this album is much stronger than I expected based on the ('popular') opener. These guys show a wide range and several songs show really interesting production experiments that pay off. They may be "punk" but their instrumentals have depth that a lot of the early staples of this genre lack. Beachy vibes out of The Perfect Day TBH I haven't had a chance to finish, but based on what I've heard I'm a 4 / 5 here. I plan to listen to the rest later, but do not trust myself to retain my review. This was surprisingly well-produced and varied punk, and I enjoyed it.

Classic Beatles album, but not my favorite in their catalog. The album starts strong with jumpy 60s rock number "Taxman." Great lyrics, harmonizing, and fretwork. This turns 180 degrees into equally great for all the opposite reasons "Eleanor Rigby." This is IMO one of the prettiest pieces the Beatles ever wrote. That said, I feel like it has weird placement on the album, though I'm not sure it would fit anywhere any better. Love You To is an Indian-infused jam complete with sitar; I'm really into this one. The middle of the album is kind of weak to me. I know Yellow Submarine is a mega-hit, and I get why, but I've never been huge on it. The surrounding songs sound like generic Beatles songs -- which is to say, they are good songs, but fairly forgettable. The only memorable points to be on the back-half are For No One, Doctor Robert, and Tomorrow Never Knows. 4 / 5 (but honestly more of a 3 / 5 by Beatles standards)

Jesus this is a long album... double disc with an 80 minute runtime. Prince is often kind of frustrating to me. Very talented man who made some amazing songs, but I just wish he would let loose on a guitar solo. Sign O' The Times has an Emminence Front style synth beat with some funky guitar work and drums. Relative to the rest of his catalog however, its pretty forgettable. I'm surprised this was chosen for the album title. Play in the Sunshine is a little upbeat boppy tune. Feels like Wham! but as sung by Prince. It sounds like a "When Doves Cry" knockoff, but less interesting. I Could Never Take the Place of Your Man is my favorite of the album so far. Happy, poppy, and a little noodly. Also one of the freer sounding Prince guitar solos I think that I've heard followed on by a jammy breakdown that was unexpected relative to the rest of the album. The Cross is an equally surprising track. Heavier with a driving drum line motivating the tracks progression. There are also some more psych undertones complete with an Indian instrument. I'm into it. I think this one is a soft 3/5 for me. This is one of Prince's more forgettable albums that I've listened to, but at the core, he makes good music.

Man, there are few acts of music that I understand the appeal of less than U2. As far as U2 goes, Beautiful Day is actually a quite alright pop-song. I like the reverberating effect at the outset and otherwise layering on display -- in a way this song feels influenced by Radiohead. Bono's vocals are on point here and don't feel too douchey. This is the kind of song that should be listened to with bright lights shining. Production here feels surprisingly crappy. Something about the drums feels tinny, and the guitar feels over-compressed or something. Stuck In A Moment moves into ballad territory. Feels like stock music for a sad rom-com montage (images of sitting on park benches alone in the rain come to mind). Peace on Earth, while somewhat cheesy is an okay enough song. Blissful vibe with guitars dripping in reverb and the drum/vocals floating over everything else. Similar feelings about When I Look At The World. This isn't really the type of music I would pull out for myself to listen to, but it is inoffensive. I will say though that the closing vocal layering is a bit cringey -- super thin and lame sounding. Yeah, I dunno... I'm unmoved on U2 by this record. By all accounts it is fine music, but I just don't get the broader appeal. At best it is fine, at worst it is cringey. High point for me is Beautiful Day. Mixing could definitely have been better throughout -- I'm all around pretty meh on this. 2 / 5

Solid album, with a little bit of sag in the middle. They play a lot of different sounds competently and have a few solid hits.

I can get down with some Tears For Fears... This album is incredibly stacked. Just looking at the tracklist: Shout, Everybody Wants to Rule the World, and Head Over Heels / Broken are all absolute jams. The latter two stand in contention for best songs ever written (IMHO). Shout is a generational jam. Initially sparse and ominous instrumental backing that sounds like someone took a heist prep soundtrack and superimposed some of the SFX from Goldeneye. Love how the song builds into a wall of synth complete with several textured solos (different synth flavors, drum, and guitar). The Working Hour brings a completely different sound. Bongo work with smooth / jazzy saxaphone overtop. A bit of cheese to the overall aura, but hey it was the 80s. Song is a bit of an anthem to the working individual. While it isn't one of my favorites, the pull off the cheese capably and build the vibe of a smoky room with someone going around flipping over tables and kicking bottles. EWTRTW is another iconic song. Love everything about this song from start to finish. It is both a super poppy / driving instrumental with somewhat bleak lyrics about humanities power-hungry nature. Mothers Talk is a new one to me. Really into the composition. New Wave feel with a weird pitched up effect on the chorus vocals. I really dig the bass / drum interplay solo to finish out the track with some trippy tracked effects over top. I Believe is a slow drum and piano ballad. Very sparse, but the composition is somewhat interesting. A lower point relative to the rest of the album. Broken is a jammy interlude that interpolates the main riff of Head Over Heels with some scortching guitar work and meaty bass. I haven't heard this one before, but I'm all about it. This leads directly into the much more reserved and moodier Head Over Heels. I just can't get enough of the hoppy, wandering bassline. The exit back into Broken almost reminds me of a Police jam. The album rounds out with Listen that has a very spacious arrangement. This is aura music at its finest. Reminds me of some modern electro-psych-ambient artists. All around 5/5.

I know very little of Kate Bush. This album smacks as an exploration into experimentalism to me. A lot of interesting decisions a few tracks in. Some of which hit; others which miss wide. Sat In Your Lap is all over the place. Very ambitious with the vocal switches. I can't say I love it, but I don't hate it either. Pull Out The Pin has a cool instrumental throughout. This feels way ahead of its time and a huge influence on some contemporary artists (e.g., Grimes). So far this one is my favorite. Interesting deconstruction through the last minute. I had the album on in the background for the most part after this point. While this isn't something that I would go back for, I largely respected the production and experimental nature. To me this is a soft 3.

Album opens with pretty boring The Boomin' System. Quintessential old School hip-hop beat with a flow reminiscent of The Sugarhill Gang. Around The Way Girl flips into a sunny upbeat bump with a matching flow. This song bumps. Eat Em Up L Chill makes for a good song to bob your head to. The chorus is kind of meh, but not bad. The confidence it takes to refer to oneself as "Mr. Good Bar..." Aside from having pretty cringy lyrics, the backing instrumental is moody and driving. Somewhere in the intervening songs I heard a reference to the Run The Jewels that RTJ uses to exit a song as well. I've heard of Mama Said Knock You Out, but can't say I've ever actually heard the song itself. Sounds very Ice Cube esque in delivery and anger. Milky Cereal is an odd one, but I'm actually about it. The layering of the sample kind of reminds me of a song off of Kanye's Yeezus. Hard 3 / 5

So I'll admit, even though I love me some jam and some southern rock, I have never fully bought into the hype surrounding The Allman Brothers Band. I love their album Eat A Peach, but outside of that, I have never felt a magnetic attraction. I have attempted to listen to and review this on 3 separate occasions, but each time, I kind of lose focus. Ultimately, my feeling is that these guys can certainly jam, but where the Dead and Phish have cohesive jams that explore different sonic environments and interplay between the members, I largely find Allman Brothers to be a bit messy and long-winded with a significant focus on solo guitar excursions. In a word, they just don't feel as cohesive. Perhaps for some that is the point, and certainly there are plenty of guitar licks to enjoy here. For me, it just isn't what I go in for. That said, the blues rock is solid and I absolutely love that In Memory of Elizabeth Reed is on here and drawn out. This exists in a weird place between a 3 and a 4 to me, with individual songs having 5 moments. Going 3.

Buckle up: this is a long one... And I already saw this had universal approbation among the group, so I'm excited. Opens on a slog with Days Of Graduation -- ominous bass with a weirdly condensed spoken word deluge. Reminds me of something, but I can't place it. Honestly I'm into it so far. Complete change of pace following the opening into much more traditional southern rock sounds. 72 (This Highway's Mean) is a pretty solid jam. Not gonna lie, while this is fine, it really doesn't sound that far from something that you could find in just about any country dive bar on a weekend. Sure, the production is cleaner and there are some better than average guitar licks, but there isn't a ton so far to separate it. Three Great Alabama Icons brings back the spoken word thing... I don't know if it intends to be funny, but it is in the delivery. I do appreciate the history lesson on Alabama leadership and the race issue as perceived from someone who grew up there. Alright the whole second side did just about nothing for me. Fine enough in the background, but this album is way longer than it has any right to be. And the final song docks a full point from my score for being both terrible and way too fucking long. So with that, I don't think this is a complete steaming pile of dog-shit, but I still don't want it on my shoe. 2 / 5.

Well this album wastes no time getting started... off to the races with a French-inspired romp. Next is fantastic -- I feel like I've heard it before and yet, I can't imagine where. Lot of sweeping instrumentals here with Walker's powerful voice taking center stage. I think this is not my preferred type of music, but for what it was, it was done well. Objectively this is probably around a 4 or so. Personal enjoyment taken into account this is a 3 that I will likely never listen to again.

I find Paul Simon's voice to be kind of strange, but I can't put a finger on why. Allergies is a strange one -- kind of dubby and spacious with plenty of markers of the time period. The guitar work here is surprisingly slick -- unexpected jam. Rest of the album has gone in and out of my focus. Most of this really isn't my speed, but some moments are better than others. Cars Are Cars had me laughing. Maybe this is some extended metaphor, but the chorus is silly and he really leaned into it. His ballads are probably the strongest parts of this album (The Late Great Johnny Ace, being my favorite with the way it shifted around). This is a spotty 3 / 5 for me. Not something I would pull out for myself, but the songs at the bookends were fantastic so I'm skewed.

Album starts with a proto-hip hop beat. Was not expecting that one iota. They sound super tight on this opener -- I'm hooked. Definitely some weird sequencing on this first side. Its as if they are deliberately trying to send us on a sonic roller coaster. Going from the heights of the intro to Tuesday's Gone, then back to the honky tonk of Gimme Three Steps, into tender (at least initially) Simple Man. That said, I'm loving this album. Amazing this was their debut. Four major hits; one of which plagues every cover band in existence. Love Tuesday's Gone and will never not think of Happy Gilmore. I'm a solid 4 / 5 here. Great album with weird sequencing.

Listened to this twice through and enjoyed it both times. I didn't pick it apart song by song, but I really enjoyed the variety. Some of the songs, e.g. Elegie, are really pretty. Others, like Gloria are sort of punky. Overall, I found Patti Smith to be pretty damned cool. A high 4 / 5.

I have a mixed love affair with live show recordings. On one hand, I'm all about live recording as a means to capture a band at their height, or to capture some particularly unique element of a live act; however, on the other hand, the recording quality and general music quality almost always suffers due to recording tech in combination with the environment. This latter aspect is certainly true here, where the recording tech struggles to capture all of the elements of what surely made MC5 a blast to see live. However, what this album lacks in particular recording clarity MC5 counteract with the equivalent of capturing a jet-fuel like energy in a tight set. Vocals on Ramblin' Rose are...interesting, but hell there is a lot of energy here. Feels almost like hair metal (a la Iron Maiden about 10 years ahead of its time). Halfway through, I appreciate all of the energy and the musicianship on display, but am annoyed that so much of the best elements are buried so deep in the mix (guitar solos primarily). Rocket Reducer is a hot mess by the 4 minute mark -- not loving it. Motor City is Burning has a standard blues-rock progression to it. Standard, but very capable guitar fills. I Want You Right Now might be my favorite on here. All in all I'm a 3 / 5 here. I think I can see how this could have been a more important album at its time, but failing that context I'm not terribly moved. MC5 certainly brings energy to the table, but a lot of it is lost in translation due to the recording. The last two songs were admittedly pretty sweet and I would have loved to be at this live show.

Oh man, I love me some Rainy Day Women #12 & 35. Never really understood the title, but the song exudes a fuck-it attitude and I'm kind of amazed it made it on wax. Out of tune horns with a drum stomp and lyrics that can be summed up as you're damned if you do, damned if you don't -- lets just get stoned. Five songs in now. Lots of harmonica (as expected) and some pretty song structures in general (especially I Want You). But I generally just don't find myself caring all that much. As this continues on, my position is unchanged. Maybe its just my mood at the moment, but I really don't care. Fine songs, but doesn't move me. I'm a soft 3 here.

Put this one off for a long while because I think the album title is dumb. Not loving the tone out of the gate. Makes me think of Dire Straits if they were more inspired by country, mixed with John Mellancamp. I think this is fine enough 80s country rock. I just don't like 80s country rock very much. 2 / 5

Jesus .. 1 hr and 22 min .. Not even going to try to break this down by track, just gonna go for bulk effect and highlights / lowlights. Hiding All Away is a pretty cool, bluesy song. It has a rawness and groove that reminds me of White Strips. Weird lyrics, but I'm into it. Builds to quite a climax at the end whose bass line almost reminds me of a Whamola solo I saw from Primus years ago. The next couple of songs are kind of meh. Nature Boy reminds me a bit of Bowie in his delivery, but the song itself is pretty standard / boring. Kind of spaced out for the next several. Nothing much jumping out at me until I got to Spell. Something about that song I really like. The closer O Children does a good job of making its own space to expand into. Probably the most effective song on the album. I think overall, this album does fine service, but is not anything that I find particularly compelling. Maybe I'm not into the Nick Cave aesthetic, but generally I find the songs to be kind of boring in structure and execution.There's nothing outright "bad" here, but nothing compelling me to listen closely or ever again. 2 / 5

Album opens with some very sparse synth. A minute and a half in we get some vocals -- sounds like a Gorillaz song (wonder if the same guy). Eventually gives way to a dancey techno beat with some dub influenced samples. Reminds me a little of Shpongle with less DMT. Melt is a pleasant song with some jazzy trumpet warbling above some spacey drum / synth work. I'm enjoying this. Gives way to Song of Life that flips directly into a deep bass line + chant vocal that evokes a sci-fi movie montage. Oh man this song samples the same drumline that Beastie Boys ripped for Looking Down the Barrel Of A Gun (what a fucking jam that is). What a completely different usage here when paired against atmospheric elements rather than the heavy guitar riff that Beastie Boys used. Around the 5 minute mark this just rips into a relentless D&B song. This is peak study / work music; glad to have found it. Original has a whole trip-hop feel to it with the nature of the beat and embedded vocals that rest evenly with the instrumental. Inspection is a jam. Love the dub vocals. Feels like I am living in The Matrix. All around this is a pretty great electronic album. There are a lot of different textures and techniques at play. I found this to be an enjoyable listen end to end. 5/5 will come back.

Name like The Undertones there is no way this isn't punk. I listened, but I really didn't care. I enjoy punk in certain varieties, but this is not my cup of tea. 2 / 5.

Classic album from a jazz giant near the peak of his career. First time I ever heard A Love Supreme was actually covered by Umphrey's during a jam. I love this era of jazz: John Coltrane, Miles Davis, Herbie Hancock, John McLaughlin... Reading the wiki page, it says this was recorded in a single session. Probably not atypical for the genre, but damn that is cool. Pt I opens the album with some saxophone foreplay that gives way to the first introduction of the Love Supreme melody as introduced by the bass. This bleeds into a jazzy saxophone exploration over some dusty drums and piano. The atmosphere feels so lived in and lively. Obviously the sax work takes the central focus, but all of the backing is doing admirable service to the progression. The 5 minute mark brings us back to the Love Supreme melody. After some chanting of the album title to close out Pt I, Pt II comes in hot with some silky sax work over bounding drums. Side-note, jazz drummers are fucking amazing. They play ridiculous rhythms and counterpoint the rest of the band so well. Sax gives way to a splashy piano solo that fits like a glove. I was working for a bit through the intro of Pt III but by minute 4 it is straight fire. Pure energy coming through the sax; hard to understand how the drummer is keeping up. Drummer finally gets a solo around the 7 minute mark where he gets a chance to decompress a bit and make way for some calmer air that follows. Pt IV rumbles into form sort of like waves crashing on a beach. The sax floats above the rest telling an exalted and yet distressed tale through its closure. The album rounds out with rolling drums and cymbal that evoke a cascading storm. Beautiful album that is one of the great tenets of jazz music. 5 / 5.

Well we are certainly off to a start... This Town Ain't Big Enough For Both Of Us is a statement piece that sets the stage for what I expect to be an eclectic, prog-pop album. While it is certainly left of center in its composition, I find it well done. The shifting back and forth between the Yes-like guitar / drum / bass sections and the operatic falsetto are entertaining. Also the staccato delivery of the chorus is very interesting. Falling In Love With Myself Again once again features very Yes-flavored breakdowns. I like this song a lot. This album has all the markings of a sneaky 5 so far. Each song is brimming with energy and has creative elements that keep things entertaining. Perhaps I'm just a sucker for meaty bass, but this album gets me. I was having a hard time placing it earlier, but this feels like a much more interesting / effective Supertramp to me. Alright so I wrote that last comment at Hasta Manana, Monsieur. After that point, I feel like the album got a bit more tedious if not repetitive, which softened its overall intrigue. I still think this was a really surprisingly strong album and appreciated the uniqueness backed by solid instrumental work. 4 / 5

I'll be completely honest here, I always assumed Ramones were from the UK... turns out my whole life is a lie. I understand Ramones were an important group to the US Punk scene and they certainly have established themselves as one of the better remembered acts from this era. That said, a lot of this particular style of punk doesn't hold much appeal to me. It comes out sounding kind of all a wall of sound without much variation with a few notable exceptions: Blitzkrieg Bop and Beat on the Brat are a great one-two start to the album. Both well written songs in their own right. I also enjoyed the closing two tracks and how they bled together. Fine enough album, but not something I'd listen to of my own accord again. 3 / 5.

Listening to first track Phaedra, it is really hard to believe this came out in 1974. This is some really experimental, early trance / ambient music. I haven't been focusing hard on this, but the atmosphere has been pretty tense all the way through. Super eerie with lots of layered effects. Feels sort of similar to the psych atmospheres that Pink Floyd has made in some of their lesser-structured pieces. I was heads down for the next two songs, but both sounded like solid atmospheric drones. Reminds me a bit of Fennesz, but way earlier and more moody (I think). The album rounds out with short, but sweet Sequent 'C'. I should probably go back and listen to this one again start to finish. This album was probably a bombshell at its time; hard to imagine many others were doing anything similar with electronic music. 4/5

Already listened to Faces today... let's see if Stewart maintains his hot streak. The titular opening track is not off to a good start. Even with the guitar overpowering his vocals, they still make me cringe here. Plinky plonky stuff on It's All Over Now doesn't do much for me either. I do actually like Country Comfort. Album ends on another strong note with You're My Girl -- a more aggressive instrumental with throaty bass giving this a solid groove factor. All said, this album was more bad than good for me. A few enjoyable songs are the outliers and I am grateful for their existence. Otherwise, this is more true to the Stewart that I have grown to dislike. 2 / 5

Haha, is that a Kraftwerk sample? Honestly the beat is pretty dope. Song itself is kind of a mess though. Renegades Of Funk is my favorite so far. Topped by Who You Funkin' With? Loving the aggressive bassline. Reminds me of something, but I can't place it. Early hip/hop always has an element of goof and this album is no exception. Flows are choppy and at points caricatured, but for what its worth it always sounds like a damned fun time. Where this album shines for me is in the beats and production. I wish we could ditch trap for just a bit and slide back to these wonky funk-forward beats. I may not come back for any particular song, but I did have a fun time. 3 / 5

Well this was a pleasant and short album. I had it in the background, but have definitely heard Read Headed Stranger before. Somewhere between a high 3 and low 4 for me.

Plastico came right out and slapped the coffee out of my hand with that opening bass line. Song abruptly drops all the funk in favor of a straightforward salsa jam. I'm not mad... I'm just disappointed. Like I still think this is fantastically enjoyable, but I love me some funky bass. Pedro Navaja pulls that funky bass back into the mainstream and I truly appreciate it. Song is a jam that interpolates some West Side Story along the way. Maria Lionza has a chant feature in it (at the end 5:05) that reminds me of a Kendrick Lamar song off of Section 80 (Poe Mans Dreams around 2:22). Unsure if it is actually what was sampled there, but it fits too perfectly. Someone please check this out and tell me if I'm crazy. Well this was an interesting one. I'm not one for salsa per se, but I also don't mind it in general. The funky bass elements definitely were a nice addition that made their presence known in a number of songs. I'd say for what it is, it was better than expected. So between a high 3 and low 4. Nudging because even without favorable biases I found this more engaging than not.

Listened Before? No The Girl From Ipanema is such a light and pretty song. Love the guitar progression and the sax overlay around the 2:40 mark. Great music for letting all of your cares dissolve. Para Machuchar Meu Coracao is a languid love song. The sax work through the back quarter has so much emotion and restraint. Makes for a very soothing listen. This album lost a bit of my focus during the midsection, as the sounds started to run together a bit, but I enjoyed its company nonetheless. This is a cozy jazz album with quality vocalists and even better instrumentals (particularly the saxophone). I haven't listened to much bossa nova, but I can see the appeal. The songs don't feel cool and unrushed, and seem ready made for vacation listening. This is a solid 4 / 5 to me. Added to Library? Yes Songs Added to Playlists: - The Girl From Ipanema (Sunny-vibes)

Rant: I really hate when Spotify doesn't host the original album or doesn't distinguish between original and extra tracks. Long original listing (63 min) ends at My Weakness. Album opens with Honey which is centered around a blues/roots inspired vocal sample. Mixing lacks any sort of depth and doesn't have much in the way of progression. Find My Baby goes back to a similar well and honestly is nearly indistinguishable. Porcelain is the most immediately recognizable song here, and it steers away from the sonic profile of the first two. This song is rooted around some sterile drum and bass with twinkling keys and an indie-inspired vocal overlay. Not something to get super pumped about, but its a fine enough song. Bodyrock stands out as another track that grabs more attention than the rest. Weird to me that the album goes from Run On (a hokey upbeat roots inspired song) to a pre-trap downbeat instrumental with Down Slow. The latter is one of the better songs on the album but it ill fits against the rest. Moby is clearly a talented dude and that shines through in glimpses throughout this album. The problem is that the runtime is bloated which distracts from what he does well. He pulls on a lot of inspiration, but on many songs it feels like something is missing. I found this most compelling on his more somber and sparse arrangements: Down Slow, If Things Were Perfect, Porcelain. I doubt I'll come back, but am glad I listened for some of the high points. This is a 2 leaning 3 for me. I'll err on the low side because I had a strong urge to switch albums early.

My overall impression: this album sounds great for its age. For one, the production quality is fantastic -- clean with good layering. For another, the compositions are such that they have done well against the test of time. You could have told me this came out a year or two ago and I would believe you. Really enjoy the electro-trudge of Requiem. Plus I am a sucker for emphasis on bass, so this is immediately a comfortable ride. Wardance is a jam. Love the harmonics bleeding through in the melody. Bloodsport is a cool instrumental jam. Doesn't really make a point to be showy or anything -- just solid stomping progression. Ah I've heard The Wait before -- Metallica covered it on their Garage Inc cash grab. Always enjoyed their cover. The original is equally great if a lot more post-pop in styling. S.O.36 taps into a more doom metal style adjacent to some early Sabbath. Its one of my favorites here so far. Well that was awesome and unexpected. So glad to have tapped into this one today. This is a high 4 for me.

Decided to listen to this one purely off of the band name. Opening riff sounds punk inspired, but the production is crisper and a bit more glam. Love the bass tone and the harmonization -- solid title track. To Be Someone is a head nodder. Shiny guitars (call to The Police) with some thick bass lines. Mr. Clean keeps things rolling along nicely. David Watts actually reminds me of a Sufian Stevens song mixed with Psycho Killer by the Talking Heads. English Rose switches pace for a more tender song. Actually its quite pretty. In The Crowd is fine enough. Really I'm just hanging onto the bass through this one. Song starts to devolve into something that sounds like a Hendrix outro -- not hating it. Kind of let this drift into the background, but I enjoyed what I heard for the rest of the album. The last two songs were both really strong; especially the bass work on Down in the Tube Station. I had never heard of these guys before today and will now be diving deeper into their collection. This is a great album start to finish. Lacks a certain magic that would be needed to push it to a 5 for me, but they wrote good songs and demonstrate broad range. 4 / 5

Had a review that got wiped when I cycled my browsers. :'( In any event, I really enjoyed the atmosphere of this album. Very hazy with beautiful vocals for the most part; like looking at a beautiful painting covered in shear lace. Standouts for me were Breakfast in Bed, Just a Little Lovin', Son of a Preacher Man, and In the Land of Make Believe. I did have to double take on Son of a Preacher Man when I thought I had accidentally switched to Cypress Hill's Hits from the Bong. This is a solid album that I otherwise would never have consumed. 4 / 5.

Not my closest listen by any means, but this absolutely rips. Aretha has such a commanding voice that suits these soulful instrumentals so well. I enjoyed this -- solid 4 / 5.

The Prodigy, apparently not to be confused with the rapper "Prodigy," is an energetic D'n'B collective. Points out of the gate for an unsettling album cover. I like the play on words with Break & Enter, which features a beat composed largely of traditional pounding drum and bass centered around a sample of a breaking window. This seems like pre-dubstep given the bass warble. Very cleverly arranged, particularly the distorted vocal sample; however, it makes use of some kind of hockey stop'n'go tempo manipulation. Hard to tell, but I think I took the red pill. As far as music for writing software to goes, this is that good kush. Their Law features a heavy metal riff infused DmB jam that keeps things bobbing start to finish. Need some water after those last three songs. Thankfully The Heat (The Energy) opens up to give me a chance to breath. Unexpected psych laced electro warble to pick up the back half of the album. The dominating sample on Claustrophobic Sting is the thing of nightmares. I'm deeply unsettled. Overall, I'm into this album for what it is. Trancey and psych infused drum n' bass that keeps the floor moving. I think that there is a decent amount of variation across the album and individual songs, while long, have enough elements and progression to keep them from feeling stale. Its not my absolute favorite from this genre, but I enjoy it and will likely come back for more 4 / 5.

Album opens with what amounts to feedback and some overlaid noise then bleeds into an instrumental torrent called Assassins, which is lead by a super fuzzed out guitar riff and madhouse drums. Some buried vocals through some sort of a reducer attempt to poke through, but they don't stand a chance. This song fucking rips -- just an unrelenting, pent up journey that almost feels like something out of a demented TRON game. Dracula Mountain apparently doesn't plan to give us any relief... More driving drums with some slashed together guitar riffs and samples. Feels like the musical equivalent of getting sprayed with taco bell meat from a firehose. Oddly I want more... This almost feels like if the guys from Slipknot were just a bit more quirky. This is primo zoning and coding music as far as I'm concerned. Just thumping, progressions that keep your blood up. Reminds me a bit of the math-rock band Battles from what I remember, but this is even more aggressive. I'm going to need a nap after this album. On Fire might be one of my favorites here for its composition. Guitar tone reminds me a bit of Mahavisnu Orchestra's Inner Mounting Flame. Interlude with vocals, however, is a bit strange. Closest thing to a traditional structure on here, I think? Crown of Storms is a sludgy mess of progression with crisp fret-fire overtop forming the main centerpiece of the first half. The second half is dominated by a drum breakdown and undecipherable vocals. Longstockings actually could be a B-side Modest Mouse song. It is the tamest thus far, up until the end where they effectively light the original song on fire and burn it down until it completely implodes. I was just writing that I wish there was an earnest, smooth jazz interlude when Wonderful Rainbow came on. Not quite smooth jazz, but the closest to an earnest interlude this album offers. Well that was one of the more entertaining surprises of this list so far. I enjoyed the jolt to the system and will absolutely come back for more 4 / 5

Personal favorite of their work

Off to a strong start with Keeping Pigs Together -- some solid trip-hop, with Neo entering the matrix vibes. 1000% expect this band to be from the UK based on feel alone (Wikipedia confirms). Some Kind of Kink keeps things rolling with a funky little trip hop beat centered around a lyrical sample of the title. Bass work almost feels like something Primus would crap out as a joke. Shellback is fucking dope; James Blacks "Put That Away And Talk to Me" has a vocal sample technique that sounds almost the same. (rather than "could you give me like 8 bars" his says "could you tell me about the early days" with the same distortion and cadence) Rest of the album wasn't earth shattering. Fine trip-hop album; strong 3 / 5

A Walk Across the Rooftops feels familiar. I think I must have started to review this at one point... Really pretty song with a very 80s sounding (Victor Wooten-esq) bass tone and orchestral flourishes. This was a fine way to spend 40 minutes. Enjoyable, but not enough to get too excited about. Just nice spacious, but warm instrumentals with his calming voice over top. Somewhere on the 3-4 boundary -- going 3.

I've never gone particularly deep on The Beatles, and this is one of the albums I haven't spent time with before. Just listened to this straight through 3 times and wasn't at all mad about it. Such a very different band over the course of their career, but this is fantastic straight-cut rock and roll from their early days. They tap into solid song writing and stretch it into a few different styles, exhibiting their ballad harmonization (If I Fell) as well as ability to write upbeat dance tracks (Can't Buy me Love, I'm Happy Just To Dance With You) and tap into more "bluesy" rock (Any Time At All, You Can't Do That). The hits here are great; what didn't make the radio is equally enjoyable. Very solid 4 / 5

So I really enjoy their Sophomore album Electro-Shock Blues. I've listened to this before one as well, but don't have the same burned in impression. Pretty cool that their lead singer is the son of one of the foremost quantum physicists behind the many worlds theory. Novocaine for the Soul has a similar, but brighter feel to it that ESB has. Susan's House features more of the same quirky elements that I enjoy about Eels. Always found their songwriting to be solid with tight if a bit theatrical compositions. Mostly had this in the background. I enjoyed what I heard, but did not find it as moving as ESB. 4 / 5

Listened Before? No Late 60's psychedelic hard rock. This is a really interesting album from a recording and production standpoint. It has the feel of a loose improve session where the recording was heavily resource constrained. All of the tracks have super condensed instrumentals that form a distorted wall of sound, with the vocals layered way out in front. In combination with the rough recording quality, the instrumentals often feel improvised and muddy. Makes for what appears to be an authentic look into what a live show from Blue Cheer might look like. Interesting mix on Summertime Blues (I've only ever heard The Who's version) that pulls the vocals painfully forward of the instrumental which is condensed into the form factor of a soup can and near completely drowned out. I do enjoy the roughness of the cut they decided to run with; gives it a more authentic bluesy feel. Breakdown sounds a hell of a lot like Foxy Lady. Rock Me Baby is a slow blues trudge built for head nodding. Solid non-nonsese jam. I only wish that these guys had a proper recording studio to get a little focus on the instrumentals. Parchment Farm is interesting in the way that the rug kind of pulls out half way through for a jammy interlude. Then revitalizes in a completely different key once the vocals join back in. I enjoyed this and can see where it may have had significant influence on heavy metal in decades to come. Pretty cool listen: 4 / 5 for me. Added to Library? Yes

Listened Before? No A full 7 years after Pornography, which I really enjoyed; we'll see how their sound matured... Opens on a super spacey synth ballad Plainsong. Feels awfully shoegazey (not that that is a bad thing, just a departure from Pornography). Pictures of You is a bit more confident sounding, but maintains a similarly astral soundscape. I really enjoyed this song. Lovesong is a jam that was first introduced to me by 311. I prefer the original in its 80s punky glory. Bassline on Fascination Street is super throaty.. reminds me a lot of Mudshovel by Staind. Jam. The guitar progression on Homesick feels really familiar, but hard to place. This was background noise for a data entry task for most of the mid-section, but I enjoyed it being there. I will say that from Pornography to this album, The Cure certainly refined and changed their sound quite a bit. I have a preference for the earlier album, but this one is quite nice in its own way. This album was much more "flowy" and spacious in tone and felt much more laid back and/or depressed. While the album runtime is a bit lengthy, I honestly didn't mind. I never found myself bored or looking forward to the exit. This is a strong 4, leaning 5 for me. Perhaps on repeated listens I'll give it the nudge, but for now, 4 seems appropriate. Added to Library? Yes

I had this on background through two listens. I enjoyed a lot of it and found it above par insofar as a punk album is concerned. That said, there wasn't much that jumped out and smacked me in the face with interest. I would give this a high 3 / 5, and likely will never come back again.

I can safely say I did not expect that opening. No sarcasm, I love where this is headed though I hope we get something other than incoherent screams for vocals. The crustiness remind me of early Modest Mouse in the best of ways. Chicken Dog is a silly one, but I'll be lying if I didn't enjoy the groove. Listened to this twice straight, but didn't really have any focus to put on it. That said, I really enjoyed both trips through the record. A bit eclectic in its composition, but super crusty with some elements of punk sprinkled in. The closer reminded me of Gonjasufi with the vocal effects. Thought this was pretty solid and will be back again. 4 / 5

Had a hell of a time finding this one -- finally located the full album on Youtube (https://www.youtube.com/watch?v=VVcXArTdoAE) First impressions, this is some indie that Pitchfork would almost certainly love. Also, immediate impression is that the production quality is very very good -- tons of depth and attention to detail. This is some bleak, but beautiful music. Austere arrangements, but there is a lot of attention to detail and little effects and features if you pay attention to the background. Death to Everyone is among my favorites so far -- probably as close to upbeat as this will get. One of the more abrupt endings that I've heard recently. I waited for a good minute or two for the next track to start before I realized it was done. Someone really ought to check in on Bonnie "Prince" Billy -- this is some premier sad boi, dark days music. Spooky album cover and beautifully glum arrangements. While this isn't exactly my favorite type of music, this was really well done. From a production standpoint alone this scores high. Add also a very capable singer and some interesting writing. I'd say this is somewhere firmly in 4 territory and expect that with easier access this would grow on me.

I had no idea Neil Young was still producing music worth listening to into the 90s. Like I know he never stopped, but I'm surprised to see a cut from this time period on the list. For what it is, this is a fine album. Nice and crusty, and honestly more enjoyable than a lot of earlier Young that I've been exposed to. Love and Only Love is a late album standout that features some great instrumental jamming. I could definitely see myself coming back to this record. Solid 4 / 5.

Listened Before? Yes This album has a shitload of nostalgia tied up in it, so I don't think I can be at all unbiased. Received this for Christmas when I was about 9 years old and played the hell out of it for years to follow. I remember it was a two CD package which meant an extremely long listen. Looking at this with a bit more cynical eye, this album seems a bit more of an ego-stroking cash grab, but it will always hold a special place. Album opens with only the symphony playing ecstasy of gold (from the Good the Bad and the Ugly). Metallica joins the stage for their instrumental Call of Ktulu from Ride the Lightning with the symphony adding depth to the existing song. Original is great as is this version. Only complaint is that the mixing buries the (amazing) guitar solo a little more than I would prefer at the midsection. Symphonic addition kind of makes this feel like a James Bond intro or something. I actually think that the symphony inclusion hurts Master of Puppets. IMO the song works much better as stripped down as possible. First time hearing Hetfield and his live vocals sound great. Quality micing work on the audience to capture their singalong. Far too much here to try and break it down song by song. In broad strokes, this album is an interestingly successful musical fusion that pairs a professional symphony orchestra against "metal." I think that the pairings tend to work better for the later career (read as more poppy) entries to Metallica's catalog; however, they must have noticed that as well given that that describes most of the album outside of a few notable exceptions. Standouts for me are Of Wolf And Man, No Leaf Clover, Hero Of The Day, and One. This doesn't hold a flame to the first four albums Metallica released, but it is a fine enough entry. Will always hold a special place for me. 4 / 5 Added to Library? Yes Songs Added to Playlists:

This album falls well into a space of music that I don't mind, but really doesn't do anything for me. Only thing that really stood out was how terrible the vocals were on I Keep Coming Back. For me this is a very forgettable album. Part of that could be the fact that I was focused more on work than the music, but I think a lot of this just ran together and it played a lot longer than I would have preferred. 2 / 5

Listened Before? No Album Art: 5 / 5 (boobies) Never heard of these guys. Opens on a tear with a galloping bassline on The Thrill of It All. Tonally this song is like an intersection of glam and prog. Bitter Sweet was an unexpected trip. Oscillates between pretty oboe-backed sections and distorted circus / polka + German lyrics for nightmare vibes. Casanova is another standout. Not my closest listen, but I enjoyed what I heard. A lot of it kind of fell to the background with the exceptions noted above. Solid proggy/glam rock, but nothing that I plan to come back to quickly. Middling 3 / 5 for me. Added to Library? No Songs Added to Playlist:

Listened Before? No No expectations going in. Album art is pretty neat. First impression: this has some Grizzly Bear vibes, but the vocalist is more forward and a bit crustier. Okay, three songs in, the Grizzly Bear impression was false. Sure this is indie rock, but this is a bit more full-bodied and traditional (in my interpretation). I find Mirrorball to be very pretty. The guitar riff on Grounds for Divorce reminds me a bit of a Beck song (the name of which I can't place). Production goes a bit flat during the breakdown and drowns the bass, but is otherwise a cool song. Had the rest of the album on in the background while doing other things. Enjoyed the tone and songs as a whole, but didn't find many standouts that called to me. This is a 3.5 leaning 4, but I don't think it had enough umph to warrant the higher score for me. Added to Library? No

Listened Before? No Never heard of this guy before, but there are two songs on the album with oodles of listens. As a general sentiment, Brit pop rock is not among my favorite genres. Lazy Days is fine for what it is, but doesn't get me going. The title track adopts a bit more alt flavor that parallels post-Dookie Green Day or some Offspring songs. Ego Agogo is a boppy pop-rock song; kind of fun tbh. Most listened to single "Angles" sounds like a Christian rock song in the worst of ways. Not a fan. Alright, this really hasn't gotten any better the longer it has gone on. I could see how this would appeal to someone. There isn't anything outright offensive, and the production is fine, if at times pretty flat. For me, this isn't it -- I have no interest in finishing the last two songs on the record after pausing. Solid 2 / 5 for me. Added to Library? NO

Saw that Steve Albini died and remembered seeing this album was on the list. I had put it off because it isn't on Spotify, but figure I'll pull from YouTube for the occasion. Did not realize this would err on the Industrial side of the spectrum -- not usually my cup of tea, but the opener has an undeniable energy. Album throughout was energetic and enjoyable for the most part. If I had it on Spotify or some other means I would listen to it on repeat a few times to gather a feeling... As is, this was fine, but nothing that blew me away; somewhere on a high 3, soft 4. I'm going with the 3.

Listened Before? No Album opens with a confident Fiona over a simple, but moody drum line. Piano and orchestral flourishes are really nice. Cool song. Sullen Girl sheds all of the confidence of the preceding track for a more somber piano ballad. Beautiful mixing on this. Love how she controls her voice throughout. Shadowboxer and Criminal are both jams in their own right. Pretty impressive that both of these songs (over 5 minutes) received radio airplay in their full forms. Drifted into the background for a while there, but this was a really pretty and seemingly complex album. I would like to dig back in with a bit more focus later. On first impression alone this is an easy 4 / 5 for me. Songs are varied, but flow from one to the next nicely. I enjoy the way she uses her voice. Added to Library? Yes

I've been saving this one for a special time, and I can think of no better than my 500th album. I have never heard this album straight through, but this came out during my childhood and I have definitely heard it second hand bleeding through the door of my sister's bedroom. ...Baby One More Time deserves whatever flowers people have given it. This is great pop with all of the period production. As soon as the piano line drops you can't help but hear the whole thing play out in your head. Add also the funky little slap bass line :chefkiss: Ya know a reggae inspired pop song was not at all what I expected... Also not great. Born to Make You Happy is a better return to form. I like the instrumental here with the layering of the piano and wah'd out effects. The back half of the album really slipped by without anything notable (except for Thinkin' About You, which is a fun little R&B-inspired pop song). She certainly has a voice, but the overprocessed bubble gum 90s pop sound doesn't do a whole lot for me. Nothing I out right hated; nothing I loved. For me this is a high 2 verging on a 3.

Some good clean RnR from a simpler time. Interesting the difference in production quality from song to song. Crazy the difference between 50s production of these types of acts and that of acts just 5 years later that have come on this list. Tutti Frutti is a goddamned jam. A lot of good shuffling music here, but a lot of it comes out feeling the same to me. Going with a high 3. Definitely respect the hustle here setting the stage for so many other acts that followed.

Opens on Stronger Than Me, which features a jazz-infused hip-hop beat and Amy's powerful vocals crooning over top about a lover's shortcomings. You Sent Me Flying taps into a fitting R&B beat for the period. Nothing particularly wrong with it, just not my cup of tea. This segues (for some reason) directly into Cherry, which features a Spanish-influenced acoustic guitar pluck. The instrumental on Fuck Me Pumps reminds me a lot of another song, but I cannot place it. Love the instrumental backing, but I'm not really loving her vocals here; just don't do a lot for me. In My Bed is a standout for the beat. Love the dusty hip-hop shuffle matched with flute. Her vocals are fine, but really it is the backing production for me. Lots of soul on this record, and clearly Amy had pipes. That said, I found this to be a bit tiresome to listen to and lost focus about midway through. The instrumentals were varied in both style and quality. Overall impression is this is just fine: 3 / 5.

Listened Before? No Interesting out of the gate with the title track. Dubbed out, sunny instrumental + synth line with vocals that remind me a lot of Hercules and Love Affair. This is dope. Love all of the guitar effects; funky splashes with echo laced injections. Though I can say, my ears did not love the little alarm clock like riff at ~2:55. Thankfully, some soulful saxophone came in to mend the wound quickly. A Million Pleading Faces sheds the laid back groove of Rip It Up for an accelerated 80s romp with slide guitar and some world music influences in the vocal (mic is handed over to their drummer from Zimbabwe) and hand percussion. Fine enough song if you can get past the specifically 80s cheese. Mud in Your Eye is a ballad of sorts. Tight composition with interesting vocal layering and progression. Really dig the jammy excursion at the closure of Breakfast Time. I can imagine this band would be fun to see live exploring their impulses. I Can't Help Myself is a fun one to tap along to. Really loved the closer Tenterhook. It felt like a nice way to ease out of this one. That was a refreshing listen start to finish. Great 80s production with plenty of influences of the time. Even still, it has modern appeal with some well-written songs and a ton of variation. I put this somewhere in the high 4 category for me. Added to Library? Yes Songs Added to Playlists: - Rip It Up (Sunny-vibes)

Leading off with Move Over. Pretty straight-forward blues rock jam with some nice guitar work throughout. I like the way the guitar mirrors and underlines the vocals. A lot of this has fallen into the background. Not hating anything so far, but not much really standing out. Me and Bobby McGee caught my attention; I've never heard her version, but a I've heard the Dead do the song many times. Her's is more spread out and soulful. I dig the organ accompaniment. Mercedes Benz is an incredibly vulnerable acapella track. While I don't exactly love Joplin's voice, I think the husk of it with the clap accompaniment works well here. This was a fine album, but it in no way captured my attention... Maybe if I were to hear it in '71 I would feel differently, but here in 2024, this is a low-mid 3 for me.

Great from front to back. Pyramids is a jam

Relistening this and collecting thoughts since my browser refreshed and I lost what I wrote. Up front I'm somewhere between a 4 and a 5 here... I had seen Brian Eno's name a lot, but had never listened to his work until yesterday. I don't know what I expected, but this was not it. The album opens on a jazzy number lead largely by a warbling bass line with some electronic sounds interspersed; the song feels as if it wants to pull itself apart, but it keeps driving forward. Love everything about Golden Hours. Such a dreamy atmosphere. The production on this album is top notch and the sounds feel well ahead of their time. I'm a 4 / 5 on this. Found a lot of things interesting and enjoyed the listen.

Listened Before? No Pretty interesting that their debut album is a Live album. Album opens on a funky tear with Let's Start. I was bobbing the whole way through. Black Man's Cry is a jazzy jam piece. Loving the way that the piano is weaving in and out of the drums through the extended mid section; I can groove with this. I can't see the frontman, but just from his delivery you can tell that he brings life to this live act. More high quality jamming and energy on Ye Ye De Smell. This had to be a fun set to be at in person. You know, I don't usually go in for drum solos. Much less when they are over 16 minutes long; however, the closing track was perfect background music to the mind-numbing work that I have been doing. This is like the Woodstock solo from Santana's set on steroids, and it is a pretty impressive display. That said, where the Woodstock solo had one of the best re-entries to the song from a drum solo I have ever heard, this stands alone and therefore packs less punch. Still the guys playing can hit the cans well. This was a really cool live album and I will definitely come back. I didn't know what to expect coming in and was pleasantly surprised to hear a very well-mixed and mic'd live album full of jazzy jams with a charismatic frontman and funky elements. This is a solid 4 for me. Added to Library? Yes Songs Added to Playlists:

Ahhh let the prog become you. The Yes Album is a masterpiece from one of the best prog bands to ever do it. Yours Is No Disgrace opens the album with a very characteristic Yes sounds. Some aggressive bass stabs that give way to some glittery instrumentals and eventually break way for Anderson to douse us in his falsetto. Everything with Yes feels so well-calculated. As with most Yes songs, this one just rides the bassline all the way through. The Clap picks up on a completely different tone with an acoustic guitar instrumental that evokes almost Spanish, folky vibes. Forgot about this one, not to say it isn't a good-un. Starship Trooper goes right back to the heart of Yes; a multi-part prog saga. Tis a jam. I've Seen All Good People is a great one. Who doesn't love a song about chess. The harmonizing on A Venture is wonderful. Love the staccato work of the drum with the guitar weaving in and out of focus. Kind of tuned out for the last track focusing on work, but I was bobbing along... 4 / 5

Been a while since I listened to this one... Building Steam With A Grain Of Salt has an epic-level intro: a tense key loop, repeating low-end key slam (like the intro to Top Gun), and an earnest vocal sample. Once the drums drop this song just bounces so effortlessly. Dope song. The Number Song picks up with some boom-bap. Bass drone with a snare-heavy beat over top and scratched in samples. What Does Your Soul Look Like, Pt. 4 is a low-key jam. The same up and down bass line persist the track with various elements thrown in throughout its sprawling runtime. Very groovy start to finish with some weird vocodor type of thing going on around the 4 minute mark. Organ Donor is another standout jam. Simple, but effective. As a whole, I really enjoy this album start to finish. This is an exercise in highly effective crate digging to produce a (lengthy) album of songs built on loops and samples. DJ Shadow does a great job of creating atmospheres and layering concepts on top of one another. There are many different emotions throughout, and several long-slogs of songs that IMO never get tiring. This album makes me think of Deadringer by RJD2 in some sense, but with even more depth of technique and form. 4.5 / 5 -- giving a nudge to 5/5.

Listened Before? No This is one of those modern indie darlings that I have heard so much about, but have never been compelled to listen. Opens with a driven piano + drum led track with a spacey aura about it. Vocals are dusty and dowsed in echo. I get Tom Petty vibes for some reason. Red Eyes brings the synth a bit more forward, but carries a similar spaciness and driven nature. Suffering is a sprawled out ballad. Really enjoy the atmosphere and guitar noodling. Same can be said for Disappearing. I can get lost in songs like these. The Haunting Idle is an atmospheric instrumental. Perfect for letting the fog settle in. This album was a little long, but was a cohesive listen and I did not mind being wrapped in its atmosphere for an hour. Production is very clean with most songs sharing a particularly spacey / dusty atmosphere. This was a nice listen and I should really make a point to dive into more of their catalog. Strong 4 / 5 Added to Library? Yes

Not a bad song on the album IMO. Can get a little tedious if you aren't in the mood, but certainly one of the best indie albums of the 2000s. Highlights: Two Weeks, Fine For Now, About Face

7 songs in and this has been some very quality blues rock, as would be expected of Clapton. Key To the Highway is a very quintessential slow-burn Blues rock song that really doesn't even try to color outside of the lines. Just solid jam instrumental. Amazing how different of a take on Little Wing this is. I far prefer Jimi's original, but this is nice in its own way. Much more full-bodied and drawn out, with some internal riffs that remind me in a way of The Who. Surprising to me that they buried Layla so deep in the track list. Up there in two-contention for favorite Clapton songs with Cocaine. Such an iconic riff to open the song with soulful lyrics. Always think of Goodfellas when I hear it. Expansive jamming flips the song into a completely different at the midway point. All the stress of the first half melts away into a piano-led melody where the guitar takes a Garcia-esq tone that meanders away in the background in a blissful atmosphere. All around solid blues rock on display here -- this is what we call on Clapton for. Was it the most exciting record? No, but there are a few standouts (namely Layla and Key To The Highway). I would say for me this is a softish 3, because it was fine, but isn't something I see myself going back to anytime soon.

Not gonna lie, I picked this album for its name alone. Initially I was put off by the length (3hr) until I realized the original release is Disc 1... Going to review on that alone as that is manageable. I can't say I've listened to many albums beyond the 1.25 hr mark that weren't marred by lack of discipline in arranging. Leads off with the title track which features a slow crescendo intro that builds upon a repeating minor guitar riff accompanied by some drums and a crooning vocal. A minute and a half in, the song opens up following a chant of the song's title and gives way to a pretty typical sounding rock song. Fine song; great opener, but not really my cup of tea. Drops unceremoniously into Richard III. I'm into the bass tone that this is leading with. Some grungy influence here. Nice theremin feature. Solid rock song. I dig it. Tonight is another fine rock song. A bit messy feeling with all of the layers on top of one another, but altogether a fine execution. Late in the Day pumps the breaks on the forward momentum of the album with an acoustic guitar lead ballad. G-Song is a traditional sounding song, but I groove with it. Really into the production. Also has a jammy feel to it like they could break out at any point live and just rip. Sun Hits the Sky is another ripper -- the bass breakdown has a Geddy Lee feel to it. Cheapskate is a fine long. I like the bassline and production in general. I really like Hollow Little Reign. It has a folksy arrangements, but is highly effective and groovy song. Has a classic rock vibe to it and allows the instrumental to take the outro on a soul searching quest. Album rounds out on Sometimes I Make You Sad, which interestingly opens up with what sounds like a beatbox + distorted upright bass. Very odd song, but I'm into it. This has been an interesting listen. I'm glad I went on the ride. Supergrass is a new one to me, but clearly they have a lot of critical acclaim behind them. They put together a psych-alternative-rock album that has a ton of variety and some solid jams. I'm a light 4 on this one.

Listened Before? No Amazing I haven't listened to this one before given how prolific the album art is. Two songs in, this is not my favorite Bowie vibe. That said, Aladdin Sane is a pretty cool song; very jazzy with the Gershwin-esq piano solo interlude that dominates the midsection. Reminds somewhat of Bathtub Gin by Phish. Kinda zoned out for the next couple of songs. Cracked Actor is a cool song. I mean, doesn't sound nearly as revolutionary as some of Bowie's other work, but it has a nice progression. Also Bowie just has a certain confidence about his delivery that he can just own anything he puts on record. Hard to quantify, but it is a certain X-factor that he has as a musician. I can safely say that Time caught me completely off guard with the aggressive progression at 45 seconds. Lady Grinning Soul is another cool one. Really dig the sprinkling keys. Okay, after conclusion, this is not the David Bowie that I prefer. It is still good music, but there isn't much here to pull me back in for another listen like something like Hunky Dory has. I'm a 3 / 5. Added to Library? No Songs Added To Playlists:

Listened Before? No Luv N' Haight is a fuzzed out funk jam. Unsure if the fuzz was a design choice or a resource limitation, but it works great here with the screechy vocals. Just Like a Baby strips everything back for an exposed R&B style groove. Vocal distortion still present; almost certainly a choice given the cleanliness of other aspects in the recording. I'm groovin, though this song takes on a more sinister tone. Reading up on the Wiki page, this album has an interesting history, where Sly and co were being pulled by record execs and Black Panthers. This album sounds like it was largely born out of isolation and extended drug use by Sly Stone. Reading on how everything was mixed and overdubbed, it makes sense that vocals are buried and scratchy for the most part. Doing some repetitive tasks and kind of zoned out, but the intro to Brave & Strong immediately caught my attention from its sampling in Beastie Boys' 3 Minute Rule. I kind of zoned out after that, but I enjoyed all of the sounds that I'm hearing here. This is a soft 4 from my side. Different from the bright and poppy Sly hits that I know in a big way, but still damned enjoyable. 4 / 5 Added to Library? Yes

Damnit. I deleted my review on accident. Anyway, Regular John stands out immediately due to its sampling on Skepta's "Man" (great song btw). As for the song itself, it was fine, but didn't really go anywhere. Avon starts with some metallish guitar riff progression and falls into a grungy midsection that evokes Alice In Chains with less angst. Fine song all said. If Only is a rock song. I can tell by the way that it is. Production drowns out the guitar noodling in a layer of fuzz, which I find an interesting choice. I actually really like Walkin on the Sidewalks. Something about the riff works to propel the song and makes me want to nod along. Once again, getting some Alice In Chains vibes. You Would Know is kind of boring, but forgivable. Also, interesting to find a bonus track in the middle of an album; The Bronze is a jammy adventure that has some elements that make me think of Dismemberment Plan. One of the best from Side A. Mexicola makes me think of Tool for some reason. I think it is the similarity of the bass line to Schism during the intro. Hispanic Impressions is a pretty interesting instrumental jam. I'm about it. You Can't Quit Me Baby is a low key jam. Sludgy for the most part, but gives way to some smooth guitar solo work at the end that descends rapidly into chaos. Has a sort of jazz-fusion quality to it. Droids is a proggy sludge-fest instrumental -- feels like something Umphrey's would fill with. All in all, I'm more into this album that I expected from the outset. 4/5

Listened Before? No Never knew that any members of Steely Dan had solo work. Starts out with all the trappings of early 80s cheese: smooth sax, crappy synthline, artificially clean bass... Not my favorite era of music. That said, this song does have an undeniable swing to it and I find it hard not to bob along. I almost expected to see Byrne credited on Green Flower Street. The bassline is something straight out of the Talking Heads. Early standout, though I wish they did a bit more with the guitar solo around the 3:20 mark; this groove is ripe for riffing over. Ruby Baby is very jazzy in composition. Opens up through the midsection to allow for an extensive piano solo, followed by some synth / guitar work. Early vocals and the overall progression of Maxine remind me a lot of a slowed-down Thundercat song. Song has a certain groove about it with some pretty guitar licks interspersed. New Frontier is another high quality jazzy jam. And the title track that follows has a sweet bass groove to it. I was suspect at first synth stroke on this album, but it is fire. I can see where Umphs would have pulled Booth Love influence from something like this album. Not my idea of a "perfect" album, but a damned enjoyable listen. Steely Dan rips, but this rips in a very different, more jazzy way. The instrumentals are largely groovy, and the vocals + harmonization are far better than they need to be. This is a solid 4 / 5 for me. Added to Library? Yes Songs Added to Playlists: - New Frontier (Driving)

This is a fine album with a lot of recognizable songs from when I was a kid: Last Night, Someday, Hard To Explain. I feel like they make decent music, but its not anything that gets me very excited. I didn't mind it being on, but wouldn't really seek it out except for if I wanted to take a trip down memory lane. This is a strong 3 / 5 for me.

Frustration leads in with some straight EDM vibes out of the gate. This dissonant synth gives way to a very bright, processed 80s synth-line. Digging the sax work. Tainted Love is a jam. Bleeds into Seedy Films, which is a bit of a strange one. Minimalist electro synth-drum with some clarinet(?) overtop. I don't hate it, but I'm not super into it either. Album fell into the background for a while. I was into the instrumental on Sex Dwarf, but the lyrics were kind of rough. Secret Life is another standout to me. Really digging the pure-80s synth line that makes up the hook. Where Did Our Love Go? is another timeless jam that I find myself humming from time to time. The droning synth reminds me of some modern electro-psyc (e.g., Darkside) with the plunky xylophone, etc. The whole instrumental taken alone seems way ahead of its time. I'm a 3/5 on this one. The album as a whole feels ahead of its time. At points, I wish the instrumental was brought more forward relative to the vocals.

Listened Before? No How many Bowie albums are on this list?! Not complaining, but the guy is some sort of alien/outlier among humanity. This is a new one for me, from a time in his career that I'm not too familiar with. Apparently (per Wikipedia) this was produced during a coked up frenzy and he hardly remembers its recording. Title track opens with some rustling noised playing with stereo effects before giving way to a moody plucking that ultimately settles into a super proggy groove. Love the meaty bass employed here. Song itself adheres to a pop-prog multi-part structure. Golden Years is a swinging jam in its own right. Got a decent amount of funk to it. Stay is a funky banger. Love the polyrhythm in the drums + percussion and the fat ass bass. High point of the album for me. Wild Is the Wind is a laid back jam, on which Bowie's voice buouys above a languid and reverb soaked guitar line. Feels like a great song for strolling along the beach high as a kite. Start to finish this isn't among my favorite Bowie albums. Probably not even top 5. But what I enjoy about Bowie is that he never made the same album twice. Up until his death the man was reinventing himself and stretching himself artistically. In this album, we find him in a proggy/funk phase full of full-throated bass and some scatterbrained wandering songs (Station to Station). As a whole, the production is (as usual) beautiful; nice separation and selection to the mix with crystal clear vocals. Listening with headphones (especially Wild is the Wind) is like a warm hug. I found this to be spottier than most other of his works with which I'm familiar, and so will give it a solid 4 / 5 Added to Library? Yes

Okay... Dookie, I understand, but why in the hell is this album on here? Post relevant Green Day cashing in on a popped up version of the sound that made them great on their 1994 breakout. The fact that there is not only one, but four song weighing above the 6 minute mark does not bode well. Doesn't help that I never actually have the focus to care about a rock opera; they feel like things that musicians make for their own ego rather than for the listener. All that out of my system, I do have a soft spot for American Idiot. Like I recognize it as a not very good song, but I have a certain nostalgia associated with it. Perfect song for being 13, white, and believing yourself to be edgy. Never before have I heard a GD song and said "you know, I wish this was 3x as long." Having listened now to Jesus of Suburbia I feel justified in this sentiment. It's actually not godawful, but its kind of a schizophrenic mess. Holiday is actually a solid, catchy pop song. And while it pains me to say so, so is Boulevard of Broken Dreams. Had Extraordinary Girl / Letterbomb in the background, but found myself tapping along to the back half. I really did not like Wake Me up When September Ends on its own, but it is surprisingly, somehow better in the context of the album. Okay... Having just completed the album I will say that it isn't nearly as terrible as I expected it to be going in. I did not particularly enjoy it, but it is an honest and respectful entry into Green Days catalog. The songs err on the pop-punk / emo spectrum and probably have something to do with teenage love and being an outsider or something. To be honest I wasn't paying much attention to lyrics. I won't come back for another listen, but I didn't want to gouge my ears out. This is a soft 3 for me.

Never been huge on NiN and the industrial music scene, but I understand the appeal. I think for those in that scene this is probably a great album. As for me, it runs middle of the pack. I find Pretty Hate Machine to be a more enjoyable listen start to finish, but this has a few high points (Closer, March of the Pigs, Hurt). Overall, not something I would go back to any time soon.

Coming out of the gates hot with the title track. This song rips in a distinctly 80s way. Drum and bass (especially bass) are working overdrive to propel this thing forward into the coked-out dance track that it is. Love the shimmering synthlines that run throughout. More funky bass on display in My Own Way with a similar 80s glimmer about it. Hungry Like a Wolf is one of those songs that immediately comes to mind when you think of an 80s montage. What's not to like about this song; easy to sing along to, fun and energy forward, lovely synth and bass aplenty, spacey interlude featuring heavy breathing... All-around solid album that encapsulates a lot of what I think of when I think of the 80s New Wave scene. The hits are the standouts here for sure, but plenty to enjoy outside of them. Putting this at a low 4. Really love the spacey synthwork on The Chauffeur. Was totally not expecting the beat drop at 2:20 featuring a renaissance-evoking flute-line. This song fucks.

Always have found myself more fond of the Gabriel era of Genesis, but have never listened to any of his solo work. Opens on an unexpected note with Intruder. Vibe could be described as pop/punk industrial. Moody atmosphere lead largely by a drum clomp and some eerie synth lines. Start -> I Don't Remember was a pretty sick transition. The latter song is pretty cool. Enjoy the spaced out 80s guitar (similar to Eminence Front in a way) with the repetitive bass hook. Games Without Frontiers feels really familiar. I've either heard the chorus sampled elsewhere or have encountered this song in some other form. Either way, its a fine and quirky little song. Sounds vaguely of Bowie and features a whistle track. This was a pretty disjointed listen for me, so not the best for making an overall impression. At the core, I feel like I enjoyed more about this album than I didn't. There were several songs that grabbed my attention, a few that fell to the background completely, and none that I didn't like. I would say this straddles a line somewhere between a high 3 and a low 4 for me.

Starting out, I get some vague Beatles + Spoon vibes. I guess the piano + guitar will do that (re: spoon), but the vocals give me a Lennon-like feel. This is a solid "indie" album. At points, it feels similar to Alex G. A little long for my taste, but its enjoyable enough.

I actually listened to this for the first time a few months ago when I went through a brief whole hardcore punk phase. These guys were at the forefront of that movement that lives on today. I Against I has some crazy vocals that evoke Faith No More vibes -- looked it up and apparently Chuck Mosely (of FNM) was in Bad Brains, but 4 years after this album. Love the riff on Re-Ignition. Feels like the Offspring with balls. All around, I dig the vibe of this album and respect it for what it is. Bad Brains aren't my favorite of the hardcore scene, but this is a great album through and through.

I am not fully bought into the Jack White hypetrain, but I do enjoy the sound that he made as a part of The White Stripes. This album blasts out of the gate with Seven Nation Army. A couple of forgettable tracks, then I Just Don't Know What to Do With Myself > In The Cold, Cold Night; both great songs for different reasons. Ball And Biscuit is a pure classic rock jam -- digging the energy it evokes. Feels like something that The Black Keys aspire to. The Hardest Button to Button has long been in contention for my favorite White Stripes song. Always found it to be a weird radio hit, but I love it. This is a soft 5 for me. If I could I would give it a 4.5

Been a while since I've been back to this album. Always enjoyed the texture of The White Stripes and this album is full of it. Album has a little bit of everything: certified jams (Dead Leaves and the Dirty Ground, Fell In Love With a Girl), folky indie (We're Going to Be Friends), sloggy grunge (Aluminum). Not perfect, but a solid listen front to back.

Album starts strong with Sympathy For the Devil, but doesn't keep the momentum alive in my opinion. The first half is otherwise mushy and "Stray Cat Blues" is the standout of the second half. 3/5 purely because SFTD is a jam and Keith Richards.

Campy 1970s rock album that veers all over the place with a technically capable band, but one of the strangest front man pairings I have ever experienced. The album is unique to be sure, but poor lyrics detract from otherwise instrumental jams. --- One track in and I'm unsure if to treat this as a serious album or some sort of conceptual joke. The groove is real, but the lyrics and delivery seem almost a parody. Sweet Gene Vincent is a 90 degree turn into a toned down ballad that for some reason pivots into an old school RnR song. Not hating it. Only half listening to Abracadabra, but feel like he's talking about his dick again. Mixed on My Old Man. Lyrics are trash but the bass line and otherwise composition are groovy. Fuck yeah we get a polka-infused number with Billericay Dickie.

Hard to explain why, but I have never been able to get into Common. I enjoy the vibe of the album in general -- laid back and jazzy -- but nothing about it really pulls me back for more. He has a good flow and there is depth to the lyrics that run the gamut from treatment of women in rap culture (The Light), systemic inconsistencies (The Question), a story of payback (Payback Is A Grandmother), and a back and forth study of pimping (A Film Called (PIMP)). I think ultimately, I find myself sort of bored by his delivery and preachy overtones. It doesn't help this album is super long making it easy to lose attention.

R.E.M. is one of those bands that I heard a lot of growing up, but never really liked very much for the lead singer's voice. Always kind of imagined a Kermit the Frog like character when listening as a kid. Anyway.. Listening today, I can appreciate a lot of what this album has to offer. R.E.M. made some damned catchy pop music that inside of a 41 minute runtime hit all the highs (Pop Song 89, Orange Crush, Stand) and lows (The Wrong Child, Hairshirt, Untitled) servicably. Overall a 4/5 for a clean, very listenable album with Orange Crush, Stand, and Pop Song 89.

Rod Steward has never been my cup of tea, but credit where it is due; this is a fine album that I will never listen to again. A bit folky at times (Mandolin Wind) with mega-hit Maggie May smack in the middle. soft 4 / 5

No idea what to expect going into this one, which is kind of best case. Leads in with a folky little number; sleepy acoustic guitar and some flute melodies. Give way to some trumpets and drums that bleed in production. Goes from calm and sleepy to suddenly jazzy and infused with chaos / distress. Smiling Phases continues the latter half of Variations with a Hammond organ line mixed in with some smoky vocals. Feels sort of like a love child between Steppenwolf and The Guess Who. Digging the jazzy interlude into a piano solo. Feels like improv -- these guys probably jammed live. Kind of let this drift into the background for the next two songs. Sounded fine, but mostly forgettable. And When I Die is a weird number to me; kind of all over the place. It's sort of like polka met broadway in a back alley with southern rock. Not feeling the resulting fusion. It kind of reminds me of a shitty precursor to Karn 9 Evil by ELP. Odd to me that this it (according to Spotify) the third most popular off this album. God Bless the Child is kind of a goofy track as well. It has a southern bluesy vibe that breaks out into a little Latin infused jam before coming back to the bluesy vibe. Its not _bad_ necessarily, but its a weird thing to capture on wax. I had no idea that Spinning Wheel was by BS&T... I think I heard this song as a kid on some singing show (American Idol or similar). I think that the hook is rather catchy and his gravelly vocals contrast nicely with the rest of the brassy production. Composition is weird as hell; weird that this made it to radio. It bounces between brassy pop and white-washed jazz / soul that would be okay to bring home to momma in the late 60s. I'm a soft 2 on this one. There are bits and pieces to like on this album, but in general the compositions are a mess without fully leaning into an eclectic image. I feel like they had the idea to play multiple styles inside of a single playtime and then decided to make an entire album that way. End result is something that just feels messy and disjointed.

Another completely new one to me. Feels like British indie in the same vein as The Shins or something. Something 4 The Weekend feels a lot like a Spoon song, but I can't quite place which one. The whole guitar breakdown and composition is identical. I've had this on in the background and have generally enjoyed the vibe. Gathering Moss kind of feels like a Blur song -- standout to me so far. Mostly had this going in the background, and while it didn't command my attention often, it was enjoyable. I give it a 4/5 and deserves another listen.

Tommy is such a weird album to me. I get why people enjoy it, but it's not what I go in for when I want to listen to The Who. The whole opera concept is goofy and most songs are pretty bland. There are a few instrumental standouts and pinball wizard, but otherwise there isn't enough Entwisel magic or Moon weirdness to make this enjoyable.

Oh man this is a 5/5 going in. I remember the first time I bought and listened to this album that I was hooked immediately from the bassline on bombtrack. So much energy and such an instantly classic sound these guys churned out. Not a bad song on here, but the standouts to me are: Bombtrack, Killing in the Name, Know Your Enemy, and Township Rebellion

I've known of this album for a long time, but have not had much urge to listen. I only listened to two-thirds, so the score is with an asterisk, but overall impression of what I heard is generally "meh." I understand how this may have had cultural significance at the time, but in general it does not do much to stir up emotion in me. That said, I do like the bass sound a lot and fee like I've heard it mimicked in other works since.

I know not what to expect. Strange album title and artwork. Leads in with some atmospheric, dreamy, and slightly dubby instrumental on Oblata, then flips into a radio-style intro to Buffalo Gals. Buffalo Gals is familiar as it appears to be something that J Dilla samples on Workinonit (great song). This album seems like a seminole work in splicing / sampling at the bleeding edge of rap. Digging the infusion of Latin and African instrumental work alongside classic hip-hop. So far no real standout tracks, but it has a good vibe unto itself. All around its a solid vibe album.. not really much to bring me back, per se, but I'm glad to have been exposed to it.

I've heard the name, but never listened to one of her albums. I'm digging the vibe that Offence puts out. Confidence filled bars over an atmospheric instrumental that has a slugging / groovy electro-bassline with some flute and drums to match. Boss continues in a similar braggadocious vibe. Once again, the instrumental is pretty dope. Also like the compressed vocal effect -- calls back to Check Your Head by Beastie Boys. Selfish opens up from the constricted, punchy basslines to a breezy lo-fi production with a smooth bass rhythm working in the background. Her flow is really good; pairs nicely with the understated beat and is supported by a clean chorus. Venom is the high point of the album so far. Broody instrumental with spooky strings and high-hat heavy drums. I don't know if I call it a "jam," but it is very moody. Second half is a bit softer than the first, but overall this is a really quality album. 4/5 for overall shot selection, production, and technical ability.

Never have I ever desired to listen to Kings of Leon -- at least this is short. Instrumental opening is fine, but as soon as the vocals came in I remembered why it was that I've never seeked them out. For such a punchable voice they have no right putting the vocals so elevated in the mix. Milk made me actually want to tear my ears off. The Bucket wasn't much better. The run from Soft through Four Kicks is as good as this album gets. If I squint, Soft reminds me a bit of the euro rock invasion (Strokes, etc.) -- about as enjoyable as this album has been so far. Razz is another solid one -- hopping from foot to foot. Day Old Blues pulls things down to a more somber note, which works outside of the goddamned chorus -- this guys voice is brutal. Four Kicks might be the best one on here. Whiskey soaked guitar riff in a barroom shuffle with incoherent vocals playing more of an instrumental role than anything else. Not much to remark on through the remainder. This was not my cup of tea... I've got a high tolerance for expressive vocals, but this is the first album in quite a while where I outright rejected the lead singer. Something about his voice just shit all over any forward progress most instrumentals made. Really didn't help that they put it so forward in the mix. Even so, there were a few places where it "worked" okay. Soft 2 / 5 for me.

I have tried Husker Du before, but haven't seen the appeal. Three songs in, this sounds like pretty standard pop-punk rock. I have not found anything particularly interesting yet. Standing in the Rain sounds like the singer from R.E.M. moonlighting. Back from Somewhere is the best song so far (IMO). Tight progression with a tempo change in the back half. This song feels like what I imagine when I think of an angsty 80s teen movie. TBH I kind of tuned out about halfway through. The songs sound fine, but nothing that really commands my attention.

I expect that this was a culturally important album given the time, but it doesn't do much for me.

I've heard of White Denim before, but have never listened. Out of the gate, sounds like we are in for some new-age psych / garage rock revival. Lo-fi production lead by fuzzy vocals and aggressive snares. The guitar leans toward the back for the most part, but carries through some light at times. Back at the Farm has that fuzzy bass jam that almost feels like the Working Man jam from Rush's self-titled album. Digging the overt jamminess. You could tell me that River to Consider was cut from a 1970s era live set of the Grateful Dead and I would fully believe you (until the vocals come in). Once again, I appreciate the jammy vibe. I will say that I have yet to hear anything I would consider "novel" on this album. It is solid, but it is more in respectable service to a history than it is charting its own territory. soft 4/5

Welp this things has finally taken me to the other side of the tracks where I've never wandered before. Apparently Muleskinner is the same album plus two songs. San Francisco Bay Blues starts off the album with a sparse arrangement of plucked guitar melody with some spoken word overlay. Opens up about halfway through into a pretty traditional sounding Blues song. I'm into it -- seems like the sort of stuff that the Dead inspired a lot of their Workingman's Dead era songs from. The Boll Weevil and Bed Bug Blues are both super folky. Feels like a natural precursor to Dylan (side note: apparently they were friends). I kind of tuned out after this point and let the album fall into the background. This is fine, but not great folk music. I can see where it was ahead of its time in some respects, but its not something I would come back for repeated listens to. Soft 3/5.

Might be the most UK cover I have ever seen. At first glance, I'm unsure if this is the same guy four times or four distinct individuals. With No Shoes has a light pop-rock tone with whiny lead vocals. Three songs in, this is pretty bland 90s alt-rock if I've ever heard it. One to Another is supposed to be the most popular song on the album. I guess I can see why. Of what I've heard so far this has the most energy and feels the punchiest. That said, its a pretty boring song. You're a Big Girl Now is actually my favorite of the album so far. An acoustic guitar melody with some harmonized vocals. Simple, but effective. Get On It might be my favorite song from the entire album, but nothing throughout feels particularly interesting. hard 2/5

Love me some AiC. Just looking at the tracklist, this album is stacked: Them Bones, Rooster, Down in a Hole, Would? Them Bones starts the album with a sludgy set of power chords and Layne Staley's unmistakable vocals paired with a set of face-melting guitar solos. Sets the mood nicely for the album to come. Dam That River is propelled by a Slash-esq riff that climbs up and down over and over again. Good head-bobbing, grass-cutting tune. Rain When I Die changes gears with a keyed down bass intro with some warbly guitars scratching around on top. Hard to imagine anyone other than Layne Staley holding this song together. His vocals always give me goosebumps. Love this song. Down in a Hole turns 90 degrees into the closest thing to a ballad that AiC ever wrote. Despite its popularity, I'm not that huge on this song. That said, its a well-written song and I understand the appeal as a sort of anthem to depression and exile. Sickman is an interesting number. Oscillates between a driving metal riff and down-tempo crooning from Staley. Another depression anthem about a man staring down death and feeling a lack of control over their life. Disturbing with interesting instrumentals. Not something I would listen to on its own, but it fits in with the rest of the album. Gives way to Rooster, which I understand to be about Staley's father who was a Vietnam vet who struggled to re-adapt after the war and as a result was not present in his life. Song has always been, and always will be an absolute jam. Man had a voice. Junkhead is written from the perspective of a hopeless addict. Makes sense given the scene in which AiC ran in the Pacific NW. Bleak chorus lyrics... "what's my drug of choice? Well what have you got? I don't go broke and I do it a lot." Feels a bit cheesy, but they pull it off. Dirt, has an interesting arabic-style riff. Fine song, but more of a slog than anything else. Bassline on Would? is classic. Strong finish to a great album. I'd say a hard 4/5.

Born On the Bayou is about as CCR as things get. Great little melody with Fogerty's gravel-soaked voice crooning over top. Bootleg turns over to an acoustic strum intro with a gradual build. Features call and response between the vocals and lead guitar. Good song for driving down the road to and bobbing your head. Graveyard Train is a blues song propelled by a slowly walking bass guitar line. Kind of goes nowhere for 8 minutes. There is a harmonica interlude, but in general this is just ambient mood music. Not bad, but nothing interesting either. Good Golly Miss Molly is a ripper. Standard rock riff and progression with some slick, effective guitar work. Jam. Penthouse Pauper follows up in a similar vein with some slick licks over top of a rather standard 60s rock rhythm. Groovy little number. Proud Mary is a fine song -- not my favorite of their hits, but it certainly hits a spot. Album rounds out with Keep On Chooglin'. Kind of dropped into the background, but it is a lengthy number featuring all of the CCR goodness you come for. I have mostly experienced CCR through radio hits and haven't dug into an album front to back. This was a solid listen, but nothing revolutionary. CCR had an aura about them and certainly the skills to pay the bills. Soft 4/5 mostly on the atmosphere alone.

If someone tells you they don't like Bitter Sweet Symphony, you shouldn't trust that person. I'm not huge on the euro-indie-pop of the late nineties, but this song deserves all of the respect. Classic string intro with one of the catchiest god-damned choruses that makes everyone think they can sing. Sonnet is kind of a boring handover after BSS... The Rolling People picks up with a big room guitar / drum combo. The Drugs Don't Work is a comfortable little ballad. Solid little song. Catching the Butterfly is my second favorite song on here so far. Digging the spacious, noodly atmosphere of the second half. Very open and almost psychadellic with the synth tones poking around under a haze of drum and reverberated guitar. Neon Wilderness is another sparse number. Feels initially like a B-side instrumental number from Modest Mouse with some atmospheric guitar and drums with vocals floating overhead. I had this in the background for the remainder of the album, but I honestly can say that I enjoyed this album way more than I expected to. Especially closer "Come On;" that was an unexpected jam. All around this is a 4/5 for me. They cover a lot of ground and had way more variety to their sound than I expected going in -- ballads, pop, jam / psych influences.

This isn't something I would typically go in for, but I'm glad to have been exposed. There are some pretty songs on here (Love's Enough, One Night Stand) and some groove (Ballad of the Ship of State). The whole production has some staginess about it, as if it is part of some bigger production. All in all, I found myself really enjoying the first half of this. The latter half either I got distracted or the music got less interesting. Either way, I feel like this falls into a hard 3 / 5.

Definitely not my wheelhouse. Let's see... I listened to this one in the background while working. I couldn't name you a track outside of Dancing Queen, but I found myself bobbing along quite a bit. Like bluegrass, disco is certainly not my thing, but I can see why people enjoy it and respect it accordingly. Would I go out of my way to listen to this album again? Absolutely not. Would I be miserable if I was roadtripping with someone and their car had a broken radio antenna and this one one of three albums to cycle through repeatedly? No. On account of that, I give this a 3 (leaning towards 4) / 5.

I'm a 4/5 on this one. 4.5 if I could. It has more jams than duds, but is not quite perfect. Highlights: Break on Through, Light My Fire, Take It as It Comes, and The End. Low point: Alabama Song.

Nick Drake's Pink Moon is one of my favorite albums. I feel like I've listened to this one too, but not nearly as much. Nick Drake is such a sad story of a ridiculously talented person with a troubled soul, who released great music, but never got to see it receive the recognition or impact that it had. I shouldn't be surprised, and yet I still find it hard to believe this is the work of a 21 year old. The music has a certain depth to it that seems better fit to someone with more lived experience. Three Hours is an early standout. Beautiful, sparse arrangement with cascading fretwork and Drake's haunting vocals floating over top. I didn't pay attention to discrete songs too much, but love the environment that Nick Drake builds on this album. Lot of different textures, all enjoyable. 5 / 5

By far my favorite Talking Heads album. So groovy; so many hits. Crosseyed and Painless is such an end-to-end jam. Great song. Bleeds into The Great Curve, which has a funky little guitar riff paired with a driving bassline. Love the layered vocals throughout. The fact that Once in a Lifetime was a commercial success single-handedly makes me wish I could have lived through the late 70s into the 80s. Could never imagine such a song getting radio play today. Such a queer, dreamlike song. Awesome spacious instrumental with ridiculous lyrics (even by Byrne standards). The whole under the water bit... Love everything about this song; I don't think it ever fails to put a smile on my face. Only wish I could have seen them live. Highlights: Crosseyed and Painless, Once in a Lifetime, Houses in Motion. 5/5

Welp, I had some lovely notes on this album, but then my compute took a massive shit. I remember really liking Mr. Wendal as a song to smile to. I also remember Raining Revolution was an absolute jam with killer instrumental and flow. Reminded me of a fusion of Del The Funky Homosapien and Q-Tip. Plus the lead guy can sing too. The bassline on Dawn of the Dreads is pretty slick. Another late-album jam. Tennessee is the song I know Arrested Development for. I mean its a fine song, but by no means the best song on this record. All around this album feels well produced and like a clean 90s rap album. I get weird polished Public Enemy vibes. Overall, I'm not hug on it, but there are some standouts. More good than bad on here and nothing truly terrible. This sits between a 3 and a 4 for me.

Ah, I do love me some BoC... Good old downtempo electro-psych. This album in particular has always commanded my attention. Album opens with some very BoC aura sounds. A roaming synth playing through some hazy fog; evokes something of some colorful light roaming through space. An Eagle In Your Mind follows on with a warbly synth plus stumbling, ever-evolving drum. Some spoken word samples in the background add to the already eerie vibe. The "I Love You" sample always kills me. Feels so out of place, and yet... This song in particular is everything I love about BoC; slow building aura music that makes you slightly uncomfortable, while also wrapping around you like a blanket. The Color of the Fire, once again dips heavily into the "I Love You" sample. This time opening up with a super slowed down and spread out rendering. The stuff of nightmares. Uncomfortably paired with some moody synth aura and twinkling electronic bells. It is as if they deliberately made this song to induce a bad trip. Would absolutely do drugs to this and regret it. Telephasic Workshop ditches the majority of the eerieness in favor of a fairly straightforward drum and bass number with a strange (awesome) syncopated vocal track serving as a percussive element. All throughout, things are held together by familiar synth tones and background vocal samples that make it clear we have not left the BoC universe. Second favorite song so far after An Eagle In Your Mind (I'm a whore for a slow build). Sixtyten features a very hip-hop infused beat with boom-bap drums and a vocal sample featuring at the center of the rhythm. This song jams end to end. Turquoise Hexagon Sun starts out so very pretty. Trip-hop infused beat lead by some angelic keys that just never stops moving. On this song, I think I realize what I like so much about BoC is the lived-in feel that they create with their songs. Every song is kind of homey and cluttered in a delightful sort of way. This song in particular makes me think of walking through a not-long abandoned house on a sunny day where the blinds are mostly drawn, but there is enough light shining through so you can see the dust floating about. Hard to explain, but there it is. A couple of short sandwich tracks separate this and obvious standout Roygbiv. The simplicity of the lead synth line with the drums is only enhanced as the track builds with successive layers. Such a pretty, forceful song. Rue The Whirl is an aptly named track whose main loop feels like something unwinding over and over again. Paired with a punchy drum beat, this feels like something that should be rapped over, or at least bobbed to very confidently. Aquarius gives way to a sprawling number with a funk-infused base line and cowbell(?) marking time. Seems music fit for the intro of a porno, that is until the creepy samples start rollings. For some reason, the sample of the woman counting just works amid all the other sample layers. God I love BoC. Vocal samples just keep getting better -- One Very Important Thought busting out the government PSA about serving as a juror. Album closes out with Happy Cycling, which has one of the more unnerving backing synth lines on the album (which is saying something). But I mean come on... that seagull sample? How? Absolute classic electro-psych album. Guaranteed to lull you into a sense of safety and then induce nightmares in children and grown men alike. I love everything about this album from front to back. While they have a distinctive sound and aura, BoC are able to jam a lot of ideas and permutations into this environment. This album is truly timeless. Hard to believe it is 25 years old. 5/5.

Message In a Bottle is a great choice for an album opener. Immediate energy with that snare kick + guitar riff combo. Great song start to finish with a somewhat unusual structure. Goes back and forth between energy and spacey sections. Jammy by nature with a catchy chorus and meaty bassline to sink into, not to mention the drum fills on the outro. Reggatta De Blanc picks up where Message In a Bottle left off with a long-winded intro to the namesake of the album. What an absolute jam -- did I mention I love slow builds... This thing feels like it was ready-made to open concerts through a sea of fog. Absolutely propelled by Copeland's drum work and Sting's vocal work. It's Alright for You brings us back to a more-standard rock song. Carries the same energy, but adopts a more common structure. Not bad, but not as interesting. Still love the way they play with momentum here. I love Walking on The Moon... top 5 Police songs for me. However, the juxtaposition with On Any Other Day is rough. Weird choice in both lyrics and delivery IMO. Low point in my mind. The Bed's Too Big Without You is another dud to me. Contact makes up for lost ground with a meaty, uncomfortable bass line well balanced by Copeland's drum work and Sting doing Sting things. I'm into this one. Does Everyone Stare almost sounds like a misplaced Beatles song out of the gate. Lyrically, kind of continues to fit in with the creepy stalker Sting vibes conjured on Every Breath You Take. That said, the instrumental opens up into a drum and bass jam by minute 3. Knowing that Copeland plays with Oysterhead definitely sways me, but the man may very well be the most talented member of the band. No Time This Time does nothing to change my last statement. Copeland is playing like his hair is on fire straight out of the gate and never eases up. Surf-punk guitar riff accompaniment is a nice touch. Gotta love the symmetry -- album starts and finishes with equal energy. All things said, I'm into the overall dubby vibe that this album puts forth. The Police own it and put together some awesome jams (see Reggatta De Blank, Message In a Bottle, and Walking On The Moon as examples). On the other hand, I'm not fully bought into The Police hype and find some of the songs to miss (see On Any Other Day and The Bed's Too Big Without You). I am a soft 4 on this album mainly swayed by the fire that it closes on and the strength of the hits. Couples of duds, but man could these guys jam.

Ah here's a band that I've heard so many references to, but have never actually heard a song from. Based on festival attendance, they run in a similar circle to the jam / indie bands that I like. The Things That I Used To Do opens up with a Cage the Elephant style spoke word snarl (understanding that these guys are predecessors). Super crunchy texture that I like out of the gate. Satisfying drum line with an equally comfortable bassline. Not something that would be single territory, but a low-key jam fit for a college house party. Blues Music takes over with a similar spoken word style through a reducer on top of a lazy drum and bass line. Creates a very chilled out atmosphere. Good music for munching Doritos. Garbage Man brings a little more attitude to the mix. This is about as head-bobbing as this album has gotten so far. I'm once again stricken by how similar this feels to Cage The Elephant. Digging the atmosphere. This would probably make for an awesome show song. Eyes Have Miles is a noodly number that stays in the same atmosphere. Instrumental is reminiscent of some less bright jazz / surf rock (mei ehara, robohands). Baby's Got Sauce flips into some bright guitar strokes and the most didactic vocals of the album so far. This is music tailor made for a middle of the day backyard summer kegger. I'm a little surprised this is the most popular song according to Spotify. Its a fine tune, but I actually prefer their more laid back songs so far. The chorus is kind of rough IMO. Rhyme for the Summertime is more effective IMO. It taps into the snare-tap drum beat paired with a surfy guitar tone that while brighter than most songs is still disappointed (minor) sounding. Feels similar to Mac Demarco a la This Old Dog. Cold Beverage is another head bobbing jam. Guaranteed crowd favorite that I'm sure helps to boost bar tabs. Simple concept, but honestly it works on the rawness of it all. Fatman follows this on with a fun little jam that lets things open up with a harmonica riff. Ends with some loose guitar noodling that segues into more reserved This Ain't Living. This Ain't Living feels like a more typical rock structure out of the gate; very effectively done. Walk To Slide is another standout in my mind. Love the lugubrious bassline that keeps things flowing / sliding all the way through. The echo on top of the sparkly guitar is a nice effect as well. This and Garbage Man are my favorites so far. Some Peoples Like That and Town To Town are both way down tempo crawls. Heavy blues influences shining through both. I enjoy both songs for what they are. Album finishes out with a traditional stripped down blues song with sparse acoustic guitar and hand clap making up the composition. This is a really pretty song and so far from where the rest of the album has been. I really enjoyed this album and see the appeal of G. Love. This is a rough and crunchy album that shows a decent amount of range, from the spoken word, almost rap like deliveries to traditional blues. Many of the songs sound like they are made for backyard barbeques or smoking a joint and watching cars drive by. I will absolutely come back for another listen. 4 leaning towards 5 / 5.

While I know music critics have a hard-on for this album, I found it to be just okay 90s rap. I'm probably missing some cultural significance or something.. All said the album is an enjoyable listen front to back held together by a game show concept that make up the intro and various interludes. The album starts strong with The Magic Number showing off the skills of the 3 MCs. Otherwise most songs are fine, but forgettable with a few exceptions. Me, Myself, and I is a jam, and Buddy is my personal favorite probably because Q-Tip steals the track. Only other memorable song is Can U Keep A Secret which is an interesting commitment to a concept -- whisper spoken word exposing "secrets" about different people. At the end of the day I like this album just fine, but don't understand the hype of De La Sould. 3 / 5

I've only ever listened to Loveless. TBH I didn't realize MBV put anything out in the 80s. Album kicks off with Soft as Snow, which has one of the most discordant, uncomfortable string(?) lines forming the backing. Sounds like somebody pulling a bow across a guitar and then playing the result backwards. I'll give it credit for being unique, but it isn't exactly something my ears love. Its like the audio equivalent of opening a medicine cabinet door. Lose My Breath flips into a shoegazey number with strummed acoustic and vocals that call to mid-90s Smashing Pumpkins. Fine enough song, but I got bored by lack of progression. Feed Me with Your Kiss jams. This and Sueisfine both have punk influence. Its like aggressive shoegaze if there is such a thing. Nothing Much to Lose is another great song. Love the tempo changes and guitar / drum work through the last minute of the song. I Can See It (But I Can't Feel It) closes out the album with an out of tune guitar strum creating a classically dissonant vibe. There would appear to be a direct line from the likes of this to Alex G. 4/5

Two minutes in to Ace of Spades I had to pause the album to run out and get a leather jacket, some Marlboro Reds, and a 12 pack of Bud; good to go now... Ace of Spades is a quintessential jam for the genre. Few better songs have been written about gambling. Great riff. Also I get the impression that Lemmy used to gargle with asphalt and rinse with bourbon. Other standout is We Are the Road Crew. Jam. Otherwise, the songs kind of fall into a wall of sound, befit for playing in any biker bar. Some tracks have almost punky elements which I was surprised by. And the drum work is bananas throughout. Man must have had robot arms to get through a full set live. Overall I'm a soft 3/5 on this. Doesn't do a lot for me outside of the standouts, but Ace of Spades is an absolute jam and I do dig Lemmy's voice.

Very solid TV on the Radio album start to finish. DLZ is the obvious standout track that most have heard on a movie/TV soundtrack somewhere. It's one of the moodiest songs I know of that just sucks you in to it's groove. Other songs that stood out to me: Halfway Home, Red Dress, Stork & Owl.

I actually just happened to listen to this yesterday without realizing it was the album of the day. Classic work from Beastie Boys I'm which they push sampling to the absolute maximum. As I understand it this was a commercial disaster at the time of the release, following on the hype from License to Ill. Album kicks off in true form with Shake Your Rump, which is a perfect song to do just that to. Then it segues to a country infused song about a hobo scrounging for money to satisfy various habits. Throughout the near hour playtime they sample tons of material and show all different side of they capability. Some of my favorites are Egg Man, High Plains Drifter, Looking Down the Barrel of a Gun, and Shadrach. This album jams. One of my favorites that I come back to time and time again. Sounds of Science I could do without, but otherwise this one is perfect in my eyes.

This album absolutely rips. At least 4 radio hits and one of them is (IMO) his best: Only The Good Die Young. I've got a serious soft spot for Billy Joel. Man knew how to make some songs and gave us a wide variety at that. The mad man even was able to pull some synth-accordion on this album. Amazing. Would definitely listen again. 5/5

Two songs in, not sure I love the vocal mixing -- accentuates his already whiny pitch. I like White Riot. Super crusty mixing; all energy. Deny is another jam. Police & Thieves is the longest song on here by a large margin, and it feels very different. Much more spacious and groovy as opposed to punk blitzkriegs. I enjoy it. 48 Hours is another strong song. This isn't really my cup of tea. There are a few songs that stand out, as mentioned above, but the majority fall into a wall of sound category that doesn't do much for me. I am glad that these guys and their contemporaries existed to pave the way for punk progression, but on pure enjoyment this is a 2 leaning 3 for me.

Was listening to this while running some wiring in the house. Made for solid background music. As I understand it this is one of Mike Watt's projects post-Minutemen. Love his bass sound, though I think Minutemen built better songs around it. That said, I really enjoyed this album. Had some jams that stood out (e.g., Time With You). Had a lot of others that were fine, but not so memorable. I'm a soft 4/5

Ah man, I love this album. Intro is a low-key stadium anthem that hypes everything up for the anticlimactic drop into the bright twinkling and echoey plucking that is VCR. VCR is easily my favorite on the album. Such a fun song and great singing from both members. Crystalized is another jam that centers around some clean guitar plucking and echo. Love the way this song goes back and forth between airy and jammy segments. Islands is a boppy number. Great for a summer night drive with the windows down. Fantasy is a nice druggy instrumental that I first learned of when Mac Miller sampled it for 1 Threw 8 (Macadellic). Shelter picks up on the other side of the tracks with a very open and vulnerable vocal forward track. Once again the instrumental gives a lot of space and feels like they are playing in a gigantic hall with noone else around. This song also gives my favorite chorus "could I make it better with the lights turned off." When they do let the guitar shine through it is a low key climactic moment. so pretty. Basic space is a weird one to me. Doesn't feel like it fits in with the rest. Not a bad song, just kind of out of place. Infinity sounds like a straight rip off of Wicked Game. I like both songs. Night time and Stars round out the album on a strong if calm note. 4.5 / 5, rounding down to make 5s all that more exclusive.

Classic live album recorded only 5 months before the death of Kurt Cobain. Captures grunge in its post-public acceptance phase in the form of stripped down acoustic renderings of both Nirvana staples and select covers. About a Girl is a strong start to the album that translates wonderfully to the wireless atmosphere. Cobain's vocals are on point (for the most part) with good mixing. Come as You Are loses a bit in translation, but is still a jam. I miss the vocal effects that the original recording had that gave this song such a ghostly feel. Here Cobain just sounds so much more vulnerable. This gives way to back-to-back covers. Jesus Doesn't Want Me for a Sunbeam is the first cover on the album. Interesting, though perhaps unsurprising, that Nirvana went for deeper cuts into unknown territory on their covers. I don't know the original here, but this is a fine and folksy number. This is backed up by a much more well-known Bowie song. While I love the original, Cobain's version will always have a special place in my heart. Its a much more soulful telling of the tale. Pennyroyal Tea sees Cobain take center stage alone through a sparse guitar + croon arrangement. Doesn't do a ton for me. Dumb is another classic Nirvana song that translates pretty effectively to this arrangement. I like the incorporation of a string accompaniment for depth through the chorus. In all honesty, I prefer this acoustic Polly. On a Plain is fine... not my favorite from them to begin with. Something In The Way is a jam. I prefer the original, but this is still effective. This leads into a triplet of Meat Puppet covers. All of which I love. Oh Me I hadn't heard before, but it is low-key one of my favorites from this album. Great composition and delivery -- such a sweet song. Lake of Fire is probably my favorite here. Always loved the soul in Cobain's voice -- to this day I find myself randomly singing the chorus. All Apologies is probably the best song that they adapted from their catalog. It just fits the setting so well. I'm a 4/5 on this one. Such a well-mixed and composed live album from a band that defined an entire genre of music. Cobain's voice is the center point of the album and holds up well to the interrogation of an acoustic setting. I appreciate the arrangements of the various numbers and the shot selection in terms of covers and hits from their career.

No idea what to expect here... Slow build on the lead track eventually gives way to a psych-infused instrumental with 90s electronic drum that seems so typical of the UK indie scene during this era. Sounds just like a Verve song from the album a few weeks ago. Tis early yet, but this feels like a good album to shoot heroin to. Get Duffy is an sprawling instrumental groove. Nice funky background music. Were this about 2 minutes shorter, I could mistake this as an instrumental interlude on Beastie Boys' Hello Nasty. Kowalski is lead by a driving bass riff and warbling electronic sounds. Seems ready made for a galaxy hopping sci-fi flick. It jams. Drops back into chilled-out "Star." Kind of a boring song imo. Feels like a B-Side Gorillaz song. I like If They Move, Kill 'Em a lot. Funky palm guitar work with a hip-hop drum track and some horns forming the emphasis mid-section. This is a cool one. This blends seamlessly into Out of This Void which is another spacey number with plenty of psych effects and sounds swirling behind an otherwise minimal keys arrangement. This one-two is the high-water mark of the album thus far. Stuka is a cool electro-dubby song. Steezy and once again reminiscent of Gorillaz in a sense. Medication is the most straightforward rock song I think this album has. It has a fuzziness to the production and delivery that reminds me of Spoon. Trainspotting is a cool song. Sounds like the intro was recorded in a sewer or something with some slick drums and guitar introduced a minute and a half in. Creates a cool, tripped-out atmosphere. I honestly was expecting to be disappointed going into this album and by the opener, but have been pleasantly surprised. This album absolutely jams. Filled front to back with psych and funk infused electro indie jams, this was not the generic euro rock-pop that I thought it would be. While no individual song stands out as something I would replay over and over, I still call this a strong 4 / 5 that is better than the sum of its parts. I will absolutely jam this again in the future.

Another one where I have no idea what to expect. The album opens with Gangsters that has a ska-infused, polka beat going for it with some whiny buried vocals. This feels like it would be at home in the intro of some cheesy Halloween movie. I've definitely heard A Message to You Rudy before. Either embedded in a DJ set or sampled in some other artists work. Pretty classic vibes on this one. Very dusty feeling; I'm into it. Do the Dog is an energetic surf song with a very strange chorus + vocal overlay. I think it works in a surf/skateshop context, but outside of that I'm not huge on it. It's up to You is a groovy dub track. Has a lot of similar vibes to some Police tracks. One of the better so far, with some sweet fretwork to boot. Nite Klub follows up with a meaty slab of bass forming the backbone. I can get down with it. Concrete Jungle goes in hard with the drums out of the gate. Gives way to a pretty standard energetic dub hop, but damn this song rips. The guitar work in the background is fire; reminds me of Minutemen in the tone and vocal nature. Jam. Too Hot is more reggae than ska. Reminds me of a Marley song that I can't quite put my finger on. Kaya maybe? Monkey Man feels familiar as well, though I'm not certain why. Unfortunately the back half of the album doesn't keep up the energy of the first. Either that or it becomes repetitive. Either way, I lost interest shortly after Monkey Man, which is too bad because I was really surprised and into the first half. Wish there was a bit more virtuoso guitar work as in Concrete Jungle, or bass rumpus as in Nite Klub. All said, I enjoyed this much more than I expected. Surprise 3 / 5 for me.

I know the name, but nothing else. Live albums can be tricky. Especially going back in time... The recording and mixing technology have come a long way. Out of the gate, this appears to be a vocal forward mixing marred by all of the fuzziness of the era's recording technology. That said, they put their energy in the right place. This man has a hell of a voice. Chain Gang sounds a bit messy. Unsure if that is crowd noise or some disconnect between the band and the vocals, but it feels disjoint. Cupid is a catchy damned song. Twistin' The Night Away is some good, clean Rock N' Roll. Pretty much exactly what I think of when I imagine dancing in the 1950s. Bring It on Home to Me is the high point of this album for me. Sam works the crowd with a slow bluesy number that breaths naturally. This leads into Nothing Can Change This Love, which once again borrows from the blues spirit. Okay, so Sam can sing real good. I would absolutely pay to see him live and probably beg him to have my babies. That said, the album as a whole doesn't do a hell of a lot for me. It is very solid Rock N' Roll with a lot of blues influences, but nothing in particular stands out other than the power behind this man's diaphragm. I'm a hard 2 leaning 3 on this one.

Late 80s R&B is a place I really haven't spent any time; I'll do my best to keep an open mind. Album opens with Keep On Movin', which is R&B on the groovier side of the spectrum. Complete with sterilized electronic drum beat and simple bass line. Instrumental is flourished with some piano meandering and sweeping strings ebbing and flowing behind the vocals. Sounds like something I would hear in a hair salon if I had hair to warrant the experience. Fairplay is a substantially more interesting song. The backing bassline walks throughout, referencing the same progression but modulating to keep things interesting. It along with a tight drum beat propel the track with some soulful vocals. Favorite song so far. Three songs in, three very different sounds. I'm into the variety. Holdin' On is driven by a more classic drum and bass high-hat beat with some disco-like elements. Not a great song, but its not bad either. Feeling Free finds Soul II Soul in hip-hop territory with an instrumental of drums and scratching with backing horns. Surprisingly effective, like proto-ATCQ jazz-rap. African Dance is an instrumental dance track putting the yazz-flute front and center. Great energy with an improv feel. Particularly enjoy the mixing effects thrown in around the 3 minute mark that send the backing rhythm through an inverter of sorts. Dance gives over to the exact same backing rhythm sans flute soloing. In place of the flute we instead find spoken-word vocals. Unsure why they decided to do this. Surely 6 minutes of jazzy instrumental dance were good enough that we did not need 4 additional? Feel Free jams right out of the gate with a sick double-bass drum line and some tight string accompaniment. Song also features a damned fat bassline, which I'm admittedly a sucker for. Second favorite song thus far. Happiness is a fine enough jam that I found myself bobbing along to. I could easily see this embedded in a DJ set to keep the crowd moving in transition. I've only heard the remix of Back To Life. The A Capella arrangement that forms the first 3 minutes of the song are damned impressive on a technical front -- credit where it is due. Hands over to a hip-hop beat that then bleeds seamlessly into the original album closer Jazzie's Groove. And what a groove it is. Stopping my review here because it is where the original album ends. I will say that I am thoroughly surprised by this album. It jams front to back and is filled to the brim with different styles, textures, and personnel. Standouts from my memory are Fairplay, Feel Free, African Dance, and Jazzie's Groove. I also do love the remix of Back To Life that is included in the 10th anniversary edition; classic jam. This is nearing a 5 IMO, but is held back by a few questionable choices. Strong 4 / 5.

With older albums I'm always annoyed by the fact that Spotify doesn't have the original versions. Instead they have three different remasterings / mixings with extended tracks... end rant. For the purposes of this review I'm listening to the 50th Anniversary Legacy Edition. I'm not sure why, but I half expected Search and Destroy to lead with the riff from the Metallica song of the same name. Instead we find a super generic and flat mixed pop-punk-rock song. Some raw fretwork going on throughout that sounds similar to The Stones and deserves credit. Gimme Danger gives a soulful performance from Iggy Pop over an otherwise moody and wandering instrumental. I appreciate the interlude around the 2 minute mark that gives the guitarist some room to noodle and explore the space. Feels like a good song to roll a joint to. Your Pretty Face Is Going to Hell is the most intriguing so far. Vocals are delivered in a metal grow that almost sounds like George Thorogood over top of a standard rock progression littered with some face-melting fretwork. Penetration has some of the weirdest mixing here. The instrumental is as if it is being played in the basement and Iggy Pop is standing right next to me on the second level whispering in my ear. Not a fan. Feels like a sloppy mess to me and has some of the weirdest, drugged-out ad-lib groans / monkey noises that call vaguely to Axl Rose in the breakdown on Welcome to the Jungle. Title track features a power riff front and center. Its a rock song. I Need Somebody mixes things up with a slowed down tempo. I find I prefer their slower songs... The instrumentals shine and breath a bit more freely and Iggy can still hold down the center. This one contends for my favorite on the album. The album closes out with Death Trip, which, while it is a fun song with some awesome shredding in the midway point, reminds me heavily of a Doors song in the vocal delivery (I think LA Woman?). Overall, I'm pretty meh on this album though I might have felt differently back in 1973 when it was released. I know Iggy Pop as a rock icon, but not for why. He comes out here as a commanding frontman who could hang with the likes of Morrison or McJagger, but all in all I don't see much interesting in most of the songs outside of I Need Somebody and Your Pretty Face is Going to Hell. I'm all for lo-fi, but the mixing here is just generally poor putting too much emphasis on the vocals and not lending enough space to the individual instrumental components. You could claim the technology of the era, but I've heard better mixing from earlier works. All said I'm a 2 leaning 3 here.

A "new" album from an early hip-hop duo I only know for a single song (Mass Appeal). Honestly did not know that this is where DJ Premier started out. Step In The Arena gets things going with a classic 90s beat with some slick flow. Straight, clean, no-nonsense hip-hop that keeps your head bobbing start to finish. Next two songs both are servicable. Good beats and flow... Who's Gonna Take The Weight? features a high-pitch warble front and center. I find it kind of distracting relative to the vocals. Kind of put this into the background for a while. No complaints, but no real stand-outs until I hit Take A Rest. Features a hip-hop favorite sample in one of the more dynamic beats on the record. This song is a case of the beat outshines the MC. Doesn't help that the mixing puts his vocals on the same level as everything else making it easy to lose him. I'll be honest, I did not give this a very close listen. I was focused on other things and the music itself didn't really compel me to give attention. With that in mind, I'd say this is a very solid 3 / 5. It may have been more influential at the time of its release, but looking back this feels like a solid, but not amazing early 90s hip-hop album. The beats, while interesting at times, generally fall within the meat of a 90s hip-hop bell curve and the rapping while serviceable is nothing commanding of attention. Some poor mixing (imo) throughout also plagues the production with the instrumental overwhelming the MC. Can't say I'd go back for another listen, but I'm not offended by it.

Sucks this is only easily available through a YouTube playlist -- makes me wonder how the mixing would be on a consolidated format. Oh well... Album opens with the titular song. Funk that runs par for the course with little in the way of interesting elements. I found myself sort of bored honestly. Some solid bass lines through the outro, but otherwise forgettable. Groovallegiance, on the other hand, fucks. Groovy drum and bass with some slick guitar work throughout the mid-section. The basslines are so buttery smooth. Love the atmosphere they construct on this track. Who says a Funk Band Can't Play Rock is a driving ditty lead by a pulsing bassline. YouTube quality is straight doo doo, but I'm sure a better recording would put more separation between the instruments; as is, the snare feels super flat, which is a shame. Fretwork is once again fire. Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers) is an amazing centerpoint about which to root this album. Not only are the names and lyrics absolutely ridiculous in the best way possible, but the accompanying instrumental is awesome. Love the repeating guitar riff that leads us through the first half of the song and then opens up into a slithering solo with spoken chant overtop. This is the groove I was looking for. Into You and Cholly are both fine songs that got me groovin. I love the album Maggot Brain; unsurprisingly I also love this live rendition. Such a soulful song lead by beautiful virtuoso guitar work and some skittering drums. This is just a pure unadulterated jam. Rest of the album I had on in the background. Funky jams all day. Honestly if it weren't for the disappointment of the title track this would be brushing on a 5. Discounting for that, I'm giving this a 4 because Funkadelic fucking jams. A little cheap of them to double count Maggot Brain with the live cut, but honestly I can't really complain.

Sparse, folksy arrangements of guitar + vocals with a smattering of light accompaniment. Certainly makes for a vulnerable sounding record putting her voice front and center. Even if this isn't entirely my cup of tea, I can respect it. Lots of really pretty compositions and what sounds like narrative lyrics. I should listen again more closely when I'm not working. Mostly this isn't my jam, but there are a few songs that I enjoy more than others: Straight Lines, Undertow, The Queen And The Soldier. The last of these is my favorite of the album. Feels like a pretty standard folk song, but the composition is effective and it sounds like a good narrative that I'd like to listen back on.

I listened to this twice and didn't find myself caring either time. Partly because I was focused on a really obnoxious problem, and partly because nothing was all that terribly interesting. While there is nothing "bad" here, its just not my cup of tea. If I were trying to be objective, I'd go with a 3/4 because musically, it is fine. But I am being objective so I say 2 because I was kind of bored.

Album opens with folk-pop Talkin' Bout a Revolution. Fine if not somewhat boring song -- she's got a solid voice. Didn't know Fast Car was by Tracy Chapman. This song used to be everywhere growing up. Always found the guitar to be incredibly catchy with a chorus that makes anyone think they can sing along. Jam. Not my closest listen, but Across the Lines seems to be a song about racial inequality in America. Pretty, but sad song. Behind the Wall is an incredibly evocative social commentary touching on the fact that police never come fast enough and there is no point to call. Sung completely A Capella, emphasizes the focus on the subject matter at hand. Her voice is like butter... Baby Can I Hold You seems oddly placed following Behind the Wall. I understand you gotta pay the bills, but the juxtaposition is a bit jarring. Back to social commentary, Mountains O' Things is a song about materialism told over a smattering of percussion. Tuned out for a couple songs... For My Lover comes back with a folk-country sounding song. I like the roll of it. All said, I'm glad for this album to have come up on this list. While it isn't something I will come back to for repeated listens, I'm glad for the experience. Tracy Chapman has a beautifully smooth voice and she uses it mostly to speak of social issues. I found the first half of the album to be more interesting than the later and kind of tuned out towards the end. Standouts to me are Fast Car, Behind the Wall, and Fore My Lover. I'm a pretty solid 3 / 5 here.

Album art is dope. Seminal German electronic? Don't mind if I do. Welp, I've listened to this three times now in the background of work. I'm not exactly sure what I expected, but this was not it. A full side of the album is the namesake piece "Autobahn," which sort of rambles on through a layered synths and drums for nearly 23 minutes. Not a whole lot to sink into here for me. Kometenmelodie 1 is a moody ambient piece with a mixture of drums, static, and synth bass. This gives way to much more structured and poppy part 2, which to me is the most compelling song on the album. Mitternacht is another experimental ambient electonic song that sounds as if it was recorded to support a sci-fi scene taking place deep beneath the earth in a cave or sewer system. The album closes with Morgenspaziergang (say that 3 times fast) which is the lightest and most folksy of the record. The song is almost whimsical in nature. At the end of the day, I'm somewhat baffled. This album must have been revolutionarily experimental at the time. Even by today's standards, it is all over the place; not in a good way in my opinion. I'm a very soft 2 on this one.

I fucking love this album. 5 / 5 before I re-listen. Album opens with the jazzy instrumental Peaches En Regalia that ditters its way through three and a half minutes of pure bliss. Willie The Pimp takes a large chunk of the first side of the album with a super jammy song that references the album title internally. Vocals provided by Captain Beefheart do service over the more structured parts of the song; however, the majority of the song is just Zappa being Zappa and jamming his ass off alongside a groovy drum and bass accompaniment. I could listen to this song all day. Son Of Mr. Green Genes is apparently a rearrangement of a Mothers of Invention song. Pure instrumental on which Zappa once again does great service behind his fretwork. He's supported by strong instrumentals throughout. In particular the bass never lets things rest and propels the whole narrative. I'm a whore for some solid jazz fusion. Little Umbrellas is short and pretty jazz song that opens with a lugubrious bassline and is extended throughout by winds and keys. Relative to Willie The Pimp and Son of Mr. Green Genes, this feels like a very restrained and carefully put together song. This is the song you'd bring home to mom. The Gumbo Variations is the antithesis of the control from Little Umbrellas. On this sprawling jam number, Zappa opens with saxophone front and center blaring some beautiful noodling out of the gates over a drum beat that gets your head nodding. Bottom drops out a bit around the 2:40 mark to a smooth bass progression, but the sax work doesn't halt until the 4 minute mark when electric violin takes over the solo improvisation. This section in particular reminds me of Mahavishnu Orchestra's The Inner Mounting Flame (amazing album FYI) in tone and execution; amazing that this precedes it by two full years. Drum fills in the background are highly serviceable -- so much groove you could cut it with a knife. Zappa takes the reigns around the 9 minute mark for a bit before handing back to the electric violin to burn the house down. The album closes out with It Must Be A Camel; another jazz-infused song. This song follows a more structured format led primarily by horns and a bass progression, but gives way through the mid-section to some brief exploration. Zappa was an alien; I submit this album as proof.

I have never listened to an album from The King. What better place to start than his debut. Classic album cover. Album opens with mega-hit Blue Suede Shoes. Good ol' Blues infused Rock n' Roll. Man had a hell of a voice and the guitar rips towards the back half with a very serviceable solo. Feels like something The Dead would interleave into their sets. I'm Counting on You sounds like the vocals were recorded in a small bathroom with Elvis singing directly into a fogged-up mirror. Stripped down pop song that seems like something I should listen to at a drive up diner. I Got A Woman goes back into the blues-laced RnR with a driving drum and accompanying piano. One-Sided Love Affair has a live recording feel to it. It bops back and forth and is a fine song; my issue with this style of music is the lack of distinguishing factors. Most songs can be lumped into effectively three categories with slightly different lyrics. I Love You Because is one of the better songs on here. Sparse, folksy guitar supporting Elvis' croon. I sympathize with all of the grandmas out there; my panties dropped while listening. I actually really dig the vibe of Blue Moon - Take 9/M. Super chilled out with echoing vocals overlaid. I feel like this could easily be a Mac DeMarco song. Money Honey feels familiar and is a fine enough way to close the album. I'm stricken by the lack of cohesive feel to this album. Sure its all Elvis and stylistically similar, but song to song there is no consistency in the recording style. Maybe that is something of the tech and state of the art of the era, but its kind of jarring to the modern listener. Sounds more like a compilation than a singularly produced whole. That said, I enjoyed this album fine, but would likely not go back for repeated listens unless I specifically wanted to feel nostalgic. I respect The King, but there wasn't much here getting me too excited. I'd say 3 / 5 because anything lower feels wrong and anything higher would falsely suggest I cared for this.

I can get down with some Pixies. Surf-punk-rock chock full of meaty bass, raw guitar, and "interesting" vocals; what's not to love? Album opens with Bone Machine that puts pretty much everything I love about Pixies on display. Just feels so loose and natural. This gives over to Break My Body which is supported by a groovy bass line and a fairly metal chorus: "break my body, hold my bones." Something Against You comes in with a ska-infused guitar lick that keeps in line with the overall "surf-rock" aesthetic, but in a very different way. This is a good song for frantically shotgunning beers on the beach and running headlong into the ocean. Broken Face has one of the weirder vocal intros with the falsetto "I've got a broken face" + laugh. In spite of that, this is and always has been one of my favorite songs on the album. The instrumentals capture so much clean punk energy. Gigantic is one of the bigger hits from this album. The reasons are fairly evident; this song puts Deal on lead vocals (much more palatable to the average listener), has a smooth bass melody, and a chorus that you can actually sink your teeth into with a pretty standard rhythm / progression. This is a highly effective song on which Pixies tap into traditional elements while not diluting what makes them great. Where Is My Mind? is easily the most well-known and recognizable Pixies song. This song is a certified jam; I have never heard this song and not been completely sucked into its groove. Its so simple in construction, but the composition is genius. Smooth bass with raw drum and guitar with a melody that immediately sucks you in. I love that they didn't compromise at all on the lyrics or delivery; this is weird in all the right ways. Oh My Golly! is a fun one that taps into punk elements and feels like it was mixed in a dingy basement. Drums go absolutely nuts to propel the manic sections of the song. Vamos is the longest song on the album at 4:22. It features as an energetic showcase for Santiago to perform noodly fretwork over top of a manic drum beat. I get how Pixies could not be everyone's cup of tea; Francis' vocals are a polarizing element. But I am firmly on the side that loves them. I am all about the raw sounds that they construct, the strangeness of the vocal delivery, and how effectively they tap into different styles across a 33 minute runtime. Surfer Rosa is among their best albums (Doolittle being the other that comes to mind). I find myself engaged the entire way through. 5/5

Blondie kind of jams. I don't care what anyone says, One Way Or Another is a great song. Like it was custom built for rabid montage scenes. Picture This is a fine follow-up -- kind of forgettable though. Fade Away and Radiate, connects. Not at all what I was expecting in this album in a good way. Feels almost proggy in its construction, and the vocals are solid. Feels like some modern indie that I've heard, but like 45 years earlier. Gives way to a Police/Umph-like dubby outro. Weird song, but I fuck with it. Instrumental on I Know But I Don't Know goes pretty hard. Once again, feels prog influenced in a big way, but with standard pop-rock structure. Guitar rips through the back half. This is a jam. All said, I enjoyed this album a lot more than I expected. The hit singles are great: One Way Or Another and Heart of Glass. There are also some surprise jams: Fade Away and Radiate, 11:59, I Know But I Don't Know. The rest of the album is solid work. 4 / 5.

Four songs in, this man dripped. Beautiful arrangements, silky voice. You Make Me Feel So Young is a classic. You Brought A New Kind Of Love To Me is just gorgeous and meandering. Old Devil Moon is another smooth number with slick lyrics and some bombastic instrumental work. I'm kind of sad that this format of music mostly died; it exudes class and a simpler time.. LMAO there is legitimately a song called "Makin' Whoopee" telling a harrowing tale of getting married, having kids, and developing responsibilities. I'm sold. Anything Goes sounds like a classy old man rant about the changing world and dissolution of honorous principles. Got me swinging for the last 45 minutes, and for that I give 5 / 5.

About as classic of a Zeppelin album as there is. This is a rare album where the list of songs that didn't get radio play is shorter than those that did. Never really understood the name of the song "Black Dog," but its a jam through and through. Fairly unorthodox in its composition, making heavy use of call-and-response throughout. Rock and Roll is another hit that has more recently been associated with its use in car commercials. Pretty standard RnR; not one of my favorite from their repository, but it is fine. The Battle of Evermore is one of the few that didn't make it to radio. This is Zeppelin tapping into their fantasy lore with LOTR influenced lyrics arranged as a folksy duet. Feels like a hard pump of the brakes after the gas that was Black Dog and Rock and Roll. What to say of Stairway to Heaven that hasn't already been said. Its a jam that I grew up conditioned to dislike (thanks mom). Speaks to the relative attention span of the general public between 1970s and today that this 8 minute tempo shifting monster could become a smash radio hit. First half of the song opens with some folksy guitar plucking and Plant's soulful vocals. Bonham shows up at the 4 minute mark and the song drops into a head nodding rock song that starts teasing with letting loose into the instrumental wonderland that closes out the last third of the song. At near 6 minutes, the song takes on a completely different form; Page finds his amplifier and starts setting fire to the fretboard while Bonham rips alongside. Timeless jam. Misty Mountain Hop is actually one of my favorites from Zeppelin. I enjoy the chant-link, incidental-laden vocals that make up the bulk of the vocal section counterpointing the guitar riff. I think I enjoy it because it feels freer and more experimental than a lot of their other stuff. The back three songs are all good... Four Sticks is another driving jam; Going to California pumps the breaks hard with the mellowest and most heartfelt of the album (really pretty song). When the Levee Breaks changes tone completely into a southern-infused (harmonica) drawl that stomps confidently forward through its 7 minute play time. Great song. While I like a lot of songs on this album I'm not completely in 5 territory. I enjoy the range that the band shows here, but the record to me feels a bit disjointed. Don't get me wrong, I enjoy it, but I didn't find myself wanting to go back for another listen. I'm a 4.4 / 5 here rounding down because I know that Zeppelin II exists.

Pretty hefty looking album: 18 songs over a 73 minute runtime. Album cover looks a bit like Bryan from another timeline. Opening Intro sets some sort of mood with some smooth jazz with spoken word erring on stand-up comedy delivered to a small room. This bleeds seamlessly into Emotional Weather Report, which continues the exact same bass progression with a different set of subject matter. This is so far a weird, jazz-comedy album, but On A Foggy Night feels like the first earnest song and I'm into it. The live-feeling album approach is an interesting choice, with comedy intros preceding each actual song. I will say, weird as it is, it is very effectively done; it feels natural as if we are actually sitting in the jazz parlor with him and the rest of the audience. Eggs And Sausage is the most popular song on the record, and I can see why. Sparkly keys paired with luxurious bass and Waits crooning above. It works well. Very pretty song; man behind the keys earns his keep. I had this running in the background while working an obnoxious problem, so took little note of individual songs. That said, I actually enjoyed this album way more than I would have expected. The format is sort of strange, but it is effectively done and fits the generally laid back jazz music that forms the central element of the album. I enjoy the looseness and find Wait's vocals and comedic interchange to be effective. He has a poetic delivery that calls to the common experience. 4 / 5.

I'm legitimately confused as to how the first song has nearly 7 million listens. I mean it is a fine song, but nothing particularly special. Sprawling atmospheric downtempo rock that has a cavernous feel. I dig it just fine, but there isn't a whole lot to sink in to. I listened to this in the background and enjoyed it being there. Listening through a second time a bit more focused and I will say I feel similar. I enjoy Break Me Gently a lot and the transition into Sea Song. Two spread out, no nonsense indie songs erring on the sad side of the spectrum. Sea Song has an interesting progression through the main melody with a lot of movement. The Man Who Told Everything sounds a lot like a RHCP song, but I can't quite place it. In general I found this to be a fairly enjoyable listen front to back, but found it to be more mood / background music than something I could focus on for an extended amount of time. For background music this is a 4.5, for everything else, probably a 3.5, but I'll round down.

First listen was while I was cutting the grass; overall impression was this is solid early-00s folk-indie that reminds me a bit of The Decemberists. 4 / 5 Second listen I felt pretty similarly; however, no particular songs stood out to me. I'd say this is a 3.5, but I'll round up.

Opening song, Bury Me Deep in Love, sounds like all of the cheese of the 80s. But in spite of all the instrumental cheese, I appreciate the energy and delivery. Has a nice build that climaxes into a swelling crescendo that they fade away at the conclusion. I found myself grooving along with Unmade Love. In general, I'm enjoying this album for background music. Its not something I'd go out of my way for, but I appreciate it nonetheless. My opinion of the album really didn't shift as it kept going. I didn't mind it being there, but I also didn't mind if it just stopped. I'm a soft 3 / 5 here. While there is a lot of 80s cheese going into this, I enjoyed the vocals, and found some of the compositions to be effective. Among those that caught my attention were Kelly's Blues, Unmade Love, and Baby Can I Walk You Home.

I've only ever heard Billy Bragg by extension of Wilco. I have some sense for what to expect, but we'll see how he stands alone here. A bit more sparse than most of his work with Wilco (with the exception of Ingrid Birgman), but just as folksy. I will say with his accent I have a hell of a time making sense of anything he's saying. Even still, I really enjoy Levi Stubbs' Tears -- the super sparse, scratchy guitar shines while Bragg croons something. There Is Power in a Union feels like it was made specifically for playing at a rally. Fine enough song. I'm a hard 2 on this album. While I appreciate Billy Bragg's existence and there are a few standout songs this style of music doesn't do a ton for me. Would have been a 3, but I firmly believe that he should not have touched Sin City by the Flying Burrito Brothers. That was a perfect song in original form and did not need a mandolin laden cover.

I know Running Up That Hill (A Deal With God) got a lot of attention in recent years due to Stranger Things, but I actually somehow avoided it until this moment. I'm glad it found me, because this is a goddamned jam. The synth work and composition have all the markings of 80s pop, but I love the experimental feel of it all. Bush's vocals sound almost ghostly on top of the driving, yet sparse instrumental. The title track continues with the same vocal effect. Honestly I'm really into it. Really makes me want to put on my matching aerobics set. The Big Sky jams. After this point, I let the album drift to the background. I find it interesting, but not captivating. I'll try another listen tomorrow to see if I can sink in a bit more. Mother Stands For Comfort is an interesting one that feels like an experimental electronic song centered around a slithery electronic bassline with all sorts of crashing in the background. After another listen, I find myself feeling similar to the first go round -- basically I find this to be an interesting listen with some standout songs, but on the whole I wasn't really sucked in. I appreciate the experimental nature of the instrumentals and composition as a whole, but there wasn't enough for me to really want to come back for repeated listens. 3 / 5.

Listened through once in the background. Sounds like a very solid 60s rock album with the usual fare: fuzzy, bumping basslines; vocal harmonizing; plenty of percussion; and some psychadelic elements. After first listen, the main standout was My Back Pages, which is a very catchy song with a great chorus -- I feel like I've heard it before. Album opens with So You Want to Be Rock 'N' Roll Star, which taps into all of that 60s rock energy. I really like this song, with the exception of the cheesy overdubbed crowd samples. The whole composition feels like something the Dead might have tapped into during this era, with solid instrumental work, percussion, and horns making an appearance. Have You Seen Her Face sounds like a pretty generic 60s song in a good way. Definitely getting my tambourine fix. Time Between and Everybody's Been Burned Before are both jams on either side of the coin from one another. Time Between is a hoppy, southern folk number that once again would feel at home on Workingman's Dead, while Everybody's Been Burned Before is a slowed down and moody melody -- really into this later song. The singing and composition is so pretty. This one drifted into the background after this point as I was reviewing some stuff for work, but I found myself grooving along. I'm way more into this one than I expected going in. I'm a 4.5 / 5, tempted to give a 5, but I don't think there was enough separating it from the pack to merit. 4 / 5.

I know Jurassic 5 for one song that is not on this album, and was overplayed by my ride during Junior year of high school. Freedom has a nice laid-back old school beat. Really dig the different textures of the MC voices. They run short bars back to back; good flow with "conscious" lyrics. I can get down with it. Remember His Name has a sweet groove. Lead MC has a solid flow with an impressive inclusion of "a salam alaikum" that sounds effortless. The beat on What's Golden sounds almost like something RTJ would produce. I enjoyed Thin Line and the back and forth beat on After School Special. Overall, I found this to be a solid hip-hop album with a set of MCs who have good flow and solid beat selection. That said, there weren't many standouts or any real risks to extend this beyond a 3.5 for me. Production was solid with some beat variation, but I found things to stagnate a bit and felt like the album ran longer than it really needed to. Its a 3 / 5 for me.

I remember my mom had this CD, but I never actually listened to it. Deep, moody synth with shoegazey vocals; this is exactly what I expected with Depeche Mode. I didn't realize this album was so deep in their discography. If Spotify is to be trusted this is their ninth album -- they don't make em like this anymore. Personal Jesus is a great song. Always used to think it was "reach out and touch face" growing up; gives the song a different feel. Really dig the vibe out of Halo. Deep synth bass line with a drum machine clap + tambourine. Lot of depth as the song progresses. Actually get some Lotus vibes from certain elements of this. Waiting for the Night is a really cool atmospheric song. Sparse electronic instrumental with almost Pink Floyd Echoes vibes around the 4 minute mark. Hard to believe this was created in 1990 -- if this were released today it would still feel novel. Production is on point; lot of space between the instruments and textures without feeling disjoint. 5 songs in this has the makings of a strong 4 leaning 5. I'm really feeling this one. And track 6 being Enjoy the Silence doesn't hurt their argument. Great song that always gets my head bobbing. Just realized that hte drum break at the 1:03 mark is what Lotus sample during the intro of Grayrigg -- or at least it sounds identical when played live, their studio recording doesn't sound the same (probably for a reason). Clean starts with a bass line that once again reminds of Echoes. This isn't exactly an album to get hype to or anything, but I really enjoy it. Apparently this is the last song of the actual released album; really hate that Spotify doesn't denote that in any way, or make available the non-remastered version. At any point, the subsequent instrumental tracks are a nice addition even if they do feel out of place relative to the rest of the body. All said, I'm a surprised 5 / 5 on this album. I knew there was a large following for Depeche Mode and some significant respect in the music critic community and I totally see why. This is a 33 year old album that would feel fresh if released today.

This is only the second Dylan album I've ever listened to; the first being Blood on the Tracks. Blowin' in the Wind is about as classic a Dylan song as there is. I don't usually care too much about lyrics, but that's kind of Dylan's game. This song is him at his height. Politically poignant and effectively timeless with fitting sparse folk accompaniment. Girl from the North Country brings back some more finger plucked guitar. I Shall Be Free is a great jam -- "Well, sometimes I might get drunk, Walk like a duck and stomp like a skunk" *chef-kiss* Album slipped into the background for the remainder. I certainly didn't mind it being there and respect Dylan as a song writer and composer, but his stuff doesn't move me in any particular way. That said Im a 3.5 leaning 4 here.

Had written stuff out, but got blown away with a single ctrl+r. Oh well. This album tickles my fancy in a very specific way. I'm all about it. Sweet Thing is the most recognizable song, and it is beautiful. Sounds like it wants to explode, but instead channels that energy into flourishes of strings and flute behind the high-hat and guitar strum. Rest of the album is beautiful. Really enjoy The Way Young Lovers Do and how it sort of feels out of place among the rest. 5 / 5.

One of the best band names to surface as part of this experiment... The album opens with one of the hardest to listen to experimental songs I have heard in recent memory. Really testing the boundaries on who will stick around. I can only imagine how many highs were absolutely destroyed by this album; I hope it came with a warning sticker at least. Hit By a Rock kind of continues in a less in your face obnoxious kind of way. Warbling, feedback, and a distant shout track. This is some avante garde shit right here. I think I may have just been lobotomized by Untied. Was not expecting that. Valley of the Shadow of Death sounds like it was made specifically to induce nightmares. I'm impressed by how unnerving this all feels. Its like the musical equivalent to a carnival funhouse mirror. Hometime is the calmest of the unsettling tracks here... Features a bunch of warbling tones that evoke a horror movie vibe, with a sound of children laughing and chatting overtop. AB/7A is a surprisingly straightforward electronic song. I would go so far as to say it is pleasurable to listen to; a ray of sunlight in this so far house of horror. Ya know, few albums have surprised me quite like this one. It is truly all over the place and demands a LOT from its listeners. I, for one, am not a match. While I understand that this is experimental and probably pushing boundaries for others to succeed in the future, this is not exactly something I would willingly go through and listen to again. That said, while I do not classify this as "good music" I will say that it was incredibly impressive in a surrealistic sense. The sounds and atmosphere's the group created really get under your skin and make you feel uncomfortable in a non-organic sort of way. Would absolutely not do drugs and listen to this one. The only comparable modern act I can think of is Matmos, but even they make songs with rhythms... I'm a soft 2 / 5 here because I think they earn some credit for making me so incredibly uncomfortable.

RHCP at their peak. IMO this is the best album that they released. It established them as the alt rock mainstay that they proved to be throughout the 90s-00s. Starts out on an absolute tear with The Power of Equality and then hands over to If You Have To Ask which exchanges the raw energy of the former track for sexualized funk. Great chorus and hook on this one with a hopping bassline. Serviceable guitar solo through the outro that sounds about out of character, but in a good way. Breaking the Girl is "mellow" jam by RHCP standards. Shows some of the deeper lyrical ability that the band is capable. Funky Monks is an odd one, but I dig it. Kind of jammy in composition with obvious funk overtones. Opens up in the middle for Frusciante to warble about, but comes back to the tight funk rhythm that is rooted around the staccato snare hit. Amazing that Suck My Kiss became a radio hit single. Fucking awesome song that just tears from start to finish. Raw energy with rap-like spoken word vocals. I Could Have Lied serves as a vacuum after all the energy of Suck My Kiss. Opens with some tender acoustic picking and vocals and slowly builds back into a rock song. I find this to be one of the prettier songs that RHCP have made -- I'm a fan. I've often thought of Mellowship Slinky in B Major and The Righteous & the Wicked as a single song given the transition between them. Mellowship is a loose jam-like song with funk guitar strokes as if made for a porno separated by section breakdowns. The Righteous & the Wicked on the other hand is a more proto-typical RHCP song that lays the ground for what made them successful. This song fucking jams; solid chorus, driving bass line, raw guitar, spacious bridge / solo... Then there is Give It Away. What is there to say... pure energy and a bassline for the ages. Quite possibly some of the raunchiest lyrics to make it onto public airwaves (e.g., "drinkin' my juice, young love chug-a-lug me"). Title track is a straight up fretburner of a jam. Songs like Apache Rose Peacock and Sir Psycho Sexy are why RHCP get labeled as horndogs. I don't mind the songs per se, but I understand now why my mom mentioned being embarrassed listening to this cassette for the first time while outside hanging laundry. The Greeting Song is a great driving song. Grabs from some punk influences with the rippling bass and whiplash-inducing pace out of the gate. This is one of the most eclectic records I've listened to in a while, and I love every second of it. As I said at the outset, this album solidified RHCP as the rock mega stars that would dominate the rest of the 90s and early 00s. There's a lot of variety here even in the hit singles: Under the Bridge, Give it Away, Suck My Kiss, Breaking the Girl. And while I do think that this album is bloated and could have used an editorial pruning (much like the Beastie Boys records) I enjoy the looseness and don't think that it drags. 5 / 5.

Ahhhh Boston... Looking at the tracklist, this song is more radio hits than not. I mean, hell, the first 5 songs make up a considerably portion of the rotation at any classic rock station. I'm mixed on Boston. Growing up my dad used to use it to torture my mom on long car rides. Objectively, I don't think they made great music, but they made some decent sounds and I understand the widespread appeal. For me they get lumped into a category with Foreigner as sort of generic dad classic rock that is made for blasting in your garage while you work on restoring your 70's muscle car and recount stories of former glory. More Than a Feeling is an okay song. I don't love it... its just kind of meh and doesn't go anywhere. Peace of Mind I like a bit more just because the guitar work is a bit more dynamic. This seems like a good one to roll a doobie to. Foreplay / Long Time is the quintessential Boston jam. I won't take anything from this one. I used to get hyped to this song and still enjoy it. I think Smokin' might be my favorite of the hits on this album after Foreplay / Long Time. This album almost captures a particular era in rock n' roll in a nutshell. This is about as inoffensive of rock music as there can be. Lump this into a mixtape with Foreigner and Journey, and go to town. I am about as unexcited coming out as I expected to be going in. This is a 2 / 5 from me.

I'm fairly certain this album precedes the facial hair for which the band is ultimately known. I expect plenty of riffing and southern, bourbon-infused rock music. Waitin' for the Bus delivers on all expected fronts. Has an undeniably tight groove with Billy Gibbons letting his frets shine toward the back half. Fine blues rock song that doesn't really go anywhere; I could see this being played in a bar as background music and not really getting anyone's attention. Not really much standing out through the first four tracks. Fine background music, but nothing remarkable. Hot, Blue and Righteous (clearly not fans of the Oxford comma) is a scaled back blues ballad. Something here really reminds me of Purple Rain by Prince, which makes me uncomfortable. The spacious guitar work is almost Gilmour-esq in its control and tone. Precious and Grace stands out. Lead by an attitude filled riff that feels sort of like southern-Zeppelin and the vocal snarl that ZZ Top is so known for. Opens up to a sprawling instrumental section with some slide guitar. Kind of a weird tune, but I enjoyed it. La Grange almost feels like it stands alone relative to the rest of the record. First of all, it fucks. Second, it just has a different character about it than the rest; feels like it got the "hit single treatment" where the rest are kind of flat. Sheik is another one that stands out on this record. Its got an undeniable groove about it that would lend itself nicely to some improv jams through the middle. This album is a very soft 3 for me. Nothing is particularly bad, but the last three songs are really strong.

Only familiar with Nico by proxy to Velvet Underground. Minimal and folksy compositions through the first three, though I'll be honest, I hardly noticed when one song transitioned to the next. Feels like something I would need to focus on lyrics in order to really appreciate. Winter Song is most interesting thus far. Very folksy with its flute and string elements. I can get down with it, but probably wouldn't by choice. Feels like I should be getting ready for a quest. This one just doesn't do much for me. Nothing straight up offensive, but little for me to care about 2 / 5

Album opens with folksy Scarborough Fair, which references the album title. Has some deep medieval hymn vibes going with the harmonization, harpsichord, and twinkling bells. Apparently this is a traditional English song. Great harmonization, but I guess that's sort of what these guys are known for. Patterns is a pretty sparse one made up largely of a repeating bass line and bongo pattering. I'm into the composition though I sort of wish they played out the climax a bit more at the conclusion. Homeward Bound is a classic jam. I enjoy the way it plays with tempo bouncing between reflective sections and the swinging chorus. The 58th Street Bridge Song (Feelin' Groovy) is another familiar one that exudes tranquility. A Simple Desultory Philippic sounds almost like they are trying to parody Bob Dylan. I would say they do it quite effectively and the result is one of the more fun songs on the album. For Emily turns things 180 degrees into a hymnal reminiscent of Scarborough Fair. Album closes with an interesting overlay of the 7 O'clock news on Silent Night. It is a moving choice to take about the purest Christmas song and overlay news headlines from the time that range from war to civil rights and obituaries. The 60s were a wild time and I have no doubt that the lyrics within this album speak more in response to that than I noticed. I enjoyed this album a lot more than I expected from the outset. Folk isn't typically my thing, and I kind of had Simon & Garfunkel pegged as some sweet oldies that my grandma used to listen to, but the melodies here are undeniable with a few great songs. I'm a 3.5 here and will nudge to 4 because I could see myself coming back if the wind is just right.

6 years separate this and the last Arcade Fire album we reviewed. Kind of had this in the background through the first 3 songs. Enjoyed it fine, but didn't get perked up until Rocco. Instrumental on Empty Room almost has a post-rock quality about it, except with vocals. It reminds me a lot of an Explosions in the Sky song that I can't quite place. In any case, I really enjoyed it and the seamless transition into City with No Children. I listened to this twice through, and, just like their last album on this list, I didn't find myself too terribly moved. I think that the songs on their own are fine and in some cases really strong, but for whatever reason this doesn't push beyond the background noise. I'm a 3 / 5. Really liked Empty Room and Suburban War.

Did not know that LCD Soundsystem had ripped off The Robots for Get Innocuous. Super clean and sparse dance electronic. Vocal track makes me think of Flight of the Concords and I love it. I will say that knowing how Get Innocuous used the sound its hard not to want to hear that song. The production on this album is very clean. Crisp notes out of the synths that make for some sci-fi core vibes. The Model is kind of cringy and reminds me of the Thomas Dolby song "She Blinded Me With Science." I like this album a lot more than the first Kraftwek album that came up on this list. Still not on a short list of albums I'd like to listen to again, but I appreciate some aspects. 3 / 5

I respect Hendrix as a guitar god, who produced some amazing music, but I feel like he did not create amazing end-to-end albums. This one is no exception; there are some extremely high highs, but the album is kind of all over the place and it runs long. --- ...And the Gods Made Love is such a weird way to start an album. But hey the stereo, reverse looping effects are trippy as hell. Feels to me like this should be a bonus track at the end rather than the opener. Have You Ever Been (To Electric Ladyland) takes over with a hazy blues song with plenty of drugged-out effects. Its pretty straightforward but the layering and echoing give it an undeniably psychedelic vibe. Haziness is abandoned for the straight-up rock song that is Crosstown Traffic. Top 3 Hendrix song for me; such a jam. Love that the main staple of this song was just a makeshift kazoo thing. Voodoo Chile is a spacious blues rock jam. Hendrix has plenty of space to let loose and the drum fills are straight fire. Amazing that, according to Wikipedia, this was effectively an improv jam without any direction whatsoever. Little Miss Strange hands back over to a more standard pop-rock template. This one always felt a little out of place to me. Come On is another jam. Kind of feels like the song falls apart a bit 30 seconds prior to close as the bass and drums start to lag the guitar. Gypsy Eyes is one of my favorites from this album. Nice little bass stomp number where Hendrix's guitar floats on display. Rainy Day, Dream Away is one that I find myself humming randomly sometimes. I play it more often than not when it rains. 1983...(A Merman I Should Turn to Be) is a trippy blues exploration. House Burning Down is a ripping jam. Album closes with its two strongest standalone hits: All Along The Watchtower and Voodoo Child (Slight Return). Both classic rock staples that give Hendrix all of the space to shine. I'm a 4 / 5 on this one. While the album contains some amazing individual songs, it lacks a central cohesion.

I remember enjoying it at the time of its release, but it has been a long time since I've listened to this album. Album starts with a really fantastically mixed The Fun Powder Plot. Very bright with tons of separation between each of the individual components. Kind of gives it an almost tropical vibe. I've been working with this in the background, but have been enjoying the production quality and several of the songs a lot. This Is Our Lot stands out as one of particular quality. Almost sounds like a TV On The Radio song meets Hercules and Love Affair. Underbelly into Empty Nest is a cruel tease on transition. Not sure why they did that on such an otherwise clean sounding album. I've heard it twice now and both times thought that my bluetooth disconnected. All around this is a firm 4. I enjoyed listening to this twice through and while not many individual tracks stand out, it listens well as an end to end album.

Out of the gate this feels like Don Henley meets Billy Gibbons. Kind of funky / warbly instrumental with some gravely vocals laden with effects. Smiling Stranger has a pretty cool vibe about it. Guitar echo effects reminiscent of Watermelon Man (Herbie Hancock) with some skittering drums and organ thrown about. I dig it. There really are not enough songs about muff these days. Skwanky guitar tone that gives it a loose / funky vibe. Small Hours is a spacious ambient jam. Kind of reminds me of Fennesz a bit. I feel like I've heard it before, but I can't imagine where. In any case, I really enjoy the song; super peaceful outro. I'm a soft 4 / 5 on this one. Definitely not an album I would go out of my way for, but there are some really high points (Small Hours, Smiling Stranger, Big Muff) and a lot of diversity to the sound for its relatively short playtime.

Late career Slipknot was not how I was expecting to start this Thursday, but hey why not? Album opens with .execute. which sets the stage with some post-apocolyptic horror movie vibes. Slowly building static with a vocal recording poking through that gives way to an elongated drum fill. Basically just a long intro to Gematria that picks up heavy on the double bass. Gematria is an unexpectedly political song talking about how America will burn your cities down -- presumably referring to expansionist policy in the Middle East. Sulfur is a bit more straightforward metal. Like much late career Slipknot it sounds fine, but doesn't really tap into anything special. Psychosocial is a fine enough song. Largely driven by an angsty guitar riff and Corey Taylors growl, this one is pretty effective pop-metal. Gives way to one of the more colorful guitar solos that I can think of in a Slipknot song. Almost feels more like Avenged Sevenfold than proper Slipknot. Dead Memories and Vendetta are, once again, more alt-pop-metal than anything else. I find myself tapping along, but don't find this particularly compelling. Though I will say I enjoyed the abrupt breakdown on Vendetta. Butcher's Hook is one of the more interesting songs on this record so far. I enjoy the heavy metal riff that progresses the intro and leaves Taylor's vocals hanging off of the end of each segment. Creates a tense imbalance. I will say the whiny chorus throws me though; I'm almost never a fan of that technique. Wherein Lies Continue starts strong and contains one of the heavier riffs on here. Also gives Taylor a chance to shine his vocal range with a Stone Sour esq interlude. But what starts out with promise becomes a slog that is a challenge to hang on throughout. Snuff seems like it was put here just to show the band's range. Or really Taylor's raw vocal ability. No denying the dude has a great voice. This is a surprisingly tender song following Wherein Lies Continue. This album is a lot longer than it has any right being. There are a few standout tracks, but most of this falls into a blah wall of sound for me. Individual songs are long ranging from 4 minutes to almost 7 minute sludge fests. There isn't anything that's outright bad, but there isn't much to come back for. I'm somewhere between a 2 and a 3 on this one. Gonna go with a 3 because while it was way too long, I think they do decent service and show some incredible range without ever being outright offensive.

Paint It, Black is a timeless god-damned jam. Stupid Girl I could do without. Lady Jane is tender if somewhat forgetable. Under My Thumb is another jam. Dusty recording with sprinkly marimba work lend this one some magic. Add also the simple, but groovy little bass-line. Doncha Bother Me goes into a bluesy stomp-clap like jam with a slide guitar. Not my favorite from their repository. It's Not Easy is a fine enough rock n' roll song with kind of silly subject matter: "its not easy living on your own." I'm now 9 minutes into Going Home, while I was writing an email and not hating any of it. A drawn out spacey noodle jam with Mick Jagger shouting over top is a perfect outro. Maybe not something I would go and throw on on purpose, but it's nice. All in, I'm a 3 on this one. Not a great album by any measure. A could of great songs and the rest are mostly throwaway. Going Home is the only song coming out of this that I didn't know that I actually was moved by.

5 / 5 going into this one. Best album by one of the greatest metal bands to grace us with their presence. Has two of my favorites -- War Pigs and Fairies Wear Boots -- along with certified classics of the genre: Paranoid and Iron Man. --- War Pigs is such a jam. The drum breakdowns always get me. I'm also a sucker for anything that can span 8 minutes playtime and finish tight. Paranoid is pure energy. One of those songs that just sprints out of the gate and never loses steam. Then there is Planet Caravan, which pulls the rug out into a tripped out psychedelic journey. Ozzy's vocals are buried in effects that make him sound as though he's speaking to us through liquid rainbows while a bass line wanders along with some bongos. Doesn't really go anywhere, but I appreciate the song no less. Iron Man pulls us back out of the stupor that is Planet Caravan by smacking us in the face with one of the nastiest riffs known to man. Song is fire end to end. Lyrics are wild, drums slay, and of course the frets are on fire. There are some songs that you regret defining a band; this is not the case. I love Electric Funeral. Epitome of doom metal. Love the sludginess and how midway through it just breaks apart into what is effectively a jazz-rock interlude. Rat Salad is a short and sweet little instrumental. I'll never be disappointed when a band gives room for the man to hit the cans well. This also sets the stage for Jack the Stripper / Fairies Wear Boots, which is a great outro to an already great album. So much bass to sink your teeth into, and love the way that the song keeps you guessing during the intro and separating sections. Once again, this is more jazz than metal.

Gave this one two straight listens through hoping more would connect. There are some solid jams in here (Rainy Day in June, You're Looking Fine) and The Kinks show a decent range of motion, but most of this album feels like solid forgettable service. No straight up duds which pushes this to a high 3 for me. At the end of the day though, I won't be back any time soon. --- Album opens with Party Line, which features a polka-style beat. Fine song; sounds like the 60s. Rosy Won't You Please Come Home also has a distinctive 60s feel owing to the harpsichord. I really like this song though. I'm 6 songs in with this in the background. Nothing has really grabbed my ear, but its fine 60s rock. Rainy Day in June is the first that sparked my interest. You're Looking Fine is a jam. I feel like this comes up a lot, but this feels like a direct predecessor to something like Spoon today.

I've definitely heard the bass line from Be (Intro) used in newer rap; just can't place where. I dig the slow, jazzy build on the intro track. Common holds nothing back diving headlong into #conscious lyrics. It's a nice mood setter. GO! features a pre-College Dropout production with prominent vocal feature. Interesting that neither his nor John Mayer's efforts have credits (at least on Spotify). Twinkling beat, but honestly not loving the central "GO!" sample. Faithful, true to name, features gospel elements. Production is clean, but I don't really feel anything. Testify features one of the most interesting beats on the album so far. Rooted around a snaking bass line and completely chopped and sliced vocal sample. Coolest song so far. (no surprise its a Kanye beat -- apparently the whole album is) Chi-City through They Say is a hot run. Interesting choice to include a single live cut on an otherwise studio record, but it works in The Food. Once again, interesting omission of feature credits to Kanye. Real People is a jazz-influenced jam. Very groovy. They Say is basically a Kanye song; both MC's matched, and both delivering strong. Honestly I was a soft 3 for the first half, but the back half of this album is so solid I'm leaning 4. They Say is the standout IMO with Testify and The Food giving strong service as well. I'm not fully bought into Common, but I enjoy this one.

Suuuuuper late career Dylan with no songs I recognize. I can't say I'm excited, but I'll try to have an open mind. --- Love Sick is actually pretty cool. Gravelly verging on ghostly vocals over a mildly psychedelic atmospheric instrumental. Feels like something you would listen to on a foggy trip down river on a steam boat. Dirt Road Blues is a pretty standard stomp-clap blues song. I will say, I appreciate the vocal effect; I think it does him service. Standing in the Doorway is a pretty song. Composition kind of reminds me of Clapton's Wonderful Tonight. What little I was able to focus on the lyrics, this seems really poetic. "Last night I danced with a stranger, but she just reminded me you were the one. You left me standing in the doorway, crying in the dark land of the sun" Let this slide into the background for quite a while. Really enjoying the atmosphere created on Can't Wait. Straight up, my initial feelings going into this album were 100% wrong and I am so grateful for that. This is a great album; one of the best I've actually heard from Dylan (the other in contention being Blood on the Tracks). Dylan may be late career here, but he does a great job of leaning into his bedraggled voice and casting it into largely stripped-down bluesy arrangements. While nothing in here will smack you in the face and say "wow, I have to listen to that again," the songs are strong from start to finish both in arrangement and in writing. I am tempted to give this a 5, but will hold back to a strong 4 because there wasn't any particularly magic moment. Also I really wasn't that big of a fan of Tryin' to Get to Heaven.

Mixing is very strange on You Can All Join In -- vocals are buried and the lead guitar is levitating above all else. Pretty forgettable song IMO. Pearly Queen is, on the other hand, a jam. Dusty sounding song with really nice guitar work and a psych outro in the vein of Hendrix. Good kush. Shanghai Noodle Factory is a jam in the weirdest of ways. I mean... yazz flute, stop-start, organ. What's not to love. This is a solid, but not mind-altering rock record from the 60s. This feels more pure blues rock in the vein of Seger and Clapton than say Hendrix. Some heaters on here (Pearly Queen, Shanghai Noodle Factory) and some solid middle of the road jams (Feelin' Alright, Cryin' to be Heard, most of the rest of the album). This is a 3 leaning 4 for me. Got me jamming, but not too much specific to go back for. Solid music to drink a beer in the garage to and reminisce on them good ole days.

Kanye deserves all of the hate he gets these days, but I'm a 5/5 going into this one. Great album front to back, with unmatched production and supporting cast. His opus for sure. Looking at the tracklist, the thing I find most interesting is the fact that almost all of the songs push the 4 minute mark. Clearly this wasn't made for radio appeal, and yet, it is regarded in popular culture as a modern classic. --- My relationship with this album is kind of like Cartman with "Come Sail Away;" as soon as I hear the intro sample from Dark Fantasy I can't be satisfied unless I've heard the rest. Dark Fantasy opens with classic Kanye production featuring gospel-like elements interleaved with a bouncing beat and some twinkling piano + strings. Gorgeous flips into a textured beat lead by a fuzzed out guitar and a hook delivered by Cudi. Kanye's vocals are equally fuzzed, but they stand clearly against the background. Some of the more memorable lines in this song: "choke a South Park writer with a fish stick." "I treat the cash like the government treat AIDS, I won't be satisfied til all my niggas get it, get it?" "what's a black beetle anyway, a fuckin' roach?" POWER is the first single I heard off this album. About as self-aware a testament to his megolomaniacal tendencies (I mean "I don't need your pussy bitch, I'm on my own dick"); just watch the music video. Makes use of sample of King Crimson's 21st Century Schizoid Man as the hook. All of the Lights is on the other side of this one, which is the album's second single featuring a hook by Rhianna and various others in support (Fergie, Elton John, Alicia Keys, Drake). Jam even if the drums in the outro sound a bit tinny. This bleeds into Monster, which is probably the most aggressive song on the album; also one of my favorites that features Kanye against Jay-Z, Rick Ross, and Nikki Minaj. Everyone brings it, especially Minaj who steals the show. Beautiful production (big surprise); this would be a jam even without vocals. So Appalled is another star-studded track with one of my favorite Pusha T verses, the flow on "Range Rove', leather roof, love war, fuck a truce. still move a bird like I'm in bed with Mother Goose" is so clean. RZA is the only feature on here that feels a little out of place, but at the same time, his shouting just feels like an escalation of how ridiculous everything is. Devil In a New Dress has always been one of my favorites on here. Beautiful, soulful instrumental meets some more self-aware lyrics (even though it has one particularly corny line "ordered Jerk, she say your are what you eat"). You almost think the track is closing during the interlude, before Rick Ross comes in to clean up. Blame Game is one that I initially wasn't very into, but has grown to be one of my favorite songs on the album. Pretty piano melody with some of the more vulnerable lyrics on love from Kanye. Outro featuring Chris Rock is also pretty great. "Yeezy taught me." Lost In The World into Who Will Survive in America is a strong ending to a great album. Interesting and satisfying choice that the egotistical Kanye West chose to leave the last ~2 minutes of the album to Gil Scott Heron to poetically capture what Kanye and friends sang about for the rest of the album. This album is greater than the sum of its parts, and for that it is an easy 5 / 5. I am fully bought into the idea that this is a modern classic that captures Kanye at his height and before his recent(ish) self destruction. Yeezus is another strong album IMO, but this is pinnacle Kanye. Amazing production top to bottom, great shot selection, and some of his best work behind a mic featuring far fewer awkward lines than he averages on his other works.

Been a while since I've listened to this album. I'm not hugely bought into Elvis Costello, but I remember this album surprising me. The Beat, is a hoppy jam. Tight drum and bass with solid song writing around it. Great song. Followed up by Pump It Up, which features more of the same. You Belong to Me, is another one that stand out from the rest, as is (I Don't Want To Go To) Chelsea. I enjoy the beachy guitar tone. Lipstick Vogue jams; especially the bass breakdown midway through. Big Tears is my least favorite, but the album ends strong on Radio, Radio. I feel about the same listening to this now as I did 10 years ago when I was first introduced. For what it is, this is a really solid quirky, pop-rock album. I feel like I will never be fully converted to love Elvis Costello; something about his schtick is a bit too quirky for my taste. But end to end this album is solid -- more hit than miss in my opinion. Really love the bass tone and found the writing to be good. 4 / 5

Did not expect this to start out on a reggae-inspired dub track. I'm not sure how to feel about this being appropriated by a white dude, but it is done very well so I'll let it pass. Duncan puts the spliff down for a folksy storytelling number with traditional elements. Masterfully done, Simon jumps from anecdote to anecdote painting vivid pictures. Everything Put Together Falls Apart is a sparse bluesy number -- pretty cool. Me and Julio Down by the Schoolyard is a low-key jam. Feels a bit like some of The Dead's jams off of Workingman's Dead. This is another one of those albums that I had zero expectations for that has blown me away. I know of Paul Simon from his work as half of Simon and Garfunkel, but never really listened outside of their hits. This album has a lot of character and a ton of range start to finish. His voice and ability to tell stories on record are great. I was enjoying all of it even as it drifted into the background of work. 4 / 5

Three songs in. Not hating it, but am kind of bored TBH. Okay, 3 more songs and I still don't care. This is the first album in a while where I really just can't wait for it to be over. Very few moments over the playtime that actually called out to me. Not a fan, but not outright awful. 2 / 5

Actually bought this record end of last year thinking that Strawberry Fields was on it only to find out after the fact that that was never pressed into an LP. Anyway, Sgt. Peppers has one of the most iconic covers ever made and captures the Beatles at some of their finest (IMO). Not a perfect album by any measure, but I give it a soft 5 / 5 for the way it all ties together. So many individual greats (Lucy in the Sky with Diamonds, A Day In the Life, With a Little Help From My Friends, Lovely Rita, Getting Better...)

Ah yes, some post-punk to kick off this rainy Tuesday. Album opens with a mood-setting instrumental -- meaty bass and some bells almost reminiscent of psych 60's pop. Barmy is an interesting one. The song oscillates between a poppy beach guitar melody and downtempo sludge. Pretty cool. What You Need is a sparse, bass line + bass kick song with shouting over top. Almost feels like something that LCD Soundsystem would have produced earlier in his career. L.A. has a pretty cool psychedelic vibe. Reminds me a bit of the Pixies. I swear I have heard a song that samples Paintwork (something by MF DOOM), but I can't quite place it. Driving me nuts. I really dig I Am Damo Suzuki. Atmospheric and uncomfortable instrumental with some shouted lyrics. Kind of feels a bit like Modest Mouse almost 10 years before they got off the ground. Next couple of songs are fine. While I enjoyed most of the songs on here with a few standouts, I did find it to drag quite a bit -- particularly in the midsection. Maybe I'm not in the right mindset to enjoy this to its fullest, but I found myself tiring of this about halfway through. Today I'm a 3 / 5; perhaps on another I could go 4.

My only reference point for Gaye is What's Going On, which is a politically poignant album. This one seems more direct R&B with standard themes: old love, new love, lost love. Mostly lost love. Beautiful voice with soulful if at times boring compositions. When Did You Stop Loving Me? is a jam. Maybe not the most unique lyrically, but so well done. Love the vocal layering and embedded funk. Had more written but it didn't save. Not my particular cup of tea, and I don't think I'll be back. Some of the compositions are really cool and ahead of their time, but a lot of this ran together for me. All in all, not bad,, but not revolutionary 3/5

This album is a mood. Reggae isn't something I go in for usually, but when it is good, I'm all about it. Love the bass line on Them Belly Fully, along with the funky guitar licks. Listened to this 3 times through. Didn't pick out much in specific, but definitely enjoyed having it there to listen to. Songs feel lived in. I'm a 3 leaning 4 here

I'm four songs in and really don't care very much. I enjoy Don't Know Why, and generally find the music to be inoffensive; however, the instrumental is generic coffee shop jazz. Not going to knock her voice though. It's smoky and very pretty; just doesn't do enough to pull me in. I'm over halfway through and have lost the urge to continue listening. As I said above, its inoffensive and she's a talented singer; just not for me. 2 / 5.

Outside of AM, I've listened to almost no Arctic Monkeys. This is far earlier in their catalog; I'm excited. Album opens on a tear with The View From the Afternoon. Taps into some punky vibes with vocals that remind of White Stripes mixed with Jet. Dancing Shoes is a jam, as is Vampires. Honestly loved this album start to finish. Went in with little in the way of expectations and was completely blown away. Production is interesting with some lo-fi elements intermixed with polished tracks; gives the album a good deal of texture. Lot of raw energy that is channeled through so many of the songs. Reminds of early Modest Mouse with a bit more restraint and polish, and tighter song writing. I'm a high 4 learning 5. I think I'll go 5 because I could see this one growing on me over time.

The quintessential Nas album. As far as classic hip hop albums go, I don't come back to this nearly as much as something like Ready To Die or The Blueprint. N.Y. State of Mind is an ageless jam. Such a sinister beat with Nas painting pictures of the grim backdrop to his everyday life. The World Is Yours is another hip hop staple. Halftime is one of the more "fun" tracks on here. More boom-bap, but still sinister. Makes me think of Big L's flip on this 98' Halftime. Memory Lane features a soulful beat; really don't have much ability to focus on lyrics now... Love the slippery bass line on One Time 4 Your Mind. Head nodding beat for sure. Same for Represent -- maybe my favorite song on here; flow is so clean and the beat is so pretty for how minimal its construction is. All around, classic hip-hop album. While its not my favorite of the era, it is a beautifully crusty entry into the cannon. Nas has impeccable flow and the beats are varied yet mostly dusty and sinister. 4.5 / 5 -- I'll lean 5.

Another band I've heard of, but have never listened to. Opens on a folksy tone with Sun It Rises. Dusty, astral vocals are reminiscent of early My Morning Jacket. Same can be said for Ragged Wood. They feel like a folkier MMJ without the tendency to open into beer soaked jams. Album is very pretty in general. Vocal work is clean and the instrumentals support well without crowding. Blue Ridge Mountains was among my favorites here. I'm a light 4 on this one.

In many ways this album reminds me of a love child between Bowie and Lou Reed or Iggy Pop. There is an effortless feel that the latter engender mixed with some of the eccentricities and strong song-writing / composition of the former. Early standout is Cosmic Dancer, which is a such a pretty song with the string flourishes accompanying wistful lyrics and a tight drum progression. Monolith is another that features layering of choral vocals around some slithering guitar and a slow RnR. Bang a Gong is the one that everyone knows and its obvious why. This song is a low-key jam. Fuzzy bass tone with smoky vocals and a chorus everyone can hang onto. Such an effortlessly cool song. This was a lot stronger album than I ever would have expected. I mean Bang a Gong is a cool song, but I did not expect T. Rex to show as much depth across a whole LP. I will definitely come back to this one at some point. 4 / 5

Surprisingly, I don't think I've ever listened to this one. Love the fact that it starts out with Black Sabbath by Black Sabbath on the album titled Black Sabbath. Spooky vibes out of the gate on the title track. Love the patience in this track. Obviously early and pre-refinement, but the band still shows so much of what they tap into later in their career. Sludgy, moody progression with blubbering bass and flaming guitar work; not to mention Ozzy's one of a kind vocals. Track 3 is a weird one that is effectively four individual songs sequenced into one. N.I.B. is the standout and one that I had largely forgotten about. Very rough recording quality, but mixing is still pretty solid. Wicked World stands out as a (weirdly) jazzy rock song. Tight work during the introduction. This is a 4, near 5 for me. Genre defining and so much good in here. The album almost sounds like there is a layer of dust. Love me some early Sabbath.

Nice and short (sub 40 min) album. Moondance is a pretty (and classic) jam. Smooth jazzy instrumental featuring some piano, brass, and yazz flute backed by some toned down drum work and steady bass progression. Nothing revolutionary, but it is well done. Never heard Into the Mystic before, but it stands out against the rest of the album. Bass-driven melody that you can sink your teeth into with some more forceful vocal delivery. There's a certain aura to Van Morrison's work that I really enjoy. I think his raw vocal delivery has a vulnerable feel to it that makes the work feel personal. By comparison to Astral Weeks, which came up on here a few weeks ago, this album is much more structured, upbeat and full of sound. Between the two, I prefer the former as it has a more wistful and heartfelt atmosphere about it. This one feels more like standard classic rock fit (mostly) for closing down dancefloors. While I enjoy this just fine, I found the songs to be harder to separate and did not find many particularly interesting in their composition. Solid 3 / 5 entry for me.

Album art is sick. Leads off with Bodhisattva that I only know due to Rock Band. Hoppy number that puts that Steely Dan guitar tone right in your face and lets it rip start to finish. The Boston Rag and Your Gold Teeth both rip. Very luxurious guitar tone that feels as if dripped in gold. I really did not give this a very close listen, but will be going back for an immediate relisten. I loved the instrumental work on a lot of the songs -- particularly King of the World, Bodhisattva, Your Gold Teeth. The production feels modern and crisp. 4 / 5 and I don't see that changing with a relistening.

I know not what to expect. Opens with effectively radio fuzz for the first minute and a half before some ominous strings start to creep in and take focus. Oh its spooky season, we have a sample of a frightened woman and some ghostly vocals. This is deeply unsettling out of the gate. Under Wraps ditches the atmospheric mindfuckery of the opener for an almost dance-inspired song with bright keys and a circular brass rhythm. Working for the last number of songs, but overall this has a very cinematic feel to it. Largely unsettling and dark in tone, I came back to focus for The Swinging Detective, which features a saxophone soloing endlessly over an ominous backdrop. This isn't something I would go out of my way to listen to, but it is an interesting and deep listen that evokes emotion. Lots of interesting textures employed and mostly clean production work throughout. I come away a little confused as to how to treat this. In some ways it feels like something like Mr. Bungle; but in most others it feels less eclectic and more purposefully built. All said, I'm a low 4 here. Unique concept piece.

This is definitely in my top 5 most played albums ever. I went through a period after its release where I was listening to it on a cycle for every drive / walk to class. I don't think I've ever tired of it. This album is the second "mature" release from Kendrick, following up lesser known Section 80. This album picks up where its predecessor left off with more wide-eyed and reflective tales of the struggles and impediments that plague poor black communities; however, rather than approach obliquely, this album puts us on ground level with a conceptual narrative through the eyes of Kendrick himself as a young teen. Throughout the runtime, Kendrick puts a raw lens on seduction, peer pressure, religion, gang violence, and more. All of these he explores effectively and with music that ranges from boom-bap (Backseat Freestyle, m.A.A.d city), to soul (Bitch, Don't Kill My Vibe) and beyond. I can't give enough praise for this album. Concept is well executed and tied together start to finish. I love every song on here and think the sequencing is fantastic. Only odd-point is Compton, but it fits with the overall story arc he is trying to convey. This is his glittering "I made it" anthem. I did find it highly ironic, however, that Swimming Pools (a song about the pervading toxic mindset of drowning oneself in alcohol) became a party anthem after this came out in 2012. Oh well... 5 / 5

Album opens a bit more synth-poppy than I would have imagined with From Out of Nowhere. Pretty bland song with poor mixing -- not a fan. Epic is the song everyone knows Faith No More for. A strange punky song with a hip-hop delivery and overbaked outro into a piano track. Always felt like this was a weird song, but I enjoy it for the most part. Falling to Pieces has a meaty slap bass line and gets the head nodding. Not bad, but a bit long for what it is. Surprise You're Dead switches gears into somethign more reminiscent of a hardcore punk song featuring driving bass + guitar riff and shouted vocals. Best song thus far. Zombie Eaters is an epic sludge. Pretty dope with a vocal delivery that reminds me a lot of early RHCP; wonder if they claim them as influences or if this is just a convergence on a style of the time. In particular this feels very similar to the song Blood Sugar Sex Magic. This drifted to the background for a while until Woodpecker From Mars came on. Oh my bass. What a strange little song. The cover of War Pigs is quite capable, but doesn't really extend the original in any significant way. Love the song, but hard to understand the reason behind putting it on wax. Album closes on Edge of the World which has a swingy jazz feel to it. This album was not at all what I expected going in. Faith No More cover a lot of range with their sound, sampling everything from synth-pop (From Out of Nowhere) to hip-hop (Epic) to hardcore punk (Surprise! You're Dead) to loose, swingy jazz (Edge of the World). I can't say I loved all of the trip, but there were certainly plenty of high points -- mostly in the more aggressive numbers. 3 / 5 because the good outweighed the bad

Note to Self: original album ends at Gray/Afro with a 44 minute runtime. Singer songwriter, doing singer-songwriter things. Arrangements are generally sparse with guitar and minimal drum accompaniment. Most impressive is the range over which Spence casts his voice; across the first three songs we see three different shades from harmonized "Little Hands" to super deep "Cripple Creek," and scratchy croon of "Diana." Of these, I find Diana to be the most effective complete song -- love the guitar work throughout. Really enjoy Weighted Down as a slogging blues song. War In Peace is an instrumental standout that is interestingly loose in its construction. Very bright guitar tone counterpointed by ominous vocal delivery and an elastic tempo throughout -- glad I came for this song. This was an interesting listen start to finish. Spence taps into a lot of different sounds given the sparse arrangements. Many were farily forgettable, but I never minded them being there. A few standouts make this a worthwhile listen. I'm a 3.5 / 5 here.

Album opens with the title track. Reminds me a bit of Muse in the pacing and theatrical grandeur. 5 songs in with this in the background while doing some code reviews. So far it has been fine, but I haven't felt especially connected. Only The Truth brought the album back into my focus. This one is still theatrical with flourishes of strings, but the upbeat nature of the first half and breakdown toward the middle remind more of a tame Mars Volta. Best song so far to my ear. Rest of the album more or less became background music. There were a few points that were more interesting than others. All around, pretty inoffensive indie-pop music. Didn't really get me going, but I didn't mind it either. Middle of the pack 3 / 5 for me.

Second Doves album on this list. Guess this guy had a thing for em. Out of the gate, the instrumental is reminiscent of Oasis. Starting to believe that there are no good songs named "Words" (bottom 5 UM song imo). Flat song with both terrible lyrics and bad vocal delivery. Did not need ~6 minutes of this in my life. The band redeems themselves a bit with There Goes The Fear. The glockenspiel gives a quirky vibe, but this is a fine enough song. For some reason it feels like it would be a favorite of someone who's favorite movies are Juno and Napoleon Dynamite. M62 Song and Where We're Calling From drop into sparser, more spacey / astral tones that I enjoy much more. But that gives way to N.Y. which opens on a tear bearing much promise. It follows through on that promise by continuously evolving over its ~6 min runtime. By the end it is nearly tearing itself apart with a shitload of spacey echoes and fuzz. I remember liking the last Doves album we reviewed, but this one was generally a disappointment to me. There were some high points (M62 -> N.Y. and The Sulphur Man), but I found this to be kind of a generic slog with songs that often were uninteresting and far too long. Not much worth coming back for to me. Soft 2 / 5.

Strong Industrial vibes out of the gate. I dig the background metallic thump, but kind of hate the splashing electric shock that forms the front and cente of Tanz Debil. Can only go up from here, right? Oh I was wrong. We really went straight for a jackhammer and man banging on metal pipes. This may very well be the first album on this list that I don't finish. Yeah, I can't do this one. I have a high tolerance for musical bullshit, but this has exceeded my limit. Were it just raw, caustic industrial sounds or reverberated screech in isolation I might have been able to do it, but my ears can't handle both at once. The fact that some "songs" on here have over 100k listens on Spotify might very well be an indication that our species is not worth saving. 1 / 5

Listened Before? No Throughout my life I have not had much love for Maiden. Mainly because I didn't care much for Dickinson's voice. That said, I think I have shed some of my early distaste and can respect what this band brought to metal. Trying to review completely unbiased. Love the album cover. Honestly as far as metal imagery goes it doesn't get much better. Album opens on a god damned tear with Invaders. Interesting this one has elements to it that actually remind me of Zappa's St. Alfonzo's Pancake Breakfast. Instrumental work on display is fucking nuts from all involved. The fury of Invaders gives way to a power-ballad that is Children of the Damned. Fine song, but really not what I go in for with Maiden; this puts the group's weakest point (Dickinson's voice) in main focus. The Prisoner opens with a sample and is lead by a tight guitar riff. Otherwise, I kind of lost focus. I enjoyed the virtuoso section within 22 Acacia Avenue; almost felt like this could be a jam band; pretty cool song. Number of the Beast and Run to the Hills are two of the biggest songs from this metal juggernaut. The progression within Number of the Beast kind of reminds me of "When the Saints Go Marching Down" and I can't unhear it. Not my favorite of their songs... Run to the Hills on the other hand is straight jet fuel. Just sounds like a workout on the drums. Back to a workout on Gangland; no rest for the weary. All in, I can certainly see the appeal for this album as an entry into the metal cannon. The instrumentals rip; there is a lot of range to the track listing; awesome imagery and Satanic references; and as far as hair metal goes, Dickinson has the quintessential voice. That said, I didn't feel particularly elevated by this one. I'm a 3.5 / 5 and am going to round down. Added to Library? Yes Songs Added To Playlists: - Run to the Hills

Listened Before? Yes Easy 5 / 5. I don't know that any album has ever commanded my undivided attention for longer than this one. I remember it dropped as I was finishing my first conference paper submission in grad school, and I had this on repeat for literally weeks. This is Kung-Fu Kenny's jazzy opus that solidified his status as a rap legend. The album uses a slowly building spoken word interlude that ultimately climaxes in the outro of Mortal Man with a posthumous interview with Tupac. Throughout the playtime the album touches on many different themes. Among them include a meta inspection of hip hop culture and its incentives (Wesley's Theory), black unity (i), selfishness and regret (How Much a Dollar Cost, u). Album opens on a tear with Wesley's Theory, featuring a blistering Thundercat bass instrumental with George Clinton on support; this song always does it for me. For Free? drops us into a short free-jazz interlude that is more beat poetry than song. King Kunta is the first radio hit to appear, and it is a jam. Confident, strutting beat touching on topics du jour (poking at Drake's ghostwriting) and asserting himself as the King. Institutionalized brings in a feature from West Coast staple, Uncle Snoop, in which he raps buttery smooth and with purpose. Just goes to show that an old dog can still pull out his old tricks. u is a particularly vulnerable song in which Kendrick affects a drunken caricature over a broken jazz beat to talk about how he regrets not being there for a friend who was shot and ultimately died. Alright is a bit of sequencing genius. Nuanced in its content, the song speaks to salvation and hope, but touches on police brutality and devilish impulses (Lucy) to wash away pain. Hood Politics is one of my favorite Kendrick songs of all time. Modernized G-Funk style beat with one of the catchier hooks on here, BOO BOO. But How Much A Dollar Cost has some of his best writing of all time. I remember the first time I heard "i" on the album I was confused, because the single was a clean studio rendering. I actually far prefer the affected "live" version on the album and how it seamlessly bleeds into the spoken word interlude with the crow as Kendrick breaks up a fight in the crowd and speaks to black unity. Album closes with Mortal Man, a contemplative song based around a wandering thundercat bassline + synth. This gives way to the completion of the built-up spoken word and a spooky Tupac interview posed as a conversation that in another context could be cheesy, but here feels like the album was built around the moment. Added to Library? Yes Songs Added To Playlists:

Listened Before? I'm not sure... I think so? I have no memory of the music, but the album art seems extremely familiar. I think I may have stumbled on this before, but its basically a new listen. If the album art wasn't already screaming "this is prog rock" the tracklist certainly does. One single piece split into two parts that are spread evenly across each side of a record. I find such a format sort of difficult to review. All I can say is that I understand the decision on format. While there are no words, the instrumental tells a certain story that is in constant evolution. Could easily imagine someone producing a visual accompaniment. Pretty incredible how the whole thing seamlessly transitions without ever feeling "forced." I do enjoy the goofy spoken narration of instruments around the 21 minute mark as he layers instruments over a repeating melody. I don't know why, but I was surprised when he said "Tubular Bells" and then the mixing pushed them front and center with a choral accompaniment. Well that was an enjoyable 26 minutes -- nice background music. Onto Pt II... honestly, the music itself is quite enjoyable, but what the everloving fuck are these vocals? It is as if they are channeling their inner werewolf and grumbling incoherent German(?). In a weird way it just works, but it is a curious choice just as with the narration in the first part. I'm left at the conclusion of this one a little confused. On one hand, I enjoyed it (especially the virtuouso guitar section around 17 min of pt II). On the other, I have no longing desire to go back for another journey. I think this is an incredible display of musical prowess from Oldfield, in not only playing a large number of the instrumentals, but also in arranging a coherent instrumental exploration of this nature. On a technical front I think this is very high; on enjoyment also reasonably high; but on a more nuanced, personal experience front, I'm kind of meh. So I'll be generous and say this is a 4 / 5 that I will probably never go through again. Added to Library? No Songs Added To Playlists:

Listened Before? No Band on the Run is a cool enough song. Heard it a bunch of times, but always enjoy the changes in tempo. Jet is another radio hit whose chorus almost borders on disco. Deliberately fuzzy production; not my favorite song here. Bluebird sounds like a Beatles song with the harmonies and structure, but the addition of horns and percussion on support gives a lush vibe as if made for listening to in a resort setting. Let Me Roll It is my favorite song on here so far. Just a solid rock song centered around a repeating guitar riff. Nineteen Hundred And Eighty Five is another fun one. Nothing particularly revolutionary about it, but it has a certain hop about it that I enjoy. Reminds me in some ways of Quadrophenia-era The Who. Overall, I'm not wowed in any way by this album. There are certainly some high points, but there is nothing specifically magical about it. Standouts for me were Band On the Run, Let Me Roll It, and Nineteen Hundred and Eighty Five. Otherwise, the songs were fine, but didn't really separate themselves in any significant way. Soft 3 / 5 Added to Library? No Songs Added to Playlists: -

Listened Before? No I understand (at least basically) the legacy and impact of Ray Charles, but three songs in, I'm feeling pretty meh. I think a lot of it is my lack of interest in big-band style jazz. Yea, I dunno. This was on in the background and while it is all fine musically with very pretty interplay between the vocals and the backing band, I just really had a hard time caring. Felt like good music for either sipping highballs to and feeling "sophisticated," or shopping for groceries. Giving this a low 3 because it is all fine, but I won't be back. Added to Library? No Songs Added to Playlists:

Listened Before? No First Impression: the album art is fucking dope. Album opens on a weirdly spacious and wandering cajun(?) sounding number with crusty spoken vocals and a backing choir. Creates a pretty cool atmosphere and feels in a common vein to G. Love. Danse Kalinda drops the atmospheric vibes in favor of a spiritual chant of sorts with percussion, mandalin, and a foreign chorus. Mama Roux brings back Dr. John to the front and center with a more commonly structured tune. Danse Fambeaux brings that mandolin back in. Its brightness pairs well against his rough vocals. Really enjoy the vocal layering in the mix; very cool song. No idea what playlist I would put this in, but this is a standout for sure. Crocker Courtbullion is another fine display of quality mixing. Very cool song that taps into the same elements put on display elsewhere. This one is a bit freer in structure and has a jazzy/psychedelic feel about it. Almost feels like it would fit in alongside Interstellar Overdrive by PF. I will say that I had no expectations going into this album and it exceeded everything. This was an interesting ride through space and time. The album presents a cohesive environment that is part voodoo, part psychedelia and is all interesting. Dr. John taps into a few tricks over and over and does them effectively. The biggest thing for me, however, was the production quality. This album has amazing mixing that separates the many instrumental and vocal layers, while giving a vibe that you are physically in the room (or swamp) where this is being recorded. This was fantastic and I will definitely come back. The whole back half is fire. High 4 / 5 for me. Added to Library? Yes Songs Added to Playlists:

Listened Before? No Album Art: 4 / 5 (Maiden has some of the best art in metal) Album opens on a power riff with Prowler. Is this Dickensen (*nope*)? Doesn't sound as whiny as I'm accustomed to; I like it! Production is super flat and lacks punch, however, which is a damned shame because this song fucking rips after the 2 minute mark. Remember Tomorrow is a bit of a more ballady song that eventually gives way to driving metal bridge and back to the ballad. Reminds somewhat of Megadeth. Clean guitar work. Running Free opens sounding like a punkier cut of that Garry Glitter stadium anthem. This song shows more of a punk origin than most of the others. Transylvania is a solid instrumental jam. Rips end to end. God I wish the mixing wasn't such trash. Love the way it transitions seamlessly into Strange World with the echo effect on the guitar intro and plucked harmonics. Almost feels like a hybrid between PF Echos and Metallica's Nothing Else Matters as performed by Rush. Overall a very proggy sounding song that I can sink in to. Damn, this back half is ripping -- Charlotte the Harlot rips. And then there is Iron Maiden, by Iron Maiden off of their debut album Iron Maiden, which is lead by a gurgling punk bass line and a splashy repetitive guitar riff. A bit messy around the 1 minute mark, but its a jam. Alright... this album rocks. I'm so sad, having heard this to know what Maiden become. This is a beautiful fusion of metal with a punk origin and proggy impulses with a singer whose voice I do not actively detest. Only thing about this that could make it better is if they had a proper producer on the boards to capture the drum and bass better to punch this one up. The flat mixing does none of the instrumentals justice, which is a damned shame. High 4 / 5. Added to Library? Yes Songs Added to Playlists:

Listened Before? No Album Art: 2 / 5 (black and white photograph collage; maybe it ties back to the album, but its pretty boring) Another Stones album... here's to hoping this is any better than the others. Some interesting vocal effects in the midsection of Rocks Off, but otherwise its a pretty bland honky tonk rock song about only getting off in his imagination (while sleeping). Tuned out for a lot of this one. Let It Loose was the first song outside of the familiar hits that grabbed my attention in any way. Pretty song with the organ work; feels vulnerable in some way. I feel like I'm just missing something with the Stones. I understand their place in rock history, and they certainly churned out some jams, but their albums have been underwhelming to my taste. Just as with the other two on this list thus far, this one is kind of generic fluff outside of the hits. Sure, nothing is "bad" but there aren't many times when I found myself thinking "wow that was cool." All in all, I don't think this justified a double album playtime. I'm a super soft 3 / 5 here. This is the softest of the 3 so far in terms of quality hits, but the strongest in terms of non-hit filler. Added to Library? No Songs Added to Playlists:

Listened Before? Yes Album Art: 5 / 5 - what's not to love? Oh I fuck with some P-Funk. Hard not to immediately think of The Roach hearing the intro, but this song stands alone just fine. All the bass warble; all the drugs. Unfunky UFO is a jam that I never get tired of. Such groove, much wow. Give Up The Funk is a classic. Just an open-ended drum and bass jam with synth sprinkled in. Remember hearing this one on just about every road trip with my parents when they played 100% Funk. Pour one for the Thumpasorous People. Buttery bass propelling the song with flatulence-esq backing synths for the opening section and incoherent chanting throughout the rest. Pretty much quintessential Parliament. While I generally prefer the Funkadelic era (a la Maggot Brain), this is a solid entry into the PFunk catalog. Less jammy and spacious than the early Funkadelic work, this album puts the bass, horns, and synth at the forefront and connects on so many levels. I was in the groove for 38 straight minutes. High 4 / 5 for me. Added to Library? Hell Yes Songs Added to Playlists: - Unfunky UFO

Listened Before? No Album Art: 4 / 5 - not enough orange albums in this world; plus titties. I'll take any excuse to listen to some live Dead. Surprisingly I haven't listened to this particular album before. I mostly focus on early 70s Dead when listening to archived shows as I'm a sucker for American Beauty and Workingman's Dead. This one appears to be a collection of cuts from SF shows in '69, just before they established commercial success with those two releases I just mentioned. Album opens with Dark Star, a storied jam from the Dead's catalog, known for stretching its original <3 minute playtime upwards of 40 minutes. This one weighs in at a modest 23 minutes, for which the first several minutes are intro noodling. I contend that no one records live shows better than the Dead. Their micing is (generally) fantastic and they strike a perfect balance of cleanliness and live aroma in the recording. For a late 60s recording (remastered in 2001) this is super clean with great mixing. Sure there is some crust on the overall guitar tone, but that's more a feature than a bug to all Dead recordings. As far as Dark Star's go, this one is a bit more spacious through its midsection, with a jam that almost sounds self destructive around the 13 minute mark. Kind of peters out towards the end -- not my favorite DS, but honestly its never bad. Transitions over to St. Stephen, which is a more traditionally formatted folk-rock jam. I'll never not love this song. IMO songs like these are what separate GD from many other jam bands; they could actually write solid songs and put together compelling studio recordings. Segues seamlessly into one of the more blistering renditions of The Eleven that I have heard. Not the tightest I've heard them play (they go out of sync a bit around the 5 minute mark), but they make up for it with soul. Death Don't Have No Mercy is a wonderful blues jam with IMO the best / most coherent jam on here. Jerry brings straight fire with solid accompaniment from Pigpen on the organ. I have a soft spot for their bluesier numbers and this is no exception. Feedback is just what it says it is. Amazing that they went for nearly 8 minutes of this over, I dunno, a song. Even so, it certainly captures a mood that I'm sure soured many a long strange trip. While this is not the best live Dead recording I have heard by any stretch of the imagination, I imagine this was a very important album to its time. Apparently this is the first official live release from the band, that allowed the masses to appreciate their live magic from their living rooms. High quality recording that captured several of the Dead's staples in their fullest form. On a Dead curve this is a low 3 show, but on a global scale I give it a solid 4 / 5. Added to Library? Yes Songs Added to Playlists:

Listened Before? No Album Art: 3 / 5 for a quality spooky season team photo. Each band member has a different emotion. Also the band name font reminds me of that used by the Creature skate brand. Had this one on in the background and enjoyed it quite a bit more than I was expecting from the cover art and band name. I will say this one has one of the best album titles I've ever seen. Rock on the Moon reminds me of a lo-fi Brian Setzer -- kind of forgettable. I don't care what James says, I enjoyed Garbageman; tight drum-led song with scratchy / echoey guitar drifting in and out of focus lending surf-rock vibes. Intro to I Was a Teenage Werewolf has that old western honky tonk swang about it. Like something you'd hear in Peaky Blinders or something. A lot of the rest (particularly The Mad Daddy) lost me a bit with its overt campiness, but I enjoyed this album more than I didn't. This is a fine background album and it meets a certain particular mood. I don't love it for a deep listen; leaning low 3 / 5. Added to Library? No Songs Added to Playlists:

Listened Before? Yes Album Art: 2 / 5 never loved this album cover; feels like grandma's tablecloth meets cheesy 80s movie. I'm not the biggest Prince guy, but when he's on he's great. Let's Go Crazy starts us off on an upbeat dancing beat. Super processed (read as shitty sounding) electronic drums / percussion, but the guitar rips and mixing is quality. Take Me with U is kind of boring, but the orchestral elements are pretty and the drum fills (although kind of out of place) were pretty dope at the closing. Some solid fretwork on Computer Blue. I enjoy Darling Nikki; such a dirty and uniquely formatted song. This version jams so much more naturally than the Foo Fighters cover; also Prince's vocals carry the energy much better. When Doves Cry is a pop jam. Just a fantastic song that stands up well to the test of time. Sure the drums have that over-processed 80's tone, but that has come back in vogue. This sits in the mid-3 category pretty firmly for me. Quality production with some standout tracks (Darling Nikki, When Doves Cry) but for the most part I just didn't care very much. Added to Library? No Songs Added to Playlists:

Listened Before? Album Art: 3 / 4 Album opens with a folksy riff and then throws that away for some in your face synth vibes on Save the Life of My Child. What an interesting and incredibly trippy song. Would not want to be knees deep in an acid trip when this comes on. My body was no prepared for this in the best of possible ways. Love the interpolation of "The Sound of Silence." I've heard America before, but can't place where. Straight folk rock here -- sad to see the trippiness go. Thought we were going to get S&G unhinged. Old Friends is really pretty. Love the string arrangement and how it blends right back into the thematic reprise. This album throws me a bit. Love the trippy opening of Save the Life of My Child, and wish they would have tapped back into those experimental modes a bit more. Instead most of the album is pretty standard folk rock, with the exception of Old Friends. I dig the more adventurous aspects and thought the rest was pretty solid. 3.5 out of 5, rounding down. Added to Library? No Songs Added to Playlists:

Listened Before? No Album Art: 4 / 5 MS Paint at its finest. I approve. Never heard of these guys. The Concept is pretty center of the path 70s inspired indie rock material. Dense guitar, sort of sadboi sounding singer, with tight uninteresting drums. Guitar noodling was unexpected and crisp through the midsection. Also was not anticipating the tempo change that follows. This is a nice spacious jam -- I can dig it. Satan is an old school thump-a-dump intro that gives way to a short rock jam. Kind of odd, and wish they had done more with it. December goes back to some falsetto singing over a tender, loping bassline and strummed guitar. Comes together into a stomping, head-nodding song. I can dig. Had this on in the background for the rest of the playtime. I enjoyed it for the most part and didn't feel any need for it to come to an end. Would I seek it out again for a relisten? Probably not, but I enjoyed it for what I heard. 3 leaning 4 here. Added to Library? No Songs Added to Playlists:

Listened Before? Yes Album Art: 5 / 5. Contextless photo that just makes you scratch your head at first. Simple but effective. I used to listen to this album quite a bit in high school, but it has been a while. This is the natural maturation from Beck following Mellow Gold and his (surprise) hit Loser. Still plenty of *weirdness* packed in, but much cleaner production and some more poppy influences. Devil's Haircut has always been a cool song centered around a repeating, catchy bassline and some electronic drums. Feels a lot like Eels releases around this same time period. Hotwax is my favorite from this album. Features a country/hip-hop style beat that somehow I could imagine Cypress Hill rapping over. Eclectic mix that just works IMO. Love how effortless the nonsense lyrics flow out of Beck. The New Pollution is another jam that has an effortlessly cool vibe about it. Derelict, once again, sounds like it could be an Eels song. This is one of the more peculiar songs on here. Starts off kind of like tunnel exploring music and gives way halfway through to some pseudo-Indian influences with a weird droning horn(?) sound throughout. Works surprisingly well. Novacane opens on a dreamy bassline then gives way to a stomp with a electronic sound channeling phazors at full energy. This is another example where Beck hops between ideas in a single playtime and it just works so goddamned well. Undeniable groove. Jack-Ass is a contemplative opium laced track with Beck giving deadpan delivery over one of the more pretty and traditional compositions here. Where It's At is another great one. High 5 is a weird one that feels like it could easily be a Beastie Boys B-side instrumental from Check Your Head? Oddly though, I really enjoy it. I honestly forgot how amazing this album is. Its effortless. Its cool. Sloppy at times, but IMO Beck shines the whole way through. On top of that, it was able to achieve radio success without taking away from what makes him great. So glad that this one exists. 5 / 5. Added to Library? Yes Songs Added to Playlists: - Devils Haircut - Hotwax - Novacane

Listened Before? No Album Art: 2 / 5 (western font in line with the movie reference with a burning city backdrop. doesn't do much to grab the eye.. no idea what to expect) I was anticipating something more "disruptive" sounding based on the cover, but this opens with some dub-infused indie with a singer similar to Damon Albarn (jk it is Damon Albarn :P). The backing organ provides some interesting depth and creates a lived-in atmosphere. Off to a fine start. 80s Life throws away the dub in favor of a key-led song styled after an 80s slow dance. Pretty key work; pretty song. Northern Whale sounds like a super pared down Gorillas song. Heavy wall of bass with some layered sprinkling keys and harmonization. I like the song with the psych effects thrown on top (reverb, echo). A lot of the rest of the album kind of bleeds together for me. I enjoyed it being there, but didn't find too too much that peaked my interest. I'm a middle of the pack 3 / 5. Added to Library? Yes Songs Added to Playlists: - Northern Whale (sunny-vibes)

Listened Before? Yes Album Art: 3 / 5 (not my favorite of the band's artwork, but its fine) Note: Basing my review on the 50th Anniversary Remaster. This is the album that brought the Dead to the masses. The Dead tapped into Americana vibes with a poppier and better produced vibe that previous releases. Album contains some mega hits that got radio play (Sugar Magnolia, Friend of the Devil, Truckin'). I said it in my previous Dead review, but what separates The Dead from so many contemporary jam bands is that they have bomb song writing and created great studio releases. They then take these strong fundamentals and jam endlessly on top in live shows. The only (somewhat) comparable in the modern era is Phish, but even they don't have *great* studio recordings. Always love the hop that the studio version of Friend of the Devil has. They often play it slowed down to a crawl live. Such a fun and singable little ditty. Love the drum work on Sugar Magnolia. Such an great pop rock song -- one of the best summer songs I can think of. Candyman is probably going to be a divisive one. I'm personally into it and it shows The Dead maturing their harmonization from its rougher early stages. This one is a slower blues progression. Brokedown Palace is just a pretty song. The harmonization along with the pool hall keys in the background. I find this one to be so calming. All said, I'm a solid 4.5 / 5 on this one. I love The Dead and I think that American Beauty is one of their better produced albums. It introduces a number of staples to their live catalog (Sugar Magnolia, Box of Rain, Friend of the Devil, Truckin) and shows them coming into form with well-written songs that take advantage of their harmonization. Some of the songs run together a bit towards the middle, and by comparison to Workingman's Dead released in the same year, I always give preference to WD. Added to Library? Yes (already there) Songs Added to Playlists: - Sugar Magnolia (sunny vibes) - Friend of the Devil (sunny vibes) - Attics of My Life (rainy / tired)

Listened Before? No Album Art: 4 / 5 (honestly, I love the phone booth shot. Its so odd. Are they scheduling the date right now?) Starts off with some early days RnR with surf influences on Made to Love. High quality production and a great voice on lead. Hands over to a ballad of lost love with That's Just Too Much. Quality harmonizing with sparse Spanish-influenced backing. Four songs in there are a lot of references to "baby" on this album. Baby What You Want Me to Do carries a standard blues progression with keys sprinkled in the background. I love Always It's You. Reminds me of a Japanese Breakfast song that I can't quite place right this moment. Between the sparkling key line and echo-laced, drugged out guitar, this song feels like the embodiment of a dream. I had no idea that Love Hurts by Nazareth was a cover. Such a different vibe here. I like both versions, but this one has so much better layering. A Change of Heart reminds me in all the best ways of Flying Burrito Brothers. Beautiful song. I'm way more into this album than I expected. For an album called "A Date with the Everly Brothers" they spend most of their time lamenting lost love or exploring pain brought about by love. I love that none of the songs on here feel forced and they range from folk country to surf rock and straight and narrow RnR. Vocally, the Everly Brothers are fantastic with beautiful harmonies and the production quality is top-notch. While I won't go back to this often, it was a perfect start to the week for me and had me wishing we could roll back the clock to these simpler days. This is a high 4 / 5 for me. Just not quite enough magic to push all the way. Added to Library? Songs Added to Playlists: - Always It's You (Rainy / Tired) - Love Hurts (Rainy / Tired) - Change of Heart (Sunny-vibes)

Listened Before? Surprisingly, No Album Art: 1 / 5 (have always hated this album cover for no good reason. I just think it looks lame as fuck) Of the early grunge acts, Pearl Jam is not among my favorites. I think perhaps because they always toed along the poppier end of the spectrum. Album opens with Once, which actually is pretty cool. Pearl Jam is almost singularly defined by the Eddie Vedder's unique vocal delivery. It is at once passionately gravelly and seemingly able to distort spacetime with its flexibility. Once is a kind of garage rock tune with proggy influences. Even Flow is one of the many megahits this band is known for. Certified jam with that wall of sound effect going for it. Never listened closely before, but there are some trippy background effects going on; glad I pulled out the headphones. Back to back on mega-hits with Alive. Not my favorite of their songs tbh, even though the guitar work is pretty solid. Why Go pulls them into a funkier rhythm. This one has some dance to it; I'm into it. Black stands in stark juxtaposition as it dims the lights and clears the dancefloor for something reminiscent of a slow-dance. I actually love this song and feel like its one of Pearl Jams best displays of range. Damn this album is deep. Jeremy is a jam even though the mixing sounds like shit. Oceans is kind of doo doo TBH. Like it wants to be epic, but never actually goes anywhere. Porch sounds kind of like DMB woke up and said "we can do grunge too." Honestly not a bad song, but it feels particularly campy. Okay... after Jeremy I honestly stopped caring and this all started to slur together. There are plenty of great songs on here. The hits are undeniable and Once is a strong lead into the album. Release, is probably someone's favorite deep cut, but I honestly couldn't care about Vedder's crooning for 5 minutes with a lethargic build. It has a certain fading of the mist effect going for it, but ultimately its a miss for me. The trippy 80s style instrumental following was unexpected, but really not necessary. All said, I'm unmoved from my original position. Pearl Jam has undeniable talent and put out some smash pop-rock hits, but aren't really the act for me. This album was great for the first half with a spotty back half that is at best forgettable, and at worst outright terrible. I'm a soft 3 / 5 here. Added to Library? No Songs Added to Playlists:

Listened Before? No Album Art: 5 / 5 (at this point I have no idea why I'm rating this, but I love this cover. Faux art frame around a team photo at some ruins-like location. Dig the font choice.) Opens with some strong reminiscence to Barrett era Pink Floyd. Psychedelic layering of components making for a madhouse sort of atmosphere. Sick sax and harpsichord work. Singer took his meds for Orange Skies. Pretty little folksy number complete with flute melody. Could imagine dropping acid and running through a field of wheat to this. Love the little "pop" sound in Que Vida! Seven and Seven Is almost sounds like it could be a Bowie song both in eccentricity and tone; jam. Composition of The Castle evokes Tommy-esq The Who, but like in the good way. Bass line and tempo switching is pretty dope. She Comes in Colors brings back the fire. And Revelation just seems like they included it to leave no stone unturned with a blues rock number to rival The Doors. Wow this album rocks. Love show some incredible range effortlessly maneuvering from psychedelic and folk rock to blues and something proto-punk/glam. I was engaged start to finish and enjoyed every minute. This is a sneaky ass 5 / 5 from me. Added to Library? Yes Songs Added to Playlists: - Orange Skies (Sunny-vibes) - She Comes in Colors (Sunny-vibes)

Listened Before? No Album Art: 3 / 5 (cat + woman; its a vibe) I've definitely heard I Feel the Earth Move, but can't say where or why. It's a jam for which the production does no benefit. Instrumentals rip with a meaty bassline and plunky keys with some guitar noodling. Song is soulful bordering on disco. Okay so I'll admit this wasn't one of my closer listens. I recognized a few songs and found the ones that I didn't know to be nice if not exactly the style I would go out of my way to listen to. I understand why many probably love this album, but ultimately it didn't move me in any specific way. Pretty instrumentals and vocal work in pop-folk arrangements. 3.5 / 5 for me on gut feel, rounding down. Added to Library? No Songs Added to Playlist:

Listened Before? Yes Album Art: 4 / 5 (I love the apparent lack of effort here. Some lazy word art style lettering with a sadboi portrait) This album was actually recommended to Mehie and I at our baby shower for Desmond as good music for naptime. I can't say it was bad advice, but at the time I think we were both confused. I didn't listen terribly closely, but this was an extremely solid folk album with Leonard Cohen sounding the cleanest I've ever heard from him. Often erring on the melancholy in tone, I suspect that if I gave a close listen to the lyrics I would be rewarded. Ultimately though a lot of this kind of ran together for me so I can't go stronger than a 4. Added to Library? Yes Songs Added to Playlists:

Listened Before? No Album Art: 2/5 (could very well be a Christian rock cover) So far this album is pretty much as I expected. Soft alt-rock leaning in the indie direction. Lead vocalist has a nice and crisp voice, so I'll give him that. The music itself is fine, if at times a little boring. I enjoy As You Are. Very nice production with good vocal layering during the outro. I had this backgrounded while writing documents and doing other crap at work. I enjoyed the noise, but never really stopped and said "what was that?" I think overall, this is a pretty album with a melancholy feel to it. Production is clean as is the singer and instrumental. I feel like this is a high 3 / 5 for me, only because I don't think I could pick out a single song from here. Added to Library? No Songs Added to Playlists:

Listened Before? No Album Art: 1 / 5 (as far as creative decisions go, this is not one of them) Two songs in, this is fine, but I don't really care about it too much. It feels kind of like Tracy Chapman mixed with Dave Matthew's Band with more traditional folk elements infused. It's fine, for what it is, I just don't love it. The longer I listen, the more I'm pulled into this album's orbit. I've enjoyed it being there in the background even if it hasn't reached out and grabbed my full attention. Production is quality and song writing on a few songs really is quite nice. Okay, I have been oddly swept away by this one. At first I got DMB vibes, but the more I listen, the more I see a common thread to The Decemberists and other similar artists. This isn't something I will go out of my way to listen to, but I enjoyed it a hell of a lot more than I would have expected. Really enjoy the dense arrangements and the calls back to traditional elements of Irish folk music that is intermixed with more standard pop-rock. 3.5 / 5 and I'll round up because I actually was enjoying this enough to listened to the bonus tracks. Added to Library? Yes Songs Added to Playlists: - When Ye Go Away (Sunny-vibes)

Listened Before? No Album Art: 3 / 5 (calls to a simpler time; really makes me wonder what I'm getting into) Looks like this album is later into the Byrds career than those that produced hits that I've heard before (Turn! Turn! Turn!, Mr. Tambourine Man, etc.). Opens with You Ain't Goin' Nowhere, which is a country-rock twang with pretty harmonization on top. This could easily be mistaken for some Workingman's Dead era Dead. So I've always understood The Flying Burrito Brothers "The Gilded Palace of Sin" to be one of the earliest Folk Country albums; however, this one predates it by a full year. And looking into its history, it appears this is album pulled Gram Parsons (also from The Flying Burrito Brothers) into its fold. Makes sense there is such a clear continuity of the sound here. Beautiful writing and pretty arrangements throughout. I have a weakness for Folk Country and this is well done. You Don't Miss Your Water is an early highlight. Slow, but earnest progression with bluesy lyrics, beautiful harmonization, and fantastic mixing that layers the plunky piano, trudging bassline, and acoustic guitar to perfection. Yeah, this is the kind of album I can fully sink myself into and just vibe with. Song after song, I am pulled deeper into its orbit. I'm halfway through at Hickory Wind and loving it. While I could see how this might not be someone's cup of tea, I think the songwriting is immaculate (lyrics and arrangement), the production quality is superb for the era, and there is a range to the songs that Parsons goes on to refine in his follow on work with Flying Burrito Brothers. One Hundred Years from Now features a more upbeat jam with some clean Garcia-esq guitar work. I'm completely consumed by this album. The Gilded Palace of Sin is one of my favorite albums for a long drive, and this feels like a natural continuation (in the form of precursor) from Gram Parsons. While this album does not contain as many natural high points as Gilded Palace, it is extremely solid through and through. On a relative scale, Gilded scores higher in my mind, but this is a very high 4 (like 4.8). I'm going to give it the nudge to a 5 and plan on ripping through it all summer. Added to Library? Yes Songs Added to Playlists: - You're Still On My Mind (Sunny-vibes)

Listened Before? Album Art: 4 / 5 (Candidate for best condensed representation of mid-60's psych rock spirit. Bold colors (check). Crazy Font (check). Wonky outfits (check).) Crazy that this is their debut; they wasted no time working to refine a sound -- it was there from day one. Stocked full of hits: Purple Haze, Manic Depression, The Wind Cries Mary, Hey Joe, Fire, Foxey Lady, and Red House. Album starts off straight fire with Purple Haze and Manic Depression. Really shows off the energy Jimi can bring to a track with solid backing drums. Hey Joe pulls things back to a bluesier vibe, but still puts Hendrix's guitar work on full display. Love the backing vocals and fuzzy bass tone that support this track. Also the drum work is nuts. Love Or Confusion is such a cool period piece. First really psych-infused song on the album, featuring interesting stereo effects and Hendrix with a strong vocal delivery that introduces us to his whisper rambling on the outro. May This Be Love follows this up with another psych track that puts Hendrix's vocals up front. Had this ripping in the background while working all morning. Honestly, just a fantastic album that pulls in plenty of psych rock (Third Stone, Love or Confusion), blues (Red House, Hey Joe), and straight RnR (Manic Depression, Fire). Easy 5 / 5 on this one. Added to Library? Yes (already there) Songs Added to Playlists:

Listened Before? Yes Album Art: 4 / 5 (love the simplicity and cleanliness) So I've definitely listened to this before, but don't remember anything in specific. As far as KC goes, Court and Red are the two that stand out from their expansive catalog. Decided to go headphones on after 2 solid minutes of triangle and plunky bell sounds. Wow this song is like super proggy post-rock -- in particular the last 2-3 minutes. Expansive song that has both atmospheric and more driven sections. Book of Saturday abandons the sprawling format for a 3 minute prog-rock song. Crisp production putting the guitar / bass front and center with reversing effects and string accompaniment. Easy Money has one of the coolest goddamned jams followed by one of the wildest lyrical re-entries I have heard in recent memory. Feels of a similar ilk to Animals by Pink Floyd and I love it. A direct line can easily be drawn between Larks pt II and some songs that UM have put on record. Deeply unsettling prog in the best possible way. I'm all about this; confused why I haven't given this album as much time of day as the rest of KC's catalog. While it is no In the Court or Red, this is still an amazing entry into the prog cannon. Love the fusion elements present in pt II of the title track that remind of Mahavisnu Orchestra (namely the inclusion of violin / viola). 5 / 5. Added to Library? Yes Songs Added to Playlists: - Book of Saturday (Rainy / Tired)

Listened Before? No Album Art: 3 / 5 (blurry shot in a bayou type backdrop setting a shoegazey mood) I've had this on in the background while doing some mundane script writing and I've been vibing without complaint. I have a certain soft spot for these early 80s post-punk entries (a la Joy Division). First impression is that this is of a brighter (poppier) variety than the, bleak by comparison, Joy Division. I enjoy the tight drums and overall cleanliness in the mix. Also really dig the guitar and bass tone. Look forward to giving this a more focused listen in the morning. On initial impression I'd say a middling 4 / 5. After a second listen, I feel like this is a solid entry for the genre. A couple of standouts while I was listening, but I doubt I'll go out of my way to come back. So based on this, I'm going to say this is a low 4 / 5. Added to Library? No Songs Added to Playlists:

Listened Before? Yes Album Art: 5 / 5 (I like everything about this cover. Iconic shot of Chuck D and Flavor Flav behind bars with the Public Enemy logo in a rasta color scheme) Opens on a live-sounding hype track intro, then turns over to Bring The Noise. Originally heard this song in Tony Hawk as the Anthrax remix (which is arguably better). Even still, the original is pretty dope, even if less "in your face." Bring The Noise is followed by the second single off of this album: Don't Believe the Hype. Instant classic beat with a solid drum sample and awesome instrumental layering. Chuck D just flows effortlessly through the entire track. Cold Lampin' With Flavor keeps things running with a squealing beat that might annoy some. I personally really enjoyed it and how Chuck D's flow contrasts with Flavor Flav's grainy interjections. Same can be said for Terminator X -- standout with a beat that sounds like a bomb screaming on approach and some sick mixing work on the boards (a lost art). This fell into the background while working, but I enjoyed it start to finish. I would assume there is cultural significance to this album that I am missing because I wasn't there at the time. Even today, this has a lot of appeal and stands up well. I'd say this is a high 4 / 5. Added to Library? Yes Songs Added to Playlist: - Don't Believe the Hype (Skate Mix) - Cold Lampin' With Flavor (Skate Mix) - Terminator X To The Edge of Panic (Skate Mix)

Listened Before? No Album Art: 3 / 5 (Oddly oriented profile in purple. No love, no hate) Along with Dylan and Cohen, Randy Newman is one of those incredible talents who succeeds as a vocal artist in spite of his voice. He is an amazing lyrical storyteller who writes undeniably catchy hooks and even sweeter melodies to accompany them. I haven't listened to any of his professional solo work, but I have come to appreciate his range through the many Disney / Pixar soundtracks that the kids are constantly listening to. Lonely at the Top is a surprisingly cool track. Interesting instrumental choices that give it a wholly folksy vibe, but it works so well. Last Night I Had Dream takes a hard left turn at the minute mark. Starts almost bluesy / jazzy and while it retains that core vibe, it drops into a show-tuney piano blitz. Burn On is backed by a horror movie-esq dissonant piano that gives over to a woodwind section doing the same. This is a tough one to give a proper score to. Beautiful compositions with immaculate production, and I found the album to be pretty enjoyable start to finish. That said, I feel nothing compelling me to come back for a return visit. It makes sense listening here that Newman has become such a staple for soundtracks -- many of the compositions are layered and have show-tuney aspects to them. This isn't to say that the songs shouldn't be taken seriously; there are some great lyrics in here. God's Song is a high point of the album as is Burn On. All said, I would give this an objective 4 / 5 on musical quality. On personal enjoyment this falls around a 3. Added to Library? No Songs Added to Playlists: - God's Song (Rainy / Tired)

Listened Before? No Album Art: 3 / 5 (This is some prime 13or30 content right here.) Alright so here we go again with Iggy Pop (this time sans Stooges). Opens on the beach-rock inspired title track that I know him best for. This song is pretty sweet even though the mixing is utter garbage. Sounds like vocals were recorded in isolation in some concrete hallway with Iggy at one end and the mic at the other; the instrumentals all lay flat beneath. I think re-mixing with the bass punched up would do this song a huge service; bassist is putting on a clinic, but you can barely hear him. The Passenger is a really cool song. Sounds like The Strokes or one of those early-2000 UK-Indie bands 40 years earlier. Once again, I wish they pushed up the guitar mixing just a bit. Tonight actually feels heavily Bowie influenced. Like the guitar work through the bridge. Neighborhood Threat is another standout track, with Fall In Love With Me tapping into that pre-Strokes sound (I think its mainly the vocal effect). In any case, this is a fine one. Definitely preferred it over the Stooges album several weeks back. Pop is clearly front and center in this one; not only in name, but also in the way that each track is mixed. I would say that generally, the songs are quite good, but I think that the mixing doesn't do the instrumental enough credit. Overall though, this is a solid one. High 3, leaning 4 here. I'll give it the nudge, because I could see myself enjoying more than one listen. Added to Library? No Songs Added to Playlists: - Lust For Life (Sunny-vibes) - The Passenger (Driving)

Listened Before? No Album Art: 2 / 5 (getting some serious "I Know What You Did Last Summer" vibes here) I recognize the title track from Rock Band. Never was a huge fan, but its fine angsty pop rock, with a damned catchy singalong chorus. Five songs in this is very capable alt rock that has yet to command my attention. Fills the space nicely, and Courtney Love's voice brings the right weight and texture to bear over the instrumentals. This feels like less-punky No Doubt (perhaps due to the parallel in female vocalist). I really enjoyed Dying and the writing on Northern Star. I would say that I enjoyed this album more than I expected based on Celebrity Skin alone. I feel like this is a solid entry into the alt-pop-rock category, and enjoyed how Courtney Love shaped her voice around the instrumentals. That being said, I'm not a huge fan of the genre and didn't find too much to really hook in to. 3 / 5 Added to Library? No Songs Added to Playlists:

I can only imagine that Ice Cube had me, a white suburban man blowing leaves, in mind when he wrote and released this album. listened to this twice through and while there were certainly some standout moments (Wicked, The Predator, Today Was A Good Day, Year This Motherfucka Up) this album runs a little long for my liking and ran together at points. The beats on the album are solid and the recorded interludes actually tie things together more than distract as some skits so. This is fine west coast gangsta rap with plenty of direct references to the Rodney King trial and the fall out that followed the verdict. There are many direct references to police brutality and inequality between black and white communities. At the same time you get stories about gang rivalry and women tricking men out of money. Ice Cube puts a solid release together here standing alone from NWA. Hard to believe his character arc eventually brought him to make crappy family comedies. This one is a solid 3.5 to me. I'll round up.

Love Strangelove. Feels like all the sounds of Goldeneye put into a dancy melody. Loved the choral intro to Sacred and the driving synthwork on Behind the Wheel. I Want You Now feels like what Alexa would give you if you asked for something to soundtrack a night of S&M play. To Have and To Hold is one of the more minimal here and also one of the best imo. Loved the sampled intro. I enjoyed this one a lot. Production is amazing in quality and the songwriting is phenomenal. Sure it definitely feels like the 80s, but in a well done sort of way. 4 / 5 and will be back for more.

I should probably give this another listen at some point. Listened to this on a drive in the rain and it didn't do too much for me. While the production is nice (particularly the spacing and the guitar tone relative to the rest of the mix) I found most of the songs to fall pretty flat and mush together. This lacked a certain pop and shine that other of his albums contains (e.g. Kaya). No real standouts held my attention though I did enjoy the looseness extending through the pieces. Soft 3 / 5 for me.

I never paid attention before, but Alice Cooper had a hell of support on the bass. Poor mixing on Schools Out doesn't let them shine, but Gutter Cat Vs. The Jets sees him leading the pack with something reminiscent of Les Claypool (can safely say I was not expecting the Westside Story interpolation). More bass goodness on Blue Turk although this sounds like a blatant The Doors ripoff. My Stars is a cool one with prog influences at work, lead largely by virtuouso guitar work and a piano melody. Found myself jamming along quickly. Alma Mater bites The Beatles real hard. I mean outside of the outro it sounds identical to some of their songs in structure and tone. Not a bad thing, just stands out. Album ends on an instrumental track. Kinda of meh on the grand scheme. This album was way better and more varied than I anticipated coming in. If I could give it a 3.5 I would, but will round down here because I don't think it packed enough punch to push to 4.

Listened Before? No Album Art: 2 / 5 (I'm sure it makes sense in the context of the album, but as a standalone piece its pretty silly looking. Hard to know whether it is meant to be taken seriously or not) My sister was pretty into Rufus Wainwright, so I'm surprised I never heard this one before. Oh What A World opens the album on a slogging indie folk song. Lots of vocal layering with a theatrical edge to the arrangement. Vocals + bass on Go Or Go Ahead oddly remind me of Layne Staley of Alice in Chains. Something about the arrangement also reminds me of Killer Queen by Queen. All said, standout track to me with a huge slow-building climax and nice production. Tbh this is a fine enough album it just doesn't have a lot for *me*. Rufus Wainwright has a nice voice and he uses and layers it very well. Production is quality if a bit theatrical as I said before. For some reason, I'm just not really enjoying it. Pretty forgettable album from my perspective. On a relative scale this is a 2 / 5 that I will never come back to. Added to Library? No Songs Added to Playlists:

Listened Before? Yes Album Art: 4 / 5 (dig the contrast between the blue-filtered black and white and the red font. Captures the sense of an era) Listened to this one back in college as part of a huge music dump that Luke Wienecke dropped on me. Didn't really appreciate it at the time, but listening back I really love the post-punk vibes and the range of the band. I think their sound is best when polished the least; Androgynous and Unsatisfied being the two main standouts to me. The former being a tender stripped down and sloppy song and the latter being a vulnerable song with some sweet production work. At the same time, this album has other upbeat gems like Gary's Got a Boner, I Will Dare, and Tommy Gets His Tonsils Out. Gut feel and two listens puts this at a strong 4 for me. Some really great range on display here with an eclectic mix of processed post-punk and more stripped down and crusty songs. The song writing and compositions are what stands out to me. Added to Library? Yes Songs Added to Playlists: - Unsatisfied (Driving) - Tommy Gets His Tonsils Out (Skate Mix)

Listened Before? No Album Art: 4 / 5 (classic and simple. Dude on the right got done dirty, but otherwise great). Did not realize that Wyclef Jean was in the Fugees before Black Eyed Peas. Only listened to Ms. Lauryn Hill on the Miseducation of Lauryn Hill. Excited to hear more. How Many Mics features a dope beat centered around punch snare and bass and a looping warble with spooky background sounds. Song fucks. Beat on Ready or Not was recently sampled by Metro Boomin' / 21 Savage on Creepin'. Interesting stereo production; I find it a bit distracting tbh. God damn, the beats and production on here are amazing. The Beast is rooted in a repeating strings line that comes in and out of focus, with some great little elements interspersed. Adds a psychedelic effect. Ends with a Chinese restaurant skit that, while it has aged poorly, is actually hilarious. Fu-Gee-La continues the string of sick instrumentals. Almost sounds like something Immortal Technique would rap over. Vocals are initially suppressed, but they flow like butter. Killing Me Softly is a classic track that has stood the test of time. Cover of No Woman, No Cry is well done, but IMO unnecessary. The original needed no extension and this one doesn't do much to distinguish itself outside of an overlaid hip-hop drum track. Alright so this is a classic entry straddling the boundary between Hip-Hop and R&B. Phenomenal production throughout with some of the most interesting and varied beats I have heard for this era of hip-hop. On top of that Wyclef and Lauryn Hill are very adept MCs that flow off of one another throughout. This album started extremely strong and lost steam throughout its playtime. All said, this is a solid 4 / 5 that I will be back to. Added to Library? Yes Songs Added to Playlists: - How Many Mics (Skate Mix)

Listened Before? No Album Art: 3 / 5 (Departure from her other covers to this point, as is the music. Polaroid with cut off eyes and simple sharpie label.) Surprisingly, this is one album of TS that I have not actually listened to straight through. And yet I think it has more radio hits than any others that I have listened to. Welcome To New York opens on a bouncy and glitzy pop number. Not my favorite of hers. Hands over to drum and synth lead Blank Space. Say what you want, this is a great song (outside of the little "torture" interlude, which is pretty cringy). Kind of ridiculous. Basically from Blank Space to How You Get the Girl (8 songs) have gotten some degree of radio play. Of those, Out Of the Woods is a mega-Antoff anthem and a solid song. Shake it Off is a relentless dance number that is guaranteed to put you in a good mood. Bad Blood is a hip-hop inspired anthem that honestly rips -- the remix with Kendrick was one of very few (IMO) successful pop/hip-hop cash grabs. Clean is a super synthy and cool way to end the album. All said, Taylor is a really talented woman who has proven time and again she can put together a catchy pop album. Not only does she have hits, but this record flows front to back. I would not put it in my top 3 among her catalog (those are reserved for Folklore, Evermore, and Red); however, this is a fine entry. The hits are undeniable and I think it has aged fairly well for pop music of the early 2010s are concerned. I'm a soft 4 here. Added to Library? 4 Songs Added to Playlists: - Shake it Off (Sunny Vibes)

Listed Before? Yes Coincidence that we got 1989 followed by 1999? I think not. For me, the end of 1999 was defined by the Y2K "crisis" and the title track of this album. I remember this song was unavoidable. And honestly its not such a terrible thing; this song jams with plenty of 80s cheese. Mixing on Little Red Corvette is doo doo, but the song is among my favorite that Prince has put out. Solid structure with nice layering and an actual guitar solo. Baby sound at the end of Delirious threw me. I've heard it in the TNGHT song Buggin'. Let's Pretend We're Married finds Prince at his horniest. D.M.S.R. is a funky jam. Feels a lot like some of the jams that I have seen Umphreys play on Triple Wide with the heavy synth and splashy guitar. Standout track. Something in The Water is really cool. Love the warbling synth line that the song is based around. Sounds like some modern day avant electronic works, but more poppy. Lady Cab Driver jams pretty hard. Especially through the mid-section where guitar, bass, and drums all have meaty sections. This is shaping to be one of the better Prince albums I've listened to. All The Critics keeps things speeding along. Super funky dance track. Album closes on a slower R&B-ish song. Not out of place relative to the rest of the album but certainly takes some of the wind out of the sales following all the funky energy that was found elsewhere. This is a top two Prince album for me and has some really strong tracks interspersed. I feel like the production was needlessly dusty at times, but otherwise this is well-sequenced and enjoyable. I'm a strong 4 / 5 here. Added to Library? Yes Songs Added to Playlists: - D.M.S.R. (Driving) - All the Critics Love You in New York (Sunny-vibes)

Listened Before? Yes I think I've heard this one before, but hasn't gotten much play. Only song that immediately stands out from the track list is Psycho Killer. Weird to me that they felt the need to qualify the title with the year of release, but then again Byrne is a cooky dude. New Feeling stands out. Has an undeniable quirky TH sound for the most part, but the guitar intro and various interludes always feel like they are borrowed from some 60s rock band. Early standout. Who Is It? is another peak TH song. Funky song that hops from start to finish with Byrne crooning mostly nonsense in his slightly broken way. No Compassion is a weirdly structured one. It starts off slow then drops into a dancey rock section before suddenly flipping back to the slow tempo in which it started. Had this mostly in the background, but enjoyed everything I heard. For a debut album, they really had a well-established sound that certainly carries through the rest of their work. Strong 4 / 5. Added to Library? Yes Songs Added to Playlists: - New Feeling (Sunny-vibes) - Who Is It? (Driving) - Psycho Killer (Driving)

Listened Before? No FWIW I like the red-toned album cover with what appears to be Kafka's "The Trial" put off to the side of a woman staring off into an unseen room. The Stars of Track and Field is a slow-building indie folk song featuring deadpan delivery and a rising climax. Seeing Other People is lead by a wandering piano melody and simple cymbal / snare tap. I kind of hate the vocals on Me And The Major -- not sure why, but it just rubs me wrong. Fox In the Snow and If You Are Feeling Sinister are both pretty songs. This album falls into a bit of a void for me personally. I never mind indie folk-pop when it is playing, but it rarely excites me. This album adheres to that general rule, and while I can appreciate that it is at least fine with solid production, it does not in any way move me. This is a soft 3 / 5 for me. Added to Library? No Songs Added to Playlists:

Listened Before? No Fantastic album cover that raises more questions that it could ever hope to answer. From the jump, this is not my favorite style of jazz. Although released in 77 this has a distinctly 80s tone to the composition with heavy appeal to R&B. Palladium jams. I do love the synthwork here. Very 80s in feel, but it adds a certain cheesy sci-fi element that I enjoy. Havona is another jam, though this one is super bass-heavy. Dude is just killing it on the fret. I'm not significantly moved by this album. I can respect that the musicianship is top notch and that the songs, for what they are, are well-done. That said, outside of a few exceptions I really wasn't loving most of this one. The cheese factor was a bit too high for my taste with the first half. Would have preferred to hear the bassist rip like he does on Havona more. Soft 3 / 5 for me. Added to Library? No Songs Added to Playlists:

Listened Before? Yes Completely biased 5 / 5 going in. This is Metallica's last "pure" album before commercializing and gaining mega fame with the release of the Black Album. Not to knock the Black Album (at least not outright), but this is the last truly metal album the band made in this era that made zero appeals to radio play. Not a single song under 5 minutes; all super complex long form metal pieces addressing everything from social injustice to the environment and war. I will say that relative to MoP and RtL that preceded this one feels a bit more masturbatory and less organic; even still, this is a fantastic album with amazing musicianship. I have never not been hyped listening to Blackened. Such a great jam. The fade in to sudden splash of drums is such a fine jolt to the system, and the mixing is sterile, but effective -- super punchy snare with a throatful of bass and the crunchy guitars sitting on top of it all. The outro section (beginning around 5 minutes) fucking rips. Love the classically styled intro to the title track that gives way to fine multi-part metal piece. Eye of the Beholder is a bit of an oddball here with the applied vocal effect. Still rips end to end. One has always been among my favorite Metallica songs. I love the pensive intro with virtuouso guitar work, tender and competent singing from Hetfield, and how this devolves into the chaotic double bass thump + guitar riff. Also translates into an amazing live stage show. Shortest Straw is a raw jam. Just pure energy. Frayed Ends might have one of the best guitar solos in the middle of it. Also just a pure metal song start to finish lead by a super heavy, repetitive riff that you can sink your teeth into. Love the intro on To Live Is To Die. Opens with classical plucking and then gives way to a stanky metal trudge with some clean guitar solo work on top. The handover to Dyers Eve is fucking brutal. Good ol' callback to their thrash roots here. Added to Library? Yes Songs Added to Playlists: - Blackened (Skate Mix) - The Shortest Straw (Skate Mix) - Dyers Eve (Skate Mix)

Listened Before? Yes All aboard the Stankonia Express, the funky engine that could! I'll welcome any excuse to re-listen to this album. This was my introduction to Outkast (in a proper sense) and I remember playing this end over end for the better part of a week straight. There's something here for everyone. Straight rippers: CHECK (Gasoline Dreams, B.O.B, Xplosion), Funky singalongs: CHECK (So Fresh, So Clean, Ms. Jackson, Red Velvet), Dirty south: CHECK (Gangsta Shit, Snappin' & Trappin'), Great skits: CHECK (I'm Cool, Humble Mumble (intro)), and whatever the fuck "?" classifies as. And somehow this is still slotted firmly as their third best album. This is a dense and thick album weighing in at 73 minutes, and yet the variation and pure capability keep this from ever feeling like a slog. I don't think I could ever tire of hearing Andre and Big Boi flow off of each other. Also the production and beat selection is on point. I still find myself quoting the intro to Humble Mumble and the "we're bouncing" bit from the intro to this day. I could write all day to this album, but alas, I need to work. Easy 5 / 5 for me. Added to Library? Yes (already there) Songs Added to Playlists: - So Fresh, So Clean (Des Approved, Sunny-vibes, Skate Mix) - Xplosion (Skate Mix)

Listened Before? No Had a review written out and then accidentally refreshed. Oh well. This is a solid enough blues rock album that, at first, kind of ran together in the background with a few standouts including "All Your Love" (for the guitar work alone), "What'd I Say" (for the studio drum solo plus Ray Charles vocals), "Have You Heard" (downtempo, blues jam), and "Steppin' Out" (end-to-end guitar solo). I wouldn't say this is an album I'll be back to any time soon, but it is a solid blues-rock entry with plenty of interesting features in the mix. That Clapton is going to go places. I'm a 3.5 / 5 here, but will nudge to the right because this was more enjoyable than not. Added to Library? No Songs Added to Playlists:

Listened Before? No I've definitely heard Wishing Well before, but I cannot place it. Super catchy vocal delivery with an earworm of a backing instrumental. Had me nodding along NGL. Dance Little Sister is a dancefloor jam. Has harmonization that reminds of Huey Lewis and the News along with some funky bass and soulful saxophone. This album was more entertaining that I was expecting following the intro track. I don't usually go in for R&B, but this was an enjoyable listen with a few standouts that got me bobbing along. Solid 3 / 5. Added to Library? No Songs Added to Playlists:

Listened Before? No Don't Stop 'Til You Get Enough is a damned jam. Was introduced to this by my roommate Freshman year, and while I thought it was hilarious at first, the groove is undeniable. Four songs in, there is a lot of funk influence mixed with dancefloor disco vibes. Love the poppy bassline that propels Get on the Floor. Off the Wall is a jam as well, lead by a silky synthetic bassline; love the brass and vocal layering here. While I respect the King of Pop, and found plenty to enjoy here in the first half, the second half kind of dragged. I respect the album for what it is and think that in more objective sense, this album should score highly. Personally, however, this is a middling 3 at best. Added to Library? Songs Added to Playlists: - Don't Stop... (Sunny-vibes)

Listened Before? No (somehow) Leading in hot with Runnin' with the Devil followed by Eruption. Kind of music that makes you want to light your clothes on fire and run around the backyard. Cover of You Really Got Me has become the definitive version lead by a crunchy riff and Van Halen's blistering soloing work filling any and every free space. Not to mention Lee Roth's sexed up shrieks, etc. through the breakdown. Ain't Talkin' 'Bout Love ends the hot streak of the first half singles. Solid song that is actually the best example so far (IMO) of the band's synnergy and depth. Just solid song writing with every member carrying their weight equally. I'm the One is an energetic and bouncing track. Van Halen fucking rips this one apart, and the barbershop quartet during the outro surprised me. Jamie's Cryin' is a great little squank rock song about a girl feeling pressured into sex and letting they guy go. Surprisingly catchy little jam. The sound starts to run together a little bit (as is always my complaint with Van Halen) following track 7. But the fretwork keeps it nimble enough. Found myself nodding along to Little Dreamer; one of the slower tracks with more space to let the instrumental truly explore. What a fucking debut. They wasted no time defining their sound, down to the production which always captures them as if they are performing in a stadium sized venue. David Lee Roth is such a formidable front man. Great voice and harmonization, with characteristic howling. And of course the Van Halen brothers (particularly Eddie) slay. This is by no means a perfect album, but it is very solid for an initial entry. Solid 4 / 5. Added to Library? Yes Songs Added to Playlists: - Runnin' with the Devil (Driving) - You Really Got Me (Sunny-vibes) - I'm the One (Driving)

Listened Before? No Guitar and syncopated percussion forward "world music." Mixing makes it feel like you are sittin in the room of a coffee shop with them laying. Good texture and layering between elements. Enjoy the guitar tone and mirroring to the vocals on Gomni (early standout). Violin work on Sega, weavin back and forth over hand percussion, is really cool. Amandrai is basically a blues song in structure and would feel at home with Stevie Ray Vaughn providing vocals. Lasidan is another standout; solid guitar soloing and bouncy progression. Album closes with a contemplative Diaraby. Overall, I enjoyed this album a lot. It feels very cohesive start to finish and could easily imagine this translated into a intimate live set. Mostly this is peaceful background music, but there are a number of more upbeat and even blues inspired songs that command more direct attention. Glad to have listened to this even if I don't come back right away. 3.5 rounding up to 4. Added to Library? No Sons Added to Playlists: - Soukora (Sunny-vibes)

Listened Before? No I have never listed to this one despite Kashmir being one of my favorite Zeppelin tracks... Opens on Custard Pie, which centers around a stanky little bassline and never really goes anywhere. Meh. Followed by The Rovers, which is mixed super flat. Some interesting guitar work in the later half that allows it to gain some life. Slugy progression of In My Time of Dying gives way to more energetic interlude with dips into minor keys, slide work, and punchy drums. A bit all over the plac, but I actually like the open sloppiness of it. Not really sure why Plant enjoyed practicing orgasming in the recording studio, but here we are again... Houses of the Holy is a classic. Clyclical riff is catchy and keeps you on edge with a rhythm you want to sink back into, and guitar fills that tickly ones fancy. Also with headphones on its apparent they did not skimp on the cowbell here. Trampled Under Foot is another familiar one with a weirdly funky vibe to the keys and its hop. High point of hte album so far to me. In the Light is a weird one... Definitely this a more experimental Zeppelin than I'm accustomed to. This one is almost proggy in its structure. Not among my favorites. Had to check and make sure the album didn't swap on accident when Down by the Seaside came on. Seems out of character and really don't love Plant's voice enough to hear him earnestly singing. Tempo change near the midpont feels forced and unnecessary. Ten Years Gone is a slow jam and a good one at that. Restrained until the 3 minute mark where the guitar grows some teeth and Plant apparently gargles some asphault. The riff and stacatto drums on The Wonton Song command attention. Kind of a weird one as well but its a nice song to bop along to. Despite a hopeful outset, this album ended up a bit of a slog for me. About halfway through I found myself wishing for the end and never really recovered from there. This album is kind of all over the place. Great highs, but IMO way more misses. Many songs felt as if pulled by prog influences, but they weren't fully committed to the cause. This is a 2 bordering 3 for me... Added to Library? No Songs Added to Playlists: - Houses of the Holy (Driving) - Trampled Under Foot (Driving) - The Wonton Song (Driving)

Listened Before? Yes I listened to this album quite a bit back in high school. I think of AC/DC records this and Back in Black are my favorites. This one opens with classic driving jam "Highway to Hell" and keeps the accelerator down through the Girls Got Rhythm. This is a quintessential 70s rock album that is largely held together by vocals from Bon Scott and fretwork from Angus Young. Highlights for me are the title track, Shot Down in Flames, and Girls Got Rhythm. Outside of Shot Down in Flames, the second half drags a bit in my opinion and takes away from the experience. This is a softer 3 / 5 for me. Added to Library? Yes Songs Added to Playlists: - Highway to Hell (Driving)

Listened Before? No Album opens energetically with poppy production, but there is much more of an edge here than I anticipated. Vocals borrow from a grunge tradition and there is a spunkiness about this. Really enjoy Outtathaway... I knew I recognized the band name; Get Free is a jam that I had forgotten about. Country Yard is a psych trip of an instrumental with a distant guitar that feels like it is shimmering in the breeze. Factory reminds me of some Offspring songs that I wasn't particularly fond of. Has a sort of polka plong about it that occasionally grows teeth. In The Jungle is a standout. Minor progression that makes for an uncomfortable, but cool atmosphere. Reminds me of Alice in Chains for a number of reasons. Could have done without the lugubrious ode to Mary Jane. Like its a fine song and all, but felt unnecessary even if the "Echoes" reminiscent guitar towards the closing was nice. 1969 is a drawn out jam of a song. I like it as a closer. Strong 4 / 5 for me. Great production and depth and I enjoyed all the way through. Added to Library? Yes Songs Added to Playlists: - Get Free (Driving, Skate Mix, Sunny-vibes)

Listened Before? Yes I haven't listened to many Santana albums, but this is one that I spent a good bit of time with during late high school. This is a classic with two of his biggest singles -- Oye Como Va and Black Magic Woman -- along with a number of other jams. This album is pretty great straight through. Not perfect by any means, but there is a lot of soul here, and plenty of that unmistakable Santana guitar. Standouts for me are Oye Como Va, Mother's Daughter, Samba Pa Ti, and (personal favorite) Hope You're Feeling Better. Great production, with some sequencing hiccups (particularly between BMW/GQ and Oye Como Va). Just a good clean latin-infused classic rock album. 4 / 5. Added to Library? Yes Songs Added to Playlists: - Mother's Daughter (Sunny-vibes) - Hope You're Feeling Better (Des Approved)

Listened Before? No Up until this point, I've had no problem resisting The Temptations, which seems wrong. Opens with what sounds like a live-mixed track, or a track intended to sound like it was captured in a live setting. In any event, its got a nice groovy feel about it. Gotta say, I'm enjoying the interplay between the plucky guitar and repeating bass-line. Papa Was A Rollin' Stone was a funky centerpoint for the album. Kind of reminds me of the Shaft theme song in its scratchy guitar, etc. Honestly for a centerpoint it was kind of boring, but the production is really solid. Nice vocal harmonization with meaty bass and soulful guitar licks throughout. I've heard I Ain't Got Nothin' referenced in a number of other hip-hop songs. Soulful song with pretty vocal harmonization and use of strings. In general this album is fine, but doesn't compel a second listen. I can respect the talent here -- particularly for vocal harmonization -- but I was not specifically moved. This is a soft 3 / 5 for me. Added to Library? No

Listened Before? No Back to Clapton we go. Some good ole psych-infused blues rock. Amazingly busy album cover that looks like the late 60s throwing up. They waste no time in letting Clapton's blues guitar take center stage on Strange Brew. Serviceable, if forgettable song. Mixing is okay though the drums sound very distant. Sunshine of Your Love is a classic jam. One of the most recognizable guitar / bass riffs of all time. Great, more throaty vocals that always make me think of Hendrix. Tales of Brave Ulysses is a jam, as is SWLABR. The latter being more a more energetic and guitar-forward. All around, fine psychedelic blues rock album with a few notable standouts and solid production throughout. Not among my favorites from this era, but it is very alright. I would say this is a middle of the road 3 / 5 for me. Songs Added to Playlists: - Sunshine of your Love (Sunny-vibes)

Listened Before? No Human Behaviour is a cool track centered around a cyclical bass line with overlaid percussion. Her voice is front and center and very raw feeling as she allows it to strain and break without ever losing control. Crying also hops along with a familiar sounding xylophone line that I cannot place (finally placed it, it is the same tone that Lotus uses in a few of their songs/jams). More than halfway in with this mostly in the background and I have really been enjoying the ride. A lot of groove baked in here with amazing production quality, interesting compositions, and at once vulnerable and confident vocals. Aeroplane is a standout from its ominous, almost tribal, groove. Come to Me is trip-hop in nature, and it finally clicked that Bjork's vocals remind me a lot of Portishead. Side note: I'm long overdue for a deep dive into Portishead. Can't say that I was expecting some quality drum and bass, but Violently Happy brings it. Also the intro reminds me a lot of the show Dark. The 808 line and general atmosphere remind me of Yaeji. Pretty cool to hear this as inspo from 30 years prior. I loved this album straight through. No duds. Some residual 80s cheese, but I loved the production and variedness. Listened to this about 3 times between yesterday and this morning. Soft 5 / 5 Added to Library? Yes Songs Added to Playlists: - Come to Me (Focus Music)

Staring off the day with some early Zappa; no complaints here. This is some kooky and campy shit, and I say that with love. This is not the album you want in the background if you actually want to use your mind for anything; most songs are short and disjointed with tons of caricaturized psychedelic effects interspersed. That said, Zappa is a crazy dude who knew how to push the envelope while still putting together some great songs. Over a relatively short runtime (39 min) he references a ton of musical styles and pokes fun at the entire hippie flower power movement from multiple angles. This is a deranged fever dream of an album. Not my favorite from Zappa by any stretch, but still solid. 4 / 5 and I'll be back for more. --- The album starts on a truly deranged note with Are You Hung Up? An acid trip of vocal samples. This leads into more traditionally structured Who Needs The Peace Corps? which is a quintessential Zappa tune with weird vocal delivery, unique guitar tone, and, of course, some horns. Super campy, but the man puts together a solid song. The spoken-word outro reminds me a lot of some more recent work and I'm having a hard time placing it (ah I got it. It reminds me of Losing My Edge by LCD Soundsystem -- now off to listen to that record for a bit). Concentration Moon pulls more campy tempo changes and psych interludes. Recurring reference to the sample about being "the Indian of the Group." Five songs in, this album proves to be quite dark thematically. Harry, You're A Beast -> What's The Ugliest Part Of Your Body? is a complete trip. A disjointed fever dream, but I enjoy every part of it. Hot Poop -> Nasal Retentive Calliope Music are somehow more nonsensical sounding than their titles; not an easy feat.

Listened Before? No I know people go wild for Bruce, but I've never bought into the hype. This'll be my first listen through one of his albums in totality. Album opens on Thunder Road, which is a fine enough song. Really don't love Bruce's vocals; thankfully, they are pretty buried by piano and guitar in the mix. Tenth Avenue Freeze-Out is a familiar, plonky one. As far as Bruce goes, I enjoy this more than most. It has a nice hop to it. Piano line intro for Jungleland sounds suspiciously like Elton John's Tiny Dancer. A single listen didn't do anything to sway me onto the Springsteen bandwagon. Objectively, it is a fine enough album, but there isn't much here that calls to me. I really don't care for Bruce's vocals and think that the production as a whole isn't wonderful. The sax work is fine, but there is a certain cheese factor to a lot of the songs that I can't seem to get over. Its like Christmas music that has been polished and packaged as rock. I'm a very soft 3 on this one. Added to Library? No Songs Added to Playlists:

Listened Before? No Album starts on a discordant note with One Hundred Years. The song remains uncomfortable and ominous for its entire 6 minute runtime. Really like the layering and echo effects employed here and how they made use of simple guitar scratching and a rooted bass line to get super spooky. The Hanging Garden is a bass-propelled song with some interesting overlaid effects. Had this mostly in the background, but this honestly surprised me. I expected a poppier-punk album out of The Cure, and was pleasantly surprised by a bleak post-punk exploration. Very cool effects and instrumentals that make for a largely unsettling atmosphere. I enjoy the title track to close the album, complete with scratchy radio/TV samples and long droning bass (as if a bow is pulled across). This was way more solid than I expected. 4 / 5 and will give another closer listen later. Added to Library? Yes

Listened Before? No What a jump, from The Cure to The Beach Boys. My only real exposure so far has been Surfin' Safari (my kids love it) and Animal Sounds. This is a touch later career than either, where (by album art and title alone) it appears they are trying to distance themselves from their early 60s "surf-rock" image. Begins on a tripped out note with a warbly effect overlaid on the guitar. Was not expecting that synth line - dope. This is surprisingly funky. Long Promised Road is a jam; got me bobbing along. Backing harmony is pretty with a very confident front vocal. Take A Load Off Your Feet is trippy as well, but well held together. Love the plucked strings that pop in. Such a pretty and wonky little song. Disney Girls pulls out the wah pedal for the guitar to great effect. Gives it a wistful tone, especially in combination with the harmonization and echoing snare snap. Honestly feels like this could be a Dead song, if the harmonization wasn't so damned good. Student Demonstration Time, comes out of nowhere and punches you in the face with a fuzzed out guitar and Beatles-esq rock song. Great line: "the pen is mightier than the sword, but no match for a gun." Feels like they are riffing a bit here on other successful band's styles, but they parrot effectively. Feel Flows is a loose and largely instrumental jam, featuring a strong yazz flute entry. Vocals have a sort of reversed fade in effect that lends to an overall ghostly / spacey vibe. Lookin' At Tomorrow sounds more like a folk/prog-rock song. Production here is full of interesting nuggets with the way they play with stereo fading, etc. I recognize Surf's Up. This one feels the most like a callback to Animal Sounds. Delicate instrumentals in multiple parts with pretty vocal harmonization. Both bleak and beautiful in tone. So I'd be lying if I said I didn't go into this album with high expectations. The Beach Boys are a ridiculously talented group of musicians that have the rare ability to create music that is at once artistically and popularly appreciated. While this album doesn't have any of the heavy hitting singles of their earlier releases, it does demonstrate an incredible breadth of their capability. The production (as with their other works) is fantastic. Sequencing could be better as this feels a bit disjointed at times, but I honestly enjoyed every song here. I'm straddling the 4-5 line here, but call this a strong 4. Added to Library? Yes Songs Added to Playlists: - Long Promised Road (Driving) - Take A Load Off Your Feet (Sunny-vibes) - Disney Girls (Sunny-vibes)

Listened Before? No Album opens with a super clean bluesy guitar lick. Love the progression of I'd Have You Anytime. Had this in the background through the first 4, but it has been very enjoyable thus far. The songs sort of wrap around you like a warm coat. Isn't It a Pity is a long-form piece with orchestral flourishes. Too much in here to possibly dissect it all... Let It Down was a pretty one. Stripped down and tender. [begin rant] While I don't dislike anything so far, I think that 2 hours of any music is a hell of a lot to ask of a listener. Add also that they decided to remaster and re-sequence with additional bonus tracks... I really wish they would let albums just rest the way that they are instead of inserting additional bloat... [end rant] I'm halfway through and found that first set of sides to be really enjoyable. Crazy that this was a six-sided release on delivery. Man had a lot to say, I guess. I will say that there are a lot of different ideas presented here, but it is hard to say that 2 straight hours is ever justified. It just feels like a failure at the editorial stage and a stroke of overblown hubris. Pending any significant farts on the second half, this is a 4 / 5 for the quality of the sounds that Harrison put together alone. There is probably a 5 / 5 album in here, but I can't get past the excessive length without more experimentation to justify. Added to Library? Yes

Listened Before? No Some bright folk rock out of the gate. Vocals remind a bit of Dylan, but nicer. Only Dreaming Now is weird. It is like Elanor Rigsby meets Italian folk music or something. Fine song with an apparently different vocalist. The Wolf of Velvet Fortune has a broody atmosphere about it. Standout on the album for me. For those that enjoy folk, this is probably great. For me, it is just fine. I found several of the songs to be really interesting ("Only Dreaming Now" and "Wolf of Velvet Fortune") and the rest kind of fell into the void. Inoffensive, short, and sweet. Strong 3 / 5. Love the album cover. Added to Library? No

Listened Before? No I usually won't go out of my way to find an album if it isn't on Spotify, but given the group hate this has sown, I'll make an exception. Opens on an absolute torrent with all instruments involved conspiring in an all out melee. In some senses it is damned impressive that despite them all running 1000 mph in different directions they sound coherent; particularly towards the end when it all comes back together for a punctuated finale. Track 2: oh... we're gonna do a whole album like this? Honestly this is pretty damned punk. Track 3: early standout for me. Actually starts out coherent and immediately deconstructs. I enjoy searching for the bassline as it noodles around behind the scenes tying things together. Track 4 (Good Old Days): is pretty sick to start with. Has a straight up metal breakdown out of the gate. Whoever is on drums is absolutely slaying. So far this reminds me of a much more demented Cuong Vu (if you like aspects of this, but want more structure, I recommend you check his work out). Paused for a minute during Ecars, because I realized this album is a representation of another Jazz saxophonist's compositions. I encourage anyone listening to this to pause and reflect on those songs and then hop back into this rendering. It is damned impressive that this hardcore rendering actually captures a vital essence of the original work while completely turning them on their head. I had not heard Ornette Coleman before, but will take a sidebar into his work later. Fleet Music is another standout. Love the punchy drum and bass that propel this in a very punk-influenced spirit. One of few songs here that feel like they are practicing measured restraint. Alright, so I understand the hate that this album got from other reviewers. This is a dense and unrelenting listen that serves as a sort of audio assault and does nothing to accommodate casual listeners. I think ultimately, that is the point. From what I can gather this is basically Hardcore punk stylization applied to traditional Jazz compositions using the original instrumentation. It is a wild ride that is punk through and through. That said, I rather enjoy hardcore punk and think that this is highly effective and a unique application of the style that I have never encountered previously. While I can't say there were any isolated tracks I would go back to and "enjoy," there were a lot of points in the record that I stopped what I was doing to appreciate the absolute chaotic energy on display. Underpinning the whole thing, the instrumentalists are incredibly talented making this enjoyable for me, and fantastic background music for my current task. I will absolutely come back to this and listen again. Not a perfect album, but something new that I am glad to have been exposed to. 4 / 5.

Listened Before? No I'm sold on the album cover and title alone. Also this album opens with Rikki Don't Lose That Number; fucking banger. Night By Night is a jam with some luscious guitar. At once funky, with prog elements. Can really sink into this one. I've definitely heard Any Major Dude Will Tell You before. Love the guitar hook; such a dreamy atmosphere it creates. East St. Louis Toodle-Oo is an unexpected Americana polka stomp. Weird, but honestly delightful little instrumental diddy. Backgrounded for most of the remainder. I really enjoyed this one. 4/5 Added to Library? Yes Songs Added to Playlists: - Rikki Don't Lose That Number (Driving) - Any Major Dude Will Tell You (Sunny-vibes)

Listened Before? No CSN < CSNY and I don't think this will convince me otherwise. Opens on Suite: Judy Blue Eyes, which is curiously mixed to bury all of the guitar soloing in favor of the vocal harmonization and bass. Wooden Ships has some silky guitar noodling on it that I can sink into. Standout track. CSN is a talented outfit and they make some nice use of harmonization throughout. That said, I'm not huuuge on folk and this didn't separate enough from the pack for me to care too terribly much. Very middle of the pack. 3 / 5 Added to Library? No

Listened Before? No Not sure why, but the combination of artist name and album cover had me expecting R&B. So far, this is off to a very different start with a dance electro beat lead by a piano hook, and giving way mid way to some stanky bass. Seems a natural predecessor to Disclosure. I'm into this. Backgrounded this for most of the listen. Found myself engaged intermittently with few specific high points. Sincere is a nice DmB jam that feels particularly fresh. Some movement in the background keeps an otherwise repeating instrumental line interesting through its 5:30 playtime. This started out hot, but ended up fizzling quite a bit toward the middle. I enjoyed parts, but did not find enough here to love. 3 / 5. Added to Library? No

Solid Christmas album with some great renditions of classics. As far as Christmas albums go, this is one of the better.

Listened Before? No Vocals on Big Sur makes me think a lot of Flaming Lips. Not a bad comparison per se, but kind of a boring song imo. Deckchairs and Cigarettes is nice and spread out. Makes for a nice languid listen. As this album went on, I found myself getting less and less interested. Sure, the vocalist sounds a lot like the guy from Flaming Lips, but he never showed any real range and the instrumentals rarely engaged me. This is a middle of the pack album that doesn't do much for me. 2 / 5. Added to Library? No.

Listened Before? No I'm not usually huge into 60s folk-psych, but this one is better than most of that era. Also reading a little history on it, it appears to be considered among the first true "psychedelia" released. I found the title track to be one of the strongest on here. Cool period elements and psych vibes. There was another later in the album that reminded me a lot of a Beatles song in the way it progressed, but can't remember which. All said, this is a very enjoyable album that teeters between folk and psych. Amazing given the cleanliness that this was produced in the mid 60s. Beautiful mixing and vocals, more mature than would be expected for a 19 year old. This is a 4 / 5 in my eye. Added to Library? No

This was definitely an oddball listen that ranged from blues to hard rock to glam and cabaret. At one point I thought a song could be a Maiden B-Sode, and at another it felt almost Floydian. All around I enjoyed the listen and went back for a repeat to make sure I didn't miss anything. Songs were interesting and unique with some solid production to back it up. Only thing I outright hated was the deliberate play with stereo on the final track. With headphones on it just made me feel uncomfortable. This is one borders the 3/4 line but I'll nudge.

Well ain't that a bitch. I had written up a review and it refreshed on me. This is a solid debut from The Who where they showcase elements that made them the rock Gods they are today regarded. Moon is a mad man on the cans as always with several songs showcasing his brilliance (My Generation, The Ox, Out in the Street). Some nice vocal harmonies throughout with Daughtry showing his bite on My Generation. And of course Entwisel and Townshend supporting throughout. This isn't my favorite Who album but it's a solid one. 4/5

Listened Before? Yes Lot of nostalgia wrapped up in this one. I had this on a burned CD, probably sourced from BearShare or Limewire and the audio was complete trash. Bad quality and volume level was super low. Regardless it got a lot of play while I was skating around. This was pretty much no one's introduction to SoaD -- that honor goes to Toxicity; however it is easily their second most mature release. While this lacks the punchy developed song writing shown on Toxicity and actually translate into radio hits, this one has a raw and pure energy along with all the weirdness of Serge on display. A loveable oddball who makes for a unique frontman with an unmistakable voice and energy. This album is a classic for the genre of nu metal. Some standouts: Sugar, War?, Suggestions, Suite Pea. Added to Library? Yes

Listened Before? No Never listened to Mr. Mingus before. Love the simplicity of the album cover and the album title is dope. Enjoying the lopsided evolution on Track A. Feels a bit like I'm listening to a live lounge saxophone + drummer with a warped LP in the background. Really cool effect. Track B sounds really familiar out of the gate. I've definitely heard this melody interpolated somewhere, though I have no idea where. This song is downright dysfunctional in the midsection and I love it. Track C pulls out some Spanish influences. and Track D goes well off the deep end numerous times. Some interesting folk/classical influences at work here I have a hard time reviewing jazz in a manner "consistent" with more pop-stylized music. With jazz, I treat it more as a journey and how it made me feel as a whole, whereas with pop I can be swayed by a few solid tracks. In this case, Mingus takes us on a hell of a journey over the 40 minute playtime. I can safely say this is unlike any other jazz I have heard before and am glad to have experienced it. This isn't something you are going to sit back and ease into. This is densely layered madness that shifts continuously and is pulled together by an incredible vision. For me this is a 4 on pure enjoyment and the fact that it kept me guessing and engaged all the way through. Added to Library? Yes

Listened Before? No Out of the gate, Soubour feels like a Dodge commercial, but then the vocals disintegrate that Made in America feel. Not my favorite genre of music, but they translate the sound extremely well and clearly have a talented guitarist and vocalist on hand. Takeaway from Irganda is the same as before; they have a really solid guitarist and they give him a lot of space to explore. Fun little stomp of a song. Some interesting syncopation on Al Hassidi Terei. Tonally this reminds me of some of the work from the Japanese band toe (side note, I recommend everyone check out their album "For Long Tomorrow"). I find it interesting that within the mix the instruments generally feel pretty tight, but the vocals are recorded "loose" to give an almost live, group performance feel. Sekou Oumarou is an immediate standout. Understated with some call and response vocals. Creates a very moody tone that is ripe for exploitation. My focus really dropped off as I started to work, but I definitely enjoyed this album 100x more than I expected from the first minute. This album is at once familiar and fresh, in that the band taps effectively into a familiar blues rock sound while imbuing it with unique cultural elements throughout. Not only are the vocals (obviously) in the native language, the mixing puts them into an interestingly live/group oriented focus that brings the whole thing very close to the ground. In addition, there is specific emphasis on call and response and syncopated percussion that makes for an interesting listen. I regained focus for the closer Mali, which is a really tender and pretty acoustic jam. Also, whoever the guitarist is here deserves more credit; this dude jams. Strong 4 / 5 for me. Added to Library? Yes Songs Added to Playlists: - Irganda (Sunny-vibes) - Sekou Oumarou (Driving) - Mali (Sunny-vibes)

Listened Before? No Honestly unsure where I've heard Connected, but it is one of those songs that I never knew the artist for, but randomly pops into my head occasionally. Similar energy to the Sopranos intro song in a sense. Acid Jazz is such a comfy sounding genre. Hard to dislike when it is done well like this. Ground Level is basically just a monotone vocal delivery over a drum loop with splashes of piano, whistling, synth horns, and vocal samples. Doesn't really go anywhere, but its still an enjoyable listen. Let this one drift into the background for the rest of the listen. I wanted to like this one more out of the gate, but it lost steam and novelty quickly for me. Its an enjoyable, laid-back listen to be sure, but there weren't many standout moments that grabbed my ear. I appreciate being reconnected with Connected, but did not need an hour of this. 3 / 5 for some solid Acid Jazz. Added to Library? No

Listened Before? Yes Zappa at the helm yet again. It's been a while since I listened to this one... Album opens on a classic rock stomp in a familiar flavor of the time. Immediately this goes into Zappa's campy realm with some caricatured kazoo-like interludes, unique vocal delivery, and lyrics poking fun at social elements of the time. Some sick guitar noodling very backgrounded. I Ain't Got No Heart pulls once again toward middle-of-the-road rock and roll, but diverges into chaos as it closes out. Who Are the Brain Police? is a delightfully demented exploration that sounds like a soundtrack for a bad trip. Lots of interesting layering and experimentation with effects; and we welcome the kazoo back for a solo at the finale. Gears switch completely with Go Cry On Somebody Else's Shoulder, which impersonates an earnest 50s slow-rock song. One of the most quotable and memorable songs so far. Trouble Every Day is an obvious standout. Straight, classic Zappa on display. Incisive, quotable lyrics with a shotgun delivery about American inequalities. Particularly enjoy "I'm not black, but there's a whole lots a times I wish I could say I'm not white." The closing run from Help, I'm A Rock to Return is a slow unrelenting descent into madness. I enjoy the inanity of it all. This isn't my favorite of Zappa (I'm preferential to the blistering jazz/prog work of the late 60s thru mid 70s), but it is a delightfully kooky affair that is equally socially conscious and bizarre while appealing (at times) to traditional musical values. I can understand why this became something for the counter culture to rally and really shows that Zappa was a werido from day one. Not perfect, but plenty here to keep things interesting. 4 / 5 Added to Library? Yes

Listened Before? No Vocal sample opener is pretty bold. Followed up by some big room rock riffs. Reminds me a bit of Iggy Pop or Twisted Sister mixed with Bowie. Gotta say I far prefer this cover of I Got You Babe over the Sonny and Cher original. Back to Africa is a jam. Sick guitar solo work through the first half with punchy drum work alongside. Seems like an obvious Beach Boys reference on (I Live For) Cars and Girls. I'm sure there is meaning or some tongue in cheek meaning there, but I've been too distracted to pay attention to lyrics. I enjoyed this album a lot. I mean first impressions were great with the quality album title and cover. Music itself was varied and quite enjoyable. This strikes me as some middle ground between punk (a la Ramones) and arena rock (a la Kiss or Twisted Sister). I would say the former influence wins out given the subject matter and production (dusty, lo-fi) with solid instrumentals and vocals to boot. This is something I wouldn't have found otherwise, but enjoyed it enough to go back to back on consecutive listens. This is a low-solid 4 / 5 for me. Added to Library? Yes

Listened Before? No Well this is a jarring transition from Sonhoy Blues to this... Album opens on a glam-punk stomp with Precious. Immediately, I recognize the vocals and see Brass in Pocket down in the tracklist. Interesting tempo gymnastics in The Phone Call. Four tracks in, I'm really enjoying the groove of this one. Everything about it oozes a particular confidence. Space Invader is just that, a more spacey instrumental exploration allowing the guitar to climb up and down and drums to stretch out a bit. Stop Sobbing almost sounded a bit like Dancing Queen at one point. If you stripped the vocals from Private Life I would swear it is a Police song. Brass in Pocket is a classic new wave jam. I wish that the bass had been given a bit more throat in the mix, but something about this song is infectious. This was a very solid album and exceeded all of my expectations going in. I grew up hearing Brass in Pocket, but never thought to dig in further. This was a treat to listen through. Lots of different styles on display with one notable constant: Chrissie Hynde's confident (often) strutting vocals. I would say this is a 4 / 5 and a library add, but its not something I would go out of my way to listen to, I don't think. Added to Library? Yes

Listened Before? No Wish I were high and making chili when I was listening to this; instead I was trekking out and back from Ikea. Either way, this was an expectedly wild ride. Strong 4 leaning 5 for me. Album opens with constantly wandering "America Is Waiting." The song trudges forward with a repeating bass progression and some scratchy guitar work that congeals for about a bar or two at a time. All the while, there is some political sounding vocal recording buried throughout. Mea Culpa is almost post-punk in tone and form. Heavy synth work, syncopated drums, with fuzzed out vocal recordings make for a tense atmosphere. When my kids ask where babies come from, I'll point them to the bassline on Regiment. This is an early standout of the album IMO. Love the throaty bass, tribal sounding vocals, and overlaid synth work. Really cool track. The Jezebel Spirit is another standout. Dense groove of a track with condensed vocal sample that reminds vaguely of something Claypool would put together. Out of the gate, I really enjoy the trippy repeater / echo effects they employ on Very, Very Hungry. Layered rhythms make for a dense song that if you listen closely is the audio equivalent of weaving through a crowded dancefloor. Album ends on meditative Mountain of Needles. All throughout this album feels more "worldly," but this song in particular is spacey with a Far Eastern aroma. Added to Library? Yes Songs Added to Playlists: - Regiment (Driving)

Listened Before? No Did not expect to get something from 2020 on this list. Also surprising, I've never heard of SAULT. Judging from the artwork and title, this will be highly coupled with the police brutality movement in the US around this time of release. Stop Dem drops into a hip-hop beat that feels like Illmatic meets Paul McCartney's Wonderful Wintertime. Weird fusion, but it works just fine with the distressed choral vocals. Hard Life goes back to the hip-hop well adopting a militant snare and bass that calls to Jay-Z's Takeover. But instead of confident strut rapping, we have some tender vocals with gospel backing and Dilla-esq echo'd vocal punctuation. Pretty cool song Don't Shoot Guns Down, is the most direct reference to the movement at hand. Adopts a Latin / African hand percussive beat with siren intro. Wildfires is a toned down jazzy R&B song with deliberately dusty vocals. Sorry Ain't Enough has some Tame Impala / Thundercat vibes. Cool song and vocal layering. Same thing can be said for Eternal Life. Miracles is a silky downtempo jam. Feels a bit like modern day Doo Wop. I feel like I've heard similar songs before, but cannot place them right now. Late album gem. Wow, I really enjoyed this album. While it didn't feel like something that really pushes any particular envelopes, it did cover a lot of different styles with a talented set of vocalists and beautiful production. Made for a pleasant listen start to finish that never once grew boring to my ear. I'll likely be back again and following their work going forward. Strong 4 / 5 Added to Library? Yes Songs Added to Playlists: - Eternal Life (Sunny-vibes) - Miracles (Sunny-vibes)

Listened Before? Yes "Ahhh time to relax..." This is an old friend of mine that I never mind paying a return visit to. I think this is one of the first albums I ever bought and remember being blown away at the time by how different this album was from Americana and Conspiracy of One. This is viewed, I believe, as the most mature Offspring album that kept true to their original sound while producing several of their most memorable hits ("Come Out and Play" and "Self Esteem"). Going in, I'm certainly biased due to the rose-colored glasses of nostalgia; however, I also know this is far from a perfect album. In my heart, this is a strong 4. As with many Offspring records, the album opens with a comical spoken word skit. Dispensing of that, the band launches into Nitro which is just about as great of a lead off song as they produced. Pure energy, distorted power riffs, punchy drums, and, of course, some high pitch wailing out of Dexter. Pretty solid pop-punk. I used to get so ramped up by Bad Habit. A song about road rage, that opens with a moody bass line and then launches full force into a classic punk-rock tear. Mixing is super condensed here with the vocals floating above everything; you can hear some clipping as the backing vocals shout "Yeah." Gotta Get Away is a slower more presentable jam. Meaty bass line with a a bouncy drum line. If nothing else, Offspring knew how to write a catchy refrain. Genocide and Something to Believe In kind of just flow together in my mind. Come Out and Play is an obvious classic, that apparently came under legal fire due to the Arabian-influenced guitar riff employed throughout. Great song that as a kind I thought was about Columbine, but later found out it was recorded 5 years earlier and is targeted at gang violence in LA area schools. Great jam. Backs up to Self Esteem, which is equally recognizable, but is lead by an infectious bassline rather than guitar riff. Sillier subject matter, but all the more relatable. Song has aged well with time, though I admit Dexter's vocals are a tough listen at times. Killboy Powerhead and What Happened to You are IMO the low points of the album. Not the One is one of the more "punk" songs on here at least as far as content is concerned. On this Dexter lists out all of the things for which the common person is not responsible including pollution, public safety, etc. Smash is a great closer and title track. Basically, pop-punk ethos distilled and marked into a refrain. "I just want to live my life and don't give a fuck about anyone else's opinion." Sure it's kind of generic, but doesn't hurt to be said. I this this is also the first album where I heard a hidden track. I kind of zoned out in a car ride and forgot to stop the album where I usually did and heard the rendition of Come Out and Play start to buzz through. Freaked me out. Anyway, I stand by my 4 / 5. Not a perfect album, by any means, but damned solid if you can get past Holland's vocals. Added to Library? Yes Songs Added to Playlists: - Nitro (Skate Mix) - So Alone (Skate Mix)

Listened Before? No Starts out (unsurprisingly) with a Latin American flair. Hand percussion, acoustic guitar, and harmonized lyrics en espanol. Mixing has a live inflection to it in the way that the instruments are mic'ed and spaced. Moody jam. After listening to El Cuarto de Tula I have a craving for tacos. Just sounds to me like something I would hear at a divey taco joint. Pueblo Nuevo is a standout to me. Silky jazz instrumental with Latin flair. Unable to finish before the end of day yesterday.. Usually I would go back and finish the album for thoroughness, but I don't really see a need. More than halfway through, I found myself enjoying elements, but not sinking into the album as a whole. This isn't something I would go out of my way to listen to, and will not be back. That said, I think the sounds are fine and enjoyable for what they are. So middling 3 / 5. Added to Library? No

Listened Before? Yes This is a classic Beach Boys album (post Beach themed days) that is regarded by many as their greatest achievement. It contains two of their most long-lived singles Wouldn't It Be Nice and God Only Knows. The former being a dreamy ode from the viewpoint of lovers looking forward to the freedom marriage will afford them. The later being a melancholy inspection of how pointless life would be without their lover. I think this is a beautiful and perfectly sequenced album, and I understand the praise that it has received. Mostly the songs center around love in its various forms: hopeful bliss (Wouldn't It Be Nice), purgatory (I'm Waiting For the Day), heartbreak (Here Today), consumption (God Only Knows), and reflection of lost love (Caroline, No). The arrangements are varied with a lot of the vocal harmonization for which they are known. Also some psychedelic influences pop through in the vocal effects applied (see the echo in Still Believe In Me). All said, I hesitate to give this a 5 because, while I recognize its quality, I don't have a magnetic attraction to it like I have so many other albums. For this, I discount it to a 4. Added to Library? Yes

Listened Before? No As with Kid Rock, I never had any intention of listening to an Eagles album start to finish. Alas, here we are... I will say that I did not realize Eagles released their debut in 72'. Seems earlier than I would have expected. Album opens with one of their all time classics "Take It Easy." And I will say, of their hits, this is the one that holds the most appeal in my mind (next to Life in the Fast Lane). This is a standard blues rock jam that actually sounds heavily influenced by The Dead with far superior vocal harmonization. Witchy Woman is a bit moodier and more southern rock than blues-pop. Fine song. Chug All Night appears to be a horny honky tonk song using "chug" as a double entendre for drinking and fucking. Low point thus far, that is well suited for blaring in a garage while working on you 72 Chevelle. In one of the most curious sequencing decisions of recent memory, this transitions into the earnest and tender ballad Most of Us Are Sad. Honestly, if this had a bit more twang in the guitar and dust on the recording, I could mistake this for a Graham Parsons song (and I mean that as a complement). Enough of the sad stuff; back to a poppy southern rock song with Nightingale. Energy is fine, but execution is kind of meh. I actually enjoy the plonky southern blues of Train Leaves Here This Morning. I think I just have a weakness for this style of music when it is done reasonably well. It just calms me. Nice harmonization and room for the guitar to explore in the middle. Wish they did a bit more with the instrumental expansion... Earlybird is kind of wild. I both love and hate the bird whistle sample, but the guitar + banjo is kind of nice. Weird one, but one of the better on here. Peaceful Easy Feeling is the other recognizable hit. This one does a lot less for me than Take it Easy, but it is still just fine. All said, this was actually a much more pleasant ride than I expected going in. In my mind this oscillated the 2/3 boundary. The hits are fine and tap into something that I really enjoy. The rest kind of blends together for the most part and suffers from some of the jankiest sequencing I've heard. That said, I think I would be too harsh to go 2 on what is a rather serviceable record. So its a 3 from me, though I wish there were a bit more interesting elements to the instrumentation. Added to Library? No Songs Added to Playlists: - Peaceful Easy Feeling (Sunny-vibes) - Take it Easy (Sunny-vibes)

Listened Before? Yes In my previous review I cited Stankonia as arguably the third best of Outkast's repository. This one was not among the top two, and, while I understand its inclusion in this list, I will be disappointed if Aquemeni or ATLiens is not on here. This two-part album is daunting and dense as hell, weighing in at 135 minutes. To me it is sort of amazing this is even classified as "Outkast." Sure it has Andre and Big Boi in the same package, but they are almost completely divided and chasing their own creative whims. Big Boi sticks to the dirty south, straight rap, while Andre lathers himself up in butter and leans into his experimental R&B. --- Speakboxxx: Big Boi's contribution, this is mostly straight dirty south rap with plenty of field favorites playing feature (Killer Mike, Cee-Lo, Ludacris, Lil Jon). His beat selection is varied here extending to electro-soul (GhettoMusick, The Way You Move), brassy-funk (Bowtie, The Rooster), dirty south (Bust, Knowing, Tomb of the Boom, Last Call)... Honestly though, I feel like Jay-Z's contribution on Flip Flop Rock is so phoned in. This is a solid-enough album unto itself, but it suffers from poor editorial selection. It could be pruned back by about 5 tracks IMO. High points: The Way You Move, GhettoMusick, The Rooster (love the bird sample), Bust, Tomb of the Boom. --- The Love Below: Andre's contribution is a complete 180 from Speakerboxxx; quite clear why the two weren't going to work out. Andre leans into experimentation and puts his singing / production forward. Of the two this is the side that captivates me and was on constant replay during my senior year at UMD. High points: Happy Valentine's Day, She Lives in My Lap, Hey Ya!, Roses, Dracula's Wedding, A Life in the Day of Benjamin Andre --- If I were to review separately, Speakerboxx is like a 3 and The Love Below approaches a 5 for me. As a package, I'm glad they both exist, but I honestly don't love it as a singular unit. Averaging would put me at a 4, but as a whole this is more like a 3.5 leaning 3 for me. Added to Library? Yes

Terse review because I'm on my phone... There's been a good bit of prog on here lately, not that I'm complaining. I will say that this one did not resonate with me in the same way as Crimson, Yes, or Zappa do. Ive not gone into the depths of ELP and only really know them for Karn 9 Evil. This album is structured as with many other prog albums; one long multipart adventure spanning a whole side and a number of supporting "single" length tracks. I had this on in the background while cooking etc and while the instrumentals are solid, I didn't find the whole thing all that compelling and don't plan to go back right away. On pure feel this is like a 3 / 5.

Listened Before? No This is a solid album and further evidence that I should listen to more CCR. Stocked full of no less than 5 hit singles, one of which has become the definitive rendition of a classic soul staple (I Heard It Through The Grapevine). I find the mixing to be a bit odd at times, but it is a staple of the CCR sound. It is as if the mic focus is entirely on the instrumentals and they capture the vocals as if they are being sung in an empty auditorium with the mic at the back of the room. Run Through the Jungle is one of my favorite CCR jams. Something about it just feels so true to form; dusty, husky, music that seems fit for playing while riding a hoverboat through a bayou. I Heard It Through The Grapevine taps into a similar energy; however, is much more soulful and elongated giving the guitar and drums plenty of space to spread out and shine. Ooby Dooby was a lone low-light for me. Otherwise, this is a super solid album. Strong 4 / 5 for me. Added to Library? Yes

Listened Before? No Back to the Eagles again... This time with the album that defined them as rock mega-stars. Album opens on pop rock anthem Hotel California. I've always interpreted it as an elongated metaphor for addiction, its temptations / availability, and how it separates people from other things that they love ("bring me my wife [...] we haven't had that spirit here since 1969", "you can checkout any time you'd like, but you can't never leave"). For all the crap the Eagles get, and for all the pain this song has brought to cover bands and karaoke bars alike, I would be remiss not to admit this as a timeless jam. Beautiful, languid structure; effective lyrics; and a serviceable guitar solo, breakdown. Apparently New Kid in Town was the lead single; odd that I've never heard it before. Odd choice of single to me. This song is a crappy country rock ballad, with surgical sounding drums. To be fair, the harmonization is nice and some of the guitar licks are nice. But this is a quick skip for me on any given day. On the other hand, Life in the Fast Lane is my favorite Eagles song of all time. Very 70s dad-rock vibe about it that openly compares to ZZ Top. I just enjoy the propelling nature of it and that guitar hook is :cheff-kiss: Wasted Time is another snore-worthy ballad. I mean, the orchestral elements and reprise are fine and all, but seems weird to put this after Life in the Fast Lane. Anyway, I've lost steam to care about this album now that I'm at Pretty Maids in a Row. This album was not made for me. The album starts with a lot of steam between Hotel California and Life in the Fast Lane, but is otherwise devoid of reason to listen. I'm a 2 / 5 with really the only points gained by those two tracks. Otherwise, this just ain't it for me. Added to Library? No

Listened Before? No Top album cover and album name. I've heard of Captain Beefheart, and know of him mainly by association to Zappa. Looks like this one is produced by Zappa so this ought to be interesting... First impression is that the production and style feels almost modern. Wild how clear the vocals are. Unsurprisingly, this is an eclectic adventure. The Dust Blows is a weird-o a cappella that blends into Daccau Blues which vocally sounds like the rapper E L U C I D in vocal tone. Hair Pie: Bake 1 is a dense and wild instrumental warble. Can't say I love it, but I imagine it is hell to try and play with all the contrasting rhythmic components. Amazing that it converges at the end to a central "theme" before cutting to a drugged out recording of a conversation. Okay so I sort of lost the ball as I was working and getting interrupted. While it is no direct fault of Captain Beefheart, having to listen to this on YouTube definitely put a crimp in the experience; its hard to go from avant garde blues to some glittery add about skin care. All around this is an album by weirdos for weirdos. I can certainly see how this was particularly revolutionary for its time and made way for similar freewheeling artistic adventures. Did I enjoy this? Not really. Was it interesting? At times. Would I listen again? Yes, but in a different format. I think this is an album that critics probably get behind, but for me it is a tougher sell than most. 3 / 5 because (a) the cover is awesome, (b) there is a lot in here to like if you are looking for it, and (c) I dig how free it all feels. Losing points here because (a) it is long as hell, (b) I have a hard time focusing with this on, and (c) I couldn't pick out a single track by name. Added to Library? Can't :(

Listened Before? No If the music is only half as cheesy as the album cover, I think I'll still have digestive problems. Starts with a synthed out post-punk mixed with new wave aura. In some ways this feels similar to early NiN. Spooky vibes on Flood I. Early standout for me; I love the warbly backing synth line and buried, incantation-like vocals. Feels like good music for exploring a cave to. Lucretia My Reflection is a strong follow-up. Upbeat bass-driven track with punchy drums. Very crisp production. Feels distinctly 80s in all respects. Had this on in the background for the rest of its playtime. Not a ton of moments that grabbed my attention, but I enjoyed the general atmosphere of the album. Felt like this was an interestingly dark fusion between pop and punk with tons of 80s flair. On gut feel alone, this is a soft 4 / 5. Added to Library? Yes

Listened Before? No Never really felt like I needed more R.E.M. in my life, but that Green album was pretty solid and a year after this one. We shall see. Mixing on the Finest Worksong is very spread out. Drums give the sense that they were recorded in a huge hall, while everything else is much more forward and clear. Song is a low-key jam, especially during the outro, which feels like it would segue into an elongated jam sesh in a live setting. End of the World and The One I Love are timeless classics. Great pop rock. Lightnin' Hopkins gives some serious RHCP meets slide guitar vibes with the snarled vocals and meaty ass bassline. Really liked Oddfellows Local 151 as well. After a single listen mostly in the background, this is erring towards a solid 4. I found the songwriting to be generally solid and was grooving along at multiple points. Second listen leaves me in about the same place. I don't LOVE everything about this album, but I think it is entirely solid and well-done. Added to Library? Yes

That man Bowie was just built different. Nothing if not dependable and consistently interesting. I've listened to this so many times, this is an easy 5 for me. This is probably my second favorite record of his behind Hunky Dory. So many classics Five Years, Ziggy Stardust, Starman, Suffragette City. Beautifully sequenced and produced and love the way the concept ties together the playtime. Not a dull or wasted moment on here for me.

Listened Before? No Long folksy album. I expect I'll lose focus quickly, but will reserve some hope that this exceeds expectations. 6 songs in, this is a bit of a snore fest for me. In execution it is fine; very stripped down acoustic + vocal arrangements of (mostly) traditional folk songs. She's clearly talented, I just don't care for it. Maybe I'm just not in the mood for this out of the gate on a Monday morning, but there is no way I'm going to go the distance on this nearly hour long slog. Perhaps if I was sitting on a hill covered with daisies on a sunny Spring day, I might be into this, but for a cold start to the work week, I'm just not feeling it. 2 / 5 Added to Library? No

Listened Before? Yes Thankfully Snoop dropped the NFT nonsense and this is available again on Spotify. Classic hip-hop album from one of the most influential artists to enter the West Coast scene. Album takes its time getting started -- first with a skit, then a song called G Funk Intro that pulls in a smattering of supporting members over a stanky G-Funk beat. 4 minutes later we get into the meat with Gin and Juice, a certified banger fit for sing-alongs. Tha Shiznit opens with a pseudo radio-show interlude (W-BALZ) and drops right back into a meaty G-Funk sway. Peak Snoop on display with his distinctively effortless and buttery flow. He gets memed a lot these days for his association with weed, but songs like these remind how ruthless he was. Lodi Dodi is another classic track that affects a twisted whimsical beat and internally references the magic mirror from Snow White. Lots of little skits on here, but they really don't detract from the play IMO. Murder Was The Case is straight West Coast Gangsta rap. Serial Killa brings in the first credited support to the album. This is a posse cut for the Tha Dogpound and a pretty straight shooter of a track. Who Am I (What's My Name) is yet another rap classic. Dre, on the boards and playing some vocal support with an infectious bass-lead bet and otherwise beautiful production. This one plays much more as an anthem than Gin and Juice, and pales in comparison. Pump Pump is one of my favorites on here. Can't help but nod along. Love the skit into beat drop followed by silk smooth flow. This album rips front to back. Great classic west coast rap goodness from Snoop at his prime. Hard not to enjoy this one. Great for any setting: sanding drywall, backyard summer BBQ, baby shower, bris... the possibilities are endless. If I could give this a 4.5 I would, but instead it will get the nudge. Added to Library? Yes Songs added to playlists: - Gin and Juice (Sunny-vibes, Driving, Skate Mix)

Listened Before? Yes This was one of the earliest albums I ever bought for myself. Remember being hooked in by the music video for Californication that looked like a video game. My 8 year old mind was absolutely blown. Around the World is a classic funky entry from RHCP. Unfortunately, right from the jump, the production fucking blows.Drums sound supper tinny and the rest of the instrumental is super condensed. Song sort of rips and still gets me hype even though the lyrics during the back half are fucking stoopid. But hey, who really turns to RHCP for lyrical depth? Similar production woes on Parallel Universe, but its a fine enough jam. Scar Tissue is one of their more popular hits off of this album, finding RHCP in tender territory. Solid sing-along track which receives solid entries from Frusciante, and the production works a bit better here. Nicely layered vocals with crisp guitar tones and mellow bass. The drums are still tinny, but they are much less prominent here. This is probably the most front-loaded album I've listened to in a while. With the exception of Get on Top, 5 of the first 6 tracks got significant radio play. After that, the album wanders into obscurity for about 30 minutes before coming back to Road Trippin'. Get on Top is a detour back into funky influences with a rather obnoxiously repeated chorus "Get on Top!" Still, its a fun little bop that sounds like straight doo doo (I really can't get over how fucking garbage this mix is). Californication is a solid enough song that taps into a similar writing ability found on Under the Bridge. Strong vocals from Kiedis pair well against Flea's skittering bass line. Just a solid single. Porcelain is a weird one that should have been cut in editorial review. RHCP ditch high energy and loudness in favor of a stripped down ballad that seems better fit for a cafe. Weirdly sequenced against Emit Remmus, which brings back that funk-hop groove. Always has been one of my favorites from this album. I Like Dirt is more proof that RHCP don't really need lyrics. This is an incredibly stupid song, but the groove is real and largely held together by Flea's unrelenting work on the bass and Fruschiante's oscillation between scratching funk groove to blistering solo. Purple Stain is another over-sexed funked up number with asinine lyrics. Has no right to be as entertaining as it is. Perhaps some of that is nostalgia popping up. So there is definitely some nostalgia tied up in here, and in a lot of ways I think this album was critical to the legacy that RHCP have cultured. This was the first major (and successful) album released by the band after their breakout Blood Sugar Sex Magic in 1991. This paved the way for their maintained relevancy into the early 2000s that was only boosted by the release of By the Way and Stadium Arcadium. I used to listen to the shit out of this album when I was a kid, and to this day I think there is plenty to enjoy. Unfortunately, the production really takes a lot of edge out of this one for me and makes it a tough listen (side note: fuck Rick Rubin). Some bangers to be sure, but I also wish they would have condensed about 4 of the songs into something better written. While a 2 seems too harsh, a 3 seems generous. I'm in a bit of a spot. I'll give it a 3 because I admittedly enjoyed most of the listen. Songs added to playlists: - Around the World (Skate Mix) - Otherside (Sunny-vibes)

Those mutton chops are the mark of a confident man. If they were ever to do a biopic, Jim Carey would be a shoe in. Can only assume this album is going to be fire. Production on The Grand Tour is really beautiful. Spacious, but warm all at once with nice layering of the instrumentals. Vocals almost give the effect of resting on top with the echo that is overlaid. Really pretty song. Like the weeping guitar and sweeping string accompaniment. She'll Love the One She's With is basically the same song as Love the One You're With by Steven Stills in content, just a completely different format. Had this in the background and honestly loved it. Great voice and beautiful, simple country melodies. She Told Me So was a standout track, both for its lyrics and its composition; a song about deliberate blissful ignorance. Followed up strongly by upbeat Mary Don't Go Round. Album ends on Our Private Life, which stands as an outlier in the way the tone departs from the rest of the album. Sounds more like Dylan vocally. Not something I'll come back to quickly, but I enjoyed this album. It is short and sweet with beautiful production, solid instrumentals, and several songs that stood out lyrically. I can get into this. For me its a soft 4.

Haunted polka-core out of the gate on Singapore. In a way it makes me think of King Krule. Cap Hands reminds me vaguely of Gris Gris. I think due to the atmosphere, vocal roughness, and heavy reliance on polyrhythmic percussion. Really love this song TBH. Cemetery Polka is a wonky song and low point on a campy album. Diamonds and Gold is almost the same song as Clap Hands, but with the added layer of a more melodic vocals and a wandering guitar line. Once again, this hits well for me. Time is really pretty. Love the acoustic work and the vocals are as if from a completely different person than most of the rest of the album. This album is wild in its breadth. Downtown Train could pass as a disheveled Bruce Springsteen song complete with echo-laced guitar and 80s cheese. I found this album really interesting. At times, I hated what I was hearing (Cemetery Poka); at others, I absolutely loved it (Diamonds and Gold, Time, Clap Hands). Lot of different styles under the hood that contribute to an overall campy, eclectic vibe. I would say the good outweighs the bad and I was interested the whole way through awaiting each turn. That said, this is a high 3 from me. I'll probably come back again for certain elements, but the whole ride through is wild.

Initial impression is this reminds me of U2. And I really don't like U2. Space is a fine enough song. Could be great if only the mix wasn't so damned flat. Lion Theme sounds like they're trying to tap into Damon Albarn energy and falling short. Feels to me like they are trying to do too much. Also the lyrics are stupid. Wonderful sounds like Beck. Honestly one of the most effective so far. Troubles sounds a bit like a Jaime XX (or just The XX) song. This midsection is working much better so far. Reaching towards more psych influences and letting things space out without crowding 100 ideas into each track. I think there is still some cheese to the lyrics and distant echo effect (makes it feel like they're trying to hard to appeal to the drugged out crowd imo). Simple is another one with terrible lyrics. Generally speaking I think that this makes for enjoyable music if you don't focus too closely. But I really feel like there are too many ideas jammed in. Hard to see this turning around for me. This is either a high 2 or a low 3. Yeah low 3 sounds about right.

Laying all cards on the table, I'm really not a big Fleetwood Mac fan. There, I said it! I know this album is widely respected, so I'll do my best to shirk preconceptions. Album opens on a bit of a drum and bass romp called Second Hand News. Guitar is super buried until like the last 30 seconds when it splashes through. Really nice layering in the production that sounds very clear. Dreams is a timeless jam. Groovy bassline with beautiful vocals on top and effective overdubbing. Makes for a spacious easy dance song. Love the burbling organ line. Never Going Back Again is another familiar one. Beautiful acoustic guitar work that is mixed very forward and crisp. Don't Stop is one that I can't help but tap along to. I don't love the song, but it is damned infectious and singable. Same can be said for Go Your Own Way. I understand the broad appeal here; I really do. It just don't strike me as particularly interesting. Maybe some of that has to do with hearing it about a billion times. But I think at the core, I just don't think these are very interesting songs. They are great pop to be sure, but don't stimulate me in any significant fashion. The Chain is another classic, and deserves its seat at the table. Moody stomp of a song and I love the acoustic melodies. Also, some super throaty bass towards the conclusion. Vocals on You Make Loving Fun are great. Fun song. I Don't Want to Know is a low point for me. Sort of polka-y plonk with some thin ass vocals. I was unsure of Oh Daddy when it started out, but this is, to me, one of the more interesting songs here. Lots of interesting instrumental noodling behind the trudging drum and lamenting vocals. I can dig it. Strong finish on Gold Dust Woman. Really do enjoy the smokey western vibes evoked by the twangy guitar. I totally understand the appeal here. This is solid classic rock for people who love straight classic rock. Production is very tight throughout and the sounds are varied. Lots of radio play out of this single album. Highlights to me are Dreams, Gold Dust Woman, Oh Daddy, and The Chain. I will say that in general I think the mega-hits are over-blown (looking at you Go Your Own Way and Don't Stop). That said, this is solid and I am glad I listened. Its a low 4 for me. Added to Playlists: - Never Going Back Again (Sunny-vibes)

Out of the gate this reminds me a lot of Animal Collective and Grizzly Bear in its atmosphere. Vocals appear to be deliberately distressed with a shifty instrumental. Pretty cool song, but not something you can really groove to per se. There were a few songs in the middle that stood out a bit more than the rest: Stillness Is The Move and Two Doves. Other than that, this was fine-to-solid indie capturing that late 2000s experimental layering sound. I enjoyed the listen, but it did not call to me in the same way that Vekatimest or Merriweather Post Pavilion did. For that, I would call this a high 3 / 5.

Album cover screams mid-2000s angst. Can't Stand Me Now drops into a more garage/ska/punk vibe than I was initially anticipating. The mix is really claustrophobic, but otherwise, I actually enjoy the song. Music When The Lights Go Out is a lovely, sloppy jam. Rough edges, but the jamming is solid and I like the ascending guitar throughout. Narcissist also is a ripper, and I like the almost surf rock feel of The Ha Ha Wall that takes a darker, more proggy turn around the 1:45 mark. Intro to Campaign of Hate sounds a ton like a Primus song; carries a similar eeriness throughout. Album ends on a calm note with a stripped away acoustic song called What Became of the Likely Lads. I enjoyed this album way more than I expected to. Rough around the edges in the best way, with a lot of different styles in play. I enjoyed most of what I heard with little exception. Was anything mind-blowing? No. Will I listen again? Probably. Solid 4 / 5. - The Ha Ha Wall (Driving) - Arbeit Macht Frei (Skate Mix)

Listened Before? No Interesting that a cover album made this list. Also, sweet Jesus this dude was prolific; this is his 22nd studio release! Through the first three, I can say that this has a supremely laid back vibe. Nice, but Georgia On My Mind belongs to Ray. All of Me is a nice one that gives more space to the guitar work -- fell like his voice is effortless, but effective. Cohesive album that made for a very calming listen indeed. I particularly enjoyed Unchained Melody and Don't Get Around Much Anymore. This isn't really something I'll be back for anytime soon, but if I ever need an inoffensive album of background noise this is a good place to start. For me this is a middling 3 / 5. Added to Library? No

As a kid I remember being drawn to this album in my mom's CD collection by the cover. Certainly iconic and provocative in its own right. Even though I was exposed to the album at a young age, I really can only think of having listened to it straight through a handful of times. Looking at this track listing, it is incredible. Of the 13 songs, I think only about 5 never got broad exposure. Album opens with the song that launch Nirvana's career like a rocket: Smells Like Teen Spirit. Fantastic song with punchy drums, a nice heavy riff, bassline you can groove against, and inane lyrics shouted with such confidence they almost make sense. I enjoyed that in a book I was reading with time traveling elements, the main character used the lyrics of this song to convince another that he was from the future (Recursion by Blake Crouch if you need a solid sci-fi read). In Bloom is rooted around a burbling bassline, and has always been one of my favorites from Nirvana. The drum fills just hit so right alongside Cobain's strained vocals. Come As You Are drops the power-riff facade of the first two tracks in favor of a stripped away bass-heavy melody. I view Breed like a hill-bomb. It comes roaring out of the gates and is nonstop until you're at the bottom. Hard not to jam along to. Hands over to Lithium that offers immediate relief from that torrent. I love this song and its oscillation between stripped down "coffee shop" sections and power-riff grunge sections. Polly is a super bleak acoustic song. I've always been uneasy when I hear it, and looking at the inspiration (rape and torture of a 14 year old girl) I feel justified. The megahits are certainly front-loaded on this one, but the back half is rewarding in its depth. Territorial Pissings is an angsty thrash of a song in a similar vein of Breed. Stay Away is another punkier drum and bass slap. Something in the Way has had something of a revival ever since the latest Batman movie. It is a tender and genuine song that really stands out against the otherwise grunge and angst of the album. Love it. Album closes on appropriately named Endless, Nameless. Just a sludge of a track filled with reverb, tuned down bass, and some incoherent shouting. I'm not really sure it needed to go on record, but I also really don't mind it; it seems on brand. Listening back on this one, I think what jumps out to me is just how solid the song writing is. They wrote such catchy and unique melodies. On top of that, the production is top-notch with a mix that gives the impression that this is being played within a confined garage. Nirvana showed an ability to balance between genres while tapping into punk influences. This is a great record and its hard to imagine the world today without it. 5 / 5 - Breed (Skate Mix, Driving) - Stay Away (Skate Mix)

I like the backing organs on Lime Tree Arbour. I feel like People Ain't No Good would resonate a lot with my dad. Growing up I heard the phrase all the time as part of his refrain coming home from work in the service industry. Brompton Oratory is a really pretty to me. Deadpan vocals, but really luscious instrumental backing with organs and a drum machine. High point so far for me. There is a Kingdom is a straightforward Christian rock song. Instrumentals are fine with really nice production, but I have a hard time getting down with the hokieness inherent in scripture hymns of this variety. Accordion drone pairs wonderfully with his depressed monotone delivery on Black Hair. I've listened to Nick Cave albums before, and I come away from this one in a similar place. I enjoy the atmosphere and find the instrumentals to be really pretty, but I don't find myself really wanting to come back for more. This album had some real high points (Brompton Oratory) but also merged into gospel territory that I didn't love (There is a Kingdom). Overall its a solid enough album, but not something I plan to listen to again soon. 3 / 5

Title track is a classic banger that I don't think I've ever heard more than 20 seconds of. Pure soul rooted around a fat ass bassline and some sex guitar. I never connected that DJ Koze sampled this in Das Wort (great song btw). Please Don't Stay is groovy as hell. Love the drum and percussion work throughout. Also, to state the obvious, his vocals (and backing support) are phenomenal. Keep Gettin' It On is basically a reprise for Let's Get It On. Kind of funny -- I haven't seen self-references like this too often. I mean it jams, but it is basically the same song as the intro. Distant Lover is another standout track. Simply beautiful R&B tune with enveloping instrumentals. Love the layering and the little flourishes throughout (chime, trumpet, etc). This is a beautiful album in all respects. Lovely production, solid instrumentals, and crisp sensual vocals. The kind of music that makes me want to light some candles and lather myself in oil. This isn't something I would just throw on at any given time and love it, but I respect it for what it is. Solid 4 / 5 for me.

Famous and Dandy is a jam. Love the beat and sampling work throughout that almost sounds like UK industrial (like MC5 of the 90s) mixed with some slick jazz. Pointed lyrics about selling out to be famous; just copping an image rather than really understanding what you are. Television, the Drug of the Nation once again features some sweet instrumental work. Vocals remind a lot of a calmed down Chuck D. Neil Postman would approve of this message (recommend reading Amusing Ourselves to Death if you haven't already). Winter of the Long Hot Summer is a monotonous vocal damnation of the nation's response to a Middle Eastern situation (for which I have no direct knowledge). Still relevant to today's political stance and public reaction (just watch the Super Bowl while bombs fly). Talk about relevant again, Everyday Life Has Become a Health Risk opens with a sample about the amount of pollution Americans generate before launching into a commentary on nuclear bomb testing, hormone injected meat, and acid rain. Pretty sure this is referencing the Love Canal disaster internally with the Geiger infused concrete line. INS Greencard is an ominous instrumental with a vocal recording from a recorded phone prompt for reporting illegal aliens. Socio-Genetic Experiment features a sick dub-infused beat. Certainly a late album standout. I get some major Deltron mixed with Geto Boys vibes from the delivery. Music and Politics goes a whole other direction for a slick jazzy guitar instrumental over which he describes that if he ever stops talking about Music and Politics he would cease to be who he is. Sung sections make me think a bit of Blockhead. Beat on Financial Leprosy is pretty wild. Funky hints with a droning bass and industrial / off-center screech. I went in with no expectations and was completely blown away. This is some really interesting, "conscious" 90s rap that touches on a ton of topics du jour (a lot of which are still relevant to this day). Production and instrumentals are amazing throughout with a ton of variation. Certainly has a 90s flair about it, but in the best possible way. Weak point (imo) were the vocals, which were not nearly as didactic as the production and kind of ran together at times. This is a minor point to me; great album start to finish. Completely unexpected. 4.5 if I could give it. If I could access in full on Spotify this would absolutely be played on repeat. Rounding down only because I don't feel like I "have" to listen to it again right away.

I've heard of this album, but have never listened. IIRC it was released directly following the dissolution of The Beatles. Album opens on and minimal drum and bass + piano melody with Mother. Vocals laced in echo; classically solid lyrics from Lennon playing to what appears to be deep seeded resentment for both his mother and father ("Mother you had me, but I never had you, I wanted you, but you never wanted me (...) Father you left me, but I never left you, I needed you, you didn't need me.") Some real anger coming through towards the end where he is shouting for his parents to come home. Love the guitar work and overlaid echo effect on Hold On. Reminds me a lot of the beachy vibes of Mac DeMarco. TBH the deep throated "cookie" caught me off guard lol. I'm surprised I've never heard Working Class Hero. Pretty cool, stripped down, acoustic ode to the every man. Interesting that even at his height of fame, he was able to write effective music tapping into the energy of the average individual. I think this skill has largely been lost on today's pop-elites who seem to lose touch with their origins. Remember has a structure and progression that makes me think immediately of Spoon. Well Well Well is pretty damned raw. Can't say I love it, but you can certainly feel that John had something to get out of his system. God is another where John seems to have an axe to grind. Spends the midsection telling of all the things he does not believe in (finishing with "The Beatles") and then closes by distancing himself from what he was as part of The Beatles, referencing no less than 3 classic Beatles hits in the same breath that he claims "the dream is over." This is a remarkably raw and emotional album, and I found a lot to enjoy in it. Standouts for me were Mother, Hold On, Working Class Hero, and God. I can't say this is something I would want to listen to over and over again, but I certainly appreciate it for what it is. Solid 4 / 5

This one is in my top two Sigur Ros albums (other being "()") and one of the quickest 5's I've given in some time. I love the sludgy atmosphere on Svefn-g-englar. The musical equivalent of floating through clouds on an overcast day. Everything about the composition is so patient and brooding and (for me at least) hits perfectly. Always found the heartbeat outro to be a little bit of an odd non sequitur. Staralfur takes over with a more urgent tone lead by a sweeping orchestral instrumental and keys melody that repeats throughout. Once again, just peak, pretty music. Ny batteri is another favorite of mine from this album. Opens with some horns and drone that evoke imagery of a seaside port. This gives way to a silky bass line and more straightforward vocal delivery (compared to the more aural songs that precede it). Drums (mixed very compressed) come just after the midpoint adding some intensity to the mix and really putting the "rock" in post-rock. This is about as metal as this album gets. I do like the contrast into the funky synth line + harmonica that Hjartad hamast open with. Vidrar veltil loftarasa brings us back to a floral arrangement with a tender piano supported by orchestral swells. Jonsi's vocals are buried and strained through effects. I find the back quarter to be really moving every time I listen to it; like coming to the summit of a mountain. Had this in the background for the most part through the last 3 songs. Love em all in their own rights. I swear Avalon is just a slowed down version of one of their other songs (can't place which, but I'm nearly certain of this).

Pretty obnoxious that the 30th Anniversary Issue completely re-sequenced the original. Album opens with I Might Have Been Queen, which puts 80s pop tropes on full display. Heavy cheese in the synth instrumental with a funky lean. Her voice is smokey, scratchy, and powerful emerging from the depths of the instrumental. What's Love Got to Do with It is the one that everyone knows. I find the instrumental very peculiar almost dubby in atmosphere with western "wah" elements that remind me of some later Talking Heads. That said, it is an easy going song that hooks you in. I can see why it gained the popularity that it received. Show Some Respect drops into a more funk-rock stomp. Fine, but doesn't do a ton for me. I Can't Stand the Rain, on the other hand, grabbed my attention instantly with the stark high pitched intro and never let me go. This instrumental is sick, and her vocals are so commanding. Early standout; love the layering. Reminds me a LOT of Charlotte Adigery and Bolis Pupul's latest work Topical Dancer. Original album drops into Better Be Good to Me, which is a straight forward 80s pop-rock entry. Once again this song is tapping into a desire for respect. Side two starts with Let's Stay Together, which is another familiar one. However, I feel like I've mostly heard other versions / covers. I actually love the instrumental here. It has such a dreamy feel about it with the silky guitar and hand percussion. Some weird off-key synth through the mid-section, but I don't mind. 80s pop is generally not what I go in for, but this album was pretty enjoyable. At its best it is great (Let's Stay Together, I Can't Stand the Rain). At its worst it is forgettable (Show Some Respect, I Might Have Been Queen). I would say this is a solid 3 for me. Not something I'll listen to straight through, but some jams I would love to come back for. Songs Added to Playlists: - I Can't Stand the Rain (Sunny-vibes) - Let's Stay Together (Sunny-vibes)

I Hang Suspended opens on a psychedelic note with some vocal samples over a wandering, spacious instrumental. Gives way after a minute to a driven brit-pop-rock song. Makes for a pretty jarring switch. The song itself is fine. Reminds me of some middle of the pack Blur. Some serious dubby vibes coming through on Upon 9th And Fairchild. Made to sound like a rough cut with the fuzzed out mic and wandering guitar. Fine enough song. Butterfly McQueen is another standout for me. Love the loping bassline with the horns and psych effects. Reminds me in a sense of Flaming Lips. (Also the bassline reminds me a lot of the song EPAR by Earl Sweatshirt). I like the industrial electronic plonk backing Rodney King and the shoegazey vocals that nest into the wall of sound. Thinking of Ways is a lopsided but pretty number that sort of floats; reminds vaguely of Eels. Take the Time Around is another strong one for me that bleeds directly into a psych-infused Lazarus. Seems to be a common approach they take: start out loose and psychedelic and then punch in with a standard song structure. Its effective, but I would love if they would just space out for an extended period -- they are quite good at building the atmosphere. Run My Way Runway must have been listening to what I was just saying.. this is the psychedelic song I was looking for. Getting some serious Fuck Button vibes (Surf Solar) from the skittering synth. I'm sure this isn't everybody's thing, but I'm into it. These last three songs are among my favorites on the album. The White Noise Revisited oscillates between bright and sunny sections and trippy off-kilter and unsettling section, and a I love the contrast. This album has been a wonderful surprise. I was worried going in it was going to be straight brit-pop-rock, which, don't get me wrong, can be great, but often isn't my cup of tea. Instead I am met with a highly diverse album sampling psychedelia influences, as well as straight pop-rock, dub, and shoegaze. This was a very enjoyable listen and something I'll pull back out in the summer for beach listening. Strong 4 / 5. - Thinking of Ways (Sunny-vibes) - Run My Way Runway (Take Me to Space)

Three radio hits out of the gate. Pretty quintessential horny 70s garage rock. Of the first three, I think Ready For Love is my favorite. Spacious with keys that make for a nice atmosphere. Don't let Me Down sounds almost gospel like with the choral backing. Not my favorite. I wonder why the album name = band name = hit song was such a thing for this era. Whatever the motivation, this song is a classic staple. Nice slow delivery couple with punchy but not showy drums and some solid riffs. Moving On is a fine enough jam, but the rest of the album is pretty snore worthy. I think this is perfect music for working on your car to. Just fine 3 / 5

I have listened to this countless times and still every time I listen it feels fresh and surprising. I don't know how that works, but I love it. Album opens on a bright but unsettling note with Everything In Its Right Place. A synth heavy jam with tons of vocal layering and production effects. Beautiful production. Kid A sparkles by comparison with incoherent vocals and a skittering breakbeat that make for a headphone testing drea. So much depth and color. Then there's National Anthem which pulls you in with a dirty bass line and drum hook on top of which they layer all sorts of otherworldly sounds. One of my all time favorites. But then there's How to Disappear Completely; a complete left turn. Such a pretty and sad song. Treefingers is more an interlude in my mind than anything else. A nice breath of fresh air before Optimistic opens in a more traditional (if there is a thing) Radiohead form. In Limbo carries over nicely before things turn back to the electronic heavy influences that started the album on Idioteque. Washed out, punchy electronic snares with some bright synth layering and Thom Yorke doing his usual vocal things. Love the bleed over into late album stand out Morning Bell featuring drum heavy production with mellow keys and some trippy vocals effects towards the later half. This is a beautiful and diverse album that holds it's place in top 3 territory for Radiohead in my mind (other two being In Rainbows and OK Computer). Easy 5 / 5 for me

Welp, I had some stuff written, but my browser took a shit. This is a long ride through country bluegrass (~110 min) and for the most part I found it to be enjoyable. Reading a bit on the production history, confirms what I suspected; this was cut very raw (1-2 takes per track) and they had a long running tape to capture studio banter. The banter serve as intros to many tracks, making for a personal feeling album. The songs vary widely, and to be honest, I had this on in the background for 90% so I didn't take specific notes. Only standouts I recall were Tennessee Stud, Nashville Blues, and the first 3 songs or so of the second disc. Will I go back for more, probably not, but I do have a soft spot in my heart for quality bluegrass. Lot to love here, but it runs too long for my taste. If we had a half scale this would be a 3.5. Gonna round down because I don't expect to come back.

I haven't been listening terribly closely, but I've been enjoying this way more than I expected from the opening twang. This has a peaceful easiness about it that just feels really nice. Production is lush and her vocals are effortless. Lake Charles it the one that so far has commanded my attention. Just pretty song writing; also the inclusion of tasteful accordion will always peak my interest. This album feels like a familiar indie country spirit to something like Phoebe Bridgers or something. Admittedly not my most careful listen, but I really enjoyed this album. It felt like a warm and dusty hug from start to finish. Beautiful production throughout and strong storytelling in what I did listen to. I think I have a soft spot for folk country. Solid 4 / 5 imo.

I haven't spent much time with the early Beatles. I think Rubber Soul is about as early as I have listened. First impressions are that, these definitely sound like the Beatles that I know, but the cuts are definitely rougher and the songs are more direct pop-rock in structure -- less experimental. Don't Bother Me is one that I like more than the rest so far. Has an almost surf-rock vibe about it with a lived-in atmosphere to the production. I've heard other versions of Please Mister Postman. This one has the early RnR sway about it with beautiful harmonies. Roll Over Beethoven is another cover that does fine service to a classic. Straight through, this is a fine enough album, but ultimately pretty forgettable. There aren't really any "stand out" singles that commanded my attention, and a lot of the songs washed together. Even so, the production is quality and you can see this as a less evolved version of a band that would go on to change music. For me this is a 3.5 leaning 3.

I can safely say I did not expect to ever listen to a UB40 album. I know them only for the song "Red Red Wine" that used to come on the radio when I was a kid, and the song "David Bowie" by Phish. Album art goes hard with an Unemployment Benefit card -- reminds me a bit of ODB's Return to the 36 Chambers. Dub out of the gate with Tyler. Had to roll it back when the song did the first stutter step -- thought I had dropped bluetooth connection, but it is just really well executed. 12 Bar is a spacey instrumental jam. Burden of Shame is a stand out I feel like I've heard it before; perhaps as a cover? Somber song about the inherited guilt that we all have as citizens aware of our nation's sins and yet doing nothing about it. Love the spaced out, unforced atmosphere and layering in the mix. Interesting, unexpected tempo change in the back quarter when this drops into a driving dub stomp complete with bright synth, echo/reverb laden effects, and a burbling bass line. Food For Thought jumps off the page as another single of note. Has an undeniable bounce and melody that is catchy as hell. Love the use of call and response between the vocals and guitar, as well as the supporting horns. This is the kind of song I can't help but tap along to. Also features some really cool effects and percussion work toward the back quarter. I will say, this album really surprised me. I went in with Red Red Wine on my mind and was surprised to find UB40 much more somber and reflective, with some really solid technical follow through. I'm not generally huge on reggae as I tend to find many entries in the genre run together with the same sounds and tricks pulled into a mediocre slurry; however, this album is an exception. Sure there are plenty of reggae/dub tropes on display, but they are well executed and extended upon. Beautiful production makes for a smokey, spacey atmosphere that spotlights individual instrument contributions. The album runs a little long for my liking, but I enjoyed just about every aspect of this one. Very solid 4 / 5 for me.

Djed is an expansive, laid back instrumental journey that takes many forms; it is not a cohesive song so much as a collection of ideas spliced together seamlessly. The segment around 7:00 has key work and overall vibe that remind me vaguely of Vulfpeck (from what I remember of their work). This "song" has a gentle groove about it and I enjoy the way that they just keep noodling and experimenting with various additive effects while a consistent, tight drum rhythm and burbling bass keep things going in one direction. Well that is until the bottom drops out around 9:30 and the whole thing segues seamlessly (by way of electronic stutter) into a bright bell-lead segment. This carries on until about 14:00 when they start to overlay some effects that make it seem like the whole thing is falling apart at the seams. We are left in the aftermath with a minimal drum machine pop/click and static scratching, through which some euphoric synth line attempts to surface while being bombarded by sounds of an apparent alien invasion. The last 2 minutes of the song take all agression and let it melt into a blissful opium haze. Loved this ride and will absolutely go on it again soon. Glass Museum opens with a sad-boi tone that remind me a bit more of Ovlov or some Explosions in the Sky mixed with Modest Mouse. Back half opens up into a tear with lovely, unexpected bells work. This song is sick. A Survey is a nice burblin bass interlude. Doesn't really go anywhere specifically, but it is moody and nice. You hear similar themes in the bass line of The Taut and Tame. Along the Banks of Rivers has a dusty almost smokey western vibe about it to round out the album. Love the atmosphere. Super easy going with no rush to be over and done with. Just a nice slow exit. This album was pretty great all the way through. I'm surprised I haven't listened to Tortoise before. Nice to see an instrumental album on here from the modern, indie era. Even with a 20+ minute song this album doesn't stay in any one place for very long. Lots of different sounds and textures at work. I liked it a lot and will most likely be back. Strong 4.

I only know New Order for Blue Monday and Bizarre Love Triangle, neither of which are on here. This is an electro-pop album fuzed with post punk vibes. Some elements make me think of Depeche Mode, but less ominous. Largely had this on in the background. Only one that really stood out was Mr. Disco, but the others were fine too. I could see this fitting a certain mood, but it's not something that really clicks for me. Soft 3 / 5 for me.

Third Arcade Fire album on here, and all have been unique in their own right. Title track is certainly a stand-out to me; the first song that grabbed my interest. Relative to the rest of the songs, it stands out with its relatively stripped down and straight-forward style. Love the instrumental and vocal layering that they use here with the simple, repeating guitar line. Such a simple, yet influencing song. Also interesting that the namesake is the shortest on the album. Middle of the album is really nice, but lacks particular standouts for me. Production is very clean throughout and I enjoyed what I was hearing. I've definitely heard No Cars Go before. Stylistically, it feels like a mash-up between Yeah Yeah Yeahs and Mumford and Sons. Enjoyable no less. This was a fine album and I think my favorite of the Arcade Fire offerings on here so far. Solid 4.

Sweet album art. Love how its blue-tones with the broken down Rolls Royce (or similar) taking focus. We're immediately in the funk of it. Meaty bass with some tapped percussion and keys / guitar playing counterpoint. Album centers around City, Country, City that, true to its name, bounces back and forth between more lazy, bucolic sections and driven saxophone heavy jazz sections. I actually like Four Cornered Room the most so far. Just a tense, atmospheric song with soulful vocals, some gospel choir elements, and punchy drums to groove against. Kinda just let The World Is a Ghetto and Beetles in the Bog wash over me in the background. I enjoyed both just fine. All said, this is a solid enough album. Certainly not what I was expecting based on "Low Rider," but I was not disappointed. This is a 3.5 in my mind that leans right into a 4.

Listened to this album on a kick a few weeks ago. Love most everything about it. The writing and production on this make it feel timeless to me. An album where the standups and the hits align: Blister In the Sun, Kiss Off, Add it Up, Gone Daddy Gone, Gimme The Car. All great. Love the acoustic punk vibe and bass-work throughout. Solid 4 / 5 for me.

Never heard of Ms. Dynamite. Opens with a hip-hop/reggae fusion interlude on which she denounces all hard drugs. Despite being less than a minute is a pretty solid track. Hand over into the apparent album single based on listens: Dy-Na-Mi-Tee. More traditional, soulful vocals over a dusty hip-hop beat with slight dub influences from the guitar. Production is very nice. Really dig this track for a mood setter. Laid back, yet confident. Anyway U Want It is kind of a throwaway in my eyes. Pretty unremarkable R&B with some of Ms. Dynamites thinnest vocals thus far. Put Him Out is okay. Beat feels appropriate for the era in pop music with the Santana like guitar underlining the vocal chorus in an otherwise hip-hop song. Reminds me in tone of Amy Winehouse, though this came first. I like the beat and message on It Takes More. I could imagine MF DOOM rapping over this. Solid track. Watch Over Them is a really powerful a capella track. Backed up to Seed Will Grow - a groovy hip-reggae fusion that brings in the familiar crust of a Marley vocal. Now U Want My Love is a late album standout for me. Confident vocal strut with some soulful organ backing the hip-hop drum and bass. Very splashy. I also really like All I Ever. Instrumental vacillates between moody guitar plucking and languid beachy sections. Might be my favorite song on here tbh. This was a pleasant surprise of an album. Really nice production, beat selection, and varied throughout. I will say that this ran a bit long for my taste, but I enjoyed more than I didn't. Solid 3.5 in my book. Rounding down because there wasn't enough to separate it for me.

Out of the gate with some cheesy 80's keys and a restrained bassline. Certain cheese factor on display here, but it is very calm and beautiful in its own right. Oddly I could imagine this opening up into a fat jam during a live show. Once again, seeing some strong jam potential on Thing Called Love. Country twang with some serious dub influences during the instrumental interlude. This is a surprise jam. Man, Nobody's Girl is a really pretty song. So simple, but the vocals are really nice against the stripped down acoustic pairing. Back to that dub influence on Have A Heart. Album ends on a pretty classic Country Blues romp with The Road's My Middle Name. This was another pleasant surprise. Not something I would have picked out for myself, but I can see why it is here. Bonnie Raitt puts together a well-produced and varied album with strong vocals across all 11 tracks. She leans into some of the influences du jour (cheesy synths on Nick Of Time, dub a la Police on Have a Heart and Thing Called Love) and does them well. This was solid straight through and I would absolutely listen again. 4 / 5

Off to a wild start with The Earth Died Screaming. His usually distorted and gravelly voice with some muted guitar and a smattering of percussion. Chorus is composed of a demonic howl that reminds me of a drunk football fan shouting obscenities. Goin Out West was a standout. Ya know, there was a lot of emotion in here, and I feel like in a different mood this may have connected. Today, however, this just wasn't doing it for me. I didn't find too much that I really enjoyed on this Monday afternoon, and I really was pretty worn of Tom's gravely, strained voice. Production and compositions are certainly interesting, but I just couldn't sink myself in. 2 / 5 for me

Lot of nostalgia wrapped up in this one. Love some classic Em. Album opens on a three song tear. My Name Is is a perfect introduction track with a catchy tromping beat and earworm of a hook. Guilty Conscience introduces Em as a storyteller making use of Dre and Em as opposing influences on someone's conscience. Dre being the voice of reason and Em being the bad influence. They go bar for bar each with undeniable flow and some of the funniest interplay I can think of. Brain Damage tells a grotesque story of Shady's youth getting bullied at school and home over a dusty drum and bass track with mandolin (or something like that) plucking in the background. '97 Bonnie & Clyde is yet another hip-hop classic that introduces us to the Kim/Em drama by way of a one-sided dialog to his infant daughter as he dumps Kim's body into a lake. All the while playing on the Grover Washington Jr. love song "Just the Two of Us" theme in the chorus. Role Model throws his tight inner rhyme schemes on display; the first bar alone is ridiculous. One of my favorites from this album. My Fault is a silly story of accidentally giving a girl too many mushrooms. Unreasonably catchy hook for how obnoxious it sounds; a silly song that honestly probably should have been cut in final edit. Just Don't Give A Fuck is a jam. Crazy beat centered around a super distorted squeal. Lyrics are pretty hilarious (something Em lost over the years). As The World Turns goes right back to Em's comfort zone. Slow droning bass with snappy snares, some record scratching, and some accenting strings. Bars for days on this one full of shock value; one of many where the lyrics just follow Shady around on his exploits. This was a hell of a debut album from Eminem. It runs a bit long and dips into the same sorts of techniques, but you can't deny the man's ability to write creative rhyme schemes nor his stamina. Crazy the amount of quality tracks on here for a rap album nearing the hour mark. This is a 4.5 in my mind that flirts with 5 territory.

Maybe if I were in a different mood I could be into this, but right now this really just isn't connecting. Objectively, the music is theatrical, but quite fine. Vocals strike me as a bit campy with an appeal to fedora wearing crooners of years gone by. The instrumentals are fine; sweeping strings, skittering drums -- the whole suite. That said, this isn't it for me.

I've heard a ton of Elton, but never listened to a studio release of his straight through. Onward... Grandiose synth intro on Funeral For a Friend; could imagine David Lee Roth screaming through this, or ripping into a proggy ELP exploration. Instead this strips away to a spacious piano + bass melody before sort of going the proggy route. This song caught me completely off guard and is forcing me to change my perception of Elton John. Rips right into the vocal second part "Love Lies Bleeding." This is a driven jam with multiple parts. Guitar work reminds me vaguely of Lynyrd Skynyrd. Candle In the Wind is a beautiful piece of songwriting in dedication to Marilyn Monroe. Can't really say any more than that. Bennie And The Jets: easily one of my favorite Elton John songs that feels as if it could be a Billy Joel song. My flex is far less than Kev's - I didn't get to see Sir Elton do it himself - but it was pretty cool to see Umphrey's cover this during an encore and embed a Pink Floyd Echos jam in the middle. Grey Seal sorta rips too. Love the funky guitar skwank through the back quarter. I've Seen That Movie Too is a beautiful song. I feel like its nothing revolutionary, but his vocal quality is so great here. All The Girls Love Alice is a jam. Your Sister Can't Twist, taps a bit into the carnival spirit towards the end. Pretty straightforward rock song tapping into old school sensibilities. Then there's Saturday Night's Alright, which is probably my favorite of his songs. Such a fun jam that feels like a Bowie song in many ways, but with Elton's lovely key work interspersed. This was a solid album with a lot of depth to it. Vocals and songwriting were great, as was the production. I lost focus a bit through the middle, but there was enough to keep me interested for the most part. Solid 4 / 5.

Aggressive from the jump, opening with a classic posse cut that immediately establishes NWA as a crew of ruthless gangstas who are not to be messed with. Each member has a different vocal style and texture. There's Ice Cube's deep, shouted delivery, MC Ren's more laid back husky voice, and Easy E's high-pitched nasal snarl. All the while, Dr. Dre plays interlude and stays behind the boards. Fuck Tha Police is another hip-hop staple. In your face beat rooted around a little funky guitar line. Ice Cube's verse is so solid and singable. Amazing how well this song has held up over time. Gangsta Gangsta is one of my favorites on here. As with the first two, Ice Cube really carries the weight here (in my eyes). Internal reference to Beastie Boys and plenty of elements in here that get interpolated downstream by other rappers. If It Ain't Ruff has a hell of a hop to it. Lovely word play in the concept that MC Ren leads with here. No surprise given Dre's involvement, but this beat and sampling / production is on point. Parental Discretion is the first song where Dre comes out from behind the boards for a verse. Aggressive and certainly capable. I like how they just let hte beat breath at the end in a jazzy outro. 8 Ball picks a fight with Beastie Boys' Brass Monkey (which until I read their book, I didn't realize it was a song about a drink). This had to have been produced before sampling rights were enforced; number of high profile samples are crazy -- Marvin Gaye's Let's Get it On, several Beastie Boys songs, and Kool & The Gang on this song alone. This album lost a lot of steam in my eyes after Compton's N The House, but the first half is fire. Solid beats and rapping from days gone by. They don't make em like this anymore. 4 / 5

Completely forgot about Lovefool. Used to be really into that song when I was a kid, but never went deeper into The Cardigans. Album begins with Your New Cuckoo, which has an almost disco flair about it. Production of the drum, bass, and guitar is fuzzed out with some clean flutes and strings. Fine enough, if forgettable, little ditty. Smooth transition into Been It, which has a bit more up front attitude to it. I dig it. Heartbreaker is kind of wild. Opening bassline reminds me a lot of the demonic progression of Black Sabbath mixed with Portishead, but the vocals guide it in a different direction. Some tasteful theremin in the midsection as well as some 60s reminiscent harpsichord. Makes for a delightful psychedelic indie adventure. Lovefool stands out of this record. Very clean and well-layered production with a bright and catchy synth line coupled with a bouncy drum beat verging on EDM. Always have found this song to be an earworm. A dubbed out cover of Iron Man was unexpected, but I honestly loved it. The syruppy, skittering guitar lines with the laid back rendition work so well and make for a completely different song. I found the closing track to be a bit thin, wasn't the biggest fan. All considered I found this to be a very enjoyable record with nice production and plenty of standouts that I could sink into. Some of the songs parallel early Japanese Breakfast to some extent (which for me is a positive comparison). I'll definitely be back for more. 4 / 5

Been a while since I've listened to this one. Quirky vocalist, but really really strong core song writing and stellar production. This is some high quality 80s pop-rock. That's Really Super, Supergirl is a catchy AF jam. Love all the layered effects, as well as the supporting vocal harmonies. But at the core, it is just a really catchy, bright melody with a wonderfully blissful guitar solo. Really enjoy the log-running, seamless format of this album. Shows that some care was taken in sequencing to enable the transitions. In particular, the bleed from Ballet For a Rainy Day into 1000 Umbrellas is superb. Two very different songs both in tone and composition that work great as a pair. Love the string work on 1000 Umbrellas. Almost makes me think of The Beatles a la Elanor Rigbsy, but much darker feeling. Standout track for me. Love the guitar work on Mermaid Smiled. The cabaret jazzy shuffle on The Man Who Sailed Around His Soul was completely unexpected. What a jam this song is; that bass groove paired with some solid drum work and flute. Just wow. Man this is a great album that sounds so far ahead of its time. I can see where the vocals could be a bit polarizing, but the quality of production and songwriting cannot be discounted. In my eyes this is a very high 4.

Carry On is a fantastic song out of the gate. Love the vocal harmonization and the mixing of the rhythm guitar into the left channel with electric in the right. And the abrupt little psych-infused breakdown complete with keys in the middle. Almost Cut My Hair plays like a Neil Young song; mainly because of the unmistakable guitar tone. Soulful jam it is. Woodstock is the song I know this album for predominantly -- another Young led guitar jam. Back half of the album pales in comparison to the first. No doubt CSNY > CSN, but for me this is a soft 4.

Digging deep into the roots of hip-hop now. Opens on a pop-funk number called She's Fresh which features some of the meatiest slapped bass I've heard in a minute. Vocals and brightness sound a hell of a lot like some of Bruno Mars' more popular songs of recent-ish years. Uptown Funk comes directly to mind. Immediately recognize the instrumental on It's Nasty. Really top-notch production at work here -- love the layers at work. Completely caught off guard by the deep electronic beat on Scorpio. This had to have felt like the future at the time -- honestly, if this was released today it would still sound like the future. Vocoder rap track is just about indecipherable, but I don't really care. What strange sequencing to go from that into the beach-guitar intro of It's a Shame. The instrumental alone is pretty sick, but the lyrics here are... rough. Dreamin' is an equally awkward dedication to Stevie Wonder. Earnestly sung over some of the finest pure 80s cheese. You Are keeps the slump alive with an earnest love song. I'm not saying its a bad song, just not something I particularly enjoy. I don't think he's really got the pipes to pull it off. Buuuut, it backs up to the title track, which is one of hip-hops all time staples. And for good reason. The beat is infectious; punchy drum with a catchy echo'd synth line and skittering percussion. On top of that, the lyrics are equal parts vivid and buttery. I can certainly see why this album is on the list, and give credit to Grandmaster Flash for his work assembling instrumentals; that is certainly where this album shines. That said, I found more miss than hit here -- the stretch from It's a Shame through You Are are all meh at best. Scorpio is the standout in my mind -- way ahead of its time and something that I honestly have never heard done quite this way before. The Message also carries its own weight and has had a long legacy in hip hop. Would not listen outside a few select tracks, but they are good enough to push this to a 3 / 5 in my mind.

Of the popular Talking Heads albums this is the one I have listened to the least. After a straight-through listen, I see why. This is a fine album with plenty of solid songs, but it doesn't have the same spark that draw me repeatedly to Remain in Light and Speaking in Tongues. Standouts to me are Warning Sign -> Found a Job, Take Me to the River, and I'm Not in Love. Plenty to enjoy here. Soft-ish 4 / 5

Nothing like a little yazz improvisation to start a foggy morning. I'm a little confused at the track sequencing on the Spotify version -- looks like multiple takes are embedded in the original track list rather than tacked on as bonus tracks. I really did not give this much focus throughout the listen, but I thoroughly enjoyed it being there. This is the kind of easy jazz for which well-stuffed leather chairs and mahogany bookcases are made. Really pretty key-work takes most of the show, but the interplay between all three members is really top notch. Love how the bass shines through on Alice in Wonderland in specific. Mixing is nice, especially with the little bits of audience banter bleeding through. Gives the impression of a lived-in environment that jazz benefits from. This is a strong 4 in my mind.

This is some high quality background music, and I say that not intending to knock this in any way. Certainly this could be listened to as a main event, but I happen to be working with this in the background and it is a wonderfully stimulating without ever distracting. Pannonica is one that stood out to me. Also absolutely love the piano work on I Surrender, Dear. Completely stripped of supporting cast Monk strings together a captivating and soulful piano medley. I've definitely heard Bemsha Swing before -- either interpolated in other jazz or somewhere in a Hollywood production. This was fantastic and I plan to listen again soon. Only qualm I have is I wish the upright bass was punched up just a bit in the mix. Otherwise, this is a fine example of a high quality jazz collaboration. Monk's keywork underpins much of the album (obviously, it has his name), but Sonny Rollins' sax constitutes a great amount of the life force of this album. 5 / 5

I've never gone deep into Dinosaur Jr. Was exposed to You're Living All Over Me in college, and remember enjoying it just fine, but that was the extent. Opens on Freak Scene, which features a deadpan vocalist over some alt-rockness with a super rough mix. Could be intentional, but I think it sort of sounds like shit. Really enjoyed They Always come. Also really enjoying Pond Song and the way they play with tempo. As I get deeper into the heart of this album, the roughness of the mix is growing on me. Actually found The Post to be one of the strongest on here. Sludgy as it may be, it is pretty tight and self contained. Don't is a bit of a surprise. Opens similar to National Anthem (radiohead) and gives way to a warbly echo followed by reverb + feedback + screaming with guitar noodling in the background. Oddly enough, I love this. Makes me think of some Modest Mouse B-sides from when they were actually good. This album was alright, but I can see why I didn't fall into the Dinosaur Jr. vice-grip from the first album of theirs I listened to. While I don't necessarily mind the lo-fi production, I didn't find many tracks to really stand out from the sludgy atmosphere it creates. This is a middling 3 for me. I may or may not ever be back.

Three songs in, I'm loving the period psychedelic influences. Fluid, echoy guitars, sudden tempo changes, distant forlorn vocals... In particular, I'm loving Onie as a blissfully somber song. The jazzy left turn on Train for Tomorrow, while unexpected, was kind of nice. Wish they had puched the bass up a bit more in their mix overall -- it comes through pretty buried and muddy. Get Me to the World on Time comes through as phoned in. It tries to have umph, but sort of falls flat to me. This one lost me in the second half. I was into it up until side two, but there just wasn't anything worth staying for on the back half in my opinion. Started out as a solid 4. Ends a weak 3 leaning down towards a 2. Honestly, Toonerville Trolley and The King is in the Counting House are enough to push me over the edge. 2 it is.

Oh man, what a wonderful trip down memory lane this one is. The thing I remember most about this release is the shitty online open-world driving game you could play with the car on the cover, and the ubiquitous presence of Clint Eastwood -- I think it was even on a Now CD that I got for Easter one year. I didn't actually get into Gorillaz proper until much later in life, but this still hearkens back to a rosier time. Album opens with Re-Hash, a little drum and bass rhythm piece with various scratching and backing percussion elements. Song doesn't really go anywhere, but I enjoy it all the same for its bright atmosphere. 5/4 is a bit more driven of a piece, and calls back more openly to Albarn's days with Blur. Clint Eastwood is such a delightfully moody indie-hip-hop track; instrumental is like a wide-eyed western nightmare. This song introduced me to Del tha Funky Homosapien (though I wouldn't dig further into his work until much later). Such effortless flow that is hard not to sing along to. 19-2000 is so quirky, but I love it as the definitive early Gorillaz sound. Melody lead by a womping bass and electro keys with Albarns distinctive vocals and a catchy ass nonsensical hook. Utterly bobbable. Always thought M1 A1 was a weirdly out of place song to end this album on. I do enjoy the bonus tracks thrown on here -- never heard Left Hand Suzuki Method before, but it jams. This is one of those albums that I return to when I want a reliable good time. I'm not the biggest Albarn Stan, but I love Gorillaz and this is among their top 3. Not perfect, but I'm struggling not to throw this a 5.

Hello is a really powerful opener. Vulnerable in subject, but sung with such confidence. Easy to see why it got such popular appeal. Send My Love strips away the vulnerability and that Hello evokes in favor of a more straightforward, catchy minimal pop song. The production and composition here is amazing. The little drum hit with plucked line that dominates the song with the swelling support through the chorus and the backing harmonies and vocal fills give a ton of depth. Catchy AF. Perfect song for mopping the floor to. Once again, a lot of depth on I Miss You that bleeds on epic. A lot to like here. By When We Were Young, I'm getting a little more worn on the power-ballad format. Like it _is_ pretty and powerful, but I only need a handful of these types of songs in my life. Kind of tuned out for a bit. Million Years Ago pulled me back in with its sparseness. Extremely pretty song. I have to restart my browser and don't feel like saving this.. giving this one a high 3. The front end is so great and there are other high points, but I get worn out by her voice.

By and far my most listened to Beastie Boys album. While I love Paul's Boutique and Check Your Head, this album takes the boys for a delightfully funky spin. Like all Beastie albums, however, this album errs toward the eclectic, which can be a off putting if you're not expecting it. Album starts on a ripper with Sure Shot. Love the flute track and dusty drum shuffle. All three members give great service. Can't help but bob along whenever this one comes on. Tough Guy is a hardcore punk interlude that pulls the rug right out of the groove that Sure Shot just established. B-Boys Makin' With the Freak Freak is a ridiculous song title, broken out into no less than three beat flips and the same compressed vocals they employed on Check Your Head. The whole thing feels like a trip, especially the bleating goat sample that they segue out of the track and into Bobo On The Corner with. Root Down pulls back out the funky groove rooted around a meaty bassline and dusty drums. No question that Sabotage is the best song on this record, and yet it stands completely out of place. Like I'm so glad they pressed it, but relative to everything before and after it stands alone. As some stranger on the internet once said "I dare anyone to put this on in their car and drive the speed limit." Once that's out of the system its back into the dusty funk of the preceeding segment. This time they pull out Q-Tip of A Tribe Called Quest fame, who puts in a set of slick guess verses. Feels like they crafted this song around him and it really makes for a great contrast with their crass deliveries. Eugene's Lament is a great atmospheric instrumental track. Love the violin work on it. Flute Loop taps back into the funky flute of Sure Shot, but in a very different way. Much brighter and forward with the piano pairing. Lyrics are completely intelligible due to the compression, but I honestly couldn't care less. This is more about the atmosphere. I love this album, and will admit that it overstays its welcome and could have used some better editorial discretion. For that I give it a slight knock. If I could give partial scores, this would be a 4.75. But I round down. This is IMO the most approachable and straightforward fun Beastie Boys album they put out.

Could have sworn I reviewed this... Going from memory and many listens over the years, this is almost as good as it gets for the Who. A fairly tight 43 minute record encapsulating no less than 3 of the best songs they put on wax (Baba O'Riley, Behind Blue Eyes, and Won't Get Fooled Again). Not to mention, even outside of the stadium sized anthems mentioned above (at least Baba and Fooled), the filler tracks have substance. Bargain was another single and car commercial staple, that features some great fills from Moon. Add also, My Wife which is about as solid a straight and narrow rock song as they put out. Complete with piano and horns. Of all the deeper cuts here, however, I think Getting In Tune is my favorite. Something about the composition just works so well for me. Love the rolling builds and Daughtry's voice brings so much soul to the equation. Doesn't hurt that this flirts with a lot of the same techniques that they put on display on my favorite Who album: Quadrophenia. But really, the hits are where its at here. Yes this is plenty, Whoey, as Kev said, but this is the Who near (arguably at) their peak form. I wish I could give partial scores here... This is like a 4.6 in my mind. I just can't bring it all the way to 5 for some reason. Strong 4.

Album opens on the most gradual of fade-ins I have ever experienced. I had enough time to check my sound settings to make sure audio drivers didn't shit themselves before it became perceptible. Cuts to a sincere-enough sounding vocal exchange that turns absolutely demented. Oscillates back and forth between driven sections with harmonized shouting and spaced out sections. The harmonized sections remind me a hell of a lot of some Disco Biscuits. I'm here for it. Human Cannonball is like alternative post-punk. Has the thumping drum and bassline of a Joy Division, with more expressive vocals and guitar noodling overlaid. Standout track. U.S.S.A. is a trudge of a song that makes me think of a less aggressive Soul Glo. Still, I'm into it. The O-Men features more quirkiness with a heavy, blown-out metal riff with cartoonish vocals (think Faith No More) interleaved with some helium-laiden refrain and satanic sampling. Makes for a delightfully demonic jam -- all the best parts of a bad trip :) Then there is "Kuntz" which flips us suddenly into an Indian traditional sounding song where they can openly discuss Kuntz without it sounding vulgur. Love 22 Going On 23. Pure sludge-fest with more quirky vocal samples and overlays. Well that was an eclectic listen and I feel like I am a better person having now experienced it. I'm gonna go directly back through for a second listen. Surprised I've never dived into Butthole Surfers before. Even more surprised by how different this all is to their breakout single "Pepper" from nearly a decade later. This album is a certified family favorite and I will be playing it at my cookouts this summer. Strong 4 / 5.

This is fine enough, but not really anything in here to get me going. Lo-fi production buries some solid drum and bass work throughout. A few standout tracks to my ear: Pokin' Around, Move Out, Something So Clear. Overall, this one runs very middle of the pack for me: soft 3 / 5.

Love Every Night. Such a nicely structured song with very clean vocals and beautiful acoustic instrumentation. Love the jangle of the acoustic guitar popping in and out of focus. Man We Was Lonely is an unexpectedly southern-drawly plonk of a tune. I really dig it and the spaced out guitar melody that he employs. Interesting mix on Oo You that separates the bass entirely into the right can, with the guitar almost isolated to the left. It makes me feel a little off balance TBH, but it is really interesting. You can hear both parts so clearly and separately. Momma Miss America taps a vein that I love. Really crass mix on the drums, but it grooves so hard with the bass line. Love the spacious, jammy keywork over top of it all. Standout track that feels like they were probably just jamming in the studio loosely. This was a disjointed listen for me, but mostly a pleasurable one. I've definitely heard Maybe I'm Amazed before, and it is a jam. Enjoyed the spaced out percussive mess that is Kreen-Akrore as a closer. This was an interesting listen and not at all what I had expected. Plenty of variety and feels like Paul really let his hair down. To me this is a high 3 leaning 4.

Yet another live album entry on the list, this time from certified dad rock legends Deep Purple. First thing that stands out is how well his vocals hold up in the live environment; dude had pipes. I do love Highway Star as a high-energy opener. Some sloppiness to the guitar play, but the drums and organ are both tight. And as far as a live mix goes, this is pretty solid for the technology of the time. Nothing is too terribly washed out or distorted. Child in Time takes us towards a spacier / proggier mood. Keys feel really distant and weak relative to what I remember of the studio. If I'm to nitpick, I feel like the song runs into the jam section a little unnaturally. Like it has a really nice spacious groove and then the guitar just sort of takes the ball and starts running. Not angry with the end result, but it felt like it could have been done better. Otherwise, this song rips. Love how they take the time to introduce Smoke on the Water as if it is a less known piece. Today, it's every kid's first guitar riff. Some feedback in the mix near the 3 minute mark is a bit annoying, but the play itself is nothing if not solid. Guitar solo feels a little behind the rest of the band, but the tone is great. The Mule is basically just an open drum solo, and a damned solid one at that. Through the end, there is more of the same along with a spaced out Space Truckin to close things out. This is a solid live album on which the band spreads out some of their larger hits, giving a lot of space to the drum and guitar to show their merits. I would say this isn't something I'll be back to in haste, but it was enjoyable enough. Soft to middling 4.

Album opens with a whole-sided, multi-part title track in the purest of prog spirit. Initially we are presented with almost no noise, before the bass and guitar rip in without warning and with so much pent up energy. Other than a few brief vocal interludes, there is no relief until almost 3 minutes when it gives way to a more traditional form. Love the bass groove we enter around the 6 minute mark. Speaking of grooves, Siberian Khatru might be one of my favorite melodies Yes ever put together. Such a quality piece. I was distracted during most of this listen, but I love this album through and through. It gets in, gets out, and is chock full of complexity. Beautiful layering and multi-part orchestration, not to mention the meaty bass and colorful guitar work. This is a low-end 5 for me.

Really didn't love Brothers in Arms and did not expect to see another Dire Straits album on here. Here's to hoping... Opens with some dusty guitar noodling that conjurs images of a southwestern adobe town at dusk. Launches without warning into a driven song that could be a sonic sibling to Sultans of Swing (which is buried in the track list). No knock, the guitar noodling rips here and tickles a certain something in me. Water of Love is pretty forgettable, but Setting Me Up has a fun jump about it. Six Blade Knife pulls out the slow, confident, and cool vibe that Dire Straits are known for -- similar to Money for Nothing. Lead by a sluggish bass throb and punchy drum with some noodly guitar support. Nothing too flashy, but it is fine. I can see this as a perfect soundtrack to drinking a Bud heavy and sitting at some country dive bar. No denying that Sultans of Swing is a jam. The production is very tight throughout this album and it really shines on this track. Like the spaciousness on the outro track Lions. Otherwise, I'd say I had a lot more fun with this album than their last. It felt a bit more raw and less prone to the cheesy influences of the 80s. The production is a bit overpolished for my taste, but that's hardly a huge problem. The sounds they generate are generally nice even if they verge into somewhat boring territory a few times. 3 / 5

One of the quickest 5's I'll give. This is my favorite album from Zep. So raw and such great sequencing start to finish. Wastes no time getting into things with Whole Lotta Love. What a groovy interplay between the drum and guitar -- and of course Plant sells the bit with his commanding vocal performance. Side note: my kids love this song because of the funny man "shrieking" in the mid-section. One day, they'll understand this is only one of many on-stage orgasms that Plant had. Do love how the stereo mix of his vocals through that section completely distort space-time until Bonnham snaps everything back into reality with that staccato snare. Pure class, few better driving songs have been produced. Then we drop into What Is and What Should Never Be that is a ripper in its own right. Jazz-influenced song whose first half oscillates between laid back psychedelic segments that sound as if Plant is singing through a viscous membrane, and driven segments. The Lemon Song is one of my all time favorite Zeppelin songs. The gong opening is kind of silly, but otherwise, this one just fucking rips with fantastic service from all members. Just a lovely little hop of a jaunt with some meaty bass. Heartbreaker into Living Loving Maid is a classic transition. Ramble On is yet another classic jam, which is followed up by Moby Dick containing one of my favorite drum solos on record. Bring It on Home starts as a bluesy drawl, but taps that powderkeg of energy that Zeppelin is known for and truly brings the record on home. This is about as good as it gets for Zeppelin; love it all. 5 / 5.

Something about ELO's sound has always struck me as a bit theatrical, frequently pulling strings and keys into the mix to build out sweeping lush atmospheres. Generally bright in texture with punchy rhythms. It's Over is an early standout with that familiar ELO sound. Just a pretty and well written song. Sweet Talkin' Woman pulls out some sci-fi influence with the vocoder backing vocals (almost sounds like late Daft Punk). Feels like this one borrows heavily from a disco influence with the string swells and the drum rhythm. I was already digging Night in the City and then the cowbell thump started -- I'm sold. This is a really dense song (as typical with ELO) but it works so well. Tempo / rhythm shifts keep you on your toes, but the strings are very effective throughout. Something about the minor key line on Starlight reminds me distinctly of Odd Future production -- can't quite pinpoint it, but I think it has to do with the slight ominous tone mixed in with the otherwise bright sounding instrumentals that puts the thing a touch off balance (in a good way). Absolutely love Believe Me Now. I know its the shortest track on here, but it is so completely epic. Love the buried, echoing "can you hear me?" This segues into Steppin' Out, a ballad that almost sounds like a Beach Boys song upon intro. Beautiful production here lends a space-age vibe to the song; in some ways, I hear Prince on this song. Standin' in the Rain brings back some disco elements into the forefront, making for a prog-disco fusion of a song. Big Wheels is a slow and wonderful song. Once again, featuring gorgeous production and composition. Mr. Blue Sky is an electric song; always loved the hop of the song. True to the name, its a perfect song for skipping down the block in early Spring. Wow that album was an unexpected breath of fresh air. I did not go into this a huge ELO fan, but have come out a changed man. Sure there isn't a TON of variation to their sound, but they fit so well into that pocket that it is hard to complain. Beautiful production and track composition throughout. It runs a little long, but I'm hard pressed to say any track shouldn't be here. This is a very strong 4 from me.

Freddie's Dead is an interesting one. Very 80s in the production style and instrumental elements (features blaring synth horns, sterile sounding drums, and overall maximalism). NGL the guitar work is pretty damned solid (Cinninger-esq in tone and style). Fantastic central riff and some crisp solo work. Well supported by a well-toned bass that gives a solid foundation. Ma and Pa changes pace entirely into a ska melody; kind of meh. Question of Life is a nice and bright little ditty. Once again this taps the ska well with island-style percussion and horns out front in the mix. Pouring Rains finds the record taking yet another slight turn into a slower dubby atmosphere. I can groove to this. Deep Inside almost reminds me of Queen a la Sheer Heart Attack. Bonin' in the Boneyard is a silly song name and I wish it had a bit less 80s cheese on it (specifically the corny synth horns), but I'll be damned it isn't one of the grooviest songs on here. Wish they went more forward with the bass in the mix as that is the clear star of the show. Vocals remind a bit of Devo's Uncontrollable Urge. Mighty Long Way makes me think of Huey Lewis and the News in the best way possible. One Day also jams and the guitar riff feels really familiar but I can't put a finger on it. Like something I've heard in THPS or something. Ghetto Soundwave is a wonderfully enjoyable song -- sort of makes me thing RHCP meets ska. Closes on Change, which is certainly true to its name. Strips away all of the bombast for an electro-acoustic ballad. I found this one to be a bit of a mess, but overall enjoyable. It falls victim to a number of 80s tropes in production, but the band make some enjoyable sounds spread over an array of genres (ska, dub, hardcore, new-wave). To me this one was rear loaded, which leaves me with a warmer impression. This is a strong 3 (like a 3.75) for me. Standout Tracks: Bonin' In the Boneyard, One Day, Ghetto Soundwave.

Soul is not something that I actively seek out, but I always enjoy it when it is on. There isn't much here that really pulled my ear, but I was vibing the whole way through. 35 minutes was about the right amount for this though. 3 / 5

Real thin vocals out of the gate, gonna take a minute to get used to. Good Fortune has a particular hop to it that I really enjoy. Reminds me a bit of the Pretenders. I'm a sucker for the discordant, indie/post-rock vibe of Beautiful Feeling. One of the more interesting songs on the record so far (also seeing Thom Yorke on credits). Took a while, but back to back of Beautiful Feeling and The Whores Hustle has me vibing. Strong track with lo-fi production. A bit of a shame that they gravely bass is so buried; but I do love the atmosphere. Thom Yorke back on This Mess We're In. This time playing a more vital role in the vocals. He puts in a great performance (as usual). Feels like something that would slot well into OK Computer. Really enjoy the closing track. Something about it feels familiar, but I can't put a finger on it. Such a measured and tidy instrumental with the vocal harmonization carrying it through the first 2 minutes. For no real compelling reason, I think this punches at the 4 territory for me. Although I mostly had it in the background, this was a really pleasant listen. The vocals initially rubbed me wrong (a little thin relative to the instrumental) they grew on me. The production was varied and done to great effect. Standouts for me were We Float, and the run from Beautiful Feeling to This Mess We're In.

I like Rush as much, if not more than the next guy, and I understand the significance of this album to the fan base. That said, for me, I've never been able to shake the feeling that this one is severely over-hyped. In traditional prog-fashion, the album is composed as a two-sided adventure where the first side is a long-running, multi-part odyssey featuring widely varied instrumentation, storytelling, and technical focus. The second is devoted to more-consumable "single"-formatted tracks. 2112 is a nerdy dedication to one of the shittier philosophers to grace our planet in the past 100 years: Ayn Rand (who dedicated her life towards the proliferation of the idea of rational self-interest; basically the idea that one should value their own objectives and interests above all else). Shitty inspiration aside, the song certainly has some chops to it and I found a few of the sections to be really enjoyable. Overture and The Temples of Syrinx are the highlight in my mind with some weakness towards the middle. Also, by contrast to other prog acts (like Yes) who put together long-running opuses that actually blend from section to section, this song is very Rush in the sense that it is pretty formulaic and feels more like a distinctly segmented opera. Great instrumental work throughout of course -- I'd be lying if I wasn't drumming along while listening to this. Side two is weaker than most of their records IMO. I love Passage To Bangkok (top 7 Rush song for me) and Something For Nothing, but the rest is pretty throwaway for me. IDK man, I was excited when this came up on the list, but tbh it just doesn't clear a 3 for me.

Pretty easy to see from The Paw Paw Negro Blowtorch why Eno and Byrne got along so well. There is a huge bleedover in terms of style at play here. Baby's On Fire is an early standout jam. Takes its time and doesn't try to go too far, but love the layered atmosphere, fuzzy guitar noodling, and ruminant drum+bass pairing. If Spotify didn't inform me otherwise, I could easily be convinced that this came out last year from the garage rock revival scene (a la Ty Seagall). Driving Me Backwards is an interestingly off-balance sounding track. I don't have the best ear for these sorts of things, but it feels as if something in the mix is inverted (calling to the song title). Certainly, the backing samples/effects add to a disgruntling psychedelic experience. Sounds like a distorted Beatles song in a way. Coming out of the last track, On Some Faraway Beach is a complete breath of fresh air. Drums and harmonized vocals are mixed weirdly distant, as if at the end of a fade-out, with the piano right out in front playing melody. Makes for a weird effect and makes me feel a bit like floating. Blank Frank casts all that aside for something a bit more punk-rock(?) meets pop. Dead Finks Don't Talk had me from the intro drum/keys. Just so pretty in the way they interplay and how the mixing brings everything together. Only gets better as things go on. A lovely kooky adventure that devolves at its conclusion into something I would never have anticipated. Some Of Them Are Old has a certain choral element to it that wraps around you as the climax builds to the end. Feels like an even more drugged out Beach Boys in some senses, especially as everything strips away to the hollow bells at the end and things bleed into Here Come The Warm Jets. Oddly "warm jets" is a great way to describe the tone of the fuzzed out guitar in this one. Discordant bells ripple in the background at the opening as if this is some indie horror movie. As things move towards the close it becomes less unsettling with the vocals, and then the whole ride is over... Love so much about this album. Clearly a lot of experimentation at work from Eno, and so much of it connects in a positive way. I can hear traces of other influences throughout, but he turns it into something that stands alone. I'll definitely be back through this one before long. Strong 4 / 5.

TBH I haven't done a ton of The White Stripes; this is a first run through of this particular album. Opens with their distinctly stripped-down sound lead by a quintessential Jack White guitar riff. Despite the "minimal" composition, the mixing is very maximal, pushing for a completely blown-out sound in the drums. Blue Orchid is just riffing along when the carpet is completely pulled into some island-infused xylophone on The Nurse; weird to say the least. Take, Take, Take stands out to me. Feels a bit like a Cage the Elephant song, but I feel like there is a catchiness to it that is hard not to get sucked into. This run through Red Rain is very solid White Stripes. I will say that of the White Stripes albums I have listened to, this is not among my favorites. That said, there is an undeniable talent and energy that came out of their unique union and there are plenty of glimpses of what made them so special here. I find this to be a soft 3 as nothing is outright offensive, but it fails to be truly stimulating. Not to mention, I feel like many of the quirky elements throughout were cheap attempts to be "interesting" rather than actually worthwhile experiments.

Instinct is to skip this one outright for the same reason as Kev stated: I just don't give a damn about Bruce. I'm sure I "just don't get it," but to to me, he is an overrated cash cow with one hell of a manager. I just don't get the appeal, nor can I understand people in 2024 paying $500+ to see him live. Album opens on an unexpectedly sober note. Light finger plucked guitar and bells in the background with slow-burn vocals out in front. Naturally, the harmonica makes an appearance in this southern-dripped ode. Honestly, I am enjoying this side of Bruce more than what I have been accustomed to via radio. Atlantic City trades in the exposed vocals in favor of his bread and butter, mid-poop husky strained vocals. Song tells a story of some variety -- probably some guy selling everything and going out on a limb on a hope of a better life. Honestly I don't give a damn, these vocals are dogshit. Highway Patrolman is another plaintive tale told from the perspective of a police officer protecting his brother "Frankie" who strays the other side of the law. For me this is a high point of the record so far. Really powerful and effective storytelling with a calm delivery. State Trooper is like Elvis meets punk in terms of composition. Really dig the echoed vocal effect at play here that gives a ghostly atmosphere. Another high point of the record. Remainder of the album really just slipped to the background of my focus; nice music for the background. Honestly, this is the first Bruce that I have listened to that I actually enjoyed start to finish. I think a lot of that is due to two things: (1) this is stripped down and does not feature all of the overfilled bombast of the E Street Band, (2) he doesn't sound like he is about to shit himself on 90% of the songs here. I really enjoyed the storytelling throughout and feel like a certain amount of credit should be given to his ability to craft narratives into songs so effectively. That said, I don't actually listen to music (typically) for the narrative element -- I'm generally there to generate emotion. I feel like if i was really focused and put emphasis on the lyricism this is probably a 4 leaning 5. But given my personal preferences and the fact that much of this record sort of mushes together into a single sound, I'm somewhere closer to a high 3, leaning 4. I'll give the nudge here because I feel like I am biased against Bruce from the jump and this was pleasant. I could imagine listening to it again on a chilly day near a fire.

Well this is new territory for me; I've never seen alternative (nu-metal) meet drum and bass with string. Definitely an eclectic mixture that feels very stuffed, but it works out okay on Charlie Big Potato. I dig the energy of On My Hotel Tv. Some interesting vocal production intermixed with some lovely work on the bass. Feels a bit overblown, but I enjoyed the ride. Odd outro tacked on that slips into a tripped out reverse sample + trip-hop beat. Backgrounded this for a lot of the rest of the listen. Certain songs stood out and were more enjoyable than others. I wouldn't say this is something I needed to hear to have a fulfilled life, but it also wasn't bad by any means. There was a pretty wide array of styles on display, but also some strange choices in composition. This is a pretty middle of the pack 3 for me.

Man, what a beautiful guitar tone B.B. King has here in this live recording. Love It's My Own Fault into How Blue Can You Get? Vocals are so soulful and matched with the too-cool-for-you saxophone and sprinkled keys. Just extremely solid blues on display here. Mostly had this playing in the background, but it was really nice. Soulful blues music with damned solid guitar licks. I can't complain, but I also probably won't be back quickly... low 4.

Opens with a live version of My My, Hey Hey. Really pretty amplified acoustic tone with solid vocals from Young (always wondered how those would hold up live). Sail Away is a really pretty song. Love the melody and calm atmosphere. Feels like something made for riding a covered wagon cross-country. Was not expecting the change up in tone across Welfare Mothers and Sedan Delivery. The latter digs into an almost eruo-punk inspired riff with some spacey elements. I was into it. Album closes on a considerably darker version of My My, Hey Hey. Definitely prefer the first, but it is interesting how different the heavy riffs make this song. All around this was an enjoyable listen and well fit for a rainy Monday morning such as this. I don't know I'll be back quickly, but it was fine. Objectively, I can see this scoring highly -- personally it runs middle of pack for my tastes. 3 leaning 3.5.

Oh man, I remember being so afraid of the whole Slipknot aesthetic as a kid. This album cover used to (and still does) creep me the fuck out. As far as Slipknot goes, this is the way I prefer to listen to them. Early, energetic, and crusty. Opens on a weird little sampled interlude that turns into the complete adrenaline rush that is (sic). One of my all time favorite Slipknot songs just for its pure unrelenting energy. Heavy riffs + absolute madness on the drums and Corey Taylor's effective scream. This gives way to Eyeless, which opens on a little DnB sample and then the drums and heavy riff carry that energy off the deep end. First song on which Taylor shows off his vocal flexibility, weaving well-sung sections with screaming. I enjoy the tempo play here throughout. Wait and Bleed is the closest thing to a "single" that this album has to offer -- probably because it has a sung chorus and consistent structure. Surfacing is not my favorite of the songs on here -- I find the prominent guitar screetch to be quite annoying -- but I do love the drums and little unexpected bass interlude. A couple slipped by in the background, but Prosthetics stands out for its unique tone relative to the rest. A bit more effect-laden and taps more directly into something of the alternative nu-metal of the day with the needling guitar and spaced out sections. Maybe not one of the stronger songs here, but I find it interesting. Ultimately, I feel like this album is very much front-loaded. While the back half isn't bad, nothing stands out significantly. On the other hand, any of the first 6 songs (neglecting the intro) could make a perfect soundtrack for putting ones head through a wall (or several). Love the tempo gymnastics and electro-sampling elements throughout. Also, naturally, the high BPM drums are tight and pull a lot of the songs together and set the stage for Corey Taylor's impressive vocal display. This is a solid album and a 4 in my eyes.

Well that sort of sucks... I actually had written stuff out, but my browser tanked. Going from memory; Can't Hold Us Down is a fine confident strut about the double standards imposed on women featuring solid sing-rap from Aguilera and a fine feature from Lil' Kim. Walk Away -> Fighter is a nice seamless segue, but Fighter adopts one of my least favorite tropes of early 2000s pop: soulless heavy rock guitar to signify an "aggressive" tone. Loving Me 4 Me is a high point; love the toned down R&B atmosphere -- same for Impossible. Beautiful is the song I know Aguilera for. To be sure, her vocals are super strong here. Unfortunately Make Over that immediately follows blows. Takes her strength in vocals and shoves them through a distorted, compression microphone effect. Lot of bloat that I don't care about and weird sequencing decisions on this album. Prime example, Soar is a gospel R&B song about self-empowerment that feels weird sitting right next to sexual opus Get Mine, Get Yours featuring the line "gotta hit that spot just right, work me like a 9 to 5." Dirrty is fun in a nostalgic sort of way. I miss this era of hip-hop and pop, before trap became everything. Her vocals are kind of annoying in the chorus tbh, but I enjoy the overall vibe and Redman gives a solid verse. I'm tapping out early on this one as it is just not my cup of tea and it keeps going. I actually enjoy her voice -- lot of power and range to her ability -- but my attention has been ground down by 70 minutes of it. I think there are some really solid tracks buried in here, but a lot of this misses for me. I feel like where this shone was when there was less going on (Loving Me 4 Me, Beautiful, Impossible). The rest felt a bit overstuffed for my liking. This is a high 2 for me; were there better editing, there is a case to be made for a 3-4.

What to say about something for which so much has already been said and accepted? On the singles alone this exists in rarefied air. Come Together, Something, I Want You (She's So Heavy), and Here Comes The Sun are all genre staples, and each has a completely distinct sound. Come Together with its effortlessly cool, bass-led melody and distant vocals. Something with a wistful and bright trot. Here Comes the Sun on an upbeat finger-plucked guitar ditty that was made for the first days of spring and wide open fields of grass. And my personal favorite I Want You (She's So Heavy) featuring the soulful and moody guitar work and tempo play. Dipping beyond the singles, there is a diverse sampling. Maxwell's Silver Hammer giving a shining and absurd instrumental plonk to lyrics about a serial killer. Because interpolates the guitar melody of I Want You, but flips it into a more psychedelic affair with the harpsichord and spaced out harmonizing. Then there is Sun King is a beautifully harmonized, calm psychedelic adventure; love it. The back half of the album lacks a bit of the energy of the first, but the songs are great; I just find them to be a bit more forgettable with the exception of Golden Slumbers -> Carry That Weight that work so damned well as a two-parter. This is a timeless album that, in my view, deserves all of its rightfully earned praise. Easy 5 / 5.

I have to say, this album took me two listens to really appreciate. At first pass, I took it as a bit of a wall of sound. And in some respects, I think that is exactly the point of some of the production. However, digging a bit deeper, there is a lot of complexity in here and some really beautiful songs: Vapour Trail is an obvious standout for its open prettiness, but I also love the vacillation between pretty post-rock (a la Explosions in the Sky) guitar and wall of sound charges on display in Dreams Burn Down. Also love In a Different Place -- its in no rush and wraps around you like a warm blanket. For a shoegaze album, I really enjoyed this one and will be back again for more. Strong 4 / 5.

I've never directly listened to Fatboy Slim, but I've definitely heard this first song before. I think they used it in some video that we watched in my Media Literacy course in college. Felt like a poor match for the subject matter (a bit too epic), but on its own the song jams. Same can be said for The Rockafeller Skank. Such a damned catchy vocal hook -- I've definitely found myself singing it randomly. The dusty drums and production feel in a similar vein to RJD2, but a bit more DnB forward. In Heaven is a wonky little rythmic hop. Easy to nod along to -- something about it makes me think this could translate easily to a Beastie Boys song. Gangster Trippin is a nice and soulful hip-hop flip that actually feels like a source of inspiration to some of the songs on the recent Danny Brown x Jpegmafia collaboration. Really dense and dusty with vocal sampling, and some references that I can trace back to Notorious B.I.G. (Gimme the Loot). I dig the deep bass and distorted electronic sounds at work on Kalifornia. I could vibe to this shit all day. Soul Surfing is part DnB and part soulful shuffle -- definitely an interesting mix. The bubbling electronic elements remind me of something else that I cannot seem to place. It has taken me literally 6 hours to listen to this album, so by no means is this a cohesively formed review. I will have to relisten tomorrow. The last 3 songs are fantastic. Praise You is the single everyone knows Fatboy Slim for. It stands alone here for its upright ambiance and actually sung vocal chorus. Love Island is kind of annoying, but something about it is infectious so I'm okay with it. And the album closes out with Acid 8000 a completely stanky electronic jam that feels like it was made for basement raves and fistfuls of E. For some reason hearing it conjures an image of a long montage of fighting vampires (a la the movie Blade). Without a relisten, this is easily in 4 territory. The sounds here are distinctly late 90s, but they have aged well. The production is clean and the sounds are well-varied over the hour+ playtime. I enjoyed the hits in isolation, but found the off-hit tracks to hold plenty of weight. Standouts were Acid 8000, The Rockafeller Skank, Kalifornia, Gangster Trippin', and Praise You.

I'm actually surprised that, given the contemporary nature of this album, it hasn't crossed into my orbit before this moment. I am enjoying a lot that is here. His voice (in my ear) is like a love child between Damon Albarn and Thom Yorke, mixed with something a bit more full bodied. Really beautiful production throughout making use of gospel-like elements and instrumental layering that make a beautiful platform for his voice to shine. I've Been Dazed is a really spread out and warm song. Love the gospel support and layering in general. The electronic + strings at the back half makes this feel so warm and fuzzy. Piano Joint is beautiful and soulful. Love everything about it. Living in Denial gives a callback to 70s disco/soul (probably muffing those genres, but whatever). Actually on a second listen, I realize I get strong BADBADNOTGOOD vibes from the composition of that song.

One of the easiest 5's I'll give on this list. I agree this is one of the best solo Wu records, but it is in great company among Ghostface KIillah's Supreme Clientele and ODB's Return to the 36 Chambers. This album is impeccably produced with a continuation of the ninja warrior motif taking the focus of a number of references (both background samples and intro/outro cuts). Though there are a number of quality Wu posse cuts scattered throughout, GZA carries the brunt of the work here putting his wordplay on full display. His flow is buttery and fluid as it wraps around soulful bass and punchy drums. Standouts being Living In the World Today, Shadowboxin', and Liquid Swords.

Smashing Pumpkins are one of those bands that have received commercial and critical appeal, and yet I have never given them the time of day. Tonight, Tonight is a classic hit of theirs. Very pretty song. By comparison Jellybelly is a more "grungy" sounding song that feels like it was mixed into the form factor of a poker chip. Really wish it were opened up a bit more to let the guitar breath. Zero is one of my favorite of the Smashing Pumpkins songs that made it to the radio. I used to think the guitar riff was sick. I used to, and I still do too. Bullet With Butterfly Wings is a catchy goddamned song. I really do wish this mixing felt less compressed -- maybe that's all purposeful, but I can't shake the feeling that this would scream if unleashed. Love An Ode To No One. Wall of sound riff propelling endlessly forward with some controlled stop-start play in the middle. Galapagos is a really pretty song. Love the twinkling guitar, and while I always found his voice strange as a kid, I really appreciate its oddness here (and across the record for that matter). So very distinct and unconventional, but able to run the spectrum from rage-filled to tenderness. Jesus this is a long album. I thought it was an extended edition until I looked up the Wiki page. I'm not hating it, but my god this is a lot of music. X.Y.U. is a fucking dirty jam. I was loving the sludginess of it. Such an odd juxtaposition followed up by We Only Come Out at Night. Such a long album, but I enjoyed everything it contained to a greater or lesser degree. This only solidifies what I already knew: I ought to go down the Smashing Pumpkins rabbit hole. On the first half I think I was listening with too low of volume and losing too much in the condensed mix. Really nice album with a lot to like. This is a strong 4 for me.

I'm with Kev here on the 80s pop R&B vibe just not being what I'm into. Two songs in, I certainly can appreciate the quality of her voice and the backing vocals, but the instrumentals are drowning in cheese. Something about the over-produced silky bass mixed with saxophone and artificial keys just reminds me of growing up shopping with my mom at a department store (lol just re-read Kev's review; funny we are in the same spot mentally here). Instrumentals for Hang On to Your Love have an undeniable groove about them. This taps a similar energy to Beat It, but like more relaxed. Love the meaty bass here with the scratchy guitar licks. Sally is another standout to me. Describes Sally (if genius is to be trusted a personification for Salvation Army?) as someone who was there for a number of people fallen on hard times -- taking in people swallowed up by the streets in one way or another. This album isn't something I'll be back to anytime soon, but I'm actually glad to have listened to it. Sure, the instrumentals have plenty of cheese, but the production is clean and there were several points that actually pulled me in. This is a solid 3 for me.

What is this, the fourth Steely Dan (or member) album on this list? Not complaining, but I am surprised to see them so well-represented here. Do It Again is a classic rock genre staple. Vocals are pretty floating above the key and percussion lead rhythm. Love this song. Dirty Work is another radio single. This sheds some of the *mystery* of Do It Again in favor of a more straightforward pop rock single. Solid song in its own right. Guitar work in Kings almost appears to pay some homage to The Dead with a reminiscent tone and minor breakdown that feels like something I've heard in countless jams. Only A Fool Would Say That starts on a bright jazzy guitar tone, with an underlying percussion rhythm that reminds of Do It Again. I'm a sucker for this guitar tone; just lends itself so nicely to they type of noodling on display here. Reelin' In The Years sheds all of the crispness of the former song's guitar for a distorted and absolutely classic guitar riff. Easily among the greatest classic rock songs ever to be made. Chorus harmonization is classically 70s in tone, but the other vocal sections have such a unique gait about them. And just beautiful guitar work through the bridge. :chef_kiss: Another thoroughly enjoyable album from Steely Dan. This one feels a lot more pop-influenced (or pop-forward) than the others thus far. Standouts: Do It Again, Kings, Reelin' In The Years, Only A Fool Would Say That, and Fire In the Hole. Really love the vocal harmonization and guitar throughout. High 4.

Never heard of these guys before, but three songs in and this is awesome. The mixing is shit, but the raw energy and bass shine through. Land of Treason is a real standout on the bassline alone. Gonna have to listen to this again tomorrow. A number of songs run together in their similarity (as is typical with punk) but there is enough variation to keep my ear interested. The Other Newest One in particular stands out so far. There is an almost Police-like vibe to the bassline and overall composition. Although I wasn't completely engaged due to work, I really enjoyed this album and will definitely be back again. Lot of energy and quality musicianship on display. I understand production quality is historically not great for punk (especially hardcore). Wish it were a bit clearer in a number of cases, but I don't think it takes away too significantly -- they put the bass forward as it should be. This is a soft 4 for me.

Well this is a weird looking album on the face of it. 4 songs spanning 40 minutes with two longer songs making up the bulk of its weight. Cool in the Pool puts this right out there with an eclectic stomp filled with all sorts of quirky instrumental intrusions (trumpet, accordion, etc.) and unique vocals. Brings the likes of Zappa and Talking Heads to mind. The former for the quirkiness and the latter for the synth heavy funky rhythms. Loving Persian Love out of the gate. Hollywood Symphony is a spacey, drawn out, proggy affair. Not by any means my most careful listen, but I was really into this album throughout. Quirky, for sure, but in a great way. This is a (at times goofy) prog/jazz/electronic-rock album that has some really awesome spacious/psych elements. A lot to enjoy here with the highlights for me residing in the back half with Persian Love and Hollywood Symphony. Love the crisp production and guitar tone that he is able to evoke. At times it felt Garcia-esq in the best possible ways. This is a very strong 4 lacking the (as Jackson would say) chutzpah to earn a 5.

Listened to this album while driving around, so I'm mostly going from memory and gut feel here. Things that stood out to me: 1. This band seems like they are trying to be a lot of things. Jazz rock seems like an okay classification, but they also dip well into Blues Rock, psychedelia, and jam. 2. The prominence of horns in their sound is both a boon and a burden to me. I like it in some songs, but find it a bit much in others -- gives an almost big band swell to their compositions. 3. For me, the drums bring the soul to a lot of these songs. Love the variation of fills and the groove that they engender. Poem 58 is the most rewarding song on here IMO. Starts as a lengthy blues-rock instrumental jam sans horns, and midway through the song flips inwardly introduces horns are rips all the way through to conclusion. Also love Beginnings and the jammy elements of Introduction. South California Purples was also pretty tight playing into more of the blues-rock sound. Some of this felt a bit bloated, especially Free Form Guitar. I'm all for instrumentals and guitar noodling, but this felt completely unnecessary and like it should have been left on the stage at Woodstock. I was grooving to a lot of this and there were some really sweet moments, but overall this runs pretty mid for me. 3/5

Another quick 5. This is about as good as it gets for formative hip-hop. Intro track is a bit goofy, but from that point on it is hit after hit with little down time; just straight flow from start to finish with classic instrumentals. What I love about Biggie is that his lyrics are so smooth that you can't help but sing along. And yet, there are a lot of technical elements on display -- he just makes it seem so natural. On top of that, he wrote great songs with solid hooks and had amazing production / beat selection behind him. Things Done Changed: going over how much things have changed in his world since he was a kid and how out of control the environment has gotten. Gimme the Loot: a story about Biggie and his alter-ego making a living by robbing the well-off. Warning: a story about others seeking him out after he has made it. Oddly, I feel like I've never heard this version of One More Chance. Not sure how that is possible other than the rip I had from pre-Spotify days didn't have the right track in there.

Strong out of the gate with Wild Flower. Peace Dog is a bit of a louder, more straight-forward rock song. Something about it hits really right for me -- could be the punchiness of the drum fills. The intro guitar riff sounds super familiar on Bad Fun. Took me a minute, but I was able to place it: it sounds very similar to Superunknown by Soundgarden, but is slightly different. Can't say I loved the Born to Be Wild cover. They made it their own, but I prefer the original. Memphis Hip Shake was a fun one. Really enjoyed the sway to the song; guitar reminded me a bit of Billy Squire for some reason. I'm glad for having listened to this one. I don't think I'll go back any time soon, but I really did enjoy this dip into 80s metal this morning. Solid drum and guitar work throughout and very crisp production. This sits somewhere around a high 3 for me. Plenty to enjoy with only a few standout moments.

Never really bought into The Black Keys hypetrain. I think they are fine enough, but I have never found their music all that compelling. That said, I understand the appeal; they tap a certain chord just right in the indie resurrection of a bluesy sound. Like a much cleaned up White Stripes. They certainly have a distinctive sound -- I can best describe it as "dusty" with effect-laden vocals often ghosting about the instrumentals. Howlin' for You is a fine enough song that always makes me think of Rock and Roll Pt II. I also enjoy the instrumental jam Black Mud. It is a bit rough around the edges, giving an improvised atmosphere to it all, but the groove is undeniable. Mostly had this on in the background this Monday morning. I really didn't mind it at all, but there were very few points that really captured my attention. I like how cohesive this all feels from a production standpoint and did like the little bits of psych influence. While the songs themselves are tight, I felt like nearly an hour straight grew a little tiring. To my ears this is a solid enough high 3.

Love the loopy background guitar in Loodo. Djam Leelii is a really awesome, spacious jam. Wide open atmosphere, but the vocal layering gave me shivers at the 3 minute mark, and the guitars have such nice texture to them. The weird thing is that I have certainly heard Daande Lenol somewhere before; I think probably in a Nicolas Jaar DJ mix. Loved it in the original context and am loving it even more now. This is an album for which I don't have too many specific words. But I absolutely loved it start to finish. I was hesitant at first, but the production is so beautiful throughout and I found several of the songs to be transformative in quality. In particular, Daande Lenol is a standout to me. I love how the plucked guitar interleaves with the bell rhythms in a spaced out atmosphere. This was quite different from where I usually spend my time, and I'm glad for the experience. I'll listen again in the morning, but right now it sits at a high 4 for me.

Only exposure to Nightmares on Wax was a Boiler Room set that a friend showed me eons ago in grad school. I remember enjoying it fine enough at the time, but studio vs. live DJ'ing are (often) two different arts. Album opens on a laid-back jazzy R&B tone with some noodling synth keys punctuated by some dusty snare, bells, and organ tones. I've definitely heard this sampled in other mixes before. Flips into a much moodier atmosphere on Dreddoverboard. Some plucked electronic key sounds sprinkle above a burbling bassline, along with a repeated vocal sample some horns and cheap snappy snare fills. This has just been filling the background space since I last focused. I will say that, although I enjoy downtempo of this nature, I rarely find it to be notable. I guess to a certain extent that is the point of the genre; when done well it is more about the atmosphere than anything else, but its hard to really distinguish. Yeah, honestly, this album is far longer than it has any right being. I was into it for about 3 tracks and then lost focus completely. I enjoy it for background working music, but would hardly consider it "great" standing on its own. This borders a 2-3 in my mind. Nudging to the right, because while it wasn't particularly engaging, it did set a productive mood.

I've heard countless covers of El Paso by the Grateful Dead. Always loved it in their live show, and come to find they really didn't stray far from the source material. Had this on in the background for the most part. While it isn't exactly what I go in for, I really did enjoy this detour into country western territory. For what it is, this was very enjoyable. His voice is great and storytelling was very solid. High 3 for me.

I always knew Van Halen's version of Just A Gigolo was a cover, but never heard this original. Catchy damned song with a nice swing atmosphere. Did not know Jump, Jive, An' Wail was a cover... This is a weird one that I know from an old Brian Setzer album that my mom used to play all the time. His cover was pretty true to form, but I actually far prefer the aura of this original. Not something I would play in the foreground (unless I really wanted to tap into an early Vegas vibe) but I appreciated it nonetheless. The songs had nice energy with strong vocals, some great sax work (Buona Sera), some twinkling keys (Night Train), and some catchy tunes (Just A Gigolo and Jump, Jive, An' Wail). For what it is, I think it was more up than down so I'll nudge it to a soft 4.

First two songs are okay, but something about them rub me wrong and I can't put a finger directly on it. Animal Zoo is catchy, but it sort of feels like a balls-less CCR song. I actually really like Love Has Found a Way in all of its quirkiness. The vocals are goofy, but the production is really interesting and it all sort of just works together. Some spaciness in the back half between Space Child and When I Touch You. In general, I found this album to be fine, but not something I would go out of my way for. Low 3 for me.

Out of the gate, I'm getting some lo-fi Alex G shoegazey vibes. I get the sadboi aesthetic of the whole project and enjoy the atmosphere for the most part. There aren't a ton of songs that stick with me after a single play through. Cupids Trick is a more pop-forward song that works really well. I like the minorness of the progression that gives it an off-balance, almost grungy feel. Listened back through and while there isn't a ton that overtly stands out to me, I enjoy the overall vibe at work and feel like a lot of the songs are subtly interesting. Soft 4 or strong 3, depending on my mood.

I have never understood the broad appeal for Meat Loaf. Perhaps it is because his music taps a similar campy vein to what I understand to be present in Rocky Horror Picture Show. In any case, this is an album I have never had any intention of listening to, yet here we are... Four songs in this is everything that I expected. Super flamboyant / campy production and compositions that feel overstuffed and theatrical at their core. There is some fine instrumental work in here to be sure, but I am not into the aesthetic. This one gets 2 stars only because Paradise by the Dashboard Light is a guilty pleasure of mine.

Just emerging from a deep-dive into Pantera's discography, this is an extreme change of pace. Angles of Ashes is pretty with the sweeping strings and grand vocals; however, I find myself pretty bored. I think that's actually probably a decent enough summation of this record. The instrumentals are objectively pretty, but there is something about the vocals that runs against my taste. Feels preachy / pretentious in a way that only folk music can. The Old Man's Back Again is pretty cool. Very different in style to the rest of the album so far. Love the bouncy bass-line and drum shuffle -- very groovy. I also really enjoyed Rhymes of Goodbye as a folk-country closer. Album was down and up for me. I largely enjoyed the instrumentals and found a couple of the songs to be worthy of focus. Otherwise, I wasn't huge on the aesthetics at play. Nice clean production though, so credit where its due. This sits middle of the pack for me. 3/5

Looks to be some back to back 60s folk at play. Man, maybe I'm just not in the right mood for this, but this is just putting me straight to sleep. Some of it borders on interesting (e.g., Needle of Death) but generally I just don't care. 2 / 5.

Karma Chameleon. What a goofy song. If I wanted to encapsulate everything about the pop 80s sound that I dislike, I'd be hard pressed to find a better candidate. Cheesy ass backing synths, overly bright and forward vocal harmonization, fucking harmonica, fake as hell bass interludes, and strange tempo breakdowns. As much as I don't like these things, it is a goddamned catchy chorus. Gotta say, while I hate cheesy synth horns, It's A Miracle is a damned fun song. The drums in particular provide a great element to root into. Also the bass (while cheesy in tone) is pretty funky in its progression. I have no business enjoying this as much as I am. For all the 80s blunders that are on here in the mix, a lot of the songs are catchy and there are a few (mostly near the front end) that were downright entertaining. I would say that this is a low 3 with little actual replay potential for me.

One minute in, I kind of hate this. It feels a bit like G Love, but way more corny. Tried my way through Passive / Aggressive, but quickly noped out. Skipped forward to the other "single," Scooby Snacks -- this is a touch better with the dubbed out vibe, but only margnially. I'm not putting another 40 minutes into this one. 1 / 5 for me.

Never listened to Mike Ladd before, but I've heard him name-dropped a number of times by Milo/R.A.P. Ferreira. I will say, just three songs in, this album certainly lives true to its name as the beats and effects truly evoke a dystopian "afterfuture" vibe. Love the beat on Airwave Hysteria with the Indian sample injection alongside a super-dystopian electronic drone. Early standout for sure. Planet 10 is equally remarkable for its production. Tripped out, lazy beat with sprinkling electro steel drums and vocals laced in underwater effects make for a really pretty blissful vibe. Takes More Than 41 pivots from that vibe to a blown out boom-bap. Still tranquil, but dusty in place of clear. If I didn't know otherwise, I would guess this to be a Gorillaz instrumental. Beats on here are wild and wonderful; Bladerunners is built around a jazzy bassline and brings serviceable features from all members of Company Flow (featuring most notably El-P). The Animist is another standout, if nothing else for its difference in vocal form. This one finds Mike Ladd sing-rapping a chorus. Really enjoy the crunchy synthline that comes in towards the end. Love the early 2000s underground hip-hop scene and this is no exception. The experimental electronic beats are fantastic, as is the overall aura of the album. This sits at a 4 in my mind. There are plenty of high points, but the album does get a little soft after the midpoint.

I can get down some Yeah Yeah Yeahs. One of those "indie" bands that have a ton of depth and have been able to maintain relevancy through their entire career. This album features a deliberately crass mixing. Vocals could be grating to some, but I think that's sort of the point. A lot of energetic garage-rock bangers on here: Date With the Night, Tick, Black Tongue, Cold Light... Maps is a classic that makes me think of some good times playing Rock Band. Y Control is equally strong oscillating between some power riff sections and needly guitar. Album closes on two toned down numbers. Poor Song, in particular being a laid-back, vocal forward jam that sounds like it was lazily recorded impromptu. Love a lot about this album and this period of indie music in general -- high 4 for me.

Green Onions has to be one of the grooviest organ lines of all time. Ripper start to finish that oozes cool confidence. Hearing "I Got a Woman" my brain was so confused. I started to imagine Kanye West's gold digger and didn't place this at first as a Ray Charles cover given how it is arranged. Stranger on the Shore is another standout to me. Languid bluesy, jazz song that is extremely easy going. I will say that, while I enjoy some strong organ work with jamming drum and bass, I think I would have preferred to hear more original material in the vein of Green Onions rather than a litany of covers. Certain areas really stood out (Stranger on the Shore and Lonely Avenue) but a lot of the rest sort of fell to the background. For me this falls into a grey area; high 2 to low 3. Nudging on the strength of the title track.

Never listened to this whole album, but FIFA introduced me to Fit but You Know it when I was a kid, and I absolutely loved it. Interesting that this is billed as a "rap opera" on Wikipedia. The only other such I can think of is Deltron 3030 (which is fantastic). Distinctly white, British guy rap out of the gate, complete with awkward cadence and heavy accent. Instrumentals are varied, but fairly minimal with electronic / grime leanings. Once you get past the crass delivery, the songs themselves are quite interesting and the narrative start to finish is cohesive and, in a sense, relatable. This is anything but braggadocios as the protagonist goes on a wild ride trying to get his grand back. Could Well Be In is surprisingly tender with solid sung sections. Blinded by the Lights is a standout. Electronic backing beat is minimal, but effective at creating a drugged out vibe that complement the lyrical tale of taking ecstasy in the club. Listened to this twice, and I like it more than I don't. Sits somewhere around a high 3 low 4 for me. Hedging on the lower side because I don't see myself going back through this over and over.

Really enjoying the composition of Eid Ma Clack Shaw. The strings were unexpected, but add a ton of depth to his fairly non-dynamic (verging on deadpan) delivery. I found myself bouncing along. Invocation of Ratiocination is eerie as shit -- almost like a Boards of Canada song. I found this to be a fairly light and sleepy album. I enjoyed it for the most part, but I do have a hard time with the vocals. For some reason deep non-dynamic droning vocals just turn me off; it is for this same reason that I cannot get into a number of other bands. This falls pretty middle of the pack for me.

My sister was the britpop fan in our house growing up, so I've seen this album countless times, but have never actually listened to it. Opens with super distorted Hello. Fine enough song that encapsulates that britpop sound. Wonderwall is a classic to the point of parody, but honestly it is a damned catchy song that deserves all the attention it got. Don't Look Back In Anger is a worthy follow-up on the album. It has always felt like a Beatles song in form -- catchy, eminently singable chorus with solid if a bit muddled instrumentals. Some Might Say has a bit of a wall of sound thing going for it due to the distortion. I like the song, but can't help but feel I'd like it more if it were a bit crisper. All around, fine album. Doesn't get me too excited, but doesn't really dissapoint me either. 3 / 5

All y'all not giving this a 5 are the real kooks. This is some peak Bowie, elevated among an already great discography. Not a single weak point on here, and so many moments to savor individually. Album opens on an absolute classic, Changes. A catchy AF ode to the inescapable changes that time renders across us all. This bleeds over into the piano-led melody of Oh! You Pretty Things. Love the off-kilter sway of the chorus here. Built for shouting along to. Life on Mars? is up there with the best songs ever written IMO. And I love that Kooks is a song to his newly born son. Andy Warhol is a kooky one at the outset, but develops into a driven acoustic jam that, interestingly, Metallica interpolated a riff from into Master of Puppets. Queen Bitch is another energetic jam that taps a similar spirit to Suffragette City. I've listened to this album countless times and never tire of it.

Absolutely love the acid-jazz atmosphere on Samba Da Bencao. I've never felt this relaxed in my life. Bananeira is a jam. Loving the flow. Mostly had this in the background, but it had a nice easiness about it that I loved for this dreary Monday morning. 4 / 5.

Actually played this one for the kids the other day. I feel like this is the quintessential Flaming Lips album. I'm not a huge FL guy tbh, but I always appreciate their music when it is on. This album in particular has a great flow to it and the classics Yoshimi Battles the Pink Robot, Pt 1 and Do You Realize. All around solid stuff. Low 4 in my book.

I absolutely adore Hotel Room and how it taps into an early 60s crooned ballad format. So pretty. I feel a similar way about The Ocean. The orchestral flourishes are really nice and make a very pretty atmosphere. All around this reminds me a bit of Father John Misty in the prettiness of it all. I think there are some really high points, but I think a lot of this falls into a space where I enjoy it, but wouldn't choose it of my own right very often. A pretty and enjoyable album to be sure, so I'll give it a 4 / 5, but I doubt I'll be back.

I'll preface by saying that I'm not huge of Rod Stewart in general. The breakdown on Let Me Love You sounds like a far less punchy version of Lemon Song by Led Zeppelin (which came out a year later). High quality blues rock that could benefit from some better mixing. Morning Dew, I know mainly from the Grateful Dead live rendition. I far prefer Dead's spaced out, tender version to this -- mainly because I find Stewart's vocals to be grating. You Shook Me is another cover where I prefer another version (probably because I heard it first). This is fine, but Zeppelin's is more entertaining to my ear. This is fine enough blues rock through and through. The guitar work certainly shines above all else here (particularly on the instrumentals). Wish I enjoyed Stewart more, but alas this is a weak 3 for me.

Been a while since I've heard this one. Opens strong with Roadrunner, which straddles some boundary between pop, punk, and psychadelia. The last part I attribute to the strong presence of organ, which gives great service. All around jam. I love the whole concept of Pablo Picasso, built on this mythology that Picasso was irresistible and therefore was never called an asshole for trying to pick up women. Love the dryness of this song and the jammy nature of the instrumentals. She Cracked is a jam as well. I found myself drumming along for the entire song. Rest of the album jams as well, but I had it in the background. All around solid album and a rare one where I didn't even notice when it bled into the extended tracks. If I could give half stars, this is a perfect 4.5. Not enough gusto to give it a perfect 5, so I'll settle for a 4.

Intro track is really unsettling for some reason. The background stuff gives me the creeps. Turns over into a pretty standard sounding post-punk song, Play for Today. I do love the post-punk sound with the clean plucked bass, punchy snare, and layered guitar. Three is eerie and simple as well, but I love it. Feels ahead of its time. A lot of the rest kind of fell into the background, but I enjoyed the atmosphere of the whole thing. This is the third 4 I've given to the Cure.. I guess that makes me a fan?

This is quirky out of the gate. Sea Song taps into some more "proggy" influences, especially toward the back half with the wandering synth lines that remind of ELP. I'm enjoying Little Red Riding Hood a lot -- the wandering trumpet work reminds me vaguely of Cuong Vu [https://cuongvu.bandcamp.com/album/its-mostly-residual]. Song has a disorienting atmosphere. Partly owing to the buried chaos of the trumpet, but amplified by the reverse looping and inverted vocal sections. This is an absolute trip. I enjoyed this one. Don't have much to say other than that. This is a weakish 4 for me.

Had this on while cutting the grass. Was some really nice music for that venture -- bright and upbeat. I will say that a lot of it sort of ran together for me though. High 3 / 5.

Man had a hell of a voice and clearly knew how to work his audience (as demonstrated both in the banter and his outright catering of a song to their plights). I wouldn't have wanted to be there, but I am glad they had some microphones in the room to capture this performance. I wonder what the most-played prison is? I know that Metallica played San Quentin when recording for St. Anger as well (and QOTSA apparently as well) A Boy Named Sue is a pretty awesome song. Lyrics are fantastic, as is the little drum + bass shuffle with guitar noodling. (There'll Be) Peace in the Valley is a toned down blues song -- I've got a soft spot for these types of songs, developed from listening to a lot of Dead. Solid enough 4 / 5 for me.

Ya know, I find that I love me some good fiddle/viola work on a record. This is no exception. Reynardine is at once spacious and epic. Feels ancient and really well done in this setting. The cadence on Matty Groves feels so familiar; perhaps it is just a common rhythm, but I swear this is identical in form to Sublime's cover of We're Only Gonna Die for Our Arrogance. Always enjoyed that song, and I dig this one as well. Wild, I recognize Crazy Man Michael from a Pretty Lights song I used to listen to back in college. Did not expect that. I'll be honest, I had to motivate myself to take this one on. 60s folk rock is something that does not excite me on the face of it. That said, I am glad that I overcame that prejudice because this album is fantastic. BEAUTIFUL production that gives lovely depth to the songs, with several elements that feel far ahead of their time (looking at the dripped out guitar tone on Crazy Man Michael), and a fantastic singer. Also, as I mentioned earlier, I have a soft spot for some solid viola/fiddle and this had plenty of that. This one won me over. High 4

Wow, I had no idea Not Fade Away was not a GD original. Just as much a jam here as it is in their rendition. Recording has a weird quality about it with the layered vocal support, but I dig it. Guitar tone is fantastic. At 26 minutes, this album rips right by. Honestly for good old Rock & Roll this is as good as it gets for me. Some good clean white-bread jams with beautiful harmonization, solid/clean production. Lots of songs about various stages & pursuits of love perfect for eating a burger and milkshake to. 4 / 5.

Ya know, I really don't care for Adele in a general sense. I hear her music and I can respect the talent, but generally speaking something about the whole package has turned me off. That said, I'm now 3/4 of the way through this album and I couldn't tell you where this feeling originates. As I listen straight through, I find myself enjoying song after song. They are at once catchy AF, soulful, and packed full of amazing vocal performances. And yet, even though I enjoyed this album, I have zero desire to dig further into her discography. I'm not sure what that says about me. This is a strong 4 / 5.

Album cover is fantastic. Unfortunately, the music doesn't do much to get me going. It is fine enough pop-punk, but I don't really like pop-punk. It has always seemed to me a disingenuous fusion of genres. There were a few points that stood out, but general feel is that I would have rather spent my time elsewhere. Low 3 for me.

This isn't something I typically seek out, but I'm two listens back to back on this one already and really enjoying the vibe. There is some 80s cheese, for sure (A Little Knowledge), but there are a lot of great upbeat synth-pop jams (Wood Beez, Absolute, Don't Work That Hard). Some of this feels similar to Prince in character, but less overtly sexual and generally cleaner. Plenty of lovely 80s bass, synth tones, and sex-guitar throughout with super clean production. Makes for some glittery music that feels perfectly suited to soundtrack montages of consumer culture. This one surprised and wooed me -- high 4 / 5.

What's Going On is a hell of a groovy jam. Beautifully buttery vocals over a cheerful bouncing melody, speaking to the political unrest of the 60s/70s. Interesting that they mixed in crowd vocals through a lot of the song -- gives it a really interesting atmosphere. Really love how this album just bleeds together as if it is one continuous track. I couldn't give it too much dedicated focus on the first listen as I'm heads down with work, but I was grooving along all the way through. Beautiful vocals and lived in, vibrant instrumentals. Mercy Mercy Me and Inner City Blues were two of my favorites that I was able to separate out. Otherwise, there are no misses here. This is pure magic. 5 / 5

Enjoy the opener with references to "I Can't Help Falling In Love." Kind of song that builds slow and wraps around you with its mass. Distorted vocals and beeps give a (true to title) outer space vibe. Come Together is more straightforward brit rock. Feels similar to The Verve. I kind of spaced out for the next few tracks. Generally nice sounding production, but I keep going in and out of focus. Stay with Me has a nice calm psychedelic feel about it with the layered electronic effects. All said, this is a fine album, but way too long for my liking. Sonically, there is a lot to love. The layering, mixing, and experimentation with sounds and effects are wonderful. The vocals play great complement to the atmosphere of the songs. My main gripe is that I listened to this 3 times, and while there were several high points were I was really grooving, the rest sort of just mushed into the background and I kept finding myself wanting it to be the last song. So for that I give this a confused 3 / 5.

At the time of their greatest popularity, I resisted Coldplay. At the time I claimed a distaste for their vocal style, but now as I look back I wonder if the explanation might have been much simpler: my sister loved them. I'll attempt to shrug those long ago born prejudices as I launch into this. Album opens on a super laid back, Don't Panic. Song doesn't really do too much, but is clean, short, and sweet. Shiver is mixed in a deliberately muddy way and uses a guitar tone that evoke a sort of "beach-rock" vibe. Honestly, this is a pretty sweet song -- the guitar work is really nice and bright. Sparks -> Trouble is a pretty solid run of hit singles. Yellow, obviously being paramount among them all. I love the piano melody on Trouble. Aspects of the instrumentals on display in High Speed make me think of straigh-n-narrow Radiohead. Album closes on a bluesy Everything's Not Lost. Minor vocals, but the guitar tone feels like it would demand full stage lights for a live show -- really nice way to wrap this up. This is a very solid album. Still not entirely my cup of tea (there is something in the vocals that I can't get down with -- they are good, but feel lazy in a sort of way that I understand but cannot articulate), but credit where it is due. Some really stellar hits here and the stuff off of the beaten track is rewarding as well. Mid-high 4.

In an objective world, this is probably a 3 leaning 4 for the clean production and solid delivery around the various "covers." However, for my personal tastes this is a high 2 at best. Just really did not connect with much on here.

Only Love Can Break Your Heart reminds me of something that I cannot put my finger on. Downtempo, dusty electro-pop built around a wandering piano melody -- feels distinctly 90s and I dig it. Did not connect that this is a cover of a Neil Young song... Love the sample looping around which Wilson is built. Makes for a surreal atmosphere with the fuzzy electronic "presence" and overlaid echo effects. The vocal effects and electronic style on Girl VII reminds me a lot of Park Hye Jin's early work fused with Peggy Gou. Stoned to Say the Least is a straight up groove. Cyclical bassline with standard high-hat propulsion and some synth plonk. I have a soft spot for trip hop and early 90s electronic in general, and this album has plenty along those lines to please. This was a pleasant surprise. Strong 4 / 5.

Ya know, this is some good old space-age electronic that I can get down with. Crazy that this came out in 76; the synth-wave tone that is on display here (prominently in the driving Pt 4) I tend to associate with the 80s. The synth tones and style throughout remind me of a random record I picked up from KaChunk a while back by a band called Mong Tong (https://open.spotify.com/album/0iz5iVfY8aQiVDY6k3eefT?si=mHowU0TvQoGx39c9lkabUA). Mong Tong is quite a bit more psychedelic in sound, but there is some common element between their sound and that on display here. This was a really pleasant and expansive electronic record. The "parts" separate distinct compositions that really otherwise feel like a natural continuation of a single narrative. I would say this is low 4 territory for me.

Generally speaking glam rock really isn't my speed... Do the Strand is a fun way to start things off -- certainly some interesting instrumentation here, but something in it rubs me wrong. Perhaps that its overstuffed? Beauty Queen is a relaxed jam. Love the layering at work. In Every Dream Home A Heartache is both a head-scratching title and a fantastic song. Was focused on other things largely through the last half, but this was by far my favorite of the Roxy Music albums on this list so far. Found myself jamming along a number of times and think this has higher replayability than the others. Solid 4 / 5.

I know people love D'Angelo -- particularly his album Voodoo. I haven't really given him a chance. Love the opening title track. Beautiful, layering of soulful bass, keys, and vocals that you could practically slice a knife into. His voice is silky and well supported here. Alright borrows a beat from trip-hop origins -- dusty, quantized snares contrast with the cleanness of his vocals. This is the kind of song that doesn't really go anywhere fast, but you can easily sit back into and groove. I dig it. Three tracks in and I am most taken by the production quality on display. The layering is beautiful and a treat through quality headphones. Also three tracks in, I can see this album running together before long as this seems to keep going back to a groovy, soulful mid-tempo R&B. Man I am a sucker for that clean jazzy electric guitar tone that is mixed into the back half of Me and Those Dreamin' Eyes. Drop into Shit, Damn, Motherfucker was surprisingly abrupt -- this one continues the jazzy atmosphere, but in a more bluesy vein with wide-open organs and a sleek bassline carrying the whole thing forward. This is quite a different song from the preceding, talking about finding his wife and best friend getting it on and killing them both. Lyrics of disbelief at the back half (why are you bleeding so much, why am I in handcuffs). The background bass plucking in Lady reminds me a lot of a Thundercat song whose name I can't think of at the moment. This is a tricky one for me. I think this played a little longer than I would have preferred, but found a lot of the early songs (particularly the production) to be really strong. This had initial 4 energy, but it faded out for my taste. At the end I'm left with somewhere between a high 3 and a low 4 after a single playthrough.

Weird how this "Deluxe Edition" actually prefixed and appended to the original, which was a scant 22 minutes long. Basing the review from that original six song cut starting at "Need." This was a very compact and raw album, and I thoroughly enjoyed it for some late in the workday energy. The whole album has a garage tone with lo-fi production that is guitar forward, drums in the rear, and plenty of crusty instrumental excursions. The vocals were off-balance through the whole thing, and are certain to be divisive. I didn't love them, but I also didn't mind so much (outside of the off key harmonization on Need which was a bit much). Favorites in here were the sprawling Mudride (great song name), energetic In 'n' Out of Grace, and the punky If I Think. Overall solid 4 / 5 for me. I enjoy the broader Deluxe Edition, but find the original to be a short and sweet introduction to the band's sound.

Some one arm era Def Leppard. Never been a huge fan of this band; we'll see how a whole album holds up. Rocket is a pretty quintessential 80s glam rock song. I actually love the vocal melody and can imagine this played in a smoke-filled club with bright lights flashing and tank-tops aplenty. Wow this album is extremely front loaded. Tracks 2-5 all got significant airplay. And honestly, while I'm not huge on the Def Leppard sound in general, these hits are very solid. Back half kind of all runs together for me into a wall of screaming and bigger than life guitar. I feel like if this was severely trimmed it could slot in at a 4, but the overall impression I get is this thing is super bloated. In my eyes this is a soft 3 held up entirely by the hits that encapsulate a particular blown-out 80s rock sound.

Cult of Personality is a fantastic song and even better album opener. Iconic guitar riff and powerful solo. I Want to Know makes me think of Huey Lewis and the News for some reason. Plenty of 80s cheese on Open Letter, but that silky smooth bassline and distorted guitar are fantastic. Elements of it remind me of Umphrey's. Funny Vibe is a loose, seemingly improvisational jam. I dig all of the instrumentals on display and the somewhat punky atmosphere of it all. Memories Can't Wait is another ripper propelled by some excellent bass work. A bit moodier than other songs on here and a high water mark for me. I would say that this album is very eh for me. It has some really awesome highs, but the lows for me were really low and filled with cheese. Clearly talented instrumentally with great vocals, but several songs were actually sort of challenging to get through. 3 / 5

I absolutely love Transformer (the album he released just prior to this) but have never dug deeper into Lou Reed. Album opens in a hazy drunken state with some piano plinking with messy, overlaid vocal samples. The samples give way to a melancholy piano melody and Lou's typical deadpan delivery. Lady Day is a more boisterous tromp of a song that makes use of traditional folk elements (horns, woodwinds, organs). Production kind of sounds crappy tbh. This album is very very different from my memory of Transformer (will have to relisten) and almost isn't fair to compare. Whereas Transformer is a straightforward rock album, this is a cohesive opera telling the storyline of two drug addicted lovers. While both feature Reed's deadpan in full, this feels more "full" with all of the additional instrumental flourishes through the front half. I will say that comparatively, I like this album far less; there aren't as many individual songs to sink your teeth into. Also this is significantly bleaker in its tone and subject matter (drug addiction, children being taken away, suicide). The songwriting is solid, but in service to the progression of the central plot, and therefore are not as catchy in their individuality. I would say for the concept this scores high, but for musical enjoyment this is low in my regard. 3 at its best of days for me.

I haven't listened to enough Ray Charles to have an informed expectation; however, this was far from what I expected tonally. While book-ended by two upbeat swinging dance tracks (Bye Bye Love and Hey, Good Lookin'), the entire mid-section is comprised of more reserved tracks that pull from the country standard repertoire. Kind of interesting they made the decision to start and end in such a jarring way relative to the rest. In any case, this isn't a style of music I know a lot about. I find most entries to be enjoyable enough with a few exceptions that stood out for the better. The one track that stood out to me was Born To Lose. Just a fantastic and beautiful song that makes use of slow country caper with sweeping strings that buoy the whole arrangement. All around though I'd say this falls somewhere in the high 3 for me from a personal enjoyment level. Never something I would put on by choice, but also never something I would be mad about being made to listen to.

First listen was while cutting grass. I wouldn't recommend it for that application, but even still I appreciated aspects of the album. Second listen in a better setting, I am once again struck by the prettiness of track 3 Souvenir. I love the brightness of the synth with the ghostliness of the vocal harmonies. Like a love child between LCD Soundsystem's American Dream and Beach House. Sealand is an interesting juxtaposition to Souvenir. Where the later is bright and poppy, Sealand is moody and sluggish. Something about the instrumental progression actually reminds me a lot of the vocal progression on the sung sections of Eminem's Kim. I also swear I've heard the vocals on Georgia before, but I can't place them. This album surprised me. The cover and name are anything but inviting, but the music was bright and well-produced. In my opinion, the high points were back to back with Souvenir and Sealand. Both were fantastic for completely different reasons. Other songs on here were pretty and I appreciated their aura, but I did find myself losing focus. For that this falls somewhere between a 3 and a 4. Going to give this a weak 4 because Souvenir is one of the best songs I've heard in a while.

Hot on the frets out of the gate with Motherless Child. Fine enough, but doesn't really get me going. Give Me Strength brings things back to the ground with some crisp acoustic underpinned by droning organ work. Some fine blues work, but still nothing revolutionary. Ya know, I really struggle to care too much about Clapton. By all accounts he is a storied guitarist and has a ton of respect in the industry, but I just find his music to generally fall somewhere just above a resting heartbeat. Clearly he is talented, but this just doesn't do much to get me going. This is the softest of soft 3s for me.

Initial impressions were that the vocals suck. Two tracks in, I still don't love them, but they are growing on me -- reminds me of Violent Femmes. Production is very pretty; clean where it needs to be with amazing separation between elements. Loving the balance between punky vibes and beach rock guitar -- this is right up my alley. Jazzy breakdown on Breaking Down is fantastic -- love this song. A lot of this was in the background, but I was jamming along. This is somewhere between a high 3 and a low 4. Erring toward the latter because I think this has high repeated listen potential.

Every time I listen to Kraftwerk I get the audio equivalent to reading 1950s sci-fi. I know this was made earnestly, but I get the impression of parody. It constantly brings to mind visions of Knight Rider and Hasselhoff. The instrumentals are actually really dope at points (particularly the main melody underpinning Trans-Europe Express -> Abzug), but the chanted repeating vocals do something to undermine the whole experience with their uncanniness. In all honesty, if they were to cut the vocals I think this would edge towards a 4 for me. With their presence, I am a soft 3.

Top album/band name and album cover. I expect great things. I swear I've heard the melodies in Penguin Cafe Single before. Reminds me of the Beatles in some ways. Really enjoying Zopf: Milk. This is some enjoyably trippy shit. Hugebaby is wonderful. The minor progression + the screeching strings are ominous/unsettling and yet the song remains pretty. I really enjoyed this album after a single listen -- diving right back in. It never escalates too much, but makes for enjoyable and interesting background music. I am a simple man -- the sounds make my ear vibrate good. 4 / 5.

I have a healthy respect for The Roots as the pre-eminent live-band hip-hop act, but I have generally found their music to be hit or miss for me. Rock You starts us out with some boom-bap punchy aggressive energy -- quickly backed up by !!!!!!! a Beastie Boys esq hardcore interlude. Sacrifice bleeds naturally out of the previous track, but sheds all of the aggression in favor of an 808 and snare lead jam with Nelly Furtado featuring. This song is a jam. Beautiful production on display here. Rolling With Heat has a solid groove to it. Weird that Kwali isn't credited on Spotify given his prominent feature at the front end. Thought @ Work makes me think of early Wale and Go-go music with the rhythms at work. Water is an unexpectedly spacious song weighing in at over 10 minutes. Rhymes and Ammo is a late album standout. Love the flow and energy on this one. I've listened to this about 3 times now trying to figure out where it falls... On one hand it is enjoyable and varied enough to listen to 3 times. On the other, a lot of this kind of falls into a serviceable middle area, where the songs are solid, but don't fully elevate. I tend to prefer the jammier/crustier Roots songs (Essawhamah?, Pass the Popcorn) but this had some really solid points. All in, I'm a high 3 leaning 4 here.

I have listened to a lot of Blur, so I'm really confused how I missed this one. Four songs in this is a very different sounding Blur than I'm used to. Pressure on Julian is a jam that pulls punk/grunge influences. Love the bass-heaviness of it with the tempo manipulation at the end. I've definitely heard Chemical World somewhere before -- love the off balanceness of it. It reminds me a bit of some Gershwin compositions I've heard. No time for a detailed review, but I enjoyed this album quite a lot. As I said initially, this sounds very different than most of the Blur I've listened to. Easy 4 / 5 for me.

I've listened to Dubnobasswithmyheadman before, but it has been so long I forget what my impressions of it were. This album is from two years later. Immediately thrown into a stomping DnB track that gets your head and body moving. Layer upon layer being added to this through the first couple of minutes. So far, I'm all about it and only getting better through the 6 minute mark. Fantastic background music for writing code or studying, or for flailing your body around a murky basement club in a drug induced haze. Barnstyle / Slappys Curry is a very different song in tone. This one is almost refreshing in its clarity and brightness. Parts of it feel like taking off in an airplane and erupting through a ceiling of clouds. FFFFF Rowla starts out so benign, but just continues to pile on into a banger. Perhaps I'm simple minded, but this does it for me. Repetition of the vocal on Pearl's Girl reminds me a lot of a song off the Fatboy Slim album we reviewed a few weeks back. Song is a jam as well. I'm totally immersed at this point. Some interesting range shown through the back half between Stagger and Blueski. The first of which is an epic album conclusion and the latter which is mostly an experimentation in instrumental looping that feels much more organic than the rest of the album put together. This was a fantastic listen and I'll definitely be back. While I enjoyed the variation, this album did lose some steam at points. This is a very high 4 edging on 5 territory in my book.

Album is off to a really strong start with Drowned World / Substitute for Love. Not at all what I was expecting, in the best of ways. Similar can be said for Swim, which borrows a very 90s downtempo electronic beat effectively. I wasn't able to focus as much as I would have preferred, but did listen through twice. This is the first Madonna album I've ever listened to and was truly surprised by how much I enjoyed it. I liked the way that she embraced the 90s electronic and wrapped her voice around the instrumentals. All around solid and unexpectedly enjoyable. 4 / 5

Already wasn't looking forward to this one, and y'alls reviews aren't helping the matter. Welp, here we go... Amazing the band had any success given the frontman's voice. The Birmingham accent unto itself is pretty off-putting, but he doesn't do much to counteract it with talent. I guess it worked for the romp that was Come on Eileen, but it really doesn't translate well outside of that setting. Knowledge of Beauty is a high point on the album so far, but I can't shake the feeling that it is a poor mans rendition of Lou Reed's Satellite of Love. Followed up immediately by One of Those Things which basically is Warren Zevon's Warewolves of London in the backing. I'm really confused how they are getting away with these blatant rips? Apparently they admitted to stealing it and gave writing credits to Zevon. Lol, welp on that I'm pretty much out on this album. Not going to bother to finish it. An argument could be made for a 2 because the music isn't terrible; however, the blatant theft of other popular songs is a big turn off and the vocals don't do anything at all for me. Therefore, this earns a much coveted 1 from me.

I remember when this one came out, I was all over Lyrics and Man. This is some high quality grime. Album kicks off with a solid demonstration in typical "I'm the shit" bombast. Lead by a catchy beat that centers around a fuzzed out 808 bass line and some bright plinky keys. This bleeds over into Lyrics (one of my favorite on the album) which roots its eccentric instrumental around a pulsing bass warble. Love the flow here. Outro skits on Corn on the Curb and Crime Riddim are a bit much for my taste, but the songs themselves are cool. Particularly Crime Riddim, which has a nice bob to it. It Ain't Safe is the first thing that has the markings of a single. The instrumental taps something distinctly "old school" and the shouted vocal "chorus" is pretty weak, but Skepta's voice flows so nicely over the burble. Amazing how little time it takes to spot a Pharrell Williams beat. Sure, he is vocal sampled on Numbers, but I think even without it his fingerprints are all over it. The vocal aspect of the beat is kind of silly, but the bass has a really cool hop to it. Man is one of the coolest songs here IMO. Really interesting beat selection, with the unsettling back and force strings(?) overlaid with a pretty standard bass lines. All around solid grime album. It has some weak spots, and I'm not huge into the skit interludes, but the high points are high for me. Solid 4 / 5

Somebody to Love is an all time 60s anthem. Great jam -- love Grace Slick's vocals here. Really dig the laid back nature of Today -- the little clean guitar line makes me think of a Grateful Dead song that I cannot place at this moment (maybe Morning Dew?). I will never not love White Rabbit. Timeless, unsettling jam. Some really solid stuff here, but much of the middle wasn't terribly interesting. 3/5 for me

Three tracks in, I'm really not into this. Brit rock that sounds like less-good REM (who I already am not a big fan of). Oh wow, There She Goes... never knew who did that song. Really stands out immediately for its single quality. Can't really take this one seriously given how much it was used in 90s romcom montages. Alright, this one just doesn't do it for me. 2 / 5

Had this in the background for the first several tracks, but am really digging the mood. I enjoyed The World Hurricane a lot, as well as Dirty Trip. I've definitely heard Highschool Lover before -- really pretty stuff (as are the follow-on songs). Suicide Underground is a hell of a way to end the album. Spoken word presumably from the movie this is a soundtrack for. I enjoyed this one quite a bit more than average, but it lacked any really special punch to push it over the edge into "unforgettable" territory. The electro/synth-pop here is done very well with intermixed psychedelic elements, but is far from revolutionary. I can absolutely get down with it and will be back for more. Solid 4 / 5.

I'll have to come back for a closer listen, but in the background I really enjoyed this album. Crusty garage style production that matched the mood of the songs quite well. Across a short playtime they touch on a number of genres (blues rock, rockabilly, and some jammy atmospheres) and do good service to them all. I can see myself listening to this repeatedly. Felt like a number of songs were familiar to other artists, but unsure who came first. All in all a solid rock album 4 / 5

B-52's are one of those really quirky acts for which I struggle to understand how they attained popular success. Maybe the 70s/80s were just different, but the wonky vocals paired with surf-rock influences just don't seem to me to have the makings of mass appeal. In any case, four songs in I don't dislike it. Sure the vocals are weird, but the songs are tightly written. And the stand-out single "Rock Lobster" does nothing to shy away from the campiness. But what it lacks in traditional appeal it makes up for with a damned catchy bass riff and infectious yet silly chorus. I'd say this was fine, but I doubt I'll be back. Straddles somewhere on the 3/4 boundary for me. Going 3 because there wasn't enough there to really get me going.

From track 1, I'm into this. Some nice downtempo / acid-jazz electronic with calming vocals, what's not to enjoy? Antropofagos is the fist track to jump out and grab me to any extent -- kind of funky bass line with some interesting strings throughout. Sereia is another standout -- the instrumental has a sense of urgency about it that is a wee bit unsettling. I'm into it. I was actually pretty excited for this one at the outset, but I am left feeling a little unfulfilled. It is fine acid jazz, with a few moments that were more interesting than the rest, but as with many entries in the genre it is fairly forgettable. I will come back for background music, but not for a dedicated listen. 3 / 5

A former boss of mine once described the cultural ubiquity of this album by saying that everyone owned this album, even if they didn't own a record player. First time listening to it straight through, but I've heard a number of the singles (Show Me The Way; Baby, I Love Your Way; Do You Feel Like We Do). Out of the gate, on Something's Happening, the band feels a bit out of sync with one another. Recording quality leaves a bit to be desired -- the vocals have a distant quality to them. Things settle in a bit by Doobie Wah, which actually just sounds like a Doobie Brothers song in melody (Listen to the Music). It's a Plain Shame is a fairly straightforward classic rock jam with plenty of satisfying fretwork. Some solid tunes in here, but not many I would go out of my way for. Album closes on a high note (IMO) with Do You Feel Like We Do, and expansive jam featuring a talk box solo that. Solid enough live collection from a simpler time. Really enjoy certain points in this album (particularly the closer), but also feel like a lot of others fall into a generic realm. Not something I would go out of my way for in most circumstances, but certainly fine. High 3 / 5 for me.

I enjoyed Freedom! '90 quite a bit. Nice juxtaposition into They Won't Go When I Go. Echo effect lends an eerie gospel vibe, that I really like. Mostly had this in the background and enjoyed the breadth of styles. Heard everything from jazz (Cowboys and Angels) to some dub with other pop-things in between. An unexpectedly enjoyable album for the most part, but I got a little tired of it by its conclusion. Not enough highlights to go 4, so 3 it is.

Feels like a perfect album to soundtrack a night of driving across the desert in a soft top convertible fueled entirely by key-bumps of cocaine. Compressed vocals and mixing is distinctly 80s; a little too tidy for my tastes, but them is the times. ZZ Top has a formula and they really don't stray too far. Hopping, blues-rock with tight, punchy (and super boring) drums, some compressed smoky vocals, and plenty of distorted guitar licks. Clearly the formula works, because in this album alone there are at least 3 hit singles that to this day get radio play. And yet, I can't help but find myself bored by the back half of the album. High Points: Gimme All Your Lovin' is a fantastic way to start an album and I Need You Tonight has a tight groove to the outro jam that had me nodding. Otherwise, pretty forgettable stuff IMO, but I can't justifiably give lower than 3.

Any album opening with this thick of meaty bass has strong potential. Hopefully something to elevate from this rut of mediocrity as of late. Really digging the groove on Ether -- guitar tone reminds me a lot of Minutemen, but something about the rest makes me think Talking Heads. Damaged Goods is another high point on here so far. I'm a sucker for dynamic bass and some scratchy guitar. Love Like Anthrax is a hell of a closer. The layered vocals are a trip (especially when the coincide) with a simple, yet wonderful bass groove to propel this thing forward. Man, we need more albums like this in this list. I feel like I've heard of Gang of Four before, but this is my first time listening to them. Certainly will not be my last. This album is fantastic with perfectly balanced production; it is at once tight and rough. Feels very similar in a lot of ways to Double Nickels on the Dime. Easy 5 / 5 for me. Going right back in for another listen.

Hell of a live show recording. Setlist flowed from number to number with almost no downtime, bouncing from upbeat ditties (I'll Go Crazy, Think) to some bluesy ballads (I Don't Mind). Most expansive track, Lost Someone, gives a display of both in one with plenty of space for Brown to stretch his voice and interact with the crowd. Not the kind of music I typically go in for, but credit where it's due. This was solid. 3.5 rounding up

This was some fine old-school outlaw country. Not much more to really say. Solid high 3 / 5.

All About Love reminds me a lot of Outkast (specifically Andre 3000) in the way he has spoken word interludes. Can't recall the song off hand, but the whole structure of it is nearly identical. Spottieottiedopalicous maybe? Not sure exactly what I expected, but this album was very enjoyable end to end. All About Love was a great centerpiece and Africano > See the Light were fantastic closing material. Digging the vibes here and can hear a lot of influence on modern artists. 4 / 5

Out of the gate this was looking bleak, but it really grew on my after a few listens. Solid concept album with some pleasant surprises. 4 / 5 Really digging the jammy jazz interlude on Australia. Some silky smooth guitar work floating around above shifting drums, some horns, and some spoken words floating in and out of the background. Mr. Churchill Says kinda slaps tbh. Especially (once again) the guitar work through the back half. Big fan of some clean noodly guitar work.

Not huge into the overall aesthetic of this album at its outset. 90s electro-trance fused with a loose interpretation of "hip-hop." Possible Worlds > Omega Amigo is a high point thus far. Really dig Omega Amigo on its own. Yea idk, this was fine, but not really something I see much replay value out of for me. Soft 3 / 5.

Mm this is some tasty, bluesy jazz. Loving all of the guitar work on Messy Bessie -- that clean tone is something I'll never tire of. Not to mention some really spacious organ rumination. Not much else to say here. This had great vibes and great musicianship. Solid 4 / 5 for me.

Not my most careful listen, by any means. This felt like a sort of love child between Animal Collective, Tame Impala, and Glass Animals. Synth-heavy with overtones of psychedelia and a sort of "theatrical" tone to the vocals that I can't really quantify. As a whole, I enjoy this fine, but despite all of the relation to the influences referenced above, there is something about this that doesn't quite connect for me. It feels at times, overstuffed or over-processed and I didn't really find too many points were I was fully engaged. A few parts did stand out though: Skies Over Cairo, Default, Waveform.

Might just a be a mismatch in my own mood to the record, but this really wasn't it for me. Sounded like an unsuccessful attempt to tap into a Bowie aesthetic. I was pretty worn of the experience by track 3 and this drags on for 70 minutes... 2 / 5

Completely caught off guard by the sound of the opener. Was expecting something a bit more snyth poppy, but this is more straight forward pop-rock with 80s post-punk undertones. The Perfect Kiss is a bit closer to the sound I was expecting, but far from Blue Monday. I really enjoyed this song. Elegia makes good use of the spooky post-punk sound, and also sounds super familiar. I'm sure I've heard it in backing of a show or movie at some point. I feel like I've heard similar interpretations of this sound more recently in some of The XX's work. This was a really solid album, and not at all what I expected of New Order based on what I had heard so far. Nothing too flashy, but I vibed with it all the way through. 4 / 5

Some solid indie with more hit than miss imo. Would be a 4, but lost a whole star for the stereo manipulation on This Song. That honestly made me feel like my head was going to implode.

Not really sure I needed this one before I die. Sure its fine, but hard to imagine this moved music in any significant direction. Not a big fan of Clowns out of the gate -- something about it just rubs me wrong. Little Bird is better. For what it is, this is a fairly calming record. Never really captured my attention in any significant way, but I didn't necessarily mind it being there. 3 / 5.

Man these were some horny dudes. Half the album list contain at least some reference to sex; for most of those it is the entire subject matter. Looking at you Love in an Elevator and Young Lust. And yet somewhere in between we have songs about drug addiction (Monkey On My Back) and vengeance killing for sexual exploitation (Janie's Got a Gun). Once you get past the (generally awful) lyrics and Steven Tyler's Steven Tylerness, the music itself isn't bad. Sure there is plenty of 80s cheese in the production (particularly in Love in an Elevator and Janie's Got a Gun), but there were some moments between the singing where I actually found myself enjoying this. I understand listening to this why Aerosmith got as big as they did and why so many people still enjoy them. That said, it just isn't for me. A 2 / 5 seems a bit cruel, but the cringe factor is too high on many of these to go any higher.

I have never given Lupe much of a chance. Grew up hearing Kick, Push, Daydreamin', and Hurt Me Soul, but something about him has never encouraged me to dig deeper into his discography. Not off to a great start on Real. I don't have a lot of love for the whole heavy guitar-backed hip-hop beat, it feels a bit overstuffed, and lacks flow. Just Might Be OK has better vibes/flow to the delivery, but also features one of the more cringy lyrics I've heard in a while "we hold the cumming, like contracepts." Kick, Push is a great single. Whereas the first two tracks were stuffed (both lyrically and instrumentally) it features a a much more stripped back and soulful instrumental with a proper hook that gives space to the story that Lupe tells. Love this song. I Gotcha is another strong instrumental (actually reminds me of early Odd Future) and translates into a solid song. Daydreamin' is probably my favorite Lupe song that I can name off the top of my head. Love the sample and the whole vibe of the song. Quality run through Pressure. With better editing this has the makings of a 4; however, it is too bloated for my liking. The highs are really high (Daydreamin', Kick, Push, I Gotcha), but the lows are really low. Left feeling sort of meh with the experience -- unlikely I would ever muck through another front-to-back listen, but the singles have replay-ability. 3 / 5.

Listened to this one straight through back to back. While I don't love it in all respects, I respect all of it. There was a lot of range on here, going from sprawling post-punk (Albatross) to dancy pop-punk (Memories) and dub-inspired (Careering). Plenty of throbbing bass throughout, and while the vocals were often polarizing, I enjoyed most of it. I will say that certain aspects here remind me a bit of LCD Soundsystem (Swan Lake in particular). All said, this was mostly enjoyable even if it did at times feel like it was dragging. For that, I give it a soft 4.

I have definitely heard the instrumental progression on You've Got It Bad Girl sampled somewhere, but cannot place it... really frustrating. Superstition is just a fantastic song. Made for strutting to. This was a pleasant listen start to finish. No lows to speak of and the highs were soaring. Really enjoyable listen. Low 4 / 5 for me.

This was an incredible listen, made all the more impressive given the fact that Wilson was in his 60s at the time of recording. You'd never know from the quality of his vocals -- both in lead and in harmonization. This album is full of beautiful songwriting and display of craft as songs shift back and forth with beautiful layering and plenty of minute details to pick up in the mix. The sequencing here is fantastic as the whole thing maintains a sense of cohesive urgency start to finish. Definitely some kooky, psychedelic workings in the mix here. All the "animal sounds" on Barnyard; the trippy back and forth of concepts on Roll Plymouth Rock; the deeply unsettling flip into You Are My Sunshine; and especially Mrs. O'Leary's Cow, which is far more metal than anything I would have expected here. Some really beautiful songs tucked in here. Surf's Up, I've heard before, but I never tire of it. Same can be said for Good Vibrations. Also love Heroes and Villains. Just a fantastic album. Not quite prefect, but worthy of a low 5.

Folk rarely manages to get me going, and this was no exception to that generality. Fine enough music, but ultimately boring and forgettable in my opinion. Production was pretty solid, but I was not ultimately into this. 2 / 5.

This was fine, but far from revolutionary for me. A number of tracks sound like something born from a warm heroin daze (e.g., Honey and How Does it Feel) -- slow moving, repetitive, and layered / drifty. Revolution stands out among the rest for the teeth that its instrumental possesses. So Hot feels like something a strung out Damon Albarn would create. Suicide was my favorite on the record -- sure it doesn't really go anywhere, but it was propulsive music for writing code to. I could take or leave this one... soft 3 for me

Not loving this out of the gate. It has all the markings of all the 80s pop-rock tropes that I dislike. Among them, compressed/distant sounding drums, sterile mixing, synthetic bright horns. Add to this a Rammstein-esq vocal delivery that feels completely unmatched to the mood of the instrumental. Leben - Tod is the first song that I actually enjoyed here. Still very 80s, but it is built around a more aggressive meatier "riff" that, to me, fits the mood of the vocals better. Not a fan of the album namesake -- too grandious for me. Trans-National; however, alludes to musical depth that the additional bonus tracks demonstrate more fully. This is like some early techno/industrial and is one of the stronger tracks here. Also enjoy How The West Was Won, but I found The Great Seal to be a low note to end on. The bonus CD tracks are where this album actually makes its strongest case to me. First time I was listening, I drifted off and came to during Jagerspiel. Had to double check that the album didn't change, this was so different than where we started (in the best of ways). On second listen I realize the transition started earlier - the track before (Herz-Felde) is built around a number of layers vocal loops and is really quite interesting. Reminds me in some ways of Nicolas Jaar's work as A.A.L. Discounting the bonus tracks, this album is one of extremes for me. I hated some songs and really enjoyed others. Going with a high 2 here.

Never spent much time with these mega pop artists of my youth. Interesting going back and listening now. Something about the vocals/production are so distinctive of the 90s, but I can't really describe it. I've definitely heard My All before. A Spanish-inspired love ballad. Girl's got pipes for sure. Instrumental sampling of Shook Ones pt II on The Roof is sick. Solid track. The rest of the album kind of fell to the background for me. Somewhere in the space of I didn't mind it. Clearly talented and certain songs were more engaging than others, but largely this is stuff I would be happy to only hear in the background at the mall. 3 / 5.

I think this is one of those cases where I lack the necessary context to fully appreciate this album. I love Lou Reeds drawling, deadpan vocals and subject matter of a number of the songs here -- I'm Waiting For The Man, Heroin, Venus In Runs, The Black Angel's Death Song. But a lot of other songs, while fine, kind of wash over me without any real effect. I've heard Heroin any number of times, and it is a fantastic song. Super sparse and crunchy, but it works so well. Venus In Furs is the other standout here for me. Love the slow trudge with the uncomfortable droning effect. Fine album, but in the grand scheme its a high 3 for me.

3 songs in, this has the markings of a conceptual rock opera. Songs bleed from one to the next, taking individual form, but flowing nonetheless conceptually. Tic Tic Tic -> You Need Your Head are the first standouts to me. Trippy ass vocals on display with some really solid pop-rock songwriting and interesting effects. Feels well-ahead of its time. You Need Your Head in particular rips. Quickly wrapping up this review so I can reboot my system.... On a first pass with this mainly in the background I'm a soft 3. Not huge into operatic rock in the general sense, but I did enjoy a lot of individual sections. Much of this, however, I wasn't really able to sink my teeth or soul into.

Once the intro to Street Life gets out of its way, it is an absolute bop. I've definitely heard the chorus of My Lady interpolated or sampled somewhere else (just did a search and it was Mac Miller on Inside Outside -- glad I'm not crazy). The Hustler is fantastic. Loving the groove, punctuation, and of course that silky guitar tone. All around solid little funky jazz album. Scores high for me -- solid 4 / 5

What a different Aerosmith this is than Pump. 13 years earlier, crustier, and they sound hungrier. Back In the Saddle is a great way to start an album. Ominous riff before the bottom drops out into a ripper. Production sounds sort of like shit by modern standards -- very flat -- but it works in a sense that you could imagine jamming this while joy riding in a Chevelle, a la Dazed and Confused. One two punch out of the gate with Last Child. Where Back In the Saddle is in your face and propulsive, Last Child is a confident funky strut. Tyler's vocals are a bit rough, but hey that's Aerosmith. The riff on Nobody's Fault sounds suspiciously similar to Walk This Way. A bit proggy in the arrangement on this one -- kind of reminds me vaguely of some Umph. I'm admittedly not a huge Aerosmith fan, but this album was pretty inoffensive, straightforward classic rock. It had several moment of greatness (Back In the Saddle, moments on Nobody's Fault) and what wasn't "great" was fine. Soft 4 / 5.

I've listened to Return to Cookie Mountain and Dear Science, both of which are fantastic albums. This, however, is a new one to me and I'm looking forward to the ride. Staring at the Sun is a cool song that showcases what I've come to expect of TV On The Radio well. Droning electronic-heavy instrumental underpinning Adepimpe's distinct vocal delivery. Ambulance is wild with the isolated vocal backing. Like a stripped down barbershop quartet. Kind of spooky, but pretty. Love the calm pocket groove on Bomb Yourself. While this isn't anywhere near the polish of the two other TV On the Radio albums I mentioned above, it is still fantastic and a great introduction to their sound. High 4 for me.

Genius of Love is a classic, quirky instrumental that has been brought back to prominence with its Latto sampling of late. The vocals on As Above, so Below reminds me a lot of Talking Heads (particularly Crosseyed and Painless). Very different song otherwise and I'm honestly all about it. Lorelai is a really cool one with some nice mixing / layering. In the background there is a constant scratchboard + bright synth line pushed into the left monitor with some little scratchy flourishes isolated to the right monitor. I could see this being distracting if done differently, but it works so well. This is among my favorites on here. On, On, On, On... actually reminds me vaguely of another 80s one hit wonder: Peter Schilling's Major Tom. This album started out on a questionable note with Wordy Rappinghood, but quickly recovered and turned into something that I really enjoyed. A lot of similarity here to Talking Heads that borders on riffing their style, but they put a spin on it all to their own. This was a pleasant surprise -- thoroughly enjoyed. High 4.

Ya IDK this was fine,verging on kind of nice. She has a nice enough voice and all, but there wasn't a lot that had me wowed. Butterflies is a jam, and I've definitely heard Rainbow before. Fine album that I could see myself playing in the car with Mehie; otherwise, I would never seek this out. Soft 3. Butterflies is a jam.

Not in love with FFF as an opener, but I do really enjoy Rise. This one exists in kind of a weird place stylistically -- certain points remind me of 80s pop, but there is a jammy/freeness to certain sections. Digging the pure percussion groove opening Round. Closer Ease is fantastic. Love the wandering virtuouso guitar alongside the more "Eastern" sounding string accompaniment. I can certainly see where the vocals on this record could be polarizing, and understand the hate among the group as a result. That said, I think you are all wrong. This was an enjoyable and varied ride from start to finish without overstaying its welcome. At 41 minutes across 7 tracks, this album gives space for each of the songs to breath and let their atmospheric qualities permeate. Several songs borrow effectively from more "Eastern" traditions in terms of the instrumentation (Ease) and poly-rhythm / syncopation (Round), all while maintaining a punk-forward cruft. I enjoyed this even more than Metal Box (from memory) and will definitely be back again. Strong 4 / 5

Only thing I know about this album is that my friend ripped the artwork to promote a comedy show that he puts on, which is another way of saying I have no idea what to expect. In further display of my ignorance, I was really surprised to see this released in the 90s. For whatever reason, in my mind Sonic Youth are an outfit from the 70s/80s. Four songs in, I'm definitely vibing. Album opens on shoegazy Dirty Boots. Doesn't really go too far, but sets the mood for a crusty, grunge-adjacent record. Kool Thing has a grungy hop to it that I'm really into. Vocals are a bit anemic, lacking the necessary punch to level with the instrumental, but that's a minor nit in the grand scheme. Had this on in the background and ripped through it twice. I enjoyed most of the sounds I heard, and could see myself listening to this again. Low 4.

While I understand (at least vaguely) the importance of these seminal acts in establishing and promulgating the punk genre, this isn't really what I go in for when I seek out "punk." In early punk fashion, this album kind of sounds like shit. Super compressed and rough recordings, distorted to hell, with sneering vocals that deliberately lean into their accents. The hits are staples of the genre (God Save the Queen and Anarchy in the U.K.). Understandable why these have appeal -- they are well written, have solid choruses and catchy instrumental backing. Outside of the hits, I found few songs really to capture my interest -- they are fine, but like I said in the intro, not really what I go in for. This was fine, but not something I would expect to come back for any time soon. Meh 3 for me.

Bon Jovi, Def Leppard, Poison, etc. all basically collapse into a single point in my mind. Over processed glam rock with 80s tropes beaten to death. Ya know, I don't have a ton of love for the Bon Jovi sound, but in isolation You Give Love A Bad Name is a pop rock jam. Hook is catchy as hell and the instrumentals are all very solid. Livin' On a Prayer on the other hand, I am so tired of. Most interesting point here is the vocoder/talk-box work. Otherwise, Bon Jovi just sounds like he is going to crap himself. Also doesn't help that I have heard this about 10000 times. Social Disease, while having an intro that I'd rather not play in public, is one of the better songs so far. Though I feel like the horns are unnecessary and give a new wave-ish vibe (a la Huey Lewis' Hip to Be Square). Raise Your Hands is the vapid sort of song whose only purposes is to tuck into live shows and call out the name of the host city for a little extra applause. Hell they even pumped in simulated crowd noise into the mix... Welp, I made it through and I don't feel like a better person for it. This particular style of music really doesn't connect for me. Something about the vocals really rubs me like they are trying too hard. Add also the 80s bombastic production where songs feel overstuffed with elements, and it makes for a bad time mm'kay. 2 / 5.

Love the instrumental flip on The Rain; makes for a really dope, stripped down song that doesn't feel like it has aged at all. Instrumental on Beep Me 911 on the other hand is distinctly 90s, but is pretty great. Weird thing is I could easily see this being used by a boy band if Missy didn't pick it up. Gettaway sounds like something Justin Timerlake would have used on The 20/20 Experience. This was fine, but honestly I was a bit underwhelmed. Certainly were a few high points (The Rain, Pass da Blunt, Izzy Izzy Ahh), but a lot sort of fell into meh territory for me. I'd say this is 3.5 territory for me -- better than average, but not by much.

Quality album title. James Bond thematic flip on Radio 7 was pretty dope. Freaknik fucking jams -- love the intro story and the beat is so tappable. This made for some solid background music with enough little gems tucked inside to keep things interesting. Solid 4 / 5 for me.

Dumb Waiters is a strange one, but the off-kilterness seems too overt not to be deliberate. Wish the bass was punched up in the mix as it is pretty buried and makes this feel really flat. Maybe New Wave isn't for me, but I'm pretty meh on that whole experience. Like it is objectively fine music, but nothing that moved the needle for me. Hard to imagine getting pumped up to see this live.

I tend to find music falls roughly into one of five categories: (1) music that I think everyone should hear -- objectively good and descendent from alien life forms to be reserved. (2) music that I enjoy and think you should enjoy, but ultimately I understand if you don't. (3) music that I think is bad, but understand why others might enjoy it. (4) music for which I don't have enough context to enjoy and think that perhaps it could be good if I started from another position. And then there is (5) -- where this album falls -- objectively bad music for which I cannot understand anyone justifying its existence. (also looking at you Pitbull) This album was a strain and I found nothing at all redeeming. Listened while mowing the lawn and made the experience all the more awful. Maybe it isn't the worst thing I've ever heard, but it certainly wasn't worth a listen for me. I remember nothing specific that I hated other than the hate itself. So for that 1 / 5

First listen was while fumbling around with some sprinkler heads. Stood out as a high 3, maybe 4. The best moments reminded me a lot of certain flavors of Ty Segall in their garage-rockiness. The rest sort of just washed over me without effect. Listening again now to see where this falls. Weird goat-like singing on If There Is Something. Song is a jam otherwise. The Bob (Medley) is the one that I got Ty Segall vibes from in the best of ways. Obviously, I'm no music historian, but this feels well ahead of its time relative to other albums we've reviewed from the early 70s. After another listen, I feel like my mood hasn't been shifted significantly. This was fine with momentary glimpses of something more interesting. Certainly a quirky one, but not revolutionary in my mind. High 3 territory.

The Cutter is a fine opener featuring a quirky Indo/Asian-inspired instrumental, though I'm not a huge fan of the ultra-fake synthed horns. Back of Love is another upbeat jam with a hopping rumble that makes use of some interesting string work; feel like this could sound better with a different mixing -- for something so propulsive, the drums and bass both sound oddly distant. Ultimately this is one that I didn't really care too much about. Its fine, but didn't get me going. Was kind of looking forward to it being over. For that, I give it a high 2.

MMLP holds a special place in my heart. This came out when I was 9 years old and highly impressionable. Up until this point, I had next to zero exposure to rap, but The Real Slim Shady bled into alternative rock stations and changed my perception of music. Obviously, I didn't follow, much less understand the lyrics, but I knew the beats were fun and the delivery was catchy. I remember asking for an "M&M CD" for Christmas that year... Needless to say, I did not get it, and I'm kind of glad for that; an edited MMLP would be nearly pointless. I am completely biased by the impression this album had on me. That said, I know I am not alone in my reverence of this record. Sequencing start to finish is wonderful, with great flow of energy -- often juxtaposing up-beat with more somber (e.g., Kill You > Stan, Who Knew > The Way I Am > The Real Slim Shady). Classic Dre production is often minimal, but highly effective and distinctive. And Em just flows around everything, jumping from open sneers (Who Knew, I'm Back, Kill You), to outright anger (The Way I Am, Kim), and bombast (The Real Slim Shady, Criminal). He was limber and topical with an ability to showcase his humor as well as demo writing in a more introspective (Marshall Mathers, The Way I Am) and narrative format (Stan). A few posse cuts sprinkled throughout only elevate the album; always a pleasure to hear Snoop slink around Dre beats (Bitch Please II), and Em interplay with D12 (Under the Influence). This is an easy 5 from me. I will say though that nothing hurts my soul quite like having grown up through prime Shady and watching him release album after album of awkward, cringe-inducing attempts to recapture that former flame. This album is a good reminder of where it all started.

On Sir Francis Drake is a fine little jammy number. Progressions on Don't Let the Rain Bring You Down sound a hell of a lot like some Dead jams I've heard (Blues for Allah period). This had some moments, but by and large passed me by without much care. I'll say its a soft 3.

Laura is an interesting choice out of the gate. Sets the tone for a theatrical, campy, indie-glam record. The vocals have an odd similarity to TV on the Radio, with quirky instrumentation choices... Works surprisingly well all put together. Take Your Mama is a familiar one -- definitely got some radio play. The guitar intro and vibe are very similar to Lorde's more recent Solar Power. Fun little ditty. Have to say that an electro-pop cover of Comfortably Numb was not on my bingo card for today. Guitar plucking reminds me a lot of The XX. This is goofy as fuck and I'm extremely conflicted -- I enjoy the instrumental, but find the vocals to be completely distracting. The groove outweighs the bad here IMO. Tits On the Radio and Filthy/Gorgeous are both fantastic funk-rock. The former is extremely catchy and the latter pulls in some Detroit techno influences (e.g., Moodyman) that make it real stanky. Music is the Victim calls back to a simpler time with a straightforward classic rock structure that reminds me of Elton John. This was a rare album that was both quirky and fully enjoyable. I often struggle with albums that feel overly theatrical in tone, but the band here presented a broad variety with strong songwriting start to finish. Not always my cup of tea, but certainly enjoyable. 4 / 5.

When the last Beck album was on here, I went down the rabbit hole and rediscovered this one along the way. I love this album and only just learned that it was produced by the Dust Brothers -- the same pair responsible for the Beastie Boys classic Paul's Boutique. E-Pro has great energy out of the gate; wonderfully propulsive. Que Onda Guero is a top 3 Beck song to me. Goofy as hell, but something about the groove of it has always hit right for me. Missing pulls the handbrake and flips things into a spacious, languid croon made for listening to on a late summertime walk. Earthquake Weather has a similar energy to it that I enjoy. Other standouts to me are Hell Yes, Go It Alone, and Rental Car. All solid songs in their own right. This album is a solid 4 in my eyes. Lot of diversity and solid songwriting here. Only drawback is that it drags a little in the back half.

Listened to this twice, and my gut reaction is not favorable. Something about this particular vocal delivery style always comes across a bit "try-hard" to me and I can't shake it. For some reason the effect is so pronounced that even when the instrumentals are solid, I feel something similar distrust. Some moments on here are fine -- Party Hard is a jam and This is Hardcore has a certain epicness to it that reminds of James Bond. But there are times when I really didn't enjoy this album: Dishes has an enjoyable structure, but some really dumb lyrics; and Help the Aged is another one with weird lyrical matter. All around this straddles the high 2 - low 3 line for me. Going lower to try to put a bit more diversity into my scores and reflect the fact that I would never come back to listen to this again.

Well that was a pleasant surprise. I was hesitant going in due to the folk-pop labeling; however, this was a very enjoyable listen. Powerful, clean vocals throughout with solid instrumentals and diversity to the tracklist. If I didn't know any better I would have assumed Down to Zero was from the 90s -- something about the production. Same can be said for Tall in The Saddle. Join The Boys > People are both jams. I found myself grooving along to the former -- particularly the open-jazzy interlude with the plinky piano soloing. Album ends on a great note with Tall In the Saddle. This was a surprisingly high 4 for me.

Some early Who to start the work week -- sure, why not. Armenia City In the Sky opens on a more psychedelic tone than I have associated with The Who; I actually really dig this song, which isolates the guitar to the right channel and puts Entwistle's bass entirely in the left. Fake commercial interludes are goofy, but align with the concept at hand. High quality sequencing in this first side -- the transition from Tattoo to Our Love Was is fantastic. I really love Our Love Was -- the production just sort of floats with Daltrey's vocals elevated and crisp in a Beach Boy's like tone. I really enjoyed this one from The Who. Very different in tone to any of the others on the list so far, but so far my favorite among them. There were less individual displays of talent (at least that I noted) and just better sequencing. This is a high 4 for me.

I really don't have a ton to say here other than that I was pleasantly surprised. I saw Krautrock in the description and prepared my body for the worst. As it turns out, I just had a false impression of what Krautrock is. This album was really nice, full of long form instrumental exploration that generally made for a soothing voyage with some lush layering. Some points that stood out to me: - Leb' wohl, while not my favorite on here, was some high quality relaxation music. Pretty piano with ocean sounds layered into the background. - Crazy juxtaposition into upbeat Hero that feels a bit like a parody of Bowie + Mick Jagger. - Really enjoyed the way that the rug was pulled out on finale of E-Musik. Really blissful experience. - After Eight reminds in essence of The Rolling Stones, but exists sort of in this uncanny valley that is amplified by the use of production effects to distort and warp the vocals. Solid 4 / 5 for me.

Adult Books is an early standout to me. I like the play on the 50s riff. Can't shake the feeling that In This House borrows its melody from "Ten Little Indians." Pretty meh on this one -- soft 3 / 5.

Loving the full psychedelic drip on the titular opening track. Can certainly see the reverberations of such reflected in modern psychedelia (Tame Impala, etc.). Flipped over to the stereo version on Rene -- worth the investment and will absolutely go back through the first few tracks to see what I missed in the production. Stereo manipulation on Happiness Stan was a little obnoxious imo. Enjoy the song otherwise though, so it is forgivable. The spoken word outro is pretty bizarre and hilarious, but I guess it is a continuing theme throughout. Intro riff to Rollin' Over sounds just like Foxy Lady. The two songs came out so close to each other, I'm unsure who to blame. Never listened to Small Faces before, but this was some quality 60s psych infused rock. Somewhere between a high 3 and low 4. Ultimately going with the 3 here because I don't expect to be back any time soon, and while this was indeed fine, it rarely went above that boundary.

These are the album titles that get me out of bed in the morning. I've heard of this one before and understand, going in, its appreciation by music critics in general. Never have I listened to it before, but I've enjoyed the Eno on the list thus far. Opens on a warm / heavenly tone where you can actually hear a bit of background static that wraps around your ears like a warm blanket. On top of the static, a sparse layering of keys and bells plink around. Swelling slowly over and over without any sense of urgency. This seems like prime music to eat mushrooms to and stare off into the void. Ya know this was nice, and it did wrap around me like a warm blanket and make for an enjoyable background listen, but it really is hard for me to get too overly excited for ambient music. I say that having listened to quite a bit... Like I can appreciate that this is top execution, but I can't understand anyone getting off to this. For me, the production quality and layering push me to a 4, but I lacked the emotional response to push this into 5 territory.

I've definitely heard Pressure Point before. Oddly the part I remember the most is the vocal harmony intro. Fine enough song. Dirty Dancehall is a late album standout. Otherwise, I found this album to be pretty forgettable. Certain elements of the production and vocals reminded me of White Stripes -- those were the best points. Outside of that, I didn't find much to sink my teeth into. Somewhere in the space between a high 2 and low 3.

What a first world problem it is to find the original album for some of these classic releases. This album in particular is difficult to pin down -- looking at the Wikipedia page, each release is only somewhat common to the previous. The latest offered on Spotify doesn't even contain some of the tracks in the originally released version. In light of this, I'm turning to Youtube and reviewing the 1991 original released version. Hard to imagine why they would cut What Time is Love from the so-called Director's Cut. This song is a classic electro/hip-hop jam. 3 am Eternal is another jam. Cool how they interleave the audience sound from the live mix as another instrumental effect. Kind of zoned out a bit through the back half. Definitely lighter in content than the first with some nodes to dub (No More Tears) and finishes on a bright, spacious note with Justified & Ancient. This was an enjoyable listen. Somewhere around the high 3, low 4 territory for me.

The title track "Stand!" opens the album with a blatant call for listeners to stand up for themselves. Followed up by Don't Call Me Nigger, Whitey, which doesn't mince words. Interesting use of voice box; however, I found myself wishing the tempo was pushed up a bit to match the angst of the (minimal) lyrics -- it felt like they were playing this through molasses. Everyday People is an all time classic. Sex Machine is a great soulful jam -- straight groove all the way through. This was fine, but by no means something that changed my world. The hits largely capture the best points here, with Sex Machine being an added favorite of mine for the jamminess of it all. Otherwise, not really much here to get me too excited. This falls middle of the pack for me.

Hot out of the gate with Jump and Panama. Easily two of Van Halen's best songs. Jump giving service to the synthlords with an infectious song that is only surpassed by the quality of its music video. Then there is Panama, which pairs best with big hair and American muscle. Either I've missed it my whole life, or something about this remastered mix is really weird though -- the engine noises seem more pronounced and cheesy. Top Jimmy opens with some harmonic fret-play, and features plenty of additional licks with one of the more pocketed grooves I've ever heard from Van Halen. Honestly a weird song in the skitteringness of the guitar, but I'll be damned if that groove didn't get me. Really feeling some elements of Drop Dead Legs that echo in the play of Cinninger. Would be a complete throwaway if not for Eddie Van Halen's play. Second side of the album opens with one of Van Halen's goofier singles: Hot for Teacher. May be goofy, but I love it. Thumping double bass, a wonderfully distorted and ultra catchy riff, and David Lee Roth selling all of the delivery. I completely forgot about I'll Wait. What a completely different tone this song carries relative to the rest of the songs on here. Completely synth led in the most 80s possible way -- the guitar doesn't come in until 3/4 the way through. Have to say, this isn't one I would go out of my way for individually, but I'm loving it here. Some high quality Van Halen right there. Something about the energy makes me wish I lived through this release in real time. Solid 4 / 5.

How good must one be with the maracas for it to be listed under their official "instruments" section of their Wikipedia page? Seems oddly specific to me. The sax work on Congo Mulence is fantastic; whole song is a standout thus far. Tin Tin Deo is fantastic. Loving the bright trumpet soloing work. I found this to be an enjoyable listen, but I have listened to so little similar music that it really is hard for me to give a proper review.

In general, I do not like Rod Stewart. I always thought it was his voice alone, but hearing him here with Faces I don't have the same knee-jerk reaction that I get in his solo work. Love Lives Here is a great song. Stay with Me has a nice groove to it. Stewart's voice only serves to accentuate the crunchiness of the instrumentals. Also saw a reddit thread recently asking for songs where the singer shouts "guitar" followed by a solo, and this one fits the bill. That's All You Need is a fantastic album closer. Love the way the guitar is laced in distortion and kind of lags Stewart in a drunken way, before giving way midway through to an expansive effects laden blues solo. This was some high quality classic rock to start the day. Strong 4 / 5 for me.

I really like Silver Raven. It reminds me in a way of Bob Seger's Turn the Page. No Other is a complete change of pace into a fuzzed out rock song -- once again really solid song writing here. Strength of Strings is an interesting one. Opens up in a sort of opium haze with the skittering percussion and slow build. Getting some David Gilmour (circa Meddle) vibes from the guitar work here. This was an amazingly enjoyable and cohesive album with beautiful production, great songwriting, and instrumentation. I really wish for a 10 point scale here, because I feel like we need granularity on this upper end of the spectrum. This is not a 5 in the sense that Yankee Hotel Foxtrot would be, but it is not fair to put this alongside the other commendable 4s. So for me this is a completely unexpected soft 5.

Some serious youth pastor vibes here. Definitely a cooler pastor, but still a pastor no less. I didn't mind this, but I didn't love anything specifically about it. I've definitely heard This Year's Love before. Ultimately, I found it pretty forgettable, but could understand the appeal. Mostly snooze inducing for me... 2 / 5

Starlight is basically a U2 song in tone and structure... its fine, but I've never been a huge fan. I'm surprised to see Supermassive Black Hole as the most listened to song on here -- I've never heard it before. Also I don't find it particularly interesting. City of Delusion really taps into a Radiohead type of sound -- one of the better songs on here. And Knights of Cydonia I know from many hours of Guitar Hero -- fun sort of electro western rock. All said this is a fine album with a few shining moments (City of Delusion, Knights of Cydonia, Soldier's Poem). Otherwise, I found it to be pretty meh. 3 / 5.

That's The Bag I'm In is a low-key blues jam. Dude has a voice. I've definitely heard covers of Everybody's Talkin' before. Classic song; great songwriting. Everything Happens is an awesome follow-up. I love the progression here, but wish the guitar noodling at the end wasn't so buried. Kind of a weird outro track, but otherwise this was much more enjoyable than I anticipated. 4 / 5.

Such a fantastically bleak rendition of Hurt (original by NiN). Sparse and totally sold by the age in Cash's voice. Give My Love To Rose: sparse blues -- classic song structure and theme (dying man, send my love). Wonder if Cash ever got tired of these sorts of songs? Most amazing thing is how his voice at 70 has so much depth, power, and cleanliness. Bridge Over Troubled Water is the first "dud" in here -- just not a big fan of the arrangement that feels like a weirdly depressed gospel. Surprised to heard Personal Jesus on here as well. Pretty cool to hear Cash approaching "modern" compositions with his unique, stripped-down style. This is a song whose original is nearly impossible to top (IMO). This one does nothing to challenge that opinion; however, it is an interesting take with the bar-style keys skittering away. This one had the makings of a 4, but really dropped off and dragged for a lot of the back quarter. Really enjoyed his covers and a few renewed renditions of classics (Sam Hall and Give My Love To Rose). Crazy considering this is coming from a 70 y.o.... For me its a 3 / 5.

Not sounding great out of the gate. That 90s Brit pop-rock sound of super flat mixing with boosted vocals is among my least favorite trends. However, the inclusion of harp does win some favors here. Yeah this one just sort of washed over me without making any lasting impression. The flatness of the mix doesn't help, but in general Brit pop-rock rarely moves the needle for me. Normally would be a 2 / 5, but there were a few brighter moments that I actually enjoyed. The stretch from Removables to Interiors and Small Black Flowers among them. So with this in mind its a pretty low 3 / 5.

I actually really enjoyed a good bit of the first album from The Specials on this list. Really digging Man at C&A. Lovely dub cadence backed by burbling bass and plenty of off-kilter accordion and other wobbling sounds cluttering the background. Whole run through Do Nothing is great TBH. Sock It to 'Em J.B. is a fun one that feels at times like The Doors (organ will do that) and others more George Clinton. I Can't Stand It is great and a significant departure from the Ska vibes on the first half. International Jet Set is also really cool and actually gives me slight Outkast vibes with the funky bass line and intercom vocal bits.. This album was a little all over the place, but really quite enjoyable. This is a soft 4 for me.

Caviar is probably my favorite song so far. Crusty garage mix infused with a grunge spirit and some proggy aspects. Really enjoying Getting Bright At Night -- will absolutely be going through this album again for a relisten. I have never heard of The Icarus Line before, and based on Spotify listens I am in the majority (most tracks sit somewhere in the low 10k). Sure the compositions here don't hold much mainstream radio appeal, but I am surprised their exposure is so low. I found this to be a highly enjoyable record. Definitely rough around the edges, but in that imperfectly perfect sort of way -- like an old stained and torn flannel. Understand that distorted as hell vocals and otherwise mixing might not be for everyone and some songs (such as Spit On It) might come across as audio assault, but I honestly enjoyed it -- very punk.

Of 2Pac's first four albums, this is the only one that I have not listened to. So Many Tears is a quintessential 2Pac song -- great flow, soulful instrumental (with some wonky 90's harmonica), speaking to his paranoid mindset, imminent doom, and tormented past. Young Niggaz is another standout for its distinct West Coast g-funk styling and his open calls for black youth to aspire to more -- urging them to become accountants. Dear Mamma is a great homage. Old School was the other standout to me. Fine enough album, but doesn't capture the same lightning in the bottle feeling of Strictly 4 My N.I.G.G.A.S or reach the highs of All Eyez On Me. With that, this is a pretty middling 3 for me.

This was better than the last Dexys Midnight Runners album by a wide margin, but still was not something I would go out of my way for. Had this on in the background and there were a few unexpectedly enjoyable jazz sections interlaced with the likes of Come On Eileen and similar sounding fare. I would say this is somewhere on the low 3, high 2 end of the spectrum.

I've listened to Slanted & Enchanted, but never this one. Stop Breathin is great -- melancholy chords and out of tune singing make me think of Alex G fused with Modest Mouse (particularly Sleepwalking). Cut Your Hair sounds like something that would have played in the background of some 90s/00s comedy movie. Solid song in its own right. Newark Wilder also has a familiar element to it, tapping into the melancholy tone again -- I enjoy the rough edges here. Solid all around indie rock. I can imagine the vocals not being everyone's cup of tea, but I enjoyed their imperfection and how it compliments the minor / messiness of the rest of the mix. Not my favorite album by any means, but something I could listen to end over end without getting bored. 4 / 5

Welcome To The Jungle is a fantastic way to open an album. Big hair blown out with Slash carrying the bulk of the burden here. Era defining sound. Mr. Brownstone is another favorite of mine. So tonally different from the rest of their stuff, but so great. My Michelle is a fun one. Lots of classic rock staples in this hour of runtime: Welcome to the Jungle, Sweet Child of Mine, Paradise City, Mr. Brownstone. Certainly encapsulates the hair metal sound of the 80s in opposition to the thrash metal sound of Metallica and more glam rock acts (Def Leppard, etc.). Hair metal isn't my favorite among these choices, but this album is classic for a reason. The song writing is solid and the big-room production certainly gives a larger than life atmosphere to Slash's work on the ax. For me this is a 4 / 5 -- not something I would pick to listen to frequently, but solid through and through without much in the way of excess.

This was some quality folksy country music. Dolly is a pure talent. Enjoyed this, but don't expect to be back quickly. Low 4 / 5

Never heard of the genre "Blue-Eyed Soul," but I love it. Effectively white dudes making soulful music. Didn't expect to find anything I recognized here, but I've heard the intro to Sueno countless times in Lost My Wallet in El Segundo. Also I do recognize the title track "Groovin'." Classic soul track. I Don't Love You Anymore reminds me a lot of some of the songs on Zappa's Freak Out (specifically Any Way the Wind Blows). Wow I did not know that Benatar's You Better Run is a cover. Both versions are solid and, while Benatar certainly took an 80s rock spin on the concept, I enjoy the messy soulfulness of this original. Surprisingly solid soulful-psych album -- 4 / 5

One of my favorite album covers of all time. Crazy that this was put out in the same calendar year as Are You Experienced? Exp intro sets the stage for a full-on psychedelic experience. Stereo effects to make your head feel like its spinning and a pitched up interview about aliens. Dumps that energy completely and segues directly into a blues-psych jam in Up From the Skies. A wandering reverberation effect on the guitar keeps the psych theme alive with some dusty drum shuffling. Spanish Castle Magic is an all time Hendrix jam. Propulsive energy with everyone firing on all cylinders. Back to back fire with Little Wing and If 6 Was 9. The latter is in my top 3 Hendrix songs along with Castles Made of Sand.

Synthpop isn't among my favorite genres, but this shit kind of slapped. Don't you Want Me is an all time standout for the genre -- timeless and catchy as hell. Other standouts for me were Darkness (from which Shlohmo has certainly gained instrumental inspiration); I Am The Law (with moody droning synths and some weird effects that remind me of Mong Tong); and on the brighter end of the spectrum The Sound of The Crowd (which I feel like could be Juan Maclean song). Didn't expect much, but really loved this one. Solid 4 / 5.

Never heard of The Pretty Things, but this was some very solid British psychedelia. Listened to this in the background straight through twice -- no major standouts, but all was enjoyable to my ear. High 3 verging on low 4.

I'm actually a little surprised that my recent detour into Hardcore never steered me into Black Flag. Glad for the list to fix that... Unlike some other Hardcore I've listened to this album spans a wide range of emotions and styles. Sure its got the upbeat, angsty, "fuck the system" punk tracks (Rise Above, Spray Paint), and the body slamming fight music (Police Story, Room 13, Padded Cell), but it also has straight up comical satirical commentary (TV Party, Six Pack), and several songs that are a bit more introspective (Depression) and even verging on sludge (Damaged). If nothing else this album is raw and unabashed. While the first half is certainly more "propulsive" in general, I actually found myself more drawn to the back half. Particularly those songs that feel like they are trying to pull themselves apart: Life of Pain (which opens like a perverted Mahavishnu Orchestra song), and Damaged I (which feels completely self-destructive). My fondness has only grown with repeated listens. Unsure if I'm quite in a perfect 5 camp, but were this a scale of 10, this would sit in the low 9s... As it is, this is a strong 4 / 5 for me.

I really didn't like the last Pulp album on this list. Here's to hoping... Mis-Shapes is an okay opener -- getting some James Bond vibes towards its conclusion. Common People is an early standout. Nothing really special, just a really well done driven indie pop jam. Disco 2000 is also a really nice and bright indie pop song with appeals to some 80s shoegazey / post-punk tones. Sorted For E's & Wizz reminds me a bit of Flaming Lips in the best of ways. F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E. (while terrible to type out) is another great one in here. More moody and contemplative than the rest that is verging on spoken word. Monday Morning is among my favorites on here. Kind of dub/surf-rock infused jam that makes liberal use of echo and reverb to give a spacious feel to the song. Okay, this is leagues better (IMO) than This Is Hardcore. The music is more interesting and varied and plays better to the vocalist's strengths -- ultimately it doesn't come across nearly so pretentious. Expected nothing, came away happy. Solid 4 / 5.

All I Wanna Do is among my favorite pop songs ever written. Blissful and carefree, completely propulsive and catchy as hell. Otherwise, this is a fine enough album with a few other standouts. Strong Enough, being another solid single. And We Do What We Can being an acid-jazz style ballad that is quite nice. Solidify is a groovy little number with some of the better instrumentation on the album. Enjoyable, but ultimately not something that I will come back for (other than All I Wanna Do). 3 / 5.

Ah yes, early 90s Ice Cube. His first album after severing ties with NWA, this brings more of the same with him at the helm for 50 minutes with only a few glancing features. This is some fine West Coast Gangsta rap oscillating between street vignettes (You Can't Fade Me), bombast (The Nigga Ya Love to Hate, AmeriKKKa's Most Wanted, Rollin' Wit The Lench Mob), and comments on racial disparities in the U.S (Turn Off The Radio, Endagered Species). The production is Dre-adjacent and distinctly West Coast in the beat styling. Some standouts: The Nigga Ya Love To Hate (sneering and leaning into any hate directed in his attention with a great hop), Rollin' Wit The Lench Mob (quality posse call-out), Endangered Species, A Gangsta's Fairytale (silly concept, but the delivery, flow, and beat are great). Enjoyable enough straight through, but I definitely lost focus at points even with repeated listens. This stands somewhere on the boundary of a 3 and a 4 for me. Going high 3 here.

This was some fine, folksy 60s rock. But really didn't color too far outside of the lines for me. Not much to comment on specifically. His voice is nice at times, but folk doesn't do a ton for me in general. Soft 3

Of all the rap super groups, nothing touches the depth and consistency of Wu Tang. Not only do they combine like Voltron, their independent contributions are full of classics: Liquid Swords (GZA), Supreme Clientele (Ghostface), Return to the 36 Chambers (ODB)... Helps that many of their solo entries share common production in RZA, making for a cohesive superhero-like universe. This is actually one of their solo projects that has completely flown under my radar. Love Ghostface as a "co-star" here. His higher pitched and sharper delivery contrast Raekwon's huskier flows perfectly. Knuckleheadz is a great opener track -- classic RZA production with silky, but powerful delivery from all 3 members involved and plenty of fluid wordplay. Criminology is another classic Wu track. It's got the minimal, dusty drums, orchestral bits, and movie dialog samples. Back to back with Incarcerated Scarfaces -- another jam touting their mafioso ties. Guillotine is another standout here with a deeper posse cut including Inspectah Deck and (more importantly) GZA. Love the beat built around an off-balanced guitar loop with unsettling string jitters. Ice Cream is an unexpected, late album standout -- instrumental is cold as fuck and eminently head-noddable. Meth only comes on here for one feature, but he kills it with his distinctively crusty spoken word overlay. This is some prime Wu Tang tapping more into the mafioso side than their superhero or kung-fu personas. Only knock I could have is that the tape runs a little long at 73 minutes -- but if I'm being honest, I welcome any excuse to step into the Wu's world and more importantly RZAs production. His minimal dusty drums with key loops and string flourishes are always so tasteful and make for a premier canvases for the clan to spread themselves over. Raekwon rocks the helm well with great support. You can see repercussions of this album to this day, most notably (and recently) with Griselda (Westside Gunn, etc.). Easy 5 / 5 for me.

Never realized Q-Tip had a solo career. And this one is produced with some support of J-Dilla -- ought to be interesting. Opens on a sort of weird note with Johnny Is Dead. Classic Q-Tip flow, but the instrumental leans electronic with a pop-like sung chorus. I actually really dig the instrumental, but something about the combination doesn't work for me. Won't Trade on the other-hand flips a soul sample and Tip's quintessential buttery flow to a greater success. I love "You." The instrumental is so lush with fat 808s, layered keys and sounds, and snares that remind me of early Kid Cudi (for all I know Plain Pat sampled them). WeFight/WeLove keeps the 808s running forward in a bit more of an up-beat soul track (complete with skittering guitar harmonics and sung chorus). This one weaves a poetry about relationship conflicts and military conflicts and beyond. Move absolutely shines here for its J-Dilla instrumental and flip half-way through. Opens with a propulsive soulful beat that is dense and groovy and flips halfway into a more somber "scratched" track rooted around a whistled melody. The a Capella intro of Dance On Glass is a hell of a juxtaposition to the production work on Move. Impressive and really slick production in its own right. This was a remarkably solid album with beautiful production. I never tire of how effortless Q-Tip sounds weaving words around different instrumentals. His delivery is so clear and nimble. The opener was the weak point in my eyes. Otherwise, I found this highly enjoyable and worth coming back for another listen. High 4.

For as many times as I have listened to xx and Coexist, I simply cannot ever remember having listened to I See You.. Weird tinny horn fanfare to open Dangerous that quickly gives way to a very XX sounding moody exectro-pop instrumental. Swapped my earbuds for over-the-ear for this one to capture all that wonderful low-end depth. Say Something Loving is familiar. Distinctive production at work, but feels much "bigger" than their earlier songs in a similar vein. Performance is another big and beautiful one -- Romy's vocals front and center with strings screeching uncomfortably in the background. I've heard On Hold before -- probably in a commercial or something. Solid enough synth pop song. Test Me is a nice sound-system test of a closer. Jamie XX doing what Jamie XX does best. I really enjoyed this one and am left scratching my head as to why I haven't given it more play. It feels much bigger overall than xx, but does not feel diluted. I think for me, the highs are higher on xx, but ultimately this was great. Solid 4 / 5 -- closer to an 8 than a 9.

Not my favorite Beastie Boys album by a country mile, but gotta respect where it all started. With early Rick Rubin production, for better or worse. The album opens with blown-out Rhymin & Stealin, which is built around a repetitive guitar hook and enormous boom bap. The New Style has a distinctly 80s style production. Features much better flow from the Boys with each taking the helm in turn -- beat flip toward the back half baths the whole thing in 808 thump. Posse In Effect is the first that really feels "polished" to a point where it has stood the test of time. Slow Ride is such a weird beat flip. Girls stands out like a sore thumb. Louder, cleaner and more polished than the rest thus far. Damn its an annoying song. Fight For Your Right > Paul Revere is a solid display of capability. The start being a great piece of satire that a generation rallied behind. No Sleep Til Brooklyn sits in the middle and is quite possibly the strongest track on the album with its Rubin-esq heavy metal hook. Paul Revere is one of my favorites here; love the way the bass plays with the inverted cymbals. Also features some of the better writing here and an interesting origin story. Understand the significance of this album for its time, but this one always feels to me an outlier in their discography. Something like highly successful growing pains that cast a shadow over them that lasted through their next several (imo superior) releases. I'm glad they made this because it paved their way to success, but ultimately I'm not interested in playing it over and over again. 3 / 5.

Before I get started into this album, I'll admit up front that I do not like the Foo Fighters. It's not that I specifically _dislike_ them, I just don't understand the broader appeal that they have garnered for what I find to be pretty bland music. That said, Dave Grohl seems like a genuinely great guy and I'm happy for his success. This album is their first and doesn't contain any songs that stand out immediately to me -- this could be a good thing. Also, this is a true solo project, which is always impressive. First thing I notice is the tinniness of the mix. Feels like a garage recording with the amount of compression. Despite the production quality, This Is a Call is a fine opener. Good energy and well written song. Tbh I didn't know I'll Stick Around was a Foo Fighters song -- I really like it. Some solid grunge-pop (if that's a thing). Reminds me a bit of The Vines album that we listened to on here. Good Grief is a jam too more in line with the grunge tradition. Weenie Beenie is surprisingly angsty and stands apart from the rest. Incoherent vocals fed through layers of distortion and a guitar riff to match. I was less focused in the back half, but enjoyed what I was hearing. This definitely is not the same Foo Fighters from which my earlier opinions were derived. While I'm not a fan of the overly compressed production on some of the songs, I understand the grunge appeal and it does work in a lot of places to give this a campy atmosphere. I enjoyed the range at work here -- alt rock to be sure, but with grunge over(and under)tones. Some songs lean into the punky aggression and others giving a glimpse at the alt-pop-rock mega-group that the Foo Fighters came to define themselves as on their follow-up album. More to like here than not -- this is a solid 4 imo.

Bowie's swan song (album?). A bleak album from a dying man that is as pure a testament to his freakish ability to maintain relevance through his entire life. Album opens with ★, a mood setter with absolutely beautiful production and composition. Jazzy in its nature, this multi-part odyssey features Bowie's distressed voice fed through layers of effects over an uncomfortable and ever-shifting electro-jazz arrangement in the first segment, before flipping into an orchestral backed section and largely ditches the vocal distortion. Lazarus plays like a TV On the Radio song in tone. I think its the use of horns + effects with the moody bass line. This song is fucking great -- the production here is top-notch. Sue (Or In A Season Of Crime) once again finds Bowie stretching his genre boundaries with another moody and propulsive electro-prog-rock (a la Mars Volta) instrumental. The instrumental on its own is entertaining and takes the show -- his voice kind of exists like a powerful ghost on top of it. Girl Loves Me is one of my favorites on here -- once again, I can't help but picture this as a TV on the Radio song. I Can't Give Everything Away is a fine closing track on his career. A self aware farewell song that is bright and uplifting . Not nearly so boundary pushing as the rest, but I think that makes for a better conclusion in all honesty. Also just took a look at the supporting cast here. No wonder this came together so well. Mark Guiliana behind the kit is fantastic -- if you haven't listened to his work with Brad Mehldau before, do yourself a favor and check it out (Mehliana: Taming the Dragon). Also Donny McCaslin on saxophone and flute has some great solo jazz works (Fast Future). Then there is James Murphy of LCD Soundsystem giving percussion support on a few tracks. This is a weird album for me. I love it when I listen to it, but never think to put it on. No idea why that should be. This is a soft 5 for me.

I've never felt the urge to dig into The Band's discography, but I know people revere them. My only background comes from The Weight, which is a fine enough song that is incredibly singable and messy in the best of senses. Any time it plays it evokes the feeling that I'm having friends over who I haven't seen in a long time. Tears of Rage is a soulful opener that takes its time. Can certainly feel Dylan's influence here. Love the distorted guitar + thrumbing bass. The composition on Caledonia Mission is fantastic. Nothing feels rushed -- that's a prevailing theme here -- but they do a great job of playing with the tempo between more hopping and more drawn-out sections. Everything sounds great here. Chest Fever is familiar sounding. Unsure if I've actually heard it before or just its reverberations on other songs. Either way, its is a jam. I Shall Be Released is a great closer for this album -- slow and peaceful progression with some pretty piano melody plinking in the background supported by some echoed reverberations of some variety. Just a really nice end of party song that puts a nice bow on the whole thing. This album really grew on me with repeated listens. There is something therapeutic in the pacing of it. For me this falls in a mid-high 4 territory. Lot of good ones on here lately

While its not *their* song, I think this is the definitive version of Hard To Handle. Always loved their blues rock take on the classic soul song -- didn't realize it was a cover until I came upon Grateful Dead covering it as well back in the 70s. I really ought to try the original... I've heard She Talks To Angels a thousand times and never realized it was these guys. Essential inclusion for any compilation of 90s music. It is a fine enough, bluesy pop-rock ballad. This album was fine enough, but really is only propelled by its hits. The whole thing feels distinctly 90s. At points it reminded me of Aerosmith -- at others Hootie and the Blowfish. Not bad, but rarely exciting. Low 3 for me.

First song that really stands out so far is I am Hated for Loving. Really pretty song that reminds me in some ways of Japanese Breakfast instrumentally -- it is both beautiful and sad sounding at the same time. Otherwise, this one kind of washed over me without evoking much feeling. I'm not a big Morrissey fan to begin with, but this really wasn't anything special to me. 2 / 5.

I've heard American Pie a million times, but for some reason it always takes me back to sitting in my grandmother's Buick with maroon interior after getting picked up from elementary school. She used to pick me up and then we would drive over and wait for my cousin and listen to "oldies" on BIG 100. I think by the age of 8 I had all the words committed to memory. I do love Vincent, though I'm partial to James Blake's cover. The original is much brighter in tone. The Grave brings some dynamicism to the closing of the album. Only real standout to me outside of the hits. As a general statement, folk-rock doesn't do much for me. This was really no exception. The hits are memorable, but the rest is pretty forgettable IMO. I don't begrudge anyone for enjoying him -- his voice and arrangements are nice enough -- just not for me. High 2.

This was fine enough punk-adjacent, glam rock. Several songs here made me think of Bowie a la Suffragette City (Looking For a Kiss, Frankenstein, Trash). Some others, like Vietnamese Baby, tapped into the punk aesthetic a bit deeper and reminded me a bit more of Gang Of Four. This was fine, but rarely exciting to me. Flirting with the 2/3 boundary for me. Nudging because I enjoyed more than I didn't.

I'm really surprised I've never listened to this one before. This is some extremely solid early 90s rap with fantastic production rooted around dusty jazz instrumentals and old skool mixing and scratching. They really don't make em quite like this any more. Only song I recognized was Passin' Me By; otherwise, this was solid through and through. Standouts for me were Oh Shit, Passin' Me By, Otha Fish, I'm That Type of Nigga, and Pack The Pipe. Specifically, the production on I'm That Type of Nigga was exceptional -- core horn and bass rhythm bumps, with great use of vocal samples to give depth and a certain eeriness. Very enjoyable listen -- high 4.

Love the tempo play and crustiness of Swimsuit Issue. Actually I think I'm finding any of the songs where Kim Gordon is on the mic/writing are my favorites. Drunken Butterfly > Shoot is a great one-two punch. Shoot is wonderful in its ability to sound off-kilter while retaining a locked in groove and spacious atmosphere. Also love the drum break on Sugar Kane. Found this to be a bit more polished than Goo, with some higher highs. I enjoy all the tempo play and interplay between all of the instruments -- especially the guitar scratching, etc. This is a low-mid 4

Probably one of the laziest / quirkiest sounding singers I have heard in a while. He's got a certain drawl and cadence that makes it seem as if he's at least 6 beers deep through the whole album. For some reason I can't help but picture him as Brett Gelman in my mind... This was some low-key enjoyable indie rock that doesn't seem to take itself too seriously. I went back for another listen this morning -- similar impression that the voice is campy and certainly not going to be everyone's cup of tea. Otherwise, the arrangements are nice and the lyrics, while often tongue in cheek, were enjoyable. I'd say for me this is a low 4 that probably won't get a ton of replay, but I did enjoy it.

This was fine. Some (mostly) upbeat Dylan with several classics tucked in: Mr. Tambourine Man, Subterranean Homesick Blues. Solid writing, as one would expect. I enjoy the plinky depth of some of the more "bluesy"/"rock" songs -- Outlaw Blues, Maggie's Farm-- but I didn't find myself moved significantly. Maybe this would hit different in '65 ¯\_(ツ)_/¯ For me its a softish 3.

This list has been pretty light on metal; perhaps that's intentional... And looking back through the genre filters, it's hard to justify the likes of Rush, ZZ Top, and Hendrix in "metal" of any categorization. Out of the gate, this is obviously borrowing from a thrash/groove playbook. But seems to have more alignment with Pantera than early Metallica in the use of heavy riffs, tempo play, and aggression. Desperate Cry is among my favorites of the first half. Some back and forth tempo play, and a section towards the 5:00 mark where there is a sludgy rhythmic guitar riff with this contrasting dissonant reverberation in the background that is just fantastic. IMO metal and certain strains of electronica make for the best background music when coding. Perfect slurry of propulsive tempos with heavily rhythmic composition that keep you moving and stimulated from start to finish. This was a fine thrash album and I'm glad for it this Monday morning. High 4.

Well this is timely with all the news around Farrell fighting with bandmates on stage during their reunion shows... I've never had any motivation to reach beyond Jane's Addiction's radio hits, but that ends today. The best thing to say about Farrell's voice is that it is "distinctive." Perhaps overdosing Offspring in my youth has conditioned me for the whiny falsetto, but I really don't mind it. This album was more entertaining than I had any right to expect. Latent punk with a hair/glam-metal sheen that's been bundled up into something we now call alt-rock. There's plenty of delicious guitar work here and the drums help to enbiggen the songs. This also had more variety in tone than I expected. Had a Dad sounds just like an Offspring song (Me and My Old Lady). Some weird funk exploration on Idiots Rule. Country-twanged psych rock on Summertime Rolls. Then there's the bright acoustic Jane Says complete with steel drum (obvious single treatment -- this plays a few dB higher than the rest). All said, I really did enjoy this one and will be back again. Solid 4 / 5

Oh wow, I had no idea Bowie worked with Fripp and Eno. This is what wet dreams are made of. Heroes is such a low-key, effortless jam. Wandering and skittering synths underpinned by a straightforward marching drum beat. Reverberations of this song can be felt all over the work of LCD Soundsystem (particularly on This Is Happening and American Dream). Not sure I would call this "dream pop," but there is an ascendant atmospheric quality at work. Sons of the Silent Age stretches into a psychedelic realm with lopsided melodies, droning saxophone, and dripping (almost Floydian) guitar noodling. Never seen this side of Bowie before. The intro on Sense of Doubt is ominous as hell. Feels like soundtrack music for some medieval dragon-slayer movie where they are ascending a mountain pass in the fog. Love how this bleeds over directly into Moss Garden, which spreads itself out and melts all the fog and bad feels away into some koto play with nature sounds in the background. Highlights were Heroes, Sons of the Silent Age, and the instrumental detour of Sense of Doubt through Neukoln. I'll be honest, I was hoping to get a bit more Fripp action on here, but I can't complain. At its core, this is a Bowie record, and just like any other Bowie, it is well-produced, well-sequenced, and unique from all of its surrounding bodies of work. Love the synth tones and atmospheric effects that Eno brings to bear throughout. This was solid, but by no means my favorite from Bowie. High 4 / 5.

Few album covers and titles have evoked such emotion as this. As with most early punk, I found this to become tiresome pretty quickly. Some decent drum/bass exchanges with a few standouts tracks in the mix: You Tear Me Up, I Don't Mind, Fiction Romance. I didn't hate it, but it's certainly not my cup of tea. 2 / 5.

I know I've listened to this one before, but it has been a very long time. This gets lumped in alongside Massive Attack and Portishead as seminole entries in the trip-hop genre. Love the laid back, unrushed atmosphere on Overcome. Slow, shuffling drum beat with some sort of wind melody and some aural synths underpinning it all. Hell Is Round The Corner is a familiar jam born from the same sample that Lupe Fiasco applied to Daydream. Where Lupe's is upbeat and bright, this is drugged out and relaxed. This is an enjoyable listen. Martina Topley-Bird's vocals are pleasant and pair well with Tricky's atmospheric, trip-hop beats with shuffling drum beats, heaps of dust, and layered effects. Not something I would put on often, but I can see why its here. 4 / 5.

Autopsy is jazzy early-album standout. Beautiful complementary guitar work split across the right and left channels and fantastic drum/bass interaction to create some pocketed grooves through the midsection. Love this one. A Sailor's Life also fucking rips in the most folk rock way possible. We've got a straight jam outro complete with guitar noodling and fiddle. Such a warm little number. This was great. Worth a second listen for a closer review. Easily 4 / 5 on vibes alone.

Bright ear candy out of the gate on Valley of the Dolls. Plays like music to take a stroll to -- both synth-poppy and bubblegum. Sunworshipper affects a dustier aura with some familiar downtempo drums + keys. Muscle Cars is an abrupt shift into more typical "techno" sounds -- Tron-like bleeps with a higher RPM high-hat/snare. Paris Four Hundred is a familiar, but very well-executed Autobahn-inspired jam -- hard not to enjoy its propulsiveness. The album's namesake is a simple exercise in boom-bap with a repeated vocal sample calling our inspirations. Otto's Journey taps into a Daft Punk aesthetic and does a great job of running with it. I found this to be an enjoyable enough listen that lacked umph to really command my attention. All of the songs were solid and concise, but rarely extended on a given concept. To summarize, fine but forgettable. Soft 3 / 5.

Too High is a jazzy jam to open the album. Loving the deep whomping sound of the Moog-bass and its interplay with the drums. TiL that Stevie Wonder played drums. Visions is great -- makes me think of a much jazzier / soulful Nick Drake. Living For The City is a sprawling soulful stomp where Stevie puts a little more grit than otherwise into his vocals. Can hear a common theme between the synths here and those of Thundercat today. Impressive solo number. Golden Lady is just a great song. While I do love RHCP's deep throated slap-bass version of Higher Ground, the ultra-funky production on Stevie's original is prime. Also, also his vocals are amazing. Pretty crazy that this is a completely solo track. Stevie is a damned talented individual. This was a tight and concise album with very jazzy/soulful arrangements that were made all the more impressive by the fact that Stevie did a lot of individual heavy lifting here. Where he did get support (e.g., Visions) the album is elevated. Great listen. High 4 / 5.

I don't have much in the way of detail to put here, but I really enjoyed this album for all that it is. Listened to it straight through 3 times, and found it to be fantastic focus music. Perfect mixture of non-distracting and stimulating. Walk Now... is one that stood out to me among the rest. Love the didgeridoo drone with the back and forth synth line on top. Made for a weirdly bright, but aggressive club track with a tribal/animalistic tone. Monday ditches that completely for some stripped down keys (in the vein of Fatboy Slim) upon which various elements are layered one after another. Halcyon and On and On alone is worth the ride -- surprising that they buried it so deep in the track list. It reminds me initially vaguely of Sigur Ros with the breathy non-verbal vocals but eventually gets back to the dancefloor with a pretty standard high-hat/snare rhythm. This was fantastic and I'm glad for the ride. Strong 4.

Solid, soulful, mid-90s R&B. Sure the production errs towards some of the trappings of overpolish and glam of the 90s, but there is a lot more to like here than not. Album gets underway with an funky instrumental hop, complete with sex guitar, plenty of wah, and horns (prominently sax). Welcome dumps some of the forward driving energy in favor of a laid-back soulful, funky jam. Here is where we first hear Maxwell's clear and capable vocals. Love the the funky "wah" tone on the guitar. Has a nice confident groove about it that is easy to sink back into. ...Til the Cops Come Knockin' is kind of dirty. Honestly not sure how I feel about the chorus -- like why are you locking her up somewhere until the cops come knocking? I don't think its intended to be rapey, but its sending off some rapey vibes. Whenever Wherever Whatever gives me Extreme More Than Words vibes. Not a bad thing, but a departure from the rest so far. Really dig the atmosphere on The Suite Theme. Deep 808s laying the foundation for some soulful sax and piano. Sure it pushes the 90s R&B cheese factor, but I actually enjoy it here. For what it is, this is very enjoyable. I enjoyed the funk-forwardness of many of the songs and Maxwell's singing is great throughout. Some of the songs bleed together thematically and I feel like this would be a stronger album if a few tracks were shed. I'd say this is a high 3 verging on low 4 for me.

First impression is that this singer reminds me a lot of Billy Idol. I'm not a big fan of Billy Idol... I actually really like Sweet Bird of Truth. Kind of a goofy 80s sci-fi tone to the whole song, but I get a Les Claypool vibe from the vocal delivery and enjoy the "industrial" sounding 80s synth tones and clanging percussion. Slow Train to Dawn keeps things churning forward in the right direction. This is just some good clean cheesy 80s industrial-pop fun. Twilight of a Champion is definitely goofy, but something about it all is working for me. Lot stuffed into the production (horns, layered synth lines, fat synthd bass) its almost like a caricature of the 80s. This one grew on me as it went. Not something I'd go out of my way for, but as it went on it felt more self-aware and open. Unsure if it is just an effect of me warming to the album, but I found the back half to be much stronger. Solid 3 for me.

I feel like this list has a disproportionate amount of UK rap albums -- not complaining, but if I had to guess the author of this book is most likely from across the pond.. Sittin' Here is a confident strut over a repetitive plucky little synth line. Stop Dat flutters in with some instrumentals that remind me of Shlohmo before dropping into a dirty sliding dub-step instrumental. Fix Up, Look Sharp is a departure in tone from the rest of the album. The beat is built around an old-skool, stripped back, classic rock sample beat with a simple drum beat. Not my favorite song on here by a mile, but its guaranteed to get your head bobbing. Can certainly hear Dizzee's influence in other releases. Jus' a Rascal sounds a hell of a lot like a Tech N9ne song (Riot Maker, 2006) And part of the delivery on Live O is almost identical to ScHoolboy Q's Druggy WitH Hoes (2012). I love Grime as a genre. The fusion of UK garage / dubstep with rap and dancehall is fantastic. This album is a great display of all the things I enjoy about the genre. This is a solid 4 / 5 for me with plenty of replayability.

I really enjoyed this one. Packed with creative electro-forward beats interleaved with exotic elements that simultaneously feel futuristic and as though they should be the soundtrack for a busy old-school open market. While I don't always love her vocals, I think there is far more hit than miss. The only one that I find myself skipping is U.R.A.Q.T. Pull Up the People is a great burbling opener -- the delivery of the chorus is catchy as hell. Bucky Done Gun is a banger with a constantly shifting instrumental. Love the 808 led back beat that is punctuated with tribal sounding drums and interleaved by various staccato gunshot sounds. Early album standout. Sunshowers feels familiar -- reminds me of a random electronic song I enjoy called Alala by Populous. Oh wow, I just placed Hombre as the sample that was used during a jam at a Disco Biscuits concert I went to. They riffed the sample and built one of my favorite interludes of the concert around it. Song is a jam unto itself. 10 Dollar is a late album standout. Propulsive dance-electro beat with a hook from the perspective of a prostitute \"anything you want.\" It's infectious and sort of bleak. Solid 4 / 5.

All the markings of folk-psychedelia on display here: sitar - check, harpsichord - check, recorder/flute - check, kazoo - obviously. There is some complicated layering and the songs themselves are fine, but I really didn't find myself hooked in at any point other than the run from Three is a Gold Crown to the end of the album. I appreciate that someone appreciates this style of music, but it isn't really for me.

Off to a fucking excellent start with The American Metaphysical Circus. This plays with the same lopsided dourness as Portishead. The vocals keep pushing ahead as if they are being delivered through molasses with effects/distortion bleeding across periodically, while the instrumentals trudge around uncomfortably. Hard Coming Love opens on a tear with a tight-grooved instrumental and fuzzed out noise in the left monitor. The drum work is fantastic. Cloud Song floats at 30,000 feet where it should. The plucked strings make me think of the prettiness of some songs from Four Tet's later albums. When Is Yesterday is fucking great. Was loving it during the eerie opening, but when the drum kicks in it takes on a whole new life. This album is a trip in the best way possible. Perfect balance of experimental and boundary pushing, while retaining solid structures and elements of quality songwriting. I'm floored - 5 / 5

Digging this one right out of the gate. Quick little indirection with the horn fanfare, then we get right into some super wonky psychedelic rock. Love the bright trumpet work overtop of it all. A Minha Menina sounds really familiar, but I cannot place it. Ditches the outright psychedlia vibe of Panis Et Circenses for a brighter surf-rock vibe. Feels very much like proto-Beck. The tape effects on Bat Macumba also make me think of Beck. A bit distracting, but interesting no less. This whole album feels so far ahead of it's time. Not many individual songs I would go in for, but the album as a whole is tight and interesting. This is an unexpected high 4 for me.

Listened to this one twice -- neither time with much focus. Didn't command my attention, but also didn't interrupt my work. Overall impression is that it was fine, but not worth a third relisten. I know this makes for a shitty review, but ultimately, this was forgettable. 2 / 5.

I like Silver as an opener. Energetic little bop with a lot going on. Ultimately it makes for a fun and luscious song. The bassline on Killing Moon reminds me of an R.E.M song. Fine enough song that stands out from the rest in a good way. Otherwise, this was some fine, but not fantastic (IMO) post-punk. More upbeat and full than some of its contemporaries. Not bad, but not anything I get too excited for. soft 3 / 5

A Salty Salute opens things on a familiar tone -- reminds me a lot of crustier Spoon. LoFi recording, some husk to the vocals, and a simple melody. The Ugly Vision is wonderfully uncomfortable -- makes me think a bit of a more southern-inspired Modest Mouse with a more pleasant singer. I've tried Guided By Voices before... didn't stick then, not really sticking now. This is all fine 90s indie rock. I dig the LoFi production throughout and the short song structures. While it is all enjoyable enough and pleasant in the background, it wasn't something that had me excited to come back for repeated listens. I appreciate it, but not that much. 3 / 5

Vibraphone is a nice touch over the acoustic guitar on Solid Air. Song has a groove to it. Over The Hill is a fine folk rock song about what seems to be a conflicted man leaving someone (a mistress?). Verse to verse he speaks to his love of sweet cocaine and Mary Jane, but wants to go home and see his family. And yet he's leaving someone in disgrace... I'd Rather be the Devil strays a way from the path of the album thus far. More funk-forward and experimental sounding. I really enjoy Go Down Easy -- reminds me of Nick Drake. Dreams By the Sea resurrects the funky atmosphere of I'd Rather be the Devil, complete with \"Shaft\" style high-hat work, keys, and sax. Low-key jam. This was solid -- I'll come back for another listen, but first impression is high 3 - low 4. Second pass through this was really enjoyable, but I preferred his other album on the list a bit more. Going high 3 here.

Well this is shaping up to be some dark avant-garde shit. Broken Witch is formed around an amplifier buzz and breakbeat percussion. The song is way more enjoyable than that description should imply. Love the lugubrious underworld hip-hop vibe of We Fenced Other Gardens. They Don't Want Your Corn is a quick detour into dance-electro-pop similar in tone to some LCD Soundsystem and The Juan MacLean. Vocals feel like they are being delivered from someone sprawled out on a sofa in between hits of a cigarette. Read The Book That Wrote Itself reminds me of something horrorcore group Clipping would rap over -- deeply unsettling. This was eclectic and strange, but it kept my attention and I enjoyed more than I didn't. Soft 4 / 5.

Opener La fille de la mort is a multipart bad-trip. Opens with a carnival sounding instrumental that grows increasingly demented through the midsection, before turning to something that resembles a normal/bright structure around 6 minutes. Then the night terrors creep in again in the form of horror movie strings and thumping percussion. All the while punctuated by a deep French throat singing. I'm both unnerved and impressed. Rue des tempetes is built around an absolutely wild sounding guitar loop. Has no right being as much fun as it is. Charlotte is a weird Parisian street song that feels like it could have come from a demented Lady and the Tramp -- honestly pretty solid though. Longue route is like if hitler youth, Megadeth, and Rick Rubin had a love child. And as bad as that may sound the result is actually pretty interesting. Out of the gate I was scared, but this was a surprisingly fun ride. Not something I want to listen to all the time, but this had a TON more depth than I was anticipated from the Megadeth-esq vocals. production was solid, as was the use of looping and sampling throughout. I suspect most won't care for this one because it is off kilter, but for me it is a soft 4.

Released after they had already established themselves as indie-rock sweethearts, It's Blitz! features much "cleaner" sounding production with a greater emphasis on electronic instrumental than their debut Fever To Tell. Zero opens the album and sets the stage with a slow-building, but ever-driving synth pop indie rock jam. Immediate one-two punch with Heads Will Roll taking the second slot on the album. Quite possibly their most recognizable song and certainly one of their best suited for a dance floor. I really enjoy Skeletons as well -- kind of reminds me a bit of Japanese Breakfast in synthyness and pacing + vocal delivery. Runaway is a standout of the back half. This was solid as expected from Yeah Yeah Yeahs. I have to say, I think I actually enjoy Fever To Tell and their latest release (Cool It Down) more as a whole, but this was very enjoyable. Soft 4.

After a single play through this hits along the high 3, low 4 territory. Something like a 7.7/10. Compared to the other Beck albums on the list, this is my least favorite. It is also the most melancholy and "mature" sounding of the bunch. Beck trades in his breakbeat samples and electronic effects for acoustic guitar, sweeping strings, and occasional southern twang. Across all of it, Beck's sleepy vocals drone away. The effect is a placid album that holds a middle line all the way through with only a few notable exceptions. Of those exceptions, Paper Tiger calls to a similar vibe that late-career Radiohead conjures with a clean shifting drum beat, sweeping strings, and echoey vocals. Little One (possibly the best track here) is another standout for its brighter/psych feeling production. I could see this being a good album for a long car ride on a sunny day. The whole thing feels like a sad smile.

Gabriel era Genesis >> Collins era Genesis A rock opera of sorts, The Lamb Lies Down on Broadway is a sprawling prog-rock adventure. In the Cage is an absolute jam. Love the synthesizer and bass work with the poly-rhythmic drums throughout. Back in N.Y.C. is another standout -- synthesizer dances up and down arpeggios while the bass thrums slowly. But really it is the drum work that shines here -- busy, but tight and always gratifying. Hairless Heart is both a very strange song name and a great instrumental ballad bridging Back in N.Y.C. into Counting Out Time. Things spread out into aural / ambient territory on Silent Sorry in Empty Boats before bleeding over to the multipart odyssey The Colony of Slippermen. The foreign sounding synth instrumental intro channels a more experimental atmosphere that's far from where this album started, but things quickly adopt a familiar tone as Gabriel takes the mic. Riding the Scree is way groovier than it has any right to be. While the tone of synths (often what I associate with ELP) is inherently silly (to me) the song absolutely jams with an energy similar to Stranglehold. Love this album through and through. Soft 5 (9/10) territory

Oh man, I fucking love Head Hunters. First heard Watermelon Man as an example of poly-rhythm in a History of Music class I took in college, and it is one of a few songs that I immediately fell in love with. Off to a funky start on Chameleon with the plonky synthesized bass line. Layers of pleasure a built on top of that simple line and tight-shifting drum beat holding it all together. The groove established around the 8:30 point with the key soloing is just fantastic. The whole introduction to Watermelon Man is incredibly gratifying. When the drum and bass enter the equation everything just clicks. The rest of the song is a certified head-bobber. Thick globs of bass with soulful sax and keys with some sex guitar licks floating around in the background. Honestly, what's not to love? Sly taps into a Shaft like funky shuffle. Love everything here 5/5

The album title alone scores high. I'm excited for this ride. Lots of folksy country songs about love, heartbreak, last straws, and boundary setting. All in all I enjoyed what I got out of this -- soft 4.

Weighing in at over 70 minutes, this is a genuine, good ol' fashion whopper of an album. And it comes from the member of CSNY that I know the least about: Stephen Stills. Love the One Your With is all I know him specifically by and that isn't here (not saying that's a bad thing). Out of the gate, the tone is set for an unhurried blues rock album with deep southern twang. Nothing particularly innovative here, but really well-done nonetheless. Jet Set is a stanky barroom walk about a fuzzy whiskey soaked guitar. Some depth shown between Anyway and Both of Us, with some funk-adjacent percussion on the former and harmonies aplenty on the latter. Colorado plays like Shooting Star by Bad Company -- understanding that this came first by at least 3 years. It Doesn't Matter is basically a better-sung Fleetwood Mac song down to the tone and delivery. The Treasure is a great late album cut; a sprawling 8 minute southern rock opus. For as long as the album was it never felt like it overstayed its welcome. The song writing is tight and varied enough to justify and the unrushed atmosphere made for an enjoyable ride. This is a solid 4 in my book.

Cocoon is very pretty and instrumentally reminds me quite a bit of similar era Radiohead (specifically Treefingers from Kid A). Far from my most careful listen, but I certainly enjoyed this. Other standouts from my listen were Pagan Poetry, Sun in My Mouth (love the bells and harp work), and Heirloom (love the layers of synth at work here). Solid-to-high 4.

I'm surprised this was released in 1985 -- it sounds like its 20 years older based on the compositions. Not meant to be a knock; the 60s/70s classic jazz sound is one that is timeless for a reason. This was enjoyable, but some of the songs went a little into "cheesy" territory for my taste (e.g., The Wedding). Fine enough, but not something I plan to come back for anytime soon. High 3.

Warrior in Woolworths is very solid. Let's Submerge also carries forward with a great energy. Solid songwriting and good use of horns. I Am A Poseur has a nice hop to it. Reminds of a more freewheeling and crusty Pat Benatar. Germfree Adolescence is a standout here -- production is cool with the echoey synths. Plastic Bag is also a jam -- like what they do with the tempo play. This was in all parts more enjoyable than I expected. Maybe not something I would throw on frequently, but a fine ride straight through. Solid 4 / 5.

Mannish Boy adopts a familiar blues mold with a stomping rhythm and production that sounds like it is being recorded in someone's garage (or front porch). This was some good clean blues rock. Like most within the genre I found it enjoyable but rarely fully stimulating. The blues progressions are so well defined and rarely innovated upon that they rarely inspire more than passing appreciation. Main standout for me was the harmonica work. I've never said that before in my life, but damn that James Cotton plays a mean harmonica. This is a high 3 in my book. Would never turn it off if its already on, but would also never think to turn it on.

JFC another Stones album? Their isolated hits are certified gems, but so far their albums have been less than rewarding experiences... This being their debut, the band sounds verrry different. Opening with a classic rock/R&B cover of Route 66, I have never heard Mick Jagger sound so restrained. Back to back covers as they go for I Just Want To Make Love To You. Foghat's version is far superior, but also has the benefit of over a decade of musical + recording progress. This one is more twangy and classic RnR in tone. Mona reminds me a lot of Not Fade Away (as I've heard it by the Dead). Which is interesting because the Stones also covered Not Fade Away. Perhaps it is just a common structure? Solid song nonetheless. Surprisingly I think this was my favorite of the Stones album on the list so far. It doesn't sound much like the Stones I have come to understand, but this was a consistent and enjoyable listen. However, while it is fine, its pretty damn square. 3 / 5.

Dirty Boys is great. Slow sqwanky trudge with some great horn support. The Stars (Are Out Tonight) is a pretty straight shooting rock song -- not terribly exciting, but fine. If You Can See Me is one of the more "interesting" songs on here so far. Has a distinctly prog-ish lean to it with a driving drum and bass line + synths that wouldn't feel out of place at an STS9 concert. I'd Rather Be High is solid and the guitar line reminds me of something else that I can't place at the moment. Funny to think of 65 year old Bowie singing about preferring to be high. Boss Of Me is another one of the stronger cuts on here with some delicious bass ripples. Of the Bowie on the list, this is second tier. Still great, but not "as great" as others. Interestingly I found the back half to be stronger than the front. I found the songwriting to be less tight than some of his classics (hunky dory, ziggy stardust), while also measuring as less experimental than others (heroes, low, blackstar). Enjoyable for sure and deserves more than a single listen -- soft 4 / 5.

I knew we'd see Wilco on here eventually, but expected it to be YHF or Summerteeth. Comparatively, I haven't spent a ton of time with this one -- a mammoth double album weighing in at 77 minutes long. Misunderstood is a great opener -- rough mix with heaps upon heaps of distortion, setting the melancholy tone right out of the gate. The change-over to Far Far Away taps into the alt-country heritage from which Wilco was born. Weeping guitars and soft-keys casually stroll over this one with Tweedy's carefully pained vocal delivery. Monday is a poppy cathartic release coming out of Far, Far Away. Three songs, three distinct feelings, but they all feel very much in family. Outtasite (Outta Mind) feels like an Elvis Costello distillation. Fine enough little ditty with the skittering guitar echo and tight lyricism. Made all the better by the Christmas carol adjacent rendering of its inversion Outta Mind (Outtasite) on side two. Forget the Flowers is a quintessential Wilco song if there ever was one. You have the alt-country influences via banjo pluckery and slide guitar, but paired with the poppy, sadly-sweet lyricism of Tweedy. This is one I tend to forget, but love every time that it plays. The message is just so pretty and well delivered -- don't forget the good times. Red-Eyed and Blue is the reason I tend to forget Forget the Flowers. This is one of my favorite Wilco songs that is a precursor to the energy they bring to YHF. Simple, but effective with a "ghostly" element to the way that piano is mixed in. I just love it. Actually started working and this fell a bit into the background. God I love Sunken Treasure. Has a little bit for everyone -- the broad appeal of the pop structure, great lyrics, and some subtle but wonderful effects. I kind of wish they had re-sequenced The Lonely 1 and Dreamer in My Dreams. I'm sure it was intentional, but my body was ready for the album to be done after The Lonely 1 -- I was at peace. And then the distorted energetic Dreamer in My Dreams kicked off. I like the song, but it certainly leaves a different taste in your mouth. In my eyes (ears really) this is a high 4. I'm not usually into long albums (45 min is a sweet spot) but its hard to argue with the atmosphere that Tweedy and Wilco create here. The songs go back and forth between stripped down, melancholy alt-country and more up-beat romps. Along the course they pluck the strings of psychedelia ever so slightly and sample harmonization a la The Beach Boys. End result is a confident demonstration of the sounds, lyricism, and songwriting that Wilco would refine into their crowing achievement: YHT.

Last album (Hysteria) was from the one arm era -- lets see if this one is any more full-bodied. I've heard Photograph about 1000 times in my life and I don't think I've ever missed it after it stopped playing. On one hand, its a fine song -- well-written hook, catchy as hell, plenty of cowbell... on the other hand, it just feels like a "diet" version of Van Halen's Jump covered in far too much hair spray. Die Hard the Hunter is every bit as silly as the name would suggest, but I'll be damned if I wasn't having fun. Cheesy ass synths and bloated as hell production are peak 80s hair metal, but this one actually had some substance behind it -- a riff that you can sink your teeth into. Foolin' pulls the carpet for a separate 80s trope -- super clean produced acoustic guitar and tender vocals. I really don't love hair metal, but I'll be damned if this isn't catchy. Honestly I'm not even disappointed in our parents' generation -- I get it. On the other hand, Rock of Ages is dorky as hell. I can safely say this album is not for me, but for glam/hair metal it was better than most. This is a soft 3 for me.

I put this one on mid Def Leppard solo -- what a jarring transition that was going straight into the smooth jazzy guitar and buttery vocals of Smile Please. What a tasty little jam to kick this one off. Managed to delete me review, but the high points remain. Heaven Is 10 Zillion Light Years Away is a fantastic song and I remember it having a bass tone that reminded me of a song on Head Hunters. Boogie On Reggae Woman is also a jam -- once again, the bass wandering being a focal point. You Haven't Done Nothin' feels like a sibling track to Superstition -- same stanky hopping bass, but far less dancy. Other real standout was They Won't Go When I Go, which I recognized immediately, but didn't place until I researched it and realized this was covered by George Michaels on one of the albums we reviewed a few weeks ago. Stevie's version is epic and wonderful -- gave me goosebumps when it started playing. Bird of Beauty is kind of goofy, but in a very enjoyable way. Really enjoyed this one -- crazy the amount of music this man produced (this was his 17th album!). High 4 / 5.

Listened to this twice. It is some nice and calming singer-songwriter style indie-folk. The sounds are familiar, but hard for me to place. Some of it reminds me a bit of other indie acts of its contemporary release date (e.g., Neutral Milk Hotel at their most reserved) and several acts that have been born in its wake, such as Vance Joy for the singer-songwriter aspect. The production here is very exposing and vulnerable with several songs giving a tape-recorder on a desk style effect where you can hear static recording fuzz and clicking around in the background (e.g., See Saw). I think for the style of music, it works very well. I found the songs themselves to be interesting and if I had more time to focus on lyrics I might appreciate them on a deeper level. Not something I'd often come back to, but I think this is somewhere around a low 4 for me. Enjoyable and worthy of respect, but it runs a little long for me.

This was some very high quality mid-60s psychedelic rock from the mid. The singer gives me mad Mick Jagger vibes, but the rest of it is so much better than any Rolling Stones album we've had to listen to on here. I do find it funny that they have that weird back and forth blipping sound going from end to end across this whole album. It is a quirky little effect that is kind of like having a Muppet in the background speaking gibberish. Roller Coaster is a wild one -- singer sounds like Mick Jagger and is the most "rooted" thing in the mix alongside the beachy guitar. Otherwise, the drum work is nuts (full of crazy polyrhythmic cymbal/snare hits). Under all of that there is an element that sounds like somebody just mumbling into the microphone (could be a synth, but I have no idea). Absolutely love the controlled chaos of it all. Relieving transition into Splash 1, which is a pretty straightforward rock song of the era. Reverberation brings more of that wild mumbling sound, but a little less forward. Just some good ol' fashioned driving psychedelia. Monkey Island is another great jam on here. Tried to Hide is familiar -- definitely have heard it or a cover at some point in my life. Has a bluesy vibe to it, but keeps that blipping/mumbling going end to end. This was highly entertaining. Short and sweet with a dusty layered mix. Very solid -- middling 4 for me.

Rockin' Stroll is a fun kickoff track. On first inspection it seems pretty straightforward, but the drum work is constantly shifting keeping the listener on their toes. The writing on Confetti is damned catchy. I feel like Zack Berman took direct inspiration from this vocalist -- there's a sunken nature to the delivery + echo effect that is uncannily similar to everything of his that I ever heard. The title track shines. Familiar song structure, but it is done well and I actually liked the vocal delivery a lot here -- has a post-punk vibe to it that persists across the album. Found myself vibing along to My Drug Buddy. Nothing earth shattering, but everything about it is nice -- slow thrumbing bass, punchy drums, crisp acoustic, and some backing organ support with nice vocal harmonization. This falls in a similar category to Tuesdays Gone for me -- a blissful, but calm ballad that feels bittersweet in some sense. This was fine, but far from earth shattering. Perfect 3 / 5 candidate.

This is the kind of album that makes me want to go out and buy a drum set. Incredibly raw in production this one has a punk rock ethos with a slightly "emo" lean. The songwriting is sprawling but incredibly catchy at times (prime example: Luau) with very technical sounding instrumentation. There is a lot of tempo shifting and experimentation that borrows from the realms of math-rock (e.g., Battles) Unrelenting out of the gate, Here Come the Rome Plows plays like a sudden breach in a dam -- all one direction in a semi-chaotic, mostly ordered procession. Screamo adjacent vocals will definitely not be everyone's cup of tea, but IMO it works here by adding to the raw aesthetic. Where Here Come the Rome Plows is fast and forward, Do You Compute is stretched and minimal. The song opens to an elongated post-rock style intro with a screechy guitar loop forming the foundation and other elements coming in behind to support. For some reason it reminds me a bit of Death Cab for Cutie's I Will Possess Your Heart. Golden Brown is the most "direct" of the songs so far and also one of the most fun to drum along with. The little breakdown around the 2 minute mark reminds me a lot of The Mars Volta -- something about the drum interaction with the quick guitar riff. Luau is a contender for my favorite songs on here. Discordant guitars layer over some visceral drumming and a loping bass progression with one of the most singable choruses here. Just a great one for burning up some open road with the windows down and pounding the steering wheel. Sinews is a late album standout that sprawls. The opening riff feels extremely familiar, but I cannot place it -- somewhere from the post-rock cannon (perhaps Explosions in the Sky?). This one grows naturally before turning inward and sludging along borrowing an ominous riff that would fit naturally on Black Sabbath's Master of Reality. I really enjoyed this album in all of its messiness and raw emotion. The songs are sprawling but dense in their technical aggression and I found myself hooked in. This is a very high 4 verging on 5 for me.

Sledgehammer is a great song and to hell with anyone who says otherwise. This is the blown-out bombastic shit that I associate with my (unlived) image of the 80s. Pure energy around a horn line, what's not to love? We Do What We're Told is a strong one from the back half. A completely stripped away, brooding electronic track with ominous chorus referring to psychological experiments of compliance in the face of moral uncertainty. This is the Picture is a fantastic follow-up. The production is fantastic with all of the hidden effects (bells, plunking, etc.) around the flute line. In Your Eyes is a familiar one to close the album. Not among my favorite, but I understand the appeal. Listened to this straight through twice. I feel like this is somewhere in the high 3 territory for me. At its best it is interesting and varied. At its worst, it sounds like the 80s and Phil Collins. Sledgehammer is great, as is the run from Big Time > This is The Picture. But I doubt I'll be back for another listen any time soon.

This rips way harder than I expected it to. Great energy start to finish and a really nice job on the cutting floor sequencing together the different shows. Notable standouts for me were Big Eyes, Ain't That a Shame, and Clock Strikes Ten is a great closer. For a live album this did a great job of capturing the live feel of an energetic show. Not my favorite by any means, but for what it is this is well done. I'd say the lowest 4 possible.

Interesting side note, not only is this guy the father of Sal Masekela of X Games (as noted by James), but he is also the uncle of Earl Sweatshirt. Standout for me was Maseru. Love the piano-bass interplay around the 5 minute mark in particular. Otherwise I didn't pay much attention to the song names as this one washed over me. Just some tasty jazz that made for a very enjoyable listen. Solid 4 / 5

I have listened to this album more times that I can count. As far as folk rock goes, it really doesn't get any better than this in my (and many other's) opinion. The album wastes no time in getting started. We are dropped right into an acoustic strum of the titular track with Drake's breathy falsetto floating above. A couple of tasteful key strokes add depth through the mid-section. Immediately sets the tone of a sad smile that persists throughout. Honestly, on an individual track basis, I don't have a whole lot to say, but as a complete album this one always leaves an impression on me. There is something to the delivery that is passionately beautiful and resonates. The songs are so crisp and lightweight in structure I never mind basking in them. But even if the songs and album are short, they come laden with nuanced emotion. We are only so lucky that we were able to enjoy these songs at the expense of their author.

Threw this on while driving and wasn't disappointed. The 90s electro trip-hop sounds laced with druggy effect layering on Dirge make for a fine soundtrack ripping down 32. Something about this particular style reminds me of movies like Blade -- a simpler time. Soul Auctioneer is a bit more electro-forward and plays sort of like a Damon Albarn song. Aisha is a pumped up electrostatic tromp built around a tight (uninteresting) 4/4 drum beat overtop of which distorted guitars and keys noodle about with a somewhat awkward (IMO) vocal sample slapped on in the back half along with organ. It is fine, but something about it feels off. Aladdin's Story is one of my favorites here so far -- a downtempo jazz-influenced psych exploration that reminds me a bit of more recent BADBADNOTGOOD. Broken Little Sister plays like a lightweight NiN + Blur mashup. Neptune City is a wandering excursion into some Eastern tones via Most of the album is about creating atmospheres over actual songs. Sure there are rhythms and certain ideas that are expanded upon, but for the most part songs start, build and then kind of taper off without too much internal dynamicism or anything to really remember them by. I'd say that looking back my favorites were Dirge, Soul Auctioneer, and Aladdin's Story. But otherwise this is largely forgettable for me. Soft 3 / 5.

Assuming that this recommendation is for the original and not the 1999 "complete" edition, I'm going to base my review accordingly on D1 8-18 followed by D2 3 and D1 19. Kind of obnoxious, but I also don't really want to go in for a full 2 hour set just yet. Blues to Be There has a great sway to it. Love how patient the song is with the Trumpet vocals in the back section. Had this on in the background for the most part and it rips. For 1956 in a time where conformity was king, jazz stands apart for its looseness and ability for elastic expression. I went a little off of the original recording and found Skin Deep (a request) to be a hell of an enjoyable ride complete with open-ended drum solo. This had to have been the bees knees back in '56 because it still bangs today. 4 / 5

Given how much I enjoyed Drive Like Jehu, I'm excited to see where this goes. Common guitarist between the two bands -- and this is where he ultimately decided to focus attention. Out of the gate this feels a bit more formulaic and "clean" than DLJ. Still punky, but a bit with a significantly more alternative lean. Vocals and horn presence skew almost ska, which I'm not loving. On a Rope is the first song that commands any real attention. More due to the tightness of the marching riff than anything else. This was without a doubt the single most disappointing listen on this list so far. I loved the project from DLJ and figured that whatever Reis decided to abandon it for had to be equally if not better in quality. Perhaps to some this is; however, for me this was textbook mediocrity. Sure it is polished up and assembled into a form that probably had broader appeal at the time, but for me this rendition abandons almost every part that I loved for DLJ. Where the last album was raw and visceral, this was polished and neat. I understand different outlets bread different music, but this was wholly unsatisfying. 2 / 5.

Absolutely love We Walk as a song. It is so simple and yet something about it tickles me just right -- glad to have listened to this album just for this one song. Never was a huge R.E.M. fan growing up and hearing them on the radio, but I thoroughly enjoyed this album and the rest on the list. Maybe this is growing up? In any event I found this one to be more hit than miss without any of the major hits that were present throughout my youth. For me this leaned a bit more post-punk across the board (9-9, Pilgrimage) with several songs tapping a vibe similar to The Police. All around solid and will be back. 4 / 5

I could just about review this one from memory, but I welcome any opportunity to take another tour. This may not be my favorite (or even top 3) of Floyd albums, but there is a reason it has so much recognition among their discography. Of all their albums, this one has one is most polished with a cohesive environment end-to-end and plenty of timeless hits that tapped the popular interest without selling out. A decidedly psychedelic vibe is immediately set with the Speak to Me intro introducing several repeating motifs (heart beat, mad cackle, cash register) before giving way to a shrieking cry that bleeds into Breath (In The Air). The effect of that transition is transcendent -- we go from madness into the pillowy winds of Gilmour's guitars and the smoothest of drum beats that feels like he's playing without trying to wake a baby in the next room. Then as quickly as we came, it's off to the races with On the Run. A mad little electronic looping experiment upon which layers of synth and vocal samples are cast into and out of focus. Few songs evoke motion as this one. Time is the first in the first in a series of four back-to-back singles that this album produced. Fitting to the name, it takes its time getting going with ominous bass and distant percussion before the snare hits bring us into a groovy little psych-rock jam. Great Gig in the Sky is a powerful centerpiece made all the better by its origin story as effectively a free-form vocal audition that made the final cut. Pretty shitty that the band used her takes without informing here, but I guess that's rock and roll? Money is one of my favorite all-time Floyd songs -- hard not to get behind the groove of that bluesy little riff and timeless lyrics about the power and influence of money. Not to mention this song has among the best cohesive downstream jams of any song they constructed. Us and Them rounds out the streak of singles going back to similar pillowy lands as Breathe. But now with support on saxophone and a somewhat deeper subject matter relaying the senselessness of individual distinction in war, race, and poverty. Ultimately we are all the same: people. In a similar format to the first side, Any Colour You Like sits in the third spot as an instrumental interlude -- this time favoring Gilmour's liquid fretwork. A seamless blend into Brain Damage, which touches directly on insanity (perhaps an ode to former front man Syd Barrett) before handing over into Eclipse which is about as good a closing track as has ever been written IMO. Such a cathartic summation that ties this in a bow. Like I said, not my favorite from Floyd, but no doubt a 5 / 5 that had a huge impression on me.

I expected nothing from this album, but am 5 songs in and absolutely jamming. Girl's got pipes and the (very) 90s production is actually quite solid here. Yes it is hyper-polished, but the instrumentals and vocal layering are well done and interesting. On production/mixing, there is some clipping in her voice + distortion at the upper end of her range, which can be a bit jarring (especially noticeable on Slow Down Baby). Sounds like this is a song that Eminem ripped off for the cadence in the "chorus" elements of Marshall Mathers. Interesting return to basics on Candyman and Nasty Naughty Boy back to back. The former that interpolates jazzy-swing and the latter that goes full big-band crooner. Both equally horny. Full star reduction for Candyman alone. >>> 3 hours later <<< Well that was a lot of time sunk into a 90s R&B space. Honestly I think if they left it aat the first disc and threw Hurt higher up in the mix, this would be an easy 4. But the playtime was faaaaaaaaaar too long and I found myself literally tired by the end (even with breaking this up). Buoyed by the strength of the first half, I will give this the lightest of possible 3s.

Didn't "love" the last album from The The, but I remember it growing on me as it played out. The Sinking Feeling has an oddly modern-retro feel to it. Like I get this is the original "retro" that modern reboots are trying to capture, but the production is very clean. Uncertain Smile is a solid mid-album jam. Vocals are a little campy across the board, but the song itself is very pretty from the familiar sounding guitar melody to the piano + layered synth through the back half. I really do love Giant as a closer. It doesn't really go anywhere necessarily, but the synth + vocals through the outro are so cozy I could stay there all day. Went through this one twice -- on first listen it was mostly backgrounded and I found it "fine." Second listen I was still pretty distracted, but there were more shining points than not. This was a pleasant ride and low 4 for me.

This one comes quite a bit earlier in Sonic Youth's discography than the other two thus far. Had this one mostly in the background, but as with the other two I enjoyed most of the ride. I'd say relative to the other two this scores the lowest in personal appeal, but I do find something endearing about the crustiness of it all. Standouts for me were Catholic Block, Tuff Gnarl, Pacific Coast Highway, White Cross, and Master-Dik. Soft 4 / 5 for me.

Bright Horses has an element in it that reminds me a lot of a James Blake song that was released a few years in advanced of this -- I'll dig it out in a bit. Pretty song tho. Okey sooooo this one falls into a general category that I enjoy while listening, but honestly have no driving desire to dive back into. For some reason the sad old man tone + epic song structures just don't appeal to me. And yet I have no problem with other epic song structure (e.g., Sigur Ros). Anyway, the songs on here are pretty and honestly were very interesting during the listen. I felt absorbed and moved, especially in the second side (chapter?). The songs are often lush with ghost-like qualities derived from vocal delivery, echoes, etc. The result is a beautiful album and I get the appeal, but for me it isn't something I need again anytime in the near future. I'd say objectively this earns a 4, but has low replayability for me.

Interesting out of the gate. This one flirts a boundary of downtempo and (vaguely) trip-hop with a distinctly traditional European flair brought about by the accordion sound. Not hating this by any means, but I will be curious to see how they plan to keep things from going stale across 58 minutes. Epoca retains the classical lean as well with some string flourishes and sultry vocals. I knew Chunga's Revenge sounded familiar -- didn't expect to find a Zappa cover in here... Shit bangs though in its own right. Last Tango in Paris has a bell click that reminds me of elevator or hold music. Fine song otherwise, but I can't shake the connection. After a listen and a half, this stands in at a low-to-solid 4 for me. Basically this is electro-jazz that borders on cheesy, but ultimately makes for an enjoyable listen. The songs were varied and pulled in instrumental layers I wouldn't have expected (strings, accordion, etc.). End result is something that I feel like I could put on anytime for a decent time.

Movin' on Up kicks things off on a bright note reminiscent of Sympathy for the Devil. Something in that combination of hand-percussion + choir + keys + vocal delivery. Fine enough intro, although I feel like it is a bit of an outlier relative to the rest of the album. Slip Inside This House is cool as shit. Love the wompy bass tying this whole thing together. Don't Fight It, Feel It also is that good kush. The trilly whistle that forms the repeating melody along with deep cyclical bassline work great together to form a bright, but dirty foundation for everything else that is intermixed. Definitely have heard I'm Comin' Down before -- or at least elements within. Feel like it might have been in a James Blake boiler room or something. In any case, this song jams. Love the saxophone work and completely relaxed vibe. Shine Like Stars is a fine way to end the album. Bright and pretty. I enjoyed this album quite a bit and will definitely be back. I only vaguely remember the other album we had from Primal Scream on this list, but from what I remember this one is significantly brighter in overall tone. Still psych-laden electro alt-rock that I can get down with. Solid 4 / 5

I threw this on in the background and before I even realized it was through the original track list. Have to say that I loved closing track Lazyitis dripped in Sitar. Bring a Friend is a highlight of the second half for me -- really digging the big, crowded room vibe brought about by warm thumpy bass and scratched funk-guitar in the background. Fat Lady Wrestlers has an element to the chorus that feels really really familiar. Sort of like I Can Change by LCD Soundsystem. Really like this song. This was a very fine album. Something that I've been able to listen to 3 times in a row without getting tired of it. At its best it reminds me a little bit (vaguely) of XTC in its psych-popiness. At its worst (looking at you Moving In With) it is kind of annoying. This is a middling to high 3 for me.

Album opens on a distinctive note with Bubble and Slide. True to its name, it sounds like a quantized sample of water glugging through a drain. Some bright synth lines are laid over top before we follow the water down the drain into Pt. II. This second part turns to a shuffling drum beat with sci-fi electro-beam synths and other effects on top. Duke of Earlsfield keeps the vibe alive with a jazzy bass progression and percussion elements that feel like they are being cast through a tunnel. Whole thing is great to bob to. Just finished the review of Dummy and happy to see Portishead cropping up again here. Certainly can feel their production influence on Planet D with the distance and dreamlike elements to the punchy trip-hop beat. Wilmot is a fun little dubby number. Honestly I lost focus after this point to some more pressing work. On vibes alone this one scores around a 4. I feel like it was longer than necessary, but the instrumentation was interesting and I could vibe continuously.

I find this particular era/style of music to be inoffensive, but rarely ever exciting. Something about the production is distinctively 90s -- its like the vocals are left "raw" but the instrumentals are very clean. Feels like background music for a cool cafe from that time. I actually really like Fuzzy a lot. It feels wonderfully off balance throughout with well-applied affected falsetto. Something in it makes me think of modern indie acts such as Alex G. There are other glimmers of brightness on this album. The Hook is a solid acoustic stomp. Stars n' Stripes is a trudging melancholy number that pulls the falsetto back out effectively along with tasteful slide guitar and bells. Dixie Drug Store is a (relatively) upbeat plonk built around a lulling, deep-throated bass line and following acoustic guitar that is rewarding. America Snoring and Grace both feature compressed production that restrain otherwise climactic electric guitar work. But my resounding impression is that this is largely forgettable 90s indie rock. I doubt I'll be back, but I did enjoy the ride. Very high 3 (like a 7.8).

Album opens on a surprisingly minimal note with Terrapin. Just a few layered guitars and Barrett's haunting/detached (as always) vocals. The effect is both absolutely beautiful and incredibly bleak. No Good Trying turns in a decidedly upbeat/poppy direction, but is equally unhinged in its layering of elements; just wonderful. Octopus stands in the middle of the album as the most full-bodied sounding song. Given that this was the albums only single, I wonder how many fans were confused/disappointed by the rest of the album that surrounds it. Long Gone stands out from the second side. Its simple, but so well done -- especially like the super distant background vocal layers near the conclusion. Kind of weird how raw the production on Feel and If It's In You sound (complete with studio banter). But reading the wiki page, it seems this album's construction was a bit ramshackle and drawn out. Album closes on Late Night, which features suppressed drums and whining guitars in a similar vein to some tracks from Pipers at the Gates of Dawn. After a single listen I'm left a little unsure how to feel about this one. I really loved the intro and outro tracks, but found the midsection to be pretty spotty. I appreciate Barrett's early work with Floyd, but don't think I'll be back soon to listen to this again. For me this rests at a high 3.

Finally -- 600 albums in we get our first Portishead album. As far as trip-hop goes this and self-titled are absolutely untouchable. This is among the seminal works of the genre that set such a wonderfully unsettling and exposed tone. FWIW if you enjoy this album, I recommend checking out the album Hybrid by Elsiane -- I discovered it around the same time and, while it is different aesthetically there is some common element there. Especially in the intro track Vaporous. This album is all hit, no miss for me. One of those rare albums that I can put on literally anytime and be at peace. Mysterons is a great opening track that puts Beth Gibbons haunting vocals on full display over a spooky, minimal electronic instrumentation. Subtle shifting and scratching underpin a regular drum sample over which what sounds like a theremin warbles about. Sour Times carries forward the melancholy tone with a bit jazzier/bouncier entry featuring an exotic (eastern?) string sound and echo-laced guitar work. Strangers is among my favorites on this record and from Portishead in general. Love the way this one bounces back and forth between what I'll call "clean" and "dirty" segments. The clean are stripped down with canned vocals, while the dirty pull in the hip-hop beat with fuzzed out guitars and more clean and forward vocals. The result is a damned cool song. Numb is another favorite of mine. Simple, but highly effective. Then there is Roads, which stands out as one of the most popular relative to Spotify plays -- understand the broad appeal -- its a beautiful song that works so well. Full-bass, lush orchestral sweeps, and a droning organ sound give this a hug-like warmth. While Gibbons vocals sound so incredibly vulnerable. Biscuit is a wonderfully dusty, downtempo adventure. Trippy, chopped and screwed vocal samples and light mixing give this a delightfully cluttered vibe. Sprinkling keys work wonderfully in counterpoint to the dominating synth lines. Bleak and beautiful. Glory Box burns the album down slowly in a seductively drawn out inferno. Once again, just a beautiful jam that hits on all cylinders. So glad for this album to exist... Easy 5

Had this on in the background for the first listen and it is just so damned calming. I have a soft spot for stripped down alt-country. Everything is Free is a fantastic song. Just beautiful in composition and delivery. Similarly, I Dream A Highway is disarmingly beautiful in its simplicity. Drawn out to nearly 15 minutes, the instrumentation isn't doing a lot, but I'll be damned if it doesn't feel perfect. Her voice is so relaxing, it feels as if it ought to be listened to sitting in a cabin during a snowstorm with a fire rolling. This was an enjoyable ride all the way through and I could see myself throwing this on again without question. For me this is a soft 4 -- in the 8.2 territory.

Ripped this straight through and was not disappointed. Plenty of crusty blues rock, with several more "tender" songs that come through well. Among those in the latter category, Borrowed Tune is a sincere toned down ballad that is book-ended by fuzzed out jams World on a String and Come on Baby Let's Go Downtown. Albequerque and Tired Eyes are two other standouts in my mind. Both tap into a southern rock aesthetic complete with slide guitar and extended harmonica solos. But where Albequerque feels more reflective and restrained Tired Eyes has a pleading tone with the repeated refrain "please take my advice." This is a great album that flows start to finish. I've listened 3 times through and have enjoyed each listen independently. For me this is a high 4.

Biased against this album from the jump just based on the overprocessed sounding drums preceding I Should've Known. Otherwise, the song is actually just fine. Would actually be quite good if the production weren't flat as a piece of paper. Fifty Years After the Fair sounds like an Elvis Costello song in formation -- and even the backing vocals have his twang. Most of this is kind of disposable pop bullshit, but Jacob Marley's Chain > Mr. Harris is solid one-two. The later sort of plays as a Christmas song, but it feels modern in tone. Ya know I honestly didn't hate this. At times, it reminded me of Gwen Stefani (circa No Doubt) and at others it felt like Elvis Costello. That said, in the spirit of this list, I really don't think it should be here... Stands around a 6 objectively, but scoring as a 2 because I don't think I'll come back.

That Lady is a solid jam made great by all of the fuzzed out fretwork. Reminiscent of Hendrix a bit in tone, but supported by soulful vocals and a buried bass line. If You Were There feels a lot like a Cee Lo Green song. Not only in the falsetto vocals, but in the general arrangement. Not a knock at all, its a fun one. Summer Breeze is another solid one on here. Feels familiar in structure and is just so well done. I found this album to be a really refreshing listen. The vocal harmonization is fantastic as are the points where they allow the guitar a free-reign (That Lady and Summer Breeze specifically). Otherwise, the songwriting is just solid. 4 / 5.

Lol 14 songs, 15 min 53 seconds. Let's fucking go. I Just Want Some Skank is great -- the drum work especially stands out. Reminds me a bit of a stripped down Institutionalized by Suicidal Tendencies in the way that it goes back and forth in the tempo so dramatically toward the end. Really like the bleed into Beverly Hills. Live Fast Die Young is a pretty solid rallying cry / anthem for punks of the time who were watching the cold war play out. I don't want to live til 34; don't want to die in a nuclear war. I don't want to live til 43; I don't like what I see going on around me. Just get fucked up... Drums on Red Tape are phenomenal. Its no wonder these songs only last 90 seconds at tops -- the dude is running 100 mph hitting crazy tight fills in between breakneck rhythm sections. On a two listens, this was really quite solid. Not the best hardcore punk I've ever heard, but serviceable at the very least. Drums are the highlight, but the frontman has enough energy to carry things and the guitar work was fine. I'd say it lacks a specific energy to call me back quickly, but I enjoyed it while it was playing. 7.7 territory -- going high 3.

Sounds like thrash metal out of the gate, but does a quick pivot and pulls in decidedly industrial tones. Wikipedia confirms "industrial metal" as the genre du jour. Kind of makes me think of a less commercially-viable Rob Zombie. Opener N.W.O. is built around a tight little bass thrum and repetitive distorted guitar riff. Some unintelligible vocals are layered in and out along with vocal samples and other electronic elements. The effect is something that would be fine to keep you going on a long drive, but otherwise it doesn't really go anywhere. Just One Fix doubles down on the same Rob Zombie style guitar riff + industrial thump. Honestly its a fine song, but like much of this genre it kind of grows tiresome without anything else as a backdrop. Like I feel like in order to fully enjoy this style of music you need some vampires battling each other, or a gas pedal under your right foot. TV II is as interesting as this has gotten so far -- oscillating between melodic segments and spoken word through a condenser mic. I do think they missed an opportunity to spend time dug into that riff or taking a quick left turn and blowing off steam through the last 30 seconds. Instead it kind of fell a bit flat. I do actually like Psalm 69 a lot. Song is a weird jam. I was very up and down on this one. At its core, I believe this is solid driving music (similar to Rob Zombie, etc.) but I rarely found the songs themselves to be "interesting." Basically the melodies and riffs are easy to get behind, but the songs themselves don't do much internally to progress. Ultimately I'm left feeling a little underwhelmed -- somewhere in the low 3 range.

Opening track, Little Child Runnin' Wild, opens on a soulful narrative tone. Loving the overall vibe. Pusherman continues in a similar vein over a bright funky groove. Junkie Chase is a fantastic "Shaft-like" instrumental that has become a sort of parody of crime/police films of the 70s. Love it all the same. Give Me Your Love is a laid back and dreamy soulful jam. Oh man, I have never heard the original Superfly before -- only know it from Beastie Boy's prominent sampling of it "Eggman." This was solid front to back. Not really something I typically go in for, but very enjoyable. Not sure I'll be back quickly, but I enjoyed the ride. Solid 4 / 5

Fuck yea. Funkadelic is great and Maggot Brain is an all time psychedelic-funk adventure. The title track is effectively a 10 minute free-form guitar solo built on top of a clean back and forth guitar progression. Mixing on it reminds of early Sabbath in the way that there is a ton of dusty depth to it, while the guitar work calls to Hendrix in its delicious use of fuzz. If this were another 10 minutes I wouldn't complain -- the guitar work is so passionate and lyrical it gets me every time. Quick pivot into structured funk with Can You Get To That. Such a great goddamned song. Love the vocal harmonization and layering through the chorus. Hit It and Quit It is also one of my favorites here -- opens on a single groovy guitar riff that the whole band wraps around. Makes for an incredibly catchy and jumping number on which the organ gets room to explore in a solid solo. Super Stupid almost could be mistaken for a Lenny Kravits song in its structure. Fun little bopper that is almost completely propelled by the guitar work. But as with most songs on here, its the tightness of the whole package that makes this great -- the drums are satisfying, bass and organs play solid support, and the vocals are powerful. Interesting that this album has at least 5 different lead/co-lead vocalists across 7 tracks. If a song dedicated to hitting and quitting wasn't enough indication that Funkadelic didn't take themselves too seriously, Wars Of Armageddon removes all doubt. This sprawling jammy outro is a foil to the passionate, serious tone that Maggot Brain set. I don't think that "dancey" is quite the right way to characterize this, but it certainly evokes motion. Similar to the title track this is a free form jam over which Hazel solos come in and out of focus along with incoherent babble, fart sounds, and other various elements. End result is a damn good time. I love this album more every time I listen to it. While it is certainly a bit chaotic, I think that is part of the point. Funkadelic shows they can transcend the space of pschedelia and funk while still churning out some tunes that could have pop appeal and garner radio play. George Clinton is the man, but Eddie Hazel burns this one down. 5 / 5

I un-ironically love Make the Woman Love Me. On the surface it seems kind of corny, but I found myself grooving hard. (He's Got) The Whole World in His Hands is another standout here. The song itself isn't new, but the arrangement is fairly novel. Feels like the whole thing is sort of drunk due to the half-speed(?) drums with all sorts of artifacts on them. This had its moments, but ultimately falls into a space that I don't often feel like exploring. I feel like the production was really good and the songs themselves were also strong, but the only things I remember after listening are the two songs I mentioned above. 3 / 5.

This was some solid-to-good indie/alternative punk-rock. Very 90s in tone, but not in a bad way. I'd say I enjoyed more than I didn't here. A lot of it just washed over me, but there were a few standouts. Before the vocals started on I'd Give You Anything, I thought it was an N.I.B cover. The guitar riff is lifted almost verbatim from the original Sabbath song. I also really liked Innocent Smile -- contrast between the distortion and the plucked harmonics is nice. Album closer Darkside Lightside was a fun ripper -- energetic with some nice breakdown in the middle. I'd say this straddles the 3/4 border for me. Erring to the low-end because I don't really expect to listen to this again.

Off to a nice start with the title track. Has a Duran Duran-ish glammy vibe about it, but I really enjoy the synth elements and glittery guitar. Fall in Love With Me is another fun upbeat song. While it is full, it never feels cluttered or claustrophobic. Despair opens like a Beach House song (but less atmospheric) with the simple, regular downtempo electronic tambourine + drum. Really enjoy the atmosphere if this song. Not a very close listen by any means, but I really loved having this album in the background. I can get behind the burbly bass tone and synthy vibes. Will certainly have to go through another tour soon. High 4 / 5 for me.

Production and mixing across this album is fantastic. Best description I can give is that the songs are cozy but never cluttered. Great use of stereo to separate complementary elements into separate channels -- never distracting and always to great effect. I really like something about When You Awake. Up on Cripple Creek is an all time classic -- love the underpinning stanky organ lines and rootsy vibes. Reminds me of the Dead at their best. King Harvest taps a similar space, but with a stronger groove. For me this exists in a space between a high 3 and low 4. I don't think I'll come back, but its a fine listen straight through.

When it comes to finding "great" music, I am of the belief that one of two things happens. In scenario A, the album is objectively great and will be great no matter when you encounter it. These are relatively rare and make up the space of canonical classics for each genre. In scenario B, an album crosses your path that is perfect for you at a particular time. These albums are serendipitous gems that resonate with some primed internal condition. I think what separates the two is how the albums hold up across time and repeated listens. And thus, are indistinguishable at first discovery. This album falls into one of the above two categories for me. While it runs a bit long it never feels a chore and is honest fun the whole way through. Production and mixing are top notch throughout. And the variety of sounds keep things nimble and in constant motion. Jump N' Shout is fucking dope. Love the reggatone style vocals mixed with a hopping, endlessly escalating synth line. Just fun as hell and reminds me a bit stylistically of earlier Deadmau5 mixed with Madlib or something. U Can't Stop Me is another fun one. Absolutely loving the R&B vocals and thickness of the bass. Same Old Show is fantastic -- I love the falsetto vocals shining through the rest of the mix. They give it a delightfully off center vibe. Don't Give Up had me fully hooked in. All said, this is a soft 5 for me. I'm not sure if this would always resonate as it did today, but I'm glad I tapped into it when I did.

Been a while since I've listened to Aphex Twin, but I'll welcome any excuse to go back. This is a long compilation style album spanning his work from 85-92, which is wild considering he was only 14 in 1985. Not really what I typically associate with the term "ambient," but who really cares. Opens with Xtal that has a dancey vibe and vaporous atmosphere with fuzzy edges and warm bleeding synth lines. It's a similar sound that Burial applies; however, far brighter in overall tone. Tha descends deeper into tunnel-dwelling territory driven by a distant heartbeat bass and drum machine click that sounds like it is emanating from an adjacent room. All the while, angelic synths grace in and out along with distant incoherent shimmering vocal samples. The effect is nearing transcendent -- beautiful. Has a similar structure to some more modern Four Tet work. Ageispolis has a nice hip-hop inspired beat carried largely by the thump of a warm 808. Were it not for the aural + bleeping synths, this would feel right at home backing a Beastie Boys song. Went heads down on work for a bit there, but came back to for the deeply unsettling Hedphelym. Stomping bass with warbling synths going in and out of tune create an eerie vibe. While I didn't have the ability to give a fully focused review, I absolutely love this album. While there isn't a central thread tying everything together, the individual songs and textures are wonderful throughout. High 4 to soft 5 depending on the day... Erring on the high side today -- Like a 9.2 or something.

I will say this one falls into a strange place in my heart. On one hand, I kind of like the instrumentals and the psych-vibes; however, something about the actual compositions and vocals specifically really rub me raw. At its worst (Spanish Man, Dreaming of You) it reminds me of Maneskin; at its best (Goodbye, Calendars and Clocks) its like a more blissful My Morning Jacket. The middle ground (Waiting for the Heartaches) isn't terribly inspiring or offputting. It just kind of feels underdeveloped in some hard to define way. Yeah I'm very soft on this one. Some of the instrumentals are okay, but I really hated the vocal production -- too far forward and clean for how bad the vocals are. I also found the variations here to be pretty quirky, but not in a good way. I mean we've got some dub (Shadows Fall), polka stomps (Dreaming of You), Spanish(?) pirate inspired (Skeleton Key), acoustic deluge (Calendars and Clocks). All of it loosely held together... This is a soft to middling 2 for me.

Of all the original Pixies albums, this is probably the one I've spent the least amount of time with. Released on the heels of their breakthrough, Doolittle, this one is less "punchy" and warmer in tone. The bass dominates on most tracks, creating a fuzzy boundary within which everything else plays out. The run from Is She Weird to All Over the World is fantastic. Is She Weird is one of my favorite songs that they produced. Thrumming bass with tight songwriting that is just catchy as hell. Ana drops into what I can best describe as downtempo surf-jazz, with clear surf guitar bleeding a slow progression; all complemented by airy vocals. Then there is All Over the World which pulls closer to the unpolished tones of Doolittle and Surfer Rosa with some wonderful blistering guitar interludes between polished segments. Down To The Well is another classic. Love the weird high pitched alien sounds that are buried in the mix -- delightfully bizarre. Sum total I really enjoy this album. While it doesn't hold the same level of appeal to me as Sufer Rosa or Doolittle, it still scratches a certain itch and truly that run from Is She Weird > All Over the World is among the best on record I've heard in a while. In my eyes this straddles high 4 / low 5 territory. Like a 9.0

The world deserves more album covers this awkward. My earliest exposure to Simon & Garfunkel comes by way of TV advertisements at my grandparents house for some sort of commemorative box set on QVC. It is one of those few inexplicable memories that seared into my mind and won't leave. I can still picture the videos of singing on bridges with water running under them... With that out of my system, kicking things off with the title track is a bold move. Just a damned solid folk ballad that swells beautifully with string accompaniment through the back section. Cecilia is a low-key ripper -- I swear I've heard this one or at least the progression before. Like to the point where I can nearly sing along from muscle memory. I'm so confused. The Boxer is a classic as well. Just high-quality folk songwriting that's really hard to argue with. Baby Driver is the closest thing I think this gets to folk-rock territory -- honestly dig it. Not an album I plan to revisit any point in the near future, but I'm glad to have experienced it. Paul Simon is a hell of a songwriter and the songs themselves are arranged nicely. Just not something I could see myself throwing on of my own volition. For what it is this scores high. 4 / 5

I find it very strange that growing up in the 90s and early 00s and being primed to metal by way of Metallica and Sabbath that I never was exposed to Pantera outside of what few hits made it on the radio. For some reason I always viewed them as overtly aggressive and \"scary.\" And honestly a recent drive through their discography only reinforced that opinion. Something about the deep melodic riffs combined with outright aggressive lyrics and their deep throated vocals all make for a high Testosterone, blood up listen. Opener Mouth for War, is fine, but ultimately pretty forgettable. A New Level opens on a quintessentially Pantera riff. Deep and minor, used to build tension between thrashy sections. Unlike Metallica who diluted a lot pandering to radio appeal with the Black Album and beyond, Pantera sacrificed nothing with their image in their pursuit of success. Walk is a great example of this ability to command radio play while staying true to their roots. A driving and highly aggressive song built behind an absolute unit of a stepping riff. Hard not to feel like you can take on the world listening to it. This Love is the first song on the record that doesn't start out on a power riff or scream -- it nears "ballad" territory and reminds me a lot of 90s alternative band Days of the New. But this turns out to just be a wonderful feint as the song rips apart periodically into aggressive segments and turns completely inside out at the mid-point led by a riff that could be Cowboys from Hell pt II. Honestly love this song and its ability to play both sides of the coin. No doubt this was a great crowd song live. Live in a Hole is another favorite of mine on here. Welp, I thoroughly enjoyed that one. Great music for putting your head, fists, and feet through drywall to. In my opinion this is a high 4. Like an 8.8/9.0.

Oh wow, Zilch was a big surprise. Did not expect to find the original source material from Del Tha Funkee Homosapien's Mista Dobalina here, and yet... Song was trippy. Wow this album really heated up on me. Initially I was feeling like this was any other british invasion of the time, but the back half is quality. All of Your Toys which is off the original tracklist is really great. Gotta say I don't think I'll likely be back, but this is in high 3, verging 4 territory for me. Like a 7.7

Given all the other electronic music on this list, I'm a bit surprised its taken this long to get a Daft Punk album. Even more surprised we are getting their true debut instead of their breakthrough "Discovery." I do love Daftendirekt as an opener -- doesn't really do a ton, but sets a great mood / groove out of the gate that bleeds through the following interlude like an open radio stream. Revolution 909 does serviceable dancefloor/disco made to keep a crowd moving. Da Funk is the first to _really_ command attention. A very Daft Punk snyth sound (bordering on vocals) opens the track to a live atmospheric backing, before stripping all background elements and cementing around a pulsing drum and bass step. This song absolutely fucks start to finish. Fresh is a really enjoyable one over headphones -- the synthtones paired with the sample of waves crashing is surprisingly uplifting and relaxing. I'm into it. Ah man Around the World will always bring me back to a simpler time of watching skate videos in my friend Thomas's basement. Something in particular about this song is tied to that specific point in time. And for that I cherish it. The song itself, I find borderline obnoxious if I'm being completely honest with myself, but hard to deny why its so damned catchy. Those wispy synths paired with the fat looping basslines are like magic. I like the press of Rollin' & Scratchin'. Just a good ole fashioned layering style song, but here each successive layer is more and more rewarding. Oh Yea takes things a much deeper direction than I was anticipating. Hip-hop in nature, but the 808s are so blown out it is almost caricature. Oh wow, I love Alive -- that synthwave sort of sound to the synths calls to a different era and is just so bright and poppy and wonderful. I know I've listened to this album before, but it has been a while. Gotta say this has more variety and depth than I remembered. While I maintain that Around the World is low-key annoying, I really enjoyed Da Funk, Rollin' & Scratchin', Oh Yeah, and Alive. That said, this album is wayyyy longer than it ought to be -- felt like a few tracks could have been trimmed without much loss. For that this falls firmly into 4 terriroty.

I only know Ice T from Law and Order SVU. So this is where it all started... Classic 90s west coast beats right out of the gate on Home of the Bodybag. Interesting, I never realized that Pusha T didn't coin the "I'm your pusha" line. This changes everything... Gotta say, this is less a song and more a spoken word poem, but the beat and various elements are pretty dope. Mind over Matter is a low-key solid lazy rapped jam. His vocals here are almost uncomfortably forward and clean. New Jack Hustler is also a great. high energy runner. I love the production work here -- simple, but so goddamned effective. The drums are propulsive; the shimmering effect in the background gives additional motion/surveillance vibes; and the interleaved elements (piano flourishes, vocal samples) are fantastic. Bitches 2 features yet another great instrumental. Love the drunk trumpet wandering in and out woven with smooth bassy segments. Straight Up Nigga is surprisingly modern in his voiced opinions about living ones own life: "She want to be lez he want to be gay, but that's your business I'm straight, so nigga have it your way." Oh fuck, Midnight samples Black Sabbath. Did not have that on my BINGO card, but it is hella dope. This is surprisingly dark - bordering on horrorcore in the way it is composed -- especially with the chopped & screwed elements. Worth it just for this lol. Kind of weird that he did a posse cut before the last track. But as far as shout outs go, I actually really liked M.V.P. The instrumental is cool and the way he used echo, etc. to punctuate was actually fun. The Tower sounds straight up like 21 Savage in the deadpan delivery. The Psycho sample is pretty wild. This was an unexpectedly pleasant surprise. Having been introduced to Ice T by way of Law & Order SVU, I (for some reason) assumed that his musical career was not to be taken seriously. This album puts that assumption into serious question... While this runs extremely long, it is surprisingly coherent and quality start to finish. Ice T demonstrates not only a wide range of lyricism and dynamicism to his vocal delivery, he also clearly shows detail in beat selection and production. This album does well on the quality of its instrumentals alone; the fact that the rapping is also good is a bonus. Standouts to me were all those I mentioned previously. One thing I forgot to touch on was his foray into hardcore with Body Count. Far from the first time the two worlds collided, but this is done so earnestly here that it is impressive. I enjoyed the song and found it to have a very Sabbath infused mid/back-section. This was a fun ride and were it a bit better curated I think this would easily be a 5. With the additional "fluff" I'm at a very high 4 (9.3).

For how much I loved Rush during high school and early college, I never really spent much time with this, their most popular, album. I'm sure that's more a comment to my mental predisposition than anything about the quality of the work itself. I feel like subconciously (or perhaps not even) I chose to delve into their lesser known and accessible works (A Farewell to Kings, 2112, Fly by Night). In any event, this album is chock full of radio wet dreams. Opener Tom Sawyer remains to this day a stadium anthem on which each member of the band really shines and come together greater than the sum of their parts. Peart, doesn't steal the show, but does enough to keep things interesting. Really the shine goes to Lifeson and Lee as the latter's quintessential bass riff and synths provides the life force behind this whole thing, while also holding things down with an ambitious falsetto. All the bombast of TS are thrown aside as Red Barchetta comes in on a series of pinch harmonics. A strange ode to a sports car, the song treads an interesting line (as with many Rush songs) between corny as fuck and absolute ripper. Here, the latter impulse wins out as the bridge takes us via glittering guitar on a tour until things open up. Peart does a lot of the heavy lifting throughout to keep things moving and keeping this song from falling into dull territory. Witch Hunt opens ominously and rises slowly into a warm synth tromp. Has some of the better lyrics of the record IMO with staying power. Vital Signs bites on The Police and dub/reggae infusion pretty hard, but they do it really well. Its actually among my favorites on this record -- love the arpeggiating synth line that comes in and out. This album deserves the flowers it has received over the years and holds up incredibly well in spite of its overtly 80s "futuristic" synth tones. I don't get moved in a really big way by this one, but it is solid all the way through. I put this in the high 4 verging on 5 territory. Like an 8.8-9.1 or something.

Almost through the first track and this whole time I thought he was talking about someone named "Wanda..." Survival is dope. Feels familiar, as if it has inspired some UM jams that I've seen. But I can't put a finger on it. Had this in the background up to Nawa, and I've been grooving nonstop. Nawa stands out to me for just how wonderfully groovy it is. Went through this album twice and enjoyed both passes, but the luster faded a little bit on second listen. The jams are solid and groove is for real on a lot of these. Going with a soft 4 here.

State of the World kind of slaps in the most 80s way. Escapade is another great single. I went in with unfairly low expectations and was swept away. While this wasn't a close listen, I really enjoyed this album for everything that it is. The songs are well-produced and shimmer with all of the trappings of the time. Instrumentals were funky and varied and the individual songwriting was really strong. Made for a fun listen a couple of times through.

Gave this two listens while doing some work around the house. Can't say I loved it all, but Billion Dollar Babies and No More Mr. Nice guy are solid singles and I did get a good chuckle out of Elected. Have to say that ending on an ode to necrophilia was unexpected. I swear that Eminem's Marshall Mathers samples from I Love the Dead, but cant find anything to support... Anyway this was a soft 3 for me. Not bad I just can't imagine coming back