686
Albums Rated
3.12
Average Rating
63%
Complete
403 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1950
Favorite Decade
Metal
Favorite Genre
US
Top Origin
Wordsmith
Rater Style ?
38
5-Star Albums
23
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Pyromania
Def Leppard
|
5 | 3.13 | +1.87 |
|
Hysteria
Def Leppard
|
5 | 3.21 | +1.79 |
|
Achtung Baby
U2
|
5 | 3.3 | +1.7 |
|
Synchronicity
The Police
|
5 | 3.41 | +1.59 |
|
...And Justice For All
Metallica
|
5 | 3.42 | +1.58 |
|
A Rush Of Blood To The Head
Coldplay
|
5 | 3.44 | +1.56 |
|
Dirt
Alice In Chains
|
5 | 3.46 | +1.54 |
|
1984
Van Halen
|
5 | 3.49 | +1.51 |
|
The Atomic Mr Basie
Count Basie & His Orchestra
|
5 | 3.5 | +1.5 |
|
Moving Pictures
Rush
|
5 | 3.57 | +1.43 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
My Beautiful Dark Twisted Fantasy
Kanye West
|
1 | 3.41 | -2.41 |
|
Bitches Brew
Miles Davis
|
1 | 3.3 | -2.3 |
|
Tigermilk
Belle & Sebastian
|
1 | 3.23 | -2.23 |
|
If You're Feeling Sinister
Belle & Sebastian
|
1 | 3.18 | -2.18 |
|
I'm Your Man
Leonard Cohen
|
1 | 3.1 | -2.1 |
|
Rings Around The World
Super Furry Animals
|
1 | 2.97 | -1.97 |
|
Kala
M.I.A.
|
1 | 2.92 | -1.92 |
|
Peggy Suicide
Julian Cope
|
1 | 2.77 | -1.77 |
|
good kid, m.A.A.d city
Kendrick Lamar
|
2 | 3.63 | -1.63 |
|
Mothership Connection
Parliament
|
2 | 3.61 | -1.61 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Led Zeppelin | 4 | 5 |
| Beatles | 4 | 4.75 |
| Johnny Cash | 3 | 4.67 |
| Van Halen | 2 | 5 |
| Def Leppard | 2 | 5 |
| The Rolling Stones | 5 | 4.2 |
| Creedence Clearwater Revival | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Belle & Sebastian | 2 | 1 |
| Leonard Cohen | 5 | 2 |
| Kanye West | 2 | 1.5 |
| The Mothers Of Invention | 2 | 1.5 |
5-Star Albums (38)
View Album Wall
Popular Reviews
Everything But The Girl · 2 likes
2/5
This was like easy listening pop; strained saxophone-laden baby-making music for people that are so white that they're slightly translucent. This album was so non-confrontational that it killed my ability to write a scathing review about it's blandness. This was melba toast covered in unsalted butter, and then sat on my plate until it was soggy. That's how meh this album is.
Suicide · 1 likes
1/5
This was hot shit garbage. I don’t care who was inspired by this album. What a waste of my time.
Jimi Hendrix · 1 likes
5/5
Absolutely incredible.
The Smiths · 1 likes
4/5
Not exactly what I was wanting on a bright and sunshine-filled Friday morning - dreary moody emo rock from Morrissey and The Smiths - but I enjoyed this much more than I was expecting to.
Sister Sledge · 1 likes
3/5
I mean, it's not bad. I've listened to much MUCH worse in the past month. Great late-70s R&B riffs going on here. You can hear Nile Rodgers all over this record. And while it's a bit repetitive, you can see why it has been sampled so much in the last 40 years.
1-Star Albums (23)
All Ratings
The Velvet Underground
3/5
Not a big fan of Lou Reed or his sound, but this wasn't bad. Relatively mellow but I'm sure it was much more groundbreaking in 1967.
Run-D.M.C.
4/5
This took me right back to 1986, but I had never listened to the entire album until today.
Radiohead
5/5
This is one of my absolutely favorite albums, easily in my Top 15. It has a heavy melancholy feel, but it is completely absorbing. Once I start this record, I have to finish it.
Eagles
5/5
Solid album. Knew all but one track. The Wasted Time (Reprise) was incredible. The Last Resort is an underrated classic track.
Neil Young & Crazy Horse
4/5
Neil Young isn't necessarily my favorite, but I like the vibes this album puts out.
Steely Dan
3/5
This is a pretty solid record, with 3 very recognizable radio hits. Not my favorite band by any stretch of the imagination, but definitely worth a full listen.
John Lee Hooker
3/5
This is a very late-80s inspired blues album. Some of the guest artists on this record stand out like a sore thumb if I'm being honest (Carlos Santana), others blend in perfectly (Bonnie Raitt, George Thorogood).
k.d. lang
4/5
A surprisingly pleasant album. Definitely gives off a chill vibe. Good album to listen to on a quiet and lazy Sunday morning.
The xx
2/5
Meh.
Linkin Park
4/5
I’ve always enjoyed this album but I have to be in the mood for it because of how much some of the singles played on the radio.
Skunk Anansie
3/5
I found myself enjoying this album much more than I was expecting. I knew very little of the band, and the only one song that was prominently showcased on the Strange Days (1995) soundtrack. Rather enjoyable.
John Grant
2/5
This is not my jam. I was mostly indifferent to this record.
Isaac Hayes
3/5
This album was a pleasant surprise. This record has a nice chill vibe going for it, and plays really well in the background while you're doing other things around the house.
Queen
4/5
An oddly conservative-sounding record for Queen. You can tell this is very early in their career. It's a solid album, reminiscent of very early 70s Rush. Not bad, but nothing that special either. Ogre Battle is best track on this record.
Sigur Rós
3/5
This record is perfect for an overcast or rainy Monday morning. Very mellow, but enjoyable.
3/5
Raw-sounding early 80s punk record. It's fine, just not my jam. Universal Corner is the best track on this album.
Iron Maiden
3/5
I've never really cared much for Iron Maiden. This album was alright, but nothing special to me.
Genesis
3/5
This one went from interesting to weird.
Bruce Springsteen
4/5
New Jersey blue collar rock at its best. I've never had a huge draw to "The Boss" but I always enjoyed his radio hits. This album had a nice bluesy-sounding rock feel to it. "Racing in the Street" is probably my favorite track. I enjoyed the album quite a bit.
Parliament
2/5
I like funk just like the next person but it gets a little tiresome hearing it announced in practically every track on this record. The funk is more important that the announcement of the funk whilst also playing the funk. This record was OK. But at least I now know where Dr. Dre pulled the same for his track "Let Me Ride."
Kanye West
1/5
Meh. I don’t care for Kanye West. Never have. Never will.
David Crosby
3/5
This album gave off some chill vibes. It was enjoyable, but it didn't feel significant.
Bob Dylan
2/5
Wow. That’s a lot of harmonica. Clocking in at 73 minutes I figured more songs would sound different. Apparently I was wrong.
The Cure
3/5
What a pleasant and welcoming surprise. It was a little dreary but enjoyable.
Elton John
4/5
That was a solid record with a couple of familiar radio hits, along with a just a great collection of songs. Highly enjoyable.
Small Faces
3/5
This record is as if the Oompa Loompas were given a record contract and THIS was their first album after getting stoned and being inspired by the cover of a Tobacco label. Part of it's great, part of it is weird English 60s psychedelic rock.
The Pogues
4/5
I feel like I should be sitting in a pub drinking a pint of Guinness while listening to this record. Better than I was expecting. In fact, it was rather enjoyable, but I definitely have to be in the right mood when listening to Irish Folk-Punk.
The Replacements
3/5
Punk rock seems to resonate the most with disenfranchised youth of that specific era, more than anything else. This record is fine, but I'm at most indifferent to the punk rock genre. The quality and creativity is there, I can hear it. But this style of music rarely ever scratches the itch for me. It was decent, but nothing groundbreaking.
Depeche Mode
4/5
I've always had a soft spot for British New Wave Synth-Pop. Dark and moody, with several tunes that end up living rent free in your head for the next few days. Great album, very enjoyable.
Miles Davis
3/5
I recognize the genius that is Miles Davis, but compared to his earlier records, I'm not a huge fan of this one.
The Cramps
3/5
Is this rockabilly goth punk? Because that's what it sounds like. This was different. Not my bag, but not necessarily terrible. It was alright for a couple of songs. 18 songs comprising of a total of 54 minutes seemed excessive. And most of them sounded the same.
Hüsker Dü
3/5
The vocals are a little whiny, but this is a solid alternative rock record, with just a dash of punk. I enjoyed it more than I thought I would, but at 70 minutes, the running time seems a tad excessive. Overall, a solid mid-80s rock album.
Sister Sledge
3/5
I mean, it's not bad. I've listened to much MUCH worse in the past month. Great late-70s R&B riffs going on here. You can hear Nile Rodgers all over this record. And while it's a bit repetitive, you can see why it has been sampled so much in the last 40 years.
Paul Simon
4/5
A pleasant change of pace compared to what's been suggested in the past couple of weeks. While I never got into Paul Simon's solo career (I love Simon & Garfunkel), this was a joy to listen to.
Frank Ocean
2/5
Meh. This is not my jam.
Pearl Jam
5/5
What do I say about one of the greatest rock albums introduced during my high school years? This was a classic the minute I heard it back in 1991 and has only gotten better with time. Am I biased? Absolutely. There isn't a wasted track as this is absolutely perfect from start to finish.
Miles Davis
1/5
Did not care for this album. At all. When do I get to hear "Kind of Blue"? Is that album on this list? The freeform jazz created for this record gave me a headache that would not go away. Give me a little structure with my jazz, please. I think the heroine had truly taken hold by the time he made this record. If I had a cat and it ran across a piano, I think I would get the same styling of music heard in Bitches Brew.
Herbie Hancock
3/5
This is how you fuse jazz, funk, and rock together. It's fun and light, expressive with some freeform without being out of control. Wonderful record.
3/5
Not entirely unpleasant, but a bit strange.
The Flaming Lips
3/5
That was... different. I didn't hate it, but it was rather odd. Definitely an acquired taste.
New Order
2/5
Weird late-80s techno-rock where I don't know any of the songs. This was a bit strange. Too much of the same for 48 minutes. I prefer their earlier work.
The Blue Nile
3/5
Moody and simplistic. Not bad, if I’m in the mood for their sound.
Baaba Maal
3/5
I felt like I was listening to The Lion King soundtrack. Fine it its own right, just not my jam.
Creedence Clearwater Revival
5/5
This was a joy to listen to. I knew I would enjoy it as I've always loved CCR, but I didn't even look at the track list and didn't realize this record had like 6 songs on pretty much every single CCR Greatest Hit Compilation CD ever made. Great album from start to finish.
Led Zeppelin
5/5
One of the best heavy blues rock albums. Led Zepplin may not be everyone's cup of tea, but I love 'em. Not my favorite of their stand-alone records, but this is still just wonderful to listen to.
Billy Bragg
3/5
This album was fine. I have to be in the mood for 50 continuous minutes of alternative folk, but I didn't hate it. This would be best enjoyed on a lazy Sunday morning.
Deep Purple
3/5
This record was fine. Solid early 70s hard rock record, but nothing stands out as special to me.
Duran Duran
3/5
Solid early 80s pop-rock album.
The Smashing Pumpkins
4/5
Solid from beginning to end.
The Who
3/5
Pretty solid overall. This was a first time start to finish for me. Better than I was expecting, albeit a little long-winded at times. I understand it's a concept album, and those tend to be longer, but I was ready for this record to be done about an hour into the 75 minute running time.
Dr. John
2/5
This was... different. Not a fan.
The Verve
3/5
This was like listening to a less-inspired version of an Oasis album. I enjoyed it, but nothing extraordinary.
Bebel Gilberto
3/5
Fantastic lazy Sunday morning sort of vibe going on with this album. Don't put it on and expect to be productive, unless sitting at home while sipping on a cup of hot coffee while reading the New York Times is what you consider being productive. I enjoyed it much more than I was expecting.
Nirvana
3/5
I was never a huge Nirvana fan. This album is fine. It reminds me of high school. No complaints, but I honestly prefer Nevermind over this.
Marty Robbins
3/5
It amazes me sometimes that this was actually a thing back in the late 1950s. Or rather, still a thing. A country artist who dedicated an entire album to songs about gunfighter ballads and trail songs. What a strange world it was back in the post WWII era. This was fine, almost like listening to what Quentin Tarantino would have had on the record player at the age of 5.
Stephen Stills
3/5
Decent early 70s Southern Rock album that leans a little to hard into Country territory on the second half. Enjoyed it overall.
Sonic Youth
2/5
This album felt awfully disjointed. At best, it was adequate.
Van Halen
5/5
I've loved this album since I heard it for the first time in high school in the early 90s. A solid listen from beginning to end. While not my favorite album of Van Halen, it's likely in the Top 3.
Talking Heads
3/5
I don't hate this album (mostly because I have a bit of a soft spot for David Byrne). This is a strange alternative punk record. Definitely not my favorite.
Lauryn Hill
3/5
This album was fine. A little too much hip-hop/rap, not enough R&B for my liking. But I didn't hate it.
The Pharcyde
3/5
I enjoyed this as much as the Lauren Hill album from yesterday. It's better in segments than all at once, but that's just a personal preference. Not a bad listen, just gotta be in the mood.
Can
2/5
Odd.
Dagmar Krause
1/5
Not a fan.
Led Zeppelin
5/5
Absolute perfection.
Little Richard
3/5
This record is great. Some songs suffer from a repetitiveness (while also sharing the same structure from previous tracks), but definitely not as obvious compared to Chuck Barry of the same era.
Richard Thompson
3/5
Decent folk-rock album. Enjoyed this more than I was originally expecting.
Garbage
3/5
Above average alternative rock album from the mid-90s.
2Pac
3/5
Typically not my cup of tea, but I enjoyed a few tracks on this album, especially "Dear Mama."
Cream
3/5
This record was good, but nothing extraordinary.
Otis Redding
4/5
Outstanding.
Green Day
4/5
Fantastic mid-90s garage pop punk album. It's only gotten better with age.
Slint
3/5
Solid “speak your lyrics into a mic” alternative rock album. Had a good alt-grunge vibe going.
Joy Division
3/5
It was alright. For some reason I was expecting more.
Steely Dan
3/5
Enjoyable jazz-pop-rock album. It's the Kmart Radio Network nightmare all over again.
The Police
5/5
I've always enjoyed The Police and this record is near perfect, save for the one really strange track entitled "Mother." It just takes me out of it, and while I love some of their odd songs, it sort of ruins the flow. Otherwise, this is a stellar record from start to finish.
Ali Farka Touré
3/5
Van Morrison
3/5
A little too late-60s scattered for my liking. For a record that's only 47 minutes long, it seemed to play for an hour and a half.
Orbital
2/5
I have enjoyed many electronic albums in my lifetime. This was not one of them.
John Coltrane
3/5
Scatterbrained.
Janis Joplin
3/5
Surprisingly enjoyable.
Khaled
2/5
I didn't hate it, it was just... different.
The Doors
4/5
Above average blues rock album. Enjoyable.
OutKast
3/5
Unexpectedly and surprisingly fun, albeit, a tad exhausting. It's also highly unlikely that I will ever listen to this album ever again.
Arcade Fire
3/5
This was fine.
Beck
4/5
This album is above average compared to some of his earlier other work, but still nothing extraordinary.
The Vines
3/5
Better than I was expecting. They sorts sound like late 90s STP.
Roni Size
1/5
Why?
Public Enemy
3/5
This was better than I was expecting. Or more accurately, I enjoyed this this album much more than I was anticipating.
Crosby, Stills & Nash
4/5
You just can't beat those harmonies.
Derek & The Dominos
3/5
This album was good but not as groundbreaking as the titular song, "Layla."
Buzzcocks
3/5
I wasn't never a huge proponent of late 70s punk, but I enjoyed this album much more than I thought I would.
Mudhoney
3/5
Pleasantly surprised by this album. It's like a more evolved punk.
The Doors
4/5
A solid album from start to finish. I've always loved their sound.
Beatles
5/5
This album is perfect.
Various Artists
4/5
A Christmas classic. The “wall of sound” on the album is no joke. It is incredible.
The Rolling Stones
3/5
This album was fine. Why was "Paint it Black" on the US release but not on the UK release? *shrugs* I never really noticed (or honestly paid attention to) the influence of the Blues with The Rolling Stones until hearing this album.
Justice
3/5
Wasn’t sure what to expect, but this album was pretty good. It’s like someone said, “we need more music like Daft Punk” and another group from Paris, France called Justice stood up and answered the call.
Pulp
3/5
This was fine, but nothing extraordinary, at least to me.
Fatboy Slim
3/5
Enjoyable, even a bit nostalgic, albeit a bit redundant.
Stevie Wonder
4/5
Solid R&B album. I’ve always enjoyed Stevie Wonder.
Snoop Dogg
3/5
This was fine. It was definitely nostalgic, but I can't handle 53 minutes of Snoop on a regular basis.
The Bees
3/5
This was alright. Never heard of this band nor the album until today.
3/5
This is like a punk version of Jimi Hendrix. I’m sure it was quite revolutionary in 1969.
The Police
4/5
Another solid album from front to back. The Police are clearly completely in sync with this recording.
Foo Fighters
4/5
Excellent debut album by Dave Grohl. It's even more astounding when you discover that he played every instrument on this record. It's not my favorite of the Foo Fighter's albums, but it's definitely in their Top 5.
Heaven 17
2/5
Weird. Not my jam. And I like other Euro synth pop, just not this.
Tom Waits
2/5
He's like Bob Dylan, but he's been run through a meat grinder first. Not a fan. This album gets an extra star, jumping it up to 2 only because of the song "Goin' Out West" and it's usage in the movie Fight Club.
Q-Tip
3/5
More enjoyable that I was originally expecting.
Nick Drake
3/5
This album has "Sunday Morning Chill" written all over it. I was pleasantly surprised, but not necessarily blow away either.
Radiohead
5/5
It seems strange that Radiohead would take up 2 spots on my Top 15 favorite albums of all time, but it's true. While not as guitar-centric as their last release, "The Bends," is just as brilliant, just in a different way. I was late to the game when this album first hit stores. Back then I didn't get it or the band. However, when you end up having it on repeat driving to and from work every day soon after moving over half way across the country, it quickly became the soundtrack to my life late in 1999 into 2000. It was, and still is, completely absorbing. It's weird to say, but I can't imagine my life without this album.
Ice T
3/5
While I wasn't much of a rap/hip-hop fan, this album is very nostalgic in sound. It was fine but seemed to have too long of an overall runtime.
Michael Jackson
3/5
An enjoyable funky disco-lite MJ album.
Sly & The Family Stone
2/5
Funky. Somewhat repetitive. This was definitely more enjoyable than previous funk albums I've been subjected to on this list (I'm looking at you, Parliament). It was fine, but didn't necessarily blow my mind either.
Booker T. & The MG's
4/5
Solid instrumental R&B/Soul album. I was not familiar that they did several covers on their debut release.
Eminem
3/5
72 minutes is a lot Eminem and a lot of time to dedicate to one album, but this was pretty good. However, it's highly unlikely that I'll ever listen to it again.
Missy Elliott
3/5
This was fine. More R&B than Rap. Not necessarily my jam.
Lou Reed
3/5
I enjoyed this more than I was expecting, but mostly because I was familiar with a few of the tracks that have been used in pop culture in the past 40-50 years. Lou Reed is an acquired taste, not unlike Tom Waits, just found down a different aisle.
Neil Young
4/5
Like his last album on this list, I enjoyed this considerably more than I was originally expecting.
Songhoy Blues
3/5
I enjoyed this blues album immensely. Great grooves.
Red Hot Chili Peppers
4/5
While I was only familiar with the radio hits when this album was first released, it's now been in my semi-regular rotation for the past 20 years. Great album.
Buffalo Springfield
3/5
This psychedelic folk rock album was fine. A bit sleepy sounding. It didn't feel groundbreaking to me, but then again, I also wasn't alive in 1967 dropping acid, so I got that going for me.
Willie Colón & Rubén Blades
3/5
Funky. Disco-y. Salsa-y. Tropical-y. Altogether a pretty fun album to listen to, even if I have no idea what they’re saying. I feel like I’ve been transported to Miami in the late 70s at the height of the cocaine drug trafficking era.
Beck
3/5
Solid album from Beck. Very different from his others that came before. You can tell he was going through some shit on this album as it is very palpable. Don't listen to this album if you're feeling good as it is likely a definite mood changer.
Nirvana
4/5
While I never listened to this entire album until now, this takes me back to my last year in high school. This was EVERYWHERE in 1994, littered all over MTV after it first aired. You couldn't go anywhere for the next 2-3 years without hearing "The Man Who Sold the World," "About a Girl," "All Apologies," and "Lake of Fire" on MTV or on the radio. This is a solid 4 out of 5. Nirvana was never a favorite band of mine while in High School, but there's a certain nostalgia that makes this album that much more enjoyable, albeit 30 years later. Damn I feel old.
The Velvet Underground
3/5
This was fine. That is all.
Kanye West
2/5
Not a fan of his music or his ego, but the industrial vibe this album has going is better than the last one we had to listen of his.
Jack White
3/5
This album was better than I was expecting, but I still seem to like the rawness of The White Stripes more than Jack White on his own.
Pixies
3/5
The Pixies are an acquired taste, but I feel that this album is very accessible compared to earlier releases.
R.E.M.
4/5
I was a casual fan of R.E.M. when they were at peak popularity in the early 90s. You couldn't go anywhere without hearing "Losing My Religion," "Shining Happy People," "Man on the Moon," or "Everybody Hurts." This is a solid album from beginning to end. There's a melancholy vibe that travels throughout most of the songs. Perfect for playing on an overcast and/or rainy day.
The Cars
4/5
Solid debut album from The Cars. Six of the nine tracks on this album were either radio hits or became instant classic due to placement in a film. This album is incredible and would be a 5/5 if it hadn't been for that weird-ass track, "I'm in Touch with Your World."
AC/DC
4/5
The only studio album I've ever owned by AC/DC. Practically every track is a radio hit and you cannot resist cranking the stereo as loud as you can take it when listening to this album on your drive home from the office.
Leonard Cohen
3/5
An interesting and (very) dark album about a man who's life is clearly now in the rearview mirror. You best find something uplifting to listen afterwards to pull yourself out of being clinically depressed. I'm not saying it's bad, you just have to be in the right frame of mind to enjoy it.
David Holmes
2/5
This was a bit underwhelming. I prefer the film scores that he's composed for Steven Soderbergh, specifically "Out of Sight" and "Ocean's Eleven."
Elvis Presley
3/5
This was fine, but I've never been an Elvis fan. When I sit back and listen to this album, I feel like I'm listening to my Grandma's record collection. It's just that style of country soul with a touch of gospel and a dash of rock-n-roll that makes me feel this way. Strange. It generates a nostalgic feeling even though I never grew up listening to Elvis. Which is odd for a few reasons: (1) I don't believe Grandma was an Elvis fan and, (2) for the time in history when Elvis was huge, this should have been in my Mom's wheelhouse, but it wasn't.
Elbow
3/5
This was a pleasant surprise. Enjoyed it more than I was expecting to, but they definitely have a Cold Play vibe going on. This is a mellow listen, which has been a nice chance of pace today. "Grounds for Divorce" is likely the best track on this album.
George Jones
3/5
Much better than I was expecting. I've really started to appreciate and enjoy country music before the 90s boom (which also isn't that bad). This is heads and tails above whatever hot garbage they spew out of Nashville these days.
Frank Zappa
2/5
Is it groundbreaking? Yup.
Is it unconventional? You know it.
Was Frank possibly bat-shit crazy? Signs Point to Yes.
Does that mean I have to like it? No.
What a weird album. Glad that's over so I never have to listen to it again.
Fairport Convention
3/5
This was mellow and not unpleasant. But definitely not a go-to album in the future. "A Sailor's Life" is definitely the best track on this record.
ABBA
2/5
I thought I was going to enjoy this more, but I did not. I enjoy ABBA's radio hits, but their deep cuts aren't that great, at least to me. Some of them are even a bit cringeworthy with as corny as they sound. Arrival? More like Departure. And I grew up listening to ABBA. Not a fan.
Coldplay
4/5
This is what Radiohead would have turned into if they hadn’t leaned so hard into the electronic side after The Bends. Still good, but I just don’t see myself returning to this album very often anymore and I’m okay with that.
3/5
This was tough to get through for me. The length of the songs and how they're drawn out just wore me out. Also, the deluxe edition was unnecessary for a first time through as at least 2 of the tracks were redundant. Give me 90125. Give me Big Generator. Don't give me this. It wasn't bad, I just wasn't really feeling it.
fIREHOSE
3/5
I recognize the musicianship, but this album just didn't speak to me. Not my cup of tea.
Motörhead
3/5
Motörhead is the cup of coffee that I never asked for nor wanted on this Thursday morning. A hybrid between punk and metal. And while I recognize their skill, I don't necessarily care too much for Lemmy's voice, who sounds like he started gargling razor blades when he was a child. This is definitely an acquired taste.
AC/DC
4/5
This is a classic. Agnus Young is a genius with how he comes up with these wonderfully crafted guitar riffs. Its only limitations is how repetitive each song sounds, but I ain't mad at it. Their music was expertly designed to be played on your car stereo as loud as possible, with your windows rolled down. “Night Prowler” is a standout deep cut favorite.
Thelonious Monk
3/5
First Jazz album since we started this that I actually enjoyed all the way through. The structure within this album was like a warm embrace compared to the chaotic madness that was Miles Davis's "Bitches Brew."
Kings of Leon
4/5
I read this once and now I can't get it out of my head because it's so perfectly defines the sound of this band: "Lynyrd Skynyrd Coldplay variant." I forgot how much I enjoyed this album. Haven't listed to it in over a decade. It was a joy to revisit. I was never a huge fan of this band, but they had several songs on here that just resonated with me for some reason.
The Doors
4/5
This is a very blues forward album. I enjoyed it quite a bit, but a few of their songs start to wear you out a bit due to their length.
Jah Wobble's Invaders Of The Heart
2/5
Well, that was odd. Let's put feathers on the album cover to make it seem more exotic and worldly. Placing this selection on the 1001 list honestly feels like a bit of a stretch. Not my cup of tea (which especially seems odd to say since I primarily drink coffee).
Jethro Tull
3/5
I was unexpectedly pleased listening to this album. Still a little weird, but I still enjoyed it, even with the addition of the flute. Early 70s prog-rock for the win, I guess? However, I don't see this album ever crossing my path ever again.
Alice In Chains
5/5
This album takes me back to my early days in high school when I wasn't quite ready for Alice In Chains. It took a couple years to finally embrace the darkness, and I think this is likely their best produced album before the heroine had completely taken hold of Layne. My absolute favorite is still their self-titled 'Alice in Chains' from 1995, but this is a close 2nd. Jerry Cantrell and Layne Staley were firing on all cylinders when they got into the studio to record this album. Absolute perfection.
The Crusaders
3/5
Jazz, Funk, Soul, and Disco all rolled into one album. I dug this album, even if it wasn't anything groundbreaking. It get's a +1 to the overall rating just for the title track appearing on QT's "Jackie Brown."
Marvin Gaye
3/5
Classic R&B album. Not a bad song on here, yet I was still a bit underwhelmed for some reason.
Eurythmics
3/5
This was fine. I've always enjoyed the 80s new wave and synth-pop genres, but this album only felt satisfactory at best. Second half was significantly better, however, If it wasn't for the title track, this may have received a 2 from me for some reason. I don't think The Eurythmics are overrated, but I guess I prefer their radio hits more than anything else.
The Rolling Stones
3/5
This album was fine, but the more I hear The Rolling Stones, the more indifferent I become to their overall sound and general appeal.
Willie Nelson
3/5
There's an internal mechanism within my brain that almost always tries to reject anything that is country. I've been trying to override this recently, especially when it's an artist and album from the 60s, 70s or 80s. This was such a pleasant surprise. It set me on a good mood for a chilly Monday morning in March.
1/5
This album was a migraine in waiting. A dumpster fire that I could not extinguish fast enough. There's a reason why you can't find this streaming on a normal platform. Because it's hot garbage.
Billy Joel
4/5
This album is proof that Billy Joel is one of the greatest songwriters to come of the 1970s. Unfortunately the last 2 tracks on this album feel like duds compared to everything else.
Caetano Veloso
2/5
This album seemed a little disjointed. Definitely just not my jam. I feel if I spoke Portuguese this album might mean more to me (although I seriously doubt it). Additionally, Caetano looks like a serial killer on the cover. It's a bit unsettling.
A Tribe Called Quest
3/5
I enjoyed this album much more than I would have thought. It had a great chill vibe going for it. Definitely a pleasant listen.
Marvin Gaye
3/5
I enjoyed this album much more than "Let's Get It On" from a few weeks ago. However, even as groundbreaking this concept album is, in the end it just felt like a 36 minute version of "What's Going On" so it felt a little drawn out.
The Teardrop Explodes
3/5
Another satisfactory early 80s New Wave Brit Pop band. This was fine, but I don't recall this band ever getting much traction here in the States.
Leonard Cohen
1/5
I don't understand the appeal of this album. In any way. I would rather listen Leonard Cohen eat the banana that's featured on the cover for 41 minutes than listen to this ever again.
Bruce Springsteen
3/5
This was an unexpected pleasure to listen to. Maybe if you're not from NJ, you learn to appreciate Bruce Springsteen once you reach your late 40s. Either way, this was better than expected.
Yes
3/5
This "nerd wizard rock" was delightful. Maybe I'm more drawn to YES because I love RUSH. Either way, this was enjoyable. Make sure you have a pair of headphones on so you can truly enjoy how they experiment with the left and right channels.
Muddy Waters
3/5
Solid blues album. Really enjoyed it, even though this style often gets a bit repetitive on a studio album.
Hugh Masekela
3/5
This was a delight. A little long, and almost a bit too tribal towards the end of the album, but still quite enjoyable.
John Martyn
3/5
This was alright. I enjoyed the music that played behind a relatively bland raspy voice that I can only assume is John Martyn.
Slipknot
3/5
This album has moments of heavy metal brilliance smashed in between a cacophony of nu-metal guitar crunchiness, turntable scratches, and almost unbearable scream shouting. There's a lot of unchecked anger in this album and listening to it first thing on a Thursday morning has put me in an unexpectedly bad mood while simultaneously making me irrationally angry.
Cat Stevens
4/5
This album was a pleasant way to end the week. Mild and mellow, beautifully written and performed songs that don't overstay their welcome.
King Crimson
3/5
A mish-mash of overly long songs rock songs paired with megaphone vocals, gentle breezes, blaring saxophones and fairy-filled flutes all crammed altogether. I didn't hate it and I could clearly seen see what they were going for. "I Talk to the Wind" felt like they finished the song and then kept recording for another 3 minutes while some members of the band continued to screw around with their instruments until they ran out of tape. Standout track on this album is "Epitaph." On a side note: I'm not sure who I like less - King Crimson or Jethro Tull.
Ride
3/5
This sounds like nothing more than over-hyped early 90s alternative/grunge rock with some beach-vibes. It's not bad, and the longer the album plays, the more I've enjoyed it.
The Offspring
4/5
This was a wonderful blast from the past - pure post-high school nostalgia. I purchased this album sometime the summer of 1994 while at Universal CityWalk in Hollywood, CA with some friends of mine at what had to be the largest Tower Records I had ever been in. I got this and the Weezer Blue Album at the same time. I cranked this CD on the way home and loved every minute of it. I wasn't a huge punk fan, but this album definitely scratched that itch.
D'Angelo
3/5
D'Angelo's talent and skill as a musician is apparent, and while this definitely has cool chill vibes going for it with decent grooves, there isn't a lot of substance. Basically, this is fucking music for those who were having sex in the 1990s. If this CD was found in your collection, the probability that you were getting laid was fairly high.
Nick Cave & The Bad Seeds
3/5
Excessive run time of 83 minutes caused immediate deflation before I even hit play. Never purposefully sought out Nick Cave since I had the ability to do so. He's got a better voice that Tom Waits, but definitely fits into same sub-genre of gothic rock alternative. This wasn't bad. In fact, I quite enjoyed the second half of this double album much more than the first. So much so, that I now struggle on whether this album deserves a 3 or 4.
Talking Heads
3/5
David Byrne's style is so eclectic that the music he and the Talking Heads create is the very definition of an acquired taste. Their style is so weird and peculiar, but not necessarily difficult to listen to. This album wasn't bad but it didn't seem to exceed past a rating of 3.
Prefab Sprout
3/5
I liked the music much more than the lyrics. I can't tell if - depending on the song - the lyrics are terrible or just corny. But, I have a soft spot for 80s pop, and even though I've never heard of this band, nor any of their hits, I enjoyed it for what it was.
Gil Scott-Heron
2/5
This was a unique listen. A mixture of 70s political poetry, jazz, blues and soul. Very much a product of its time. The vocals and piano often seem out of sync for the first 15 minutes, giving off a strange vibe. It's like they were on different pages of the same sheet music. While it's not necessarily what I was anticipating, it's exactly what I was expecting (if that makes sense).
Ghostface Killah
2/5
"Liar, liar, pants on fire, you burnin' up like David Koresh" I can recognize the talent, but I don't much care for this style of Rap & Hip Hop.
Joan Armatrading
3/5
Mellow and melancholic. Not bad, but nothing exceptional.
Nas
3/5
This was better than I was expecting, or rather, I enjoyed this more than I was expecting. However, I doubt I'll ever revisit this album.
Jane's Addiction
3/5
Jane's Addiction was not a regular listen when they first hit the scene as it was a little early for me. But after absorbing this album today, I really enjoyed it - the overall sound was very nostalgic. I never leaned into what they had to offer when they were popular, but upon this revisit, Jane's Addiction is like the dirty cousin of the Red Hot Chili Peppers, different but still having the same sort of vibe. If you can get past Perry Farrell's voice, you just might like them.
Gillian Welch
4/5
This was a completely unexpected delight. I don't typically lean into Americana, Bluegrass, Country, or Folk, but this album checked off all of those boxes and made for a very relaxed Wednesday morning listen.
Drive Like Jehu
3/5
I really enjoyed the rawness of this alternative punk album. Never heard of them before today. There's definitely some complexity to their sound and style once you get past the opening song. I'm not sure if I would have appreciated it as much when it was released in 1994, but I'm definitely enjoying it now.
Tears For Fears
4/5
Above average 80s pop album with all of the recognizable radio hits.
Beatles
5/5
One of the most brilliant representations of bubblegum pop-rock from the 60s. Lennon and McCartney were so good at writing these short catchy pop songs. Just incredible.
Stevie Wonder
4/5
This was an absolute pleasure and pleasant mellow listen this afternoon. Great album.
Astor Piazzolla
2/5
Two-thirds chill vibe, one-third a little too much freeform jazz. The violin scratches on "Nuevo Tango" were reminiscent of the Psycho soundtrack - very unsettling. Not my favorite.
David Bowie
3/5
This was serviceable Bowie... until the album took a strange left turn on the back half. Overall, relatively enjoyable.
Metallica
5/5
While this was not my introduction to Metallica, this album opened the door to what they were like before they released the Black album. I'm not even sure I liked it the first time I heard it - this happens often with me most times with albums that are seen as a masterpiece. It's brilliant, brutal, extremely dark - you can practically feel the pain that this band was going through after the accidental death of their bassist Cliff Burton. While not my favorite of theirs, it's in the Top 3.
Fleetwood Mac
3/5
Never been a big Fleetwood Mac fan, but this album - while a bit lengthy - is pretty enjoyable.
MC Solaar
3/5
Même si je n'ai pas compris un mot de ce que disait cet artiste, j'ai apprécié les grooves. (Translation: Even though I didn't understand a word this artist was saying, I enjoyed the grooves.)
The Mothers Of Invention
1/5
I don't understand, appreciate, nor care for Frank Zappa's psychedelic rock. This was a strange trip and a complete waste of my time. I want my 40 minutes back.
4/5
Above average early 80s English Pop album. There's an undercurrent of funky grooves throughout and the radio hits pale in comparison to the rest of the album. Quite enjoyable.
The Smiths
4/5
Not exactly what I was wanting on a bright and sunshine-filled Friday morning - dreary moody emo rock from Morrissey and The Smiths - but I enjoyed this much more than I was expecting to.
Fela Kuti
3/5
A solid groovy jam-filled album. Quite enjoyable.
The 13th Floor Elevators
2/5
1960s Psychedelic Rock with some haunting themes. If they hadn't had the weird and very subtle gibberish vocal chirping-like sounds in the background of almost every single song on this album, it might have gotten a better rating.
Paul McCartney and Wings
3/5
This was fine, but nothing on it elevates it past slightly above average. I would rate this 3.5, but since that isn't available, then I guess this gets a 3.
Pixies
3/5
I've always enjoyed the Pixies music much more than their vocals. This was fine, bordering on better than I was expecting, but I don't see it moving past 3 on the rating meter.
Massive Attack
3/5
This album bounces between a 3 and 4 throughout the entire play time. Solid grooves, but some of the vocals and "almost rap" parts feel a little dated or slightly corny. Some tracks are incredible, some underwhelm me. It's a solid 3.5 for me, but I'm not sure if I can raise it to all the way to a 4 by the time I'm ready to give its final rating.
Elliott Smith
3/5
This wasn't too bad. It was mild, mellow, and a bit melancholy. But there wasn't anything present here that really elevated it past a 3.
Dinosaur Jr.
3/5
Noisy alt-rock with minimal substance. I like feedback in a rock album like the next guy, but this album had a significant amount of noise. Not a huge fan of the vocals, but some of the tracks were better than others. Highlight was "SludgeFeast." This was fine, but that's it.
Love
2/5
This album was an underwhelming representation of what psychedelic rock was in the 1960s.
The Temptations
3/5
When I read "psychedelic soul" I was concerned, but this was much better than I was expecting.
Bob Dylan
3/5
I enjoyed this SO MUCH MORE than Blonde on Blonde, and I don't know why.
CHIC
3/5
Great grooves, solid funky jams.
The Specials
3/5
This was fine, but I got REAL TIRED of their sound about 10 minutes in and still had another 34 more minutes of pop-punk reggae-rock.
Bonnie Raitt
4/5
This was a pleasant throwback to my middle school years when Bonnie Raitt was EVERYWHERE. This was a good listen. More nostalgic than I was expecting it to be. I knew the radio hits but this was enjoyable and fun, but also quiet and gentle in just the right way. Great album.
Method Man
2/5
Personal preference aside, this album wasn't anything more than what it was trying to be. At least this didn't have 15-20 minutes worth of filler (aka "skits") like with Ghostface Killah's album. This just isn't my jam.
Charles Mingus
3/5
This was fine, but nothing extraordinary in terms of defining Jazz as an art form. Part of the album reminded me of the Taxi Driver score. The last track goes on forever.
Jimmy Smith
4/5
This was a fantastic album. A fair amount of Booker T & the MG vibes going for throughout the entire listen.
Jean-Michel Jarre
3/5
This album like some kind of outdated sci-fi film score from the 60s or 70s trying to be cutting edge. Similarities to Wendy Carlos and A CLOCKWORK ORANGE, with a bit of John Carpenter thrown in for good measure. I enjoyed this, but it was not at all what I was expecting.
Tim Buckley
3/5
Sleepy late-60s fare that didn't seem very special to me.
Wu-Tang Clan
3/5
More enjoyable than I was expecting. Definitely better than the solo acts that branched out from Wu-Tang, but this wasn’t anything more than a 3/5.
Bill Evans Trio
4/5
This was a pleasantly chill jazz album. My favorite kind of jazz: the kind of jazz that doesn't give you a headache (aka freeform). Great for a low-key Friday morning to start the weekend.
Violent Femmes
3/5
This was more enjoyable than I was expecting it to be. Straddling the line somewhere between folk, alternative, and punk. Solid entry (albeit a little strange depending on the track), but I feel that The Violent Femmes are an acquired taste and I don't think it can be elevated past a 3/5 for me.
Throwing Muses
3/5
This was fine... from what I was able to find and listen to on Youtube. But, not that special, if I'm being completely honest.
Kacey Musgraves
4/5
Not at all what I was anticipating today. It was surprisingly and unexpectedly pleasant. Kacey takes the best parts of country and pop and blends them perfectly to make the album transcend both genres into something special.
Rufus Wainwright
3/5
Not exactly what I was wanting this Thursday morning, but it's what I got. Rufus Wainwright seemed like he was desperately trying to sound like Thom Yorke while also not trying to sound like Radiohead at the same time. This was... okay.
Eagles
4/5
Solid debut entry from The Eagles. Three top tier radio hits and some great deep cuts including “Take the Devil.” You just can’t beat their production quality and harmonies.
Black Sabbath
3/5
This was granddaddy of heavy metal albums before heavy metal was a thing. I'm sure this could have been quite unsettling in 1970, but by today's standards, it's pretty tame. Excellent album overall, but probably doesn't peak past 3.5/5 in the ratings. Can it reach to 4 by the morning? Maybe, but it's unlikely.
Big Brother & The Holding Company
3/5
This album was fine, I just wasn't in the mood to possibly enjoy it more than maybe the credit deserves. Definitely gets an A+ for the album cover artwork.
The Monks
3/5
Quite groundbreaking as this has a very 1960s rock and roll sound but also very anti-establishment and punk for a group of GIs who were stationed outside of the US. This was fine, but nothing earthshattering.
Elvis Costello & The Attractions
3/5
I'm not familiar with much of Elvis Costello's work. This wasn't bad. I enjoyed it for what it was worth, and I liked it more than some of his more well known singles, but I don't see myself going back to it anytime soon.
Television
4/5
A solid entry for the Rock, Post Punk, Punk, New Wave era of the late 1970s. Their musical talents shine through on the track Marquee Moon. It's too bad these guys didn't get more recognition. Great album.
Elliott Smith
3/5
If this record didn't remind me so much of Good Will Hunting, I might view it differently. However, since it does, it's hard to separate the two and how much I truly love that movie. While bleak and melancholic, I still enjoyed this album.
Screaming Trees
3/5
Somewhat unimposing mild alternative rock album from the mid-90s that almost sounds familiar. If I had had this album back when it was first released, this might have made a better impression on me. But now, this is just fine. Rating: 3.5/5
CHVRCHES
3/5
Above average modern synth pop album.
Slayer
3/5
This was a solid metal album entry, but it didn't feel or sound like anything more significant than other albums that were released around the same time period in the 1980s. While I didn't grow up listening to thrash metal, I've grown to enjoy it over time. Unfortunately, due to my upbringing, I still find the satanic imagery and lyrics unsettling, even if the band is doing it in ironic fashion.
Yeah Yeah Yeahs
3/5
Really enjoyed the energy and overall vibe of this album.
Aretha Franklin
4/5
Fantastic R&B album by the Queen of Soul. A joy to listen to, and even better when the running time clocks in at around 33 minutes. Fantastic!
Astrud Gilberto
3/5
This was a pleasant listen. It had a late 1960s chill vibe going on with it. I could easily see my dad having a copy of this album on vinyl, even though I know full he does not. Side Note: Any time I see something that is listed as Samba, I immediately think of the organ at my grandparents house, where it had different built-in tempos and beats that you could select while playing the organ.
Björk
4/5
Björk is the perfect example of what alternative pop was in the 1990s. Hauntingly and beautifully melodic. She paints an incredibly fantastic audible dreamscape. This was my first listen through of any of her studio albums from beginning to end and it was just as fantastic as her Greatest Hits I’ve had for 20 years.
The Who
3/5
This was fine. I like The Who, but why was *this album* on this list? Seems unnecessary.
4/5
Today's listen was just as good as it was the first time I heard it all the way through back in early 1996. These guys were EVERYWHERE when this album first dropped, and you couldn't go anywhere without hearing "Wonderwall" at least once in the bar I was at. Liam Gallagher's nasally vocals are a little more bothersome to me now than they were when Oasis first hit the scene. Noel Gallagher is clearly the better singer and songwriter, but he's British ugly, so you now know why Liam became the front man of the band. "Don't Look Back in Anger" is still the underrated classic single from this album.
Earth, Wind & Fire
3/5
Perfectly chill Monday morning vibes with this great R&B/Soul album. Great listen.
Scott Walker
2/5
This was... an album. I know for a fact that I'll never listen to it ever again. **Shrugs** and carries on with my day.
Emmylou Harris
3/5
Sleepy mild mannered country-ish album that didn't really stand out to me as significant. Not my personal preference when it comes to music, but this album wasn't bad. It was fine.
Ms. Dynamite
3/5
This was alright. Better than I was anticipating, but nothing on here that surpasses a 3/5 rating.
Ray Charles
4/5
This album was great. While it’s hard to truly gauge these songs originally as “country and western” they do make a seamless tradition to R&B/Soul.
The White Stripes
3/5
I enjoy the raw electric simplicity of The White Stripes, but unfortunately a lot of their songs sound alike. This was good, but I can't elevate it past 3.5, so it will likely get a 3/5 for me.
DJ Shadow
3/5
I didn't know what to expect from this album. Did not realize that it was going to be completely instrumental. It was a pleasant surprise, and quite enjoyable.
Meat Puppets
3/5
This was strangely uninspired drivel. I didn't hate it, but maybe it would have been more impactful if I had been of the right age rage when it was originally released back in 1984. I didn't hate it, but I can't see it moving past a 3/5 rating. Nothing stood out to push it past the normal threshold of adequate and/or average.
Jeff Beck
3/5
Okay, this album was just gonna get this response: ¯\_(ツ)_/¯
That is, until I heard the last track, which immediately gives this album a minimum of 3/5 just for being on Martin Scorsese's Casino Soundtrack.
The Smiths
4/5
Another Friday, another Smiths album... and another winner. I never thought I would be a fan of The Smiths, but this was great.
Beastie Boys
4/5
You couldn't have turned on MTV for more than 5 minutes in 1994 before you were bombarded by the video "Sabotage," which was EVERYWHERE and seemed to air at least twice an hour for 18 hours a day during the summer of 1994. My graduating year from high school was inundated with the sounds of this as well as Soundgarden's "Blackhole Sun," Aerosmith's "Crazy," Beck's "Loser," Collective Soul's "Shine," and Warren G's "Regulate," among many many others. It's difficult to remove the nostalgia from music, and while I never dedicated much time to listen to the Beastie Boys when this was first released, this album was pretty incredible.
Creedence Clearwater Revival
4/5
Another great album by CCR. While not as good as Cosmo's Factory, this was still a solid 4/5 rating.
Peter Frampton
3/5
This was fine, albeit a bit excessive in running time for an artist that I only know the radio hits. Standard classic 70s rock vibe.
Pink Floyd
3/5
Never been a big fan of the late 60s psychedelic LSD-laced Pink Floyd. This was fine, but nothing here elevated past a 3/5 in its rating.
Simon & Garfunkel
3/5
I have a soft spot for Simon and Garfunkel. Their harmonies are incredible. This was a good album, but almost too short. At most, a 3.5/5 rating.
OutKast
3/5
A bit lengthy, but I enjoyed this album much more than I was expecting. While I enjoyed the singles off of their double album more (Speakerboxxx/The Love Below), this is a much more seamless and cohesive collaboration.
Cocteau Twins
3/5
This was enjoyable. Never heard of the Cocteau Twins until today.
The Disposable Heroes Of Hiphoprisy
2/5
This has a very early 1990s hip hop vibe going on and practically mimics the sound and style of Public Enemy. There's almost too much of a political agenda with their platform - almost feels uninspired 30+ years later. I really didn’t care for it.
Frank Sinatra
3/5
Sinatra's buttery vocals go on almost anything. This was no exception. But this wasn't anything more than just good. A solid 3.5/5.
Portishead
3/5
Enjoyable but not as extraordinary as I first remembered. A solid 3.5/5.
Neil Young
3/5
This was a pleasant listen. A little slow and a touch too melancholy, but pleasant overall.
ZZ Top
3/5
ZZ Top is like the AC/DC of Blues Rock. Very proficient at what they do, but they often stay in their lane, and because of that, they rarely exceed my expectations. At first I was gonna give this album a 4, but... it's no more than a 3 or 3.5/5. It's good at exactly what it is, nothing more, nothing less.
The Sabres Of Paradise
3/5
Ambient electronica music. This was fine.
Fiona Apple
4/5
Sultry, sullen, and sexy. I couldn't get enough of this album when it was first released in 1996. Never latched onto anything else she ever released, but this album is pretty incredible.
Jimi Hendrix
4/5
This was really good, although it was a bit disorganized as a cohesive album from start to finish. Also, a little too long. This is probably an overall 4 just for the following tracks alone: Voodoo Chile, Crosstown Traffic, All Along the Watchtower, and Voodoo Child (Slight Return).
Calexico
4/5
Completely surprised with how good this album was compared to what I expected it was going to be. This was a fantastic listen. Wonderfully seamless blends of alternative, alt-country, Latin and mariachi vibes, and even jazz.
Johnny Cash
4/5
A classic through and through. If you like Johnny Cash, you'll love this album.
The Zombies
3/5
This was late 60s psychedelic Baroque pop at it's best, but even at 35 minutes, it's a bit tiresome for me. However, it gets a 3.5/5 just for the song "Time of the Season."
Fleetwood Mac
5/5
This is, without a doubt, a magnificent masterpiece of late-70s pop/rock.
Creedence Clearwater Revival
4/5
It amazes me sometimes how CCR could create such great songs in such a short period of time, let alone releasing 3 albums all in span of 12 months. This album is straddling the line between being a (3) which is a "good solid album" and a (4) which is a "great album." Easily a 3.5/5 but will it reach a 4 by the time I can rate it and move on? Possibly.
Lorde
3/5
This was better than what I was expecting, but nothing more than just good.
The Stooges
3/5
Early 70s prototype punk rock; very raw sounding. I have nothing bad to say about it.
Echo And The Bunnymen
3/5
Pre-Emo Alternative Rock, with traces of New Wave. I didn't hate this album. I can even recognize the musicianship and how they likely influenced other bands that I actually know and like. However, I just had never purposefully listened to anything by Echo & the Bunnymen ever in my life (and probably never will ever again).
Marianne Faithfull
2/5
Just not very compelling in any way. Album cover art gets a 4, but the overall sound and vibe of this album left me feeling... underwhelmed.
Black Sabbath
5/5
Absolutely incredible from start to finish. Not a dull track on this album.
Amy Winehouse
4/5
A timeless classic - mostly because it mimicked, sampled or re-created styles and sounds from the bygone era of the 1960s Motown and Doo wop. Never been a big fan of the opening track "Rehab" for some reason. Every other track though is killer. But that opener - for better or worse - clearly prevents me from ranking this no higher than a 4.
The Only Ones
2/5
The lead singer of this group sounds like a British version of Lou Reed while he's backed by Springsteen's E Street Band. The further into this album I listen, the less it sounds like the E Street Band, but this was just OK.
The Young Gods
1/5
This album is a hot mess. I could have lived the rest of my life never hearing this and would die a satisfactory death. I want my 33 minutes back. A hot garbage dumpster fire of a "French Industrial Rock" album.
Teenage Fanclub
3/5
This was a relatively bland early 90s attempt to be an "alternative" album. It was sub par. Was it bad enough to be ranked a 2? Probably not, but it's nothing memorable in any way. And they almost deserve to get a 1 just for how terrible their album artwork is for this record. It screams, "Hey! I made this with my ClipArt Program. What do you think?"
The Mamas & The Papas
3/5
The Mama's and the Papa's successfully blended folk and pop in an era that seemed to be dominated by either the Brit invasion sound of The Beatles, the surfer sound of The Beach Boys, or Motown. While there are a few tracks on here that are sleepy and boring, you can't deny their incredible harmonies and the absolute the genius of what is clearly their best song, California Dreamin'.
Crosby, Stills, Nash & Young
4/5
Unexpectedly and surprisingly enjoyable.
Femi Kuti
3/5
I enjoyed this more than I thought I was going to, but this was pretty much what I was expecting it to be, albeit a little long.
Siouxsie And The Banshees
3/5
A bit disjointed, but I can see the appeal.
Coldplay
5/5
Firing on all cylinders, Coldplay made only one masterpiece - a perfect album, if you will - and "A Rush Of Blood To The Head" was it. While I hadn't listened to it from start to finish in at least 15 years (probably closer to 20), it was like time traveling back to some the more memorable days of working for Best Buy.
Michael Kiwanuka
3/5
This was delightful. An unexpected pleasure to listen to.
Joni Mitchell
3/5
I recognize the talent and the significance and importance she had in the music industry, but her style just isn't my bag. This was fine for a one-time listen through.
Ian Dury
2/5
Today's album sounds like a poor man's interpretation of what punk would sound like if they had never heard it before, all while providing the soundtrack to an unreleased David Lynch film. That was fucking weird, not necessarily enjoyable. And while I could have died a peaceful death without ever hearing this album, I was definitely grateful when it was over.
Drive-By Truckers
2/5
I feel as if I were to enjoy this album too much, I would become the physical embodiment of what white trash truly is. But in all honesty, if you've heard 3 songs on this album, you've heard all 90+ minutes of it. I can't tell if they're being truly honest, or comically ironic, but this album is a strange wife-beater wearing, Natty Light-induced love letter to Lynyrd Skynyrd, George Wallace, and the state of Alabama.
Tom Tom Club
3/5
Delightfully strange, yet overall enjoyable. It gets a 3 rating just for the track "Genius of Love." Not sure if I would put this on again, but there's always a slim possibility.
The Rolling Stones
5/5
While the album cover may be iconic, I'm not a big. I am, however, a big fan of this album. So many bangers it's hard to imagine where Martin Scorsese's career would be without the impactful tunes of "Can't You Hear Me Knocking" and "Bitch." Then add combo the iconic "Brown Sugar," and "Wild Horses," you just can't really argue that this could easily be their best studio album. Absolutely incredible.
Kendrick Lamar
3/5
I enjoyed this more than Ghostface Killah or the Kanye West albums I've been subjected to listening to that are on this list. A decent blending the samples that were used making this album give it a timeless sound, but I can't see myself listening to this ever again. "...don't change until you get up and wash yo' ass!"
Jeru The Damaja
3/5
This was fine. I didn't hate it. And while I don't have any sort of historical knowledge of the hip-hop genre, it seems like a product of its time.
The Electric Prunes
3/5
This is stereotypical late-60s psychedelic rock. Nothing more, nothing less. Every song basically sounds the same. I can see the influences they had with later bands of the 70s. I didn't hate it, but I was mostly underwhelmed.
Don McLean
4/5
This album is awfully gentle but was a refreshing listen. As singer/songwriters go, I'm not terribly familiar with Don McLean, but I can understand his popularity by this record alone. This was pleasant. Almost too pleasant.
Jeff Buckley
5/5
I'm not entirely sure if I would have appreciated this album when it was released in 1994 - my palette hadn't quite matured. But listening to this on the cusp of 49, it makes me realize how much it sucked not having this album in my arsenal for the past 30 years. Buckley has such range, he doesn't stick to one specific genre, so his songs are all beautifully different. The only tracks I had been familiar with were "Last Goodbye" (vaguely) and his rendition of "Hallelujah," which make all other versions (including the original) just pale in comparison. This was a spectacular and haunting listen.
Dire Straits
4/5
The perfect chill album for a possibly hectic Monday morning, Dire Straits debut album definitely delivers. I've always enjoyed Mark Knopfler's guitar style and overall vibe. Quite enjoyable.
Duke Ellington
3/5
This was an unexpected treat. Not a huge fan of live albums, but this one works.
Abdullah Ibrahim
3/5
This is either the 2nd or 3rd on this list where the album wasn't available through Apple Music. I found all but one track on YouTube. This was smooth and buttery jazz that you can spread on your toast and have with your morning coffee. Nothing wrong with that.
Jane Weaver
2/5
Strange electronic pop with some monotone-ish vocals. Not a fan.
Michael Jackson
5/5
The sheer cultural impact of this album and Michael Jackson had on the US population, especially the kids in the 1980s, was unavoidable. This album, at least for me, is nostalgia in its purest form. Would Michael Jackson and the eventual juggernaut of Thriller even have been as successful without the platform of MTV to rocket it off into the pop culture stratosphere? Who knows. But you cannot deny the sheer brilliance of how expansive Quincy Jones's range as a producer was to create an undeniable and incredible masterpiece.
Yes
4/5
A cool and refreshing English Prog Rock album. They kind of like the British version of Rush - but not as exciting. This was good, though. I enjoyed it. The tracks "Starship Trooper," and "All Good People" elevate this album from a decent 3 to a solid 4 rating.
The Associates
1/5
This album is so disjointed, I can't imagine anyone finding it enjoyable. The vocals are terrible, the drum beat machines seem like they're always off tempo, and the synth is absolute shit. This is concentrated hot garbage being funneled through a disposal directly into my earbuds. I did not care for this in any way shape or form.
TLC
3/5
This was better than I was anticipating. Solid mid-90s R&B album. TLC was everywhere in 1994, especially MTV. You couldn't go more than 30 minutes without seeing their videos for either "Creep," "Red Light Special," or especially "Waterfalls," which I believe dominated the VMAs the following year. A handful of tracks felt easily forgettable and the subject matter rarely veered away from their sexual escapades. However, the album suffered from pointless filler, cramming several meaningless interludes in between songs. While not as brazen or upbeat as Salt-N-Pepa, this was still a nice chance of pace.
The Pogues
3/5
A bit more redundant than the last Pogues album on this list. This was fine, but nothing groundbreaking by any means.
Janelle Monáe
4/5
This album is enjoyably eclectic. The range and diversity in sound within its own genre is astounding. A breath of fresh air.
Franz Ferdinand
3/5
Enjoyable early 00s indy rock. You couldn't go anywhere in 2004 without hearing "Take Me Out" playing somewhere on the radio. Refreshing and enjoyable. Also, it's nice that it was just under 40 minutes.
Arctic Monkeys
3/5
Enjoyable alt punk rock vibes, but awfully repetitive.
Echo And The Bunnymen
3/5
This was strangely enjoyable, albeit a bit boring. I liked the orchestral parts, which were unexpectedly pleasant. Some of the songs had a Smiths vibes going, the last track seemed very U2-esque.
Bill Callahan
2/5
This was adequate at best. Bill's vocal range is only about 3 notes, which kinda ruined the music, which I actually enjoyed. Overall, though, I'm not a fan.
Arcade Fire
3/5
This was like a rock opera for hipsters. I didn't hate it, but I doubt I'll revisit this album ever again.
Neil Young & Crazy Horse
3/5
This was alright, but I wasn't blown away by anything in particular. Of all the Neil Young that's come up on this list so far, this seemed the most whining-induced vocals from Young himself, but nothing that's really out of the ordinary.
4/5
First time purposely listening to anything by Loretta Lynn. This was enjoyable and in a way comforting - like a heavy weighted quilt that’s cool to the touch but will also keep you warm on a crisp Autumn night.
The Dave Brubeck Quartet
4/5
A timeless classic.
Goldie
1/5
Track 4 says it all. "This is a Bad."
Ray Charles
4/5
This was absolutely delightful. First half was rowdy and exciting R&B Soul with wonderfully blaring horns. The second half was soulfully peaceful piano ballads. A fantastic listen.
Cyndi Lauper
3/5
Overly enjoyable but nothing on here was great and capable elevating the album to anything better than "just good." This was a 3.5/5 at its absolute best.
Paul McCartney
4/5
This was an unexpected delight. It felt more raw and personal than the material he recorded and released later in the 1970s. I can see why it's on this list. Thanks to Cameron Crowe and the movie "Jerry Maguire," I know 2 more tracks on here than I originally would have. It may not be a 5/5, but this was quite enjoyable and I could easily see myself listening to this again at some point.
Adele
4/5
This album was jammed packed with melancholy, lost love, missed opportunities, and regret. And I'm here for every minute of it. It scratched an itch I didn't even realize I had this morning. I enjoyed every minute of this album.
Korn
3/5
While enjoyable as most any other Korn album I purposefully listened to, Follow The Leader begins to wobble a bit the longer the album plays on with its 67 minute run time. There are certain elements of their particular music style that I absolutely dig, whether it's the strange unhinged rawness, the slapping bass that feels like it's being drug along the ground, or Jonathan Davis's feral vocals. But this album never really elevates past a 3.5 for me as I feel some of the work they've released after Follow The Leader is significantly better.
Isaac Hayes
3/5
This was enjoyable as always, but the running time for By the Time I Get to Phoenix is just WAY too long. I don't need to hear Isaac hold down one chord on his keyboards and tell a story for what feels like 10 minutes. It's drawn out and unnecessary and in my opinion, drops this album from a 4 to a 3 because of the length of that track.
Bob Dylan
3/5
I enjoyed this album SO much more than the the last two Dylan albums we've been subjected to so far. It had a more cohesive structure, and I loved how they purposefully left in the outtake on the track "Bob Dylan's 115th Dream." I often feel with Dylan that the art and the artist don't always seem like they're in sync (great poet and songwriter - terrible performer), but this album worked really well for me.
Simple Minds
3/5
This was fine. I have mostly neutral feelings about this album as the songs seemed mostly forgettable soon after I heard them.
T. Rex
3/5
Decent bluesy 70s rock. Better than expected.
Kraftwerk
3/5
This was comically enjoyable. German electronica for the win.
Santana
4/5
This was an absolute treat. Carlos Santana brings such wonderful flavors to the mix that it's difficult not to have fun while listening. Fantastic album.
Dolly Parton
3/5
Pleasant and delightful. Some tracks had a more homespun gospel-sound to them, compared to what we've heard so far of the old school 70s country. Short and sweet, with a very compact run time, but enjoyable.
Sufjan Stevens
3/5
This album is what I assume what a Hipster Anthem would sound like. Unimposing folksy indie rock. This was fine, but it had a longer than needed (or wanted) run time of 74 minutes.
Buck Owens
4/5
Delightful. Old school country just hits differently.
The Stranglers
3/5
I didn’t hate it. It was strangely more interesting the further in you listen to the album. An odd niche market these guys were marketing to. Thanks to Sexy Beast, I actually knew one of their songs (Peaches).
George Harrison
4/5
This was good. Really good, but it was also about 30 minutes too long.
Harry Nilsson
4/5
Decent early 70s pop album. I appreciate and admire Harry Nilsson's sound and style.
Megadeth
4/5
I prefer some of their later releases to this one, but it’s still excellent.
Serge Gainsbourg
2/5
What in the hell is even this? I enjoyed the music, but I didn’t understand one syllable of the French that was whispered, spoken, or sung into the mic. This was strange.
Crowded House
3/5
Better than I was expecting, but I only recognized one song on this album, "Weather with You."
Beastie Boys
4/5
This was the first time I listened to this album in one sitting front-to-back. Thoroughly enjoyable and groundbreaking for it's time, this Beastie Boys album is fun and playful and completely nostalgic.
Joni Mitchell
3/5
This has a very relaxing and chill Sunday morning kind of vibe. Not bad, but I highly doubt if I'll ever purposefully listen to it again. I recognize Joni Mitchell's talent, but she's just not my jam.
The Sensational Alex Harvey Band
2/5
This was a strange album. I enjoyed the music, but was disinterested in the subject matter and lyrics of what they chose to sing about, whether it was a gang bang or "the taste of gonorrhea," I wasn't having any of it.
¯\_(ツ)_/¯
The Darkness
4/5
While the vocals are a bit jarring at times, overall this is a really fun album to listen to. This is easily a 3.5 on its way to a 4.0 rating. In all honesty, it's the vocal stylings that hold it back, even though I'm sure that's what makes the band and album so identifiable in the first place.
Buena Vista Social Club
4/5
I feel like I'm sipping rum inside a small club in Havana, Cuba when I listen to this album. It's wonderfully delightful.
Kendrick Lamar
2/5
This was satisfactory at best. "Bitch, Don't Kill My Vibe."
Funkadelic
4/5
This was an unexpected treat. Definitely more of a rock album than a funk album, but that first track is incredible. It spins a little out of control towards the end, but I am here for it.
Devendra Banhart
2/5
Whiny folk music. Wasn’t a fan.
Suicide
1/5
This was hot shit garbage. I don’t care who was inspired by this album. What a waste of my time.
Scissor Sisters
2/5
This was a weird. It’s started out alright and then they transformed one of the greatest Pink Floyd songs (Comfortably Numb) into some kind of Bee Gee’s ripoff. I don’t know what to think anymore.
David Bowie
2/5
This was a peculiar album. Very experimental. Reminded me a lot of Radiohead in the early 2000s when they lost their direction and were into the weeds with experimentation. It’s a merging of genres with an out of control drum machine where the end result is where the style and substance never seem to fused together properly.
Meat Loaf
3/5
This was fine. Rock opera isn't typically my sort of thing, but I'm glad I listened to it once through in its entirety. Highly unlikely I'll ever be compelled to put it on ever again.
Elton John
4/5
While I am very familiar with all of his "greatest hits," I had never listened to an Elton John album from start to finish until I started this journey. This record was a spectacle to behold, opening with an 11 minute prog-rock-esque track. While it still feels a bit lengthy at times, it was a delight to listen to. Clearly the genius combo of Elton John and Bernie Taupin were in top form when they composed this gem.
Queen Latifah
3/5
For an album that's just over an hour long, it's very repetitive. There isn't a lot of variety between the beats, soundscapes, or samples that are used. However, it's also VERY 1989 in its sound, and for that, even if I wasn't familiar at all with any of the singles that were released, it was quite nostalgic sounding, and enjoyable enough to garner the album a positive rating.
Def Leppard
5/5
I was already waist deep in nostalgia just 20 seconds into the start of this album. When "Animal" comes on, it hits me like a tidal wave. By the time "Pour Some Sugar On Me" plays, I've been swept away by the undertow. I cannot deny how fun this album still is, almost 40 years later. I was literally compelled to crank this up on my drive into the office this morning. 'Hysteria' was one of two albums that I remember dominating playtime on my sister's car stereo. (The other one was a little unknown debut album by GNR.) Whether you labeled it "glam metal," "arena rock," or just "hard rock," Def Leppard changed the game, produced 7 solid radio singles from 12 tracks on an album that was an hour long, and dominated the MTV airwaves for at least 2 years. This album is the band's masterpiece; their magnum opus, if you will (at least for the "arena rock" genre). They never released anything this good ever again.
Iron Maiden
4/5
Dueling guitars, a killer baseline, and vocals a didn’t hate. This was SO much better than what I was expecting.
Air
4/5
This was a refreshing listen. Lo-Fi electronica with a newly discovered track that appeared on the soundtrack from the movie “Go.” Great album.
William Orbit
3/5
This was enjoyable. Perfect for playing in the background while working. Another Chill-infused Lo-Fi Electronica album for the win.
Sade
3/5
Sexy-time music. I'll take it. Easy listening R&B funky jazz pop. Great listen.
Goldfrapp
3/5
Strangely enjoyable - even if it's a bit dreamily wispy-sounding. A bit repetitive, not a lot of variety in their soundscape. But not bad at all.
The Black Keys
4/5
While some tracks are very similar sounding, this is still a solid blues rock album.
LCD Soundsystem
3/5
This was different. I didn't hate it, but I wasn't sure what to expect. From what I had read, this band's sound is very much a hybrid mixture of The Killers + The Strokes + a pinch of Devo + a dash of Daft Punk. Enjoyable for what it was, but I don't see myself going back to it anytime in not too distant future.
The Verve
3/5
It’s just semi melancholic whiny blue color British rock from the mid 90s. It’s fine but it’s not extraordinary by any means. 3.5/5
Blur
3/5
This was better than I was expecting, but depending on the song, it's still very much whiny mid-90s British rock. Not sure if I would gravitate towards this album again. I don't know what it is, but I I feel like I should have liked this more than I actually did.
Kelela
3/5
I like the sound of this album, the R&B Electronica with the vocals work well together, it’s just very repetitive. There’s not much variety so it all starts to blend together if I’m being completely honest.
Leonard Cohen
2/5
I don't understand the fascination with Leonard Cohen. He's a poet who shouldn't sing, but does anyway, just like Bob Dylan, but somehow worse. I didn't hate this one, but I'm not entirely sure I can justify this with a 3/5 rating. It's not a 1/5, but there's a good chance it'll get the deuce.
The Go-Go's
4/5
Solid New Wave album by a bunch a hot rockin' chicks who would likely drink me under the table, and I'm alright with that.
Tracy Chapman
4/5
This was a beautiful as well as an incredibly sad album.
Common
3/5
While this was bloated in length (20-30 minutes too long with too many fillers) I enjoyed the beats and samples Common used compared to other rap albums of the same era. It’s more soulful and jazzy. Enjoyable for what it was.
Gang Of Four
2/5
Imagine a band that sounds like an uncoordinated shitty version of The Police crossed with The Clash. That is this band.
The Clash
3/5
Solid punk record. Quite enjoyable even though I recognized zero songs from this album.
Solomon Burke
3/5
Such a wonderfully classic sound. I enjoyed every minute of this album yet wasn’t familiar with the artist or any of the tracks on this record. Great listen.
Hawkwind
2/5
These guys are a less interesting version of Pink Floyd.
Machito
4/5
A breath of fresh air for the first album of 2025. The blaring sound of the brass. The fierce rhythm of the bongos. Top notch album from start to finish.
Elvis Costello & The Attractions
3/5
This was fine. Nothing extraordinary.
The Rolling Stones
5/5
Brilliant album from start to finish, even if hearing The Stones play some "Honky-Tonk" is a little bit weird, they somehow pull it off. This can easily be listed one of their essential albums - a must have for any fan.
The Notorious B.I.G.
3/5
While the overall tone was terribly misogynistic from start to finish, I did enjoy the overall style and sound they were laying down. Maybe it's because I'm listening to this 30 years after its original release (who knows). But damn is this album unnecessarily bloated. I don't need skits and interludes between almost each and every track. I especially didn't want to (or need to) hear "renditions" of Biggie and his sexual escapades throughout.
Bob Marley & The Wailers
4/5
This was perfect for my first day back in the office after the holiday break. Enjoyable and very chill.
Dexys Midnight Runners
2/5
This was completely unnecessary and barely enjoyable. Dexys Midnight Runners sounds like a bad horn-laden version of The Cure. Just another glaring example of a record that feels like it only made the list in order to get it past a specific threshold so they could get closer to a 1001 total.
Sam Cooke
3/5
This was good, but I wasn't in love with the live performance. It felt rushed and not very intimate.
David Bowie
3/5
This was strangely enjoyable. However, some of the "bizarre lounge-jazz flourishes" (I stole this phrase from another reviewer) really killed the vibe before it was reigned back in, which really hindered it's overall ranking for me. This will only get a solid three to a three-and-a-half. I don't think it will be able to reach a four.
Carole King
4/5
Absolutely incredible from start to finish.
The Beach Boys
4/5
This was fine. I love The Beach Boys, but I can't help but think I was expecting more. This was a bit underwhelming is all. I don't know what I was anticipating to hear, but from some reason, this was not it. Maybe it was just me. Strangely enough, I'm at a loss for words. I don't want to do the album a disservice by underrating it, but this was definitely not a five. But is it a four?
***More time has now passed and I've listed to track 8***
Absolutely, if only just for the song "God Only Knows." This song hits differently the older I get and now it hits me on an emotional and spiritual level deep inside my soul I didn't even realize I had and will often bring me to tears. Okay, Beach Boys. Okay. You got me. This is a four.
Lana Del Rey
3/5
This wasn't bad. Very ethereal and dreamy sounding kind of album. Definitely some chill vibes going on here. I didn't hate it, but it did not help motivate me this morning to be productive in any way. It just made me want to crawl back into bed and go to sleep.
Madness
2/5
I found little joy in listening to this album. Hearing "Our House" for the first time in about 10 years was kind of nice, like an oasis in the middle of a desert. This just felt weird all over the place. Very English. Not very cohesive in any way. I was glad when it was over. Unless an un-cohesive sound was what they were going for. If it was, then they succeeded.
Aretha Franklin
4/5
Incredible.
Beatles
4/5
While this album is still top tier Beatles material, it feels a bit cobbled together and bloated. Definitely not as cohesive as Abby Road or Sgt. Pepper's. If this had been trimmed down from a double LP, it would have done us all a favor by giving us a good 35 minutes back in our day.
With that being said, it still has some incredible tracks (Dear Prudence, While My Guitar Gently Weeps, Blackbird, Rocky Raccoon, Helter Skelter, and Good Night) and it shows the brilliance these guys had, even when they really didn't want to work with each other, but chose to anyway.
The KLF
2/5
This album feels so stuck in 1991 it’s almost unbearable. I don't hate it, but I don't really love it either. If the album is lucky, it'll get a 3 rating and I'll never have to listen to it ever again.
The Go-Betweens
3/5
What if The Smiths, R.E.M., and an U2 cover band joined forces? Well, they would get together in a studio and create this album. This was fine. Nothing fantastic, but serviceable.
Lloyd Cole And The Commotions
3/5
This was adequate. Nothing unique.
Jimi Hendrix
5/5
Absolutely incredible.
Prince
4/5
An unexpected treat. I was only familiar with his radio hits. This album proudly demonstrates Prince's versatility as a musician and his uncompromising talent.
Dead Kennedys
3/5
This was fine, but punk really isn't my forte. I typically tire of the genre after about 3 songs.
Fugazi
3/5
I enjoyed this much more than I was expecting.
The Everly Brothers
3/5
The Everly Brothers hit me on a nostalgic level. I listened to a lot of stuff as a kid. Cathy's Clown was a bit of an anthem in our household as m mom's name is Cathy, so my dad was often referred to as, "Cathy's Clown." They straddled the fine line between rockabilly and country, and their harmonies are incredible.
Thin Lizzy
3/5
Solid 70s rock live album. Enjoyable, but difficult to really get into and absorb. Any time I have to resort to YouTube to listen to something, the commercial breaks between each song really detracts from the experience. Thankfully after another search and disregarding the link that this site provided, I was able to locate the album on Apple Music.
Led Zeppelin
5/5
Fantastic listen as always. Each track is incredible, and while I grew tired of “Stairway to Heaven” for some time, hearing it play in its preferred location as track 4, right in middle of this bluesy rockin’ and rompin’ record just made me realize how great that song and this album truly is. Another Led Zeppelin masterpiece.
Neil Young
3/5
This was a decent bluesy 70s southern rock album, but I’m not very fond of Neil Young’s nasally whining voice. He’s an acquired taste that I never learned to enjoy.
Electric Light Orchestra
3/5
This was fine. Jeff Lynn has a very distinctive sound, so all of the songs have a very similar quality to them. Also, the running time is a tad excessive. I don't hate it. It's nice to have ELO peppered throughout other 1970s classic rock, but listening to 70 minutes of it straight through is too much. 3 or 4 songs is all I need.
N.W.A.
3/5
Solid late-80s gangster rap. I enjoyed it much more than I was expecting, but it's not like I'm gonna ever listen to this again.
Soundgarden
5/5
This was a seminal album in my life. I remember where I was when I purchased this CD. I was on my summer break between high school and college up in the Seattle area, spending a few weeks with my cousins, and I had come across a Blockbuster Music Store. The concept of being able to walk down the wall of the Billboards top selling albums, and just putting on a pair of headphones and punching in a track number was unheard of! And this is how I came across this absolute gem of an album. We had already been subjected to three singles by the time it was summertime in 1994, so I knew those songs, but I wanted to hear what the radio wasn’t playing, and dammit it I was not disappointed. I just fell in love with "Fell on Black Days" and "The Day I Tried to Live." Those songs just scratched an itch I didn’t even realize I had until I heard those tracks. This was in my car in constant rotation through the rest of the year (probably longer). This album represented freedom, independence, and creating my own music identity. Absolutely one of the greatest rock albums ever created.
Oasis
3/5
I Definitely Maybe think this album is better than I last remembered. The back half is significantly better than the first half once you get to Supersonic.
k.d. lang
4/5
Pleasantly chill and easy listening 1950s style country where k.d. lang's voice comes through like soft butter on a slice of toast. She's like a country crooner, and I'm here for it.
Stereo MC's
2/5
Unimpressed. The first song took me right back to 1992. I then traveled back to the future and didn't really care for the rest.
Iggy Pop
3/5
This was fine. I didn’t hate it. But I also didn’t love it. It gets a 3 for “Nightclubbing” alone.
The Who
3/5
I was expecting so much more. This was fine, albeit a bit underwhelming.
Adele
4/5
This was really good, but not as good as her album '25.' I did, however, recognized more songs on this album than I was expecting to. This was still easily a 4/5.
Alice Cooper
3/5
This was middle of the road 70s rock. No more, no less.
The B-52's
4/5
I dug this album much more than I was originally expecting. I've always had a bit of a soft spot for The B-52s, and I'm not sure why.
James Brown
3/5
I feel like I'm missing half of the show with not being able to witness James Brown's performance on stage. Also, could this be any shorter? But, I enjoyed it none the less. I just wish there was more of it.
The Isley Brothers
3/5
This was quite enjoyable.
Ramones
3/5
I've always liked The Ramones in small doses. A full record is a bit overkill for me. Example: When listening to this 29 minute LP (yes, only 29 minutes), it feels like I've just heard the same 11 or 12 of the same song, played again with a slightly different beat and chord progression (they almost all sound the same). However, the ones that stand out as different were obviously big hits for them, which included "Blitzkrieg Bop," and "I Wanna Be Your Boyfriend." This was enjoyable, even if it was a bit repetitive.
Flamin' Groovies
3/5
Decent early 70s Blues Rock. Better than I was expecting it to be, but it was clearly a Rolling Stones ripoff band.
Brian Eno
3/5
Strange. David Byrne + Brian Eno create an odd audio landscape that was a bit difficult to listen to. I didn’t hate it, but it’s highly unlikely that I’ll seek this out again.
King Crimson
2/5
This was 47 minutes of early 70s Prog Rock nonsense. A little too experimental for my liking.
The Smiths
3/5
I enjoyed this, but not as much as the other Smiths albums on this list.
Pretenders
4/5
More radio hits than I was expecting. I enjoyed the energy this album put out. "Mystery Achievement" and "Space Invader" are easily the best tracks on this album. 4/5
The Jesus And Mary Chain
2/5
This album was underwhelming. Too much distortion and reverb for my liking. This feels like a filler album.
Moby Grape
3/5
Adequate late 60s rock. No more, no less.
Girls Against Boys
3/5
I enjoyed this album. It had a very early 90s alt-grunge rock feel. Unfortunately, it also lacked a distinctive personality that more successful grunge bands had during this time. I feel this got lost in the shuffle with bands that had better singles for that exact reason.
The Last Shadow Puppets
3/5
This was the Arctic Monkeys with a 60s vibe and some strings. It was alright.
Nick Cave & The Bad Seeds
3/5
Melancholy to the max. I didn’t hate it but damn it if this didn’t put me in a somber mood this morning.
John Lennon
3/5
This album feels a bit neutered. Like, you left The Beatles and this was your first release? I didn’t dislike it, it just felt underwhelming (also, I need a thesaurus as I feel I use the world underwhelming a lot within these reviews).
Ramblin' Jack Elliott
3/5
This album was fine, but I got tired of his pseudo-storytelling before some of his songs. This must have been more groundbreaking for 1958. It doesn't necessarily feel like a filler album, but I don't see myself returning to this anytime soon.
Mott The Hoople
3/5
Nothing remarkable, but moderately enjoyable. It had a David Bowie sound and feel, but with a little bit of a harder edge (but not by much).
Sepultura
3/5
This is intense tribal metal. I don't hate it, but the lead singer's guttural screaming instead of actually singing knocks the rating down by 1/2 a star. It makes it less enjoyable overall. I think this would have been significantly better as an instrumental record, but what do I know?
The Stooges
3/5
This album started off strong and ended in musical gibberish towards the last track. I felt it was close to being a 4/5 but now I'm not entirely sure. However, I really loved the energy of this album (outside of "L.A. Blues").
Can
2/5
Don't go past track three. You have been warned.
Cowboy Junkies
3/5
Sleepy Canadian Folk Rock with a dash of bluesy-noir. The further into the album I went, the more I enjoyed it. I didn't hate it, but made my day stretch out longer than I was expecting it to.
The Psychedelic Furs
3/5
This album felt like 9 versions of "Pretty in Pink." I didn't hate it, but I was mostly indifferent to their sound.
Everything But The Girl
3/5
This was very 90s dance club pop. This was alright but felt like a filler album.
Willie Nelson
3/5
Slow and sleepy Willie Nelson, but pleasant nonetheless.
Os Mutantes
2/5
Strange. Definitely not my jam.
Mariah Carey
3/5
Extraordinary voice, ordinary R&B songs. I feel that her debut album would have been more appropriate to be on this 1001 list than "Butterfly." I didn't dislike it, but after about 25 minutes, I was wondering when this was going to be over. An hour of Mariah Carey who wanted to release an quasi-Hip-Hop album isn't what I signed on for, yet here I am, listening to 57 minute album that's just OK.
Kings of Leon
3/5
I enjoyed the music much more than I enjoy Caleb Followill's voice. I don't know what it is, his voice just often annoys me. It's kind of whiny. However, the album was better than I was anticipating, even though I feel that 3 albums by this band is a tad excessive to be included on this list.
Daft Punk
3/5
I feel that copious amounts of ecstasy might be needed to fully enjoy this record. Each track has the possibility producing one of following results: (1) scratch an itch I never realized I ever had in the first place, (2) make my brain hurt, or (3) come suspiciously close to having a seizure. Sometimes, all three can happen simultaneously.
Tom Waits
3/5
Clear your throat, Tom.
Incredible Bongo Band
3/5
I ain't mad at this album, but the inclusion of bongos on pretty much every track seem a tad excessive. Is this considered funk? It doesn't seem like it, but it's definitely groovy. It’s not bad but it’s not necessarily very original either.
4/5
Solid Muse album and entry on this 1001 list, yet it still isn't as good as their previous release - "Absolution." I've always viewed Muse through the lens of "What if Radiohead and Queen had a baby?" Maybe that's a little too broad, but I still think it fits their sound and their first 3-4 albums. Once they shifted towards more electronica in the 2010s, I wasn't as interested. But this one is a solid 4 for me.
PJ Harvey
3/5
Another perfect (and glaring) example of what a filler album sounds like. This was unnecessary. It wasn't bad, just not extraordinary in any way shape or form.
Giant Sand
3/5
Listening to this was quite a chore. Nothing special over here. Move along.
X-Ray Spex
2/5
Punk + Saxophone is not a combination I appreciate.
Nina Simone
4/5
Just lovely.
Radiohead
3/5
This was alright on re-listen. It had been a good dozen years or more since I last sought this album out. There are better albums that represent Radiohead's overall sound and aesthetic as a whole ('The Bends' and 'OK Computer' are significantly better), and while this was a return to form after everyone had a kneejerk reaction by immediately rejecting 'Kid A' and 'Amnesiac,' when those first dropped, this album doesn't hold up over time. To me, it lacked emphasis in any way shape or form but rather their attempt at a course correction to service the fans. In '03 or '04 I probably would have rated this fairly high. But upon a re-evaluation, it's pretty middle of the road Radiohead, almost forgettable.
Aerosmith
4/5
There's something brilliant about this album, and it's most likely due to it's rawness and simplicity. Good guitar riffs, good jams, not overly complicated. This was a breath of fresh air.
Super Furry Animals
1/5
It was difficult to put into words how to describe my experience listening to this album. It was partly Indie Brit Pop, mixed with a heavy helping of Brit Rock, along with some psychedelic gibberish, electronica, lounge singing, and noise. It was all over the place. It was hot garbage.
Dr. Dre
3/5
Didn't realize how much Snoop was all over this album. The radio hits are pure high school nostalgia. Not a huge fan of the skits on rap and hip-hop albums, and this album is no different as they feel like unneeded filler because the producers realized how long they could make a record now that they weren't limited to run time with CDs. However, overall it was quite enjoyable with some innovative samples.
Kate Bush
3/5
Kate Bush is somewhere between an underrated artist, or an acquired taste. I feel she's a little bit of both. Nothing earth shattering here with this album. I was expecting we were gonna get her resurgence album that featured "Running Up That Hill" but I guess not. I wasn't familiar with her work until Stranger Things brought her back into the zeitgeist. This was satisfactory at best. I didn't hate it, but I also didn't love it.
Siouxsie And The Banshees
4/5
Killer guitar riffs, great bass lines, and angsty female vocals for the win. I loved the overall feel this album gave off, Goth punk with some serious Doors vibes going on, especially on the last track "Voodoo Dolly." There's a darkness here and I like it. I could easily see myself listening to this again very soon.
Anita Baker
3/5
This is exactly what I needed on a chaotic Thursday morning. While this isn't anything that would have been playing in my home growing up as a kid, the sound is still very nostalgic. It's almost impossible to deny really good 80s Soulful R&B. Let the gentle waves wash over you, drawing you further out to sea on a peaceful Sunday afternoon.
Sheryl Crow
3/5
This was an enjoyable revisit. Overall the album is fun, Sheryl shows off that she can cover several genres relatively well. However, nothing in its entire 50 minutes runtime launches it out into the stratosphere as anything more than just "pretty good." In fact, if I'm being nitpicky, a couple of tracks felt shoved into the album that sorta killed the vibe, including "The Na Na Song." Solid 3.5/5.
Emerson, Lake & Palmer
3/5
It's like I went to 70s Prog Rock Church, but they didn't announce which rock hymns we were singing, and I was completely lost flipping through the hymnal that I found in the pew in front of me. This was odd, unexpected, and barely enjoyable.
The Chemical Brothers
3/5
I enjoyed this but not any more than any other halfway decent electronica album from the mid 1990s.
The War On Drugs
3/5
The never ending alt rock album. This was fine.
Bee Gees
3/5
This album was very sleep-inducing. A terribly boring album with a great opening track that I first thought Kermit the Frog was taking lead vocals on.
The Flying Burrito Brothers
3/5
Unexpectedly enjoyable.
Miriam Makeba
3/5
This was good. Feels like some of these songs were sampled (which is probably true). Pay attention to the lyrics on the song “One More Dance” and how the story progresses. At first I thought it was dumb but the further into the song it went, the end result was quite hilarious.
Django Django
2/5
I’m not sure what this was, but it sure as hell wasn’t music.
The Sugarcubes
3/5
Today’s album sounded like some late 80s alt punk band that laid Bjork vocals over top, and about 85% of it seemed out of sync. This felt like a mashup that didn't work. This was weird and only mildly enjoyable.
50 Cent
3/5
Decent beats, but I quickly tire of the subject matter. I enjoyed this, but it will never get anything higher than a 3/5.
David Bowie
3/5
It seemed like a David Bowie alternate rock album. Pretty good but nothing more than a 3. I would give it a 3.5 but it’s not good enough for me to push it over to a 4.
Jazmine Sullivan
2/5
This was anything but "required listening." The 7 R&B tracks that were sprinkled in between 6 interludes was unnecessary. I hate to say this, but I am anything but this artist's demographic.
Les Rythmes Digitales
4/5
I truly dug this album, enjoyed it much more than I was expecting. It’s had a serious 1980s Euro Synth New Wave Pop esthetic. It reminded me of early Daft Punk without being overly repetitive, or 25% more annoying. This may not be for everyone but I’m glad this list introduced me to this album.
David Ackles
1/5
Fuck. This. Album. David Ackles can eat a shit burger for this hot garbage. Bernie Taupin should stick to songwriting with Elton John. If you hate yourself, then give it a listen. I cannot recommend this album any less than I already have. I wish I had my 44 minutes back.
Julian Cope
1/5
I cannot wait for this album to be over. The music is somewhere in the middle, but I really don't care for this lead singer's voice. They're like a 90s knock-off version of The Doors, trying to do psychedelic music the best they can, and screwing it up completely. Also, clocking in at 76 minutes, this album was WAY too long. This is uninspired hot garbage wrapped in a turd-filled burrito serviced with a side of diarrhea dipping sauce.
The Who
4/5
Three solid hits and an iconic album cover. The record is bookended by two incredible tracks, "Baba O'Riley" and "Won't Get Fooled Again." While a bit slower and more introspective than I originally remember, the overall vibe of this album upon re-listen was greatly needed. A perfectly produced studio album and quite possibly my favorite of The Who. It comes close to greatness, but never truly reaches the upper echelon of a 5 on this rating scale, but this is a definitely a solid 4 ~ 4.5. A great way to end the week on what may go down as one of the weirdest (and shittiest) 5 day listening streaks since starting this list.
Beatles
5/5
This album is solid. And while there are other Beatles albums that I love more, this is a serious 4.5. Solid songwriting and tunes that don’t over stay their welcome. This record is easily the start of the bridge between their brilliant bubble gum Brit Pop & Rock and an entirely new expanding universe where all bets were off.
Michael Jackson
4/5
Michael Jackson proves once again that he was still the reigning King of Pop. With Quincy Jones producing once again, it's just incredible how fun and nostalgic this album still is after almost 40 years. It can sometimes be difficult to separate the art from the artist, but dammit this album just jams so hard its really difficult to deny how fantastic it was in 1987. The worst tracks here that are a bit rough to get through are "Bad" (dated) and "Liberian Girl" (just fucking weird). Standout songs are: "The Way You Make Me Feel," "Just Good Friends," "Another Part of Me," "Man In the Mirror," "Dirty Diana," and "Smooth Criminal."
Black Sabbath
3/5
Solid, albeit a bit disjointed. Back half was more enjoyable that the front half, but this album did push itself past a 3.5.
The Yardbirds
3/5
Decent mid-1960s blues rock album, but artwork is more original than most of the record. I didn't hate it. This album was fine, but nothing exemplary. The best track is "Jeff's Boogie." Why is that? Because no one is singing. It's just Jeff Beck jamming.
Belle & Sebastian
1/5
This felt very uninspired. The music was at best adequate, but the vocals are very blah. This was like an acoustic emo band. I feel sorry for the people who truly love and obsess over this band. This was a blind listen as I had heard of the band before, but never sought them out. Well, there's a reason why I never did, because they kinda suck. If you're feeling sinister, listen to this album and you might just try to kill yourself.
Solange
3/5
This album was fine, has a very chill sounding vibe going on, it's just not what I was wanting to hear at this moment.
Frank Black
3/5
I was not expecting to enjoy today’s album, but here we are. It’s not as punkish as The Pixies but you can definitely hear that flavor throughout. Granted, it’s also about 25 minutes too long.
Blondie
3/5
This was good, but only 3/5 good. No more, no less.
David Bowie
3/5
This is probably the best David Bowie album I've listened to thus far, and this is the 6th one that has populated on this list. I'm not sure why there needed to be 6, but what do I know, I'm just a common man, not a journalist or editor of a music magazine. I wasn't born with the DNA to better understand this artist. This was enjoyable, but it still isn't enough to push this album past a 3.5/5, and it definitely can't push it past its own boundaries into a 4.
Album high marks: "Changes" "Life on Mars?" "Andy Warhol" "Queen Bitch"
Van Halen
5/5
This is Van Halen at their most polished, just before David Lee Roth hit the road. The songs are on point, rocking just as hard as the first time I head this record. It’s quick and fun, an iconic album cover if there ever was one, and showcases the best of their talents while also dipping their toes into synthesizer craze that was going on in the 80s, but they don’t stay in that new wave pool for very long. Just a quick dip. This is probably my favorite album featuring the original band members. Just incredible.
Ali Farka Touré
3/5
I loved the fusion between the American blues and African music. This works well and was an enjoyable listen.
Bruce Springsteen
4/5
Springsteen finds beauty in the ordinary with this release. The Boss was never on my radar when I was younger, but there's something uniquely original and honest with Bruce and the E Street Band's overall sound and blue collar vibe. This was easily a 3.5 for me, leaning hard towards a 4. I really enjoyed it more than I was expecting to. "Jungleland" is clearly the standout track.
JAY Z
3/5
This was fine for the first 4-5 tracks, then it got horribly repetitive. Samples and beats were good, but 63 minutes is a long time to hear someone talk about how much money they have.
Ravi Shankar
2/5
Ravi Shankar sounds like a prison attack move. "Man, I got ravi shankared out in the yard yesterday. I can barely walk now." The length of this album is practically unbearable since each of the 4 tracks (bypassing the first one since Ravi is providing an introduction to Indian Music) bleed into each other. The only way you can tell there is a separation is that Ravi feels the need to explain even more the difference of these sounds, and then proceeds to play the same fucking 10 minute song again. This sounded like the generic soundtrack to any movie where our reluctant hero has to enter a dusty and rarely visited international bodega in a neighborhood most white people avoid featuring teas, balms, and salves to cure every ailment under the sun. The music is neither bad nor good; it is... unnecessary.
Belle & Sebastian
1/5
Second verse, same as the first. This was slow boring shit. This felt very uninspired. I enjoyed the music here more than their last one from this list, but I am still unimpressed with the vocals.
LTJ Bukem
2/5
FYI: The wrong album is shared in Apple Music. Cover art is similar but completely right, but the tracks are ALL wrong and the run time is an hour longer than the 140 min album that's recommended in the book. The YouTube link is correct for the 1996 release. I don't have Spotify, so I can't confirm accuracy there.
So, after getting past that mess (and only 30 minutes into my listen), this album feels like filler to reach the coveted 1001. Art - in its most simplistic definition and design - is supposed to evoke some type of emotional response, whether it's a painting, a photograph, a sculpture, a film, or a piece of music. This album does none of that. I'm not saying that this is good, nor am I saying it's a bad electronica album. I'm just saying that this album feels terribly unnecessary, especially at its run time.
Dolly Parton
4/5
If you would have told me at the tender age of 12 that I would be listening to this album in 2025 and would have truly enjoyed it, I would have said that you were crazy. I loathed anything country when I was a kid, mostly because my parents latched onto it as their second coming in the 1980s and early 1990s. It was in my DNA to hate this music. Why? Because they loved it SO much. But time is a fickle thing. You put enough distance between you and something, and that revisit might be wonderful, which is what happened here. You can't beat these ladies' harmonies, and their beautiful homespun country blue grass sound is just refreshing. This was a joy to listen to, and the only thing I wish is that I had taken the time a while back to give it another listen.
Pet Shop Boys
2/5
I don’t mind some Pet Shop Boys but this I did not care for. Just another album you really don't need to hear before you die.
Wilco
3/5
I was expecting to hate this album (don’t know why), but I enjoyed the chill acoustic vibe this gives off if I’m being completely honest.
The Beach Boys
4/5
Give me the Phil Spector “wall of sound,” but… with The Beach Boys. That’s what this record sounds like. 60s surf-rock melodies and chord progressions at its best.
Björk
3/5
A little more electronic and ethereal, but still enjoyable. There's a strange haunting sound that Björk gives off, and I dig it.
3/5
This album is like junk food that doesn’t necessarily taste good, but you still feel compelled to eat it (and then regret it once again when you're quickly running to the toilet in a few hours pushing out liquid lava through your chocolate starfish). I didn’t hate it, and I knew more off this album than I thought I would, but the running time is rather bloated. Fred Durst’s whiny sing-songie-rapping contributions to this album is shit garbage, per usual (as is the album artwork). Was this the peak of the nu metal mountain range? Maybe in popularity, but not necessarily in originality. And I still don’t understand how *this album* made the 1001 list, but others did not.
GZA
3/5
I enjoyed the beats and vibe. It definitely wasn't as obnoxious as I thought it was going to be, but that's it. Rap isn't really my thing, but I could at least appreciate it for what it was. Serviceable at best.
The Beach Boys
4/5
This is the darkest Beach Boys album I've ever heard. It's not the same stuff I grew up listening to. You can definitely tell that Brian Wilson took a backseat to the production of this record, but that doesn't mean it suffers because of that. The sound is the same, and the harmonies are there, but it's not the same as their earlier material. More melancholy and definitely more mellow compared to their earlier work, but not in a bad way. This was still really good, just SO different, which is why I understand why it's on this list. Best tracks on this album "Student Demonstration Time," and "Feel Flows."
Tortoise
4/5
Very textural and atmospheric. I really enjoyed this album. Wasn't expecting it to be fully instrumental, but pleasantly surprised. Never heard of Tortoise before today, but glad this list exists so I could get something new and refreshing.
Nightmares On Wax
4/5
One of the better chill electronica albums I've heard in a long time. It was a pleasant treat to listen to on this rainy Monday morning.
The Who
2/5
Interesting concept, terrible execution. I like The Who, but I wasn't prepared for how terrible this album was until I hit play. If I had picked up this album as a fan of The Who in 1967 I would have been so disappointed. This is a joke. What a steaming pile of garbage. The only saving grace is "I Can See For Miles," which elevates this album from a 1 to a 2.
Kraftwerk
3/5
Weird and wild! Those Germans are some odd dudes. Comically entertaining once again. But definitely not gonna dig around to listen to this ever again. This is a one and done. 🤣
Japan
3/5
This sounded like a prototype Duran Duran album. All of the stylings and sounds, but none of the catchiness of their material. I didn't dislike this album, it just felt very bland.
Britney Spears
3/5
Influential on the 2000 pop landscape? Yes. Necessary to actually listen to before I die? Probably not.
SAULT
3/5
Check your white privilege at the door when listening to this album. This was intriguing to say the least. Eye-opening, albeit a tad repetitive, but overall a good listen.
Jungle Brothers
3/5
This was a refreshing and pleasant listen. I wasn't familiar with the Jungle Brothers at all, but you can definitely tell that they likely inspired groups like De La Soul and A Tribe Called Quest. Good beats, great samples, with lyrics and a message I could actually understand.
Black Flag
3/5
I feel like I may be repeating myself, but I've never been angry enough in my lifetime to find the appeal of most punk rock. Was this an influential album for this era and genre? Maybe? What I do know is that this mostly felt like noise. I can't identify with the angst, so it really does nothing for me. I didn't hate it. I more or less tolerated it. But this will definitely not be an album that I'll be searching out ever again. That last track, however - "Damaged I" - is very much a prototype for what Henry Rollins eventually became.
Christine and the Queens
3/5
Reviews seem to be a bit harsh on this one and I’m not sure why. This was enjoyable. I’ve always had a soft spot for 80s Synth Pop and this album is very much in that same vein. The release had 2 versions available to stream: an English and a French version. I chose English so I didn’t have to listen to the same album twice in 2 different languages. If I'm still feeling adventurous later today, I may listen to the French version.
John Prine
3/5
This album sounds like a snapshot of Americana in 1971. Enjoyable, more so than I was expecting to, but it's hard to get past John Prine's voice, which sounds suspiciously similar to Bob Dylan.
N.E.R.D
3/5
A refreshing change of pace. They successfully blended several musical styles and made the end result very enjoyable.
Led Zeppelin
5/5
I'm not entirely sure if this album is warranted a full 5 rating, but I was once again pleasantly entertained by every single track on this album. When you're a teenager, you don't hear how much this band was heavily influenced by the Blues, but I can't help but hear it now, and I love it. This album deserves at a minimum a 4 just for the opening track, "Immigrant Song." This is easily a 4.5, but by the current rule of law, does that bump it up into a 5, or does it get dragged down to a 4? I don't know.
U2
5/5
One of the first compact discs I ever purchased at the Simi Valley Target. Back when they packaged them in those long sleeves, and then also put them in the plastic containers to prevent theft. It was always an ordeal buying CDs in the early days of establishments that didn’t want their inventory of new releases stolen. But that’s enough about the monotony of purchasing CDs in the olden days. I knew of U2, I knew many of their songs, but this was MY first album of theirs, and while I also believe Joshua Tree is a brilliant front-to-back album, this one is more personal to me. It’s also one of the first CDs I clearly remember purchasing with my own money because in late 1991 I didn’t yet have as much disposable cash as I would even just 6 months later. So, when you’re relegated to a small handful of CDs that you own, you will often relisten to the same ones, which is what happened here. While their earlier material had an Americana vibe, when you play this album, it’s like they’re the same yet completely different. They had successfully reinvented themselves with this album. The album presented a rich tapestry of music that I had never heard before, and I was entranced. I felt like a grown-up listening to this record.
XTC
2/5
Annoyingly pleasant and upbeat. Too much so that I didn’t really care for it.
Bee Gees
2/5
Give me disco or give me death. This is a knockoff Beatles concept album in the worst possible way.
Arcade Fire
3/5
I enjoyed the overall sound and vibe this album was putting out. Definitely liked it more than the last album of theirs that populated on this list (Neon Bible). Thematically this sounded very Springsteen-esque (at least one song made me immediately think of Neil Young), so it wasn't terrible. However, I'm not sure if this album (nor their last one) deserve to live on a list where you need to hear this before you die.
Steve Winwood
3/5
I like the synthesizer as much as the next fella, especially being a kid who grew up in the 1980s, but Steve Winwood uses it WAY too much on this album. So much so, that some songs feel a bit cringy at times when he has a synth stinging note here and there. Yes, we get it, you played all of the instruments, but it's okay to not bring the synthesizer into the recording studio for each and every song.
Hookworms
2/5
This didn't break any boundaries in 2018, nor did it seem to take any risks. This was mediocre musical drivel which felt at its highest high, subpar at best. An unnecessary addition to an ever-growing list that has easily exceeded the supposed 1001 albums you need to hear before you die.
Paul Weller
3/5
Wasn't familiar with Paul Weller at all, but this album has some Peter Frampton vibes going on with this one. It has a 60s/70s English rock & blues sound style with a 90s modern sensibility. An enjoyable and refreshing change of pace.
Spiritualized
3/5
More like Sleepy English Space Rock. This album was fine, but almost every song sounded the same, which I guess works in your favor when your genre is space rock, where the 1 hour run time makes the record sound like one continuous track. I didn't hate it, but I won't be seeking these guys out again... unless they have another album on this list, that is. And my guess is that they probably do.
Nusrat Fateh Ali Khan
2/5
Ugh. This album is not short. And a lot of it sounds the same. I feel like I’m at an all you can eat buffet Indian restaurant. "Have you had their tikka masala? It’s really good, but it’s spicy. Be careful." In all sincerity, this just wasn't my bag. I honestly can't give it a 3, but it also doesn't deserve a 1, so it will likely get a 2 to fill the category of either, (1) I don't get it, or (2) this just isn't for me.
Happy Mondays
3/5
I've definitely heard worse, but on the flipside of that coin, I have absolutely heard better. If Oasis, U2, and The Stone Roses merged together to form a super band, only to be mediocre, that would be the Happy Mondays. The fact that I actually know one song on this record entitled "Step On," surprised the hell out of me. This album wouldn't necessary be a hard pass, but rather a relatively firm pass if I ever came across it in the future.
The Byrds
2/5
I'm not sure what it was, but I wasn't feeling the folksy gospel country sound this album was putting out. It feels awfully patronizing. Not a fan.
Spacemen 3
1/5
I don't know if I would actually call this music. It's very monotonous. Maybe if I had been on LSD or some psychedelic mushrooms I would have had a different experience. However, I wasn't high, so I want my 46 minutes back.
American Music Club
2/5
This album (that I had to find on YouTube) has moments of brilliance scattered here and there throughout mostly folksy Americana garbage. If this album was considered important enough to be on this list, then why hasn't the band made it available to stream on Apple Music? That alone speaks volumes.
a-ha
3/5
The sheer and utter brilliance of "Take On Me" garners this album a 3.5 rating at the absolute minimum. However, the more I listened to this album, it is pure 1980s nostalgia Euro Synth Pop through and through. An enjoyable listen, and thankfully, also only 37 minutes long. Great album.
Iron Butterfly
3/5
This is exactly what I was expecting from a late 60s psychedelic acid rock band. Crunchy guitars and the overuse of the organ. This was alright, but a bit drawn out, especially when you have to listen through almost 20 minutes of shit you don't know (and don't care about) just so you can get to the only song people know them for, "In-A-Gadda-Da-Vida." But it's worth the price of admission. It's still a killer track. That 17 minute song, where it breaks everything down, and then slowly and progressively builds it all back up is almost perfect.
Rush
5/5
It's still quite extraordinary after all these years that there were only ever three band members. Geddy Lee, Alex Lifeson, and Neil Peart were elite musical technicians, cranking out spectacularly crafted progressive rock songs and then cramming them into their most commercially consumable album that they released to the public. The album doesn't overstay its welcome, and each track shows off their expert musicianship. This is top shelf RUSH and probably their best album from start to finish. Is this review a bit biased? Maybe, but that doesn't take away its validity.
Bruce Springsteen
4/5
A big ‘ol slice of American blue collar apple pie right here. Bruce was firing on all cylinders with this record, and it fills me with a good dose of warm and fuzzy nostalgia. Just don’t play the title track at the 1984 RNC because it might be helpful to read the lyrics first. Great album.
M.I.A.
1/5
Boy, that was awful. But at least it was repetitive.
Christina Aguilera
3/5
Pleasantly surprised with the range that this album had, covering multiple genres encompassing pop, rock, soul, hip-hop, and R&B, never sticking to any one specific sound. By doing this, the album becomes more rounded and considerably more mature than a lot of generic pop that they were shoveling into our ears in the early 2000s.
Traffic
3/5
Middle of the road late-1960s classic rock, with a bit of prog rock and notes of folk. This was alright, but not necessarily worth revisiting again any time soon.
Elvis Costello & The Attractions
3/5
This was good. Enjoyed it more than I was expecting, but when it comes to Elvis Costello, I never end up enjoying his music as much as I want to, if that makes any sense.
The Divine Comedy
2/5
This was Brit Pop lounge singing. Not a fan. Unremarkable.
John Cale
2/5
This was a bland nothing burger, with extra mayonnaise.
Randy Newman
4/5
I've never understood the weird love-him-or-hate-him vibe I've often experienced from other people about Randy Newman. I've always enjoyed his music, whether it was his songs that permeated my brain from pop culture, his soundtracks, or his beloved film scores. This record reminded me so much of his score for MAJOR LEAGUE (1989) that I honestly thought he plagiarized some of his own work directly from "Good Old Boys." I enjoyed this album, his witty and sometimes scathing lyrics about the south and racism, and I've always adored his piano playing. This was a rare treat for me, but it's still quite strange to think that in about 2 decades he'd be writing Academy Award nominated song-after-song-after-song for Disney/Pixar throughout the 1990s and 2000s.
Gene Clark
2/5
Just another artist and album that has a little too much in similarity to the Bob Dylan-style folk rock, especially when they pull out the harmonica. This felt a little boring and uninspired, passable at best.
Stan Getz
4/5
Absolutely delightful.
Public Enemy
3/5
This was enjoyable, but a tad repetitive depending on the track.
LL Cool J
3/5
While this was not my jam when it came out back in 1990, I always enjoyed the tracks "Around the Way Girl" and "Mama Said Knock You Out." Upon revisiting those tracks, along with everything else, this was much better than I was expecting. Is it a bit sexist? Yes, but LL Cool J is one of the only hip-hop artists that actually looks like he could get the trim he boasts about here.
PJ Harvey
3/5
PJ Harvey was never on my radar during high school as her sound just didn't do it for me when I was seeking out hard rock and grunge at that time. This was enjoyable, and significantly better than the last PJ Harvey album we had. The longer the album played, the more I enjoyed it - a solid 3.5/5.
The Clash
3/5
This album starts off strong, but I wasn't expecting the range. If the E Street Band made a punk rock album, this is likely what it would sound like. I enjoyed it this much more than I was expecting to as this was more punk light, or more appropriately, punk pop.
Rod Stewart
3/5
I just don't understand the appeal of Rod Stewart. I've never really cared for his raspy vocals, even though they sort of work here. The further in I listened, the more I enjoyed it, and his vocals seem to serve the bluesy rock he's putting on display here. This was serviceable, but nothing so good that I would ever considering playing this again on purpose.
Nick Drake
4/5
This was an unexpected and unassuming delight to listen to. It gives off a beautiful chill vibe, where less is more. Easily a 3.5 leaning heavily towards a 4. I would definitely - and purposefully - listen to this album again.
Everything But The Girl
2/5
This was like easy listening pop; strained saxophone-laden baby-making music for people that are so white that they're slightly translucent. This album was so non-confrontational that it killed my ability to write a scathing review about it's blandness. This was melba toast covered in unsalted butter, and then sat on my plate until it was soggy. That's how meh this album is.
The Cult
4/5
There's a stripped down rawness while also being slick at the same time that just emanates from this album. Pure guitar riff driven rock at its best. It's a shame we only have one of their albums on this list ("Sonic Temple" should probably also be on here, but I guess they need to make room for Spacemen 3, or some other bullshit). Fast forward almost 40 years and this album has aged incredibly well compared to most of their American glam rock counterparts from the 1980s.
Pink Floyd
5/5
Classic rock radio was my first real introduction to The Wall. Stations didn’t just stick to the singles—they played all kinds of tracks from the album—so I knew a handful of songs before I ever sat down with it. But when I finally listened to the whole thing start to finish, that’s when I realized just how much I liked it.
What really gets me is how well the songs work in two different ways. As part of the full album, they tell a heavy, emotional story that pulls you in. But even on their own, they’re just great songs that hold up without any context at all.
For me, The Wall is one of the best examples of a concept album done right. It’s not just a bunch of tracks thrown together—it’s a full-on work of art that digs into themes of isolation, trauma, and what happens when you shut yourself off from the world. Listening to it all the way through really showed me how special it is.
Magazine
3/5
Once I pushed past the opening track (which I didn't care for at all), this album got better as it progressed. I wasn't exactly sure what I was expecting to hear, but I mostly enjoyed whatever the hell this was supposed to be. Post punk? Maybe. New Wave? Not really. Either way, it wasn't bad.
Blur
4/5
This was one of the most British albums I've ever heard, and I didn't even hate it. The record opens with a Euro-trash anthem that gets stuck as an ear worm, and is probably the worst track on the entire album. The rest was solid. I loved the variety of sounds and styles that Blur put on display all within a single album. They produced a good amount of range than I had originally thought they would be able to pull off. This was a treat to listen to, and I will easily listen to this one again.
My Bloody Valentine
3/5
'Loveless' feels like the soundtrack to a dream—or a nightmare—directed by David Lynch. It’s a wall of distortion, noise, and chaotic textures that might leave first-time listeners asking, “What the fuck did I just listen to?” And yet, there’s something hypnotic about it. While I didn’t love it outright, I also didn’t hate it; instead, I found myself strangely compelled to keep listening. Shoegaze—or noise rock—might not always be my mood, but when it hits, Loveless is a strangely mesmerizing trip.
Spiritualized
2/5
These guys are trying to be like Pink Floyd, but failing. It drones on an on without an end in sight, especially with a 17 minute long track at the end.
The Strokes
3/5
This was fine. I remember when people thought these guys were hot shit back in the early 2000s. I never understood why. I’ve always been indifferent to The Strokes. I don’t dislike them, but they rarely do anything for me.
Orchestral Manoeuvres In The Dark
3/5
Definitely more moods and textures than your stereotypical synth-heavy new wave band. I'm not completely in love with the vocals, as sometimes it just doesn't blend well, but overall this was alright. Probably a solid 3.25/5, but nothing extraordinary to elevate it any higher than that.
The Smashing Pumpkins
4/5
I don’t know what it is about Mellon Collie and the Infinite Sadness, but for a double album that runs over two hours, it never feels like it drags. I get why some people—especially those who aren’t big Smashing Pumpkins fans—might find that runtime overwhelming, but for me, it just works. This was the band at their absolute peak, showing off everything they could do, even if they were kind of looking in a funhouse mirror while doing it. The mix of heavy, fuzzed-out rock songs and softer, more melodic ballads keeps the whole thing feeling fresh from start to finish. A lot of people can’t stand Billy Corgan’s voice, but I’ve never had a problem with it. In fact, I think it fits perfectly with James Iha’s gritty, buzzing guitar tone and really pulls the whole sound together. While this album isn't for everyone, it's still a solid 4/5 for me.
Badly Drawn Boy
3/5
Oh look, another British artist. This wasn't bad, where the songs sounded like they easily could have been on the Garden State soundtrack. Definitely has a chill vibe going for it, but I don't know if I'll purposefully seek this out again as it's also forgettable. This will likely be a one and done kind of album, never to be listened to again.
Alice Cooper
3/5
What I was expecting: Boilerplate Alice Cooper early 70s rambunctious and rebellious rock and roll.
What I heard: A much more diverse musical soundscape and styles where after the first two tracks, Cooper throws out the manual and just does whatever the hell he wants. And it mostly works. It was also nice to get served to us in approximately 37 minutes.
Rocket From The Crypt
3/5
What do you get with you cross The Mighty Might Bosstones with Rancid? Why you get Rocket From The Crypt, a band that I had never heard of until today. I'm riding the line between really enjoying this album and hating it because I've never been a huge punk rock fan, and the addition of the horns in this mixture either work really well, or sounds terribly dated. Weirdly enough, this album got better the further in I listened. Some decent guitar riffs seasoned throughout, but this wasn't anything better than average.
Emmylou Harris
4/5
Bro country ain’t got nothing on this! Authentic 1970s Classic Outlaw Country through and through.
U2
4/5
I have a soft spot for U2. I've been a fan since I first heard "Pride (In the Name of Love)." They've produced at least two undeniable masterpieces (Joshua Tree and Achtung Baby), but they also have several albums that are near-masterpieces and WAR is definitely one of them. U2 creates such a unique and original soundscape that I feel it is often unmatched by other bands from the same era. This record is solid from start to finish, never overstaying its welcome with a 42 minute runtime. Fantastic listen.
Curtis Mayfield
4/5
The album was warm and soulful.
Elvis Costello
3/5
Oh look, another Elvis Costello album. You want to put 2 of his albums on this list, fine. Three? You're pushing your luck. Six? Well, that's a tad excessive. This was nothing shy of... ordinary.
Louis Prima
4/5
Louis Prima's charisma is undeniable. This was fantastic, even if almost every other song on this album sounded like the beginning of "Just a Gigolo." It's incredibly difficult to have a sour disposition while listing to this. It's fun and a little bit rowdy, but not rowdy enough to get kicked out of the party.
Weather Report
3/5
Weather Report is the kind of jazz group my Dad would have listened to in the 1970s and 1980s, even though, to the best of my knowledge, he never owned a single one of their albums. These guys seemed like they were laying the groundwork for artists like Spyro Gyra and Chick Corea (albums I know for a fact that my Dad did have!), although they all probably played around the same timeframe. Who knows. Jazz Fusion is weird. I don't know what else to say. I'll stop talking now.
Madonna
3/5
I remember enjoying this much more when it came out in 1998. The dance beats and soundscapes definitely date the album to the late 1990s club craze. There’s about 20-ish minutes that are worth listening to, including revisiting “Frozen,” which I haven’t heard in 20 years and the reason why I probably purchased the album in the first place. The remaining 47 minutes sound pretty much the same.
The Charlatans
2/5
This band has successfully lived up to its name.
1/5
I hate this god awful shit garbage. It was annoying and gives witchcraft a bad name. I would rather listen to 3 hours of shoegaze rock than this terrible mess. I want my 41 minutes back.
Supergrass
3/5
Terrible album cover, mildly enjoyable alternative brit pop/rock album that seemed to go completely unnoticed in the US. I was also surprised that I actually knew a song from this album, "Alright," which I believe has been used in either commercials or movies (or maybe both) giving the feel and spirit of a teen anthem of sorts. Not bad, but nothing more than a 3.25/5.
Roxy Music
2/5
1 Part Rocky Horror Picture Show, 1 Part Nick Cave, 1 Part WTF. I didn't hate this album, but listening to it was like trying to scratch an itch that I didn't have. Now my brain is red and irritated.
The Slits
3/5
These ladies sound like a castrated version of The Police. (And no, that's not a compliment, if you were wondering.)
Van Morrison
5/5
This is the perfect soundtrack for a lazy Sunday morning.
“Anything in particular you want to hear?”
“Well, it’s Sunday and we’ve got nowhere to be, right? Put on Van Morrison’s Moondance.”
Van Morrison feels a bit like an Irish James Taylor—just a touch less mellow—but it’s hard not to love his music, especially the classics. I’ve grown to appreciate him even more since getting married, thanks to how much my wife adores his songs.
Haircut 100
3/5
This was fine, unobtrusive early English New Wave with a touch of funk, but I'm not sure I really needed to hear this before I died. At least I knew one song off of the album, "Love Plus One."
Animal Collective
2/5
Experimental is an understatement. Nothing here felt even remotely cohesive, and left me a bit unsettled. Also, I don't understand the vocal effect of making your lead singer sound like they're underwater, but that was a terrible distraction. Hard pass.
Bob Dylan
4/5
Out of all the Dylan albums I’ve checked out so far on this list, "Time Out of Mind" has been the most fun to listen to. I’m still not crazy about his voice, but I’ve got to admit this one feels like the peak of his career to me. It’s got a bluesy vibe that stands out from everything else I’ve heard from him.
Guns N' Roses
5/5
The Rock Gods came down from the heavens and touched this album saying, "'Welcome to the Jungle' will be considered one of the greatest opening tracks to an album ever created." This record is pure attitude—gritty, unrelenting, and gloriously raw—the way a hard-rock album ought to be. 'Appetite for Destruction' nails that sweet spot between hard rock and glam, swaggering on both sides of the line. For a good two years, you couldn’t turn on the radio or MTV anywhere in the U.S. without hearing one of its monster singles. If aliens ever landed and asked me to play the ultimate rock-and-roll anthem, I’d be torn between Queen’s “Bohemian Rhapsody” and Guns N’ Roses’ “Sweet Child O’ Mine.”
CHIC
3/5
Could Chic have existed without Nile Rodgers? Hard to imagine. He built grooves so sharp they outlasted disco itself. The rest of the album struggles to match the spark of its opener, “Good Times,” and some of the rhythms do circle back on themselves—but that hypnotic quality explains why producers have been sampling these tracks for more than forty years.
The Style Council
3/5
The Style Council’s Café Bleu is a fun listen in places, but it’s all over the map. One moment it’s silky soul and jazz, the next it’s half-baked new wave. The result is a mix of brilliance and mediocrity that never quite settles into a groove. I can understand why it made the “1001 Albums” list—I don’t regret giving it a spin—but I wish the band had picked a lane and stayed there.
Best tracks: “Me Ship Came In!,” “Dropping Bombs on the Whitehouse”
Worst tracks: “A Gospel,” “Strength of Your Nature”
Burning Spear
3/5
There was nothing extraordinary with this album. I've never had much interest in Reggae as a genre. This was fine. I don't know what else to say.
Joni Mitchell
3/5
There's something unsettling with a majority of her songs, where it feels like she's constantly building up to a chorus that never comes. Third verse, same as the first. I recognize Joni Mitchell's talent, and just like her other albums, it has a very chill vibe, but I just don't really dig her style.
Joe Ely
3/5
I enjoyed this album, even if every other song sounded practically the same.
John Lennon
3/5
I enjoyed this album more than I was anticipating, definitely better than his first release, Plastic Ono Band. I've always been pretty indifferent to the endlessly overplayed title track, "Imagine," and even Lennon considered it a sugar-coated anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic song. However, I'm not entirely sure, outside of a couple of tracks, if anything on here launches this into the stratosphere of greatness.
The Temptations
4/5
Smooth and soulful. And while “Papa Was a Rollin’ Stone” runs a little long, the build-up still works and it’s still the crowning jewel of the entire album. Everything else good, but they just pales in comparison.
Nick Cave & The Bad Seeds
2/5
This is haunting gothic rock alternative turned up to 11. I still don't understand the appeal of Nick Cave, and so far this is the darkest of the three albums we've heard. I'll feel better once I check this one off as complete, never to visit it again.
Leonard Cohen
2/5
This Leonard Cohen album is the worst thing to happen to me on my 50th birthday. Is it as bad as “I’m Your Man”? No, but it’s not much better.
Kraftwerk
3/5
Stylistically, Kraftwerk’s The Man-Machine reminds me of the minimalist synth-heavy film scores of the late 1970s and 1980s by John Carpenter (Escape from New York, Christine) and Tangerine Dream (Sorcerer, Thief). What sets it apart is the group’s distinctive use of their eccentric Very-German-Accent vocals—singing or chanting the track titles. Beyond that, the album turned out to be far more enjoyable than I expected.
Queen
3/5
Solid from start to finish.
Johnny Cash
5/5
This album was my first real introduction to Johnny Cash. I’d always known who he was growing up, but I wasn’t interested in country music back then. This album, though, is far more than just country. It’s the work of a man who knew he was nearing the final off-ramp of his life and chose to bare his soul one last time through a collection of hauntingly powerful covers. It’s so emotionally raw and beautiful that it often brings me to tears.
Talvin Singh
2/5
Today's album sounds like some seventeen year old teenager after just being gifted 3 different computer programs to make his own music, installed them promptly onto his Windows 98 machine and then proceeded to churn out 61 minutes of sporadic drumbeats and Indian chants, weaving them together to make an album that can cause seizures in 75% of his listening audience. To quote Marsellus Wallace from Pulp Fiction, this album was "pretty fucking far from OK."
Sinead O'Connor
3/5
This Irish alt-folk-rock (if that’s what you wanna call it) album by Sinéad O’Connor is about what I expected—nothing groundbreaking, but definitely not disappointing either. If you weren’t around when she released “Nothing Compares 2 U” in 1990, or when she tore up a photo of the Pope on SNL to protest the Catholic Church’s child abuse scandals, it’s hard to grasp just how massive she was at that moment—and how quickly she was shunned afterward. She essentially vanished from the mainstream overnight. It’s impossible to say how much bigger she might’ve become if that hadn’t happened, but this album absolutely earns its place on the 1001 Albums list, if for no other reason than the cultural weight behind it.
Randy Newman
3/5
I didn’t dislike it like many others seem to, but I’m still not sure why Randy Newman has *two* albums on this list. This one is classic Randy Newman—if you enjoy his usual style, you’ll probably like it. I was pleasantly surprised to recognize a few of the songs. The real standout moment, though, came when I realized some of these tracks reminded me of the movie Major League. It all clicked when I reached track 8, “Burn On,” which plays during the film’s opening credits. “You Can Leave Your Hat On” is another familiar song, though I’ve always known it better through Joe Cocker’s cover.
The Dictators
3/5
This was a strange amalgamation of slow-tempo punk and early glam rock. Once again, I enjoyed this much more than I was anticipating.
Dexys Midnight Runners
2/5
By the 38-minute mark, Kevin Rowland’s voice had started to wear thin after enduring about ten variations of essentially the same song—all while waiting for their biggest hit, which, of course, doesn’t arrive until the final track. I’d be genuinely surprised if the band’s two other albums on this list turn out to be anything more than mediocre. “Come On Eileen” remains one of the most overplayed one-hit wonders in music history, even today. The fact that this group appears three times in the 1001 Albums list only reinforces the notion that the selections were heavily influenced by UK music critics.
Jorge Ben Jor
3/5
I had absolutely no idea with Jorge Ben was singing about, but I enjoyed the music.
Dusty Springfield
4/5
Underrated blue-eyed soul record from the late 1960s. Dusty's sultry vocals blend well with the "Memphis Sound," creating a wonderful collection of songs that I would easily listen to again. Besides, the inclusion of "Son of a Preacher Man" grants this album 3.5 just on merit alone. Throw in a cover of "The Windmills of Your Mind" and that just elevates it easily to a 4.
Rahul Dev Burman
3/5
What began as a Lalo Schifrin–style score with hints of Bollywood flair gradually morphed into a moderately enjoyable late-’70s soundtrack—one weighed down by a bit too much singing. While the orchestrations were solid, the vocal tracks started to wear on my patience after about half an hour.
Erykah Badu
4/5
Smooth and groovy Sunday morning vibes going on with this album.
Sparks
2/5
I don't understand anyone who would purposefully purchase and listen to this album. Strange proto-glam-punk that was definitely not my jam. A solid number 2. 💩
Bad Brains
3/5
I can clearly see this image in my head - teenagers in my surrounding childhood neighborhood skateboarding to this album on a boombox with the volume at full blast. That is how specific this album sounds to me. I dig this album. It’s short and it’s fierce.
Thundercat
3/5
Considerably better than what I was expecting, but this album gives off drunk vibes as it’s a little all over the place.
Moby
4/5
I hadn’t intentionally listened to this album in nearly 25 years, but the moment I hit “PLAY,” I was instantly transported back to 1999. It made me wonder why Moby hasn’t released anything even remotely as significant since. Revisiting it reminded me how much I miss his contributions to pop and electronica. His reimagining of the James Bond Theme remains iconic, but for me, Moby’s most powerful impact came through 'New Dawn Fades' and 'God Moving Over the Face of the Waters'—two tracks Michael Mann used so effectively in his epic crime film 'Heat.' Those pieces are so evocative that the film would feel entirely different without them.
What surprised me most, though, was how this album didn’t grate on my nerves like I expected it to after decades of distance. You couldn’t go anywhere in the early 2000s without hearing something from it, and Moby’s ability to sample such a wide range of genres—yet make it all sound distinctly his own—is exactly why this album still feels, at times, like pure genius.
Morrissey
3/5
Do I like Morrissey? Do I like the Smiths? It apparently seems that way. This wasn't as good as a couple of the Smiths albums we've had on this list so far, but this was enjoyable.
PJ Harvey
3/5
I love the raw angry loudness of this album. If I had been an angsty teenager in the 1990s, I would have easily identified with release. Unfortunately, I was not an angsty teenager in the 90s. Instead, I *knew of* PJ Harvey, but knew very little of her music outside of a track on the "Batman Forever" soundtrack. This was enjoyable.
Billy Bragg
2/5
This was completely underwhelming and made me wonder why in the hell this record was on this list, which is, more often than not, the gold standard for this list.
Ladysmith Black Mambazo
3/5
No objections from me on this one. While I don't gravitate towards this type and style of music on a regular basis, I enjoyed it nonetheless. The acapella harmonies are incredible.
The Byrds
3/5
All I really want to know is... what instrument did the horse play?
Bob Marley & The Wailers
4/5
I was always indifferent to Reggae, but this album is absolutely incredible. There's just a wonderful sense of chill throughout the entire production. I wonder why? 🌿💨
Deep Purple
3/5
This album immediately earns a +1 for Smoke on the Water, as well as a -1 for Smoke on the Water. This doesn't hit higher for me than a solid 3.5 but it might trend down depending on whether that godforsaken earworm of a song gets stuck in my head for the remainder of the day.
Dizzee Rascal
2/5
This album is covered in what sounds like digital farts disguised as bass lines and warped digital effects. This is shit garbage.
Wire
3/5
I enjoyed the overall rawness of this album. That is all.
Lou Reed
2/5
I guess I'm just not a fan of Lou Reed. This is just another solid number 2 that plopped out onto this list. 💩
Fats Domino
3/5
As it seems to be with albums that are this old, it was a bit of a struggle to locate this album. If you're diligent, you can find one in its entirety on YouTube. This album was refreshing. 1950s R&B can often sound repetitive, and while this one has its moments as well, the originality and energy that Fats Domino brings here is just incredible.
Mercury Rev
2/5
I don’t know what I’m listening to, but I’m pretty sure I don’t like it. They sound like a less interesting Flaming Lips cover band.
Traffic
4/5
Hands down, this was a huge step up from the last Traffic album on the list. I really enjoyed this one—right from the seven-minute instrumental jam that kicks things off to the moments where Steve Winwood leans into what he does best: those rich piano and organ lines paired with his unmistakable vocals. I didn’t recognize any of the six tracks going in, but each one ended up being a pleasure to listen to.
Radiohead
3/5
This album is fine, but if I’m being honest, I’ve always preferred Kid A. There’s a reason most of these tracks didn’t make it onto that record—they’re looser, more fragmented, and while none of them are outright bad, they don’t feel like top-tier material either. Amnesiac has always been framed as a companion to Kid A, but the comparison ends up working against it. It’s like when your favorite movie finally gets a sequel: all the familiar ingredients are there, yet the spark—the heart—is missing. That, in a nutshell, is Amnesiac.
Nitty Gritty Dirt Band
3/5
This was like listening to the "O Brother, Where Art Thou?" soundtrack. This was enjoyable, especially Disc 2 on this set since it's more instrumental, but it was also exhaustive and excessive in its running time, reaching the absolutely and completely unnecessary 2 hour mark.
Turbonegro
3/5
While it features strangely juvenile and homoerotic lyrics, this album clearly rocks. After the opening track it was a bit hit or miss with me, but the last two on the original release, "Humiliation Street," and "Good Head" righted the ship at the end and are definitely worth the price of admission. Solid 3.5 record here.
The Stone Roses
4/5
This is probably the least pretentious English rock album I have heard that came from the alternative grunge era of the 1990s. Easily this was a solid 3.5 until you get to the final track which immediately kicks it up to a 4. This was incredibly refreshing, considering I knew none of the songs on this record and that the only single I ever knew from The Stone Roses, ‘Love Spreads’, was produced 5 years later.
Robert Wyatt
1/5
Boy, that was awful. But at least it was long and disjointed. This was a steaming pile of hot shit disguised as music.
Sugar
3/5
This was fine. Nothing special, average alternative grunge album with forgettable songs. There’s a reason why most of us have never heard of Sugar.
Bad Company
3/5
Solid 1970s no-nonsense rock album. Lotta hits on this one.
Peter Tosh
3/5
Today’s album is fine, but nothing extraordinary and a bit repetitive. I’m not a connoisseur of Reggae in any way shape or form, but it always feels like a way to measure its greatest, *there’s Bob Marley, and then there’s everyone else.*
Elvis Presley
3/5
This was enjoyable. I wasn’t familiar with any of these songs except for “Fever,” just not familiar with his version. It was kinda nice and refreshing to listen to 32 minutes of Elvis with his rock and bluesy swagger and not hear any of his classics. Solid 3.5/5
The Birthday Party
1/5
This might be in the running for worst album on this list. If not the worst, it’s easily in the Top 10. This album sounds like its album cover. 🔥💩🗑️
Kate Bush
4/5
This album reminds me a lot of Tori Amos—at least when it leans into the piano rather than the synthesizers. Kate Bush was never really in my wheelhouse, especially not back in 1985. She just never seemed to show up on the radio or MTV during those impressionable years. I always assumed she was one of those underrated UK artists that only certain listeners knew about, only learning about her three decades later.
That said, the album was much more enjoyable than I expected, even with “Running Up That Hill (A Deal With God)” being so overplayed in 2022 thanks to Stranger Things Season 4. While there were a couple of tracks I didn’t care for—specifically “Waking the Witch” and “Watching You Without Me,” mostly because the strange skipping, stuttering background vocals felt a little unsettling—I thought the album overall was really solid.
Hats off to Kate Bush for this one. I’m not sure I’d rank it as highly as some fans and critics do, but it was absolutely worth the listen, and I’m glad it made the 1001 Albums list.
Sisters Of Mercy
3/5
If Meatloaf and The Cure had a baby, it would sound like this.
Fatboy Slim
3/5
I think I would have enjoyed this more if I had been drunk off my ass and attempting to go dance out on the dance floor while listening to this album. This was fine, although it was a bit repetitive, and a good 25 minutes too long.
Fiona Apple
3/5
This one was peculiar. I still enjoy Fiona Apple's vocals and her fingers dancing all over the ivory keys of her piano, but this had an odd vibe going on, and I don't know if it's better or worse because it took her 5 years to record this album, in her house, while her dogs were present. That's either genius or a big head-scratcher.
Todd Rundgren
3/5
Well, what I thought was Yacht Rock to the 4th power, with a reserved psychedelic trip starting on track 8, turned into a brain scramble of epic proportions. At best, this was a passable 3/5. At worst, it was a bad acid trip. And I really didn't want to listen to all 90 minutes of it.
Grizzly Bear
3/5
This was enjoyable and considerably better than I was anticipating. When bands are labeled as "Indie Rock" I really don't know what to expect.
The Louvin Brothers
3/5
This is the oldest of old school country and bluegrass I think I have ever heard. Harmonies are on point, and while this music can often be seen as simple, sometimes it's the simple that works better than the overly complicated. Even at 35 minutes it was still a bit long winded.
Joanna Newsom
2/5
What kind of horse shit is this anyway? The music was good, but was ruined by Joanna Newsom's terrible vocals.
Lightning Bolt
1/5
Lightning Bolt put the *noise* in noise rock. This had fleeting moments of what they thought might be rock wedged into a bunch of hot shit garbage.
Common
3/5
Compared to his previous album, it’s clear that Common learned from past missteps, tightening Be into a lean 43-minute runtime with no bloat or filler. Once again, I found myself enjoying it far more than I expected. Common doesn’t fit neatly into stereotypical hip-hop or rap conventions; his beats and soundscapes feel organic, creating a relaxed, effortless vibe that sets him apart from many of his contemporaries.
Pulp
2/5
This kind of felt like David Bowie, but more depressing.
The Prodigy
4/5
The Prodigy’s seamless blend of EDM with punk, rock, and hip-hop elements was a real achievement on "The Fat of the Land." I couldn’t remember the last time I listened to the album—or whether I’d ever actually sat down and played it straight through—but revisiting it was far more enjoyable than my memory had suggested.
Blue Cheer
3/5
I guess these are one of the great granddads of Heavy Metal? I can hear it. This was fine, but I would imagine it was more cutting edge and possibly overwhelming to hear this back in 1968. In 2025, not so much.
Scott Walker
2/5
Just as boring as the last Scott Walker album on this list.
Manu Chao
3/5
If you want to know what's playing on the jukebox while you're nursing a cerveza and sitting in front of a steaming plate of arroz y frijoles in the sketchiest cantina in Tijuana, it would be this.
TV On The Radio
2/5
Not entirely sure what to think of this album. It was nothing special nor significant in any way.
Big Star
2/5
Who are these guys? And why did they release this record in what seems like 12 different ways over the last 5 decades? Whichever version you have to listen to, it’s still too long. Another glaring example of “why did I have to listen to this before I died?”
3/5
Paul McCartney-esque with a mixture of Brian Wilson thrown in for good measure. I enjoyed this much more the further into the album I listened. By the last track, I was wanting more.
Frank Sinatra
4/5
If you come to this album expecting brassy big-band swing, you may be surprised. "In the Wee Small Hours" is a quiet, deeply personal record—mellow, intimate, and largely removed from Sinatra’s most famous hits. That restraint is precisely its strength. Every track feels carefully chosen and emotionally cohesive. Rather than the swaggering, finger-snapping persona many associate with him, Sinatra presents a far more inward-looking self here. The album lingers on loneliness and unfulfilled longing, revealing a bruised, late-night vulnerability that feels almost confessional. It’s a subtler, bluer Sinatra, and one of his most affecting portraits.
Happy Mondays
2/5
This album was a cacophony of 80s pop tropes, but in the worst possible way.
Primal Scream
3/5
The best way I can describe this album is as late-’90s psychedelic alternative rock, though even that label feels a bit too narrow. I went back and forth on whether I loved it or hated it, but credit where it’s due: once I hit play on 'Vanishing Point,' I couldn’t stop listening. The album drifts between techno, ambient, and alternative rock, all wrapped in a thick haze of ’90s soundtrack energy. It stubbornly refuses to sit comfortably in any single genre, which is part of its appeal. More than once, it reminded me of Éric Serra’s sleek, atmospheric score for the 1995 James Bond film 'GoldenEye'—cool, pulsing, and slightly disorienting in the best way. But don’t misunderstand me, this was passable at best, and I likely never return to this album.
T. Rex
3/5
No bangers on this one, but it was fine.
Waylon Jennings
3/5
Delightful and didn’t overstay its welcome.
Pantera
4/5
I’ve never had more than a passing interest in Pantera. A handful of tracks always hit the spot, but sitting through a full album of Phil Anselmo’s vocals in my early 20s had a way of turning my brain into a small, steaming bowl of inedible oatmeal. Revisiting them now at 50 didn’t yield dramatically different results. Spinning 'Vulgar Display of Power' makes me want to crush a 12-pack of Natty Light and attempt to skate a halfpipe with maximum confidence and minimal ability. I did enjoy the album—but I was also relieved when it ended. Why? Because that same steaming bowl of oatmeal was still parked between my ears, and I had to remain at least marginally productive for the rest of the day.
Ryan Adams
3/5
Regardless of Ryan Adams’s reputation as a real-life asshole, I enjoyed this album far more than many of its highest-rated lowest starred reviews would suggest. On Gold, Adams channels clear shades of the Allman Brothers, Bob Dylan, and Van Morrison across much of the record. And while it may have been his original intention to release it as a double album, a 70-minute runtime feels more than sufficient to convey his artistic vision to his audience.
Dennis Wilson
4/5
It’s tough to put into words how listening to Dennis Wilson’s one and only solo album made me feel. It really captures a certain version of 1970s L.A., even if that version was pretty messy and fueled by excess, much like Dennis himself before his tragic early death. Like the rest of The Beach Boys, he had a real knack for layering vocals and harmonies, and that skill shines throughout the record. There’s also this hazy, lonely, late-night vibe running through the whole thing that makes it feel intimate and a little haunting. It’s a shame his wild lifestyle kept him from making more solo albums, but I’m glad we at least got this one.
Carpenters
3/5
'Close to You' is ’70s easy-listening pop at its absolute peak. That said, with the benefit of hindsight, it’s a little strange knowing that Karen and Richard Carpenter were siblings passionately singing love songs, rather than a married couple or just two unrelated bandmates. Even so, I’ve always had a soft spot for The Carpenters. They were in near-constant rotation on the stereo at home, alongside Barry Manilow, Bread, Anne Murray, and George Benson—artists who all lived comfortably in that soft-rock lane that would eventually become the default soundtrack of doctor and dentist waiting rooms everywhere. Their gentle harmonies and ultra-polite love songs are impossible for me to separate from the memory of sitting in a vinyl chair, flipping through a 'Highlights' magazine, waiting for Dr. Garvey to call my name and fill my latest cavity.
Def Leppard
5/5
While 'Pyromania' still feels like it’s missing a final polish, Def Leppard were clearly on the right track, delivering an ambitious and powerful album. It produced four instantly recognizable singles, highlighted by the standout “Photograph,” with “Foolin’” a close second. The band would later take the sound and momentum of “Photograph” and expand it across their 1987 release, Hysteria. Both Pyromania (1983) and Hysteria (1987) strike a similar balance of heaviness and melody, earning each a well-deserved place on 1001 Albums You Must Hear Before You Die.
The Divine Comedy
2/5
'A Short Album About Love' by the Irish pop band The Divine Comedy is a strangely bombastic collection of big-band ballads that feels very much rooted in the 1990s. I’m not entirely convinced it works. At times, it seems like the band is aiming for a Frank Sinatra–style crooner aesthetic, but the execution doesn’t fully land. The album isn’t terrible, but it’s also not something I can imagine wanting to listen to regularly—if ever. Had more of the record leaned into the melancholy mood of the tracks “Timewatching,” and "I'm All You Need," (which specifically conveyed the mood of what the album cover looks like), I likely would have enjoyed it more. As it stands, though, this album simply wasn’t for me.
Genesis
3/5
This album is a noticeable improvement over the previous one (The Lamb Lies Down on Broadway), but it confirmed that I’m just not much of a fan of 1970s progressive rock. I enjoy the more radio friendly Pop Rock Genesis after Peter Gabriel’s departure and I also love Gabriel’s solo work, but his era as Genesis’s frontman doesn’t really work for me—so I’m content that they only appeared twice on this list and that I’ve already heard both.
The Kinks
3/5
Enjoyable British Psychedelic 60s Rock. It’s not The Beatles, but it’s not bad.
Cocteau Twins
4/5
Although I’d only heard of the Cocteau Twins from their last album on this list, 'Treasure' was a far superior encounter. It feels like the fraternal twin of The Cure’s 'Disintegration' in ways I can’t fully articulate: a dark, melodic journey made for a dream-like drive at night. Balancing Gothic rock and ethereal pop, the album weaves a hauntingly beautiful tapestry that’s strange, magical, and utterly mesmerizing—I enjoyed every minute of it.
Tom Waits
3/5
This album feels like the musical equivalent of a Tim Burton film. Its odd sensibility and quirkiness are fully on display, deliberately disheveled with off-key piano chords, warped tempos, and Tom Waits’ creepy, scratchy vocals. It plays out like a seedy Tijuana carnival, freaks paraded for all to see while Waits hammers at the piano and a monkey dances onstage, passing a hat through the crowd. It’s an unmistakable showcase of his signature sounds and warped imagination. I didn’t hate the album, but that doesn’t mean I’ll ever feel the urge to return to it.
Bon Jovi
4/5
Contrary to popular critical opinion, Bon Jovi—and 'Slippery When Wet' in particular—was never truly a heavy metal band. At most, they fall under hard rock, more commonly filed into the glam metal or arena rock subgenre. That distinction matters, because in their earliest incarnation Bon Jovi was arguably one of the most popular and radio-friendly rock bands of the latter half of the 1980s. It was nearly impossible to go anywhere in 1986 or 1987 without hearing one of their three massive hits—“You Give Love a Bad Name,” “Livin’ on a Prayer,” or “Wanted Dead or Alive”—whether it was on Casey Kasem’s American Top 40 or in relentless rotation on MTV.
This album is deeply nostalgic for me, which makes it difficult to listen with a completely critical ear nearly forty years later. Oddly enough, my first instinct when revisiting it is always that the opening track feels wrong—but that’s purely a quirk of memory. The kid up the street who first played the record for me put on Side B instead of Side A, so in my mind the album has always opened with “Raise Your Hands” (yes, the same song that introduces Barf and Lone Star in Spaceballs) rather than “Let It Rock.” I may have forgotten that kid’s name decades ago, but that sequencing error is permanently burned into my brain.
Reevaluated today, 'Slippery When Wet' easily earns a 4.5 out of 5. It probably never quite reaches a perfect score, largely because the album burns through its three biggest singles in the first half, which causes a noticeable dip in momentum. Even so, it remains an incredible record and unquestionably deserves its place on the 1001 Albums You Must Hear Before You Die list.
The La's
3/5
Even at its most minimal evaluation, The La’s self-titled album secures a 3 out of 5 purely on the back of “There She Goes”—a blissfully short, effortlessly catchy, and genuinely delightful pop gem.
Jacques Brel
3/5
I’m not entirely sure what I’m supposed to say about this album. It’s Jacques Brel, armed with a perfectly average voice, singing songs that feel like they were written for Frank Sinatra on his day off with the exception of the added French accordion. It’s… fine. I’m aware this record carries enormous cultural weight, though that significance is mostly lost on me—possibly because I’m not French and wasn’t born in the emotional afterglow of D-Day. Am I happy this made the list? Maybe? Hard to say. What I do know is that I feel a profound indifference toward Olympia 64, and I’d lose absolutely no sleep if I never heard it again.
Beyoncé
3/5
Beyoncé’s self-titled album isn’t bad; it’s just very much not for me. A lot of it centers on monogamy, with lyrics that start out playful and intimate before swerving hard into far more explicit territory than I was expecting—an experience that made me deeply grateful for my earbuds. I didn’t hate it, but I’m also confident I’ll never feel the need to revisit it. That said, I will be carrying Jay-Z’s immortal line, “Your breasteses is my breakfast, we goin’ in,” with me for the rest of my natural life.
Shack
2/5
'H.M.S. Fable' by Shack is another regrettably bland Britpop album that feels wildly out of place on this list, especially when so many more deserving artists remain underrepresented or missing entirely. The band sounds like they’re desperately trying to catch the last swells of the early-’90s Brit rock boom—waves that had already broken and receded by the time this record arrived. Instead of riding them, Shack drifted aimlessly, eventually washing ashore in 1999 like the remnants of a forgotten shipwreck, hoping someone would notice. I’m not sure why this review turned so nautical, but staring at the album cover probably didn’t help. In any case, this record stands as yet another reminder that music critics, even with the best intentions, don’t always get it right.
Muddy Waters
4/5
While I haven’t been especially impressed by most of the live albums on this list, and I don’t typically listen to much blues because it can start to feel repetitive, 'At Newport 1960' truly stands apart. Muddy Waters’ performance is absolutely incredible. Blues may be rooted in simplicity, but when an artist can command the crowd in a live setting and pair that presence with unparalleled guitar skill, it elevates the music beyond genre and turns it into something unforgettable.
Green Day
5/5
I was never one to lean into left-leaning politics in my late 20s, but political themes aside, I was completely blown away the first time I listened to 'American Idiot' from start to finish. I’d already been a Green Day fan for nearly a decade when it was released in 2004, and it made me realize just how much Billie Joe Armstrong had matured—both as a lyricist and as a musician. While many people point to Dookie as their unsung masterpiece, this is the album I’ll always come back to first.
Twenty years later, there’s still something haunting about “Whatsername,” the album’s closing track. I get hung up on it every time I listen, usually replaying it more than once. At 29, I struggled to put into words how that song made me feel. It forced me to confront the reality that I was barreling toward my 30s without ever having truly found love. The woman I’d been infatuated with before moving across the country—and the five years that followed—had convinced me I never would. That, thankfully, wasn’t the case. Still, this song perfectly encapsulated that sense of longing and melancholy of the girl who got away, somehow making me feel comforted at the same time.
The purpose of art is to evoke an emotional response, and this album does exactly that every single time I hit play.
Sepultura
3/5
I found 'Arise' far more enjoyable than Sepultura’s previous entry on this list. It leans into a more straightforward early ’90s thrash metal sound, which made it a much easier listen overall. I was still a bit worn out by the end, but nowhere near as drained as I was with 'Roots,' where the vocals really started to wear on me. The vocal approach here is slightly less guttural, and the classic metal guitar riffs are sharp, effective, and consistently on point. That said, there isn’t a ton of range across its 46-minute runtime, so it ultimately settles at a solid 3.5 out of 5. It teased the possibility of a full 4 early on, but just doesn’t quite get there.
Cornershop
3/5
'When I Was Born for the 7th Time' by Cornershop is an eclectic mix of sounds and styles, blending elements of traditional Hindi music with turntable-driven hip-hop, electronica, and Britpop. It ended up being better than I expected, though it still comfortably sits in the same late-’90s big-beat lane as Fatboy Slim, The Chemical Brothers, and similar acts. “A Brimful of Asha” was the only track I was even remotely familiar with here in the U.S., and I wasn’t particularly fond of it at the time. Revisiting it more than two decades later hasn’t changed my opinion much, but the album’s overall variety and experimentation make it an enjoyable listen despite that. But only once.
Barry Adamson
3/5
The easiest way to describe Barry Adamson's 'Oedipus Schmoedipus' is that it feels like the soundtrack to a David Lynch movie that doesn't actually exist. The genres range from electronic lounge-pop, to noir tapestries that tap into Lynchian horror soundscapes. And also Jazz Fusion. It's difficult to categorize, which is probably what Adamson was going for all along. And then, towards the back half of the album, we're treated to some kind of "Sit down, children, it's demented fairytale story time!" with the track "Vermillion Kisses," a darkly comic cautionary fable about charm, deception, and self-destructive infatuation. The icing on the cake, however, is the penultimate track of "The Sweetest Embrace," in which Nick Cave lends his vocals to this song, which pretty much puts the final nail in the coffin of how really weird this experience has been. You're then quickly ushered out and exit the virtual theater you didn't realize you were in to begin with, scratching your head about whether you just had a strange vision, or you just witnessed one of the weirdest non-existent David Lynch films from 1996. The choice is yours.
Elastica
3/5
Revisiting Elastica’s self-titled debut turned out to be a more curious experience than I expected. When I first bought the album in 1995, at the naive age of twenty, my criteria for purchasing music were fairly simple: the lead singer was cute and the single was catchy. That usually left me with another thirty-odd minutes of music I mostly didn’t care about, or at best felt indifferent toward. I don’t carry much nostalgia for this record beyond that shallow initial appeal.
It was probably a discounted Blockbuster Music purchase—maybe after sampling a few tracks—before dropping $12.99, cracking it open in the car, sliding the CD into the player, and feeling immediately underwhelmed. This time around, a few deeper cuts like “S.O.F.T.,” “Blue,” “Waking Up,” and “Never Here” stood out more than they ever had, enough to make me realize the album was better than I remembered (and I’m not entirely convinced I ever made it past track four when I first owned it). Still, today’s experience did improve my opinion of the album. It didn’t blow me away, but I was pleasantly entertained by it as a whole. In the end, however, it remains less a rediscovered classic than a glaring reminder of a brief phase in my life—buying records simply because a pretty British brunette was singing lead and jamming on the guitar, along with my own unwillingness to push past the fourth track. If I had, maybe things would have been different.
Koffi Olomide
3/5
I don’t have much of a critical take on this album beyond the simple fact that it’s a pleasure to listen to. I don’t understand French or Lingala, so the lyrical content is lost on me, but the energy is unmistakably buoyant and good-natured. That, honestly, feels like the point.
What this music does conjure is a very specific cinematic image. It sounds like the closing theme of a late-1980s rom-com adventure: the villain has been defeated in a third-act showdown, the long-lost jewels have been recovered, and our two protagonists are finally free to enjoy their victory. They’re snorkeling off the coast of Madagascar, luxuriating aboard a newly “acquired” private yacht (formerly owned by the bad guy, naturally). As the credits roll, a helicopter shot pulls farther and farther back. The heroes meet in the water one last time, share a long, triumphant kiss, and the image freezes before slowly fading to black.
ZZ Top
4/5
I picture a hazy, smoke-choked bar where three dozen patrons chain-smoke Marlboro Reds, nurse longneck Budweisers, and tap their boots in time with music rolling off the stage in thick waves. Up there stand Dusty Hill, Billy Gibbons, and Frank Beard, locked in, wringing every ounce of grit from their instruments and flooding the room with the finest Texas blues imaginable. That’s the scene that plays in my head when I listen to Tres Hombres. It’s stripped-down and direct, yet somehow filthy, intricate, and alive all at once.
George Michael
4/5
Never thought I’d be writing this much about a George Michael album, but here we are…
George Michael was a controversial figure in 1987—at least in my house, where everything was buttoned-down, Christian, and conservative. You simply did not sing about wanting anyone’s sex. Ever.
Going into this album, I wasn’t entirely sure what to expect. I knew the hit singles, of course; they were inescapable in the late ’80s, back when MTV ruled the cultural landscape. What I hadn’t done until now was sit down and listen to the full record front to back. That turned out to be more revealing than I expected. Songs like the heartbreak ballad “One More Try,” which I hadn’t heard in decades, land with far more emotional weight now than they ever did when I was twelve. Meanwhile, “Monkey,” with its weirdly funky, playful energy, remains a quintessential slice of ’80s dance pop—and is somehow still catchy as hell nearly forty years later.
The title track “Faith” holds up well, even if its constant rotation over the years has dulled some of its impact. The album version of “I Want Your Sex,” though, is the real curveball. Split into two parts and stretching past nine minutes, it veers sharply away from the punchy, synth-and-bass-driven pop single everyone remembers and morphs into a horn-heavy R&B jam. It feels indulgent, and maybe a little like filler by the time it rolls around, but it’s still an interesting and occasionally fun detour. As for “Last Request (I Want Your Sex, Pt. 3),” I’m choosing to pretend it doesn’t exist—it plays more like an unnecessary reprise than a fully realized track.
The album closes with “Kissing a Fool” (the final track if you were listening on vinyl), a jazz- and big-band-leaning ballad where George Michael unexpectedly slips into full crooner mode, channeling the spirit of Frank Sinatra or Dean Martin. It’s a song about the quiet pain of loving someone who’s insecure about who you are, and it ends the record on a surprisingly mature, restrained note.
I don’t hold a special place in my heart for George Michael; he was simply a massive pop star who existed during my formative years without ever really shaping my musical identity. Even so, it’s hard to completely separate nostalgia from critical judgment—but accounting for that, this is a genuinely strong and immaculately produced 1980s pop album, one that unquestionably deserves its place on this list.
Jerry Lee Lewis
3/5
Second verse, same as the first—and then the second again. Even with Apple Music offering only a trimmed-down selection of tracks, I got a pretty clear picture of what this concert was like, despite the runtime being whittled down to a brisk 22 minutes from its original 37. Live at the Hamburg is… fine. But as I said at the start of this review, that assessment still stands: while Jerry Lee Lewis was undoubtedly influential, his rockabilly shtick didn’t leave him much room to stretch, a limitation shared by plenty of his contemporaries. Strip away his undeniable piano chops, and what’s left often feels like another familiar example of a white artist repackaging Black musical traditions for a wider audience—louder, flashier, and with his name on the marquee. Did this album really earn its place on this list? I’m skeptical. Lewis came up in an era when churning out radio-friendly singles mattered far more than assembling a cohesive album—and, frankly, when the spectacle surrounding the man often overshadowed the music itself, sometimes for reasons that had nothing to do with the piano. In the end, I get what he was laying down here, and I’m sure it played better live, where volume and chaos could do some of the heavy lifting. Either way, message received. That’s about all I have to say on the matter.
Nitin Sawhney
3/5
This album felt like a fairly successful experiment in cross-cultural fusion. I’m not completely sure I grasped the artist’s message about nuclear weapons, but overall it came across as a laid-back electronica record with clear Indian influences. It was a little boring at times, but I pushed through it.
Living Colour
4/5
Like Guns N’ Roses starting Appetite for Destruction with “Welcome to the Jungle,” Living Colour makes things tough on themselves by opening Vivid with “Cult of Personality.” It’s such a huge, explosive track that everything after it feels like it’s playing catch-up.
But revisiting the album years later, I appreciate it way more than I did as a teenager. It’s not just a one-song knockout. The band keeps shifting gears—bobbing and weaving—and even songs I used to skip, like “Glamour Boys,” hit differently now. What once felt uneven actually feels bold.
What stands out most is the range. In 1988, they were blending hard rock, metal, funk, soul, and jazz into something that didn’t sound like anyone else (except for maybe the Red Hot Chili Peppers). And as a naïve and pasty white kid in the early ’90s, seeing a band of color rock that hard genuinely expanded my view of what rock music looked and sounded like. Vivid wasn’t just a great album—it challenged my assumptions and still holds up as a seriously strong debut.
White Denim
3/5
Every now and then you stumble onto a diamond in the rough—a true needle in a haystack—and today’s album might be exactly that. I went into D by White Denim knowing absolutely nothing about the band, and it completely won me over. It felt unexpectedly refreshing, never overstayed its welcome, and kept my energy up all morning while I worked.
System Of A Down
4/5
This is yet another glaring example of the critics and the 1001 Albums crowd getting it wrong. I’m not here to discredit System Of A Down’s self-titled debut, but if you’re going to champion one of their records as essential, this isn’t the one. The album that belongs on that pedestal is Toxicity—the record that blew the doors off and brought them to a much wider audience. But I digress.
If chaos ever found a physical, musical embodiment, it would look and sound like System Of A Down. Calling them “energetic” feels almost insulting in its understatement. Their 1998 debut plays like an adrenaline-soaked, unhinged carnival of distortion and fury—a psychotic circus sideshow that never slows down long enough for you to catch your breath (except for maybe the track "Spiders"). The rage in these tracks is palpable, volatile, and completely unfiltered. It’s the kind of angry, frenzied metal that makes me want to punch motherfuckers in the face… and somehow, I love every second of it.
Mj Cole
1/5
Let’s be sincere, shall we? Sincere is hot shit garbage. The kind of album that makes you wonder if the drum machine was found at the bottom of a bargain bin labeled “Absolutely Not.” It’s an endless loop of the same stale, copy-paste beats—like someone discovered a “Demo Mode” button and decided that was good enough for a full release.
You can practically picture MJ Cole dusting off a prehistoric desktop PC, sliding in that mythical CD-ROM masterpiece from Best Buy—“Mixman DJ Megamix”—and whispering to himself, “Today… I become the DJ.” Because nothing screams artistic evolution like clicking “Add Loop” over and over until the timeline looks like a brick wall of bad decisions. Layer after layer after layer of sporadically random shit, all confidently assembled under the bold assumption that repetition equals genius.
And just when you think it’s over—surprise! Deluxe Edition. Because what this bloated mess really needed was more. More edits. More extended versions. More opportunities to sit there questioning every life choice that led you to pressing play in the first place. Two hours of this is less an album and more an endurance test.
But hey, clearly the world was crying out for the “Recloose Vocal Mix” of Wondering Why. Why? Great question. Too many whys? Absolutely. That’s the point. By the time you finish this record, you’ll be wondering why you didn’t just sit in silence instead. What a terrible way to close out the week by dropping this on a Friday.
Metallica
3/5
When songs from S&M first hit the shelves and video airwaves in late 1999, I was convinced it was exactly what I’d been waiting for. The idea of Metallica teaming up with a full orchestra sounded like a perfect match. But when I finally listened to it front to back, I remember feeling strangely underwhelmed. I couldn’t quite explain why at the time. On paper, the fusion of symphonic orchestration and heavy metal should have been flawless.
Revisiting it now, I think I understand my initial hesitation. Michael Kamen’s arrangements with the San Francisco Symphony are undeniably impressive, but at times the orchestra feels so dominant that it nearly overwhelms the band itself, and sometimes the pieces don’t completely seem to match the song they are accompanying. The moments where everything truly clicks are the songs written specifically for the project (like “No Leaf Clover” and "- Human") as well as the sweeping opening instrumental performance of “The Call of Ktulu.” Interestingly, a lot of the material that shines comes from Load and ReLoad, albums that marked a noticeable shift away from thrash metal toward a more hard rock sound.
That stylistic change famously divided longtime fans—whether it was the new direction or simply the haircuts—but if I’m honest, Load and ReLoad were the first Metallica albums I deliberately bought with my own money. They carry a lot of personal nostalgia for me. Realizing now that roughly a third of S&M draws from those records gives me a new appreciation for the project—one I didn’t have 25 years ago.
All things considered, I enjoyed this revisit far more than I expected when it unexpectedly popped into my Monday playlist. Not every track fully lands for me, but it’s far stronger than my memory had suggested. That said, if I’m being completely honest, I don’t see myself returning to it anytime soon—especially when stacked up against their studio albums, which I’m much more likely to reach for.
John Mayall & The Bluesbreakers
3/5
I’ve noticed that anytime an album features Eric Clapton—whether as part of a band or on his own—I’m almost guaranteed to enjoy it, and that holds true here. This record feels like the moment that firmly established him as England’s premier blues guitarist. If that weren’t the case, it’s hard to imagine he would have exited so quickly to form Cream.
Dirty Projectors
2/5
This album came across as a self-indulgent, hipster-leaning art statement that felt more concerned with being eccentric than being listenable. It's an overload of sonic experimentation that rarely settles into anything cohesive. Bitte Orca is tolerable at its absolute peak, but at its lowest points it’s a chore to get through. It didn’t resonate with me at all. In all honestly, it feels like another example of why the original 1001-album list didn’t need to be expanded.
Count Basie & His Orchestra
5/5
Listening to The Atomic Mr. Basie instantly paints a picture in my mind: my grandparents dropping the needle on the record, the stereo humming to life, and the two of them dancing across the living room floor. I don’t actually know if that scene ever played out in real life (though with both of my grandfathers being WWII veterans, it certainly feels possible) but that’s the unmistakable atmosphere Count Basie & His Orchestra create. It’s timeless, classic big band at its finest, and from start to finish, it was an absolute joy to hear.
Jamiroquai
4/5
It’s almost impossible to stay in a bad mood when you’re listening to Jamiroquai. The moment you press play, there’s a kind of physical buoyancy that takes over—like the music itself lifts you a few inches off the ground. I’d never spent time with their debut album, Emergency on Planet Earth, but it carries the same vibrant pulse and effortless cool as the later records I discovered after first seeing the wildly inventive “Virtual Insanity” video.
Jamiroquai has a rare gift for fusing pop, jazz, R&B, disco, and funk into a seamless, groove-driven soundscape—what’s often labeled Acid Jazz—that feels both polished and organic. The result isn’t just music you hear; it’s music you feel, and it’s an absolute joy to sink into.
Emerson, Lake & Palmer
3/5
I believe this is our second and mercifully final Emerson, Lake & Palmer album, and I can’t say I’m heartbroken to be closing the book on them. The journey hasn’t been awful, exactly — more like a long, winding lecture delivered with a cape and a Moog synthesizer. I’ve come to accept that I’m probably just not built for English prog rock in its purest, most self-indulgent form.
Tarkus makes its intentions clear enough: it’s anti-war, it’s grand, it’s Important. I’m on board with the message. I’m just not convinced that the message needed to take up an entire 20-minute opening track on Side A to get there. At a certain point it stops being a song and starts feeling like an endurance test.
I did enjoy this more than Pictures at an Exhibition, which felt like attending 70s English Prog Rock Church — except no one bothered to tell me which rock hymns we were singing. I was left frantically flipping through the hymnal in the pew in front of me, pretending I knew the liturgy while everyone else nodded knowingly at a 12-minute organ solo. Tarkus is slightly more welcoming… but not by much.
In the end, this album was satisfactory at best. And “satisfactory at best” is just a polite way of saying I will never, under any circumstances, voluntarily seek out another ELP record. Why? Because I don’t care.
Motörhead
3/5
Ace of Spades by Motörhead hits hard with speed, aggression, and raw intensity right out of the gate. The power of the instrumentation is undeniable, and the title track especially delivers a punch. However, Lemmy’s gravel-soaked vocals quickly became grating to my ears. After a few songs, I found myself wondering if he prepared for recording sessions by gargling whiskey and razorblades. The abrasive tone may be part of the band’s appeal, but for me, it exposed every last nerve in my brain rather than enhancing the experience.
Lyrically, the recurring references to his sexual escapades also wore thin. What might have been intended as rebellious or provocative instead felt excessive, to the point that certain images lodged themselves in my mind and refused to leave—leaving me wishing for a bucket of bleach to rinse my brain clean. Shock value only goes so far before it starts to feel repetitive.
That said, I didn’t hate the album. The musicianship is solid, and there are moments I genuinely enjoyed. But as a complete package, it’s not something I feel compelled to revisit. Music is deeply personal, and while I can respect Motörhead’s influence, their sound—particularly Lemmy’s vocal style—just isn’t for me.
The Killers
4/5
Hot Fuss by The Killers was one of those unexpected treasures. I found it in a small stack of CDs my wife had not long after we started dating—maybe after we were already married; the timeline’s a little fuzzy now. I knew a couple of their big radio singles, but the album truly hooked me with its haunting opener, “Jenny Was a Friend of Mine,” and it never really let go. While the back half loses a bit of that initial edge and not every song hits with the same punch, the tracks remain catchy and solid in their own right.
The Killers blended alternative rock, new wave, and dance rock in a way that felt both fresh and strangely familiar—a difficult balance to strike, and they nailed it. By the mid-to-late 2000s, I’d more or less given up on discovering new music, but Hot Fuss reminded me that there was still great stuff out there waiting to be found.
3/5
Arthur by The Kinks feels shaped by whatever The Beatles were putting out just a few years earlier—yes, I’m looking at you, Sgt. Pepper's Lonely Hearts Club Band. While it sometimes seems like every other British Invasion band of the ’60s became obsessed with baroque flourishes and couldn’t resist hauling a harpsichord into the studio, the result here is strange but genuinely compelling. It’s not an album I likely would have sought out on my own, which is exactly why working through the 1001 list sometimes pays off—emphasis on sometimes. I didn’t recognize any of the tracks, and none really lodged in my head as instant earworms—but even without a standout hook, it was an enjoyable listen overall.
Leonard Cohen
2/5
There may be a devoted fan base for Leonard Cohen, but I can’t say I understand the appeal. Songs from a Room was exactly what I feared it would be: a steaming pile of smelly feces stretched out to a full 36 minutes—complete with far too much jaw harp—that I will never get back. I know his sparse style and somber tone resonate deeply with some listeners, but for me the experience felt flat and monotonous, ultimately amounting to time I wish I’d spent elsewhere.
Ministry
3/5
When I worked in the Sporting Goods department at Kmart in the early ’90s, we had a guy who’d roll in a few times a year just to assemble bikes. He’d set up shop upstairs above the warehouse, surrounded by chrome frames, aluminum handlebars, rubber tires, and loose spokes scattered like metallic confetti. As he tightened bolts and tuned chains, he’d crank his radio just as hard—blasting Industrial music that echoed through the rafters.
Listening to Psalm 69 by Ministry dropped me straight back into 1993, standing under those fluorescent lights, wondering what in the hell that bike-assembly guy was listening to. This is Ministry’s brand of Industrial Metal in full force—mechanical, abrasive, relentless—but it’s never quite been my sweet spot. It doesn’t hit with the crushing weight I look for in Metal, and it doesn’t fully scratch the colder, more atmospheric Industrial itch either (Nine Inch Nails comes to mind as the benchmark for me).
That said, I didn’t hate the record. It kicks off with its strongest punch in “N.W.O.,” which still rips, and there are solid moments scattered throughout—“Scare Crow” and "Corrosion" among them. Some tracks lock into that grinding groove better than others, but overall it feels like an album I respect more than I truly enjoy.
Björk
3/5
Medúlla is an unsettling, otherworldly listen—built on layers of moans, growls, and stark vocal arrangements that don’t always land as powerfully as they seem intended to. Of course, that may come down to personal taste. Björk has always occupied a singular creative space entirely her own, whether or not anyone else feels inclined to join her there. For me, if I’m reaching for one of her records in the future, it’s far more likely to be something like Debut or Post—albums that balance experimentation with accessibility—rather than Medúlla, which wanders a bit too far from the beaten path for my taste.
Primal Scream
3/5
Labeling Primal Scream as a straightforward “rock band” feels like a stretch—even by the most generous standards of genre tagging. Their sound leans far more toward an alternative, techno-infused aesthetic than anything traditionally associated with rock. On Screamadelica, I caught strong early-’90s Moby vibes—almost a blueprint for that era’s blend of electronic atmosphere and indie sensibility. It made for an intriguing soundscape during my morning listen, and I didn’t dislike it. That said, much like my previous experience with their other album on this list, Vanishing Point, I don’t see myself intentionally returning to this album—or diving deeper into their catalog—anytime soon.
Pere Ubu
2/5
Pere Ubu's Dub Housing is noise disguised as music and strained yelling passed off as singing. It’s weird, disorienting, and about as pleasant to listen to as a car alarm blaring through the neighborhood at 3 o’clock in the morning. What really amazes me is that at some point someone heard a demo of this, nodded thoughtfully, and said, “Yes… let’s spend money putting these guys in a real studio.” That person was either a fearless champion of experimental art… or extremely high on cocaine. I’ve heard worse on this list, and while I’m sure this is someone’s exact and precise cup of tea—I’d rather drink a coffee.
The Beau Brummels
3/5
Another entry in the psychedelic folk-rock canon. Lather, rinse, repeat. These very specific late-’60s “let’s drop acid, unplug the amps, and see what happens” records are starting to blur together, but at least this one had the courtesy to clock in at a merciful 28 minutes.
The Mothers Of Invention
2/5
A completely unconventional and groundbreaking album that captures just how unhinged Frank Zappa was from the very beginning—and how powerful his influence already was in 1966. Given the era, it would be easy to assume that the rampant use of LSD and other psychedelic drugs had something to do with an album like this making it into a recording studio in the first place. What makes it even stranger is that Zappa himself was famously anti-drug and expected strict adherence to that stance from his bandmates, which means all the wildness on display here comes straight from his own factory-standard settings. Of all the Zappa-involved albums I’ve been subjected to, this was the least laborious to get through—though I’m not entirely sure that’s meant as a compliment. I just wish it had been shorter.
Ray Price
3/5
This album is practically the poster child for the stereotypical “sad sap, my woman left me” side of country music. It almost feels like Ray Price was going through some serious personal turmoil when he recorded Night Life in 1963. The songs rarely wander outside the broken-hearts club—never quite drifting into the “my dog died and my truck broke down” territory—but the mood is heavy all the same. It’s a really good album, but by the time the final track fades out, you’re definitely left in a different headspace. Hearing the pops and crackles of the vinyl before the needle lifts would’ve been the perfect finishing touch.
The Damned
3/5
Machine Gun Etiquette by The Damned is a lot less angry—and a lot more playfully fun—than I expected from a punk album. The whole thing has a chaotic, mischievous energy that feels more like a group of guys having a blast than trying to punch the world in the face. Punk—or proto-punk, which is what this apparently falls under—isn’t exactly a genre I seek out very often, so I’m hardly the most qualified critic here.
What I definitely wasn’t expecting was to hear the original version of “Smash It Up,” which The Offspring would later cover on the Batman Forever soundtrack—something I embarrassingly didn’t realize was a cover until today. That little discovery alone earned the album some extra points.
Would I go looking for this album again? Maybe. Either way, I’m still glad it popped up on the 1001 Albums You Must Hear Before You Die list.
Brian Eno
3/5
Here Come the Warm Jets by Brian Eno sounds like David Byrne performing unreleased material that could have been written by David Bowie—at least in places. I’m still not entirely sure what to make of it. Knowing Eno would later produce landmark albums like The Joshua Tree and Achtung Baby by U2—along with classic records by Bowie and Talking Heads—you can hear the early blueprint of that experimental instinct here.
The album isn’t difficult to listen to, but it never quite feels accessible either. It becomes a bit more unhinged in the back half, which makes it harder to stay engaged through the end. It’s strange in a deliberate way, as if Eno was perfectly comfortable making something off-kilter because he already knew where his career was headed. Almost like he was saying: “I’m going to make this weird little record now—later I’ll help produce some of the greatest rock albums ever recorded. Take it or leave it.”
Finley Quaye
3/5
While Maverick A Strike by Finley Quaye is tagged as Pop on Apple Music, it leans far more heavily into reggae than that label suggests. Even so, it’s not strictly reggae in the traditional sense. The album feels more like a reggae-fusion project, blending in other stylistic elements that broaden the overall sound and keep it from settling into just one lane.
It’s not the kind of record I’d normally go out of my way to put on, but I have to admit this one caught me off guard in a good way. Every now and then—only occasionally—the 1001 Albums You Must Hear Before You Die project actually turns up a worthwhile discovery instead of adding another forgettable UK release to the ever-growing pile. This just happens to be one of those rare pleasant surprises.
Billie Holiday
4/5
Billie Holiday’s smooth yet raspy voice on Lady in Satin goes down like a long, slow sip of properly aged Kentucky bourbon—and that’s saying something, considering I rarely drink the stuff. The album is beautifully sultry, filled with an incredible sense of longing, and often feels like the ideal record to put on during a lazy Sunday afternoon—slow-dancing in the living room with the one you love while the room is cast in long shadows.
I feel a little sorry for fellow listeners working through the 1001 Albums list who dismiss this record as boring, claim all the songs sound the same, or fault Holiday for not writing the material herself. By focusing on those minor details, they miss the point entirely. It’s unfortunate they can’t fully appreciate a jazz singer like Billie Holiday or recognize the depth of her talent, because it truly shines here.
10cc
3/5
Aside from their heavily played single “I’m Not In Love”—which, unfortunately, is missing from this release—I came into 10cc’s Sheet Music mostly unfamiliar with the band. Even so, the album proves to be fresh and enjoyable ’70s pop-rock: nothing extraordinary, but nothing underwhelming either. The last two tracks feel a bit more unchecked, and while they briefly pulled me out of the album’s groove, the album still earns a passing grade in the end.
Shivkumar Sharma
3/5
Call of the Valley is a hauntingly beautiful album, full of lush soundscapes that feel perfectly matched to its cover—an image of shepherds guiding their flock through the rolling green hills of northern India. As my first real introduction to Hindustani classical music, I found it surprisingly approachable, with a calm, meditative quality that’s far less intrusive than I expected. That said, it’s not something I could listen to all day. In smaller stretches—about 40 minutes at a time—it’s a rewarding and immersive experience.
Sidenote: Track down the original album on YouTube—the versions on Apple Music and Spotify don’t appear to be correct.
David Bowie
4/5
Young Americans is the seventh David Bowie album to pop up on this 1001 list—seven, which already feels excessive. Even more unbelievable, there are still two more waiting in the wings, bringing the total to nine. But I didn’t sit down this morning just to complain (well, not only to complain). I get it—Bowie is revered. He’s just usually not my thing. I respect what he’s done, and I like enough to own a greatest hits album, but let’s not go overboard.
That said, Young Americans is probably his most accessible record for a non-devotee, which makes sense given the stylistic pivot. Instead of glam rock, Bowie leans hard into soul and R&B—an unexpected move for a very white, very odd British rock star. Interestingly, that shift is also why many Bowie diehards seem lukewarm on it.
The songs are largely easy to digest, with the exception of the odd "Across the Universe" cover, which doesn’t quite land—at least for me. Still, anchored by the standout singles "Young Americans" and "Fame," the album works better than expected—and might be the first Bowie record here to earn a 3.5 from me. Whether it pushes to a 4 when I make it official tomorrow… we’ll see.
Aimee Mann
4/5
Aimee Mann walks a sharp line between pop rock polish and alt-rock bite on her debut, Whatever. Though I knew her later work—especially her contributions to Paul Thomas Anderson's Magnolia soundtrack—this album felt like an unexpected discovery. Even at its darkest, Mann offsets the weight with a brightness where result is a record that’s at once haunting, joyful, and consistently rewarding from start to finish.
Tim Buckley
3/5
The music on Greetings from L.A. is pretty enjoyable, especially with its strong jazz influence and laid-back, groovy feel. But lyrically, it often feels like Tim Buckley is winging it, and it doesn’t always line up with what’s happening musically. The low point comes with “Devil Eyes,” whose lyrics are so cringeworthy they made me want to skip the track altogether. It’s not a bad listen overall, but I can’t say I wasn’t a little relieved when the album wrapped up after 40 minutes.
Suzanne Vega
4/5
The singer-songwriter label doesn’t always quite fit Suzanne Vega—she often delivers her lyrics in an intimate, distinctive, almost spoken style that isn’t for everyone. While her sound might suggest someone perched on a stool with an acoustic guitar in a quiet coffee shop, it ultimately feels more like sitting down at a diner—maybe Tom’s Diner—and realizing you’re in the mood for something different. It’s like ordering a tuna melt instead of the usual club sandwich: not something you’d choose every time, but occasionally it hits the spot. In that sense, her debut is enjoyable enough to see why it made the list, even if it’s a bit disappointing not to find more familiar menu items like “Luka” or “Tom’s Diner.”
Johnny Cash
5/5
Johnny Cash At San Quentin captures a country legend at the height of his powers, returning to a prison setting for another raw, electrifying live performance. Compared to At Folsom Prison, this album feels less stark and more reflective—offering a clearer window into where Cash stood personally and artistically at that moment in his life.
The original release is a tight, 10-track set running just over 37 minutes—focused, impactful, and exactly how audiences first experienced it. If that’s all you have time for, it absolutely holds up on its own. But the Legacy Edition, stretching past an hour and a half, opens things up into something far more expansive. With opening sets from Carl Perkins, The Statler Brothers, and The Carter Family, it presents the full scope of the event—looser, less polished, but richer for it.
If the original album feels like a perfectly framed photograph of Cash alone, the Legacy Edition is a wide, lived-in family portrait—full of texture, context, and life beyond the spotlight.
The Rolling Stones
5/5
While I wouldn’t call myself deeply versed in The Rolling Stones beyond their many iconic hits—of which there are plenty, and I know most—Beggars Banquet stands out as a remarkably rich and rewarding listen. The album is packed with standout tracks that fully showcase the band’s signature rock ’n’ roll sound, blending it with their heavy influences of blues, country, and honky-tonk swagger.
I initially thought I only recognized the opening track, “Sympathy for the Devil,” but as soon as “Street Fighting Man” kicked in, I realized I knew that one too—just not by name. From start to finish, the record is filled with textured, vibrant rock songs that make it a genuine pleasure to hear all the way through. Other highlights include “Stray Cat Blues” and even the old-time, gospel-tinged closing track “Salt of the Earth,” where Keith Richards takes the lead vocals. Longtime fans likely already appreciate its brilliance, but for more casual listeners like me, skipping this album would mean overlooking an absolute gem.
Steely Dan
3/5
Steely Dan’s second album, Countdown to Ecstasy, finds the jazz-rock, pop-rock, and prog-rock pioneers leaning fully into their signature polish, delivering a collection of smooth, easygoing tracks that glide by without friction. While the musicianship is undeniable, few songs leave a lasting melodic imprint or offer the kind of hooks that stick around after the music stops. Given their strong presence on the 1001 Albums You Must Hear Before You Die list—with four entries in total—this feels like one that could have been left off, as two selections might have captured their legacy just as well. And notably, the Kmart Radio Network never featured a single track from this album, which tells you just about everything you need to know.
Brian Eno
3/5
Brian Eno, when performing, often feels like a less engaging, more subdued take on David Bowie—a comparison I may have made before, but one that still rings true here. At times, it reinforces the sense that Eno might be a bit overrepresented on the 1001 Albums list.
That said, I didn’t dislike the album. If anything, it left me somewhat conflicted. Before and After Science feels like two completely different albums. The first half comes across as disjointed and uneven, never quite settling into a cohesive rhythm, and I was ready to dismiss it as unnecessary—undeserving of a spot on this list. However, once “Julie With…” begins, the album finally finds its footing. From that point on, it becomes far more immersive and rewarding, settling into a subdued, reflective, and quietly melancholic atmosphere that—somewhat unexpectedly—is where it works best.
The Sonics
3/5
It’s a story as old as the 1960s: a white band breaking through with songs first made popular by Black artists. The appeal is obvious—same sound, just packaged in a way that felt more “accessible” to suburban white audiences at the time. Here Are the Sonics!!! by The Sonics ends up feeling like a missed opportunity because of that dynamic. What could have been a tight, explosive record instead plays more like a four-track EP padded out with eight covers, many drawn from the Motown catalog.
To be clear, I didn’t hate it. The band’s raw, unpolished garage sound absolutely rips, and there’s an energy here that’s hard to ignore. But it does raise a question: why lean so heavily on covers when their original material shows they were more than capable of carrying a full LP on their own?