The reason why Björk’s music is so interesting is her voice. It is more often than not the most engaging part of one of her songs. The same can be said for this album. I had never heard of her up until today, but Ute’s voice instantly stood out as one of the most commanding and enrapturing I’ve ever heard. This album is cool. Like physically cold. It feels chilling and heartless. But also sleek. Like a thrilling espionage movie. Some songs like Streets of Berlin or the closer contain this inhuman machine-like sound quality. But this is still very rooted in experimental baroque and classical music. The best songs are the ones written by Neil Hannon. But really, the amount of huge talents that are credited here is remarkable. The only songs I didn’t like were the ones done by Tom Waits. Not because I don’t like his music or anything, I just found those to be the least interesting. Rating: 9/10

Oh boy. I don’t think it really matters what I say about this. Because for some, it won’t be enough, and for others it will be too much. I can think of people I know personally who would not appreciate what I’m about to say. Even having this album still on the list is wild, considering the climate regarding her in the industry right now. You could maybe make the argument for this being the most polarizing album on the list altogether. People either absolutely love it, or can’t stand it. I honestly dreaded having to listen to this all the way through. I don’t want to force myself to listen to anything I’m not going to enjoy. But I pride myself in listening to every album all the way through. This album is massive. Straight up. There was at least five songs on here that I have heard multiple times in my life, almost always involuntarily though. And I’ll start by saying that Blank Space and Style are decent songs. More so the latter. But they are two of the many big hits this produced, so I would hope they are good. But truthfully everything else sort of blurs together for me. This is not a record I ever see myself putting back on. There is like a 0.5 percent chance of that ever happening, and I can’t even imagine what mood I would be in for that to happen. The way I see it is that when you have all of these amazing albums that exist in the same space as this, there isn’t any reason for me to give this my time. This divulges too much into modernized pop tropes that I am not a fan of, and I can’t force myself to like this. I fully respect Taylor’s hustle, because she has done her thing and I can’t bring her down considering the monumental and record breaking numbers she has achieved with her music. She’s bigger than I’ll ever be, but I do not consider myself a fan of her music. It’s nice to have this experience at least, because now no one can tell me I’m missing something. Rating: 4/10

When I put this on, I immediately prepared myself for a rough ride. I figured this would be bad, and for some reason I wanted to hate on it. I think the consensus that it wasn’t amazing got to my head. But truthfully I just couldn’t hate this. This comes off to me like a more glitzy and glamorous Jamiroquai or Steely Dan. And I kind of hate it for that. But like I said, I couldn’t pretend to not like this for very long. I’m just a sucker for this sound, no matter who does it. And this does have some genuine highlights. The stretch from Jericho to Holding Back the Years is excellent. And the vocalist has some really great and powerful moments on here. This feels so smack dab right in the middle of the 80’s, which makes total sense considering the release date. This is a combination of many things, from the new wave influences, to even the title and cover art, which have a very artsy fartsy feel. I can understand why certain people would be put off and interpret this as rather pretentious. I find that there isn’t much to latch onto as an outsider. If you like this genre, you will find enjoyment in this. If you don’t, this isn’t going to change anything for you. It might make it worse, honestly. Rating: 7/10

The most enjoyable experience when listening to music is discovering an album you know nothing about and being blown away. Like a diamond in the rough. That is very much the way I feel about this album. I’ve never even heard of this band before. And that’s disappointing. Because they deserve some serious recognition. It’s really remarkable how much more enjoyable listening to music can be when it’s genuinely creative. It was made immediately apparent to me that this was something special when the album labeled as new wave and power pop started with a song like The Whole of the Law. The saxophone caught me way off guard, and was absolutely the last thing I was expecting. And what impressed me the most was that each after that continued to be engaging and unique, and try cool ideas. I kept saying to myself “This can’t get any cooler”, but it just kept getting cooler. The fusions of pop with punk, new wave, and possibly even jazz is executed perfectly. I think the real driving force of this is the lead vocalist Peter Perrett. His achy and meek style of singing creates the image in my head of a frail young man sitting in the corner of a room and singing. But the lyrics are actually quite sad. It’s a mix of drugs, depression, and a longing for love. This is so much more sophisticated and impressive than I imagined a late 70’s power pop album could be. I wish I had heard of this earlier, but that’s really the beauty of this list. Rating: 9/10

First off, let me begin this review by saying fuck Marilyn Manson. He is a terrible person who traumatized many with his actions, and I wish I had a way of listening to this without backing him financially in any way. I have the utmost love and respect for those who dealt with his abuse for so long, and I'm glad they are doing better now. I will try my best to separate the art from the artist with this album. But that can be hard to do. I consider myself someone who is more comfortable and desensitized to music like this than the average person. But I won't lie, this even had me thrown off at the beginning. There was a point where I didn't know if I would be able to finish listening to it. From the first song, the album grabs a hold of your neck, and squeezes as hard as it can, and doesn't let go for a moment. It suffocates you with some of the most crushing guitar tones I've ever heard. It was like metal and shoegaze were merged. It honestly made me uncomfortable and tense, and made me feel like my head was spinning. It doesn't help that Manson is letting out these blood-curdling screams on nearly every song. I think I like when he does that better than when he actually tries to sing, because he doesn't have the best singing voice. Trent Reznor did a lot of work for this album, and you can feel it. That magic he leaves behind is all over this record, but I don't think anything he has ever done for Nine Inch Nails was as overpowering and heavy as this is. The album is divided into three different "cycles". I'm not really sure what the concept for the album is, but of the three, the third cycle Disintegrator Rising is easily the best. It turns everything up to the max, and has the best songs on the album. It honestly bumps the whole record up quite a bit because of how good it is. This album probably isn't for the faint of heart. And I don't mean that in a pretentious way. I just don't think the average person is going to be able to get into this. It was somewhat difficult even for me. To be honest, Marilyn scares the shit out of me. Rating: 7/10

For my first experience with The Who, and the first album of 1001, I think I started off on a strong note. I can feel when listening to this that it was meant to be performed and heard live in a large arena format. Which is probably where it gets it’s arena rock tag from. The highlight of this record is definitely Keith Moon. I was well aware of who he was before hearing this, but getting to experience him at full display was pretty interesting. If you took the wild uncontrolled flying over the kit of Animal from The Muppets and made it sound like some of the best rock drumming of our time, that would be Moon. He was an animal. Favorite song for me is Bargain. Least favorite would be Behind Blue Eyes.

When this album popped up for me on my tracker for the 1001 albums, I audibly said "Yes!" aloud. I love Yes. I have loved Yes for a long time, and had a big prog rock phase a while back. The Yes Album is an interesting one for me, because I always knew of its existence, but I wasn't sure when I would go back to give it a listen. I'm glad I was given the excuse to check it out, given my love for Fragile and Close to the Edge. I see this as the Meddle of Yes' discography. It acts as the point where you can see when they find their footing. Steve Howe had made his way into the band, which is easily one of the best things they could have done for themselves. And the energy that would carry them forward into having one of the strongest runs of albums in the 70's shows up here. John's voice is as beautiful as ever, Chris Squire's signature bass sound is delightfully sharp, Steve's guitar work is amazing, and Bill's drum sound is so bright and snappy, which fits his style of play perfectly. I see this album as their Meddle, and I see Starship Troopers as their Echoes. It may not be as ambitious, but it shows them experimenting with their longer, multi-phased song structures they would become known for. Specifically the section titled "Würm". This part is so heavy and psychedelic, and has one of the best jams Yes has ever done period. Easily the most striking moment on the whole album. I have to speak on one gripe I have with this album though. I think Tony Kaye does a fantastic job as the keyboardist up until this point. But just like how Steve Howe was an addition the band needed to succeed, Rick Wakeman is in the same boat. Although technically not with Yes until after this album was released, I can feel the gap left when he is not the one behind the keyboard. He is probably the single greatest prog keyboardist of all time, and maybe just in general across all rock music, and that golden age lineup of Anderson, Squire, Howe, Wakeman and Bruford is absolutely unbeatable. I think for the first album from Yes that can truly be considered a substantial piece of work, that set them on the map and would help them become one of the leading bands in the progressive rock movement of the 70's alongside other giants like King Crimson, Rush and Pink Floyd, they did a stellar job.

There is nothing inherently wrong with this album. Not at all. Jefferson Airplane deserves the credit they get. One of the leading bands in the psychedelic push of the 60's. I just can't explain what doesn't click with me about certain aspects of this. I love my fair share of psychedelic music, and it's really the first kind of rock music I fell in love with. I see what they were doing with this record, and it just isn't my thing. Maybe if I took a fair amount of drugs before listening to this, it would have heightened the experience. I do want to give this album its flowers though. I was surprised by some of the songs on here that I had already heard, but had no idea were from Jefferson Airplane. She Has Funny Cars, Somebody to Love, 3/5 of a Mile in 10 Seconds and White Rabbit I find to be fantastic little bursts of psychedelia jamming. On the other hand, songs like My Best Friend or Comin' Back to Me just don't hit the same for me.

I'm not someone who is opposed to listening to long songs. Multiple of my favorite songs of all time are well over the 10 minute mark. But to this day, when loading up a new album to hear it for the first time, seeing a length over an hour, with a track list of songs consistently over 5 minutes long is still daunting. Because something that long can really be hit or miss. Thankfully I'm happy to say that Ágætis byrjun warrants its 70 minute run time. It has these massive sounding instrumentals that build and build, but take just enough time before finally coming all together, unlike some of their contemporaries in the post-rock space. And these instrumentals are damn good. String and piano sections cascading and soaring through the mix creates an incredible atmosphere. An atmosphere that balances warmth and hostility perfectly. They managed to capture bliss in a bottle for these songs. But then they decided that wasn't enough, so they strapped the bottle to the side of a very quiet rocket ship, and sent it straight into space. These songs are luscious and gorgeous at their most complicated, and chilling at their most simple and still. Sometimes a particular moment of a song or an album sticks with you longer than it should. Listening to "Hjartað hamast (Bamm bamm bamm)" was definitely one of those for me. Hearing such a funky keyboard sound on this album, especially after 5 of the most beautiful songs I've ever heard, was jarring to say the least. But I loved it. I loved most of this album. It's helped me realize I need to look at the run time of a piece of music as less of a crutch, and more as a blessing. Because if it's done well, I'm only going to want more of it.

1994 was a pretty superb year for music. The Blue Album, Crooked Rain, The Downward Spiral, and Illmatic all in the same 12 month period is a gold mine. And Ready to Die is not exempt from that mine. I think in terms of East Coast based Hip Hop, this is about as refined as it can get. Biggie Smalls really was that dude. What he spoke about was very real at that time, and when he was trying to make something apparent, he meant it. This album is serious when it needs to be, and covers some darker topics, particularly on songs like Everyday Struggle or Suicidal Thoughts. But it also balances having a more lighthearted side. This creates an incredibly enjoyable and engaging first listen. He also pulls the whole thing off with only one feature, from fellow East Coast MC Method Man. Thankfully that song is a standout on the record because of the feature. Something I also really loved about this album was the little cinematic snippets in some songs that tell a story. Examples like the opening track, or how he changes his voice slightly to sound like two people talking to each other in Gimme the Loot, which itself ends in a shootout. Or how the closing track ends with Biggie literally taking his own life over the phone. Each song is like its own little TV show episode, narrated by Biggie rapping. I have to speak on one thing though. In an album that is excellent in basically everything it does, the ending of Respect is so out of place to me. For an otherwise amazing song, the last minute just isn't necessary. And knowing that the audio is supposedly real, it kind of ruins the song. Even the Fuck Me interlude is more tolerable than this, and that itself is a pretty weird song. But overall, there isn't much of an argument you can make towards this not being a fantastic rap album, which helped launch one of the 90's biggest icons into the stratosphere of pop culture.

In March of this year, I lost my grandfather to cancer. I can't even begin to explain how I felt back then, because at that time I didn't know how to describe how I felt. The only time where I felt as if I had any clarity was when the song Wish You Were Here played. At the time, I wasn't a huge fan of the song, even though I regarded this album very highly, but I never put the song on by choice. Especially not at that point in my life. But then one day the song came on in my shuffle. And I really paid attention to what I was hearing. And I broke down and started crying. Between then, and the day my grandfather died, I only heard the song one more time, and nearly cried then as well, but forced myself not to because I was in school. And after his death, after I finally found that clarity I had been looking for back then, the song meant even more to me. If someone were to ask me for an album that I believe is about as close to perfect as you can get, I would probably point to this one. From the second the album starts, until the second it ends, and every moment of the 44 minutes and 10 seconds in between that, this album is using every tactic it has against you to draw you in. Each song is so layered and filled with deeply refined performances, it amazes me this actually exists. To be honest, it's a little hard to talk about this, because what more can I say about Wish You Were Here that someone hasn't said in the last 48 years. It's fucking Wish You Were Here. I really like it. It's a ten out of ten. As far as I know, it is the first album I can remember liking enough to give a score of 10. I urge anyone who hasn't already heard this to give it a chance. A single word isn't even spoken until 8 minutes into the first song. Some people might be put off by a 15 minute opening track that is nearly entirely instrumental. But trust me, when you hear those four notes for the first time, you will become a different person.

I'm so sorry to anyone that likes this album. I think that is totally okay. Madonna is a very talented musician, and I think she has done some great things in her career. I just don't get this. I feel wrong for giving it a low score because it's not bad by any means, but these songs just illicit zero emotional response in my brain. I just don't like most 80's music, I never have liked most 80's music, and I especially don't like 80's pop music. I don't have much to say. Sadly not a huge fan. Cherish is a pretty good song though.

I only knew White Denim by name before listening to this. The most exposure I've ever had to the band was when Tame Impala gave them a shout out at a live show like ten years ago. So I was intrigued to see what they had to offer. I was pleasantly surprised by the quality of most of these tracks. These songs are short and to the point, but do a lot with what they have to offer. This album is filled with twiddling jazz-esque guitar licks, and even some blues influence. Sometimes when you are listening to a song, you can tell the band was having fun recording it. I get that kind of energy from this album. It just feels like a good time. Burnished transitions so quickly into Back at the Farm, and the latter track carries a really exciting flow for its run time. Street Joy is a nice pace change that allows the singer to show off his vocals a little more than usual. Anvil Everything feels the most prog of any song on here, and River to Consider is built on a very catchy flute section. The closing track Keys is just full on blues rock, and I thought they pulled it off really well. Nothing about this is ground breaking. I don't think it was meant to be. This is pretty much what I come to expect from modern psych rock from the year 2010 and onward. And I can even hear where a band like Temples may have been influenced for their debut Sun Structures.

Radiohead is a band for insufferable people. And I am insufferable for this band. Their music has captured me for so long now, I can't think of a time in the last year and a half where I wasn't absolutely in love with Radiohead. I only have my high school art teacher to blame for that. I got into them because of him. So getting the excuse to hear The Bends all the way through again under the new lens of having heard all of their other albums was exciting. In all honesty, The Bends is probably the album from Radiohead I listen to the least. On first listen, I didn't really get most of the songs on this. But that was nearly 2 years ago. The Bends is kind of an interesting album, because it came so soon after Pablo Honey. Nothing about Pablo Honey was really special. Other than Creep, almost no waves were made with that album. Radiohead was just another angsty indie alt rock band. The Bends changed that perception. Because this is something much more special than Pablo Honey. The complexity and songwriting is so many worlds better than its predecessor, it amazes me there was only a two year gap in between these two. Thom Yorke's voice sounds so insanely young on this, but it only works as proof that his vocal capabilities have not faltered one bit since this album was released. There is definitely something juvenile about how everyone plays their instruments on this, but it fits the wild and unleashed energy of the whole album. Planet Telex is the first song I ever heard from them, and I can remember it immediately blowing me away, even if the rest of the album didn't at the time. It was the first song of theirs that I fell in love with, and I still regard it highly today. I love the build up after the post-chorus in the title track, plus the guitar work on the bridge of that same song is also amazing. High and Dry proved that they were still capable of making big hits for charts, but I personally prefer Fake Plastic Trees. Just is easily the most chaotic song on the record, and feels like a bad hair day in the best way possible. The main guitar on My Iron Lung is crunchy, but the chorus borders on grunge, like something you might hear on a Nirvana record. Black Star is an interesting song, because it's great, but it feels as if you are coming into an ongoing song that they chose to cut and fade in. And Street Spirit is a fantastic closer, and feels like something that wouldn't be too out of place on Hail To the Thief. I think The Bends is about as fine tuned as a sophomore album can get. They took their sound in a different direction, while still keeping the alternative energy flowing through, and hit the jackpot. This laid the groundwork for everything they would come to make in the future. It isn't Thom and his band mates at their absolute best, but it was a damn good step in the right track.

The beauty of doing something like listening to a new album every day for 1001 days is that the chances of me running into stuff like this are high. And I'm sure this won't be the last time I'm left a little confused by an album. When I saw the genre tag of Celtic Rock, I really didn't know what I was expecting. But at that same time, it sounded exactly like I thought it would. Anyone reading this can probably think of what this might sound like in their head right now, and they probably wouldn't be too far off. If I Should Fall From Grace With God might be as Celtic as rock can get. This feels like music pirates might listen to. I can't pretend like this is my thing at all, but I kind of mess with it. What they do on some of these songs sounds super interesting, and they are definitely a talented group of people. Plus I think Celtic punk is a good descriptor, because there are definitely some underlying political themes in these songs, and if you were to replace all of the fancy string instruments they use with more traditional western hard rock instrumentation, this would be a fantastic 80's punk record. I'll give credit where credit is due. I can't imagine myself ever really coming back to listen to any of these songs, but the fact a group of people were ballsy and creative enough to come together and make something like this is really cool.

The title of this review is somewhat of a double entendre. Because on one hand, yeah obviously metal music is hard, that is the whole point of the genre. But on the other hand, metal is a complicated genre for me personally. I have a lot of love for lots of metal music. But I'm also not a huge fan of some of it. Particularly the more melodic stuff in the 80's. Iron Maiden's The Number of the Beast falls somewhat in the middle of the spectrum. For me, there are three things I look for that help a metal album stand out more. The riffs need to be heavy, which seems redundant to say considering I am talking about metal music here. The vocals need to be strong and powerful. And probably the most important one, the mix needs to make everything hit really hard. This is metal music. I want it to blow my eardrums out. Too often do I find that certain metal music just sounds flat and doesn't have any real impact to it. It could just be my ears, but I don't think it is. I think this album pretty much meets all of those criteria, but maybe not as well as it could. It isn't exceeding any expectations I had, or blowing my mind in any way. I think Bruce is a very strong vocalist. I can see why people like him. His type of operatic singing isn't really my thing, but it sounds cool. I think the riffs and guitar work on this also sound decent. The drumming is okay, but doesn't hit very hard. Like something about the intro on Gangland sounds off to me. I just don't think this kind of metal music has ever clicked in my brain. It doesn't make me want to get up and move around or head bang or really anything. It just falls somewhat flat for me.

Even if you are not a White Stripes fan, you have heard the White Stripes at some point in your life. Seven Nation Army is impossible to escape at this point. But White Blood Cells is not the Seven Nation Army album. I think White Blood Cells is a perfectly fine album. It feels very much like the 2000's garage rock I've come to know and have heard before. A lot of people give Meg shit for her drumming. People are just really mean for no reason. I'm not trying to say by any means that if you put Meg White in a different band, she would sound as good as she does on here. But for the purpose that she was needed for, she does a fine job. This whole record finds the most power in its simplicity. None of the songs are super wacky or experimental or hard to play. They just do their job and do it well. Surprisingly for me, the standout track on this is We're Going to Be Friends. I may be biased because the song is included in Napoleon Dynamite, and anything included in that movie is made ten times better, but I also think this song is a wonderful little acoustic break from everything else going on. It's very fun and lighthearted, and I love that. Jack White has always had the brain to create really great ideas and put them to good use, even from the beginning of his career. And I think White Blood Cells is exemplary of that.

Immediately this album sets the tone. The opening track lets you know what you are in for, and then Inertiatic takes off running at full speed, and never really slows down to let you catch your breath. I use the term "beautiful car crash" because it's hard to describe the kind of energy this has in any other way. But I think it's wonderful. This isn't my first forte into The Mars Volta. I've heard Frances the Mute before, and I enjoy that album a lot. Since they rose from the ashes of an already existing band, there was no time for them to find their sound. Cedric and Omar already knew what it was, and they were ready to share more of it with the world. I have to say, I love the mixing on this album. Every sound is so pronounced and hits with so much power, yet you can hear each piece of each song so clearly. They did a fantastic job at giving each instrument its own space. I also think Cedric is a really great vocalist. His voice has always stood out to me since the moment I first heard the chorus on Cygnus...Vismund Cygnus. He has the perfect amount of 2000's emo to his voice, and his range is insane. The highs he hits in these songs are sick. The only two real issues I have with this are two specific songs. I think Cicatriz ESP is a good song, especially the beginning and end of it. I love how thumping the bass is. But that long stretch in the middle of just ambiance throws the song off for me. This is an issue that will become more apparent in their sophomore album, but that is its own thing. And with Televators, there just isn't much to the song. In an album filled with breakneck bangers that damn near give you whiplash, Televators is just kind of boring. TMV is a divisive band. Some love them for what they do, and then there are some who really get up in arms about their music. Some of the most extreme online music reviews probably exist on one of their albums. To me, there is nothing inherently wrong with their music. Calling it unlistenable trash is so extreme, but everyone is entitled to their own opinion. I think The Mars Volta represents the best parts of modern prog rock. Prog rock hasn't ever been super beginner friendly, and has always been a genre that can mix with so many others to become this huge melting pot of music. I think for a debut, De-Loused hits really hard, and sounds great.

I’ve never been the biggest fan of Eminem. Him being one of the best selling artists ever always seemed strange. His music never spoke anything really powerful to me, and I didn’t grow up around people who loved his music. He just kind of represented a rebellious generation of teenagers who liked that he swore a lot. I never took the time to sit down and actually listen to a project of his all the way through until now. The biggest takeaway from this album is his songwriting. I can understand why some consider him to be an all time great. Because from the very beginning, he has always been a strong lyricist, and more notably, a strong storyteller. If you took the cinematic aspects of an album like Ready to Die, and expanded them out into entire songs and covered a whole album in them, you get this project. It’s why I think “Stan” is the standout track. It’s one of the biggest songs off the record, but it has an interesting narrative in it. At the same time though, I find songs like “Kim” to be obnoxious and unnecessary. The constant screaming and weird voices he uses aren’t enjoyable to listen to. I think the production is solid. Dr. Dre usually does a good job, and this is not an exception. This album doesn’t have too many features, but the ones it does have are okay, except for the song “Remember Me?”. The feature kind of ruins the song, which is a bummer since it has one of my favorite beats on the whole album. Eminem is a strong writer, but I think he is strong in one particular category. He just kind of said whatever the fuck he wanted to, including the f-slur a lot for some reason. And most of the songs on this are talking about the same things. Why he will continue to say what he wants and how much everyone hates him for doing that. It’s not bad but gets a little repetitive after a couple songs. This album is just incredibly dark and brooding, and he is always mad at something. Sometimes he channels it and makes super interesting songs, but other times it just feels like theatrics and not songwriting. This album didn’t make me an Eminem super fan, although I never imagined it would. I was born past the point where Eminem had made his mark, and by the time I was born, he was already entering his period of mediocrity. But it is nice to see a project from him that had some actual quality to it.

My dad put on "Right Here, Right Now" in the car one time. The song kind of freaked me out. At the time, I was like "Fatboy Slim? What a dumb name". Hearing it now a few years later, with my love for electronic and instrumental music, made me appreciate it way more. Fatboy Slim isn't such a dumb name in my head anymore. It's still a little funny to say out loud, but the 90's were a weird time. I think that is the biggest gripe I have with this album. It is very much a product of its time. You can hear the late 90's flowing through every song. I don't think this would become so big if it was released today, or even if it was released in the mid 2000's. But Slim capitalized on a genre people didn't really know much about. This is probably one of the most popular and most commercial albums in the big beat genre. But other than the big hits, this album doesn't have much lasting power in modern music. There are just better albums in the instrumental hip hop space that were released after this, or even before this, came out. I don't want to completely discredit the deep cuts on this though. "Right Here, Right Now" is a fantastic opening track. "The Rockafeller Skank" and 'Soul Surfing" feel like surf rock music chopped up into break beats. "Praise You" has a wonderfully uplifting and happy vibe to it, which makes you want to get up and dance. Plus, it still does numbers even today. I can't tell you how many times I've heard this song, or at least the piano it samples, in commercials on TV. "Love Island" has a really deep and low bass part. It makes the song feel like something you might hear in a Midnight Club game. Overall, the production and arrangements on this are solid. It's weird, because this feels like it is in the same vain as plunderphonics to me, but it isn't categorized as so, which makes me wonder what is sampled and what isn't. Again, the album has aged somewhat weirdly. Because it isn't a bad album by any means. But I doubt this ended up on any year-end lists for 98', or any decade lists. But it is still important to remember where a genre really found its footing.

I enjoyed this far more than I thought I would. I like psych rock, but I find that psych music, particularly from the 60's, all sounds very similar. They are all rooted in similar characteristics. So I went into this with that mindset. And I actually found a lot to like. The guitar on songs like "Renaissance Fair", "Everybody's Been Burned", and "Thoughts and Words" was actually far more advanced and well played than I thought it would be. "Thoughts and Words" specifically has this really cool reverse effect on what sounds like a guitar. It definitely fits the psychedelic label. I think that is something this album actually excels at. The album feels legitimately psychedelic in some places. I think the vocals also fit the more relaxed sound really well. The only song I have any real distaste for is "C.T.A. - 102". It has these weird synth sound effects in a later part of the song, and then the song just cuts out and transitions to the outro where someone is talking with a weird alien effect over their voice. Nothing about this song is cool in my mind. The effects just seem obnoxious and novel. The last three songs on the album aren't anything special either. Something I noticed while listening to this was the way everything was panned. All of the instruments are panned either hard left or hard right, and the vocals were set in the center. Which means if you are listening to this with headphones or earbuds, and you take one out, it instantly ruins the listening experience, since parts of the song are missing. This seemed to be a thing they did in the 60's when mixing albums, and it always confused me. Not sure if it was due to a technical limitation, or if it was a creative decision. I love when an album pleasantly surprises me. It's nice to not expect much and get something far more interesting than you imagined. Of the two 60's psych records I have reviewed so far, which both conveniently came out in the same year, I enjoy this one the most.

This album is basically two songs long. There isn't anything inherently wrong with tracks one, two, four, and six on this. They just pale in comparison to the real stars of the show. This album has two songs over ten minutes long, and those two songs are by far the best thing this album has going for it. "City, Country, City" is funk music executed perfectly. The saxophone is absolutely disgusting, and I mean that in the best way possible. And I'm a sucker for a good keyboard solo, and this song does not disappoint in that department. And "The World Is a Ghetto" feels perfect for a late winter night around the fireplace with a glass of tea. So 23 minutes of this album are amazing. The other 20 minutes or so, not as much. I think the opening track is solid. I can definitely envision a group of people all getting up and chanting the chorus in a live environment. It also has this nice Miami Vice buddy cop vibe to it. But this album could probably do without the other two songs. They just don't do anything super interesting that makes me want to come back to them ever. I see the word eclectic thrown around a lot when talking about this band. And while TWIaG might not have hits like "Low Rider" or "Why Can't We Be Friends", but those two highlights are worth so much more and show how capable this band really was at making some absolutely killer funk music.

I had no idea who Gil was before this. But I think I needed this. I've been on a very aggressive kick as of recently. It has nothing to do with anything in my personal life. I've just been enjoying much heavier music recently. So to have a jazz album generated on my thing this morning was an interesting break from my usual. And it honestly lined up perfectly with my day. The weather was slightly cold and gray, and it matched the mood of this super well. The majority of this album is like a mix of spoken word and singing over very simple and sparse instrumentals. But the album benefits from the instrumentals being so, because it allows for Gil to absolutely glide over them with his beautiful voice. His vocal chords must be made of silk, because how else could he sound so good? And for the spare few songs that do amp up the energy like "Back Home" and "The Bottle", they are just as glorious. There is also definitely some lyrical content here, which I didn't look into, although I should have. Especially "H²Ogate Blues", which speaks directly on the Watergate scandal that was going on at the time. This album just feels good to listen to. It's easy on the ears and when you put it on, you know you're in for a treat.

Sometimes it only takes 8 days. Recording something like this in just over a week is nothing short of mind blowing. Because Jim and his band mates probably set the precedent for psychedelic music for the next 30 years with this album. Before I get into the positives, I want to get my one gripe out of the way. Something about the way these albums were mixed back in the 60's seems off. The hard panning of all the instruments in certain channels makes the listening experience weird. I understand it was due to the technical limitations they had back then, and I'm not blaming anyone who worked on the record, because they couldn't control what they had back then. It just throws me off a bit. Now into the things I love. The obvious driving force of the record is Jim Morrison. Some would find it hard to believe that I didn't know what his voice sounded like until now. But truthfully this wasn't what I expected. His vocals carry way more power than I imagined they would. But I love it. He has a bit of gravel to his voice, and it actually makes it more pleasant to listen to. The lyrics on this are sensual, but also dark and surreal, and just looking for a spot deep in your soul to settle down and entrance you. "Break on Through" is one of the strongest opening tracks of any album I've heard from the 60's so far. It's short and to the point, but sets up the vibe for the rest of the album. The piano on "The Crystal Ship" is so hauntingly gorgeous. It reminds me of the small bit of piano on the opener of Pink Moon. It kind of comes out of nowhere, but fits perfectly. "Light My Fire", without any exaggeration, might be one of the greatest psychedelic rock songs period. They were fucking jamming on this one man. Ray Manzarek was an absolute monster on the keyboard, and he really shows his abilities on this song. Honestly, he holds most of the songs on this record together with his parts. And the guitar solo after his keyboard part is also fantastic. This song is honestly just 7 minutes of pure bliss. "Back Door Man" is also another solid jam. The next three songs after that aren't anything particularly notable. And "The End" is an intriguing song. Because it is by far the longest song on the record, and it feels more on the experimental side of psych rock. The last 3 minutes or so are really great, and I think it works as a good way to end the whole thing off. It is such a shame Jim died only 4 years after this came out, because as a debut record, this is fantastic, and The Doors truly were in a league of their own at the time. There are more records from them other than this that I would love to delve into, but I just wish this band would have been able to continue advancing their sound further into the 20th century and beyond.

This is probably going to be my shortest review yet. Because I don't have much to say. If any more of her albums get generated for me in the future, I would love to hear them. I think there is potential for something great here, but I also think this isn't the greatest debut record. This album is very vocal based. And when there is instrumentation, it is sparse, and not very evoking. I understand that is the point, but there isn't much for me to latch onto when listening to this. I think she has a beautiful voice, and it's interesting to hear something sung in a dialect I have no knowledge of. Also the Charles Coleman feature is really strange, because he is laughing the entire time he is singing. Overall I can't ever envision myself coming back to this or recommending this to anyone. Not because it's bad, but because I don't really "enjoy" listening to it per se.

They picked a great name for this band. Because this album does feel like hitting a rock on your skateboard and skidding your legs, arms, and face on the pavement of a parking lot. And I mean that in a good way. It's raw, unadulterated. and simple fun. It sounds rough around the edges and has a very lo-fi feel, as if it were recorded in Stephens mom's garage. This album doesn't feel like it's meant to be played on a good pair of headphones, but blasted on a speaker during a backyard cookout. There is a very bright and upbeat feeling to every song. The recording is loose and playful, but not to a point where it feels like the musicians don't know what they are doing. My issue with this album is that these things are all great, but as a debut, this album doesn't really do anything super groundbreaking. This isn't really a record with that kind of goal though. Maybe it's an issue with me, but half this album's track list is rather average. Nothing starts to hit until "Loretta's Scars", and aside from "Here", everything after that song is really great. But the first seven songs don't do anything particularly special to make me remember them. This album is just very backloaded, which is okay, but it means the album is only half as good as it could be. The text on this album's cover looks as if it were carved into the side of a tree. And I think that imagery is perfect for Pavement's debut.

This is the first live album I've had to review for the 1001 albums. And my god, am I glad it was this one. There is only one song on this album under 10 minutes long, and I'm not mad in the slightest, because this is some grade A shit right here. I didn't know this about myself until today, but I love Nigerian Afrobeat music. And Fela is the master at it, and one of the big reasons why the genre is known internationally today. I wasn't familiar with who Ginger Baker was up until hearing this, but I knew of Cream, so to learn one of the first real drumming legends met with a West African musician to create music that is most definitely not something you would hear Western audiences listening to is absolutely beautiful. And Ginger does a fantastic job on his songs, alongside Tony Allen. I also have this deep love for brass sections in jazz influenced music. Line a bunch of horns up and play them like they are played in this recording, and it will sound good every time. They are sharp and bright, and give a serious punch to the album. It is just pleasant to my ears, and I want more of it. I think the only complaint someone could make towards this album would be that the songs are slightly repetitive in some places, but the pacing is balanced well enough so that whenever you feel like you are getting tired of a certain rhythm or chord progression, it switches it up and moves to the next. Every song on this is incredible, but the song I have the least love for is probably "Black Man's Cry", just because it tries the least number of interesting things. But that isn't saying very much, considering this album is well above average compared to most live performances. Like the last couple of minutes in "Egbe Mi O" is probably the best on the entire album. Fela's incredibly lively personality allows him to get the entire audience to sing along, and that kind of crowd interaction is so wonderful. Another beautiful artist taken away from us far too soon. Truly was a pioneer of his own genre, and to see two musicians who are hugely popular in their own spaces, but otherwise unknown to each other, come together and create art like this, inspires me to do the same.

To start, this album is wonderfully recorded and mixed. It honestly sounds amazing considering it was released in 1958. And I think Tito and his band do a fantastic job. I'm not trying to downplay their technical abilities, because they are all very skilled. But I find that this album follows the philosophy of "if it ain't broke, don't fix it". And really, nothing about this is broken. So there isn't anything to fix. But you can try new things, and not alter any of what was already good with a project. This album does not do that. It starts off strong, but by track 4 or 5, I was already feeling fatigued. This album has one sound, and one sound only. A one trick pony of some sorts. It's not bad music, and most of the songs are short, but it doesn't make for an enjoyable listen all the way through when it is hard to differentiate one song from the next. I think the only song that really stuck out to me was "Estoy siempre junto a ti", because it slows things down and takes a mellower approach compared to the rest of the album. This feels like another one of those albums in the list of 1001 that is less on the list because it is some big hit, or a darling with the critics, but more so because it allows entry into a genre most people don't have experience with.

This was kind of the last album I expected to be listening to on my journey through all of these albums. What I'll say is that I wasn't completely blown away, but I was also pleasantly surprised by some of the cuts on this. Justin was already famous before this came out. He didn't have to build up his career from ground zero off of his debut. And I think Justin has a nice voice. I mean, it sounds like any radio-friendly pop singer voice from the 2000's. But that doesn't mean it's not good. He has a falsetto, and he puts it to good use on this album. The closing track is definitely where he shows it off the most. And honestly, any album where you have Timbaland and The Neptunes collaborating on songs together is bound to be good. That trio probably has more hits than any other combination of producers ever. And it's deserved, because they are all truly masters of their craft. The song "Señorita" starts off the album strong. And I love the section on that song where it sounds like Justin is speaking to a group of people at a party and telling them when and how to sing. I don't care what anyone says, "Rock Your Body" still hits just as well as it did the day it came out. And it just hasn't aged for me. It could come on in the club today and I would be dancing and singing along. Some of the other deep cuts I enjoy are "Last Night" and "Take Me Now". I find that I like about half of the album, or like every other song. The ones I'm not into as much aren't bad, they just didn't click with me. The lyrical content of this album is pretty consistent. And by consistent, I mean if you aren't into love songs, don't listen to this. Every song is a love song. It is honestly impressive how Justin manages to sing about the same topics in different ways on so many songs. I enjoyed listening to this more than I thought I would, just because it was a nice break from music I like to listen to a little bit more critically. This feels more like fun background music to put on while studying or doing dishes, and I think leaning into that mindset makes this much more enjoyable.

When I talk about the kind of 80's music I really can't stand, this is it. Nothing about this sounds good to me. This album is hip-hop at its most bare and simple. And considering a lot of hip-hop found its roots in this kind of music, I am thankful it evolved in a direction other than this. The production and overall quality of this record sounds tacky and goofy to me. It leans so heavily on the idea of trying to sound modern and futuristic, and misses the mark. And most of these songs are just too long for their own good. I find it way more impressive when an artist manages to condense something interesting and thought provoking into a shorter song or album. The three positives I can give this album are that I like the rock influences that can be heard on "Who You Funkin' With?". I also like that in the lyrics of these songs, you can see how a rebellious nature and a natural tie to politics was already becoming synonymous with the genre. And lastly, Rage Against The Machine made a solid cover of "Renegades of Funk" that is probably better than any song off of this record. I knew what this was going to sound like without even having to listen to it, and I figured I wasn't going to enjoy it. I was right.

The 90's were such a gold mine for absolutely spectacular rap music. It is really hard to pick just one rap album for the best of that decade. But 36 Chambers is undeniably a contender. Immediately from track one, the Wu-Tang Clan comes at you with an energy unlike what other groups were providing at the time. Which is why their impact is still felt today, and also why they are one of, if not the most, acclaimed and recognizable hip-hop collectives of all time. The only way I can describe the experience of listening to this album all the way through is like being circled by a group of 9 men, and having them pass you around and take turns beating the shit out of you while some guy is making beats out of it in the background. One member of the group goes, and then the next one picks up immediately where the other left off to continue the beating. It's intense, and oftentimes they speak about extreme violence, like on "Method Man", where they just list off a bunch of different torture methods in the intro skit. And this lyrical content mixes perfectly with RZA's style of beats. I find that the melodic sampled bits of the songs often sit back in the mix and create a type of ambiance, while the drums are pushed to the front. The drums also sound as if all of the high-end was cut out. Sometimes the kicks are hard to hear because of this choice. RZA and Wu-Tang in general are known for their martial arts movie influences and samples, and I like that sometimes the sample is just clicking and clacking of swords colliding as a percussive element, or the yells of people getting killed. Really, the most appealing aspect of the group was their chemistry in the music. They bounced off of each other so effortlessly. Songs like "Protect Ya Neck" or "Wu-Tang: 7th Chamber" work so well because they feature nearly every member, and they are just all taking turns speaking their mind. This album is just another one of those quintessential rap albums every person exploring the genre needs to hear at some point. Similarly to its east-coast brother Illmatic, 36 Chambers put you right on the streets of New York in the 90's.

A pioneer of the nu-metal genre. And still to this day one of the biggest rock bands in the world. Given their aesthetic and almost character based personas, they have a very cult-esque following. People love Slipknot. And some people can't stand it. I imagine most who find them annoying now probably loved them at one point, but have grown out of that sound. As someone who has never delved into their albums, but always respected what they did, I feel some don't give enough credit to these guys. They found a niche people loved, and blew up in a way no one anticipated. And there are some genuinely talented musicians behind this band. Easily the best parts of this album for me are Joey and Corey. Joey just fits this sound so perfectly. He was incredibly proficient and moved at lightning pace, but also hit like a truck. It's hard to combine those elements effectively, and he mastered it. The intro on "Eyeless" alone is a perfect example of his skill. And Corey pushes his voice to a place I'm not sure the human vocal chords are meant to achieve. Sometimes it's concerning how far he goes. "Scissors" is a prime example. There is a moment where I can only imagine he is spitting out blood, and the way his voice cracks in and out of his screaming at the end of the song sounds physically painful. It is genuinely impressive to pull off that kind of singing on every song. I also love the brief moments where you can hear Craig Jones' sampling take the forefront. Again on "Eyeless", where they make the genius move of including an amen break in the intro. I don't think the lyrical content is anything amazing. There aren't really any deeper meanings or messages that they try to communicate through the lyrics. They are just very dark and brooding, and always angry at something. Do they sometimes border on cringe-worthy? Occasionally yeah. But that seems to be a regular characteristic of Slipknot's music. It isn't meant to be deep and meaningful, unless you are a depressed and angsty teenager. I can see why some would look back at this band negatively and question how they could ever consider this good. But sometimes I am in the mood for music that is a little more mindless, and takes less concentration to enjoy. Not every metal album has to be filled with genius innovation and songwriting. Some people just want to mosh and scream their lungs out, and that's okay.

Truly one of the most heartfelt and beautiful female singers who ever lived. The raspiness of her voice might generally be uncharacteristic of a woman, but it works so well. And it also perfectly fits the fuzz and buzz of the blues music she so gracefully performs over. But that isn't to take away from the band. Because I think they do a fantastic job at creating blues music that is designed to get stuck in your head for the rest of the day. It's hard to not love a song like "Me and Bobby McGee". This album is short and sweet, and works great as background music for a party or some family event, because no one can really complain when this is on. There isn't really any bad part of this album. I mean, it's not the greatest album ever made. There is probably better blues music I haven't heard yet. But it's vibe and simplicity is endearing, and this album just feels like a warm hug from your nice hippie aunt. Really, Janis was the antithesis of hippies. And sadly, she is just another beautiful artist and person taken away from us too soon.

I am a little confused with this album. Because on RYM, it is labeled as folk rock and singer-songwriter. And the idea of what those genres sound like together in my head isn't at all what this album is like. This album feels way more adjacent to jazz and funk music, with some soul mixed in there as well. Maybe folk rock is more of an umbrella term than I imagined it to be, but I'm not sure. Either way, if we are to go by the basis that this is some type of folk funk music, then I think the first 4 tracks do a pretty good job. Now, what I'm about to say might not make much sense, but the first 4 songs are both catchy and engaging, but also not super memorable. I don't think anything on this is super memorable. None of the melodies or lyrics got stuck in my head or stayed with me throughout the day. But that doesn't mean the songs are bad. Where the issues begin is after "Love and Affection". From track 5 to track 8, I was just kind of uninterested. None of those songs do anything to keep me engaged, and I found nothing to take away from them. And that's honestly a bummer, because the album regains its footing in the last two songs. It's too late to save the album in any major capacity, but those two songs are some of the most cool sounding ones on the record. Especially the closing track, which borders on psychedelic with its spacey guitar sound. Overall, the album is easy to listen to. If someone really loved this, I could see it as a good way to wind down after work or school. Because it doesn't throw anything too intense at you in its track list.

I try to be as open as I can when it comes to listening to music. I enjoy lots of different genres and I want to enjoy as many different kinds of music as I can. That is really the whole reason I'm doing this 1001 albums thing in the first place. But one genre I've always stayed away from was country. I think I've realized after listening to this that I just don't like modern 21st century country music. Country music that is designed entirely to top charts. They all sing about the same things. Their voices all sound the same, and the music all sounds the same. It is just drab to me. I couldn't care less for it. But thankfully, I can say that this Gram Parsons album displays none of those characteristics. It does pretty much the opposite of everything I just said, and I love it for that. Gram has a wonderful voice that still has a country twang to it. And his guitar work along with James Burton is fantastic. Each song on this has plenty of heart to it, and you can tell there is real passion behind these songs. Although he may be singing about similar topics to those in modern country music, like love, religion, and heartbreak, the grace and soul he puts into it makes it far better. "$1000 Wedding", for example, is a beautiful song led by the piano. Also, can I just say that the pedal steel guitar is one of the coolest instruments ever, and it sounds awesome. Gram Parsons and this album give me hope there is more country music out there I can enjoy, because there is truly something great here, and I would love to hear more of it.

4 words: Dad rock final boss. That's it. That is the descriptor for this album. I mean, with a song title like "TV Dinners", what else did I expect? Take one look at Billy, Dusty, and Frank, and you know the kind of music they make and who they appeal to. And they kind of rock on this. This album really confused me in some aspects, because the instrumentation sounds electronic in some places. Like the bass, for example, is so thumping and crushing, I would swear it was a synth patch. But that is just the way the bass sounds on the album. It is honestly a little genius. The drums hit like a truck. That snare is fucking tight, and although Frank mostly just plays simple drum beats, it works, because if he did any more than that, it would drown out everything else. This album has the potential and kinetic energy of a battering ram. It is relentless, heavy, and driving in its sound, like a hammer against a nail. Honestly it was a little rough on the ears at first for me, but in the end, this type of sound had grown on me, and I wouldn't mind hearing more of it. I'm aware that this is a big switch up from what their stuff before this sounded like, and so I am intrigued to hear what that was like to see the full progression of the band.

All of the aspects of that commercial 80's sound that I have expressed my distaste for are present in this album. And yet, I enjoy this more than probably any other album from that time period I have heard so far. Because it utilizes those things in a tasteful way that even I am able to appreciate. From the big explosive and booming drums, to most songs being led by synths and keyboards, to the melodic guitar sound, it checks all the boxes. The most impressive aspect of this album is really the arrangement. The way these songs are put together, with layer after layer of sounds that all work in unison, feels orchestral in a way. On every song, they hit the listener with these massive walls of sound, but they did a fantastic job at keeping each instrument discernible, and everything comes through really well. Also, even for today, this album is pretty well produced and mixed. I'm sure this would sound good on just about any form of headphones or speaker. "Everybody Wants to Rule the World" and "Head Over Heels" are easily some of the best hits from the 80's era. The guitar on the former, and the latter's chorus are insanely catchy. I didn't know if Tears For Fears had any albums before this, or how many they had after this. And I think a lot of people probably don't either. Because they hit it so on the mark for their sophomore album, they could have never released any more music and their legacy would have held up just as strongly.

I am not by any means particularly well versed in jazz culture or popular jazz albums. I know the big ones, like A Love Supreme, Kind of Blue, and Bitches Brew. But you couldn't quiz me on jazz. So when this album was generated for me, I felt as if the cover and title were vaguely familiar. I did what I usually do when I get an album, which is quickly search it up on RYM. To learn this album is the highest rated jazz album ever, and in the top 15 of all time was very surprising. After listening to it, I can see where it comes from. This album masters one specific thing. It manages to be abrasive without being unpleasant or overwhelming. There is a very tense energy of the wailing brass instruments on this. But it doesn't stop there. Take Track C for example. It opens with this beautifully haunting piano, and then the main melody is led by these flutes. For some reason, those particular flutes just scratch at your ears in the perfect way. That song in particular might be one of the finest jazz songs I've ever heard. Track B also carries that same claustrophobic energy. The whole band does this build-up thing where it keeps getting louder and faster. And you are just waiting for the moment it crescendos and comes crashing down. But it stops much calmer than you would expect. Like a train driver hitting the brake and stopping the train a foot from your face. I think compositionally this album is also a masterclass. I'm not really sure what parts Charlie plays in this other than the piano, but the way he composes his band is genius. If you really try and focus on each individual person and what they are playing, you might drive yourself mad. It is like there are two different songs playing at the same time, and yet it manages to come together perfectly. Each player has full confidence in each other, and they just run wild and make it work. It takes the most impressive aspect of jazz instrumentation and turns it up to eleven. In a way, I can understand why this would be number fourteen of all time. At the same time though, I don't see it. This album is amazing, no doubt. But I am not completely gushing over it. I am all for this slightly more aggressive form of jazz, but I think there are more traditional jazz records I will enjoy more than this in the future.

This is my second album from The Byrds. In a way, I see it and I don't at the same time. There is no denying the influence this band had. One of the first to combine the sound of folk and psychedelia, which would become the sound of the 60's and 70's. And there are many members of the group who have had large careers spanning many decades. So as a piece of history, it is good to go back and listen to this. But as an overall listening experience, it doesn't hold up compared to albums that would come out after, or even music from their contemporaries in the same time period. There are very small hints of a space theme to this album, and that combined with the sound of the music makes this album feel like it is leaning more on the psych aspect of the band's sound. I don't know how many more albums I will end up listening to for this band, but unless they pull something really interesting, I can't imagine myself giving these albums a very high score.

Where this album exceeds the most is in its production and layering. There are plenty of moments where they just build these luscious soundscapes. I've always said the synth is my favorite instrument. This album works as a good example as to why that is. The versatility and capabilities of the synthesizer are endless, and the amount of unique and interesting sounds you can make with just one is amazing. This album is filled with those sounds, and I love them. The amount going on in each song is actually quite impressive. This is a remarkably well written album. Now I don't think every song has this going for it. Some tracks like "How Can You Expect to Be Taken Seriously?" and "So Hard" lean more on that goofy 80's sound, which I have already spoken at length about. Especially the latter. "So Hard" sounds like it would better fit a Mario Kart game. It kind of sticks out like a sore thumb because it doesn't fit what makes the rest of the album so beautiful and well done. I'm also not a huge fan of Neil's voice. On some songs, he does a good job, and on others he doesn't seem like he can sing very well at all. The lyricism is okay. Nothing to rave about. I think the one exception is the closer "Jealousy". The song actually has some real emotion to it, and works as a good way to end off the album. I'm not in love with this album. But the fact that I even listened to something like this and found enjoyable things to pull out of it shows my evolution over the last month or so. I like the ambiance, and so I wish this album actually spent more time building those up. It would probably make the listening experience more of a slog, but if there is an album from them that focuses more on that aspect, I would probably like that quite a bit.

My biggest regret in life may be never having the blessing of seeing Daft Punk live. I have had a deep infatuation with this duo and their undeniable genius for a long time now. Discovery is one of the finest pieces of music I have ever heard. But I think you would find plenty of fans of Daft Punk who have never heard Homework before. I had only listened to the first handful of tracks before today, but I always had the intention of going back. I find that Discovery focuses on the beauty of adolescent curiosity and growing up. Homework, on the other hand, is the older and more mature brother to Discovery. The sound of this album is darker and more heavy, which fits the clubbing scene much better than their sophomore album. Not that it can't be played in a live setting, but you are more likely to hear "Revolution 909" in the club than "Superheroes". And I think the album both benefits from this sound and falls short due to it. Because on one hand, the music has everything that makes Daft Punk so enjoyable to listen to. The way they layered and built their sounds was genius, and it often meant that the best part of a Daft Punk song was the end, when the puzzle pieces all came together to reveal the whole picture. Just watch the music video for "Around the World" and you will see what I am talking about. But on the other end, the textures and sounds here are just not nearly as refined. It feels as if they really sanded off a lot of the more aggressive instrumentals, and I'm glad they went with that move. Because songs like "Rollin' & Scratchin'" and "Rock'n Roll" are often subject to criticism, understandably. They are just very abrasive and hard on the listener. Maybe in a dark club setting like that of the opening scene in Wesley Snipe's Blade movie would these beats fit, but to the average person, they just aren't that pleasant. I actually enjoy the former track, but "Rock'n Roll" not so much. Some other highlights are "Revolution 909" and "Alive", which are honestly beautiful, and give me this warm nostalgic feeling. "Around the World" is instantly recognizable, and while maybe the most repetitive song on the whole record, it will hit every time I hear it come on. I love Daft Punk. That will never change. I use their music as a gauge. If you enjoy Daft Punk, we will probably get along and be friends. If not, maybe don't talk to me, Because how can you not love them? The simplicity of their music makes it so easily accessible, and yet they have some of the most deeply studied production and instrumentation of any group ever. Their music truthfully has not aged a day, and still sounds as pristine as it did the year it came out. Homework is no exception to that. It isn't the absolute masterpiece that Discovery or even RAM may be regarded as, but it is still a worthwhile debut that proves Daft Punk had it from the very beginning.

This album takes a lot of different ideas and puts them all into one big melting pot. There is a lot on offer here. We've got Ska music, and some new wave, and some pop rock/punk. All genres that are adjacent to each other in some way, but also with their own unique characteristics. And Elvis does his best to blend those elements together on this album. I found that this album also balances two different time periods in music. Elvis' vocals would feel right at home on a 2000's pop punk record. But the instrumentation, especially the keyboards and synths sound straight out of the late 70's and early 80's. This record is just full of interesting combinations of ideas. That doesn't necessarily save the album from repetitiveness. They try a couple new things on each song to keep things interesting. But the variation is minimal. I do think Elvis actually has a really nice singing voice. It fits the aforementioned 2000's vibe really well. But nothing is super special about what the band is playing from song to song. As a songwriter, Elvis might be one of the greats to some people. And I'm not denying that he doesn't write some compelling lyrics on this album. They are eccentric and silly, but also filled with a slight bitterness to whomever he is speaking about. But I don't see this album as the glowing achievement a lot of others claim it is.

As someone who has lived in Illinois my entire life, and hasn't left it much, it was inevitable I listened to this album at some point. I would like to say I am pretty qualified to review this. And I get it now. Sufjan Stevens is nothing short of a genius. This is a compositional masterpiece, and beautiful in every sense of the word. The orchestration and arrangements are something I've never heard captured in a bottle like this before. It is like the Goldilocks of singer-songwriter music. Considering how ambitious the scope of this album can seem to be, never once does the music overwhelm the listener. Never once do the people playing their instruments try too hard to impress you, or make it obvious that they want to blow you away. They do it so subtly that it sneaks up on you sometimes. This album is filled to the brim with some of the most gorgeous and luscious sounding instrumentation you will ever hear. Even if the other 48 state albums will never come out, it is clear that Stevens did his research for this one. This record is laced with references and lyrical themes based on the history of Illinois and its cities. From John Wayne Gacy, to The World's Columbian Exposition, anyone local to the area will find something to connect with. The centerpiece that ties everything together would have to be the song Chicago. It takes all of the elements spread throughout the rest of the album that make it so amazing, and combines them all into one masterfully executed song. Now, from the titles, to the somewhat long track list, this album can seem daunting to a first listener. But most of the longer ballads are separated by much shorter songs that are closer to interludes. Some are as short as 30 seconds, and some are a little over 2 minutes. None of them are super notable, which doesn't seem like the point, but my favorite would probably have to be Prairie Fire That Wanders About. If we are speaking purely about the actual songs, then this album basically has no bad songs. Each one is individually unique, but also conceptually similar, and it makes for a wonderful and easy listening experience. I love the occasional elements of repetitive minimalism mixed in. The closing track Out of Egypt feels like it would fit right in on a Steve Reich album like Music for 18 Musicians. The Man of Metropolis is on the heavier side, and the fuzzy thumping guitar lead fits this sound surprisingly well. And parts like the syncopated piano on Feel the Illinoise!, or the bass on They Are Night Zombies!! could get stuck in my head for hours. I was really excited to get the chance to listen to this album before Sufjan's new record comes out in a few weeks. And consider me hyped, because I am officially a Sufjan Stevens fan. This album really blew me away, and I fell in love with its breathtaking production. It finds so much beauty in simplicity and feels like a road trip across the state of Illinois.

The title kind of says it all. To me, this is nothing more than some below average acid house/dance music. I'm not really sure why this album is in the list, because this doesn't seem like essential listening to me. There are far better records released in the same genre. None of the tracks do anything super interesting. They are all very average, and don't sound like they were produced by people who know how to make very good house music. Where the real problem lies is the song lengths. These songs are just way too long. The album is over an hour long, and it does not do anything to justify being that long. The only song I will give any credit to is Omega Amigo, since it is slightly less boring than the rest of the album.

The hardest working man in show business is what they called James Brown. I can see why. I'm usually not a huge fan when the audience is super loud in live recordings. It takes away from the music. But it kind of works for this album. Because they go crazy at the start of every single song. The people in that audience loved him. His stage presence and voice had a very commanding energy, so he really had the audience in the palm of his hand. I love Brown's voice, and I think for '62, this album sounds amazing. It was recorded excellently for a live environment back then. But I'm not as big of a fan of some of the musical content. I like the more upbeat tracks like I'll Go Crazy or Night Train, but the tracks that tone it down a little bit more just aren't super memorable. Usually I get excited when I see a song like Lost Someone that has a length of 8 minutes or more. But this particular song doesn't really do much in 10 minutes. It is kind of the same thing repeated. None of these songs are bad, and they don't take away from the quality of the record. They just don't do it for me. But if I were basing this review purely on whether this is a good live Soul record, this would be a great introduction to James Brown.

I honestly had a hard time trying to give this a proper review. Because if I were to review it poorly, I feel like I would be doing this album and its story a disservice. On one hand, this album is one of the hauntingly beautiful pieces of music I've ever heard. Ray Ellis and his orchestra do an absolutely excellent job backing up Billie. The instrumentation is sparse and simple, and mostly led by strings, but just extremely pleasant on the ears. I found myself imagining falling asleep to this, as it was just lulling me away. Those strings sound straight out of the music from a golden era Disney movie. One of those classic hand animated ones from the 30's and 40's. But on the other hand, that haunting beauty quickly became sadness as I learned the fate of Billie after the release of this album. She died a little over a year after this came out, making it her final release. And you can tell that she was clearly suffering while recording this. The pain in these seemingly simple love songs is almost palpable. And it breaks my heart to know she died with almost nothing, leaving behind a collection of work that, at the time, no one was willing to acknowledge as anything special. Thankfully, that is no longer the case in modern times. It lends credence to the idea that some artists are never truly appreciated until they are no longer with us. But because of that, I don't know if I ever envision myself coming back to this. Because this doesn't feel like an album you are meant to enjoy. That doesn't mean there aren't good things to take from it though.

It may sound harsh, but I was slightly dreading the day I would have to review this. The last thing I really want to do is piss someone off over a music review. But saying what I'm about to say might be one of the ways of doing it. First, let me start with one thing. I am very aware of how widely influential this album is. Across many different genres and spaces of music, and through many different songwriting styles. Many of which I love deeply. And I am not going to try and take that away from this album. This is an important piece in the history of modern rock music. But I'm also not going to sit here and pretend like I enjoy this anymore than those bands this album had so much influence on. This, to me, gets far outclassed in many ways by the other albums that exist because of it. I will say, because this is such a landmark album, it feels like an actual experimental rock album compared to some that are given that tag that are considerably more tame. But the record is almost experimental to its own detriment. Songs like The Black Angel's Death Song and European Son are cool sounding, but slightly novel and not that enjoyable. The lyrics are also dark, sexually charged, and borderline macabre. On the surface, you might not really notice it, but if you dig deeper, you can see why this album's content upset so many at a time where people weren't supposed to write about things like that. Of the two singers featured on this, I find that Lou Reed's voice fits this sound far better than Nico's. Coincidentally, the songs featuring Nico as the lead vocalist are the ones I don't really enjoy all that much. I fully understand why so many people hold this album to a level many artists dream of reaching. Some audiences prefer this gloomy, stripped back, and more lo-fi sound, and that's totally fine. But is this objectively #15 of all time material? I'm not so sure. I just don't think it is fair to judge and review an album so positively purely based on the merit that it inspired so much amazing music, when the actual musical foundation the album is built on isn't all that strong to begin with. Rating: 6/10

Like Digable Planets that would appear only a few years prior, Fugees was one of the finest rap trios of the 90's, even if they only had two releases. I do find that if someone is speaking about this group, they are probably only referring to one member. I wasn't aware of who Pras and Wyclef Jean were before this, and I'm sure a lot of people still aren't. Lauryn Hill excels at just about everything she does, which often overshadows the successes of her two cohorts, who are really solid on their own merits. But truthfully it is hard to not talk exclusively about Lauryn. Not only is she a fantastic writer and lyricist, but when she sings, it brings the song to a whole new level. This album has some of the catchiest and most memorable hooks and choruses of 90's hip-hop, mostly because of her. For example, look at Killing Me Softly. I knew of that song long before I ever knew who Lauryn was. The beats on this are pretty good. I find that the drums sound the same on pretty much every track, which is par for the course in this genre. But I like a little bit of change every once in a while. Enter the Wu-Tang (36 Chambers) is a good example of what I mean by that. A lot of the time, the drums feel like they take a back seat to the sampling on that record, and I would have liked to see more of that on here. But because the drums are the way they are, the beats have to rely on the sampling, and while the sampling isn't bad on here, I've seen and heard better. I'm honestly glad I got the chance to hear this before I will inevitably listen to The Miseducation of Lauryn Hill, because I like seeing an artist's progression in life through their music. Rating: 7/10

Learning to love a genre I really had no interest in has been a fun experience. And as time goes on, I find myself enjoying new wave and synthpop more and more. This album in particular is probably the most synth focused of the albums I have listened to in this genre so far. Some of these songs hit you with really great, massive sounding synth leads. The chorus on the opening track is a great example of that. I'm still not 100% on the vocals for this kind of sound though. To me, they still sound a little processed and over-produced, but I could eventually become used to it. Unfortunately, the b-side of this album falls short for me. I think the first half is really solid, but other than the closing track, nothing really stands out to me. Also wasn't aware that I had heard Don't You Want Me before, but I recognized it the moment I heard the chorus. Rating: 6/10

I'm not sure what part of this clicked with me so hard. It's not exactly like the reception is super positive. But I just found myself really enjoying this. It provides just the right balance of melodic guitar twang and funk to keep me engaged. Edwyn's voice caught me a little off guard at first, but I adjusted to it pretty quickly. There are just certain moments on this album I really like. For example, when the saxophone comes in on Rip It Up, I won't lie, I made the stank face the first time I heard it. It's okay to not like this. I'm sure there are better albums in the jangle/indie pop space, but from what I have listened to so far, this was a really fun and enjoyable album. Rating: 8/10

A slow burn. In many ways, that's what this is. And yet, this album singlehandedly contains some of the most crushing, heavy, and chilling instrumentation ever. But not heavy in a rock/heavy metal sense. I've definitely heard heavier and more technically proficient pieces of music before. But heavy like being hit by a freezing cold waterfall straight to the face. This album wants you to turn your volume all the way up and wallow away in the corner of your room, because that is the feeling it gives off. It's incredibly desolate and depressing, and even took a toll on the singer himself. But really, the heavy parts aren't the focus. The band spends far more time drowning in creepy and paranoid ambiance, just slowing creating tension and making it's vice grip on your soul tighter and tighter, until it's damn near white-knuckling you. And this is often accompanied by haunting spoken word passages performed by McMahan. Like Good Morning, Captain for example, which tells the story of a sailor lost at sea. Some people might be put off by the amount of time these songs just spend in the build-up phase. And sometimes, the release is so short, it can seem almost unsatisfactory. But trust me, when Brian finally lets loose, and they hit you with those absolutely gargantuan walls of guitar, you will be blown straight to Antarctica. Just put on a good pair of headphones and let yourself sink into the atmosphere of Breadcrumb Trail. That track alone could bump this album to a ten. It is one of the most unique songs I've ever heard, and sends chills across my body every time. Even if For Dinner... isn't exactly the most interesting song on its own, as a part of the full puzzle, it works. This album is truly a masterpiece. It is exemplary of every element that an experimental post-rock album should have, and more. And anyone that doesn't look to this as a benchmark in early 90's hardcore rock should rethink their inspirations. Rating: 10/10

This album has some hypnotically intense songs on it. This is probably the most commercial and mainstream big beat music ever got. And most of the real highlights are those couple of singles that got really popular. But there are some other deep cuts like Serial Thrilla that I enjoy. The problem is that with a genre like this, you don't really have a verse chorus structure to keep your song moving forward. And so these songs often mosey around the same melodies and rhythms. That translates into some of these songs being too long, and not justifying being as long as they are. Narayan probably doesn't need to be over 9 minutes long. if they trimmed some of the fat, this album might be better. I'm also not a fan of the UK Hip Hop type of rapping on some of the songs. Considering the vocal parts are usually just the same lines repeated over and over again, they become slightly annoying after a while. Rating: 6/10

To me, this is just your average, run of the mill hard rock album. And I think this album got off on the wrong foot for me, because those two first songs seem pretty bland, and largely derivative of other hard rock bands I've heard from this time period. But to my surprise, the two songs after that were way better than what came before it. They just had far more engaging instrumentation from the band. Sadly, after that, the only song I enjoyed was The Way I Choose. They stuck with what worked at the time with this album, and because of that, this album has a few big iconic hits. It fits right in with the rock sound of the late 60's and 70's. I like that sound, but not everyone can be the next Led Zeppelin. Sometimes it's better to go with a new idea and hope it sticks the landing. Rating: 5/10

This is somewhat of a tough listen, even for me. I would consider myself pretty desensitized and comfortable with more aggressive and abrasive music. But pretty much from the moment this starts, to the moment it ends, it is an unrelenting ride of some of the most hostile noise rock I've ever heard. In all honesty though, the technical proficiency between the two band members is definitely there. There might be lyrics, but I can't hear them over everything else. Even so, the fact the drummer plays the way he does, and sings at the same time, is very impressive. And the bass guitar is tuned so low and is so distorted and fuzzy, it sounds like a synthesizer on some songs. It is pretty remarkable that any amount of sound or unique melody is actually to be found on this album. Everything sort of blends together, because there aren't really any breaks from one song to the next. And the album mostly has one type of sound. They for sure got that kind of sound down to a science, and perfected the execution of it. But because this is noise rock, the foundations the genre is built upon don't leave much room for variation. I can see there being some interesting experimentation done here, with the addition of other instruments, so I'd be interested to hear their other albums. Although, this isn't actually my first experience with Lightning Bolt, since I listened to Fantasy Empire awhile back on my own accord. And I enjoyed that one slightly more than this. Mostly because I think the band benefits from a more hi-fi sound. The lyrics especially, since Chippendale's voice actually comes through clearly, instead of being buried under the bass. I think Lightning Bolt is an interesting noise rock band. Their album covers are so fun to look at, and perfectly match the absolutely blaring and chaotic train wreck you will find yourself in when diving into one of their records. If you enjoy noise rock or are just in the mood for something really heavy and brutal, this album might be for you. Rating: 6/10

I was fully prepared to not enjoy this. After listening to it, I like most, if not all of the songs on this. This is just easily enjoyable metal music that even someone who has very little experience in the genre could probably enjoy. This has all of the things a metal album would need to be good, like catchy and heavy riffs, and powerful vocal performances. For some reason, this felt vaguely familiar to me, even if I haven't heard any song from this before. It may be because my dad played a lot of AC/DC when I was younger, and this reminded me of that, which may sound insane to Judas Priest fans. I feel like AC/DC is slightly more hard rock than metal though. Rating: 7/10

I think I need to do myself a favor and re-listen to Who's Next, because I can't tell if I like this one better, or if I like them equally. This is credited as one of the first real rock operas. And because of that, this album tries to tell a story. A story that, if you look into it, is actually kind of interesting and slightly dark. But due to this sort of concept album feeling, there are a lot of much shorter songs, that aren't really all that interesting musically, but are there for the purpose of telling the story, (Tommy's Holiday Camp comes to mind). The Wall did the same thing. And it is the reason why I am not super into that album. There is just a lot of padding and bloat in both of these records. This album has 24 songs, but is only an hour and 16 minutes long. This album also feels scaled back compared to its successor. The energy and power isn't really there, and Keith Moon, who is still an excellent drummer here, feels held back considerably, compared to the way he soars over the kit on songs like Bargain. This album just doesn't have those specific moments everyone remembers that makes Who's Next so memorable. Roger's scream at the end of Won't Get Fooled Again might be one of the greatest career highlights of any 70's band ever. But I think in terms of pulling together a large scale concept, this album does a good job. They try a lot of different ideas here, and it makes for an ambitious, at some points overwhelming, album. Again, not 100% sure which one I like more, but I think for now, I will give it to this record. Rating: 7/10

This is one of the most blown out and outrageously fuzzy albums I've heard from the 60's so far. But I'm not gonna lie. I have definitely heard more interesting, and just flat out better psych rock before. This feels a little bit like a one trick pony type of deal. Because this is such an early, primitive form of heavy metal, the guitar overwhelms everything else, and the bass and drums kind of fall behind in comparison. And every song sounds like this. It is just a little overwhelming at some points when all you are hearing is this spine shaking guitar blowing everything out. Rating: 5/10

If Steely Dan had a female vocalist. I don't know if it's as instrumentally dense and refined as a Steely Dan album, but it still feels just as uplifting and breezy. Joni just absolutely soars over these cool soft jazz rock instrumentals with her beautiful voice. In France They Kiss on Main Street is an excellent opener, and does a good job of setting the tone for the rest of the album. And I think every song tries something different to innovate slightly on the sound the album is going for. For example, the Centerpiece section of the 8th track with the piano sounds amazing. The only song I don't enjoy is The Jungle Line. Purely because it leans so far into the left-field, and is very out there compared to the rest of the album. Rating: 7/10

A solid disco album, with some great funky bass lines and instrumentals. Having four vocalists adds a lot of dynamics to the music. But it is just slightly boring, and each song sounds kind of similar to the next, so everything just blended together in my head, and nothing stuck out to me. We Are Family is a classic song though. Rating: 5/10

This blends elements of Americana with neo-psychedelia, and it is absolutely beautiful. My favorite parts are definitely when it leans more into the latter, but the parts led more acoustically are just as good. Every part of why I love Yankee Hotel Foxtrot is also why I love this album. Most songs on this are above 5 minutes in length, and I found that they often took their time in developing a song and slowly building to something great. An Ocean in Between the Waves is a perfect example of what I mean. And truthfully, I never found myself tired of a particular song because it went on for too long. Under the Pressure is nearly 9 minutes long. But what an amazing opening track it is. That is how you properly start an album off. Rating: 8/10

Let me start by giving credit to Ravi, because he is an incredibly skilled sitar player, and whatever he set out to do on this record, he accomplished. But this is kind of categorized as "educational music". And it is in a way. This is meant as a way to introduce western audiences to the most basic and traditional form of Hindustani classical music. And it does that very well. but that doesn't mean I really enjoy it. I mean, on the first song, even he makes it clear that this album doesn't contain any normal melodies or chord progressions we are used to. So I don't feel like I am missing out on something by not absolutely loving this. Rating: 3/10

One thing I know for certain in life is that you can never really go wrong with jazz music. And I was very excited to listen to this album. Unique time signatures combined with cool jazz is a recipe for success in my book. And this is an absolutely killer jazz record. This is the kind of music I can envision following me through different stages of my life. And it's hard to put this on and not decompress and calm down. It just naturally has that effect on me. Strange Meadow Lark feels like the music you would hear in a Charlie Brown Christmas movie, or funnily enough, even The Boondocks, but that may be because I have been watching that show so much as of lately. Three to Get Ready and Kathy's Waltz reminds me of the Club Penguin pizza parlor music, which is honestly iconic at this point. And I'm pretty sure I've heard Three to Get Ready sampled somewhere before, but I can't remember exactly where. Take Five is instantly recognizable, and an absolute classic jazz song. That 5/4 time with the syncopated drums is nothing short of genius. I haven't heard much jazz so far, but this is probably my favorite of the jazz records I have heard. It's simple in all the right ways. A lot of the time, jazz can have very large arrangements and orchestras, but this album manages to do more with just piano, bass, drums, and one saxophone. Rating: 9/10

When I saw Captain Beefheart, I got a little worried. This is the guy who created Trout Mask Replica after all. So I was prepared for something really out there. But this wasn't like that at all. This is mostly just a slightly above average psych rock album. I will clarify that this album is still definitely weird. There are plenty of strange, and even mildly unnerving, moments on this, where you can only wonder what kind of mental state he was in to create something like this. Beefheart also has a really interesting voice. Again, it's weird, but it fits the sound. The one song I can really praise is I'm Glad. This feels like the song where the other band members play their parts the best, especially the backing vocals. It is just a very simple and lighthearted love song that I really enjoy. Rating: 6/10

This album is long. When I saw that 100 minute length, I got a little scared. I was worried I'd be stuck listening to an hour and 40 minutes of nothing. But once I played that first song, I knew I had something special on my hands. Truthfully, this album is worth every second of its runtime. George might not have been the most prolific or popular member of The Beatles, but everything he was capable of shines through here. There is probably so much I could say about this album, but I'm bad at talking about individual tracks. Overall, this album just has so much love in it, and it warms the heart. Most of the songs are softer and more chill. It is an excellent blend of pop rock and folk rock. But there are also some bangers on this, like Art of Dying. Or pretty much the entirety of the E and F side. I like how bluesy and jammy those last couple of songs are, but I don't know if they really hold up to the rest of the content on the record. Honestly, it might be overplayed, but just listen to My Sweet Lord once and you will understand why this is so special. Rating: 8/10

Of what I have heard from Incubus so far, I think I prefer S.C.I.E.N.C.E. slightly more than this. Something about the pure and unbridled, almost juvenile, chaos that album is filled with appeals to my soul. But make no mistake, this record is still heavy. This does feel like the band tried to focus more on the alternative metal side of things instead of funk metal. And I also find that Brandon chose to focus more on delivering powerful vocal performances that really push his abilities for this record, instead of just more raw energy for the band like their previous album. One small thing I like is the various sample flips and DJ scratches sprinkled throughout this album. They aren't as prominent here as they were on S.C.I.E.N.C.E., but when they do come in, they add a nice touch to the overall sound. The three big singles from this album are all solid. But easily the most interesting one is Drive. Not only is it the most popular song the band has ever made, it is the only song on the album that is entirely acoustic. And it gives an interesting glimpse into the kind of sound the band would go for moving forward. Rating: 7/10

Something seemed familiar about this when I first put it on. Once I learned that Nile Rodgers was in this band, it all made sense. That bright and jangly guitar sound he has is easily one of my favorite tones of any guitarist ever. But the guitar is not the only exciting thing going on here. This is honestly one of disco's greatest bands. They still sound fresh and new, even for today's standards. And this album is just bop after bop. It only really slows things down twice, and while those aren't my favorite tracks, they are a nice break from everything else, and still solid songs. But everything else is some of the catchiest and most fun disco music you will ever hear. Everything here just grooves so hard. And Le Freak is undeniably a disco classic at this point. If you are looking for something to get your body moving, this album has it all. Rating: 8/10

This album somehow manages to balance being heavy and refined at the same time. It is labeled as industrial rock, but still has this cleaner post-punk 80's sound. It is so hypnotically intense, but not abrasive or super distorted and blown out. There are definitely some heavier songs, like The Wait, which was even covered by Metallica. But the performances here are just so tight and in tune with each other, and sometimes they honestly groove really hard. The songs are structured in a way where the instrumentals get more dense as time goes on. Like the song $.O.3.6., which starts out very sparse and slowly builds and builds until everything comes together. There is just something that is very likable about this album, and I enjoyed it way more than I thought I would. Rating: 7/10

I've never really been a huge fan of Coldplay. It always seemed to me like they were trying too hard to be Radiohead. And this album doesn't get off to the best start. Politik and God Put a Smile Upon Your Face are solid songs, but nothing super interesting happened for the first few songs. But I think everything from Clocks onward is actually really great. This album is at its best instrumentally when it incorporates elements of orchestration, like the strings on Daylight. And plenty of these songs have these electric and evocative moments of energy, but there is also a fair share of moments where everything comes to a halt to let sheer beauty take the stage. The closer, Amsterdam, for example, is a stark contrast compared to the song before it. It is almost entirely led by Chris and his piano, until the last minute or so, where everything comes crashing down and the rest of the band comes in. It is an excellent way of ending an album, and brings everything to a close. Even a song like Green Eyes, which doesn't have the most interesting instrumental compared to other tracks, still has some of the most endearing lyrics of any deep cut on the album. Even if, like I mentioned previously, it seems like the band is trying to capture some of the lightning in a bottle musicianship that Radiohead had in the 90's and early 2000's, that isn't necessarily a bad thing. Because Coldplay did their thing on this, and when you get albums like this, I think it can be excused. Rating: 8/10

I feel pretty indifferent towards this album. And kind of this type of music in general. I have never had much of a connection to this sound. And so I see this as just kind of decent. I still enjoy some songs, but nothing sticks out to me as an excellent piece of music. For the positives, Tom has a somewhat unique voice, that is kind of rough and phlegmy. And the album is pretty short, which means no song is really overstaying its welcome. But because of that same positive, it does mean most of the songs just kind of fade out when they could probably keep going. Some songs don't get to do much because they are cut so short. Again, not a record that I really think excels in any one department, but something that I can see other people enjoying much more than I did. Rating: 5/10

This is a wonderfully bright, colorful, and breezy album. It really just brings out the best in me and puts me in a good mood. I absolutely love that opening track. And some of the baroque experimentation on here is pretty cool. It adds a level of uniqueness that more commercial pop music didn't really have in this time period. My favorite example would probably be the organ on Butchers Tale. It makes the song sound somewhat ghastly and chilling. I think some songs do come off as a little plain comparatively, and don't try as many interesting ideas. Rating: 7/10

I ended up enjoying this album way more than I imagined I would. I definitely judged it by the cover, and didn't go into it with high expectations. One thing I will say is that I've seen the idea that these guys were a very influential punk/proto-punk band thrown around when looking into them, but I had never heard of them, and they are easily the smallest band I have listened to so far. It makes me question how this album ended up in the book of 1001 albums. But that is besides the point. This is straight up unadulterated juvenile hijinks. It is rough, rowdy, loud, stupid, completely bonkers, and pure dumb fun, They just talk about your average horny pubescent teenager stuff, and it sounds good. The only complaint I really have is one two songs, particularly Back to Africa and Master Race Rock. Musically, they sound similar to everything else, but the lyrical content feels out of place and strange. It borders on being somewhat derogatory or offensive. I'm not sure what any of it is really supposed to mean, but those two songs kind of stick out like a sore thumb. Thankfully, it is just those two songs though. Rating: 7/10

I have never claimed to be a huge fan of folk rock. But there is a certain part somewhere inside of me that loves an acoustic guitar and how simple it sounds. Fleet Foxes are one of the true 2000's indie darlings, and this album is pretty much an indie folk classic at this point. And this is really the perfect time of year to listen to this album. Because it feels so rooted in autumnal vibes, and gives off such a warm and nostalgic fall feeling. And it has some truly gorgeous moments, where the songs sound massive, largely due in part to the rich choral vocals and orchestral arrangements. The song Blue Ridge Mountains is honestly nothing short of a masterpiece. Although the rest of the album is good, I wish everything else was to the same level of quality that this particular song is at. It does everything right, and feels like they took each element of the album that is good, and perfected it, then put it into one song. Rating: 7/10

Music like this gives me life. Music like this gives me hope, makes my day better, and fills my heart with love. How can you not love jazz? I have a hard time giving a jazz album a low score, because I have a hard time not loving jazz music. These three manage to do more in 6 songs than some can say for their entire careers. Aside from maybe two songs, every track has a bass solo on it. And I am glad it was done that way. Because Scott 100% takes advantage of the time he is given, and shows off his mastery of the bass in an excellent way. You want to know what my favorite part of this record is though? It's the crowd ambiance. For some reason, I love the noises of the people in the club. It is somewhat quiet, but on most songs, you can hear the sounds of the hustle and bustle inside of the Village Vanguard. It adds the perfect atmosphere to the record, and because it was left in, and the trio just plays right over it, it really makes you feel like you are there while they are playing. Scott's death shortly after this was recorded is so tragic, and it breaks my heart knowing this was the last time Bill ever saw him, and how it affected him going forward, but I'm glad we have a set of masterful performances from him to cement his legacy. Rating: 9/10

Something that has always confused me, especially as of recently, is just how massive U2 is. They had one of the highest grossing world tours ever, are one of the highest selling rock bands ever, and currently have a residency at one of the most impressive music venues ever built. They are also the first band to ever play at that venue. Their fame is so immense, it kind of blows my mind. And for some reason, I was so ready to hate this album. I didn't want to like it. But it is undeniably a really great 80's alt-rock record. The only way it can really be described is massive. It's stature and presence is almost overwhelming, and these songs were built for a big stadium like the Sphere in Las Vegas. Plus, any album Brian Eno has his hands on is probably destined to be a classic. Songs like Without or Without You take their time to build up, and have these beautiful moments of crescendo spread throughout. But there are other songs like Bullet the Blue Sky that feel more traditional. Trip Through Your Wires is a straight up rocker, with this loud ass Bob Dylan-esque harmonica that comes in part way through. Rating: 8/10

Let me clarify that what I'm about to say isn't a bad thing. Technically this could be considered a good thing. To me, this sounds like Ziggy Stardust without all of the personality of Bowie's character or the conceptual aspects of the albums. This album sonically is still good. It has the flair of glam rock with a hint of theatrics in it's execution, but it also feels like it is still latching onto the sound of the late 60's and early 70's, where guitars got more distorted and drums got heavier. Marc's vocals really do remind me a lot of David Bowie. I believe there might be some sort of character that he is trying to play, but I didn't really pick up on anything. Again, it is why I say there is definitely some Bowie inspiration here. I mean granted, this only came out like a month after Ziggy Stardust. Rating: 6/10

Electronic music found its roots in Germany. By the time the late 20th century arrived, the push for more of it had made its way to the United States and Japan. But in regards to the electronic movement of the 70's and well into the 90's, there is probably none a finer group to have emerged from that scene than Kraftwerk. Most of the electronic music you listen to today can probably be traced back to this record in some way. This is just as essential of a listen as Selected Ambient Works 85-92, Autechre [LP5], and Feed Me Weird Things are. It's cool, chilling, and rhythmically hypnotic. Lyrics are sparse, which leaves only the synths themselves for you to attach yourself to. It's simple, and simultaneously dense once you begin to peel back the layers. There is also a sense of danceability to these tracks. Neonlicht, for example, instantly clicks, and is addictively fun and colorful. The drum beats are snappy and tight. Really this album has as many synth leads, pads, and arps as one could ask for. It is an excellently constructed and put together piece of electronic music, that would go on to push the boundaries of this kind of sound in more traditional and mainstream rock and pop based music. Rating: 8/10

For the better part of 40 years, The Cure and Joy Division have had the post-punk genre in a chokehold. I have always wanted to get into The Cure, but I wasn't ever really sure if I would like them that much. But this was probably the best way for me to start. It is also just the perfect album for Halloween. It's moody, brooding, and hazy, and sometimes feels like a daze as these dark melodies swirl around you. This album sounds amazing. Chorus is one of my absolute favorite effects you can put on a guitar, and every lead guitar is absolutely drowning in chorus on here. They fill your ears and your head with these dense and deeply rich guitar and bass parts. I can also appreciate how the drums kind of take the back end on the record. Most of what Tolhurst is playing is quite simple, especially on tracks like the titular closer, and the drums sound much quieter compared to everything else, which lets the rest of the band take control and lead the way. Robert also seems to be taking more of a backseat. There is definitely singing, but it is infrequent. Some songs are entirely instrumental, and those that aren't have decently long passages without lyrics. Rating: 9/10

This is definitely an album with music on it. I know that for sure. But I really don't have anything to say. Because at this point, I have already written about and reviewed like a dozen albums that sound just like this. So if you want my thoughts on this record, go look at any of those reviews. I'm Not Your Stepping Stone sounds pretty cool I guess.

If there were any time to get yourself familiarized with De La Soul and their discography, it would be now, considering that for the first time ever, their music is fully on streaming. And their debut record proves just how ahead of the curve and eclectic they have always been. This album is one of the first true jazz rap records. And considering it came out in 1989, 90's rap would take many notes from this album. But I have to be completely honest. The beats are consistently solid and well made. That is for sure. But I know the highs that this genre can reach. And to me, this isn't 100% it. I don't think this group would really reach the peak of their blend of abstract and jazz hip-hop instrumentals until the albums that came out after this. My biggest complaint for this would honestly have to be the skits. Now usually I don't mind skits at all. MF DOOM puts a skit in damn near every song, and I love most of them. And De La Soul were some of the first to do skits. But if you cut all of them out, it takes almost half of the album away. This is only 23 tracks long because of those. It sounds like they were having fun while making them, and that's great, but does De La Orgee really need to exist? Reminds me of the "blowjob" song from Ready to Die. Really, the biggest appeal this record has is just how much fun it is. Every song is lively and full of energy. There really isn't a dull moment to be had. One of the best mood boosters, and an album that will have you feeling great about life. Rating: 7/10

Bob Marley was nothing short of a beautiful human being, with a beautiful soul. Even beyond the music, his impact on the world through his actions and words made him one of the brightest figures of peace and love, which is what he always spoke for. He was a positive force of nature. And especially with this album, those feelings are portrayed perfectly. This album wraps itself around you like a warm hug. It really is the most essential reggae album. If you were going to pick one to be the only reggae album you ever listen to, it should be this. Such a soothing, pleasant, and relaxing listening experience. It's easy to just get lost in the music the band is playing. I would say personally I enjoy the B-side more, as I think it is more consistent and has the best songs. It has the three big hits on it, which are all absolutely amazing tracks, that on their own portray every good quality of the music on this record. Rating: 7/10

A sad reality in life is that people really don't make music like this anymore. There is so much modern music that I absolutely love, but artists nowadays don't really release music to the same level of quality and care as something like this. This is 4 tracks of soul excellence. And one of the most important albums in the genre's history. Honestly, I don't think I've ever heard a song, or just an album in general, start the way Walk On By does. It inherently feels cinematic, due in part to those incredible strings. Strings and horns in funk and soul music always do something to me. This album starts off with a bang, and having it be this 12 minute long epic is a risky, but worthwhile power move. Thankfully the song is amazing. Isaac's voice is smooth and sultry. And those characteristics, combined with the horns, (again), and the backing vocals, potentially make One Woman one of my favorite love songs of all time. It is the shortest song by far, but I love the build up, and just how emotional it is. We also get a little bit of spoken word from Isaac on By the Time I Get to Phoenix. The second half of that song is great, but because of the first part, it feels like a song I would only listen to if I really felt like it. It takes more attention to listen to, and felt a little long-winded. Really, this album is a piece of art. All music is art. But not all music is art in the way this is art, or in the way other music is art. Some albums just excel at reaching parts of your heart and brain that others can't. This album is one of them. Rating: 8/10

Learning to love 80's music has been a really fun and interesting experience. Especially new wave. It is such an intriguing genre of music. Because there is this strangeness to it. It always feels a little off-kilter. The Police's Synchronicity blends new wave with more traditional elements of rock. And what keeps this album moving is the technical proficiency of each member. Particularly Stewart Copeland. He is so tight and precise, and his internal timing is incredible. I love his work on this album. But the other 2/3's of the band absolutely hold their own. The A-side is filled with pulsating and high energy bops. But once you get to the B-side, things slow down quite a bit. These songs are good, but aside from Every Breath You Take, I'm not super fond of any of them. The one thing that the album benefits from for the slower songs is that Sting's bass comes in even clearer, and it sounds amazing. There is one specific song I do have to mention in detail though. Mother genuinely confuses me. Because it kind of sucks. It is somewhat of a blemish on an otherwise really solid album. It is the only song Summers wrote for the record, and thankfully so. I'm not saying the whole album would be astronomically better if this song wasn't included, but it could have probably done without it. Rating: 7/10

There is probably no community in music that is more divisive and intense towards each other and towards outsiders than the punk scene. Punk is built on anger and rage. And as far as I know, for real true punk rock heads, Sex Pistols aren't the most popular group. They kind of went against the antithesis of punk rock, and everything those people fought for. They were "too poppy", "too mainstream", and "not independent enough". They weren't sticking it to the higher-ups as much as they should. People get really passionate about how much they dislike this band. Now me personally? I could care less. I like music for the music part. None of that discourse has anything to do with me, so I will just observe the band as they were. They sound pretty cool. Is the music here maybe leaning more towards glam than punk? Yeah, but I don't think it is that big of a deal. Johnny Rotten is absolutely wailing on every song. And the other members are constantly firing on all cylinders. There is still the rebelliousness, and the spite, and the yelling. It just wasn't done in the way some people wanted it to be. I won't lie though, I got a little tired of this by the end. The songs are mostly short in length, and the album isn't too long either, but something about 12 tracks of little variation became grating. I just needed some mix-up to keep things interesting. They chose not to do that, so I lost interest. I got sick of hearing Johnny howling on every song in his grimy London accent. But make no mistake, this is still a solid punk rock record. I wouldn't consider it the peak by any means. There are definitely better albums. This just launched punk into the mainstream, more than anything before it. And remember, that's a bad thing. Rating: 6/10

First off, let me begin this review by saying fuck Marilyn Manson. He is a terrible person who traumatized many with his actions, and I wish I had a way of listening to this without backing him financially in any way. I have the utmost love and respect for those who dealt with his abuse for so long, and I'm glad they are doing better now. I will try my best to separate the art from the artist with this album. But that can be hard to do. I consider myself someone who is more comfortable and desensitized to music like this than the average person. But I won't lie, this even had me thrown off at the beginning. There was a point where I didn't know if I would be able to finish listening to it. From the first song, the album grabs a hold of your neck, and squeezes as hard as it can, and doesn't let go for a moment. It suffocates you with some of the most crushing guitar tones I've ever heard. It was like metal and shoegaze were merged. It honestly made me uncomfortable and tense, and made me feel like my head was spinning. It doesn't help that Manson is letting out these blood-curdling screams on nearly every song. I think I like when he does that better than when he actually tries to sing, because he doesn't have the best singing voice. Trent Reznor did a lot of work for this album, and you can feel it. That magic he leaves behind is all over this record, but I don't think anything he has ever done for Nine Inch Nails was as overpowering and heavy as this is. The album is divided into three different "cycles". I'm not really sure what the concept for the album is, but of the three, the third cycle Disintegrator Rising is easily the best. It turns everything up to the max, and has the best songs on the album. It honestly bumps the whole record up quite a bit because of how good it is. This album probably isn't for the faint of heart. And I don't mean that in a pretentious way. I just don't think the average person is going to be able to get into this. It was somewhat difficult even for me. To be honest, Marilyn scares the shit out of me. Rating: 7/10

I love this album. Probably way more than I should. Because this excels at almost nothing. It doesn’t go above and beyond in any particular category. The lyrics aren’t life changing. The guitar playing isn’t mind blowing. It does nothing to prove itself to the listener. And yet, that is that makes me love it so much. It thrives in its own simplicity and plainness, and just exists. It reminds me of that weird uncle in your family, who you are not even sure has a job, but you can’t not love him. There are only three people playing on this, and something I really liked is when the bass player would come in with backing vocals. Her voice is really sweet, so it adds an extra layer of warmth to the music, especially on songs like My Drug Buddy. I found it hard to really dislike this. The album doesn’t try to be anything it isn’t, and just gives you all that it’s got. Rating: 8/10

For an album of this vein, I wasn't anticipating how honest and emotionally open and intelligent it was. Which is not to say that this kind of music can't be. Of course that's not the case. It just surprised me. And that was the goal for the band. They wanted to create something more sincere than their previous work, and I think they succeeded in doing so. And the best product of this choice would have to be the song Androgynous. Consisting solely of Paul singing while playing the piano, it focuses on the idea of gender identity and being comfortable in your own skin no matter what others say. For this time period, it feels very forward thinking, and was not what I ever thought I would see on here, but it's a beautiful song, and I love it. While I think the rest of the album is mostly on par in terms of songwriting, most songs are more traditional alternative power pop. Paul has the perfect amount of teen angst in his voice, and the rest of the band is very punk adjacent, with more aggression and energy in their playing to keep things moving. Rating: 7/10

There is no band that better exhibits the finest characteristics of progressive rock music than King Crimson, especially with their debut. They laid the ground work for this genre, and the experimental rock scene as a whole, back when music like this didn't really exist. And no group in this space of music would make anything even as remotely impressive and groundbreaking as this for the better part of a decade (Wish You Were Here comes to mind). And there is no better song to start with than 21st Century Schizoid Man. In my mind, this has always been THE prog-rock song. It has every quality of the genre, and does every good thing a prog-rock song should do, and in less than 7 minutes. Not every song on a prog album has to be some 20-minute long monster. And I think they knew that. Giles' drumming on this is the stuff of legends. This is basically the song of my dreams. If you were to go inside my head, you would probably hear this playing. Everything about this song is stellar. Easily one of my favorite songs ever made, period. I Talk to the Wind is an incredibly stark contrast from the previous song, but it works as a much needed break. And it acts as the only break you really get the whole album. The combination of Ian's flute with Lake's vocals is pure bliss. It feels almost jazz-like in its execution. Epitaph isn't my favorite song by any means, but I still love it. Such a tragic and solemn song, with some of the most moving instrumentation on the whole album. I like how orchestral it feels at some points. The Rolling Stones did describe them as like an orchestra, and they weren't entirely wrong. Moonchild is the only song I don't really enjoy. It is almost as disarming and calm as I Talk to the Wind, but that creeping build up throughout the whole song led me to believe something crazy was going to happen, and the pay off never came. It is basically 12 minutes of nothing. It does show off that King Crimson's weird side has always been there, and they have always had a knack for trying interesting ideas. But I guess that pay off that I had been looking for can be found in the closing track The Court of the Crimson King. The cut between those two songs caught me very off-guard, but what a momentous and beautiful way to end your album. The chorus is so thunderous and feels larger than life. That song alone could light up the sky with a million bright lights. Especially the last two minutes or so. You get this very strange and silly woodwind section, and then you are launched into the Crimson King's court. King Crimson's debut is hauntingly alluring, and so far ahead of its time to this day. That album cover still insights uneasiness in me, and I still believe I can see skulls in his pupils. But that may just be me. Rating: 9/10

There really shouldn’t be any reason for me to not like this. It has all the ground work laid out for an album I would love. And for an album of this caliber and acclaim, it should be a banger. But I could tell something was off when I put the first song on. And I’m saddened to say that I didn’t like this very much. To be brutally honest, I thought it was boring. There were a lot of times where I was sitting and waiting for the album to be over. It tries a number of things, and doesn’t hit it on the mark for any of them. Noisy and aggressive, but not noisy and aggressive enough. Slacker rock adjacent vocals, but sometimes it feels like the singers couldn’t care to try. And drumming that is trying to be fast and wild, but it just ends up coming out as amateurish and sloppy. Now I want to clarify this is just my opinion, and there are probably other people who feel very differently. And it sounds like I’m being harsh on this. Which to a degree I am, but this is also a huge record. One that people love and that is widely considered one of the best of all time. And there are certain parts of songs I enjoy. But I don’t think I could name one individual track that really stuck out to me. What I want to hear when I listen to other Sonic Youth records is more. More heaviness. Go crazier. Be more experimental and weird. Or do the complete opposite. Try something more lo-fi and chill, like the intro to Candle. But not this. This is too much of not enough for me to get into. Rating: 6/10

Courtney Love's presence in the public eye has moved so far past being a musician who was married to Kurt Cobain. In between the release of Live Through This and this record, so much had happened. I didn't even know she made music until recently. I only knew her as "the Kurt Cobain girl". And it explains the title of the album. That is a lot, even for someone as famous as she was at the time, to handle. So setting aside any controversy and conspiracy over the last 30 years, I want to acknowledge Courtney and her band solely for their music. Of which I think is some of the most respectable alternative rock of the 90's. This is a much cleaner sound than their previous albums, with more of a focus on alternative rock and power pop. And those differences are definitely apparent in songs like Boys on the Radio or the title track. This may seem dumb, but there was a moment where it felt like I was listening to Weezer with a female lead singer. Malibu specifically, which gives me such Beverly Hills vibes. And although I actually enjoy those songs quite a bit, and think Courtney matches that vibe very well, I believe her vocal inflections also lend her to being a good fit for the heavier sound too. And there are glimpses of that heavy sound on songs like Reasons to Be Beautiful and Use Once & Destroy. The latter of which I think has a really cool usage of synths. And although I don't want to compare Hole to Nirvana, because they are very much their own thing, the main riffs and melodies of those songs feel Kurt Cobain inspired. I mean come on, what alternative rock band wasn't borrowing from Nirvana in the 90's? Rating: 7/10

By the time Paul McCartney began his work with his band Wings, he had pretty much done it all. Once you've been hailed as one of the greatest songwriters of your generation, and worked as an integral member of the biggest band in history, where do you go? What direction could you possibly take your music next? For Paul, it was simply to evolve. And by evolve, I mean get weirder. Go newer, and get with the times, especially in the 70's, where experimental stuff was becoming more commonplace. And there are definitely some interesting ideas here that you wouldn't probably find on any other solo album from the other Beatles members. The closing track, for example, is surprisingly funky, and almost disco-esque, and the only song with someone other than Paul on lead vocals. Very left-field, considering the rest of the music on the record, but he kind of hit it out of the park, and I love it. One thing I noticed that seemed slightly off was the mixing on some songs. Let Me Roll It was one that stuck out especially, because the guitar is super loud normally, but when Paul comes in, the guitar gets buried and goes much quieter. Some songs sound kind of flat, while others sound way more full. It's weird and made the listening experience jarring at some points. Rating: 7/10

Crazy that I get to talk about this only two days after Celebrity Skin. Because I called it. I said I thought Courtney would be better suited in a heavier format. And I was right. This is amazing. They go absolutely nuts here, and it's one of the most enjoyable album experiences from the 90's I've ever had. The best part of this album is without a doubt Courtney, and her energy/lyrical content. She is furious. Absolutely disgusted. Disgusted at the patriarchy, and at men, and at their vile behavior. And she puts it out into the world with such spite and vitriol. It makes me want to scream with her. I'll never have any way of knowing what those experiences are like, but what I do know is that she is glorious on this, and her being mad makes me mad at whatever she is mad at. The way she delivers "Fuck you!" on I Think That I Might Die is perfect, and I can't get over it. Her vocals are in a pretty consistent register throughout the whole album, but the power she brings in that register is so powerful. And the rest of the band is as equally on point as she is. They are heavy, distorted, and grunge as hell. She Walks on Me sounds almost punk with Courtney's vocals being so blown out on the verses. The only nitpick I have is that I wish the drums were a little louder in the mix. But I only nitpick when I really like something, so it's not a big deal. Rating: 9/10

Learning that rock and roll with and rock are technically different things was weird. Not gonna lie though, I don't care very much for "rock and roll". I find it to be a weak sub-genre of rock music. And it just feels very bland and basic to me. Maybe it just hasn't aged very well. But Elvis Presley is easily the most famous artist from this era of music. But he isn't the best by any means. I saw someone say that he isn't much of an album artist, and I would have to agree with them. Elvis was known far better for his infectious and attractive stage presence, and for being Hollywood's King of Rock and Roll. But none of that works very well in album form. There just isn't much for me to take away from this. I like very few of these songs because this isn't my thing. I'm not a squealing teenage girl from the 50's. And I don't really click with Elvis. Plus he was a creep. Rating: 4/10

If you are at all a fan of electronic or synthpop music, you have probably already heard this. Simply because this doesn't do anything that other records didn't already do before it. I just became less and less interested in this as it went on. That 47 minute runtime felt way longer than it actually was. I think some aspects of this sound cool. It's very meditative and chill, almost like ambient video game menu music. But it also feels tense and cold. The album cover is purely black and white, and you can almost hear that monochromaticness in the music. And at first I thought there was more than one vocalist, but she just pitched her vocals up and down in a variety of different ways. I thought the vocals sounded nice at first, but after a while, they started to get tiring, and they started to feel like they were taking away from the music, because they aren't amazing. I mean in reality, everything that Fever Ray tries on this record, Björk did like 15 years earlier. I feel kind of bad comparing her to a big artist like that, but this does feel slightly derivative of that style of music. Rating: 5/10

Oh The Beatles. It's cliche, but what can I really say about them that hasn't been said before? In the grand scheme of the last 50 years, my opinion matters very little. And yet, I liked to tell people I didn't like The Beatles. Even though I had never given them a chance. Don't know why. I think I just liked saying it. But what I'm going to say in this review is obvious. Yes, Revolver is good. Amazing in fact. I do actually like The Beatles. Rubber Soul marked a turning point for the band. But Revolver is truly when the Fab Four went from a huge band to something special. They continued to push their sound forward here, moving into more sophisticated territory. Songs like Eleanor Rigby, Love You To, and Tomorrow Never Knows show a clear evolution of their music. The amount of time that passed between their debut and this was only 3 years. It's remarkable how quickly they moved and became excellent songwriters. It is also remarkable just how in sync and harmonious these four were with each other. Around here, I won't tolerate any Ringo hate. Put him in any other band and he would probably fall flat. But for this group, he was undeniably a perfect fit. I don't know how good Revolver is as an introduction to the band, but it definitely makes me feel more confident knowing that I can actually enjoy their music and not try and pretend like it sucks. Rating: 9/10

Darkness can be beautiful. And Depeche Mode’s Violator is a perfect example of that. It is largely considered to be the definitive synth pop album. Before listening to this, I wasn’t really sure where I stood on Depeche Mode, but I found that there is undeniably some excellent songwriting on this record. It's brooding and moody, but in an elegant and intelligent way. And every song is so deeply layered, with all of these moving parts. The only way I can describe it is like there is this constant swirling mix of noise going around your head. That is kind of the beauty of music that is more synth and electronic based. You can add so many different unique sounds and textures, and just keep adding more and more, and as long as you know how to pace the music, it will sound good. And that is something they absolutely mastered on this album. The average track length is between 4 and 6 minutes long, but they don't feel that long, and they don't drag their feet to reach those lengths. I'll admit that for the longest time, I didn't think I would like this group, largely due in part to Dave Gahan's vocals. I was kind of put off by them. It reminds me very much of Robert Smith's vocal style. Staying in one register for most of the songs, and not deviating from it. It took some getting used to for me. But I've grown to like it, and I think it fits this style of music better. It's colder and more solemn, but also adds more emotion to the record. Rating: 8/10

The Eagles are an enigma to me. They are this huge band with millions of monthly listeners and multiple songs with hundreds of millions of streams. And the Their Greatest Hits 1971-1975 album is one of highest selling albums of all time. But they aren’t very popular from a critics stand point. And I can kind of see why, but I also think this was far better than it’s made out to be. For country rock, this plays it about as safe as you can get. And yet, it kind of rules for that. It’s simple and a good time. I even heard a banjo at some points. But it actually goes crazy, especially on Early Bird. He played that banjo like it owed him money. And I like that they mix acoustic and electric on the same songs, and they play at the same time. Again, very simple, but it works. This isn’t groundbreaking or anything like that, but I can envision myself as an old man playing this while sitting on my porch with my cup of coffee in the morning, watching the trees move with the wind. It has a mood to it, and it’s one I find comfort in. Rating: 7/10

I had a moment with this. I put on that first song, and within the first few seconds, I knew that I was in love. And if I liked the way Neil sang, that would seal the deal. And I do. I think he has a wonderful voice. And so I’m in love. This simply gives me the warmest and most fuzzy feeling ever. Why are all of the best albums not on streaming? I had many moments with this album actually. For example, on See the Sky About to Rain the moment where Neil starts humming over the keyboard and steel guitar at about 3 and a half minutes in, I literally melted into my chair on the school bus. The two longest songs are the title track and Ambulance Blues, and they both give such a grey melancholic feeling. I could feel myself getting emotional listening to that last song. The album cover looks so solemn and lonely, but also peaceful, and this whole albums’ mood matches those descriptions perfectly. Rating: 8/10

So far, this might be the most underrated album I've had the pleasure of listening to during this whole thing. I need to stop listening to what other people say about music, because I assumed this was mediocre based on what reviews said. It's safe to say I was blown away at how very not mediocre this album is. It is instrumentally dense, texturally diverse and deep, and beautiful and luscious. Think Beach House meets Lana Del Rey meets Big Thief. I say it sounds like Big Thief because she really does remind me of Adrianne Lenker, but it does also have some of those softer elements that Big Thief has. Alison's voice is raspy, but also blissful and polished sounding. And the use of guitars and acoustic live drums on some songs just completes the whole package. This is filled with some of the most wonderfully crafted dream pop songs I've ever heard. Clowns' strings sound straight from the pearly gates themselves. Little Bird has an excellent climax with those drums I mentioned previously. Some People has small hints of those drums as well, but is led almost entirely by Alison's gorgeous performance. And Monster Love is a climactic closing track, and maybe the most textured song on the record, with these massive sounding synthesizers as the main instrument. Each song on the album is uniquely strange and trance-like, and there are definitely some baroque inspired aspects on here as well. Ignore critical reception and what others say. I believe this is one of the most excellent and worthwhile listening experiences you can have for a dream pop album. If you are at all interested in the genre, please check this out. Rating: 8/10

My first full album from Beck. And what I was anticipating wasn’t really what I got at all. Because what a fun, vibrant, and unique listen. He somehow managed to combine alt rock with trip hop. And it doesn’t feel tacky or gimmicky. It’s as if they played and recorded all of these snippets, and then sampled themselves. So many different sounds are used on each song, and they get chopped up and looped in such interesting ways. But there is definitely some live instrumentation on tracks as well. You even get Jack White on bass in Go It Alone. There is a lot going on here, but for some reason, Beck’s very low and monotonous style of singing/rapping is the perfect thing to tie it all together. Something about it is satisfying, because it’s like even I can sing along to it. Plus if he had a very dynamic range, I feel like it would be too much for the music. Truthfully I don’t dislike any song on here. I don’t love them all, because none of them are perfect, but some are really great examples of why Beck is such an interesting artist. The only song I have any grievances with is Broken Drum. It is a tribute to Elliott Smith, and is probably the most traditional of any song on here. It has this surprisingly heavy guitar that I like, and isn’t a bad song by any means. It’s actually a beautiful one. But it doesn’t contain the same traits that make the other songs as enjoyable. Which is probably for the better. I’m sure Beck has stronger albums, but this seemed like a strong start. This is wholly unique, and honestly not like anything I’ve ever heard before. It’s not as if he invented sampling, it’s just the way he utilizes the art form. Rating: 7/10

I kind of hate using this term in this way, but this album is straight up vibes. Absolutely perfect for a beautiful sunny day in the summer. Sadly the weather where I live during this time of year doesn’t exactly fit that very well. But that doesn’t take away from how fun this album is. From front to back, it’s a good time. Sunshine Hit Me is a great title, as this does really capture the feeling of rays of Sun hitting your face on the beach. I did find that after This Town, the tone got ever so slightly darker. It felt like it was leaning more into the psychedelic baroque side of things. I liked that switch up, and thought it added more variety to an otherwise simple album. This album probably does wear its influences on its sleeve, but it also takes those influences in a new direction. A more modern one at that. And also combines those pop sounds with other genres such as reggae, like on No Trophy, with that signature snare sound. They didn’t allow themselves to fall into the category of just another 60s-inspired psychedelic pop album, as many artists in the same vein do, and I respect that. Rating: 6/10

This album truly blew me away. Never did I think I would be able to experience such a response from music as simple as this. The closest album I can think of is Music for 18 Musicians, but even that has more going on than this. Played entirely by one man with back problems on one baby grand piano in poor condition. And yet, against all odds, he succeeded. The first song is 26 minutes long. After about 8 minutes, I had to pause it to step away and eat food. When I came back, I restarted the song. I restarted the 26 minute long song of solely one man with back problems playing one baby grand piano in poor condition. It was so astoundingly beautiful, I simply couldn’t just pick up where I left off. It is actually incredible how much emotion Keith manages to convey with so little. Other bands would struggle to bring something like this out of me with an album that has 10 times the number of instruments. Keith’s three performances here are nothing short of genius. You would be hard pressed to find another solo piano recording stronger and more powerful than this. Part II C is just a short encore, but Part II A and II B are one song, reaching nearly thirty minutes in length. And in Part II B, all that Keith changes other than the way he’s playing is the key. He simply goes from a major to a minor key. In the grand scheme of things, it’s only a few different notes he’s playing. But it completely alters the tone and power of the music. It’s much more somber, and feels more articulate and complex than in Part II A. For anybody that has a deeper understanding of music theory, what I’m saying right now probably sounds so stupid. But to the average person like me, its all the difference. It’s rare I have this much to say about an album, mostly because I’m not good at putting my feelings and thoughts into writing, but I had to really try for this record. Anyone that had the privilege of being present during this performance is beyond lucky. This is simply 67 minutes of a master at work, and I am floored at it’s magnificence. Rating: 9/10

This might be one of the most deserving of a 6/10 of any album I’ve listened to so far. I don’t have much experience with this genre, but what I have heard from other artists I enjoy much more. It just feels like it meanders on a little bit, and is slightly self indulgent in its own sound. There are certain parts of songs I like, but not entire songs. Like they are giving glimpses of something more interesting. Rococo has a cool build up in intensity with the strings and distorted guitar. Empty Room takes off at break neck speed, and is the first song on the album to have Régine on lead vocals. It’s short lived but powerful. That song and Month of May lead me to believe they had more of a rock focus for this, but there are still elements of chamber pop sprinkled throughout. I like the melody of the closing track, and how it keeps the same lyrical themes as the opener, which wraps the album up smoothly. Although I saw it coming while listening to it, this peaks in its first two songs, and doesn’t impress me with anything after that. Rating: 6/10

Steely Dan are without a doubt the kings of yacht rock. At least in my opinion. I’m never in a bad mood of Steely Dan is on. This isn’t their peak by any means, but it’s a damn good start. This record, along with their sophomore album are the only two with the original band, before Becker and Fagen went full studio-band. That leads to this record having a much more simple and approachable feeling, with less complexity in the instrumentation. The lyrics are even mildly understandable, as opposed to all the cryptic lyricism they would get into later. This album single-handedly has some of the catchiest melodies and choruses of the 70’s. Do It Again, Dirty Work, Reelin' in the Years, and Fire in the Hole are in total ear worms. And those are just the more popular songs. The deep cuts are just as catchy and amazing. I think the safer sound definitely suits Steely Dan. It doesn’t change that this album slaps. But their pursuit for studio perfection led to some of the most intricate and best sounding albums ever released. They buffed out every scratch until it was smooth as marble, and benefited from it. Rating: 8/10

I would like to believe anything David Bowie touched turned to gold. This is closer to silver. Iggy kind of was the king of garage rock in the 70’s though. For an album released so late into the 70’s, it definitely feels like it’s taking from that raw power of the late 60’s and early 70’s more than anything. And you can definitely hear the Bowie on the album. Not only does he play on it, but his production style is all over this. Really, Bowie paved the way for rock artists like this. He did it with Lou Reed too. I am continually blown away at how much influence that man really had. Iggy’s voice took me a second to get used to. He has always been an interesting personality, and that bleeds through into this record. It’s dirty, energetic, and full of life. Listen to Turn Blue. The way that song ramps up and then suddenly comes to a conclusion is super cool. Objectively the most interesting song on the album. Rating: 7/10

This is rough. Like really rough. For day 100, I’m disappointed this is what I had to listen to. This is pretty much a cornerstone of shoegaze and noise music history, but damn do I not enjoy it one bit. Think of the most intense, primitive and rough around the edges kind of shoegaze guitar sounds you can think, then multiply them by ten-fold and fill a whole album with them. Some of these songs actually hurt my ears. Like my hearing felt off after listening to them. Prime examples are Taste the Floor and Never Understand. It’s just too distorted and loud. Better shoegaze bands found the balance. It’s so fuzzy and blasted out, what he is actually playing is almost indiscernible. The drummer plays very basic beats. He plays the same beat on multiple songs actually. And the singer has a voice that sounds like it would match a completely different music profile. His voice is so clean and smooth compared to everything else, it throws me off. The only song I can say anything positive about is Cut Dead, since it’s the only one that doesn’t blow my fucking ear drums out. Rating: 2/10

I am fully aware of the kind of album Frank Zappa and his band was capable of making. So as an introduction to the group, this isn’t the best way to make me want to listen to more of his music. This is a mix of psychedelic pop music, and experimental/satirical sound collages. It is supposed to be a concept album that parodies American hippie culture. And I was genuinely surprised at how heavy it leans into those sound collages. The amount of actual “music” here isn’t much. And the sound collages aren’t great. There is a lot of harsh cut-offs and scratches that kind of hurt my ears. I even thought maybe the 6 minute closing track, which is the longest by quite a bit, would be something really cool. But it was actually just 6 minutes of bits and boops. Random noises. The songs that are real music are okay. But not anything amazing. This tries to be a lot of different things at the same time, and it ends up just feeling like nothing. Rating: 3/10

“I knew we were going to have to be significantly better than we ever were, for anyone to say we were even half as good as we used to be”. That is what James Murphy said in regard to American Dream. James chose to step away from his band during a time where most other groups would be working nonstop. Being at the height of your popularity, and deciding to wrap it up is a bold move. Releasing a new album 7 years later is also a bold move. I may not be able to speak on how the quality of this compares to the quality of their previous albums, but what I can say for sure is that this is truly something powerful. While listening to this, I kept on thinking the same thing over and over again. This really reminds me of Talking Heads. I’m aware it’s silly. But as I got further into it, that idea only became more prevalent. James sounds so much like David Byrne here. The most glaring example to me was Other Voices, where he yelps “You’re just a baby now” like a Speaking in Tongues backing vocalist. There are definitely some 80’s post-punk influences here, particularly in the drums. This is just a more modernized and heavier Remain in Light. I can envision Tina playing the bass lines on this album. These songs are pretty long. The average track length is probably somewhere between 5-6 minutes. But I think this album really needed the songs to be that long. Because the build up that leads to the climax always pays off. Without fail, every time. There is such a density of things going on, and they needed to create space for all of those things to exist. The length of each song is just a byproduct of that. The closing track is both the antithesis of this idea and the polar opposite of it. It stands at 12 minutes, the longest song they’ve ever made, and is the most atmospheric song on the whole album. I’m going to make another Remain in Light comparison, but it really feels like their version of The Overload. The last few minutes with the piano feels otherworldly as it rings out. This might be the longest review I’ve ever written. I’m not sure why. This album just struck me. Different than most do. It feels inherently special in my heart. Who knows if Black Screen will be the last LCD Soundsystem song. If it is, I can say with confidence they ended on a strong note. Rating: 9/10

I genuinely believe CBGB changed the world. That isn’t exactly the most wild opinion, but maybe not one everyone would agree with. But the big bands that came from that venue completely changed the landscape of rock music in the 70’s and 80’s. And Television is one of New York’s punk darlings. But this isn’t exactly punk. Doesn’t feel much like it. More rooted in jazz and art rock than anything. It trades intensity for complexity. There isn’t any real heaviness or distortion. The anger is very clear cut. The tension is more held in Tom’s vocals. It feels like he could explode at any moment but he never does. Not saying that traditional punk music can’t have strong songwriting, but the performances on this album are genuinely stellar. It’s such unique songwriting, and there is life and energy flowing through every song. The drumming and guitar playing especially is some of the strongest of the 70’s. The true highlight is the title track. It is a diamond in a sea full of emeralds. A straight up masterpiece, and one of the best songs you will find over 10 minutes long. There is something inherently special about that song, especially the chorus. 1977 was really a beast of a year for music. And this album is another glorious example of that. Rating: 9/10

I find post-hardcore music so strangely beautiful. There really is nothing beautiful about it. It’s so self-loathing and angry at everything. There isn’t beauty to derive from it in the way you can find beauty in jazz or classical music. And yet I find a weird amount of emotional value in it. There is no other genre that insights the same kind of genuine desire to be mad. It’s a wonderful thing, really. I also love how melodic it is. It’s not heavy like other punk and hardcore music. It’s more lively, but still crushing and distorted. And every post-hardcore band plays their instruments like it’s the last time they ever will. But they play like that on every song. Every song has power. There are no sleepers. Yank Crime is all of those things. It is post-hardcore in a nutshell. If you wanted to introduce someone to the genre, this would probably be a good start. The vocalist really reminds me of Cedric from At the Drive-In. It’s that same 2000’s emo kind of screaming. It’s make you want to scream along with him and hurt your vocal cords while doing it. But who cares? Just go all out. You are listening to aggressive music. So just get aggressive and start thrashing around. Rating: 8/10

I won’t lie, with the amount of albums from the 60’s and 70’s on this list, there are times I feel a little fatigued. Especially by all of the psychedelic hippie music. Some of it just seems very cookie cutter to me. Where Os Mutantes’ debut differs is that it is actually unique. It combines Brazilian rock sounds with western psych rock. And this feels truly psychedelic. More than most other albums from the same era. It’s actually weird and trippy, which are qualities an album like this should have. This may be controversial, but Jefferson Airplane’s second album is a big “60’s psychedelic” album. And it didn’t really feel psychedelic at all. Not in the same way this does. The only issue is although those sounds are really cool, and I can appreciate, they don’t make for amazing music. Which is probably why there are bands from the same era who went more mainstream. They didn’t go that route. But that’s why this stands out. I can respect how they stuck to their roots and fused that generally don’t go together. Rating: 6/10

As much as they are truly the finest rap group there probably ever will be, the number of members from the Wu-Tang Clan who didn’t really have much of a solo career is surprising. With GZA/Genius, that is not the case. He always represented a strong leader type for the group, and that independence comes through very clearly on this album. Both this and Enter the Wu-Tang (36 Chambers) are very clear and concise as to what they want to be. But the energy is totally different. You feel that rebelliousness on 36 Chambers. This is darker. It’s grittier. And honestly, it’s better. I love Wu-Tang’s debut, but this is RZA and GZA at their absolute peak. Every beat is masterfully crafted, with insanely cool sample usage. And the lyricism is equal parts sci-fi, gangster rap, and samurai dynasty. I genuinely can’t pick one particular song that does something worse than the others. Each one could stand on its own. Even B.I.B.L.E., which doesn’t contain GZA in any capacity, and feels more like a bonus track than anything, is amazing. I actually really like the beat on that song. This is basically 13 tracks of near flawless hip-hop music. All killer, no filler. Rating: 10/10

The 60’s and 70’s were a time to be weird. Doing an ass-load of drugs and making strange music was totally acceptable. But people still continued to stick with what was popular, like always. And this record from The Kinks really is the best of both worlds. I was really shocked at how good this actually was. This is what I want all pop rock to sound like. The style of songwriting is a balancing act of whimsical fun and legitimate social commentary. It’s just all hidden under this layer of humor and boundless joy. If they didn’t have a blast making this, I don’t know what to think. Although it was mostly a failure critically when it came out, there is an undeniable charm that latches onto the listener. Just don’t have high expectations. Not because it isn’t good. But because you can’t listen to an album that opens with The Village Green Preservation Society and expect anything that takes itself that seriously. Rating: 7/10

Jethro Tull’s seamless mix of hard rock, folk, and progressive rock is sublime. This album represents the most simple, but easily enjoyable side of progressive rock, in a genre that is filled with pretentious fans and pretentious music. Now granted, this isn’t simple to the point of redundancy. There is still some insane skill shared between these band members. But this isn’t complex to the length of something like Thick as a Brick [25th Anniversary Edition]. There are no super long, multi-faceted songs. Most of these songs are pretty short comparatively, but the pacing is excellent. It makes for an easier experience for someone new to this kind of thing. I could totally see this being someone’s first prog rock album. It’s appealing in the same way Rush is appealing. But do you want to know the best part about this album, and really the whole band? It’s that goddamn flute. Holy shit, can Ian Anderson play the flute. He makes that thing sound like it belongs in hard rock, as if all other bands have been doing it wrong this whole time by not having a flute. And the way he flawlessly transitions from singing to flute and back to singing is crazy. Also shoutout to the Steven Wilson remix. God bless Steven Wilson, and the work he has done for prog rock in modern times. His mix breathed new life into this album, and many others, and makes it sound brand new. Rating: 7/10

Disappointment is inevitable when doing this. And albums like this make me question whether I should stop coming up with expectations before I listen to something. I had an idea of what this was going to sound like in my head, and with no prior experience with R.E.M., learning that was not what it sounded like was a letdown. This is just so much cleaner and softer than I imagined. I think I saw alternative rock, and zoned in on only that. I don’t hate the pop rock sound. But it just feels a little too mellow, and the songs are honestly slightly boring. There are a couple highlights, but nothing that really blew me away. If this is regarded as the best album from the band, I’m afraid it will only get worse from here. Rating: 5/10

This got off to a rough start. After the first few songs, I figured I was in for a lackluster ride. But once it reached Why Does My Heart Feel So Bad?, it become way more consistent, and actually felt like something interesting was being attempted. The way vocal samples are used on this record is really cool. It features a lot of old vintage sounding vocal performances, but some also sound more modern, which makes me think they were recorded live for the album. I enjoy the more upbeat and danceable tracks. The problem is that about two thirds of the way into the album, all of that danceability goes away. It takes a more mellow and ambient approach. And it feels very flat. I don’t really like any of those songs. They just feel like generic ambient trip hop. If this wasn’t as long as it is, and didn’t feel so bloated, I might have liked it more. Rating: 6/10

The story of Joy Division is a tragedy too many bands face. But the story of New Order is an inspiring one about conquering that tragedy. And conquer they did. They are hailed as one of the great bands of the 80’s, and played a large part in the growing success of the synth pop genre, which at this point in the decade, was only getting bigger. This is a good time. You can dance to these songs. This is very much New Order, and not Joy Division. But it also has an underlying layer of beauty with massive synth layers stacked on top of each other, and amazing chorus-soaked guitars. This feels right. This feels like the way all new wave and synth pop albums should be written. Sunrise is actually a masterpiece. One of my favorite songs I’ve heard from the 80’s ever. The only issue I have is the vocals. I don’t know what it is, but vocals never really seemed like New Order’s strongest characteristic. Rating: 8/10

Listening to a live album with no prior knowledge of an artist’s music can be difficult. But the way you can differentiate a bad from a good one is when it manages to be good with the listener not having that predisposed knowledge. Thin Lizzy does that. What I love most about this kind of rock is just how easy it is. I’m someone who can really appreciate something with lots of depth and thought behind it. But I can also appreciate just how simple and fun this is. They play their instruments damn well, and it just makes for a good time. Almost all of the bands’ big hits are on here, and they all slap. This album also sounds remarkably good. Not just production wise, even though the actual clarity of the instruments is amazing. But down to the performances. They sound nearly identical to their studio versions, especially with the vocals. Rating: 8/10

Björk has always stuck out to me as one of the last true “artists” still working in the industry today. Her voice has always sounded completely otherworldly to me. And her work in the 90’s and early 2000’s is the stuff of legends. But when I first gave Debut a listen a few months ago, I was surprised by how much I didn’t like it. But I’m pleased to say that is no longer the case. I think my issue was that I was looking for something more. I was expecting a much deeper and more complex experience. But this is probably the simplest Björk ever was. It’s more house and dance music than anything else. It still has a layered feeling, and there is some interesting experimental stuff going on with songs like The Anchor Song, Aeroplane, and Like Someone in Love. This album is at its best when it leans into the darker and more electronic sound she would explore later, like on the first three songs, which is easily the best stretch of tracks on the record. But I’ve definitely learned to appreciate the club-oriented feel of this. Just don’t expect the same caliber as that of her later work. Rating: 7/10

The 90’s grunge surge was truly something else. It’s one of the only eras in music I wish I could have lived through myself. And Pearl Jam was just another band that gave nothing but energy. If any group should be called a powerhouse, it should be this one. Where they differ from others in the same space is the raw emotion. And this is lead almost entirely by Eddie and his vocals. He might be my favorite grunge vocalist, simply because of how gripping it is. Listen to Black or Release and tell me you aren’t moved even a little bit by his singing. But I don’t want to take away from the rest of the band. Because there are some serious head bangers here. And I don’t mean that lightly. Once makes itself known very quickly, and those first three songs are some of the most memorable grunge rock I’ve ever heard. Rating: 9/10

Blonde is one of the most deeply intimate and genuine experiences an artist has ever released. And I love it for that. But even with all the hits, I do feel as if his debut gets overshadowed slightly. If Blonde is the essence of love and intimacy, channel ORANGE is the essence of youth and summer. The kind of summer where you spend almost every second outside, and there is not a single day where the weather isn’t perfect. The kind of summer where every day is a memory you will have with you forever. This album is so smooth, and flows so elegantly. This might be one of the best paced albums ever. There is not one song that I feel goes on for too long. Even Pyramids. That song alone deserves paragraphs and paragraphs worth of discussion. I love how progressive and evolving it is. It’s Frank’s magnum opus. Every instrumental is immaculately crafted. The mix of R&B and soul is so well balanced, and Frank is just so open and available to the listener. It’s rare to find an artist nowadays who is willing to put so much of themselves into their music. But that’s the beauty of the medium. Rating: 9/10

Double albums always tend to be a little messy. It’s always a lot of music, and with album lengths often extending over an hour, there are some real endurance test double albums. They occasionally border on over-indulgent and excessive. But if there was ever an artist that would make a concise and well paced double album, it would be Prince. Prince felt like a virtuoso in the truest sense of the word. He was simply good at every instrument he played, had a beautiful voice with crazy range, and created some of the most well put together albums of the 80’s. He was a sultry sex icon. And his musical persona is really felt on this. This very much feels like Prince’s version of a synth funk album. Another artist could make the same songs, but you would feel the difference, because it isn’t him. This album starts off incredibly strong, with the entire A-side being filled with excellent songs. I’m a total sucker for a song like The Ballad of Dorothy Parker. Something about how soft it is, combined with the synth bass and electronic drums sounds so cool. The album then has a few highlights here and there. And then peaks on the D-side. Those last three songs are all amazing. I love how different and separate The Cross is to the rest of the album. It’s darker and slower, but doesn’t stray too far from the core strengths of the record. It’s Gonna Be a Beautiful Night is a disco/funk masterpiece. I want all funk music to sound like that. And Adore ends the album off sweetly. Rating: 8/10

It is safe to say I was not ready for this. The extent of my knowledge for this band was relatively limited, so I was swept away by how heavy this album is. This is some of the most consistently interesting blasts of noise pop energy I’ve ever heard. Cecilia Ann sets the stage in the same way Politik sets the stage for A Rush of Blood to the Head. But instead of leaving me feeling short of breath and claustrophobic, Pixies got me amped up and ready for more. Each song has the same groundwork, but is uniquely vibrant and engaging. I was initially thrown off by the vocal style, or lack thereof, because of how raw it is. It’s unfiltered. There wasn’t a load of fine tuning and training for him to achieve that voice. He is just an average guy who sounds cool and can get really loud. This very much feels like the energy of the beginning of the 90’s. Loose and unorganized, and ready to break out into something new. Rating: 8/10

The reason why Björk’s music is so interesting is her voice. It is more often than not the most engaging part of one of her songs. The same can be said for this album. I had never heard of her up until today, but Ute’s voice instantly stood out as one of the most commanding and enrapturing I’ve ever heard. This album is cool. Like physically cold. It feels chilling and heartless. But also sleek. Like a thrilling espionage movie. Some songs like Streets of Berlin or the closer contain this inhuman machine-like sound quality. But this is still very rooted in experimental baroque and classical music. The best songs are the ones written by Neil Hannon. But really, the amount of huge talents that are credited here is remarkable. The only songs I didn’t like were the ones done by Tom Waits. Not because I don’t like his music or anything, I just found those to be the least interesting. Rating: 9/10

I’ve listened to over 100 albums at this point. And although there haven’t been that many, the one constant factor throughout everything is that I have not heard a single jazz album I didn’t love. My English teacher called it “pretentious”, but I couldn’t disagree more. It is consistently one of the most fun, innovative, intense, and emotive forms of music there is. And In a Silent Way, one of Miles Davis’ many exceptional achievements, might just be the finest piece of jazz music I’ve ever heard. Composed of just two songs, one being 20 minutes long, the other being nearly there, it is jazz fusion pushed to the highest level of quality. And that fusion really comes into play, because although the foundational elements at play here are rather standard for jazz, the star of the show is John McLaughlin and his guitar. It completely changes the atmosphere, and pushes this record to the level of greatness that it’s at. But the whole band is absolutely stellar. I think the title Shh / Peaceful perfectly incapsulates what feels so extraordinary about this. It’s calm and serene. There is no biting intensity. It is just simply existing. Like the essence of life personified into music. The second song ramps things up slightly, but not so much where it completely destroys the vibe the band had built. Davis was by and large one of the greatest, if not the greatest jazz musicians of all time. Both a master of his own instrument and a master at creating balance in a group of other massively talented musicians. Rating: 10/10

In just four years, CCR came, became one of the biggest bands of the late 60’s, and then went. And in the first two years of that four year run, they released five albums of gradually increasing quality. Cosmo's Factory is the culmination of those two years. The highlight of this album is its two longest tracks. I feel that them being longer gives the band the most time to jam, and develop that jam. But the shorter songs that make up most of the track list are almost all good. I’m don’t know what “swamp rock” means, but what I do know is that this is some of the best blues rock you will find from this era. It kind of doesn’t get better than this. Now I’m aware this is a very out there statement, but John Fogerty might be one of the best vocalists, like ever. There is something so enjoyable about the way he sings. It’s not from this album, but listen to Have You Ever Seen The Rain and tell me that’s not some of the purist and most rootin' tootin' bluesy vocals you’ve ever heard. Rating: 8/10

Coming across gems like this might be my absolute favorite thing when it comes to listening to music. There is no feeling like discovering an album you’ve never heard of before that isn’t super mainstream and falling in love with it. And then being able to share that new discovery with others is awesome. Funk and soul music like this, that is softer and more mellow is by far my favorite. I do love some intense and upbeat stuff, but this is just the best. It’s so laidback, and gives me such a warm and comfortable feeling. I don’t know how artists manage to do that through music, but it feels great. Shuggie has a beautiful voice. And after Happy House, which was too short to really catch my attention, it goes strictly instrumental. Nothing wrong with that, those songs are just not as interesting with vocals. The last two are good though, especially Not Available. Rating: 8/10

1994 was a pretty big year for techno music in the U.K. A multitude of large 90’s techno artists released albums this year, mostly in response to the Criminal Justice Act that banned raves in the country. Orbital was one of those artists, but if you didn’t know that beforehand, you wouldn’t be able to tell just by listening to this record. Like many techno records, this album’s antithesis is built on these long songs with really complex and winding instrumentals. Sometimes it takes a while for it to get to the good parts, which makes the album feel a little bloated and drawn out. But when those good parts do eventually come, they are pretty good. This is relatively run of the mill techno. The last two songs are both over 10 minutes. And given what I had heard on the rest of the album, I was a little worried this would be the worst of the bloat and slog. But surprisingly, Are We Here? was actually a pretty solid song that is paced well. But the closing track definitely falls more into the bloated category. The difficulty with this album is that there are just better electronic records from the same period I would rather listen to. Rating: 7/10

This album is huge. The big hits are some of the biggest rock songs of the 80’s, and I’ve heard them plenty of time. And I just don’t get it. I never have. Much like I said in my review of Like a Prayer, this prompts zero emotional response in my brain. I’ve listened to hard rock albums that sound very much like this. But there is something that feels off about this. To put it simply, it’s just a little boring and repetitive. The most interesting song is Wanted Dead or Alive, because it breaks away from the sound of the rest of the album, but only slightly. Before I became aware of the music from the 80’s that is actually really good, I used to be very adamant in the sentiment that I didn’t like 80’s music. And when I talk about the generic overplayed and overproduced rock music from this era, this is what I mean. There is just much better rock music from other decades, let alone the 80’s, that I would rather listen to. Rating: 4/10

I’ve been waiting for the day I finally got a Bowie album. I said that I considered Björk one of the last true artists still making music today. To me, Bowie was one of the most true “artists” to ever live. He always pushed musical boundaries and his own boundaries, and his music lived through him via his many personas. This is very much a glam rock album, but it is very much not repetitive. The foundation of this album is honky-tonk piano and distorted guitars, with some mixes of art rock. But there is something interesting going on in each song, that keeps the album from going stale very quick, which is an issue many other glam rock albums suffer from. This album’s theme is based on Bowie’s experiences touring in the U.S., and the things he experienced while here, but also his personal gripes with life while on tour. The album feels dirty and playful and the lyrics often reference sexual desires and debauchery, but Bowie’s energy allows these things to be communicated flawlessly. He truly was a performer way ahead of his time. Rating: 8/10

I really loved On the Beach. It was an album that I figured would be hard to top. It was so cozy and simple, and lulled me into a calm sense of security. When I saw the grunge tag for this, I assumed there was no way. But I think it’s important to re-adjust the way you look at grunge music before you listen to this. The progression of this is what makes the album so interesting. The first five tracks on the A-side consist of just solely Neil singing and playing the guitar. I found it funny there were other instruments on the cover, considering it was very much the opposite. And I also found it funny this was called grunge, until the last 4 songs, where Powderfinger completely breaks up the soft sound of the beginning, and then it just gets progressively heavier and heavier. The closing track is a reprise of the opener, but if Neil wasn’t singing, you wouldn’t even be able to tell it’s the same artist. It’s as if the album is actually rusting as it goes along. An album that is really good is one where while each song plays, it becomes my favorite, until eventually by the end I can’t pick a favorite. There isn’t really one bad song. I can see why this is considered Neil’s best, because it is everything that makes his music so good. Rating: 9/10

I’m well aware of how acclaimed Forever Changes is. But I wasn’t aware that Love had another album that was well received. So considering experiences I’ve had in the past, I went into this expecting a below average 60’s psych album, like many I’ve heard before. Safe to say, this was much more than that. There is just way more substance on these songs than most. And the performances are way better than what you normally get. The A-side is 6 songs, that are all very short and sweet, and they last just long enough to be interesting. I love the mix of the more high-energy garage rock tracks like Stephanie Knows Who and Seven & Seven Is, with the slower pop songs like Orange Skies. It’s a very well balanced mix of genres. The B-side is only one song, that is over 18 minutes long. And seeing the track list before listening to it, I was ready for this to be the one standout track. And by no means is it a bad song. It’s a nice jam track with some cool sections, and a solid drum solo at the end. But there are moments where it feels a little monotonous and long winded. It could have probably used a bit of trimming, but I still enjoy it. Overall, if the psych pop I hear on this record is what is to be expected from their next album, I am looking forward to it. Rating: 8/10

Merry Christmas and Happy Holidays!!! I woke up this morning intrigued to see if I would get a Christmas themed album. Lo and behold, I was right. And in terms of Christmas songs, this has just about everything. This is a bit hard to review for me though. Because although this helped me get into the spirit a lot, and has pretty much every classic and essential Christmas song you can imagine on it, I still want to look at it as objectively as possible. And objectively, this isn’t bad, but I’m also not listening to it any other time of the year except for the week of Christmas. So it’s the best album per se, but it is a good collection of fun songs that fits the season. Since this is basically a compilation album, there is a variety of different artists on here. And the best songs are the ones that were made by The Ronettes and Darlene Love. Pretty much every song sounds the same, but these two particular artists have the best singers, who both also sound very similar, which puts them above the other two groups. Rating: 5/10

Os Mutantes was my first exposure to the genre of Tropicália. I had never heard of it before, and I’m still not 100% sure what it is, but I like the mix of Brazilian pop and psychedelic music. And this album seems to be the most enjoyable attempt at that mix that I’ve heard so far. But this album also blends some bossanova into it. And I’m really sad I haven’t gotten a proper bossanova album yet. Because I love it so much. Just that simple inclusion adds a whole other layer of serenity. Some of these songs are very calming, but still color and kind of weird. I think the cover best represents this. The beautiful, bright, and abstract artwork is the color, and then Caetano’s portrait with damn near the most menacing gaze I’ve ever seen is the weird. Os Mutantes is even featured on the last song, which is by far the most experimental and unique, but it sounds really cool. Rating: 6/10

You ever heard an album that transports you to a time and place? If someone were to ask me this question, my first answer will always be Illmatic. Because it isn’t even really close. No artist has ever made a record that brings you closer to the culture, the lifestyle, and the energy of 90’s New York than Nas did with this. The Genesis and N.Y. State of Mind being the opening pair of songs sets this record straight very quickly. The former is the only skit on the record, and the latter is a legendary song that sounds like sitting waiting for your train in the subway station. Large Professor and DJ Premier, who do most of the production, along with Pete Rock, L.E.S., and Q-Tip give some of the best beats they’ve ever made on this album. This is without a doubt THE defining rap album of the 90’s. It came out just early enough in the decade where every MC moving forward was trying to reach this level of greatness. Surprisingly, this performed pretty poorly on release, which blows me away considering the massive critical darling this is in modern times. This is one of the most essential hip-hop records ever made, and should be studied in every aspect. Because it excels at everything it does. It is excellence from start to finish. Rating: 10/10

Man, it’s so easy to mess up electronic music. It’s really easy for something like “atmospheric drum and bass” to be really fucking boring. And my intuition is sometimes unnaturally good. I’ve looked at album covers before, and been able to tell I’m not gonna like it. I’m aware that judging a book by its cover is bad, but I really don’t care when I’m right. Really, this album has no right to feel as gray and lifeless as it does. I’m not really sure why this is even on the list. It’s probably the lowest rated album I’ve listened to so far, and doesn’t have any big hits, or is really popular, in any way. The mix of drum and bass and this really unique South Asian percussive style, among other interesting ideas, should be the recipe for a delightfully experimental record. This is simply anything but. It falls flat on its face from the beginning. The opening track is a good example. Don’t make an 11 minute long song if it’s mostly 11 minutes of nothing interesting. Sutrix is the only mildly interesting song. Actually it’s a pretty good song. The drums hit the hardest, and it sounds way heavier and intense than the rest of the album. It’s what I thought the whole album was going to sound like. Why doesn’t the whole album sound like this? It’s disappointing. But I wasn’t expecting much from this anyway. Rating: 4/10

I’m not like the biggest fan of trip hop or anything. It’s a genre that takes a certain kind of mindset to listen to. Because it’s weird. And often times the production style is kind of off and unorthodox. Massive Attack was one of the leading artists in the 90’s for this sound. When going into a record like this, I’m mostly looking for one thing. And that’s unique and varied production. Particularly with the drums. And this album definitely has that. If you are looking for variety from song to song, this would be a good album to check out. The vocal performances are decent. I wasn’t looking for stellar vocals in an album like this anyway. And some of them are a little basic, and they don’t always add much to the instrumental. Rating: 6/10

I find it really odd that only two Fleetwood Mac albums are included on this list. One of them is the obvious, but Tusk being the other one seems weird. Especially considering they have a number of other solid albums to choose. But either way, this is my first time listening to a full record from them. This is a beefy album. 74 minutes and 20 tracks can make or break a listening experience. Thankfully, every song has some form of substance to it. But I have to be honest. I only liked about half of the track list. Simply because some of these feel like filler. They could have cut many of these songs out to benefit the listener. There is multiple people who sing on this record at one time, but the best one is by far Stevie. I feel like everyone kind of knows this already, but still. Her songs are consistently the best ones on the album. They are also consistently the highest rated tracks on the album. This was also apparently inspired by post-punk music. And personally I don’t really hear it. There is only one song where I can feel that influence, and that is the title track. This is also coincidentally the best song. Why doesn’t every song sound like this? I wish they made an entire record of this sound. I never thought I needed Fleetwood Mac with a brass section in my life until now, but I want more of it. Rating: 7/10

God damn, I don’t think I could have predicted just how much I would enjoy this. I don’t think I’ve heard a Billy Joel ever in my life before. But this immediately made itself clear and I was immediately attached to it. By all means, this album lays all of its cards out from the start, but it’s like a really good hand in poker. And that hand carries Billy through the entire album. The sound you hear on Movin’ Out is the sound you get for the rest of the album. But it’s amazing, so why does it matter? The only way I know how to describe the feeling I get from this, and this is probably very stupid, but like theater kid music. I get the same appeal from this as I do from Ben Folds or Elton John. I just can’t help that my brain is simple and I like the way Billy’s voice sounds and the way he plays the piano. Good shit. That’s all this is. Rating: 8/10

Here we go. It had to show up eventually. I’m going to start this by clarifying that just because I’m speaking positively about this man’s music does not mean I am in support of anything stupid he has said, really ever. I just appreciate the art he has created. That is it. Now, this is probably one of the biggest points of contention in Kanye’s career, second only to Yeezus. There are some who absolutely adore this record, and others who don’t prefer this sound. Saying that I’m a fan of Kanye’s music and saying I’ve never heard this album all the way through in the same sentence is like blasphemy to some. This is supposedly the “magnum opus” Kanye album. Meh. I don’t see it. Don’t get me wrong, it is fantastic, but not this perfect flawless piece of music people make it out to be. From a music standpoint, this is probably the most in-tune Ye has ever been with himself. He fucked up big time with Taylor, exiled himself, and made this. This album is bigger on all fronts. Bigger drums, bigger strings, and more of everything than any album before, and maybe even after. It’s self indulgent and egotistical, but reflective and emotional. This is Kanye at his most defensive, but also at his most vulnerable, except for maybe 808s & Heartbreak. This has some of the strongest production of any record he has ever made, due in part to his collaboration with some of the greatest producers of our time. And most of the features on here give some of the greatest verses and performances of their careers, especially people like Rick Ross and Nicki Minaj. But this also some really strange productions choices. Like how his vocals sound strange on the opening track. Does Gorgeous really have to be distorted like that? The best part of that song is Cudi, mostly because his vocals are clean. Blame Game is kind of boring, and does the Chris Rock section have to be so long? It’s also kind of vulgar and out of place on an otherwise heartfelt song. And although I get that the outro to Runaway is supposed to mean something, and it doesn’t change that the song is still probably Kanye’s greatest he’s ever made, it just goes on for too long and sounds stupid compared to the rest of the track. Overall though, none of these complaints change the fact that this record is a great piece of work. One that maybe gets overrated a little, but is still amazing. Rating: 9/10

I think the thing that has made listening to one of these albums every day so enjoyable is to see where my consumption and enjoyment of certain kinds of music has evolved. I can’t say for certain whether or not I would have loved this album 5 to 6 months ago, since it doesn’t exactly fit the bill of that poppy 80’s music I speak so negatively about. But what I can say for certain is that I found this album absolutely wonderful. This is the perfect definition of short and sweet. Eight songs that are paced exceedingly well, that total to not even forty minutes of music. And it starts off insanely strong, with Sweet Love. Beyond my predisposed attachment to the song simply because it was sampled by MF DOOM, it is also just a great soul song. And nearly every song after that displays the same characteristics of the opening track, with bright synth patterns and high pitched picky guitars. It’s a kind of guitar tone that I feel doesn’t get enough love, and really only thrived in this era. I love how the vibe changes slightly once you reach the B-side. The music is the same, but everything gets a little slower and sexier. And on top of everything, Anita just happens to have one of the most lively and beautiful singing voices I've ever heard in soul music, and maybe just in general. And it goes pairs flawlessly with the sound of the record. This is soul music with real genuine soul. Rating: 8/10

I’m gonna be honest, I got a little confused when I saw this pop up. Name your band Buzzcocks, and you should expect me to be somewhat skeptical of what I’m about to listen to. But I’m always down for a little late 70’s punk music, so I set that initial skepticism aside. I was pleasantly surprised to learn that this is a fantastic punk album. I haven’t listened to much music that is just straight punk rock, but the one big one I have heard is the Sex Pistols debut. And I was by no means blown away by that album. This, on the other hand, feels more punk than that album ever was. Mind you, this only came out a year after Never Mind the Bollocks Here's the Sex Pistols. This is cleaner, more exciting, more interesting, and simply better punk music. Sex Pistols felt like they didn’t know what they wanted to be. They were trying to appeal to an audience they didn’t know how to appeal to. This group makes it clear what they intend for their album to sound like, and they do a damn fine job at it. This is written and formatted in the perfect way for a punk album. Short album, short track list, mostly short songs. It doesn’t feel bloated, and they don’t try their hands at any super experimental ideas, aside from one part at the end of Sixteen, but even that doesn’t feel out of place. They knew what they were capable of creating, and just stuck with it. Vocalist Pete Shelley has just the right amount of youth in his voice, and every riff hits. This really should have been the poster child for punk music moving forward. Rating: 9/10

I’ve never heard an album that better encapsulates an entire decade like how this album does with the 70’s. This is a time capsule for an era. Not just the music, but life in that time period. This album really was a lightning caught in a bottle moment in music history. Screw genre defining, although this is very much a defining power pop album, this is an era defining record. And aside from a couple of songs, this is mostly positive and fun music. I always talk about how good simple music can be. Simple doesn’t have to mean dumb and watered down. But at the same time, this album is deceivingly simple. There is far more going on here than they initially let on. The best example is the vocal harmonies. They are absolutely gorgeous, and there were many moments that surprised me with how synchronized this band really was. Aside from all of the feel good upbeat songs with heavier hard rock guitars, there is a good chunk of deep cuts that are entirely acoustic. And I think they provide this record with a well balanced mix of sounds. The real highlight of these is Thirteen, which happens to be the biggest song from this band, and it has this great moment part way through where this guitar comes in, and since I don’t know much about music, the only way I can describe it is sharp if that makes any sense. You kind of have to listen to it yourself to hear what I’m talking about. Rating: 8/10

Yesterday I spoke about how Big Star’s debut felt like a defining record of the sound of the 70’s. I’ve never heard of PJ Harvey before, but this record, which came out around the turn of the century, feels like everything that 2000’s indie music was meant to be. I think I was slightly deceived by the opening track. It just came off as a little basic to me, but it picks up considerably going forward. The one thing that was immediately apparent is Harvey’s presence in the song. She is a great vocalist, but she is also a really powerful and evocative one. She somehow displays energy and lifelessness through the same delivery and cadence. Thom Yorke is even featured on two songs here, which obviously piqued my interest. His work on Beautiful Feeling is solid, and I like how much room he gives Harvey while he acts as simply just a backing vocalist. I wasn’t so fond of the other song, as his vocals are just as much the focus as hers are. And while I like the dynamic they have of going back and forth with one another, it just wasn’t as interesting as the previous song. You can definitely hear the Radiohead influences though, especially with The Bends, on songs like Big Exit, The Whores Hustle and The Hustlers Whore, and Kamikaze. This album’s theme is built on the months that Harvey lived in New York City and her love for that place. And while this is quickly made apparent from the title, you can really understand that love through the music. It’s the same feeling I describe when listening to Illmatic, and how that album was intertwined with Nas’ relationship to NYC. But instead of showing your respect for the place you originated from, it’s admiration for a place of new and unique emotions and experiences. Ones you have never had before, and will never have for the first time again. Rating: 8/10

Of the big rap groups from the golden era in the 90’s, I feel like A Tribe Called Quest have always been one of the most underrated ones. It’s not like they weren’t popular in their time, because they were, and Q-Tip especially was a big figure in 90’s hip-hop. They just aren’t talked about nearly as much nowadays as some groups are. But that doesn’t change the fact that when they were in their prime, they were simply putting all other artists focused on jazz rap to shame. Jazz rap is a pretty blanket term. There are a lot of different sounds that can be categorized as jazz rap. But this album is simply the most honest jazz rap I’ve ever heard. And one of the only ones that is attempting to actually mix jazz and rap. What makes this immediately obvious is the bass lines. The record is covered in super deep, low bass sounds that sound straight from a live double bass. One song even features Ron Carter, a famous jazz double bassist. The drum beats are also very loose and use a lot of splashy open hi-hats. These elements give the album a warm and smooth texture, just like jazz. Q-Tip is pretty much the leader of the group, and by far the one you will be hearing the most on the album. And he has always stuck out to me as having one of the best voices of any rapper. Everything about this album is just chill. It seems like I’m undermining any complexity this might have, but this has a particular vibe, like a coffee date on a cool autumn afternoon in the mid-2000’s. And it’s great. When you need something laid back and easily enjoyable, throw this on. Rating: 9/10

I was fully prepared to not enjoy this. When your only exposure to an artist is a popular song you don’t enjoy, having to listen to the entire album that song is from might not be the most enjoyable experience. But after hearing Missy’s opening monologue on the first song, I realized that I was probably in for something good. This is the epitome of pop rap in the 2000’s. Unfiltered, vulgar, and undeniably catchy as all hell even if it isn’t perfect. Some didn’t exactly have this concept down, and it resulted in a lot of very generic and less than memorable music. This album is one of the more well executed examples. And although this is led quite a bit by Missy’s fantastic delivery and personality, I immediately became more interested once I learned this was produced by Timbaland. That man was the actual goat producer in the 2000’s. He carried so many artists, and his signature drum sound with those beefy ass kicks created some of the most iconic beats of the last 30 years. I spoke about it already, but the one song I don’t find enjoyable is Work It, and in turn it’s remix with 50 Cent. The content of most of the songs on this record is already pretty mature and sexual in nature, but this song is the most egregious example. It’s simply a little too much at some points. My least favorite part about the song is actually the reversed vocal sample. To be 100% honest, it sounds dumb. That’s literally it. I just think it’s a silly dumb gimmick for the song. Otherwise, most tracks are good, and cover a variety of topics like love, infidelity, and sex. Rating: 7/10

Jam bands are a tricky subject. I’m someone who finds long songs to often be the highlights of a record. It’s where the artists often put the most concentration and creativity. But this is a live album. And so almost every song is a long one. That live format allows the band to go for as long as they want, and as long as their creativity can push them forward. And as a described, that limitless potential to just keep jamming is alive and well in these recordings. This is jam band blues at its most essential and perfected. It amazes me how well each of these members are able to read each other and keep playing so in sync without a single word being shared during the performance. They are actively reading each other’s minds and each other’s instruments. It is improvisation only seen in spaces occupied by jazz gods. And their skills are no joke. These guys are seriously next level. Duane is an incredible guitarist, and his brother Gregg is an equally brilliant organist, and has a powerful singing voice. Gives me super Hendrix vibes. My only complaints are that Stormy Monday feels a little lackluster compared to the rest of the album, and the last bit of Whipping Post drags on a bit longer than it should have, which is inevitable in a live jam album. But otherwise, this is fantastic, and if you are at all a fan of blues music, check this out. Rating: 9/10

This album is a strange one. And I’m having a bit of difficulty trying to express how I feel about it. This released during a very transitional period for metal music, and this album kind of represents that period as a whole. Its title inspired the namesake of an entire genre, and also supposedly inspired that same genre. And I’m not sure what to think. This is divided into two parts; Side Black and Side Metal. And so I expected a sonic difference with the songs on each sound. But there is very little difference as far as I can tell. I’m somewhat at a loss for where the “black metal influence” comes from other than the name. The characteristics of the black metal I’m familiar with aren’t present here. Much like the transitional period this was released in, the music itself feels very in between two worlds. The vocals are heavy, but not that low grisly growl that would become synonymous with hardcore metal. The riffs and drumming are fast, although the latter feels a little amateurish at some points. My biggest complaint is how lo-fi the album is. It’s mixed pretty poorly, and the guitars get kind of squandered by the drums and vocals. This was released even before Kill 'Em All, which whether you like Metallica or not, was a big album for thrash metal. In a way, I predicted what my thoughts on this would be just based on the year of release. Much like Vincebus Eruptum before it, which laid some of the groundwork for metal music as an entity, it’s very primitive and lacks the creativity and aesthetics that would cause metal to become a global phenomenon. Metal hadn’t exactly reached its genesis with this album. Rating: 5/10

Brit pop isn’t a genre I can say I know anything about. My knowledge is very limited, and I know very few groups who led the huge push the genre got in the 90’s. But I’ve heard of Oasis. And I know just how big this band really was in their heyday. But I didn’t set my expectations at anything too high, simply because I didn’t know what to expect. The first thing I noticed was how much heavier it is. This album is loud. Like really loud. I don’t know if that’s a characteristic of the genre, or just the way they produced this, but it sounds a little muddy sometimes. But I can’t deny that Noel and Liam are extraordinary song writers. They know how to make an absolutely killer hook and chorus, and wrote some seriously infectious melodies on this record specifically. And the musicianship is definitely there. I just felt like certain songs were lacking in the same juice that made the highlights so good. Of course I have to talk about the big song. First off, I am very aware of the reputation Wonderwall has garnered for itself. Is it probably one of the most overplayed 90’s rock songs of all time? Yeah. But as someone whose exposure to popular music when I was younger was mostly through radio and songs my parents played, I didn’t hear this song ever. It is new to me. Which means I can enjoy falling in love with this like people back then did. Its reputation doesn’t change the fact that it is an amazing song, and is worthy of being as big as it is. Rating: 6/10

“It doesn’t matter if we all die”. That is the first thing Robert Smith says on Pornography. And what I way to start your fucking album. My first introduction to The Cure was on Halloween last year, where I heard Seventeen Seconds. A perfect album for a day like that. I really loved it. But I didn’t know how varied their sound would get from album to album. Little did I know what I was in for. Because that first line really reflects the tonal shift. This is intense. And that intensity is felt quickly. We have left behind the thick fog drowning out a rural village in Spain that Seventeen Seconds inhabited. This is heavy. This is brooding. This is dark. Not hazy, but sinking like a bottomless pit. There is less of a focus on rich, chorus soaked guitars, which means Robert feels way more present. And his voice has this ghastly undertone. Like a man who has witnessed the end of the world, and can do nothing but write down his thoughts. The one song I want to bring focus to is the titular closing track. From a pure music standpoint, it does the least to keep things interesting, especially considering it’s one of the longest songs on the album. But its haunting atmosphere and minimalism is a real expression of emotions. This is an album fueled by drugs, depression, and the fear of everything coming to an end for the band. And this song sets that fuel ablaze and burns it all away, and takes the darkness of The Cure with it. Rating: 9/10

Say what you will about which guitarists are the best ever, but no one can deny what Jimi Hendrix brought to the world is remarkable. I don’t even know if I would consider him one of my favorite guitarists of all time, but I can fully understand why he is to some. He gave life to the instrument in a way no other guitarist ever has. And what he was able to create and achieve in just two years is astonishing. This seems to be considered the weakest of Jimi’s three albums, but the “worst” Hendrix album isn’t really saying much. This is still a great psychedelic blues rock album. It’s fun, bright, tasteful, and full of amazing riffs and licks. It also sounds really good for the time. Most bands weren’t making records that sounded this good back then. And this was still about a year before Led Zeppelin came out, which I would consider a turning point in hard rock history. Also absolutely have to mention Mitch Mitchell. A drummer who people don’t talk about much anymore, but who also had some insane chops. The perfect drummer to match Jimi’s energy. The A-side of this is pretty much perfect, and the B-side has some pretty good songs, but isn’t as consistent. This may not have the dynamics of the other two albums, and it’s also quite a bit shorter than the other two, but it’s still a good time, and not a horrible place to start for Jimi’s sadly brief career. Rating: 8/10

It’s usually never difficult to talk about albums I love, and it’s usually never difficult to talk about albums I don’t like at all. It’s the ones that are very middle of the road, and rather uninteresting that are the hardest. It’s simply that when there is less to latch onto, there is less to write about. This live album somewhat falls into that category. It’s not bad, and I can think of positive things about it. It’s fun and wild, and Sam clearly had a commanding presence on a stage. The crowd is loud, and there are many times where they can be heard in the background, and where Sam even directly interacts with them. The band is also playing consistently energetic the entire performance, and Sam is very much in tune with the band. But that is pretty much where the positives end. Mostly because this album doesn’t have much to offer. I noticed just how quickly it moves from one song to the next. There is basically no breaks or pauses. And this album offers one kind of sound. So because of how fast this moves, everything sort of blends together, and I became a little bored of how monotonous this was by the end. This is still solid, but not an essential live album in any category. Rating: 6/10

This is a soul album. But this is also a bass album. Thundercat makes bass music. Thundercat is a bassist. One of the most talented and impressive bassists of our generation. This has other instruments in it, but it is very much centered around his bass playing. This album has a beefy set of songs. It’s only a little over 50 minutes long, but it has 23 songs. This really strange length is due to the songs being very short on average. Like 1 to 2 minutes short. To me, it comes off as bloat. Because some of these are quick, that they make little to no impact on the overall album. They could have been left out, and it would be the same. They are basically interludes. Like does the 25 second long track I Am Crazy really need to be here? I was slightly disappointed at the number of songs that just don’t do anything. None of the features were all that exciting either. Show You The Way is fine, but Kendrick Lamar, Pharrell Williams and Wiz Khalifa don’t necessarily add anything to the songs they are in. Don’t get me wrong though, there are definitely some great songs. When the production is at its best, it has smooth and fast programmed drum beats, combined with one of the best bass tones I’ve ever heard. Thundercat also has a great voice. Them Changes is obviously a huge song at this point, but I still think it’s a classic, and it has one of the best uses of that iconic drum beat from The Isley Brothers. Parts of this album were underwhelming and a bit of a letdown, but I still found enjoyment in it. Rating: 6/10

If you couldn’t tell by now, I’m such a sucker for jazz music, it’s not even funny. I still have yet to find a jazz album I can say I genuinely didn’t enjoy. And I knew that I would eventually have to listen to this. If this list of 1001 albums is based on both popularity and how impactful and influential a piece of music is, there might not be an album more important than this one. I’m willing to make the claim that this is the most well known, recognizable, and important jazz record ever made. And it’s easily one of the greatest as well. I’m not the only one who believes this either. The impact this has had, on not only jazz, but the medium of music in general, is immeasurable. And it has rightfully earned this reputation. If this was an object you could feel, it would be warm and soft to the touch, like velvet. This is just about as traditional as jazz music can get, but that isn’t bad at all. This is by no means experimental, avant-garde, or hard to listen to. Anyone who even mildly likes jazz music will be able to appreciate this. And none of this would be possible if it weren’t for the indestructible foundation this was built upon. If you look at the line up of who worked on this record, it’s damn near flawless. What they were working with here was a combination of arguably the greatest jazz composer, bandleader, and trumpeter of all time, one of the greatest saxophonists of all time, one of the greatest jazz drummers of all time, and one of the greatest jazz pianists of all time. It may sound like I’m over embellishing, but I’m truly not. This was built for success. There was no way it could fail. This is the jazz equivalent of the 1995-96 Bulls season. If you like jazz, especially relaxing and simple jazz, and you have somehow not heard this already, please give this a listen. Rating: 10/10

My theory continues to be proven true. Although this album isn’t composed by, or doesn’t involve anyone I’m familiar with. This doesn’t really seem to be well known or popular at all. Which, if true, makes me sad, because this is a seriously under appreciated piece of jazz music. The most interesting part of this album to me is how it manages to keep each song unique and slightly different, but also have everything still fit under the same jazz umbrella. Mandela is very fun and upbeat. Song for Sathima slows things down and is much more calm and serene. Manenberg Revisited gives Charlie Brown Thanksgiving vibes. Tuang Guru feels like Indiana Jones detective crime thriller music. Think Grim Fandango soundtrack. The title track, which is not on Spotify for some reason, and The Wedding get even calmer than Song for Sathima, but I don’t find them to be as interesting. The Mountain fits its title really well. It sounds like backpacking up a rural mountain in Thailand or something. Reminds me of a Studio Ghibli movie. And Sameeda feels like the music from an episode of Tom and Jerry. This is just as traditional and simple of a jazz album as Kind of Blue, but that doesn’t mean it doesn’t have the complexity. As I’ve already said, Kind of Blue is one of the most flawlessly crafted jazz records ever, simply because of who was apart of it. But the complexity and skill of those working on this record, while not 100% comparable, is still excellent. This is also a much more modern jazz record compared to the majority of the very popular ones from the golden age of the genre, which gives it a more refined sound. Rating: 8/10

I’m pretty terrible at writing unique and original thoughts for these reviews. So I’m just going to regurgitate what I said for my first Steely Dan album. I’m truthfully never in a bad mood when I put these guys on. They radiate a kind of energy that brings joy into my life. But I still wouldn’t consider this their best work. I’m eagerly awaiting the day I get to talk about that particular album. But this is still just as good, if not slightly better, than the debut. This album was still successful, but didn’t create the massive songs like Can't Buy a Thrill did. Their debut was more of a blend of a bunch of different sounds, but this is a far more streamlined and by the books pop rock album. It works though. This is their sound, and they had it down from day one. Donald Fagen is also finally on lead vocals for every song, which is one of the vital decisions they ever made in evolving the band. I didn’t mind David Palmer, but Fagen is the voice of the band. The differences between this and the debut are pretty minimal. The gap was only a year, and if you enjoyed what the group created then, you will enjoy this. It’s just as catchy, and just as well written as their other work, but they have yet to reach the point of culmination in their evolution. Rating: 8/10

I said not too long ago in a previous review that talking about really bad, or really good, albums is way easier. I’m not sure what it is, maybe I’m just naturally a negative person, but I can see the things I want to talk about forming in my head while I’m listening to an album I don’t like. Such is the case with this record. My issue with “hardcore punk” as a genre is that it often feels like it prioritizes moving as fast and as hard as it can without any sensibility. I understand why people like that. And I have a feeling this would work better in a live setting, when you can feel and see that energy first hand. But I’m simply not a fan of this lo-fi, poorly mixed sound. This is basically just a collection of mostly unrelated punk songs that are so short, I don’t even have time to figure out whether I like them or not before they are over. If I had the choice between an album filled with short songs or long songs, I’m picking longs songs nine times out of ten. I want to devote an entire section to that last song. Because when I saw a length of 9+ minutes, I got slightly hopeful. It’s almost ten times as long as most of the songs on this, so maybe it will be more interesting. Funnily enough, the longest song was the one I decided I didn’t like the quickest. The instrumentals are at least slightly more engaging. But the real issue is the vocals. I just can’t get over his vocal style. Mindlessly wailing and growling on a song doesn’t sound good to me most of the time. Especially not in this case. Rating: 4/10

So there’s this list. And there are only a couple albums that belong on this list. This list is solely for those that have acquired a cultural ubiquity in the music world. Dark Side of the Moon. Nevermind. Rumours. Thriller. Purple Rain. Almost everyone can agree that these are incredible pieces of art. And I believe it’s completely reasonable to include Abbey Road on that list. It’s a bit intimidating and challenging to speak about an album like this. Simply because what else is there for me to say? Any “original” thought I might have has probably already been spoken about before. And no opinion of mine is going to change the level this has reached. I think the easiest way for me to digest this is to take it on a song by song basis, which I rarely ever do, but for once I feel confident in being able to say something different about each song. Come Together has one of the best drum fills and best bass parts that Ringo and Paul ever wrote respectively, and is gloriously catchy. Something is probably George’s best song he ever made for the band. Frank Sinatra called it the greatest love song of the last 50 years when it came out. He didn’t even like The Beatles. 55 years later, I’m inclined to agree with him. It’s still one of the greatest love songs ever made. Hearing that metal clank on Maxwell’s Silver Hammer was a delightful surprise. Reminded me of how Electric Light Orchestra hit a fire hydrant for Mr. Blue Sky. Oh! Darling started off nice, but hearing Paul start singing with this growl in his voice made the song way more interesting. It works as a really good highlight of his vocal range and styles. Octopus’s Garden is one of the few songs written and sang by Ringo, and while I enjoy Yellow Submarine, Ringo’s songs are always a little silly, and this one is honestly better. I Want You (She’s So Heavy) has been my favorite song from the band before I even really liked their music. John’s writhing vocal delivery genuinely feels like a love you can’t get your hands on. I don’t care if the lyrics are too simple, because the way they come out makes up for it. It’s a legitimately heavy and bluesy song, and I fucking live for it. Here Comes the Sun might be the greatest pop song ever written, and is also in the conversation for George’s best song. No song expresses joy and happiness like that one does, and it will continue to be endlessly played in the summer, rightfully so. The vocal harmonies on Because are incredible, and learning that they were triple tracked to create nine individual voices singing at once is pure genius. The rest of the record is devoted to “The Long One”. An 8-track, 16 minute long medley of short songs. Golden Slumbers and The End are my favorites by far, but I like how simple and fun the stretch from Mean Mr Mustard to She Came In Through the Bathroom Window is. You Never Give Me Your Money is supposedly about Allen Klein, but I can’t verify the validity of this. I like the piano in the beginning though. Sun King has more triple tracked vocals, and Carry That Weight even features all four members singing. Her Majesty is a weird one, but it doesn’t affect the overall listening experience in any way. This is an enormous amount of nothing to write about one album. I didn’t even want to like this as much as I did. But I can’t sit around and pretend like this magnum opus wasn’t the absolute strongest way the biggest band to ever exist could ever go out. I know Let It Be came out after this, but I don’t care. This is the last Beatles album, and what a way to end it off. Rating: 10/10!

I’ve always said that Q-Tip has one of my favorite voices in rap music. He also happens to be a fantastic producer. And the dynamic he had with the other members of A Tribe Called Quest was second to none. So I was intrigued to hear what he would be capable of by himself. Safe to say I was not expecting something to this level of quality. But why should I really be surprised? This man has been one of the most talented MCs since the groups inception. This was released in 2008, just about in the middle of Tribe’s extended hiatus period, and there is a clear evolution of his sound. Although he was 38 here, he somehow manages to sound younger than he did on his earlier work. Even ten years after The Love Movement, age has not affected this man. And with this semblance of youth comes a new kind of production style. A cleaner one. A kind that is more adjacent to soul than jazz. And while I love the jazz rap work they did with albums like The Low End Theory, I welcome this new sound. And it pays off. Because every beat is amazing. I’m really fond of the bass lines and synth patterns here. It definitely feels like it’s taking inspiration from newer modern pop rap beats. Almost all songs are produced by Fareed, and he even samples great artists like Can, Jackson 5, and Steve Howe from Yes. I do have to give a shoutout to the song Move, especially the first part, since it’s produced by the late but great J Dilla. Even with age, Fareed’s lyricism, writing capabilities, and wittiness hasn’t changed at all. And every feature is stellar, especially the ones from Raphael Saadiq and Norah Jones. They provide a beautifully melodic twist to the slick instrumentals. Fareed even provides some singing himself, like with his vocal harmonies on Gettin Up. I was really blown away by how good this is. There is not one bad song. And although it might be blasphemy that I like this more than something like The Low End Theory, doesn’t change that those are still amazing records. This just happened to go above and beyond for me. Rating: 10/10!

The Rolling Stones were massive back in the day, and still are moving pretty smoothly now considering their age, because they knew how to market themselves. They got themselves out there, made huge hits, and dominated the rock world of the mid to late 60’s. Doesn’t necessarily mean I’m a fan of them though. I don’t really know, their music has never appealed to me, except for a song here or there. Most of my exposure to older music when I was younger was through my parents, and they rarely played the Stones, if ever. And I wasn’t expecting much from this debut album. I wasn’t even really disappointed that I didn’t like it very much, because I wasn’t expecting to like it that much. If you wrote down on a piece of paper what you thought the self-titled Rolling Stones album from 1964 might sound like, you could probably guess pretty easily. Think of any song from them from this era, or really any mid 60’s rock and roll song, and you have the sound of this album. It’s just very run of the mill, and very plain. There are some good things. I can appreciate some of the guitar work. I Need You Baby reminds me of How Soon Is Now? from The Smiths. And I’m also a sucker for stuff containing a harmonica, so they get some bonus points for that. This also sounds pretty good for the time period. Not sure if I listened to a remaster, or if it was the original mix, but either way. Not exactly the best introduction to the band, but I can only hope their more acclaimed albums up the ante a little bit and are more engaging. Rating: 5/10

The Flaming Lips are a band I have been interested in for a little while now. Simply because any group that is willing to push their own boundaries and try new things without fear of it not working or not being friendly for commercial success has my upmost respect. This album is probably the best place to start. And if you have any curiosity for this band, please give this a listen. This is by far one of the most unique listening experiences I’ve had of any album on this list, and really of any album ever. This is so wildly its own thing, and sporadically so many different things at the same time. So many textures. So many sound profiles. It takes effects created digitally and through guitar pedals and pushes them to their absolute limit. But they still come out sounding massive, and not very muddy in the mix. I urge you, if you listen to this, to experience it with the best set of headphones or earbuds you can. It’s important to take a step back at some points, and really envelope yourself in this sound. Although it can be hard and make it feel like your head is spinning, try to focus on individual elements of the meticulously constructed music. They also absolutely mastered the fuzz and distortion effects. I don’t know if any album uses it better than they do here, except for maybe Siamese Dream. Listen to songs like Race for the Prize or A Spoonful Weighs a Ton and try to tell me that ridiculously full and crushing mix isn’t incredible. This album is also beautiful. There are so many awe-inspiring moments of gorgeous orchestral strings or vocal harmonies, or even electronic drum beats. This is a melting pot of modern progressive psychedelic music at its absolute best. Rating: 9/10

I am by no means a fan of pop punk. Put on something like Blink-182, and you most likely won’t catch me singing along or head banging to the music. Simply not my era. This may seem stupid, but I’ve always seen it as a little cheesy. But that doesn’t mean I don’t respect a band like Green Day. I can admire the success they’ve had over the years. Some people not so much. I understand the gripes that people can have with this group. It’s ok to not like a band after hearing it so much. But elitism is the most draining thing ever. Like yes, we are aware that you don’t think Green Day is “real punk rock”. And yes, we are aware that you think they are sellouts. But should you really care that much? Someone like me, who has very little experience with this kind of thing, can still find enjoyment. I always admire three piece bands, because it’s harder to pull off the same level of musicianship as some bands with double the number of members. Each person is Green Day is a talented musician to say the least. Especially Tre Cool. That guy is one kick-ass drummer, and I love when he is absolutely tearing it up on the kit. I found that the songs on here that are more contained and less wild are not as interesting. But there aren’t too many of those. Most of this is quick and loud, which I enjoy. I pride myself in having a good intuition. And I had this feeling from the start that by the end of this, I would be tired of it. You can kind of get a sense after 3 or 4 songs of whether or not the album is going to be repetitive. But to my surprise, this wasn’t as much of an issue as I anticipated. I was slightly fatigued by the end, but all of the shortest songs are saved until the end, so the fatigue was mostly balanced out. Green Day are huge for a reason. It’s okay to not like them, but it’s also obnoxious to tell every fan you meet that their favorite band are shitty sell outs. Am I glad this is one of only two albums from them on the list? Yes. But do I hate it? Not at all. Rating: 7/10

The most enjoyable experience when listening to music is discovering an album you know nothing about and being blown away. Like a diamond in the rough. That is very much the way I feel about this album. I’ve never even heard of this band before. And that’s disappointing. Because they deserve some serious recognition. It’s really remarkable how much more enjoyable listening to music can be when it’s genuinely creative. It was made immediately apparent to me that this was something special when the album labeled as new wave and power pop started with a song like The Whole of the Law. The saxophone caught me way off guard, and was absolutely the last thing I was expecting. And what impressed me the most was that each after that continued to be engaging and unique, and try cool ideas. I kept saying to myself “This can’t get any cooler”, but it just kept getting cooler. The fusions of pop with punk, new wave, and possibly even jazz is executed perfectly. I think the real driving force of this is the lead vocalist Peter Perrett. His achy and meek style of singing creates the image in my head of a frail young man sitting in the corner of a room and singing. But the lyrics are actually quite sad. It’s a mix of drugs, depression, and a longing for love. This is so much more sophisticated and impressive than I imagined a late 70’s power pop album could be. I wish I had heard of this earlier, but that’s really the beauty of this list. Rating: 9/10

I will never “get” country music. I’ve enjoyed some here and there, but I can’t understand how some people straight up live or die by that kind of music. And I don’t boast about my intuition for no reason. Because I saw this album this morning, and was able to tell from a mile away that I wasn’t going to like this. I couldn’t have predicted just how much I wouldn’t like it though. This is bad. That’s the least that I can say. When it comes to country music, there is a certain kind of very generic and poppy country that I really hate. And this falls in line with that. If you were to look up “free no copyright country background music” on YouTube, you would probably get something equivalent to this. It’s a total slog, and completely mind numbing. You couldn’t pay me to try and pick things that are different from song to song. The only mildly interesting piece of music here is the title track, because it differs slightly from the sound of the rest of the album. My biggest gripe with this is really the singer. This is gonna sound horribly mean, and all respect to this guy, because god knows I can’t sing the way he does, but this would be so much better if he just shut up. If this was an instrumental album, it would be bumped up a couple points. The root of all bad country music for me is almost always the vocalist. And on this, he hits these really awkward twangy high notes that grind my gears. If you don’t like country music, don’t listen to this. But even if you do like country music, you still shouldn’t listen to this. Rating: 2/10

Gangster rap began in the 80’s. And although artists like Ice-T started the movement, it wouldn’t become the gold mine that it was until groups like N.W.A came around. For me, when I think of the essence of the genre, I think of this group. They are hailed as one of the greatest rap groups of all time for a reason. And their existence is vital to the evolution of hip-hop. If you want to talk about an album that is deeply entwined with the home of its creators, there is no better example than this. This not only speaks on the violence that surrounded Compton at the time, but openly embraces it. They were ready to fight back, they were rowdy, and they were rebellious. And they openly challenged you to try them. Groups like this, or like Wu-Tang Clan, had an ever flowing dynamic between the members that creates boundless chemistry. Something consistent that I noticed about the instrumentals is just how uniquely funky they are. They are built with lots of guitars and pianos, and of course they have Dre’s iconic drum sound. This also definitely has a very 80’s flavor to it. I was actually surprised by how good this was though, because I often find that the further back you go, the more inconsistent rap gets. But as an iconic group, and a substantial piece of the history of one of rap’s biggest sub-genres, this is a solid album. Rating: 7/10

You ever heard an artist that is almost entirely known for one song and one song only? It may sound like I’m describing a one hit wonder, but that’s not necessarily what I mean. a-ha isn’t a one hit wonder by any means. I’ve just never heard anyone refer to this group when talking about anything other than Take on Me. I’ve also never heard anyone talk about this whole album. I didn’t know this excited until today. In regard to Take on Me, I’m not a huge fan. I lob it in the same category as Africa by Toto, where it’s this hugely popular song I just don’t get. Although I don’t dislike Take on Me as much as that song. It’s catchy enough, but not amazing. The rest of the album though? Consistently pretty lackluster. This came out smack dab in the middle of the 80’s. And it had this goofiness to it that just came with the time period. The best example is the song Love Is Reason. Those horns make it sound like Mario Party mini game music. The instrumentals are just missing the essence that made other synth pop albums better. I can respect certain parts though, like the bass on Train of Thought, or how The Sun Always Shines on T.V. ramps up in intensity part way through. Also I’m just not really a fan of the singer. I’m no professional myself, so I really don’t have any right to critique how someone else sings, but some of the high notes he hits, like on Take on Me, sound forced and strained. This album is just a little rough around the edges. It feels over polished and is rather boring. And I can’t imagine anything of higher quality on future albums from them. Rating: 4/10

What the actual fuck? Those are the only words I can think of to describe this. Listen, I would consider myself a fan of post-punk. I love me some Marquee Moon or Remain in Light here and there. So I was intrigued when I saw this. But like a parent who found out their kid cheated on a math test, I’m not even mad, I’m just disappointed. There are so many things to talk about. Like how, for one, this barely feels like music at some points. There is a lot of really weird synth and guitar ambiance that feels like someone has pushed you off a cliff and you are just dangling by a rope. I can respect the fact that this is actually experimental in a way, but it doesn’t always make for very interesting and compelling songs. This feels like something a music nerd would tell a girl to listen to at a bar instead of whatever “shitty mainstream normie” music she listens to. Like “you don’t get it until you’ve heard it ten times all the way through”. Whatever Brian. It lacks a lot of conventional music things that exist to make music sound good. Which is cool if you are into that. But I’m not. This barely even feels like punk music. Even though Marquee Moon came out the year before this, I don’t think post-punk became something noteworthy until the years after this. Also I have to speak about the singers. This may sound dramatic, but I immediately hated it. Aside from parts in the last song, I can’t name one second of this where I thought the singer sounded good. In an album filled with some of the strangest choices in songwriting I’ve ever heard, he still manages to sound out of place. In a year where we got albums like Music for 18 Musicians, Hemispheres, Die Mensch-Maschine, and Ambient 1: Music for Airports, this doesn’t feel like it should be as liked as it is. But I guess that’s why music is subjective. Rating: 3/10

I have been eagerly awaiting the day I would be able to talk about another Radiohead album. I can’t deny the genuine love I have for this band. Was I slightly hoping that it would follow in chronological order after The Bends? Yes, but I’m okay with it jumping this far. Though I will admit, this is probably the album from the group I am least familiar with. This album has this strange reputation, where it often gets chalked up to “just a selection of Kid A b-sides”. And I really wish it wasn’t that way. This album shouldn’t have to live in the shadow of its predecessor. But at the same time, I understand why people think that. This was recorded in the same sessions, and was originally intended to be apart of Kid A. And the sound is closer to Kid A than anything else they’ve made. But it also definitely has its own unique sound. Packt Like Sardines in a Crushd Tin Box comes off as one of their most overtly electronic songs. It feels metallic and empty, and Thom’s vocal performance is probably as monotone as he’s ever gotten. They have a serious knack for making tracks like Pyramid Song, and they nail it every time. This is just as good as anything on Kid A, and a fantastic song. Also they have always stuck out to me as masters of pacing. I can’t think of one song in their large discography that I believe is too long. I’m not sure how they do it, but they manage to shove so many ideas into such short songs. Pulk / Pull Revolving Doors might be their most electronic song, and kind of gets a bad wrap. But I actually kind of like it. It sounds cool. But it’s also weird for sure. You and Whose Army? feels a little anticlimactic, but I love how intense and powerful the piano is when it comes in. If we are directly comparing this to Kid A, I Might Be Wrong is basically the equivalent of The National Anthem. Knives Out feels like the antithesis of the problems with this album. Other Radiohead songs that sound like that would have some big explosive moment that makes the build up worth it, but that never comes. But Dollars and Cents feels like the polar opposite of Knives Out, where the build up does actually pay off. Morning Bell / Amnesiac is by all means a rehash of a previous song, but if there was any way that a band should remix their own song, it should be like this. The ornamental and orchestral sound is a breath of fresh air for this album. And Life in a Glasshouse sounds like what the band in a fucked up and decrepit jazz club in an espionage movie would play. This is not “Kid A Junior”. I find this to be more adjacent with the band’s darker art rock sound. Where Kid A confronts depression and anxiety, and is almost always melancholic, this is gloomy to the fullest extent. It is not their best work, and not one I come back to all that often, but it stands on its own perfectly fine, and definitely has some highlights. Rating: 7/10

Having the soundtrack to a movie and also having zero knowledge of what this movie or what it’s about is an interesting scenario. And if I had the time, I would have liked to actually watch the movie to see the way the music is incorporated into it. Because this is super cool. With a movie so focused on love and repression and the exploration of adolescence, its soundtrack should be able to convey those same emotions effectively. And for a movie soundtrack, this does a damn fine job at conveying the emotions without the movie having to be there. It’s so whimsical and warm. Every single song feels like it’s accompanying a dream sequence. For almost every song, I was thrown off by the way the chord progressions moved. If this were a painting, it would consist solely of different shades of red and orange. There was even a moment in The Word Hurricane where a lady started speaking. She finishes explaining about the definition of hurricanes before the last breakdown happens, and it just intrigues me so much as to what way that would be used in the film. For many of these tracks, it starts off a plain ambiance, and then launches into these really heavy and dramatic passages, like the guitar and bass synth on Ghost Song. But sometimes there isn’t ever a big climactic section, like on Empty House, where they just keep adding more and more waves of haunting organs and synths with this beating kick drum in the background. It’s a surprisingly intense album for how down tempo and slow everything is. Like whoever they got to do the acoustic drums parts on some tracks has some serious chops. And above all, it’s way more engaging of a listening experience than I anticipated. It stands proudly by itself even without the need of the movie. Rating: 8/10

I’m a serious admirer of Wilco, or more specifically Jeff Tweedy and their songwriting style. I may be biased because Jeff said he likes JPEGMAFIA’s music, but it’s also because I do have a lot of respect for him. I had no idea who Billy Bragg was, so I didn’t know what to expect from a collaboration between Wilco and Billy. Turns out it wasn’t anything super out of the norm for the band. It does sound a little bit more country-ish, but that could just be me. The thing that makes this album unique is the actual process of creating it. All of lyrics were written a long time ago, by another artist named Woody Guthrie, and they were given to the band by his daughter. So really this album is preserving musical history in a way, which I can respect. And the actual music is solid, considering Wilco are the ones behind it. My biggest gripe is Billy. I just don’t like his voice all that much. It fits the music, but something about it just doesn’t click in my brain. I obviously love Jeff’s voice. The only songs I really like are the ones he is the main vocalist on. Even though I like the actual music, the other issue I have is that it’s not very memorable. This is one of those albums where I pretty much forgot all of the songs after I was done listening to them. They are a little boring, and very basic, especially since Yankee Hotel Foxtrot came out only 4 years later, so I know the kind of excellence they are capable of creating. It’s too safe and simple for me, so sadly I lost interest pretty quickly. Rating: 5/10

Live music is one of the most beautiful and expressive forms of art I can think of. Going to a concert is an experience like no other. And sometimes the best way to fall in love with an artist is to just jump into a great live album. Such is the case for me with Van Morrison. I was already aware of who Morrison was before hand, but to dive into a huge live album like this as my proper introduction is kind of a big undertaking. And this makes one decision that leads to far more success than other live records. Although this is a collection of recordings from a couple shows, the selection of songs immediately makes it clear that this is not an album that finds comfort in one idea and sticks exclusively to that. This has enough dynamics and variation to keep things interesting. And god, can Morrison sing. He couldn’t have been any older than 28 or 29 here, but he has some real age to his voice. He sounds so much more gritty, like he has seen some things in his time. But his voice is glorious. And his eleven-piece band is fantastic and consistently energetic in every song. This has slower ballads. It has faster and more lively songs. It has covers. And it has some of the best highlights from some of his most timeless records. Plus they even get into some jamming on the longer songs. This is one stellar compilation of live recordings of an artist and his band at their absolute peak. Rating: 8/10

Queen is one of the biggest bands in the world. Simple as that. There is no denying it. And I think they have every right to be. Every member of the band was individually an amazing artist on their own. And together, their energy flowed into the creation of some of the most lively and creative rock music of the 70’s, and possibly ever made. A Night at the Opera is probably their strongest work. It contains the most key elements of their music, and cuts out all the unnecessary stuff. I think you would be hard pressed to find any other kind of rock band that was making music as bombastic and theatrical as this is. It’s completely massive and magnificent, like an expensive chandelier, and they indulge themselves in this sound. They are not afraid to be so out there, so in your face, and completely blow your socks off with how over the top it is. Listen to The Prophet’s Song and try to tell me that the section where Freddie is just layering harmony after harmony isn’t completely unnecessary but totally needed at the same time. Freddie by himself is one of the most driving vocalists to ever live. His voice just floats and glistens like mercury (no pun intended), and he is stellar here. But so is every member. There is not one performance that falls flat. I also need to speak solely about Bohemian Rhapsody. Because I probably could have written an entire review of this length on that one song. I don’t care what anyone says. I don’t care how many times I hear it. I will forever love that song. It is the band’s magnum opus, and one of the single greatest rock songs ever recorded by. This album is a true rock experience. It wants you to know how much it loves itself, and I’m all for how wild it is. I’m not one of them, but theater kids will forever love Queen. Rating: 8/10

Your first impression of an album is almost always the cover. So when I saw this egregiously colorful, vomit inducingly bright hodgepodge of what seems like old school candy and food wrappers, I knew I was in for something. I actually love this cover. It’s like a Where’s Waldo page. I can’t stop looking at it. This is like that CD you randomly find in a music store, and buy because you like to cover, but forget you own and never listen to. And it gave me an idea of what it might sound like before I had even heard a second of music. This is a product of its time in the best possible way. Released late into the first year of the 90’s, it seems as if they waited as long as they could and soaked up as much of the beginning of the era and the end of the 80’s as possible. This is so 90’s it would make millennials cry. From its cover art to its mix of acoustic and electronic drums to its jangly guitar riffs that are pumped so full of effects it’s almost like a shoegaze record. This has a song called Loose Fit for god sake, which is entirely a play on the trendy fashion style of the time period. And it’s just so damn creative. I was not bored for one second. It’s an album that totally warrants and deserves a front to back listen with no breaks. It’s not too long and provides a unique flavor of the same vibe with every song. This makes me want to throw on some baggy pants and skate around my neighborhood, but I’m not capable of doing either of those things, so this works. The worst part about this is that the title is Pills 'n' Thrills and Bellyaches and not Pills, Thrills and Bellyaches. Rating: 10/10!

Pantera was one of the last artists I expected to see here. Metal isn’t exactly a very well represented genre on this list, which makes the few there are stand out. So I got excited to listen to this. Pantera was definitely a metal band I always wanted to check out. This album is fucking intense. I know, not saying much considering it’s metal. It has this incessant groove to it, which again isn’t saying much considering the genre is called groove metal. But every single song chugs along with these crushing riffs. And this groove is led entirely by Dimebag Darrell. Hailed as one of the greatest metal guitarists of all time, and rightfully so, he played the guitar with a power unlike any guitarist before him. Because all of the main guitar parts are very low, when he plays a solo, which is on almost every song, they are always very high and sharp, and they are glorious. Every other member is solid as well, especially Darrell’s brother Vinnie, who is a great drummer and matches his brother’s style perfectly. Anselmo is cool, but he does come off to me slightly as a bargain bin James Hetfield. And I’m sure Rex sounds great, but I can’t hear him in the mix. Like at all. If I can make out the bass on a Death record better than I can on this, that might be a problem. Just like the performances, the music itself is as solid as a brick wall. The sparing moments where it isn’t chugging along and is softer are nice, and still pretty intense, but I think this album is at its best when it’s going as hard as it can. Rating: 8/10

Simon and Garfunkel is such a silly name to me. But I only found out today that the Simon is actually Paul Simon. I don’t know how I never put two and two together, but here we are. I was fully ready to enjoy this. I like folk music. I had an idea in my head of what this would sound like, and I figured it would probably a solid experience. But these songs are really something else. Even if in the beginning I wasn’t super blown away by a track, by the end nearly all of them had won me over. I wasn’t ready for how ahead of its time and groundbreaking this sounds. But it all makes sense considering Paul Simon’s ambitions when it came to working in the studio. This album really says a lot about him, and knowing it was written pretty much entirely by him makes you realize how genius he really is. There is just so much beauty and so much orchestration at work here. These songs are calm and almost dreary with how serene they are. But they are also cheerful and leave me feeling good about the world. And some of these songs have such gorgeous moments. So Long, Frank Lloyd Wright specifically cut deep for me. There is just one particular moment where their producer Roy Halee yells, “So long already, Artie”. And knowing that this was their last album, and the tensions that were between them makes that song stand out so much to me. Paul and Art harmonize so perfectly, and this album just feels really special. It comes off as way more than just a folk pop album. Rating: 8/10

There have been very few times where I have been thrown off by music. But when it does, I would consider it a welcome surprise. It shows that the album actually had something going for itself. I really wasn’t familiar with Jane's Addiction in any capacity before this, but through this first listen, I have become both confused and very intrigued. From beginning to end, this is an incredibly unique and out there album. And I kind of have a love-hate relationship with it. Initially I wasn’t impressed by this sound. But it definitely grew on me as I heard each song. The vocalist is what really threw me off the most. I had to use Google to see whether he was a girl or not. His voice is just so young and high, that I was shocked. But that energetic youthfulness of it made the album more enjoyable in some places. And the songwriting feels unconventional in all of the worst possible ways and best possible ways. The best song is Three Days, which is also the longest, because it allows them to flex their abilities the most. I’ve said many times before that longer songs, when done well, are always beneficial to an artist in realizing their vision the best. I don’t like every song, but there are moments that feel like TNT exploding in my head, and I can’t help but admire the willingness to experiment. Rating: 7/10

I’ve been waiting for the day I finally got to talk about Talking Heads. And what better way than with the debut. I’m already quite familiar with this group, and still with each listen I am impressed and in love with their ingenuity and genuineness. They are a bit of a strange band. They took their sound they developed on this album and with each album added new additions to it to make it more complex and creative. So in terms of their discography, this is probably their most “normal” and simple record. It’s still out there and very much a Talking Heads album though. It’s still super funky and catchy. It’s still rooted in Indian, African, and Latin American music. And from day one, David Byrne was this freaky paranoid force to be reckoned with, and he truly led this band to the genius they achieved. But the other three are wonderful in their own ways. Especially Tina. The fact that she taught herself, and has been playing as well as she does from the very beginning is amazing. Of the golden era of Talking Heads, from this to Speaking in Tongues, this is usually considered the weakest of the five. Which I can understand. This is as plain as they ever got, and it doesn’t have as many of the groundbreaking ideas they pushed on their later records. But there are definitely still highlights. I consider Psycho Killer one of the most classic and catchy songs of the 70’s. They just needed that extra flavor and unconventionality to find true success.

I say this a lot about many artists and many albums, but once I got The Yes Album, I eagerly waited, counted the days almost, until I was given the opportunity to talk about Close to the Edge. The Yes Album was my second review ever. It’s not great. But now, nearly 6 months later, I can form words in a way that can somewhat express how important this is to me. But I want to do something. I’m going to talk about each song in reverse order, starting with Siberian Khatru. This is most definitely the simplest and most rock forward song on the record. But that is not a bad thing at all. They manage to make it sound just as epic as the other two songs, and it still has one of the catchiest main riffs they ever wrote. It honestly makes me want to dance around furiously, especially with how the synth and guitar initially are synced up, and then break away to follow different melodies. Absolutely love this song for all it is. And You and I begins with Howe playing harmonics on a 12-string, and it instantly makes it clear that this song is a different beast. It’s so strikingly beautiful from the very beginning, and the way this song flows feels like the ascension to heaven after you have died. It’s serene and genuinely a very pretty sounding song, and is by far the least intense song on the record. But I just really love that section at the start. It’s so spacey, and I get this image in my head of Howe playing a 12-string guitar made entirely of glowing crystals. It’s so delicate it sounds fragile like glass. And then there is the title track. Of the numerous hundreds of songs I absolutely love, few can still to this day leave me as astounded as this one does. Even after countless listens, it still isn’t even close. If Wish You Were Here was the album that helped me ease into listening to very long songs, this song is the one that made me fall in love with them. I truthfully feel this is objectively one of the greatest, if not the greatest song ever written by any rock band. It’s both intense, but also gorgeous and magnificent in scale. It’s a multi phased movement of music that took me multiple full listens to fully digest. And every member of the band gives the best performance they ever recorded in their careers on this song, especially Wakeman, Bruford and Squire. The keyboard solo that happens after the church organ is my favorite solo of all time, and one of my favorite moments of music in general. I don’t necessarily believe in perfection, but Yes probably got closer with this one album of only three songs than any band ever did before or after them. It’s just another tier of genius, and I can’t even imagine being capable of creating something at this level. Rating: 10/10!

I thought I knew what London Calling would sound like. From the minimal knowledge I had of The Clash from Should I Stay or Should I Go, to the amazing spoof on Elvis with the cover, I was convinced this would a punk album for the ages. But I couldn’t be happier that it isn’t really a punk album. Punk is great and all, and there is plenty of punk music I enjoy. And while this may seem like a simple minded opinion, just straight punk rock has always felt a little one note to me. But when a “punk” album like this comes around, it’s much more exciting. They avoided making a one note album in the best way possible. The mixes of genres is excellent, and considering this came out at the tail end of the 70’s, this feels ahead of its time in many ways. Especially in areas like new wave and post-punk, where this excels at creating uniquely amazing blends of sound. All three vocalists have that slightly generic 80’s singing voice that always takes me a little bit to get used to, but I always end up loving it by the end. And for a double album, this surprisingly lacks almost any bloat, and doesn’t drag its feet in any particular area. It’s energetic, heartfelt, slightly weird and experimental, and just enough bonkers to keep me entertained. And there are just certain parts of songs I love, like the couple of sections where a saxophone or trumpet comes in from The Irish Horns. I will admit that the album falls off in consistency a little bit from Koka Kola to Four Horsemen, but it picks back up right at the end. Overall, this album tries a variety of different things. And they kind of hit it out of the park in every way. It’s so much more than a punk rock album, and definitely inspired the sound of many bands to come. Rating: 8/10

I saw the title of this album and thought, “Is this some sort of John Coltrane cover album?” I was about as far off as I possibly could be. I feel like these early 90’s shoegaze albums can be very hit or miss. Granted, Loveless came out in 1991, but that is most definitely an exception. This one though? Still pretty hit or miss. The track list is very back and forth between proper creative shoegaze bangers to these experimental psychedelic dream pop songs. And the latter tend to be far less interesting. But I can respect what they were going for. Plus I can definitely hear the influence in other albums in the same vain that I love, like Velocity : Design : Comfort. The vocalist reminds me of Elliott Smith. Like a lot. But I think most would agree that Elliott conveys far more emotion through his voice than this guy does. When this album is at its best, it highlights the best parts of shoegaze and dream pop music. Which, to me, is always the chord progressions. The way the melodies move in exactly the way I want them too, and move to the perfect notes is always so satisfying. The lowlights of this album are mostly underbaked ideas that didn’t get enough time. Ideas that I find their contemporaries pull off far better. There are good things to take away from this, just not really the album as a whole. Rating: 6/10

When I put this on, I immediately prepared myself for a rough ride. I figured this would be bad, and for some reason I wanted to hate on it. I think the consensus that it wasn’t amazing got to my head. But truthfully I just couldn’t hate this. This comes off to me like a more glitzy and glamorous Jamiroquai or Steely Dan. And I kind of hate it for that. But like I said, I couldn’t pretend to not like this for very long. I’m just a sucker for this sound, no matter who does it. And this does have some genuine highlights. The stretch from Jericho to Holding Back the Years is excellent. And the vocalist has some really great and powerful moments on here. This feels so smack dab right in the middle of the 80’s, which makes total sense considering the release date. This is a combination of many things, from the new wave influences, to even the title and cover art, which have a very artsy fartsy feel. I can understand why certain people would be put off and interpret this as rather pretentious. I find that there isn’t much to latch onto as an outsider. If you like this genre, you will find enjoyment in this. If you don’t, this isn’t going to change anything for you. It might make it worse, honestly. Rating: 7/10

I have somewhat of a cutoff when it comes to the year the music I listen to is released. Usually anything released before 1965 is entering dangerous territory. But there are many albums on this list that were released before then. So it has definitely helped me get out of my comfort zone. But I don’t generally love those albums. This album though? It’s pretty solid. Becoming aware of the power of Aretha Franklin was a joy. She stands out as one of the most commanding female vocalists of all time, and just one of the best vocalists in general. Look up any top female singers list, and she will be on it, and she will be high up the list. If she’s not, the list is objectively off. Her range and control of her own dynamics is incredible, and most of the noteworthy moments on this come solely from her. Her voice really is soul music personified. The instrumentals aren’t super crazy. Don’t expect anything very impressive or dense. They are mostly just there to give Aretha something to sing over, and nothing else. The one thing I find to be consistent with albums from this time period is a lack of memorability. Like, this album is good, and I am able to recognize that. It’s just that I don’t know if I ever see myself coming back to any particular song from here, because I don’t remember what made them good the next day. I would probably have to be in a very particular mood to find myself listening to this, and I’m not even really sure what kind of mood that is. Rating: 6/10

White Blood Cells wasn’t exactly a groundbreaking album to me. I enjoyed parts of it, and I understood the influence it had. It was just a very middle of the road garage rock album to me. But I also saw the potential there was. And I figured that if certain things were changed, I would probably like future albums from the duo better. I’m happy to say that Elephant is an improvement on their previous record in almost every way. White Blood Cells was a raw album, but I felt like it could still get heavier. And this record embraces that heaviness. It’s more intense, more raw, and truthfully the songwriting feels much stronger. I mean, the last album didn’t have anything like Ball and Biscuit. And no song portrays this change better than Seven Nation Army. I’ve never been a huge fan of this song, but there is no denying how much of a 2000’s rock anthem this was. And it sets this album apart from its predecessor from the get go. Jack White’s writing abilities are as strong as ever, and they make up for the lack of a bassist with some really dense and distorted guitar parts. I will also not tolerate any Meg White slander. If Ringo is able to get by and be referred to as one of the greatest drummers of all time, why can’t she? Just like Ringo, she plays all the right parts for the songs, even if they are simple and amateurish. They are still effective and still intense. Plus I think her drumming improved significantly since the last album, and she has some really great parts here. This really was the height of The White Stripes’ existence as a band. Not only did they improve their sound immensely, but they also continued to push forward a revived genre and created a massive hit at the same time. Basically any bands dream. Rating: 8/10

Well, you have to get a dud every once in a while. I’ve never heard of Traffic before. I’ve definitely been in traffic before, but I’ve never listened to it. I got slightly disheartened when I saw this was yet another 60’s folk and psychedelic rock album. I just get so drained from these sometimes. And they take up so much of the list, so I get serious 60’s fatigue. This does little to aid that fatigue. Just another very simple and rather boring album that keeps me less than interested. There are some mildly interesting highlights on here, but it’s only short moments where I see potential peeking through. I like the usage of the flute on some songs, but the flute always sounds good with this kind of music. Jethro Tull proved that. I can also hear some of the blues influences that Led Zeppelin may have taken for their first two albums, but the influence is very minor. To me, some of these songs just sound like far less engaging Hendrix jams. Except Jimi released 3 albums before this that are way better. Electric Ladyland came out in the same month, so this is about as close to irrelevant in the psych rock space as you could get for the time. This does nothing to differentiate itself from every album that sounds the same. You would be best to avoid this. Rating: 4/10

My understanding so far of the choices of albums that were selected for this list is that they were either influential in some genre or space, or they had some songs that became hits. But then there are some that don’t fit either bill. They just feel like they are being used to fill a gap of a genre that maybe isn’t represented very well on the list. Such is the case with this record. I will not claim to be a huge fan of reggae. Not one bit. It is a genre I truly never find myself listening to. But why waste a spot with an album like this, when you already have something like Exodus on here? It’s fucking Bob Marley. He represented reggae better than any other human who ever lived. I don’t hate this album. But let me put it out there that this is on here, and Discovery by Daft Punk isn’t. This represents the more chill side of reggae. And I just lost interest very quickly. All of the songs sound very similar. And although there is some underlying political messaging, this album doesn’t give me the desire to sit down and really dissect its meaning. This isn’t horrible. For a specific kind of person, like someone who enjoys reggae more than I do, this will probably hit in some way. Just not my thing.

I’ve had Five Guys one time. And I found it to be very bland and boring, especially considering the price. I felt like there were just much better places to go to get burgers and fries for a much more affordable price point. Plus I could probably make a better burger myself for cheaper. Now why am I telling this story? Because this is how this album makes me feel, and I had no other interesting way of starting this. Now I’m not saying this album is overpriced. It didn’t cost me anything. And I’m not saying I could make something better than this, because I couldn’t. But what I am saying is that this album bores me. It’s incredibly plain, like a Five Guys burger. And why would I ever give this the time of day when there are way better rock and soul albums that pushed both of those genres to new heights. I gave this one full listen purely for the list and for the experience. I have the experience now and I don’t plan on ever wasting my time with this again. It sounds mean, and I’m probably being harsher than I need to be, but I just don’t enjoy these placeholder albums that are almost entirely lackluster and could be replaced with much better, more deserving records. Like I said in yesterday’s review, this is on here, and Animals by Pink Floyd isn’t.

I’m gonna put it out there that I think the more aggressive and intense rap music is, the better. It doesn’t need to be those things to be good, but a majority of the greatest rap albums ever sound like that. This is considered apart of the daisy age of rap, where MCs were still inclined to stay away from vulgarity and have fun with it. De La Soul did it well. And a fair warning, I’m going to be making a lot of De La Soul comparisons. Because these guys sound like a discount version to me, even if they came out slightly before and were around at the same time. This mostly lacks all of the good that De La Soul had. All of the charisma and character is gone, and the sample selection and production is far less interesting. There are a few cool beats here and there though. The lyricism is alright. The best song, lyrics wise, is Acknowledge Your Own History, since it best highlights one of the better aspects of this album, which is how in tune it is with Black and African history. At the end of the day though, this is a disappointingly underwhelming album, especially for how important it is supposed to be in the timeline of abstract and jazz rap. And I can hear where this laid the groundwork in many places. But more often than not, it falls short of executing those ideas well enough, and leaves much for its contemporaries to pick up and move forward with. Rating: 5/10

“The Indian smiles, he thinks that the cowboy is his friend. The cowboy smiles, he is glad the Indian is fooled. Now he can exploit him.” That text is the first thing I saw on the cover before I even started listening to this. And what a way to get introduced to an album. I never realized how amazing it feels to listen to genuinely good music after not doing so for a while. In the words of Gordon Ramsey, “Finally, some good fucking food”. I love how unabashedly weird dance-punk tends to sound. This album is fun, but also weirdly professional, and definitely intense. And this is probably one of the best places to start as an introduction to the genre. Because other artists I love who have pushed the genre forward and modernized it, like LCD Soundsystem, clearly take inspiration from Gang of Four. The way the bass and guitars are intertwined with each other, and play over each other like a bundle of tangled up wires makes for a listening experience that is never boring, even if the album is slightly one note. But like I said, this is intense, but it balances that out really nicely by having a sense of lightheartedness. If you combined all of the best parts of Television and Talking Heads, you would get this album. The most directly intense song is the closing track, and it is both the best and worst song on the album. It starts off with this masterful distortion, and I really saw potential for a drop into a cool song, but it fizzled out quickly into mostly just talking with some bass and a repetitive drum beat. Not the best way to end the album, but overall this is a really well executed record that helped push the post-punk genre into an even stronger place. I stand by the fact that 1979 was a killer year for music. Rating: 8/10

Much like Aretha Franklin, it’s so clear from listening to even just one song that Marvin Gaye was in a league of his own. And also much like Aretha, I think he has a permanent spot in the list of the best male vocalists of all time. If he isn’t on that list somewhere, the list is invalid by default. And what a stage setter Let’s Get It On is as an opening track. By far one of the most legendary opening songs to any album from the early 70’s. If you aren’t immediately in love with Marvin from hearing his voice, are you even human? It’s instantly accessible, and anybody can find enjoyment in listening to that man sing with the delicacy and power of one thousand other men. This album contains some of the most beautiful, intimate and emotionally driving soul music ever written. Every song is genius, and the band is excellent all throughout, especially when they bring in orchestral elements like the strings. It adds another level of sophistication that I love to hear in this kind of music. But really all of the highs on this come from Marvin’s singing. It is awe inspiring the things he was capable of writing and singing about at such a young age. Granted, he was 34, but there are people now at age 34 who wish they could be as talented as him. In his time, he created some of the most cherished and personal love songs ever, and they fill my heart with joy. It’s the kind of experience you will not find anywhere else in music. Rating: 9/10

I mentioned in a previous review that I am not traditionally confused by music. Whether it be the genre, or just the execution and production style, I can almost always settle into something unless I just genuinely don’t like the music. But for this particular album, I am confused by myself. I am, to put it plain and simple, perplexed. Because there is one part of me that is disappointed in the lack of inspiration present in this. So many of these songs seem derivative of much I’ve heard before, and they feel lifeless in their execution. Imagine a less enthusiastic and less technically proficient version of The Police. But there is another part of me that enjoys what my ears are hearing. I feel like I was mislead by the opening song, because that is easily the most exciting thing going on here, and I hoped the rest of the album would follow that same energy, but it let me down slightly. All I Ask was definitely unexpected, but I appreciated the variety. The last thing I thought I would hear was a bossanova-esque song. Really the last couple of songs are where the album tries the most new ideas. And even though they show more emotion in the last minute of the closing track than on anything else, those songs still fall kind of flat. This is one of the most middle of the road records I’ve had to listen to so far, and I don’t love it. But I don’t hate it either. Rating: 6/10

Rap has seen many evolutions and changes within the last 40 years. And I era that probably doesn’t get talked about much, rightfully so, is the post-80’s/early 90’s rap you hear on an album like this. I’ve had almost exclusively bad experiences with this kind of music. One of my first truly negative reviews was of a hip hop album from this same time period. So I was apprehensive to say the least. But I won’t lie. I was surprised by this album. I could totally understand why someone would scoff at this. This is probably as horny and raunchy as hip hop can get. A concept album (I use that term loosely) about a fake sci-fi sex drug is not an idea everybody can get behind. I’m not even really behind it myself. But I find the creativity charming. Does this maybe sound like Fresh Prince background music? Yeah, a little bit. But some of the sample choices and the production style is actually more creative than I anticipated. I can always appreciate a Hendrix sample, and I was pretty proud for recognizing it on my own when listening to The Way We Swing. The way this blends funk and jazz with its sample is really cool. I think where my issues lie is in the length of the songs. Some of these are just a little longer than they probably need to be. Very few artists are actually capable of creating rap music that can go on for 7 to 8 minutes and not drag on even a little bit. The pacing is off in some places, but I enjoy parts of this because of how goofy and fun it is. I can get down with stuff like that from time to time. Rating: 5/10

This list doesn’t have a ton of representation for 21st century music. There is a good amount from the 2000’s, but when talking about 2010 and further, the number of albums decreases significantly. This is easily the newest album I’ve listened to so far. But this album truly feels like an anomaly to me. I’m not sure where the author of the book could have found something like this. This artist doesn’t have a large number of monthly listeners. This album is relatively unknown. It doesn’t have a hit on it. It doesn’t even have a Wikipedia page. All of that adds up to what I would call a diamond in the rough. I respect anybody that is capable of putting an album together entirely by themselves. And this sound took a bit of time to grow on me initially. She really honed in on being very entrancing and meditative. This is one of the most hypnotic dream pop records I’ve ever heard. At first I thought that this choice caused a lot of repetition, and made for a lot of songs that never had much of a climax or big moment. But eventually I found comfort in just letting things play out and seeing what ways she experimented with her own sounds. Plus she has a solid singing voice, and she harmonizes and layers it with so many textures and chord progressions to create a really massive sound record. I love albums that totally fill my head with noise, and especially those that are able to do so even when I’m listening to it with a pair of cheap Apple earbuds. The best way I can describe this album is a tour through a botanical garden. But one that is made up entirely of digital art and computer programming. This might be the single least known record on this list. But often music like this that goes under appreciated is where the real gems lie. Rating: 7/10

Seems like I’m continuing to venture into the 2010’s. And this album in particular is one I have been waiting to get. I’ve heard such good things about it. And traditionally I try not to set expectations for myself with these records. But I couldn’t stop myself from expecting great things. It could have turned out horribly if I didn’t like this. But great things I did get. Truthfully I don’t remember the last time I listened to an album that left genuinely blown away in some places. This should be used permanently as a case study on how to properly blend genres together seamlessly. I find the sheer scope of this record hard to grasp sometimes. It’s so gloriously ambitious, covers so many different genres, and flawlessly brings them all together. I wouldn’t blame someone for thinking some of these tracks were done by completely different artists. The only thing connecting them is Janelle singing. Plus this a concept album, that is also apart of a series that has a story? I can’t even imagine the work that went into this, and I’m sure the story is great, but the music itself is so massive that I can’t focus on anything else. Records like this, Blonde, and The Ghost~Pop Tape that push R&B music to new heights are some of the most inspiring and creative pieces of music I’ve ever heard. This leaves no stone unturned, and is constantly doing something interesting. I mentioned yesterday that I love albums that fill my head. This is one of those. There is no negative space. It’s all taken up by something cool. I just love the vision of this. To conceptualize something like this, and actually put it out there as a complete work, and have it sound as good as this does is a miracle. Rating: 8/10

Whether you like them or not, there are certain bands who were around and did the right thing at the right time. Def Leppard is one of those. Truth be told, before today I had never heard a song from this band. It’s possible that I might have been actively avoiding them, but that was probably back when I refused to give any music from the 80’s a chance. But I’m a different person now. And although their music might not be the most critically acclaimed when it comes to music nerds, people love this band. AC/DC falls into the same category. And I can’t deny the small part of my heart that has a real soft spot for this kind of music. Because when it’s done right, it hits in a way other kinds of rock just don’t. It’s basically guilty pleasure music. And I like this. Plain and simple. This is like if Bon Jovi was bigger and better in pretty much every way. More interesting music, less repetitiveness, more skill from the band members, and the lack of a voice that makes my ears bleed. I don’t think you should expect anything too complex or mind blowing. But I was actually surprised at the level at which they are playing at. Especially the drummer. This will also come into play in a future review, due to tragic circumstances that take place later in his life. This is some explosive, over the top 80’s rock music that borders on the theatrics of glam rock. If you like hard rock, you have probably already heard this. If not, give it a chance. Rating: 7/10

I am befuddled. I am confused. I am disoriented. I am possibly even bewildered. There are a few albums that have made me really think as to how they could have made the list. And this is only the second soundtrack I’ve had so far. Soundtracks seem like odd albums to have on this list. Because what are they really essential for other than when you are watching the movie? But I’m just not sure what to say. I’m sort of at a lack of words. I would like to know how the author even found this and decided it would be a good idea to put in the book. Maybe the movie was some massive hit in Bollywood, but that means he must have seen the movie, heard the soundtrack and decided it fit the bill. It’s got no hits. And it’s not like it has had much influence on anything. This isn’t a well known genre for audiences outside of India. I’m not even mad this is here and other albums aren’t, like I am with other less than satisfactory albums. I just can’t fathom why. I guess I’ll admit that I do enjoy some of the funkiness and jazziness on a few songs. But there were just too many moments where I shook my head and thought to myself, “Am I actually listening to this whole thing right now?” But I refuse to back down and give an album up, even if I’m bored by it and not having fun. I understand how massive of an umbrella term World music is, and how does still represent musical history. But it doesn’t change the fact that this isn’t very good. Skip this. There is almost no reason not to. Rating: 3/10

I enjoyed Bridge Over Troubled Water. I rated it highly. But I was also sort of marveled by it. It was just strange to hear folk songwriting on a level like that from any artist other than the obvious ones of the same period, like Nick Drake and The Beatles. There was obviously no way for me to know that I would be hearing another record from them so soon. But I was excited to hear what this very short outing would entail. Now I don’t think this is better than Troubled Water. But I can definitely still take a lot from it. This fully cemented for me how powerful of a duo Phil and Art were. A creative powerhouse of a lead songwriter combined with one of the most gorgeous male vocalists of the 20th century could never have failed. This is cheerier than what I’ve heard before, especially compared to a song like The Sound of Silence. I don’t think the variety of sounds you hear is as unique, so it feels a little bit flatter and more one-dimensional in some places. But I can still respect much of what Paul was going for here. I even like how things get a little fuzzy on A Simple Desultory Philippic. It’s the kind of short-lived switch up I welcome. The issue with starting at the so-called peak is that it can really only go down. But thankfully this isn’t too far of a departure from what made that first record I heard so good. It’s just a step in their evolution. Rating: 7/10

It seems like I’m finishing up some artist’s catalogs on this list. I feel slightly fortunate that this is the last I’ll be hearing of Jane's Addiction. I admire some of what they do, but there hasn’t been one song that has really clicked with me. Before I ever heard Ritual de lo habitual, I only knew of this band from the first song on this record. It was sample by Death Grips in such an effective way that they made it sound like their own sound. But I’m not here to talk about Exmilitary. The first couple of songs gave me the impression this would be heading in a darker direction than their sophomore album. That’s not really the case though. This record feels hard stuck in the sound of “late 80’s pre-grunge heaviness”, mostly with the guitars and vocals. And yet the vocalist rarely feels like he matches the music he is singing over. It’s just too high pitched for me. I thought what made the first album I heard from them sort of off putting was this mildly experimental edge it had to it. And I thought them doing away with that would be the thing that makes it more interesting. But it just made it sound more stale. I can respect a band and not love their music. And this is a debut record. So it doesn’t have to be perfect. At least they improved slightly with their next release. Rating: 6/10

It has been a long while since I first heard Like a Prayer. I honestly forget Madonna exists sometime. But if you go back and look at that review, I didn’t not enjoy that album one bit. Safe to say those feelings were not a one time thing. I just don’t get it. And I could say that for a lot of albums I’ve heard over the last 191 days. But Madonna just doesn’t make sense to me. I’m going to say the same thing I said back then, because it still stands the test of time. Her music ellicits zero emotional response within me. Absolutely nothing. I feel lifeless when I listen to her music. What is the purpose of listening to music if that’s all I am able to take away from it? This is some of the most boring, bland, derivative and lackluster 2000’s pop music I’ve ever heard. What is she doing here than everybody else before her, and better at that? Even if this was considered “ahead of its time”, it would not be deserving of that title by any means. The autotune over her vocals on Nobody’s Perfect is enough to just throw the whole album out. Or the way the guitar is spliced up on Don’t Tell Me? Genuinely pissed me off a little bit. Such strange choices with the production and instruments that lack substance and stand as nothing but overly glossy and gimmicky pop trash. Keep Madonna far away from me. Rating: 3/10

If you have heard the Bee Gees before, you have probably heard one of four different songs. You could point a gun to my head, and I wouldn’t be able to name any song other than Stayin' Alive and More Than a Women. Critically it doesn’t seem like they are the most popular band. Commercially speaking is a different story. And I didn’t know they made music that wasn’t disco. But that’s probably for a reason. Their pre-disco soft rock music has sort of been buried at the bottom of the pit of seemingly endless amounts of soft rock bands. And I can understand why. In the competition for the best of the genre, they get the participation trophy. This album doesn’t stand out for much of anything. And any ideas they do pull that are mildly more interesting are still lackluster in comparison. It’s a surprisingly dark album, and more solemn than I imagined it would be. I can appreciate how often they incorporate orchestral elements. That separates them from their competitors slightly. But overall this is nothing special. The one song I do think is actually worth your time is the last one. Super emotional and powerful. They aren’t really known for this era. And I think it is for the better that this stays rather unknown, and we just stay listening to the hits. Because this strikes out pretty hard more than anything. Rating: 5/10

I really wish I hadn’t gotten a Pink Floyd album so early on, because I wasn’t capable of really expressing my thoughts on music in a long form. But now I can. And The Wall is probably one of the best ways to flex that ability. Because this is a dense record. And it’s a long one too. The real question is whether this is an 80 minute long symphonic prog rock masterpiece, or a mess of half-baked ideas. I’m sort of on the fence. This is less another Pink Floyd, and more Roger Waters’ slam poetry turned into a rock opera concept album. Being a beefy 26 songs long, and also being a double album can definitely lead to some messiness. And messiness there is. The source material this is based on is messy enough. That source material being the death of Roger’s father at a young age and his constant feelings of alienation and anger around this time with the band and touring. He just wanted to isolate himself from the rest of the world. Hence, the wall was born, musically and metaphorically. Portraying himself through a fictional character named Pink (real creative), the essence of this album is the story. And because of this decision, I’ve always found this album has trouble balancing songs that exist solely for the purpose of telling stories, and the stuff people really care about. And the stuff people really care about is really worth caring about. Both versions of In the Flesh, all three parts of Another Brick in the Wall, One of My Turns, Waiting for the Worms, and especially Hey You, Comfortably Numb/i] and Run Like Hell are fantastic. Also The Trial, which I believe might be the most ambitious and outwardly theatrical the band ever was, and it’s fucking amazing. The other stuff though? Not so much. I just don’t have as much of an attachment to certain songs on. Tracks like Goodbye Blue Sky, Empty Spaces and Don’t Leave Me Now don’t even feel like they are made by the same band in comparison. Now granted, some of the songs are pretty short, and act more as interludes than anything else. Some of them are sort of cool, and lead to good transitions between songs, but other ones don’t feel the same. This album also made one thing very clear to me. David is by all means a better singer than Roger. It’s really not even close. Roger is totally fine, and has some super intense and powerful moments here and there, but his voice is far more inconsistent than his band mate. I don’t regard this album as highly as some people do. This has always been my least favorite of their near flawless run from 1971 to 1979. This doesn’t change how incredible and impactful those years were, and I still really love this, because I can’t deny Roger’s arrogant genius. But more often than not I’m going to Animals or Wish You Were Here before I go to this album. Rating: 8/10

One thing I love in the challenge is when an album comes along and presents something that I’m unfamiliar with. It’s even better when I’m confident I’ve never heard anything like it before. That is a big deal on a list that is dominated by primarily 60’s and 70’s albums that occupy the same 10 genres. I can best describe this as sort of like elevator music? But it’s more complex and actually engages me, which elevator music isn’t exactly meant to do. Really the closest song to match that description is the closing track, but it’s genuinely beautiful. This is aided much by the addition of these really relaxing nature sounds, like waves and seagulls. I always love when artists add stuff like that to their music. And that song matches the cover of the album perfectly. The rest of the album has a jazzy, futuristic folk sound. This is the only kind of sound that really benefits from going all out on the glossy and atmospheric folk production. The thing that took some time for me to digest was John’s voice. It is very distinct. I don’t know if I have ever heard another vocalist sound so frail and ghastly. Don’t expect any moments of vocal power that blow you away. John doesn’t even sound like he has the strength to muster up the words that are coming out of his mouth. And yet such frailty creates an inherent serenity that I really settled into. This album seems very simple, and I think it might be an acquired taste. But under everything it seems like there is really a lot going on here. Rating: 7/10

Chamber pop is one of those genres that is very distinctly its own thing. Even if it borrows elements from many other folk-adjacent pop genres, when you put on a chamber pop record, you know what you are getting. And there have been people who have mastered this sound. Sufjan Stevens definitely comes to mind. So I was interested to hear what a different artist’s take on the sound was, since I have very little experience with it. And the title of this album does not lie. This is a relatively short album, that is entirely made up of love songs. Truth be told, these are probably some of the sweetest and most sincere love songs you will find from the 90’s. This is composed of very ornate and decadent sounding orchestral instrumentation, with building horns and swelling strings. But the addition of more folk and even soft rock guitars and drums creates a nice in-between. Honestly though, this isn’t as consistent as I would like it to be. Some of the songwriting feels plain in comparison to the more emotional and powerful moments. I also feel like the singers voice throws off the album a bit. It is another one of those voices that takes some getting used to, and I wasn’t fully there by the end. Because this is so short, it maybe doesn’t get enough time to really play around with its own ideas. But it also doesn’t overstay its welcome, so if you aren’t a fan of this sound, you won’t have to suffer for very long. Rating: 6/10

Oh boy. I don’t think it really matters what I say about this. Because for some, it won’t be enough, and for others it will be too much. I can think of people I know personally who would not appreciate what I’m about to say. Even having this album still on the list is wild, considering the climate regarding her in the industry right now. You could maybe make the argument for this being the most polarizing album on the list altogether. People either absolutely love it, or can’t stand it. I honestly dreaded having to listen to this all the way through. I don’t want to force myself to listen to anything I’m not going to enjoy. But I pride myself in listening to every album all the way through. This album is massive. Straight up. There was at least five songs on here that I have heard multiple times in my life, almost always involuntarily though. And I’ll start by saying that Blank Space and Style are decent songs. More so the latter. But they are two of the many big hits this produced, so I would hope they are good. But truthfully everything else sort of blurs together for me. This is not a record I ever see myself putting back on. There is like a 0.5 percent chance of that ever happening, and I can’t even imagine what mood I would be in for that to happen. The way I see it is that when you have all of these amazing albums that exist in the same space as this, there isn’t any reason for me to give this my time. This divulges too much into modernized pop tropes that I am not a fan of, and I can’t force myself to like this. I fully respect Taylor’s hustle, because she has done her thing and I can’t bring her down considering the monumental and record breaking numbers she has achieved with her music. She’s bigger than I’ll ever be, but I do not consider myself a fan of her music. It’s nice to have this experience at least, because now no one can tell me I’m missing something. Rating: 4/10

I don’t know every album on this list. I try not to spoil too much of it for myself. But I know quite a few. And there was only one that I was legitimately dreading a full listen of. That’s this one. I was just hoping and praying I would get it on a day like Saturday, where I could just sit down for three hours and listen to it in one sitting. Unfortunately I was not granted that blessing. And so really the only way I was going to be able to finish the whole thing in time to write a proper review was to almost exclusively listen to this all day. This was a bad idea. I was torturing myself. This is basically three albums in one. And the problem is that even one of these would be too much for me. Nearly an hour is a lot of music. And before I had even finished the first one, I was already getting sick of this. Imagine Jeff Tweedy from Wilco said to the band, “Let’s take all of our scrapped songs and demos, good or bad, finish them, and make one big album”. Except throw out all of what makes Wilco so interesting. This has charming, comedic and lighthearted aspects to it. And they really weren’t lying. This is 69 different love songs. I can admire the creativity it takes to write nearly 70 unique songs about the same thing. And some of the songs do have great lyrics and meanings to them. But it sucks that I can’t remember any of it, because I turned my brain to mush with three hours of indie music. It is just too much of one thing for me. Some albums I will never listen to again because I really dislike them. With this, I will never listen to it again because I don’t want to put myself through that again. Rating: 5/10

Listening to a member of a once famous duo’s solo music can be hit or miss. It would be like if you took one of the members of Daft Punk, and expected their music to be on the same level of quality as what they did with their partner. For some reason the name Donald Fagen didn’t immediately stand out to me. I knew I recognized it, but I had to look it up to realize he was one half of Steely Dan. At this point in time, they had been broken up for a little while. And I was interested to see how the music would sound with only 50% of the powerhouse that is Steely Dan. Fagen is pretty much the lead vocalist of the duo, so this is not lacking in the vocal department. And this sort of gives in to the synth heavy glitz of the early 80’s. But make no mistake, this still has most of the jazzy yacht rock goodness that their main stuff has. But I don’t know. Something about this feels like it’s lacking a lot of the creativity that Steely Dan has. It’s just more traditional and less engaging than their stuff together. Like much of their later work, this is still refined to the highest point an album can be, and has excellent production. They were perfectionists, and it shows. But I just don’t vibe with this as much as I do with their other records. Rating: 6/10

And so the streak continues. The day I find a jazz album I don’t have a deep love and respect for is going to be an interesting one. It isn’t even a genre I actively listen to on my own time that much. But when I put it on and really sink into it, it hits just right. Sadly, I think I’m conditioned to look at an album like this, that I’ve never heard of, and that seems to be relatively unknown, and assume bad things. It’s a habit I’m still trying to break. But this was a pleasure to listen to. It has almost all of the things I look for in a solid jazz album. I love how long the songs. There isn’t one track that feels like it doesn’t get enough time. But they also don’t go for too long, which is nice, because this is around 75 minutes long. And the way the songs build up and down is perfect. They keep things interesting, and move from section to section very smoothly. And the band is fantastic as well. This might not have been released during the jazz golden age of the mid 20th century, so you won’t hear any big names on this. But every musician still has just as much musical prowess with their own instrument. And they each one of them gets ample time to show off their abilities. The drummer in particular has a great solo that takes up the majority of Blues for Huey. Overall, this album takes the best parts of jazz and fuses it with funk, soul and Afrocentric sounds to give it even more snap. Great stuff. Rating: 8/10

Have you ever heard a voice that sort of left you in limbo? Johnny Cash did that for me. I’ve just rarely experienced something like it. The only other singer who has given me that feeling is Layne Staley. This album is proof to me that putting Rick Ruben on any project is going to improve it massively. This album was a huge comeback for Johnny, and it genuinely warms my heart that was the case. Because he deserved it, and to have this be the last thing he created before dying not long after is beautiful. And you feel that weight. This album is dark. It has an overwhelmingly heavy and foreboding sound. His voice resonates out into the endless cacophony of the universe, and he creates his own little world for 50 minutes. This is a double album of pretty much entirely covers. But if you want evidence on how to do proper covers, listen to this. Every cover becomes its own thing, and they are in no way derivative of the originals. To the point where Trent Reznor said Hurt wasn’t even his song anymore. Some might be put off by the simplicity of these covers. But I find it harrowing and melancholic in the most compelling way. The simplicity is where this album’s strengths lie. And on a gloomy, rainy day like today, I felt comfortable just sinking into the sound of this record. Don’t ever let your age determine what you can and can’t do. Because at 70, Johnny Cash created this. And that speaks volumes about what you are capable of creating even after you have been through everything life has to throw at you. Rating: 8/10

Rising from the ashes of hardcore punk and alternative rock band Hüsker Dü, which seemed to be quite well respected for the short time they were around, Sugar’s debut is sort of a departure from the work Bob Mould did with the previous band. I describe this album is Doolittle and Loveless, and their consequences. This is obviously not as rabid as Doolittle, or as crushingly beautiful as Loveless. But if you were to combine aspects of both of them, I feel like this is what you might get. I began my listen by thinking this would be a bad thing. But it really isn’t. This has some solid songs on it. But still overall a pretty average noise pop record that occasionally has some above average guitar work. It does sort of enter nearly indistinguishable lyrics territory, but you can still make out most of them. This is one of those genres, like mid century psychedelic rock, that I can see myself getting sick of. Because once you have heard a lot of it, you have heard most of it. There isn’t that much an artist can change to make it sound super unique. But when a band plays it mostly safe, and releases a satisfactory album that hits most of the right notes like this, I’m cool with it. Rating: 7/10

Pure joy consumed me when I saw this pop up. To me, Stevie Wonder is the idea of a virtuoso in its most powerful form. Name something this man isn’t incredible at, except for maybe seeing things. But honestly, I’m calling bullshit on this guy being blind. I just hear so much about this album. The praise is utterly unending. And I got worried that maybe there was a chance I wouldn’t like it as much as some do. But that’s just not even the case. I can’t believe I ever doubted this gift sent from the heavens. I’m genuinely concerned for people who say they don’t like this. What is there to complain about? This is by and large, without a doubt, one of the most genuine, intimate, and inspiring explorations of human life as a whole. What a perfect title Songs in the Key of Life is. Soul music, and really music in general, was changed forever the day this released. It sounds incredible, wastes no time, and has an excellent amount of variation to keep things moving. This album is entirely in another caliber of excellence. Fuck it, Stevie created that caliber with this. I don’t want to make it sound like I’m overrating this to all hell. But I can’t not. I’m not going to deny this any bit of love it gets. How could I? I try to be fair and consistent, and rate things so that I can’t give an album a ten if it has songs I would personally skip on a full listen. But I’m throwing that out the window for this. I describe 10/10’s as masterpieces. This is a masterpiece. There are few albums to ever come out that qualify for masterpiece as best as this does. That’s it. Listen to this album, all the way through. You are lacking beauty in your life if you haven’t or refuse to. Rating: 10/10!

When rap was finally beginning to form its own name, and groups like N.W.A were growing in popularity, N.W.A shot to the spotlight of the gangster rap movement that was less than satisfied with the current state of the world. I sometimes find it hard to speak about rap albums. Mostly because the content of the lyrics is what really matters, and I just don’t have enough time to sit down and digest those lyrics. With Public Enemy, you don’t necessarily have to read the lyrics to feel the energy. Imagine being strapped to a chair in someone’s dingy and dark basement and then being kicked and thrown around. That feels like the approach that these two took for the delivery. And even if, more often than not, Flav acts more as a hype man for Chuck, the charisma shared between the two is cool to hear. This album is politically driven and focused in its intent. Which is to make it clear how shit things are sometimes. I think where my issue lies in a lot of rap music from this time period is the production. Most producers were not creating as tight and punchy beats as you would hear in the 90’s and 2000’s. The drums are quieter, and the melodic aspects take more of a forefront. It’s not my favorite. This album benefits from having a really unique and varied selection of samples. Lots of funk and rock bits that intertwine with each other. There is almost always something going on. Even if I prefer what the genre would become rather than what it was at this point, this album has power, and showed people what rap could represent, and I wholeheartedly respect that. Rating: 7/10

The hardest part about writing a review for an album is starting it. I’m not sure what to say to make this interesting, so I’ll just say that I thought someone describing this as “pretty boy pop” was really funny, but also surprisingly accurate. Quite a while ago, I reviewed an album by a band called Orange Juice named Rip It Up. I had a lot of admiration for that album, especially because it isn’t regarded as some sort of well known classic. I just couldn’t help it. The same thing applies to this album. Something about this kind of sound flicks a switch in my brain. Even if this album has one sound, they executed that one idea really well. And it resulted in a total vibe. This album has a real shine to it. It’s super funky and groovy, and those bits of brass arrangement are to die for. All of the percussion, particularly on the extended sections of congas have a wonderful snap to them. This is like the music equivalent to a bag of pop rocks. Small bands like this that drop one really strong project and then sort of fade into the never ending cycle of new artists are admirable and inspiring. Like Rip It Up, I can’t help that I love parts of this. Rating: 7/10

You know those bands that are best recognized for their greatest hits album? Like, unless you are a die hard fan, you probably aren’t familiar with most of their music past the most popular songs. Earth, Wind & Fire seems like one of those bands to me. But I respected them enough from the music I did know, like September. This is surprisingly another soundtrack album. Obviously, I have never seen the movie. But I can just imagine how much of a vibe the movie is based on these songs. This is grade-A, high quality disco music. I feel like you would be hard pressed to find another group who lived and breathed funk and disco grooviness as hard as these guys did. The only other ones I can think of that even come close are Kool & The Gang and Sly & The Family Stone. The 70’s were just the perfect time for this sort of sound, and this album transports me right back to that moment in history. Thankfully this is another one of those soundtrack albums where you don’t need to be familiar with the movie to appreciate this. It’s just some positive music that hopefully everybody will get a kick out of. But I was also shocked to hear just how skilled these guys really were. The bass lines are fantastic, the horns are snappy, and the vocal harmonies sound incredible. All together, they make one killer disco album that I totally dig. Rating: 7/10

The Doors is another band I got surprisingly early on. And I’m glad that was the case, because their debut was a fantastic record, no doubt. But it also set the bar very high, and I have yet to find a psych rock album from that time period that really comes close. I kind of forgot this band was on the list to be completely honest, so I was ready to hear more from them. I’m not sure what it was with bands in the 60s and 70s releasing a bunch of great records in a very short span of time. I guess all bands did back then was tour and record. But this only came a little over three years after their debut. It sees the band returning to form a little bit more than previous albums. And it works. The blues have not gone away, and now they have some small additions of jazz added in here and there. It might not have the jamminess of something like Light My Fire, or the experimentation of The End, but it still rocks just as much as anything else they’ve made. And every member is still playing at an incredibly high level. Especially Manzarek. I continue to be awed by his organ and keyboard skills. Jim is also just as powerful as ever. His voice is smooth like butter, but thick like gravy. And the raspy heaviness of it fits this more slightly more rock-oriented sound perfectly. I almost like this just as much as their first album. But I think that debut has the edge only slightly because of how solid of a breakthrough album that was. I’ve been on a very strong run of good albums recently. Not mind blowing. But just good, and I’m enjoying them enough where it isn’t leaving me always looking for more. Rating: 7/10

I just want to preface this review by saying I was conceived before a Crosby, Stills, Nash & Young concert, so I think I’m pretty qualified to speak on this album. This is one of those supergroup bands that I don’t think you can really deny the excellence of. This is a total powerhouse of incredibly talented musicians that were as good as it got in their time. I had a moment when listening to Helpless, where I heard the singer’s voice, and thought, “Why does this sound so familiar to me?” And then I realize the Young is short for Neil Young, and everything made sense. This album not only boosted the careers of everyone in the band, but also stands as the best selling album across all of their careers. And for good reason. Because this is a classic. A revolutionary album of its genre. And a collective effort from some of the strongest songwriters of the 20th century. I don’t know if I have ever heard vocal harmonies on a level like this, except for maybe the obvious pick with The Beatles. Basically take any great traditional Neil Young album, and throw like 4 other members on top of it. This is just consistently a super warm and refreshing set of country folk songs. If you are at all a fan of this era of country music, or really just Neil Young, listen to this. Rating: 8/10

World music might be the least represented genre on this list. And I’m not necessarily complaining about that. It’s not a genre I ever find myself putting on because it’s what I feel like listening to in the moment. I feel the same about traditional orchestral music. I’m never really in the mood to throw on some Ludwig van Beethoven. That doesn’t mean this album is terrible though. I try to be as open to hearing new things as possible. And even if I didn’t love this. I still found things to take out of it, and it still stands as a unique experience. But truthfully I am in no place to really critique this, considering how little knowledge I have of the genre or culture this is from. Nusrat delivers some powerful vocal performances, and I can appreciate the complexity of some of the instrumentals. I can best describe this as like a combination of Pakistani jazz and classical music. Unfortunately that’s kind of where my observations end. This music is hard for me to attach myself to, and really get into, because there just isn’t much. It quickly becomes background noise that I have a hard time focusing on. I can’t think of a situation where I would recommend this to someone that I know. But it exists for a reason, because at least one person likes it. Rating: 5/10

Getting a metal album on this is one of the best feelings. Not a super well represented genre on the list though. I love metal music, and I love exploring the ridiculous amount of artists there are in the space. In terms of a Mount Rushmore of thrash metal bands, Slayer definitely belongs up there. They are one of the most essential in the history and evolution of the genre. And Reign in Blood is usually considered the culmination of the best aspects of the band. This wastes absolutely no time getting going, and there is no stopping until it’s over. It’s a blistering collection of short and ferocious metal songs that pack a serious punch. The drumming and guitar work are just next level, and the speed they maintain is honestly awe inspiring. The vocals are a good mix of clean and rough. They sort of lie somewhere between James Hetfield heavy and Chuck Schuldiner heavy. And it does all of this in less than 30 minutes. It’s a powerful effort for such a short amount of time. But honestly I think the album suffers a little bit from being so short. For me personally, a lot of listening to thrash and death metal is what I like to call pattern recognition. I often have to listen to these songs multiple times to really get what makes them so good, because everything moves so quickly. And so when the majority of the album is composed of 1 to 2 minute long songs, I’m barely beginning to like the song before it’s over and I’m moving on the next one. This is why the first and last song are by far the best. They are the longest, and spend the most time really developing the riffs and rhythms. But this is still a fantastic piece of work from one of metal’s most foundational bands. Rating: 7/10

Exactly a week after I heard their breakthrough sophomore album, I get the chance to hear the follow up. And I’m sure for Chuck and Flav, following up the impact that record had couldn’t have been easy. But I think what they did with this is exactly the direction they needed to move in. This album has made me realize something about hip hop that I think I always knew but was never 100% sure on. Which is how much my enjoyment of an album really relies on the drums. An artist once said to never mess up the drums, but I can’t remember who it was. Either way, they were totally right. This takes the already chaotic collages of different samples, and cranks it up to 11. There is such a huge variety of sounds going on at one time. It really is a marvelously produced record. And the beats are just all so killer. It’s the kind of aggression that I was looking for to really match the duo’s delivery. And said delivery is just as strong as it was on the last album. Plus, all of the controversy that was backing this album up only led to an even more intense theming. Even the name Fear of a Black Planet alone really sets the stage. It really feels like they just said “Fuck it, we don’t care if you don’t like us, we are gonna stick our dirty boots in your mouth, spit on you, and then use your complaints as a sample on the record”. It’s honestly the ultimate power move. I don’t know how I predicted it, but I had this gut feeling I was going to like this album a lot more than It Takes a Nation of Millions to Hold Us Back, and I was dead on. But I’m glad I heard the latter first, because this would have that seem even worse in comparison if the order was switched. Rating: 9/10

If there is an artist people give a lot of credit to that I could probably do with a lot less of in my life, it would be Elvis. If I never heard Elvis again for the rest of my life, I would not be complaining. I just don’t get it. People listen to Elvis in the 21st century, unironically? People are allowed to enjoy whatever they want, but those who live and breathe Elvis just confuse me. This happens to be within the top 5 oldest albums on the list. And this proves to me that the 50s were by no means a strong decade for music. Especially not in comparison to the stuff we would get only a decade or so later. This OG rock & roll genre just sounds like white people trying to jack all of the ideas that the African Americans came up with during the 20s and 30s. When they eventually ditched the roll part is when rock started to really evolve. Elvis is just the poster boy of this era. And I simply don’t like him, or his music. I find it to be very plain and uninspired. And it feels rather pointless when considering the heights that other artists were reaching even in the same year. I know people who love his music. And I’m sure they probably grew up around those who listened to it themselves as a kid, and also grew up around Elvis fans, and so on. My opinion is not going to change how eternal this man is as an icon. But that doesn’t mean I’m forcing myself to like his music. The best thing that came out of this is London Calling’s album cover. Rating: 4/10

Speaking of mid-century rock and roll inspired music, it’s pretty funny that I get this the very next day after Elvis Presley. But what a difference it makes when you listen to someone who actually has some talent behind them. That might sound harsh, but this album just does a way better job with this sound than Elvis ever did. It has this unique fusion of early punk and surf rock, but still maintains that original 50s sound. And I can appreciate it. It’s a wholly unique combination of ideas I’m not familiar with. And yet, I’m still not in love with this. I think it really just comes down to me at this point. The riffs are energetic, but still tasteful. And the lyrics are The Velvet Underground debut levels of creepy and erratic. But what is it with male singers in the 80s all sounding really similar? It’s like country singers nowadays. Just not nearly as annoying though. This album simply feels a little unbalanced. Plays it too simple in some places, and goes for a real hail mary and falls short in other places. But I think there is still something enjoyable and valuable to take away from this. The album comes off as a little strange sometimes, but it embraces the weirdness pretty well all things considered. Rating: 6/10

Falling in love with an album that’s not on streaming is just the worst feeling. And the last time I remember wanting an album to be on streaming so badly was when I heard Exmilitary for the first time. But that album doesn’t hold a candle to this. I appreciated The Hissing of Summer Lawns. But maybe I don’t remember it sounding very similar to this. I thought of it more as a Steely Dan inspired singer-songwriter record. But if it did, then I was sorely mistaken in my score. Because holy shit. This is one of the most stellar pieces of music I have heard in a long time. If it isn’t obvious by the many albums I have given high scores to, I love jazz. And I love all things inspired by jazz. So the combination of her traditional folk sound with more progressive jazz elements is a match made in heaven. Joni just has a voice that speaks to my heart. She’s like a female Neil Young. I just can’t deny how warm and fuzzy their voices make me feel. And her uniquely creative style of lyricism makes for a handful of delightful moments. I was also really blown away by how elegant the production is. This album probably has some of my favorite guitar tones and textures I’ve ever heard. Those, put together with the very deep and full bass sound, creates this beautifully layered sound profile. I will admit that I’m guilty of not listening to the albums I say I love as much as I should. But this is one that I immediately wanted to put back on and dig into once it was over. I could also see myself falling asleep to this in the future, because it’s really relaxing. Rating: 10/10!

The last thing I expected from this album was a song I actually recognized. But I’m confident that I’ve heard Blister in the Sun somewhere before. Not sure where exactly though. I was genuinely surprised by how delightful and charming this album sounds. I have zero experience with folk punk. But it’s honestly a really intriguing idea. Taking all of the traditional aspects of punk music away, and essentially throwing out a lot of the intensity those things they create, creates a genre that is weirdly satisfying to listen to. Plus, it helps that the band is far more skilled than I expected them to be. This album sounds very much like a product of its time, right between the end of the 70s and the beginning of the 80s. But some of these songs wouldn’t sound out of place on a mid-2000s record. I think the thing that makes this album so enjoyable is just its willingness to bring weird. It isn’t afraid to be out there and try interesting ideas. This is such an unconventional sound, and I am naturally drawn to that. Not necessarily an album I would recommend to the average person, but more someone who can appreciate something more unconventional. Rating: 7/10

Finally I have the opportunity to speak about Fela Kuti again. That first live album I heard nearly 200 days ago still remains one of the most explosive and energizing pieces of live music I’ve ever heard. Zombie does nothing to soil Fela’s image. I really had no doubts though. From the period of 1971 to 1977, this man and his band were creating nothing but straight bangers. And this album really acts as the culmination of those years, and a farewell to that band. I picked up pretty quickly that Fela plays far less of a role vocally on these songs compared to what I have heard of him in the past. But when he does have his moments, they are critical and absolutely excellent. This album acts as a scathing and meaningful critique of the Nigerian government, and the brutal dictatorship that was happening at the time. That alone makes this an incredibly important piece of Nigerian history, but the result of Fela’s words are tragic. Possibly leading the death of his mother and the destruction of his studio and commune by the Nigerian military, this record meant something. And none of that even speaks on the music itself. Which of course, is amazing. Fela really made me fall in love with a genre I never imagined I would have any connection to. And the way his band plays on this is pure love and life. I’ve said it many times, and I’ll say it again, I fucking love brass instruments. And when the brass sounds as punchy and snappy as it does on this record, it just fills my heart with joy. Fela Kuti is a wildly impactful artist in the musical and political history of Nigeria. And he helped tremendously with bridging the gap between the West and the East through his music. Imagine the Miles Davis of afrobeat. Breaks my heart that this is the last chance I will have to talk about him. And it saddens me that artists like Madonna have more of a presence on this list than he does. Rating: 9/10

Whether you think they have completely lost their touch and are long past their prime, or you believe they continue to do great things in metal, there is no denying the influence Metallica has had. Like it or not, they are easily the biggest metal band ever. It’s really not even close. And truthfully about a year ago I would have been apart of the latter crowd. I had a real distaste for Metallica. But I also wouldn’t have really called myself a huge fan of metal music. I liked stuff here and there. But now I find myself being able to sit down and appreciate the genre way more. One thing I took issue with on another thrash classic, Reign in Blood, was the length of the songs. They just weren’t long enough. This album thankfully doesn’t make the same mistake. It takes plenty of time to really pummel you with its ferociously heavy and fast riffs. But it is also really good at drawing itself back and getting more melodic, or even acoustic at certain points, and building up to something cool. Realistically, based on what they are playing, this was the band’s peak in level of performance. People love to give Lars shit now, but he is a fucking machine on this record. Each of the four members are firing on all cylinders. Unfortunately this was the last we would get to hear of Cliff, who took the band to the next level with his thunderous bass playing. I can no longer pretend that I hate Metallica. Because I don’t. I do really love a lot of what this band did, and their impact on metal music is so enormous. Metallica made metal normal and cool for a time, and Master of Puppets is a glowing example of their talent. Rating: 8/10

The streak continues. I was first introduced to the power of Herbie Hancock on In a Silent Way. And his electric piano work pushed that album to another level of perfection. So I was ready to embrace this record with open arms. Of course it didn’t disappoint. There really was no way it could. This is that sort of faster-paced rock influenced jazz fusion music that I really can’t ever get enough of. The way the opening track builds and each instrument gets added on, which eventually results in 15 minutes of near flawless jazz music. Or the woodwind intro of Watermelon Man. Or how Sly picks up the speed and is consistently moving forward at a break neck pace. I really love how this album paces and carries itself. Each element is so fine tuned, it sounds excellent, and it’s progressive in the movement of the instruments. With only four tracks, this is very close to being a near flawless jazz experience. But the last song brings it down slightly for me. The energy gets slightly less exciting. And while I’ll admit that it still sounds beautiful, it does dampen the mood a little bit too much for me. But even still, this is a marvelous piece of work. Even past the true golden age of jazz, Herbie proved that he doesn’t need those big names to find success. He was a pioneer of the post-bop style, led his own group, and created a masterpiece with them. Rating: 9/10

I said “the streak continues” yesterday. And then the very next day the streak ended. I have claimed many times that there probably won’t ever be a jazz album I really dislike. And truthfully this album sort of proved me right, but it also proved me wrong. Initially, before I even started listening, I saw that this was listed as avant-garde jazz and grindcore. And I was confused as to how those two things could be even remotely related. I’ll go on record and say this is the single strangest album I have ever heard in my life. It’s avant-garde for sure. Possibly to the point where it’s almost unlistenable. Most jazz groups don’t have two drummers. This is the reason why. The first eleven songs of this record sound like the two drummers and all of the other band members are constantly fighting each other to see who can play faster and louder. It’s not the kind of sound you put on for enjoyment. It’s more often than not completely ridiculous. Then you get to the last 6 songs. Which fortunately takes a slightly less bonkers approach. It’s far closer to the jazz than I can actually appreciate. But I can’t say it really saves this album. I can recognize the skill it takes to play at that speed without it sounding totally amateurish. And even when the album is leaning more towards the normal side of jazz, it just moves too and randomly for my brain to process. Not a completely garbage album, but also not one that continues the streak in the way I would like it to. Rating: 4/10

Dire Straits is another one of those bands that seem to have so many popular hit songs that I’ve just never heard. I was vaguely familiar with who they are before listening to this. My biggest takeaway? Brothers in Arms is unfortunately more generic than not. For every song that really succeeds in doing something interesting, there is another song that falls short. The Eagles are an enjoyable group to listen to, but even I can admit they border on being a little too traditional for me. This album feels even more like that, just for a different decade and with more experimental edge. At least this band has a better vocalist that actually sounds unique compared to the rest of the 80’s male singers. What this album excels at best is creating some really great ambiance. The synth work is unexpectedly really admirable. Obviously you can’t really have a review of this album without mentioning what is objectively the best song. Even if you have never listened to the song yourself, I’m sure everyone has heard the intro to Money for Nothing before, especially with the legendary guitar solo in said intro. In an album filled with some duds, this goes above and beyond. I feel as if this album wants so badly to be something it isn’t. Some of these songs are so popular, and I’m just not sure why. Rating: 6/10

This happens to be simultaneously the worst possible introduction to Nick Cave and the best possible introduction to Nick Cave. Just one look at the cover, and you know this album is going to be anything but a normal album. And immediately from the first song, my suspicions were confirmed. This album sounds fucked up. It comes off as if it’s trying really hard to be as unappealing as it can possibly be. Totally ridiculous. Nick delivers vocal performances that rival the manic wails of a patient in Arkham Asylum. Fuck trying to be delicate. He just focused on raw power. The instrumentals on the other hand are the exact opposite. Really strange and abnormal arrangements. And for an album with such a flashy and bombastic looking cover, every song is forebodingly dark and depressing. The last thing this album manages to be is enjoyable. At least by the dictionary definition of enjoyable. And I sort of respect it for that. In a year where Eye of the Tiger was a song dominating the popular music world, something like this is refreshing. But I still have to judge these albums based not only on the impact they’ve had, but more on how they make me feel. This is still hard on the ears. And not something I envision myself coming back. Rating: 5/10

When I reviewed Aladdin Sane, I took away enough to really strengthen my perspective on Bowie. A one of a kind artist is simply the only title I believe he is deserving of. His catalog, even if shaky and inconsistent in some places, contains some of the most solid pieces of true art created by a musician. And art is really the key word there. The Rise and Fall of Ziggy Stardust and the Spiders From Mars is the ultimate David Bowie album. The Bowie album to end all Bowie albums, and the one that is easily pointed to the most as proof of why he was so good. Compare this to any other artist making glam rock at the same time, even artists that David worked with himself, like Iggy Pop, and you will see why he was leagues above the competition. This album is the sum of the best parts of the overly indulgent, bombastic, and explosive approach artists often take to this genre. And it maintains itself as one of the most interesting and iconic concept albums on top of all of that. This is most obviously helped by Bowie’s character, that he brought to life with glorious passion. Starman alone should convince most of the intrigue of this record. It has possibly one of the catchiest choruses of any song released in the 70’s. It’s the definition of an earworm. Clearly Bowie is the creative star on this album. But his band is also excellent. Mick Ronson really gets to show off his abilities here. When speaking about Bowie, Ziggy Stardust is like a bigger diamond in a bin full of beautiful tinier diamonds. Even if you don’t fully love David Bowie, listen to this album. It is truly essential to rock history, and is a shining work from one of music’s most genuine creatives. Rating: 9/10

You know what I love? Deeply intricate electronic music. Especially that of which there is clear evidence that love and care was put into it. Long songs are common in the genre. And the best ones often warrant that length. But you know what I hate? Electronic music that just acts as mindless slop. It’s already a genre that receives enough criticism as is because people believe it genuinely lacks no substance. Show them this album and their brains might just explode. I need to sit down and have a chat with the author of this book. Because where does he find these dumpster fires? If someone recommended that he include this, they need to be slapped upside the head. This is just simply the most painstaking, boring and bland “IDM” I’ve ever heard. Fuck that genre label by the way. If you are trying to convince me this is “more intelligent” than other, better, dance music, you are an idiot. If the best song on your electronic record is a Portishead remix, and even that is still lackluster at best, you’ve got a big problem. My biggest issue is that nearly all of these songs long overstay their welcome. Even the slightly more interesting ones are still too long. The first four songs are barely even music. More just like noises. You can’t put reverb and delay on everything and call it a day. And then everything after that is just painfully boring. At least those songs tried something interesting, even if it still sucked. This just wants to be Kraftwerk so badly. And it fails miserably at even getting close to their level. Don’t listen to this. It’s utterly pointless. Rating: 2/10

I can guarantee almost everybody has heard Randy Newman at one point in their life, whether they realized it or not. Even I was surprised to learn he was the guy behind You’ve Got a Friend in Me. But at the same time, I feel like I knew that at one point and just forgot. But it’s cool to see him included on this list, because I wasn’t aware of any of the actual music he made. In the span of about 20 years, he went from a regular songwriter and composer to the mind behind the scores of some of Disney’s most massively successful animated movies, and then some. It’s pretty impressive. But really, if you listen to his most popular work, the sound you hear on those isn’t too far off from what this sounds like. Just lots of soft jazz influenced pieces of orchestrated piano rock. Where this album excels at the best is either when it is at its most involved, and there are more parts playing at the same time. Or when it is the most stripped back. Often times this is just Randy playing the piano and singing. And this combination is really lovely. Randy’s got a great voice. Explains why that Toy Story song has remained such a nostalgic classic for so many after all this time. I don’t really know what this album is essential to, if anything at all. But it’s a decent time, and rather short, so there isn’t a ton for me to complain about. Rating: 6/10

With the release of the Bob Marley movie recently, he has sort of re-entered peoples minds as a figure in music history. And no doubt, a lot of what people remember him for was the work he did as an activist for his country. He really was just an incredibly moving and inspiring person, and he gave so much for people to look up to during that time. Reggae isn’t necessarily my genre. Like it’s not something I actively listen to. And I liked Exodus. It didn’t blow me away, but it was still consistently enjoyable. Sometimes I think reggae is a little too consistent with its own sound, and a lot of songs end up blending together in my brain. But I think that can sort of be set aside when the songs sound as good as these ones do. Such a good vibe man. And I’m not usually one to use that term in like the generic hipster way. But if I was either high or driving, preferably not at the same time, this album would just feel so perfect. I can’t remember exactly if this is what Exodus sounded like. I feel like that album had a much more cheerful sound to it. But this record is the more chill and solemn side of reggae, and it sounds great. It never clicked with me just how good of a singer Bob was, which is kind of crazy, but he has some beautiful moments on this. And the backing vocalists also have some solid harmonies here and there. But this album is best late at night, cooling off on a summer day. I think it’s objectively just as good as Exodus, but I personally like it slightly more. Rating: 7/10

The run that CCR had from January of 1969 to July of 1970 is the stuff of legends. I said the same thing in my initial review of Cosmo's Factory. And every positive thing that I had to say about that album still applies here. Except I think it’s somehow amplified ten fold in this case. John Fogerty seriously just had the formula down. People need to speak more about how much of a talent this guy was back in the day. He still stands as one of my favorite singers ever. He really is the ultimate blues vocalist, and is only rivaled by the likes of Jim Morrison and Jimi Hendrix. Every song on this album is good, if not great. And whether it’s the main guitar part, or John’s vocal delivery, each song has a specific moment or riff or idea that makes it stand out. The way John sings the chorus on Wrote a Song for Everyone is great. It sounds more like he’s saying “Wrote a shong”, and it gave me a good laugh the first time I heard it. It’s just like the most southern thing ever. When an album I love doesn’t even reach the 30 minute mark, chances are I would usually be asking for more. But with this album, I’m really not. And that’s not a bad thing. The majority of these songs are pretty short. And they are perfect that way. Great condensed bits of swampy blues rock. Give me a cigarette, put me behind the wheel of a 69’ Camaro, and play this album, and I just might take my draft letter and ship myself off to Vietnam. Rating: 9/10

Not every day can be good. I shouldn’t even expect every day to be consistently somewhat decent. There is always going to be a day or two where I have to listen to a stinker. But it doesn’t change how disheartened they make me feel. Some albums, much like today’s, just get me down. And they honestly make me regret ever starting this. There was a long period of my life where I didn’t know if I could name an album I had heard that was legitimately bad. This list has given me quite a few of those at this point. And this record is no different. If you asked someone to create the most generic and copy-paste country music ever, like something you might hear in a video game or kids cartoon, they would probably produce something close to the material on this album. It is so mind numbing that I can’t even pretend this didn’t completely go in one ear and out the other. In a decade like the 60s, where artists started to really push boundaries for the first one, this is just disappointing to hear. It just seems to lack any real substance or creativity. And I don’t really care how influential it might be to other artists of the same genre. Because this is still bad, and all of the other artists are far better. This is bottom of the barrel level country music. Rating: 3/10

“This should be played at high volume, preferably in a residential area.” In the same way that producers like Madlib defined the sound of 2000s underground rap, Dr. Dre absolutely pioneered the production style that would dominate 90s gangster rap. And the influence he has had on the genre as a whole is massive. From his founding work with N.W.A, to the numerous talented artists who got out into the scene because of him, Dre has definitely been around. Kendrick Lamar probably wouldn’t be in the position he is in now if it weren’t for Dre. His first album feels less about him, as he takes up very little of the spotlight. He stays mostly in his lane as a producer. And the beats are fantastic. Repetitive, but undeniably iconic. The moments here and there where he does get vocal are good too. The stars of the show are all of the other guests he features, mainly rappers like Snoop Dogg and Nate Dogg. Many people take issue with the content of this record. And that’s totally fair. It’s overly vulgar, violent, and in your face. And that was just the right thing people were looking for back then. Interludes aren’t usually a problem for me. The $20 Sack Pyramid is actually pretty funny. But why is it that both Dre and Biggie had interludes of them fucking someone on their breakout solo albums? Some people seem to think that once gangster rap started to gain prevalence around this time, true rap was officially dead. Granted, a culture did form around the themes of this kind of music. And there was less of a push for more abstract and jazz oriented rap music. But that doesn’t mean that gangster rap didn’t eventually meet the same fate, as people started to desire more sophisticated music that artists like Kendrick and MF DOOM would bring back. But none of that changes the fact that this is a quality west-coast hip-hop record, plain and simple. Rating: 8/10

I wasn’t enamored with The Suburbs. I think they knew clearly what they wanted that album to be. But they just didn’t stick the landing very well. And it resulted in something that was more often than not dragging its feet and meandering around the same ideas. Fortunately, I think their previous album does a lot of things better. They definitely took too many steps back in the wrong direction for the follow up. Neon Bible is mostly more of the same from a musical perspective though. It’s nothing out of the ordinary for mid-2000s Arcade Fire. But it does so many things better to keep the album moving smoother. A shorter album overall, with a more balanced set of songs that don’t feel so dragged out and overdone. I still feel this band has one glaring flaw. Many of these songs reach what sounds like the beginning of a climactic moment. When everything comes together and makes all the build up worth it. And then it just never happens. Again, it’s that idea of meandering. This album isn’t as egregious with it as the other one was. But it still pops up here and there. I was ready to finish this off and keep it in the same regard as The Suburbs. But I’ll admit when I’m wrong. Because those last three songs really brought everything together, and made this feel like a complete package. I hear so much about Funeral, and if that record sounds anything close to the closing track on this, I feel like I’m in for a treat. Rating: 7/10

I’ve had a real strange day to say the least. Sitting down and getting ready to put on a 2+ hour long country album was something I wasn’t sure I could handle or not. But remarkably, this brought a lot of comfort to me. It made me feel human. That’s a pretty crazy effect for music to have. Doesn’t mean it’s perfect though. Not really even close. In terms of country music, this is probably as true-blooded and close to country’s roots as it can get. It feels so authentic, and it’s the kind of country or bluegrass music I can fully get behind. This is also helped by the banter between band mates before and after many of the songs. There are some songs here and there that are fully devoted to just the group talking. And I love it. It’s just nice hearing them warming up and talking to each other. It sounds like the kind of life I would want. But this album is still very long. It borders in some places on feeling too long. This is the second longest album I’ve heard on the list, behind 69 Love Songs. But this album feels way more bearable than that. Besides that being nearly an hour longer, 69 Love Songs feels inherently more one-note than this album, even if instrumentally there is far less variety. Truthfully though these two records are about on par with one another. I just don’t think albums need to be this long. It causes me to burn out and get disinterested far quicker. I will always prefer a shorter album that is only as short as it is because that’s all the time they need. Rating: 5/10

The roots of hip-hop go back farther than a lot of people think. I think it’s just because the sound of the 80s feels nothing like the modern forms of commercial rap people have gotten used to. And the only experience I’ve had with these roots was not positive. So I went into this album cautiously, but I also had more faith that this would be better in many ways. And I was right. This album is actually kind of awesome. This is the sort of music that deserves to be labeled as the origins of hip-hop music. The way it fuses funk with those early sounds is great. I mean, this was back when they still didn’t swear in their music. Times were very different. This album is also very catchy, and if you are at all aware of popular hits in today’s world, you’ve definitely heard It’s Nasty and The Message sampled in big hits before. But honestly they sound way better in their original form here. The musical diversity here is a lot more than I expected. Since I can only assume this was all recorded live, it sounds really good, and there is some serious talent working behind the scenes here. Plus I can respect how this experiments with some more quirky and fun ideas. Dreamin' is basically just a song fully dedicated to Stevie Wonder. And as a tribute to him, it does a surprisingly good job at sounding like something Stevie might have made, with some more 80s flare. You Are is the complete opposite. It’s almost entirely just piano and the singer, and repeats most of the same lines over and over again. But it shocked me with how beautiful it was. This should be regarded as a much better beginning to hip-hop than any Afrika Bambaataa record, simply because it’s much better. Rating: 8/10

By the time The Marshall Mathers LP was out, Eminem had gained himself a reputation as one of the most controversial, but also one of the biggest growing successes, in modern rap history. And a lot of that album was spent addressing said reputation, mostly with the same aggressiveness and violence-induced rapping he was known for. Truthfully I’ve never been a big fan of his music. It’s the one artist people give so much credit to who I’ve just never been able to get behind and really defend in the same way his most devoted fans do. And I found most of the discourse surrounding his second album felt superficial. People just love to always be mad at something. But after hearing this record, it sort of started to click for me. The material here is vulgar, and borderline irate, to say the least. Nothing I can’t stomach. But I can admit it goes pretty far in some places. The best aspect of this album, as it is with his next album, is the production. Dr. Dre just doesn’t miss on the beats, and they are just as good on here as on any other record produced by him. This album has a very sick and twisted sense of horrific comedy. Like for example, the ad-libs on the songs won’t be like normal ad-libs, but more like weird screams and yelps, along with Em doing lots of dumb voices. There is also a concept with each song. And some of them aren’t done terribly. Like Guilty Conscience, where Em and Dre are like the angel and devil on people’s shoulders. Em is the devil, and Dre tries to be the angel. Or My Fault, which is about a girl taking way too many shrooms and getting really fucked up. I enjoy parts of this, but I think his next album beats this out slightly because the material of the songs is more serious, and doesn’t feel like it’s trying to be really outrageous just because. Rating: 5/10

Every once in a while an album will come along that I’ve never heard of before that really surprises me. It’s not that common of an occurrence, which makes it all the more better when it does happen. This is one such case. I’ve never heard of Sebadoh before. I took one glance at this cover and assumed I was in for something pretty rough. But that is not at all true. The best way to describe this is the music that plays in the wet dreams of Kurt Cobain / Pixies fans. I believe this would probably appeal to most indie rock fans in general. I usually associate slacker rock and noise pop with bright tones and songs written in major keys. So that’s what I was anticipating. But this album is much gloomier and solemn than I was expecting. But it also has its moments where things pick up. Like imagine Tame by Pixies, just turned into multiple different songs. This was also far heavier than I was expecting. This doesn’t really fit the conventional definition of heavy music. But many of the main guitar riffs use these fantastic distorted tones. And some of the vocal performances are also super grunge inspired and intense. I was listening to Slipknot, and then I put on Telecosmic Alechemy, and I swear for like 20 seconds I thought I was still listening to Slipknot. I had to check to be sure. This album shocked me in many ways. And it stands out as a genuine piece of unique indie music that very few probably know about. Which is sad, since this deserves way more attention than it’s gotten. Rating: 9/10

Man, Brazilians really just knew what the fuck was up back in the day. Not saying they don’t now, but either way. Bossa nova is simply one of gods greatest gifts to Earth. It fills my soul with an indescribable amount of joy. And when I saw this artist’s last name, I figured there was no way she couldn’t be related to João Gilberto. And fortunately she is. After listening to this album, it is clear that the father of Bossa nova passed down all of his genius and creativity to his daughter. Except she doesn’t just take her father’s success and make a subpar parody of it. She keeps all of the good parts of the genre, and enhances it with modernized electronic sounds. This album has a particular mysticism to it, due to the addition of a trip-hop inspired sound. And it’s executed perfectly. These two very different sounds are put together seamlessly. The only description I have for the way this album makes me feel is like happening to sit across from the most beautiful girl you’ve ever seen in your life on a train in Europe, Before Sunrise style. I myself have met people who are as beautiful as this music, but they are few and far between. This record just provided me with serenity and security. I feel everything is gonna be alright, and anything I’m having trouble putting past me now will fade into obscurity if I just put this on. And I totally believe it. An experience I think is worthwhile for everyone to have, whether they are familiar with this genre at all. Rating: 9/10

The queen of indie rock herself is back. And this time I got the chance to experience her debut 1992 record. Where Stories From the City, Stories From the Sea was a turn of the century exploration into Harvey’s love for the city of New York, Dry focused on love itself. But not the good parts of love. The nasty, complicated parts people don’t like to talk about because they make it seem less enjoyable. But music actually happens to be one of the best, and one of the most common, mediums of art where these experiences and emotions are spoken out and expressed. And Dry does an absolutely fantastic job doing so. And much of these feelings are reflected through the sound of the music itself. It seems like in the 8 years between this and her aforementioned album from the year 2000, her sound softened quite a bit. This is a biting and intense debut record. And of course because she excels in everything she does, Harvey sounds wonderful on this. Her voice is almost on the cusp of not being good, but she stops at just the right point, and has some powerful moments on this particular record. I love the way her voice rises on the chorus of Water. She really knows how to keep things balanced between simple and effective. Even after seeing the grunge genre label, I was still surprised at how heavy and punk sounding this album is. But it’s awesome. The riffs are nothing to scoff at. I find that she either goes for a more methodical style of grunge, like what can be heard in the early days of grunge on Doolittle, and just straight up bangers. Some of these songs go unreasonably hard, and I love it. The previous album I heard from Harvey proved to me the versatility of indie rock, and of course, further proved how underrated solo female artists like her continue to be in the music industry. What this album showed me is the versatility of Harvey herself, and deepened the love I already had for her. But hey, if none of that is enough to convince you, Kurt Cobain liked this record. Rating: 9/10

Joni Mitchell really is one of those figures in music that has a certain undeniable coolness about her. I find it difficult to really discredit her music in any way. She was both very culturally in tune with the world at all times and way ahead of her time. Blue is often regarded as the shining example of Joni’s genius. It is the antithesis of what makes her career so legendary. This also happens to be a far less complicated and far more stripped back outing from her, at least compared to her works later in the 70s. This is a rather simple folk singer-songwriter album. But make no mistake, it is uniquely her own thing, and a sound only really she could pull off. Done entirely by herself, she really flexes her own abilities and put together an album that is incredibly consistent and cohesive in its own themes and styles. Created during the in-between phase of two different relationships with famous musicians James Taylor and Graham Nash, it explores love in its own melancholic and weirdly beautiful way. This is assisted by Mitchell’s often strange lyricism, which I have grown to really embrace and appreciate as a part of her character. I know this may be considered blasphemy by many, considering the reputation this album has, but I still enjoy Hejira more. Like a lot more. That record is wholly in a class of its own, but Blue does nothing to stain the incredible collection of records that Joni put together over the years. Rating: 7/10

American Idiot is without a doubt the last piece of substantially good music that Green Day ever made. I don’t think it’s really debatable. This record, and most of the albums that came before it, actually had something going for them. Green Day, at least music wise, is now a shadow of their former self. And this album sits in a really weird place. Because it has most of the same sound as other big records they made like Dookie. But it’s also trying to be this rock opera concept album thing. Even with the cover, where it’s labeled “Green Day Presents American Idiot” instead of just the band name and album title. It’s like a pop punk opera. But that concept part doesn’t come through as well as I think they wanted it to. Aside from the two songs that are over nine minutes long, which are probably the best thing this album has going for it, these feels mostly like just another Green Day album. But that isn’t a bad thing. I think this sound has definitely grown on me since I first heard Dookie. Because I found myself actually really enjoying this. Maybe not something I would go out of my way to put on, but if someone else was playing it, I wouldn’t be mad at all. This just feels like a better written album than Dookie. It’s paced better, and actually balances a unique variety of sounds. Plus they use build-up much better here. Everything leading into the explosive drop on the closing track makes that song hit super hard. This also has some of their biggest and best hit songs. From a performance standpoint, I think Tre Cool, who is often the best part of a Green Day song, is held back a little bit. His parts aren’t as wild as their previous albums. But overall this album shocked me. I never thought I would sit down with an album from this band and come out of it so pleasantly surprised. Rating: 8/10

I do usually have a cut off point when it comes to how far back I’m willing to go with my music. But every once in a while, something predating that point will actually surprise me. It’s very rare though. This is simply one of the true to the name blues albums I’ve ever heard. The people playing on this just live and breathe blues. They have that stuff coursing through their veins. And I mean, when the guys name is Muddy Waters, what did you really expect? Anybody with the name Muddy means fucking business. This man is considered the father of Chicago blues, and I’m inclined to believe that. Disagreeing would be like saying James Brown isn’t the reason why funk music turned out the way it did. These genres would never be the same without these figures. He may not have the commanding power of James Brown. But this man sure has a voice to match. It’s like the precursor to the Hendrix style of singing. And the gravel adds a whole other layer of coolness to this recording. I could probably listen to people who sound like this sing on just about anything. Also shoutout to James Cotton, who is going absolutely ham on the harmonica the entire time. He really cares many parts of this. But most of the band is pretty great. Rating: 6/10

This is the first of many appearances that Bob Dylan will be making on this list. Whether that is a good thing or not, the influence of this one man is undeniable. Dylan became an icon of a genre, and more broadly an era as a whole. And I’m glad that I get to start with his “debut” album. I’m aware it’s not actually his first album. But it contains the first examples of real original material from him. And honestly I believe it he comes out swinging. Dylan immediately makes himself present as one of the most forward thinking and intelligent lyricists of his time. I don’t know if I like his music enough, or if I’m hipster enough, to say he’s the best of all time, but his writing skills are nothing to scoff at. You just never really know what he’s gonna say next. My personal favorite would have to be, “Half the people can be part right all of the time and some of the people can be all right part of the time but all the people can’t be all alright all of the time. I think Abraham Lincoln said that. ‘I’ll let you be in my dreams if I can be in yours’, I said that”. When your first real album contains a passage like that, it’s certified golden. Honestly, with all of the craziness going on both in my life and in the rest of the world, and also all of the very intense and loud music I consume on a daily business, it’s nice to tone things down every once in a while. I don’t listen to music so stripped back and intimate all that often, but it’s a welcome change of pace. This is about as simple as folk music can be. Just Bob, his guitar, and his loud ass fucking harmonica. Like really, how is that thing so loud? But it feels really good to hear something so chill. I think everyone deserves to spend 40 minutes of their day with Bob Dylan. It’s healing music. Rating: 8/10

If you want to talk about defining a genre, have a chat with George Clinton. What a freakishly creative and talented person he is, and his Parliament group gave birth to so much amazing music. George is basically the Miles Davis of funk’s roots in the 70s, and he has definitely earned that title. I think the only people who put this on and don’t enjoy it in some small capacity probably just bang their heads against the wall for fun. This has every single thing a funk record should have, and more. Fucking Bootsy Collins for god sake. What more needs to be said about that man’s otherworldly bass playing? But every member holds their own with ease. George is such a flashy vocalist and band leader, and makes his presence immediately. Even with how amazing everything sounds here, if George was removed from this, it would definitely be lacking a lot of the character. But it sure isn’t. They managed to create some of the strangest lyrical hooks I’ve probably ever heard, but they are total earworms. They just get stuck with you. The synth work is incredible. The drums and bass sound better than records produced in the last 6 months. It still amazes me how many artists manage to regress in production clarity nowadays. This was 1975, and still sounds beyond its time. P-Funk exists because of these guys. The genre pretty much gets its namesake from them. And they really succeeded in creating a bombastic and spectacular set of futuristic funk bangers. Rating: 9/10

The soundtrack for the Virgin Suicides movie was an interesting one. And it was an album I had a difficulty approaching. I knew Moon Safari would show up eventually, and I was prepared to dive into a strange sounding world. But I still don’t think I could have prepared myself fully. This album is otherworldly in its execution. It’s one of those pieces of music that really makes you think, “How could people come together and just create something like this?” While their movie score had a more varied and progressive array of sounds to fit the moods of the different parts of the film, this album is much more consistent in its main ideas. It’s still definitely progressive though. This record sounds liquified. It moves with fluidity, and carries itself like one of those guys riding the clouds in Mario. It’s also incredibly peaceful. It is at no point in your face, or trying to force you to enjoy it. It lets you sit and really familiarize itself with the sounds you are hearing, and just float along with them. Imagine lying on your back in the ocean, but only far enough out on the shore so that the water comes about halfway up the side of your head. And you just sit there. For eternity. Letting the current delicately push you around. Nine times out of ten, this album sounds amazing. And beautiful at the same time. It is a masterfully produced piece of work, and really pushes the boundaries of ambient pop. Just more proof that even if they suck at everything else, French people know how to make great music. Rating: 8/10

It’s pretty rare to find an all-female band, especially on this list. And it’s unfortunately even more rare to find an all-female band that found real success. And yet, even when they do, I can go my entire life without ever hearing of them. Case in point with the Go-Go’s. We Got the Beat sounds vaguely familiar so maybe I’ve heard their music before, but the band itself was totally new to me. And here I am learning this is the most successful all-female band ever? And that this was one of the most successful debut records ever on release? Shows how little I really know. This is also labeled as a very foundational record in the history of American new wave music. And I can definitely hear it. It came out early on in the decade, and just about every good aspect of the genre can be found here. Also what was it with these punk sub genre bands having really great drummers back in the day? Joy Division was the same way. This is a short and sweet debut album that makes the most of the brief time it lasts. And these ladies knew how to write catchy and fun pop hits. It’s always a good feeling finding a really strong group of female songwriters. Because nowadays, and maybe even more so back then, they are few and far between. Rating: 7/10

There are so many artists whose stories ended far too soon. Amy Winehouse is unfortunately one of those. It’s so unfortunate that all of the most beautiful and talented people face the most tragedy in life. But in reality that is what creates the best music. Amy’s debut is one that feels unfamiliar with its own sound, and yet aware of what makes a successful neo-soul album. I standby the opinion that anything influenced or directly related to jazz often benefits the most when they fully embrace it. Frank most definitely does. And god does Amy truly have a voice like no other. Her accent adds so much to her character, and she just sits in a league of her own. But the music itself is equally as interesting. The vocal jazz live band elements mixed with electronic trip hop drums id a match made in heaven that is hard to do wrong, unless you just happen to have no knowledge on making music. The topics and themes of Frank aren’t as personal and serious as those found on Back to Black. It’s less focused on herself and her own struggles, and more on the people around her and the things she has experienced through love. But really she could be talking about anything and it would sound good. She just had a knack for worming her way into your brain with her voice. And it breaks my heart reading about all of the things she was put through. Now it seems like all they can do is profit off of her death, especially with her new movie coming out soon. Talent like this that the world loses needs to be left alone and at peace. Rating: 7/10

The beauty of hip-hop as a genre is the amount of avenues it can create. Production wise, it is as blank slate as music can get, and can be influenced and mixed with so many other sounds. And really, of all music genres, it takes the least to get started in. There is less equipment needed to jump start a rap career than something like rock or jazz. But at the same time, the actual creative process requires more creativity than most genres of music. Anybody can pick up a guitar and learn to play. But not everybody can become Jimi Hendrix overnight. Anybody can pick up a pen and start writing lyrics and ideas. But not everybody can become Kendrick Lamar overnight. I think that is the antithesis of where this record succeeds and fails. Immediately, from the cover, to the title of the songs and album itself, it is apparent what kind of record this is. And if you have any experience with Public Enemy, the moment you turn on the first song, you immediately feel the influence. I don’t want to be mean, but this album wants to be Public Enemy so badly it kind of blindsides everything else. In some places, it falls short of even reaching that level, and lacks any of the character that the duo had which made them so popular. But in other places, Michael Franti, who is the main one behind the scenes here, and the only voice you will hear, actually flexes his abilities. His flows are weird, and the beats are equally as strange to match. This is by all means a politically charged album. Maybe even as blatantly so as something like Public Enemy. Except there is an issue. Michael doesn’t pull it off as cleanly. It’s not necessarily that anything he’s saying isn’t still true. Because there are plenty of topics he brings up that still have relevance today. It’s just all been said before by other people. And said more convincingly and effectively. You can’t just come out and be like “television is bad for people” and expect it to hit the same. This is the only album they ever released, and really the only noteworthy release of Michael’s career. And I sort of understand why. Rating: 6/10

Yesterday I spoke about a hip-hop album that didn’t know how to fully embrace its inspiration and become its own thing at the same time. Today I listened to the opposite. By 1990, Ice Cube had already proven himself. N.W.A were still technically together, and they had brought a huge change to the culture of hip-hop and the way it was ultimately received by the public. That context is important. Because it makes up the backbone for much of this album’s material. Ice Cube just didn’t really care, and he wasn’t going to let people judge his music without saying something about it. Many of the songs on this album directly tackle the criticism that he and his group were facing. Gangster rap was starting to become more common place in the mainstream, and people were not happy about it. But that doesn’t stop this album from being just as in your face, intense, and vulgar as other stuff they had put out. Except it might not be on exactly the same level. Because something feels missing. Maybe it’s just the result of Cube being on his own, but there is a certain power absent from the sound of the album. The beats are still great though. Dr. Dre may not be on production. But Da Lench Mob does a great job, and almost reaches the same heights. I might just be misremembering what Dre’s production really sounds like, but these instrumentals definitely use more rock, funk and jazz samples. Cube’s lyricism is as sharp as ever. And as a debut record, this definitely made me understand why he of all people has still had such a presence in rap culture. Rating: 7/10

Even if for a time, his life was one filled with drug addiction, and he saw very little critical success until a rejuvenation in the 21st century, Johnny Cash was huge at one point. He represented American country music of the 50’s and 60’s in its purest form. And it’s hard not to admire his music in many ways. Although this may not be the definitive Cash live album, his performance at the San Quentin State Prison is nothing short of iconic. It’s such an interesting idea, and something that I don’t know if I’ve ever seen another artist of his size attempt to pull off. And he is in full command of those inmates. They love him, and he is there to play music for them. Nothing else. For me, the best parts of this album are the moments of no music, where he is just speaking to the crowd and sharing his stories. Also, writing a song about how much prison sucks, naming it after an infamous prison, and then performing the song twice in said prison is just such a power move. And his commentary is honestly totally valid. San Quentin was known for its violence, and he makes it known how flawed the rehabilitation and imprisonment system was, and continues to be in our country. Songs like A Boy Named Sue and Starkville City Jail also show off how great of a storyteller Johnny was through his music. He even brings his then wife, June Carter Cash, on stage, who was married to him until her death just months before his own in 2003. This performance is legendary, as were many things Johnny did. Merle Haggard was even in the audience at this performance as an inmate, and it inspired him to start his own career. I hear so much about At Folsom Prison, and this recording makes me excited to hear that even more. Rating: 7/10

It seems as if we are continuing with the pattern of live albums. And the name Jerry Lee Lewis seemed vaguely familiar to me. Although I could tell without having to listen to the music what this would sound like. Which means I sort of knew how I would feel about it. I often tend to lean towards the negative side when it comes to this sort of rock and roll. There are just very few people who pull it off in a way I really enjoy. And this album is a great example of why context is important. I try to separate the words and actions of artists from their music as much as I can, because it doesn’t always translate directly into the art they create. But sometimes it’s hard to make that separation. Listening to someone like Kanye West or Morrissey nowadays feels weird because of all the poor choices they have made when speaking on certain groups of people. For Jerry Lee Lewis, before I really learned anything about his music, I was hit with all of these crazy things he’s done. This guy married his 13-year old cousin and basically considered himself the single greatest thing to happen to rock and roll music. Also apparently none of the songs on this record are actually his, because he wrote very little original material. He just stole other people’s songs and gave them no credit. He might have also been racist. All of that sort of left a sour taste in my mouth. It didn’t really make me want to listen to his music. But I’ve gave it the best chance I could. As a predicted, I don’t like it very much. Where Jerry succeeds is in his singing and his piano playing. His voice is actually not half bad, and he sure could get the place moving with the piano. The rest of the band isn’t terrible either. It’s just that none of the songs are interesting. I always get bored really quickly with this kind of music. And I never have much to say. They all sound the same anyways. Rating: 4/10

I’m not able to pinpoint exactly what it is about them, but now that I’ve had the time to sit down and dive in to their music, I can’t help how admirable I find Pixies to be. They just have an incredibly simple and enjoyable sound that I can attach myself to very easily. And Surfer Rosa is ultimately a very impressive debut record. They came out at the tail end of the 80s, and immediately changed the game. And their sound would go on to inspire the antithesis of indie rock for the entire decade of the 90s. They really are a very influential band when you really think about it. I mean, Kurt Cobain took huge inspiration from them, and think of how many people started a band and wanted to make grunge music because of Nevermind. It all goes back to Pixies. And rightfully so. They had something going from day one. Their style of on and off, quiet-loud-quiet-loud songwriting is so uniquely them. And when you hear one of their distorted noisy guitars punching through, you know exactly whose music you are hearing. The one song every one knows is Where Is My Mind? And before I had even heard the rest of this record, I wasn’t like a massive fan of this song. When a band has such a distinct and simple, but deceivingly complex writing style, to dumb it down and make it even more complex feels a little weird. This song may even border on being overplayed at this point, but I don’t have it outright. Still a good song, just not one I’m in love with. This debut is very important to the history of alternative rock. But it doesn’t exactly match the heights that their next record reached. Rating: 8/10

Every once in a while an album will come along that really changes my perspective on something. The experiences I’ve had with traditional Hindustani classical music haven’t been a hundred percent positive. It’s just not something I’m used to. My brain isn’t programmed to put something like that on and really sink into it. But that doesn’t mean it’s bad, or that I’m not open to hearing more of it. Because opinions can change. And I would say that sort of applies to this album. It’s by and large the best music I’ve heard from this genre, but I’m still not totally into it. First off, don’t listen to the Spotify version of this. I thought it was strange how modern it sounded, since the release date said 1968. Then I learned the album on streaming is actually a redone version by his son, that is honestly much worse. It lacks the same feeling the original has. Of all of the music I’ve heard so far, this sounds the most ornate. Like it fits that adjective really well. It’s a very beautiful and atmospheric composition. And it’s written as a complex mix of those elements and more Western-adjacent sounds like guitars and flutes. It’s also written as one long suite that follows a day in the life of an Indian shepherd. It uses the Hindustani ragas that are commonly associated with certain times of the day to show the passing of time. Super cool concept. I think my one gripe lies in its repetition. It’s a bit one-note for me, and every song has the same feel. But other than that, this is a surprisingly good album, and one that intrigued me from the start. It also really helped push this sound to Western audiences and inspired quite a few famous musicians of our time, like members of The Beatles, which is always great. Rating: 6/10

Supertramp is an artist I actually have zero experience with. I have never heard a song from them. Not even the big hits. I’ve been intrigued by them before. But I’ve never thought to seek out their music and give it a chance. And now after having heard it, I think with this album they pushed pop forward to the next level in many ways. Similar to how Steely Dan evolved jazz-infused soft rock with their records. And in many ways, this feels like it has a lot of the sophistication that Steely Dan also displays, just without the jazziness. Super layered and detailed songs that are paced really well, even if sometimes certain elements don’t hit as well as others. I will admit that each song does at least one interesting thing, but many of these songs overall aren’t great complete packages. I know the influence this band has had on many artists I love. That influence extends out even to bands like Tame Impala. And I really wanted to enjoy this more than I did. I really do enjoy certain parts of this. And I love how weird and unique it gets in many places. But I was left feeling a little disappointed at what could’ve been. It’s sort of a bummer that this is the only record of theirs on the list, because I would love to see if they fixed the issues I have on future albums. Not like I can’t listen to it on my own though. Rating: 6/10

With a name like Foxbase Alpha, and a cover like that, I prepared myself for something special. Just off appearances, I was expecting to hear some underrated hidden gem. It’s happened before, and I’ve been really wanting it to happen again lately. Bad idea. That’s not what this is. In the broad spectrum of downtempo and dance music that I’ve heard, this lies right in the middle. It neither excels at any one thing, nor fails miserably with any particular idea. A good example? The drums. They aren’t terrible by any means. But they just sound so flat. No impact and no punch. And no real flavor or unique sounding beats. Which I feel is sort of necessary for any album adjacent to the house and dub genres. The vocals also don’t really provide much. This could be fully instrumental and wouldn’t sound much different. She can sing good, but it doesn’t matter if I barely notice her voice is there. Sampling seems to also be a big part of the production style here. And again, it’s middling at best. Sampling isn’t easy to do. Not everybody can be a DJ Shadow or a Madlib. But I feel that if you aren’t going to fully commit to it and really attempt to go the full nine yards, might as well not have it at all. Because if you don’t, it can end up sounding something like this. Most of the “samples” are more like chops of some random person talking, looped on repeat. The most egregious example is Wilson, which I actually like because the rest of the song sounds good otherwise. This record isn’t god awful. I can just think of many from the same genres that I would rather spend my time listening to. But truthfully I am in no position to tell people how to make music. I’m just good at talking about things I like and dislike in songs. I wouldn’t write these reviews if I thought my opinion mattered anyways. Rating: 5/10

I don’t know if I’ll ever let initial reviews not affect me. The day I do is gonna make this whole listening thing way easier. Never heard of Rod Stewart. But I saw that people don’t like this that much, and was immediately like “Ehh, must not be very good”. Don’t listen to what other people say. That’s step number one, and basically the only step to properly hearing new music. This shit slaps. I still really don’t know who Rod Stewart is, and I don’t care very much. Funnily enough that seems to be the consensus with this guy. People don’t really know how he got famous, or what he’s really done. He’s not anything special and he never has been. And somehow I could almost feel that through the music. But why is it all of the sudden you have to be something game changing for your music to be good? Not everyone can be Michael Jackson. There are bands who go decades without ever being discovered, until some random person on 4chan finds their shit (looking at you Panchiko). Rod is who he is, and I dig it. His voice has a nice gravel to it, and the instruments sound nice. All that matters to me for something like this. This album is a mix of softer acoustic songs and more pumped up tracks with electric guitar and bass. Some songs go fully without drums, and I can appreciate how stripped back they feel. But there are also some songs with an undeniable groove, like I Don’t Want to Discuss It or My Way of Giving. Take it as a lesson that you can be looked at as a rather unremarkable figure, and still become one of the best selling musicians ever. But none of that stuff really matters anyways. Just make the music you love. Rating: 8/10

Even if the weather where I live didn’t necessarily match the vibe, I felt inspired to try and make today a good day when I saw I had this album today. I think it deserves that much. Because this album definitely incites emotions inside of me. Ones that remind me of the feeling of that transition between spring and summer. When things finally start to get warmer. Everybody has heard at least one of the big three from this album before. Most people have probably heard all three. I know I have. They are inescapable 2000s classics. But where this album brings the most to the table is in its deeper cuts. The ones people don’t pay as much attention to. This record embraces the weird and wacky, like its psychedelic brothers. Most notably The Flaming Lips and Animal Collective. But it’s also clear how much of an influence this would have on modern psychedelic pop music moving forward. This album feels like the amateur start. And yet, there is enough technical ability and creativity shared between the duo to allow them to create something like this. And certain parts of this album sound amazing production wise. Super unique use of textures, just like Animal Collective as I previously mentioned. It’s fuzzy one moment, bright the other, flashy the other, and a variety of others you can probably think of. Some might feel like beyond its hits, this album doesn’t have much going for it. But even if those songs are amazing, they contain the plainest of the duo’s style. Those other songs are where they really get to shine. And clearly the sound they worked with here has stood the test of time over the last 15 plus years. Rating: 8/10

In the vast world of “dad rock”, Aerosmith is definitely up there as one of the most iconic ones. But my only experience with them is Dream On. And although I can’t sit here and pretend like Steven’s vocal performance on that song isn’t jaw dropping, I was prepared to become quickly annoyed by his voice on this album. I was actually ready to shit on this. I just wasn’t anticipating something amazing. But this is not bad at all. The heaviness is what actually surprised me. This has some serious grooves to it. It reminds me of when I heard that ZZ Top album, and the intensity of it just gradually grew on me as I got farther and farther into it. This is supposedly heavier and dirtier than the albums they had previously released up until this point. And I don’t know if I would be able to enjoy their music as much if the heaviness was left behind. This is the kind of toughness in hard rock music that just so happens to make you consider drinking and driving. Steven Tyler’s voice is easily the best part. I said earlier that I thought I might get tired of it quickly. But I couldn’t have been more wrong. His singing is the one thing that is consistently amazing about every single song. He really has an incredibly dynamic voice. It’s also strangely charismatic of all things, which adds a lot of personality to the music. I think this record is far more worth the average persons time than I would have ever anticipated. Rating: 7/10

I wouldn’t blame anyone for hearing the name krautrock and immediately passing it off as something silly. Because it’s a silly name, and definitely warrants that reaction. I’ve only brought the genre up once in a conversation with someone before, and they laughed at the name. But all things considered, I have very little experience with it. Dots and Loops by Stereolab is one of my favorite albums ever, but that is less based in krautrock and more inspired by its central ideas. Really, Faust IV is the most defining album of the genre. And its titular opening track is sort of what pushed the genre to have its namesake. Just by putting that song on, it is made clear that this album is weird. I could see the experimental mixture of hypnotic rock music and avant garde electronics being off putting to most. If I had heard this maybe 6 months ago I might not have liked it very much. But I can’t help how creative that weirdness sounds, and how revolutionary this feels. This is experimental in all of the ways that experimental music is meant to be. And for a record released in the early 70s, this was pushing boundaries on a whole other level. This feels like the 20th century equivalent to Velocity : Design : Comfort by Sweet Trip. Two albums that could come out today, and still be praised for how futuristic and unique they are. This is one of those one of a kind records that makes me want to hear every other piece of krautrock ever made, just in case something manages to blow me away as much as this did. There were many moments of sheer joy, where all I could was smile and just laugh at how ridiculously good this is. This is valuable not only as an album, but as a listening experience for people who aren’t well versed in this kind of sound. Rating: 9/10

It’s sort of a bummer how hard it is to keep things in order when tackling this list. It’s random for me, so that rarely ever happens. Pretty cool when it does though. But for now, we are hearing the second of these two albums before the first one. Don’t know how much of a difference it really makes. Listen, at first, the name Rufus Wainwright meant nothing to me. Was not familiar at all. And then I’m here listening to this music. And initially nothing stuck out to me. But I put this back on a few hours later, and something hit me. Where had I heard this voice before? It felt strangely familiar all of a sudden. Then I did a quick search and it all clicked. “Holy shit, this is the guy who made that song from Meet the Robinsons!” It’s the same feeling I had learning Ben Folds wrote Rockin' the Suburbs from Over the Hedge. But besides all of that extra stuff, this album feels lost in an identity crisis. I’m not sure what it’s trying to be, and I don’t know if the artist knew what he wanted it to be either. Maybe it’s just me learning that chamber pop is much more of an umbrella term than I once knew. This album is at its best at the beginning and the end. It starts with a sort of consistent sound, and then completely trails off. And for a stretch of four or five songs, this becomes something entirely different, and far more strange and regal. And while I can appreciate the artist’s dedication to trying a lot of ideas, some of them don’t really make for the most enjoyable listening experiences. His voice manages to fit this really well, and feels totally out of place at the same time. Nothing everything can be a total home run. Even if you did write music for Meet the Robinsons. Now I’m mostly interested in seeing whether the first album has the same issues. Rating: 5/10

As someone who previously spoke about The Beatles as if it were my job to say how “overrated” they were, I can’t deny how enamored I am every time I end up hearing one of their records for the first time. A band simply doesn’t become this big just because. And I don’t think people should try to make the argument that they are bad. At this point, there is no reason to. The last time I was in this position, I spoke ad nauseam about Abbey Road. Possibly still the longest review I have ever written. And now I am presented with Sgt. Pepper's Lonely Hearts Club Band. If Revolver exists to highlight the tipping point of the band, this fully flips the iceberg. We are officially on the cusp of the deep end. As with all of their releases post 1965, they continued to push boundaries in ways that have never been matched by another band. And especially with this album, psychedelic music was never the same. And I mean all forms of it. I don’t think you could pay someone to find a piece of psychedelic infused music that hasn’t been touched by this album, or influenced by other music that was influenced by this. It’s a domino effect that flipped a genre on its head and spun it around a few dozen times. This album should get every bit of praise it has received. It’s wholeheartedly deserved. You may be missing the point if you think this strays too far from what the Fab Four should sound like. This is everything they were meant to be and more, and the start of a run that would alter music as we know it. This records capacity to be lighthearted and silly, while still being so damn well written and composed is incredible. These arrangements are next level, and easily on par with what was seen on Revolver. And they bring more new ideas to the table that just keep elevating this to the next level. Plus, A Day in the Life is debatably the best song they ever wrote. Yeah, I said it. The rising symphonic transition into the tempo change straightens you out, and makes me feel like I should be wearing a suit and tie. I think this could be considered the most important album they ever made. From a cultural, social, musical and physical perspective, this is synonymous in far too many ways to count. Rating: 9/10

When I see a cover like this, I expect something hard as fuck. I wanted a sick ass metal album so badly. But folks, looks can be very deceiving. This is very far from what I wanted, and I’m not exactly thrilled. I see this fucking album everywhere. I’ve caught like six dozen copies of this album on CD in the same antique mall. Why do so many people own this? I get it’s sold a ton, but it feels inescapable. And apparently people enjoy this a lot. I’m all for artists expressing themselves in very out there and bombastic ways. I wouldn’t be such a fan of Bowie if that wasn’t the case. But there is a line I draw. And this album lies right on that line. It just goes too far with the theatrics. And attempts to be ten thousand things at once. If Thick as a Brick was made by a bunch of gay theater camp kids, this is what it would sound like. Funnily enough this was adapted from a musical that never got made, and then was subsequently turned back into a musical after the success of the album. And from a production standpoint, I’ll admit that there are some impressive moments of grandiose, where everything actually sort of comes together. But in all other moments, this is a cluttered mess of half-baked concepts that hurt to try and dissect. Basically just a listen in scope, downsizing and not trying to be something more than the sum of your parts. Also the mixing kind of sounds like shit at some parts. When that guitar first comes in on the opening track, I was like “what the hell am I listening to?” This is wildly successful, and to each their own I guess. Because this just wasn’t it for me. Rating: 5/10

I’ve noticed a trend. For as much respect as João Gilberto gets, and rightfully so, those around him don’t see the same treatment. I really enjoyed his daughter’s album, and thought it pushed bossa nova in a cool direction. Case in point with his wife. They may have only been married briefly, but that doesn’t change the impact she had on bossa nova herself. This may not be as modern sounding and creative as Bebel’s record, but it does succeed at one thing. And that’s being a bossa nova album. And a totally harmless one at that. It does everything it needs to do, and no more than that. It might just be me, but it’s not like Astrud has much to prove. This is the same lady that sang on The Girl from Ipanema. She is equally as much a Brazilian legend as her husband was. And this album is very much worth your time. I believe everyone should do themselves a favor and form a deeply personal relationship with bossa nova music at some point in their life. There is zero downside. You’ve got nothing to lose, and everything to gain. This album isn’t a terrible place to start either. Very short with very brief songs that summarize the basic foundations of the genre. It isn’t going to blow your socks off with anything experimental or sophisticated, or change your life, but I think it sits in a very nice group of simple and worthwhile albums. Rating: 7/10

Some artist’s music just transcends the realm of normality. And they are capable of expressing otherworldliness simply through themselves. In many ways, I interpret Sade Adu’s music in that same way. Some people are just special. And there is no denying that. I don’t think it’s within anyone’s right to claim that people like Erykah Badu or Bob Marley, and especially their music, aren’t tapped in to some other level of the soul. Sade might have one of the most powerfully emotive and expressive voices ever. You could hook me up to an IV and pump straight liquid gold into my veins and it still probably wouldn’t warm my heart like she does. I’m just so infatuated with her voice and how incredible it sounds. One of the best vocalists to ever live, period. Her voice is not the only thing this album has going for it though. Her band is also great. And they elevate this album into becoming one of the best sophisticated pop albums ever. Its jazz influenced sound is done perfectly, and for an album released early on in the 80s, it actually sounds ahead of its time. This contains a lot of ideas that I feel became much more commonplace in modern contemporary R&B music. There are some fantastic moments of pure bliss on this album, where Sade and the rest of the band just lock in so perfectly with each other. I’m a little heartbroken that Love Deluxe is not on this list, or really any other album from her, because I would love the opportunity to talk about those as well. Rating: 8/10

The only experience I had with Bobby Womack before today was his feature on Stylo from Plastic Beach. That’s a song I’ve loved for years, and his part is great, so the name was familiar to me. The truth is, this dude is a legend. I think he should definitely be regarded as an icon of 70s and 80s soul and funk music. But it seems like from a critic standpoint, he isn’t the most acclaimed artist. That’s a shame, since his music, and particularly this album, definitely has something going for it. If you like either of the two previously mentioned genres, you would be doing yourself a favor by giving this a chance. It has everything a good funk album should have. And even if it doesn’t exactly change the game in any particular category, it does a damn fine job. This album is entirely made up of love songs. It’s all about love. So maybe if you aren’t a fan of too many of those, skip this one. But I like the sort of “lover boy” character that Bobby portrays here. And he pulls it off. Some of these songs are sexy as fuck. And they would surely work on me if someone wanted to get me into a certain mood. Also, the bass lines on this album are super fat. There isn’t any famous or notable bassist on this album, but the ones they have are great, and are honestly the best part of the backing group. Bobby Womack just feels like he was born with soul in his blood. His personality, and especially his voice, were so adherent to the key aspects of the genre. So rest in peace to an underrated star. Rating: 7/10

Initially I said “Oh great, another generic 90s noise pop album with an ugly cover”. I’ve heard a few of these so far, and I have yet to be shown one I’m very fond of. Except after doing a little bit of digging, I realized this probably had the potential to be something better. And after hearing the first song, I figured I was probably right. This is the band that Butch Vig helped create, and that definitely gave me confidence in the material here. That dude is a legend no doubt. If we are speaking about purely noise pop, this maybe isn’t the best album ever. It feels like it takes the most inspiration from that debut The Jesus and Mary Chain album. But I prefer this WAY over that. What really makes this album shine is its combination with dance music. Not a fusion I ever thought I needed to hear, but when the thumping distorted guitars are backed up by electronic drums, courtesy of Butch himself, it just reaches a certain part of my brain. And honestly this album surprised me with how creative it is. It really pushes the boundaries of what I knew to be possible in what is often a rather simple genre. I’m gonna bring it up a lot, but like many 90s bands, there is most definitely some Pixies influence going on here. Especially with that loud-quiet format they go for on the opening track. And I really like the lead singer’s voice. She gives me a lot of Kim Gordon vibes. Except this is what I imagined Sonic Youth would sound like before I heard Daydream Nation. As much as I like this, I’m willing to admit there are parts that don’t reach the potential they could have. Queer is no doubt a strange song, and probably one that could’ve been left off of the record. But I’m still impressed by this. This really is proof of the magic of Butch Vig. Rating: 8/10

I apologize to anyone who is a fan of Buddy Holly, because truthfully I knew the name better from fucking Weezer than the actual man himself. But I was decently aware of who he was. I’m just gonna come outright and say that I’m not a huge fan of this album. And it doesn’t have much to do with the music itself. There isn’t anything wrong with it in particular, it’s just not my thing. Long past my generation, and really not something I get into. I don’t like this for a lot of the same reasons I don’t like Elvis Presley. But he makes the music so unbearable to listen to anyway. At least with Buddy, his personality makes the music slightly more interesting than the average rock and roll album. But there still just isn’t enough here for me to enjoy it. It’s too simple, and I’m usually not one to go back this far with my music. You also often find that a lot of these artists back then were doing some pretty weird stuff. Most commonly incest for some reason. But with Buddy, as far as I know he’s clean. His career was so tragically short anyways, so there wasn’t much time for him. He is by all means a very influential song writer, who arguably deserves the fame that Elvis got even more. He’s a better songwriter, a better person, and is far more tolerable as a listening experience. Rating: 4/10

There is zero doubt in my mind, not only based on numbers, but also from what you hear of his time as a musician, that Michael Jackson might be one of the most famous people to ever live. I don’t care about Taylor Swift or The Weeknd. “Michael Jackson famous” is a term that exists for a reason. Dude had people screaming and fainting just by showing up on stage. I mentioned in my review of Abbey Road that there is a list that I believe is exclusive to only the most culturally synonymous albums ever. Thriller might be the most prime and glowing example of what I’m talking about. I genuinely don’t know if I’ve ever heard an overtly negative thing said about this album. And if we are speaking about essential albums, that everyone should actually hear, this one is right near the top without a doubt in my mind. It’s kind of insane how there is not one song on this that isn’t iconic. But that’s just greatest selling album of all time material. This is also probably one of the most important R&B albums ever made. Because it encompasses so much of the genre, and many of its closely related brothers, while also transcending any time period and becoming cemented into the ethos of music. You wanna talk about putting your trust into a producer? Because even if Michael sang incredibly and wrote great lyrics, Quincy Jones is really what brought this all together. This is a labor of love in its purest form. You can feel the work that was put in. And the guests are amazing too. From EVH’s legendary guitar work to the fantastic Paul McCartney feature. Even if certain parts maybe don’t click with as well as others do, this is a pretty flawless record. I can’t pick one song and single it out as the sole bad one. There are no bad songs. MJ was a pretty special, and one of a kind person. He was someone who changed the way the world viewed famous people and figures in pop culture. And Thriller is arguably the King of Pop’s magnum opus, and finest creation. Rating: 9/10

I love when I get a band that hails directly from Chicago. Illinois might be a shit state, but that city birthed some seriously cool bands. And Chicago is one of those. Before the name change, they were called Chicago Transit Authority. Until they got sued by the actual fucking CTA. So I’ll just refer to them as Chicago. This groups fits in with the same kind of jam bands, like Steely Dan or Grateful Dead. This is basically just Steely Dan, but with less yacht-rock and less session musicians. Except unlike that group, this album does not take its time. There are no slow ballads. There is no large build up to a big and fast climactic moment. This has one speed. And aside from some very brief moments, it rarely slows down. You make the argument that the songwriting is weaker and more one-note because of that. But I don’t necessarily agree. I think what the band is playing here is still great. This consists of some really solid, jammy jazz music infused with late 60s rock motifs. More experimental than I was expecting, but I’m always open to that. Except occasionally it doesn’t play out so well. Some of these songs maybe do drag on a little longer than is really necessary. And Free Form Guitar is cool in concept, but virtually unlistenable. My favorite part is by far the brass. The horn arrangements on this album are so fucking tight, it just elevates this to the next level. And this record would not be nearly as memorable without them. For 1969, and as a debut, a double album that stays as consistent as this is impressive. At some point they may have fallen from the glory this album brought, but Chicago Transit Authority’s roots were strong. Rating: 7/10

I’ll always remember this clip I saw of Pharrell Williams speaking with Rick Rubin where he explains how much more of an impact good chord progressions have on him over fancy and technical time signatures. He describes them as coordinates that bring him somewhere. I found that really profound, and it honestly changed the way I look at music. I haven’t experienced an album that really made me look back on that clip and think about how right he was in a long time. But this managed to bring that back for me. I’m not exactly sure what it is about musicians in foreign countries like Brazil and Spain, but they understand that concept of powerful and moving chord progressions way better than we do over here. We just don’t do it as well. This album transcends the realm of just your traditional psychedelic pop album. It is so much more than that in every way. Of the ten thousand other albums from the same time period that fit under the same umbrella which you will find on this list, this one is absolutely worth your time the most. Something about this album left me a little speechless. It lies in the category of albums I really love that leave no stone unturned. No moment of this feels like it’s lacking. Even on the few songs I don’t like. It is near impeccable in every manner. I don’t know if there is any way this could be improved. I can’t think of a sound or an instrument that would need to be added to make this better. They hit every mark. The way this evolves on traditional bossa nova and is wholly unique and very inspired at the same time is miraculous. It sounds incredible production wise, and every instrument is layered masterfully. There were so many moments where a particular arrangement would shock me with how out of place and simultaneously perfectly in line it felt with the rest of the album. I urge anyone reading this to sit down and really sink into this album. It is something very special. Rating: 9/10

Want to hear another example of the power that Butch Vig has in music? Never knew he co-produced this album with Billy until today. But suddenly it all makes sense now. The Smashing Pumpkins are a band that unfortunately feel like they used up every interesting idea they had in the first 8 years of their 30+ year long career. Of course they couldn’t have known how far they would get, but in hindsight it’s clear they haven’t been running on the same fuel they had in the 90s for a long time. And I’ll get the chance to talk about the real cause of that eventually, hopefully sooner than later. Although, I also wasn’t aware of how much of that fuel for this album in particular was not good. It’s unfortunate how riddled this album’s creation was with personal and artistic roadblocks. From a work schedule that pushed Billy, Butch, and the rest of the band to their limits and even caused Billy to have a nervous breakdown, to Billy’s excessive control over every aspect of the recording process. In which he would undo much of the work that his fellow guitarists were creating and just simply do it himself. He forced Chamberlin to play Cherub Rock until his hands bled once. And all of this was so that they could get as perfect and close to the sound they wanted for the record. And what you hear now is that. A labor of intensive work and love that resulted in one of the best produced and written alternative albums of the 90s. Say what you will about Corgan and his voice or personality, but they struck gold with this record. On many songs, such as Today and Mayonaise, there is brief respite before these thundering riffs of shoegaze-esque guitar comes in, completely fuzzed to shit. I don’t know how they managed to find a balance between intensity and warmth so perfectly, but it paid off. Speaking of Mayonaise, I’ve always loved the way pure distortion peaks through the main riff in short bursts on the chorus. What you hear on this is also some of the finest drumming of any 90s band. Jimmy really is underrated as hell, and the way he writes such unique and iconic drum parts is amazing. If you don’t believe this album’s sound was brought about in some way by the rising popularity of shoegaze at the time, especially with the release of Loveless not even two years prior, this was mixed by Alan Moulder, the same man who mixed that previously mentioned album. I’m still not sure whether I like this, or their following record more, but I do know that this one is an incredibly solid piece of work. Rating: 8/10

For every amazing album that makes my day better, there are 5 albums that just leave me with nothing. I’m not expecting every album to be perfect. I wouldn’t be doing this if I was. Part of the experience is learning what I do and don’t like. But it’s still a hard pill to swallow sometimes. I just don’t enjoy forcing myself to listen to music that leaves me feeling empty. And not empty in a good, emotional way. Empty in a lifeless way, where the only thing I can think of is what I would much rather be doing instead. Blues is not a genre I am opposed to at all. I’ve heard some pretty great blues albums in my life. But I think there is a certain point in history where it reached its conclusion and people were ready to move on. I’m not sure if the trends that existed in popular music in 1989 were really suited for blues music. All of the over the top production choices that I loathed for the longest time paired with the sounds of music based on traditional rock with harmonicas and slide guitars isn’t a match made in heaven. I’m not sure exactly who John Lee Hooker is. He might be a blues legend to many, but to me he is as famous as my neighbor. What stood out to me more was the number of other artists and bands featured on this album. I thought maybe the songs that had Carlos Santana or even Canned Heat would be worth something. The Santana one isn’t horrible, but everything else is pretty consistently boring. After hearing enough of this, it just eventually turns into wallpaper music for me. I’m just not engaged. There is someone out there in the world who absolutely loves this album. And that’s great for them. I am not one of those people. This doesn’t really resonate with me in any particular way. Rating: 4/10

Yesterday I spoke about an album that made me feel empty and lifeless. Today I am presented with an album that actually is lifeless itself. Think of how flat and devoid of energy a blank whiteboard is. That is what I am working with here. That sounds horribly negative. And I don’t want it to be interpreted in that way. Because I don’t absolutely hate this album. But I can’t help this feeling that this album is somehow sapping all of the energy from my body. You know that place Squidward got brought to in the time machine? The one that was all white with little blocks of color. Imagine what that would sound like if it was music. Glimpses of something interesting, but everything else is just so neutral and gray. The most unique aspect of this is by far the vocals. I’m so in between on whether I like them or despise them. The man has range, that’s for sure. But he often spends his time singing in the highest points of that range, and it’s a little grating on the ears to say the least. This sounds like an album that some insufferable nerd would try and push on me. And when I would explain that I don’t like it, he would just respond with “No, you don’t get it. You need to really hear what they are playing”. This is like Interpol or The xx for even bigger losers. There is some nice post-punk revival era drumming, that reminded me of the stuff Stephen Morris recorded for Joy Division. The guitars also sound nice on occasion. But none of that stops this from feeling and sounding messy, and also making me want to self-isolate in the corner of a dark room. Rating: 5/10

It’s kind of strange how many small and rather unknown electronic artists and albums ended up on this list. Unfortunately I think they have stayed that way for a particular reason. Because most of them are very poorly rated. And rightfully so. I have yet to find one i disagree with. They just aren’t all that good. I love electronic music. But I’m also able to acknowledge that some of the most boring music I’ve ever heard comes from this genre. It’s just so easy to mess up, and some people don’t do it right. I’m not in any position to tell someone how to make music of course. But I can still point out where poor decisions were made. Sometimes artists just aren’t cut out to be the next Aphex Twin. They aren’t meant to change the game. Which is fine, because there are people who fit that label and have still found decent success in life. But when you not only don’t fit that label, but don’t have anything going for you to keep things interesting, you end up like David Holmes here. This guy might have made the soundtrack for movies like Ocean’s Eleven and Ocean’s Thirteen, but he is still virtually irrelevant to me, and by no means a household name. If you were to take everything that makes Endtroducing..... one of the most well put together and satisfying albums of all time, and scrub it all away, you would get this album. The sampling is totally lackluster, and pales in comparison to that of which I’ve heard from other producers. Radio 7 is the best example of this. Using a 007 sample is cool and all, but I think to have it so blatantly laid out in the track with so little alteration is sad. It’s the opposite of what sampling should be used for as a medium in music. Considering that the 90s, especially in New York, were a period of peak creativity coming from all fronts like we’ve never seen before, making something this substance-less was a recipe for disaster from the start. Rating: 4/10

There are so many artists who could be considered the true “king of blues”. It’s not as definitive as with somebody like Michael Jackson, who everyone sort of agrees was the king of pop. But with the way this album sounds, I’m pretty inclined to believe that B.B. King was actually the king of blues. I mean it’s in his name for god’s sake. Only knowledge I had of this man before today was that my parents saw him in concert in like 2005. He showed up two hours late to the show because of health issues. But back in 1965? This man was in his prime. This is one of those live albums where the sounds of the crowd being left in actually adds to the experience. The audience loves him so much, and you can hear how rabid they really were. Definitely adds to the energy of the performances. But beyond all of that, King is actually a remarkable performer. And far better than I imagined him to be. His insane and powerful vocal displays that just wrap you in combined with his skillful guitar playing basically defines what blues music of this era should sound like. Plus the brass parts were unexpected. But always a bonus. It almost adds a level of jazziness to the music, which makes it all the more appealing to me. This is probably one of the few blues albums I’ve heard from this far back that stuck out to me as something worth remembering. Rating: 6/10

If a genie came to me today, and granted me three wishes, I just might use one of those wishes to ensure I never have to hear or see anything relating to Kid Rock ever again. I am embarrassed to say I sat through and listened to this entire thing. It is remarkable how unenjoyable this album manages to be. I doubt he set out to write and put together a record that feels completely devoid of what makes music actually interesting, but it sure feels like he did. This is utterly vapid to the highest degree. And I believe anyone that enjoys this to some capacity should be ashamed of themselves. Kid Rock is a piece of shit who makes terrible music. Plain and simple. This is an insult to everything that rap and metal, and the fusion of the two, represents. There is literally only a 6 year difference between this and the Rage Against the Machine debut. It’s crazy how much better something sounds when you have people with real talent and purpose creating the music. I’m capable of listening to music that doesn’t necessarily have some massive purpose. Music can just be that. Music. But everyone knows it’s often better when there is some real meaning or story fueling the creative process. As Pharrell Williams put it, “Once it becomes purpose-oriented, it can be as cool as the flashy shit, but it will be much more meaningful”. What is the purpose of this album? To me, it comes off as completely senseless trash. Kid Rock is so disgustingly cocky, and for as abhorrent of a lyricist as he is, (seriously, dude can’t write lyrics for shit), he manages to make Limp Bizkit sound like Shakespeare. Also, he just flat out says the n-word on the last song. Don’t know who convinced the white guy from Michigan that was okay, but it killed any minuscule amount of respect for him I might have had left. I’ll give the first song the benefit of the doubt, but that’s really hard to do. It’s the only thing on here that is slightly listenable, but is still a bad song. Everything else is completely worthless. Shoving an actual rock up your ass would be a better use of your time. Rating: 2/10

Aside from the unsettling title, I was not opposed to this in any way. It seemed like an interesting late 90s alternative metal and rock album. Genres which I have a lot of love for. So I figured I would like at least some part of this. I wasn’t really expecting this sound for some reason though. Never did I think I would find an album on this list that sounds inspired by S.C.I.E.N.C.E. era Incubus. I’d dare even say Make Yourself, but technically this came out 7 months before that album. Either way, they still have very similar production styles and feelings. Initially I thought the guitar tone felt very flat. The singer, whose stage name is Skin, sounded like she was actually turned up louder than the lead. I think she very much is the main focus of the music though. She has some pretty dazzling and intense moments here and there. And just like Brandon Boyd, her voice is often the thing leading the band the most. I thought the first three songs were a very solid start, and there are a few songs spread across the album that I enjoy. But too many of these songs border on something closer to pop rock with heavier elements mixed in than alternative metal. And something about the way the band plays just doesn’t fit that sound in my mind. I could be totally wrong though. I’ve read that this was a departure for them, and the heaviness is not to be found on their older albums. So I probably wouldn’t enjoy those all that much. This is a mixed bag for sure. But the highs are definitely high. The lows aren’t horrible, just not what I was looking for. Rating: 5/10

Every once in a while, an album comes along that alters the way people look at it and hear a certain kind of music. Almost every single popular genre has been faced with this at some point. And if there are people trying to argue that this record didn’t do that for industrial metal, they might need to take a look back at the last 30 years. In the time since its release, The Downward Spiral has acted as the fuel for every experimental metal outfit of the last 3 decades. Any project that is even somewhat aligned with industrial music released after 1994 is influenced by this record in some way. And I think as a gateway to the genre, it’s not a bad start. If you aren’t into this, maybe industrial music isn’t your thing. This isn’t an easy listen. I think people have a perception of what NIN sounds like because of songs like Closer and Hurt, but Mr. Self Destruct is far more telling as to what you are getting here. This is an album powered by some incredibly intense emotions. And remains as one of the angriest, horniest, and most deviant records ever put out. But all of these emotions are expressed in a cathartic manner. This doesn’t feel angry to the point where there is a disconnect between artist and listener. Make no mistake, this is still industrial rock. But the guitar sounds you will be hearing on this will be unlike anything you have probably ever heard. Trent moved very far beyond the conventional means of creating music like this, and it’s sort of mind blowing how many unique sounds one man can come up with. I’m aware that it’s a basic pick, but Closer is still my favorite song. The layers and layers of different textures are just wonderful. And its fusion of industrial, funk, and electronic dance music is really cool. I’m not 100% on board with every idea this presents, but this is a decade and genre defining album that will undoubtedly continue to move people for many years. Rating: 8/10

You want to talk about influential albums? The Downward Spiral definitely changed the industrial metal game for many people. But Is This It in so many ways represents what modern indie rock music has become. Believe it or not, The Strokes do actually make good music. But I was sort of opposed to them for a long time. The album’s reputation is inescapable, and it’s widely regarded as one of the greatest debuts of all time. Personally, I could never get past the first song. I just wasn’t into it. But I’m glad I gave it the chance it deserves. It’s definitely an important album. The band claimed they took a lot of influence from Lou Reed and The Velvet Underground. In a lot of ways, the two groups parallel each other. It is said that everyone who bought that Velvet Underground debut record went home and started a band. I have a feeling the same is very true for this record. I bet you can hear fragments of this in every indie album released in the 21st century post-2001. I mean just look at Car Seat Headrest as an example. The band also claims they took no influence from Television, as they hadn’t even heard them until after this record was released. I find that really hard to believe, but if it’s true, it makes this all the more impressive. That’s basically the equivalent of Talking Heads trying to make a song that sounded as close to Joy Division as possible without ever having heard their music, and creating The Overload. Pretty damn close in both cases. I think where my problems lied initially was with Julian. I’ve never been a fan of vocals that sound like they’ve been recorded through a dollar store microphone. Julian himself is a great singer, don’t get me wrong. But that purposefully lo-fi feeling took some getting used to. It may not even be on purpose either. But once I finally dove deeper and actually heard what this record had to offer, I understand where everyone’s love came from. This is a collection of some of the most undeniably catchy and well written garage rock of all time. And it’s funny to see how far and above this stands with critics over other artists of the same garage rock revival era, like The White Stripes and Arctic Monkeys. The former of which I have equally as much respect for as The Strokes. Rating: 9/10

I’m willing to make the argument that OutKast are the greatest musical duo of all time, rivaled only by the likes of Daft Punk and Simon & Garfunkel. The ability of these two alone is more than most rappers can claim to have, but together they were a duo unlike any other. By 1998, they had released a solid debut and two incredible follow-ups that basically defined the sound of southern experimental and abstract hip-hop moving forward. Stankonia is slightly different. They wanted to create an album featuring a much more unique variety of sounds. I think in many ways they accomplished this task. What it ultimately led to is some of the most creative sounding production work they ever had on a record. And this album is far less one-note than their previous work. Much more funk and rock influence is present. It’s also said that this is where André began to take a more melodic approach to his songwriting style, which wasn’t exactly what the others were looking for. But I don’t think it held them back in any way. Without that approach, we would have never gotten a song like Ms. Jackson, which has easily one of the most iconic choruses of any hip-hop song ever. André 3000 and Big Boi are just such incredibly sharp and charismatic lyricists and songwriters, and they have some of the greatest chemistry I’ve ever heard out of any artists who have come together like this. B.O.B. is genuinely one of the most blood-pumping and electric songs I’ve ever heard in my life. It might be a common complaint for many, but I don’t feel as if this album is too bloated. It’s literally only slighter longer than Aquemini, it just has more songs. Mostly because of the interludes. Which I don’t hate at all. They all sort of sound like snippets from an episode of The Boondocks to me. And I appreciate that they all end with both MC’s saying, “Break!” It actually ends up giving a lot of continuity to the album and makes them feel way more seamless instead of just mostly unrelated skits. I can’t say for sure whether or not this is definitively the duo’s best album, but it is undoubtedly an amazing one, and just continues to highlight their excellence. Rating: 9/10

I can’t claim to necessarily be a fan of The Smiths. I’ve enjoyed a few of their songs here and there, but I don’t know, I’ve never had the desire to really dive into their full albums. And I think a lot of this stems from my general distaste for Morrissey. There is just something about him that makes him seem unbearable. A man who thinks so fully of himself, and is a piece of shit xenophobe don’t make for a great frontman. I think he has a nice singing voice, but the appeal of The Smiths to me was always the other band members, and never Morrissey. So I was interested to see how he performed without those people working with him. I never realized just how many solo albums he had released, especially throughout the 90s. But his catalog is pretty extensive. And what I can say about Your Arsenal is that it left me feeling overwhelmed. This album is all over the place, and is kind of a mess. Some songs are nice. Seasick, Yet Still Docked is actually an amazing track. A strangely psychedelic inspired folk ballad. But when the song immediately before it is You’re the One for Me, Fatty, it leaves me feeling a bit scrambled. It just tries a number of different ideas, some of which don’t feel very well executed. Mick Ronson is on production here. And while I’m more familiar with his instrumental work with Bowie than his work as a producer, I can admit that he definitely gives this album its character. It still feels infused with a bit of late 80s flair. And it’s apparent how much the glam rock Bowie sound really was Ronson’s thing. Because it transferred over to this. On some songs, it sounds great, with powerful and driving lead guitar parts. But on something like Certain People I Know, it just makes me question what they were thinking in the studio at the time. Ronson’s production both adds to the mess, and also cleans the mess up. I don’t hate this album. Doesn’t change the fact that I still find Morrissey annoying, but I understand the appeal for many. He’s still a douchebag though. Rating: 6/10

I think this list suffers most often from one glaring issue. I can’t help that some of these albums are just flat out boring. Or at least not that interesting. And that isn’t going to change no matter how hard I try to like them. In the large number of blues and hard rock albums that already exist on this list, who are probably more deserving of a placement, this record is out of place. You could maybe make the argument that this represents a transitional period in rock history. As hair and glam metal got pushed out, and grunge became the new thing, this album sits right in the middle and almost goes against the musical trends of the time. But it’s really not that special. And I think there was already so much of this kind of music by 1990, that what the grunge movement gave us is far more worthwhile. I don’t mean to discredit the band. They actually sound like a very talented group of people. But this is to blues music what AC/DC was to hard rock. Just about as strait laced and basic as you can get. Total bar rock music. Every song sounds just about the same, and none of them do anything particularly cool to maintain my interest. You know that scene in Paul Blart: Mall Cop where Kevin James gets super wasted and wrecks a bar? This sounds like the music you hear in the background of that scene. There is someone out there who has some attachment to this, possibly because it represents a part of their childhood. And that’s great. But I’m putting on half a dozen other blues artists before this is even thought of. Rating: 4/10

The Roots are always a group I’ve had my eye on. But with my seemingly endless backlog of albums I want to hear, that only continues to grow because of this list, there has been very little time for me to ever sit down with their catalog. I figured it would happen one day though. I guess today was the day. But I wish I could have spent my introduction with something a little more fitting. Or, unfortunately, a little better. This isn’t exactly a bad album. But compared to their earlier work, especially Things Fall Apart, it’s not seen as their greatest work. And I can understand why, even without having any prior experience. This highlights another issue with this list. Which is the often glaring omissions of obvious albums that totally deserve to be on here. And they are commonly replaced by albums from the same artists that just aren’t as good. This album goes back and forth between songs that feel poorly executed, unfinished, and kind of flat, and songs that actually balance experimental East Coast hip-hop and soul music really well. I’m really not familiar with the rest of the group, but I’m well aware of who Black Thought and ?uestlove are. And I believe they are a very talented MC and a very talented drummer respectively. The former of the two does really feel like the main one leading the music here. But on certain songs, the instrumentals are pretty solid. Especially, like I previously mentioned, the drums. Those are almost consistently good on every song, even if the other elements aren’t. I’m just not sure where this stands as a proper hip-hop album. Because something about it feels like it’s lacking those main elements that make hip-hop such a good genre. It’s kind of a hard feeling to describe. The Roots have always toed the line between soul and jazz adjacent music and rap. And I don’t think this record represents the strongest aspects of the group’s fusions. Rating: 6/10

I got that Morrissey album not even a full week ago. And obviously I spoke about in that review. Pretty briefly, and not necessarily negatively. But it was like the universe decided it was my time to finally hear The Smiths And I can’t complain one bit. My powerful intuition strikes again. I claimed that while I enjoyed parts of Morrissey’s solo album, what really dragged it down for me was everything backing him up. I saw potential for something very good though. And I was dead on. Because the moment The Headmaster Ritual hits, everything became clear. And I understand why this band has continued to enrapture people for so many decades. They are just so damn good. Johnny Marr especially. It kind of makes me wonder where a guitar player like that has been my whole life. But I don’t mean to discredit the rest of the group. Andy and Mike are both fantastic too. I think what really sets this album apart is those small elements of post-punk that peak through every once in a while. This can especially be heard on that last song. They elevate this album into something far better than what the rest of the indie pop genre sounded like in the mid-80s. Morrissey’s voice has grown on me by now. But there is still a small part of me that finds his almost woe is me, self-absorbed character and voice slightly frustrating. This is also where the issues with him start to extend beyond the music. Meat Is Murder is a very bold album title, and the titular closing track is even bolder. Nothing wrong with feeling that way about eating animals and veganism, but it’s just so blatant and out there. Also, I’m aware How Soon Is Now? is only apart of the US version, but I don’t care, I’m going to include it as if it was always a song on this record. Plus I just need an excuse to talk about how incredible that song is. Arguably their best song ever, and also arguably the best use of tremolo on a guitar ever. Johnny Marr is such a genius. I guess it’s official. I am a fan of The Smiths. Rating: 9/10

It has been exactly 119 days since I reviewed the last Radiohead album. Don’t worry, I haven’t been counting the days, I just looked it up real quick. And conveniently enough, that last album was Amnesiac. Basically the little brother to Kid A. They have very similar sounds in many ways. Except to me, these albums are leagues apart. Kid A is my second favorite Radiohead album, behind the big one I’ll eventually get to talk about. But honestly, it might be the album from them I come back to the most. I have probably listened to this all the way through from start to finish more than a dozen times in the last six months. But at one point, I didn’t really get this album. It took me a long time to appreciate this for what it is, and understand why it plays such a vital piece in their history. Plus, if you don’t like this, chances are the rest of their music after this point won’t be very enjoyable to you either. The main thesis of this album, to me at least, feels like separation. The desire to separate oneself from what is and isn’t was the fuel for this album’s creation. The band was tired of being hailed as rock’s saviors. They needed to break away from the reputation they created. So they chose to push their music as far away from OK Computer, The Bends, and what made them successful, as they possibly could. And that feeling that something isn’t right is immediately present on the first song. I’ll put it on record right now. That is my favorite album opener of all time. It still leaves me a little breathless, and I struggle to believe human beings created something so intensely cold and powerful. Every single song on this album is pure genius. Even the title track, which remains the one black sheep for me, is still incredible. There is not one moment of this album I am not in love with. And on a certain kind of day, this could be my favorite album from the band. This is the album that took the band from rock music’s next big thing to a group of some of the most forward thinking songwriters ever. Although I’ll be completely honest, this album is often regarded as “the greatest left turn in music history”. And maybe in the moment it was. But now, looking back on the band’s history, this isn’t as experimental and out there as people make it out to be. There is still plenty of traditional art rock style music that the band was already becoming familiar with. How to Disappear Completely is a song that has given me hope in some of the most beautiful moments of my life, and also broken me down to my most vulnerable and defeated. A song created from the oppressive feelings of hopelessness that Thom faced during the Ok Computer tour. The main lyrical theme was inspired from what Michael Stipe, the singer of R.E.M., told him to do. He said, “Pull the shutters down and keep saying, ‘I’m not here, this is not happening’”. Kid A is a record that has become engrained in who I am over the last year or so. It’s one of the most human expressions of loneliness and depression I’ve ever heard, but also feels robotic and completely devoid of genuine humanity. To put it simply, just another masterpiece from one of the greatest bands to ever write music. Rating: 10/10!

I had such a good streak going. Only two days, but still. Unfortunately, not every day can be a Radiohead kind of day. Sometimes you have to suffer to make the good stuff even better. Although I shouldn’t refer to this listening experience as suffering. It wasn’t that bad. But when I see genre tags like dub, 2 tone, and easy listening, I already feel out of the loop. Because I have no idea what those mean. I just threw out any expectations and threw the album on. Truthfully I don’t all that much to say about this from a critical standpoint. A lot of how I feel about this album comes from biases I have towards certain genres. With this album, expect a fusion of ska, reggae, and some light touches of punk. Three genres that feel very intertwined with one another and can usually fuse together without a lot of issues. But it needs to be done well. Problem is I’ve heard better reggae music, better punk music, and I’m not a huge fan of ska. If you are looking for an outing of either of those things, or for some reason an outing of all of them combined, then look no further. Plus they didn’t exactly hit the nail on the head. The music is just a little too goofy for me sometimes. Where my real issue lies is the production. How you can have the album be remastered back in 2002, and still have it sound so low quality is a mystery to me. The vocals are just really loud sometimes, and drown out a lot of the other instruments, especially the drums. The mix often just sounds really muddy. You aren’t missing anything remarkable by skipping on this album. Rating: 4/10

The unfortunate reality about becoming something big in the music industry is that it’s never easy. And it can often rely on two things. Being in the right place at the right time, and actually proving to people you are indeed something unique. The Stooges sort of managed to qualify for both of those things at the same time. But maybe not 100%. What people were expecting to hear in 1970 was The Beatles, Simon & Garfunkel, and Creedence Clearwater Revival. Woodstock had just happened, and hippie culture was probably bigger than ever. So to create something as intense and rampantly out there as this in that year is shocking and impressive. And probably only paralleled by something like Vincebus Eruptum. Both very important albums for their respective genres, but there is a very big jump in quality for me. This is probably one of the most important albums in hard, punk, and garage rock history. In a time where hard rock was really only being led by Led Zeppelin, and where punk wouldn’t take off for another 5 years or so, this represents an interesting period of history. This also represents the roots of Iggy Pop before his solo career took off. And to me, he feels way more in his element here. He doesn’t sound horrible on those Bowie-esque art and glam rock albums, and they aren’t bad. But his maniacal wailing over these heavy distorted guitars just feels like the sound he was meant for. I’m not really familiar with any of the other members, and it unfortunately doesn’t seem like they did much else notable past The Stooges. But their work here is undeniably cool and very influential. Rating: 7/10

The list of important jazz figures is seemingly endless. And Thelonious Sphere Monk, who might have debatably the coolest name ever, is just another one of the more influential composers in the evolution of the hard bop sound in the late 50s and early 60s. I am wholly unfamiliar with his work, though. And I will never be opposed to sitting down with a jazz album. After hearing it, I’ll be honest and admit that this isn’t my favorite jazz album I’ve ever heard. But I enjoy parts of it. The streak still technically continues. I won’t deny this album its flowers. This is by all means a technically and compositionally sound set of recordings. That first song alone took them over a dozen takes to get. And you can hear it. This isn’t something the average composer would be capable of writing and performing. And no doubt, Monk proves himself as a very capable pianist. I Surrender, Dear is actually a really beautiful piece of solo piano work. All in all, this album does a great job with allowing each component of the band flex their abilities. As far as I remember, there are multiple drum solos on different songs. What keeps this from really matching up to my favorite jazz albums is the connection I have with it. Which is unfortunately very little. It isn’t easy to form a real connection with me just on a single first listen. But those albums that do are special. It’s just hard for me to really feel this album on a deeper level. And it doesn’t drawn me in emotionally like a good Coltrane or Davis album might. But this isn’t a terrible record at all. Still definitely a worthwhile part of the history of golden age jazz. Rating: 7/10

Before he transformed himself into the alien rockstar Ziggy Stardust, and evolved into one of the most eclectic and creative minds working in the 20th century, David Bowie was just another glam rock artist. Probably not too far off from what you would hear in the early 70s from other artists. But I think most people would agree that after the release of Hunky Dory, it was already clear Bowie was above the caliber of those other artists. You can already feel the potential that wasn’t being fully tapped into on this album. Of course it thankfully wouldn’t take very long for him to realize that potential. Hunky Dory is still a really solid album. It sort of feels like the less conceptual baby brother to Ziggy Stardust. You can hear where he really started to experiment with more art rock based sounds, which would only devolve further and further into madness as he experimented even more. I think the lack of some type of narrative actually lends to certain parts of this being less interesting though. This album also immediately puts itself out there. Changes is such an amazing opening track, and it kind of makes the rest of the album seem a little plain in comparison. Of course, there are definitely other highlights. I always imagined that the previously mentioned song would be one of his more popular, but maybe I believed that because of its inclusion in Shrek 2. Although I do not remember the cover version in that movie sounding so bad. Life on Mars? is actually the most popular song on here, which I can understand. An interesting aspect of this album that I really enjoyed is how full the acoustic guitars sound. It really saves those acoustic parts, and makes them sound beautiful. Overall, Hunky Dory continues to deepen my respect for Bowie, and prove to me how far ahead of the curve this man always was. Rating: 7/10

The number of bands or artists defined by their biggest hit is probably hundreds. A one hit wonder type deal. And I guarantee you The Killers probably get grouped in with that category more often than not. Except I don’t really know if they can be considered a one hit wonder. Just by judging off of their Spotify, they have multiple songs with hundreds of millions, and even billions of streams. It’s just that they happened to struck insane gold with Mr. Brightside. Kind of insane that it was their first single ever. Still in the top 100 on the UK Singles Chart, even after 412 weeks, by the way. But past that, and maybe Somebody Told Me, everything else can pretty much be considered a deep cut. Honestly though, this record isn’t horrible. It feels very in line with what the post-punk revival sound was in the 2000s. With some punchy bass lines and flashy electronic elements. The most inconsistent part is really the singer. He just sounds off from song to song. Sometimes good, and other times not so much. Also the weird vocal effects they occasionally throw on top of his recording just drags it down further. There is just something about this album though. A part of me can’t break away from the youth pastor music vibe I get from this. Not trying to claim they are a Mormon band either. Because they technically aren’t. But it sure feels like they are. If Coldplay, Muse, and the church 5 minutes from my house had a baby, it might be this. There are definitely better albums in the genre. But I find some of the ideas they try commendable. Like the more melodic electronic led song Everything Will Be Alright. Otherwise, this album peaks in its first four songs, falters slightly from there on out, and manages to pick itself back up in a few places. Rating: 6/10

To me, the trifecta of gay rock stars is Freddie Mercury, George Michael, and the creator of today’s album, Elton John. Unfortunately Elton is the only one remaining out of those three amazing people. And I truthfully have the utmost respect for this man. He’s just undeniably an icon, and it’s hard not to love what he has represented for so many years. Aside from the hits I’ve heard every once in a while, I’m actually not all that familiar with his music. Now how do I feel after hearing said music? Pretty positive in all honesty. This is a fun ride from beginning to end. Elton sure can play that fucking piano. And he can sing like his life depends on it. Tiny Dancer is an insanely good way to start. I worked for eight hours after hearing that song, and the chorus melody was stuck in my head basically my whole shift. It’s so damn catchy. What I wasn’t expecting is how progressive this album feels in many places. Maybe it’s because of the very theatric sounding string arrangements, but this flows like a great progressive piano rock album, with different instrumental sections. Elton sure has a knack for said theatrics. I mean just look at the way he dresses and his personality. But this doesn’t feel glam rock theatrical. It tones that down a little bit, which helps it feel unique and more separated from that sound. I really only have two main complaints. One, the last 3 songs or so aren’t as enjoyable and satisfactory as the rest of the album. And two, although they do experiment here and there, this sounds a little repetitive in some places. This also causes it to drag on. It might only be 45 minutes long, but it sure doesn’t feel like it. This could maybe be attributed to the slightly longer average track length, but I’m not sure. But overall, first impressions were pretty solid. Rating: 7/10

I have been eagerly awaiting this album. I’ll never understand the disdain some have towards sampling in music. Particularly in hip hop. I think that can often stem from the general distaste that many continue to have towards the genre as a whole, considering how engrained sampling has been to hip hop production since the 90s. I personally believe sampling is as much an art form as the lyricism and songwriting that often goes over it. It’s unfair to discredit it. Some of the sampling work I’ve heard in my life has really made me rethink hip hop production as a whole. And it has me wondering how a person’s brain can work in such a way that allows them to piece those things together. I think that summarizes my feelings towards this album right here. Plunderphonics is a really unique genre, and one I love. But it does often face the most criticism when it comes to sampling. Because it’s built entirely on it. Every single aspect of this album is sampled from something else. DJ Shadow did not create a single second of what you are actually hearing. He just completed the puzzle. Some people might scoff at that method of creation, but I am beyond inspired by it. The fact that one man sat down and created songs such as Stem / Long Stem and Napalm Brain / Scatter Brain purely through samples blows my fucking mind. They had websites dedicated to hunting down all of the samples he used on this, and they still don’t know all of them, even after nearly 30 years. It’s like Face to Face by Daft Punk but on a much larger scale. And Shadow’s openness and inclusivity to music is so wonderful. The samples he uses here are not restricted to what hip hop producers usually target for good picks. The best samplers are ones that embrace all types of sound. The mix of funk, rock, soul, and even orchestral elements on this album make it a melting pot of sounds that somehow fit together perfectly. Dude sampled fucking Orion on The Number Song for god’s sake. Plus, as a drummer at heart, I respect how much the drums take the forefront here. This, to me, is the essence of hip hop as a medium. Rarely does my attachment for a song lean more towards the lyrics. The production is what draws me in. And this album needs no proper lyrics to feel fulfilling and enjoyable. It’s a listening experience that anyone who claims to be a fan of hip hop owes themselves, even if instrumental music isn’t their thing. I marvel at this album’s greatness, and how much influence it has had on how we regard sampling in mainstream music. The closest anyone has ever gotten to rivaling that is with Paul's Boutique and Donuts. This album continues to amaze me, and the feeling I had when it finally clicked is the same feeling I felt when the latter of those two albums I just mentioned also clicked for me. This is one of the best albums of the 90s, and arguably the greatest collection of instrumental hip hop music ever released. Rating: 10/10!

The first person or group to combine funk and rock must have either been genius or on some amazing drugs. Either way, music has done nothing but benefit from their decision. It’s crazy how well those genres fuse together. But the reality is that there aren’t a huge number of people who really get it down right. There are the obvious picks, like Talking Heads. But it’s always nice to learn about a group like this that seems to understand what works and what doesn’t. This album is kind of all over the place, but I can’t hate it for that. Because it sounds pretty fucking cool while doing it. Indietronica combined with art rock combined with funk. In my head, I would more so categorize this as a pseudo-dance punk album. And it definitely fits the time period. Bands like LCD Soundsystem, Bloc Party, and !!! were in their prime. And many of the amazing, defining aspects of the genre reside here. Punchy drum and guitar sounds. But also balancing a unique pallet of sounds. I think those electronic elements really do benefit the album, and give many songs a great floating ambiance. Not every song is a banger. Some are more slow. But when they groove and slap, they fucking groove and slap. The instrumentation is unironically pretty brilliant on some of these songs. When the drop comes in on Shout Me Out, I have a hard time not getting up and dancing like a maniac. I can also appreciate how unorthodox the singers voice feels. Reminds me a lot of James Murphy. I love his singing so much, but I’ll be the first to admit it is nothing special. It just feels very raw and realistic. Those are admirable traits to find in a vocalist. Never judge a book by its cover, because there are hidden gems like this to be found everywhere, in all sorts of genres. Rating: 7/10

The 2000s really were a beautiful time for rock music. That decade and the 70s were really the most defining time periods for modern rock music as we know it. And the 2000s really was a time for resurgence. You had the roots of heavy and garage rock coming back with angst and style with the garage rock revival movement, pushed by bands like The Strokes and The White Stripes. But the former was also helping modernize post-punk along with bands like Interpol. And post-punk was also being evolved upon even further with groups like LCD Soundsystem and Franz Ferdinand making dance-punk the next hip thing. And although it was still sort of stuck in the wormhole of gangster culture, rap was facing new creativity like never before because of people like Kanye West and MF DOOM. It’s really wild that all of these things were happening at the same time. And today’s band, Arctic Monkeys, feels like it resides in all of these places at once. Except for the rap part. I’m really not much of a fan of anything they’ve put out recently. But I’m willing to admit that this is a pretty awesome debut. They just come out swinging, and way harder than I expected. They really put the punk feeling in dance-punk. The drumming in particular on this record is so blazing fast, with great fills. There are a few songs that feel like they lean more into the indie rock sound that the band would explore further on albums like AM, and I’m just not about that. I want cool and flashy Arctic Monkeys. Not slow love song Arctic Monkeys. I also wasn’t sure how I initially felt about Alex Turner. Listen, the man can sing for sure. But something about him gives me the impression that he thinks very highly of himself. It’s the same dilemma I have with Morrissey. But it doesn’t take away from the music by any considerable amount. Me enjoying this album as much as I did has only helped to strengthen my opinions on dance-punk and really this era of rock music in general. Because there are just far too many amazing bands and albums that came out for me to not love it. Rating: 8/10

Want to know a sad reality of life? No matter how hard you try, there will always be things you can’t change. Especially when it comes to music. Forcing yourself to listen to something, and trying to convince yourself you actually enjoy it is not a good idea. I had this outlook towards Swans for a while, but I’ve warmed up to them since. Unfortunately the same cannot be said about this album. And that hurts me. Because when you lay it all out, I should have loved this. Knowing my history with similar sounding music, this should have been a shoo-in for me. I’m often a big fan of these alt-country jazz inspired easy listening records. But this album does nothing to maintain my interest. Or really compete with any of the other albums in that genre that I love. To put it simply, this album is boring. It’s harsh, but the only way I can properly describe where this goes wrong. There is one obvious positive that even I can’t ignore. I’m not sure who this women is. But I can admit that her voice is pretty amazing. Easily the best aspect of this album by a mile. And music that is more vocal based is fine. And that sort of applies to this. But there is also definitely a focus on the more arranged instrumentals. And when the vocals are great, but everything else consistently isn’t, I lose interest quickly. I wish I had more positive things to say. It feels like I should, and this had the potential to be better, but really isn’t anything special. Rating: 4/10

Who the four giants of the grunge genre were has been pretty clear for a long time. But what sets them apart is what they individually meant for the genre as a whole. It’s pretty amazing how much variety each band brought to the table. Nirvana commercialized the sound, and gave it a punk twist. Pearl Jam was definitely the most simple and hard rock based of the four, but still did a lot of great stuff with that. Alice in Chains represented the sludge and dirtiness that the genre could have, which made sense given its origins in metal. And Soundgarden, who is the subject of today, was focused on a cleaner stoner metal influenced sound that was still heavy as fuck. And I believe they fully succeed in doing so with this fourth album of theirs. If this was personified as an animal, I think it would be some sort of big and scary lion or bear. This album is a beast. This comes down to the production, but also how powerful each of these musicians are. The guitar riffs are tasteful, but still super catchy and hard-hitting. And this band might have the strongest rhythm section of any of the big four. Those drums and that bass are so locked in, and give this the extra boost it needs to become even heavier. They really balanced thumping and slow with heart-pumping and fast very well. And of course, I’d be remiss if I didn’t speak on Chris. It’s so unfortunate how many grunge legends we have lost. Especially the vocalists. Who will always be the driving force behind this music. And Chris is no exception. I’ll be honest, I’ve never been a huge fan of the way he sounded live, but now that I’ve experienced proper studio recordings with him, I understand why so many connected with him on such a deep level. This man can sing like nobody’s business. It’s a pretty hard toss up for me between him and Staley, but I think on a particular day, Cornell would be my favorite grunge singer. And he’s honestly just one of the best male vocalists of all time. End of discussion. I don’t think people should be trying to debate this. The success and power of this album is just more proof that shows how amazing and electric the grunge era of the 90s was for rock music. Rating: 8/10

The 60s albums that are actually good really stand out to me now. Because I’m slowly starting to dislike most of what I’m hearing from this era more and more. With each generic psych rock I hear, I lose a little bit more hope. Or maybe I lose a year off of my life. I’m not sure. But either way, if those first few sentences don’t already queue in on how I feel about this album, what I say next will. I really only have four words to describe this. A very boring slog. I’ve just heard enough of this music from enough artists to know that I’m tired of it. I’ve been tired of it. I could never hear another one of these albums again and live on happily. This album had about three worthwhile and memorable songs. If this didn’t come out in 1967, I would think this was a collection of bad cuts from a Neil Young album. Or maybe Jefferson Airplane. Since it reminds me the most of that. The unfortunate thing is I know I’m going to have to talk about another one of these. Soon enough, I’ll be able to make a longer list of the ones I don’t like or don’t remember than the ones I actually enjoy. It’s rare I write this little. But that’s because it’s rare I have so little to say. Skip this album. Rating: 4/10

Live performances is one of the best ways for someone to understand the power and beauty of music. The way a musician can completely elevate their own art in so many ways just through the setting and even the restrictions of a live show is so amazing. Such is the case with this record. I’ve never heard any of Sarah Vaughan’s music. But it became immediately apparent from the first song that this performance was going to feel more intimate than the average live jazz album. Every song is so delicate and simple. This definitely has something to do with Sarah herself. Or more specifically her voice. There is also something about how quiet the crowd is. Crowd noises can kill a live album for me. Especially if they are too loud. But when they are just subtle enough that they only appear as background noise, they add so much to the recording. On the second song here, it sounds like someone drops something, and people start laughing. It’s little things like that which make the performance actually feel alive. Although I’ll admit, as much as I love the vibe of this album, and the music itself is good, it’s so simple to the point it becomes repetitive. Once you’ve heard one song, you have basically heard about the rest of the album. Doesn’t mean it isn’t necessarily a worthwhile listening experience. Because Sarah and the backing band are great. It just didn’t blow my mind in any place. But it felt like a really chill and warm way to start my morning. Maybe not as essential as some jazz giants, but a solid live performance either way. Rating: 6/10

As the weather gets warmer, and we are less than two weeks away from the start of summer, life calls for more music like this. Something that represents summer break, the heat, and relaxation. Based on the cover alone, I was ready for a vibe. And a vibe it was. This album feels so fitting for the summer, and paints pictures in my head of people driving around with the sun roof open, or on the beach, with this playing in the background. And I love how large of an ensemble this group is. You can feel the energy through the music, and I really get the feeling this was something created because of the love they all share for traditional Cuban music. I’m just a little disappointed though. When I listen to an album, it’s pretty clear to me whether I like it or not. I dislike the music I dislike, and I love the music I love. I don’t feel like I ever really have to justify that to anyone, or explain that why I don’t like a record is because I’m missing something. But I think today may be an exception. I wanted to like this more. Really badly. But something about it just didn’t seem to really click in my brain. But I also don’t feel qualified to speak on this. This is very far out from what I generally listen to, and this also isn’t my culture. But I do feel like I have a little bit of experience with this kind of music. I wish this blew me away like I was expecting it to. I still respect it for everything it is. Rating: 5/10

When I see a cover like this, I assume it’s either going to be an unbearable experience, or at least something mildly interesting. Fortunately I can say that it is mostly the latter. Although I couldn’t really say I was expecting anything in particular. The title being Fred Neil leaves little to the imagination. This is in fact his second album. I’ve never heard of him before. That’s probably because he unfortunately gained very little notoriety. His songs were more well known for the covers other people did of them. And he spent most of the last portion of his life working with dolphins. But this album isn’t actually too bad. It feels like a pretty drab set of folk songs. Very quiet and slow. The most exciting thing you will hear is maybe a harmonica on a song or two. What keeps this album from feeling completely empty is the minute additions that make this feel like its own thing. The phaser used on the first song is strangely beautiful, and definitely feels ahead of its time for 1967. The last song also uses what sounds like a bike bell as a percussive element, which I was surprised by. Small things like that are what make this album feel a little bit more unique and above average. But that’s all this really is. A slightly above average folk album. Also, in the context of this list, I don’t know how well it really qualifies to the essential category. I can’t imagine this being very influential to anyone, since it’s not like other artists weren’t doing similar things at the same time. But thankfully this doesn’t feel like a completely worthless listening experience. Rating: 6/10

I feel like the day a person hears a Tom Waits album for the first time is a catalyst for something much deeper. I guess today was that day for me. I was both terrified but excited to finally hear what all of the discussion was about. Absolutely nothing could have prepared me for what I actually heard. I could not have readied myself anymore than I already did. Any crazy description you hear of what this sounds like is probably right and wrong at the same time. Because this doesn’t really sound like anything. Definitely not anything I’ve ever heard before. This is so unusual, and feels like it’s going against the norms of general music at every possible moment. Except I’ll admit that I spent pretty much the entire listen with a smile on my face. I couldn’t believe myself that I was actually listening to this, but I also couldn’t believe how awesome it was. Tom himself immediately stood out to me as a character. And he has what might be one of the most interesting singing voices I’ve ever heard. It almost borders on not being singing. It’s so low and gravelly. It sounds like you tossed pebbles into a blender and had it speak to you. But that paired with the dark and eerie carnival-esque music on the record creates a wholly unique experience. This is basically the creaking floor boards of the music industry. And I find it insanely cool. Tom Waits actually feels like someone who really deserves to be on this list. I don’t know if any other artists has ever made music that sounds like this, which completely warrants his placement. I honestly can’t wait to hear more music from him. Everyone should listen to this, whether they end up hating it or absolutely loving it in the end. Rating: 8/10

There seems to be this overwhelming opinion among the other people who have also committed to doing this same thing that there are a shit ton of brit pop albums on the list. Apparently not enough where it has affected my experience that much. I’ve had more trouble with the generic 60s albums than those. But I guess today is the first example of said genre of albums. And if this is the consistent trend of quality that the rest of them will be following, I can sort of sympathize with those who are frustrated. I’ve only really heard one proper brit pop album, which was (What's the Story) Morning Glory? And that actually wasn’t half bad. Plus I’ve gone back to many of those songs and they have grown on me since. I think this record strays far from what made that Oasis record so enjoyable. Like for starters, the singer sort of sounds like Liam Gallagher, except his singing voice kind of sucks. It’s just not nearly as listenable as Liam’s. And that seems to be a common theme with the rest of this album. This album seems to lean less on the alternative rock sound of bands like Oasis and Blur and more on the sound of baggy. Which is honestly a genre tag that means next to nothing to me. I’ve never really known what that meant. But this still has that sort of neo-psychedelic vibe. And it just doesn’t feel as natural. It comes off as forced, like someone trying their best to imitate the cool brit pop bands. Truthfully this genre was never a favorite of mine. People were tired of it by the end of the 90s, and they are especially tired of it now. And I’m sort of inclined to agree. Rating: 4/10

Ever since I heard Master of Puppets, I’ve had a new found appreciation for Metallica. I love all sorts of metal music, and I’m not going to sit here and pretend like their music doesn’t go hard as fuck. But I figured I may not be as positive about their music on the day I got this album. This is a beast. Basically two live albums in one, that make up over two hours of music. Two hours of Metallica is a lot. And of course the key difference here is their collaboration with the San Francisco Symphony. This album is more a good example of how not all ideas are good ideas. I admire the work that was done here. It’s clear they really thought out how their music could best fuse with an orchestra. They even wrote two pieces of new music, neither of which are mind blowing. But I feel like the novelty and cool factor of this wears itself out very quickly. The best songs here are the ones where the orchestral elements don’t drag down on the original songs, but elevate them and bring them to the next level of explosiveness. And there are many songs that do that. These renditions of The Call of Ktulu, Fuel, For Whom the Bell Tolls, One, Enter Sandman and Battery are all great. I was especially surprised with One and Battery because I fully expected them to slow the tempo down so the orchestra could move along more smoothly. Not only did they not slow it down, but they actually sound somewhat faster. Very impressive stuff. Also starting with The Ecstasy of Gold is simultaneously hilarious and amazing. I definitely still have gripes with this though. Hetfield’s voice sounds off at best, and pretty bad at worst. There are a lot of moments where he has these strange inflections and cracks that throw the songs off. He doesn’t have this issue now live, so maybe this was just the way his voice sounded at the end of the 90s. Jason’s bass also seems to be largely absent in the mix, which is not the first time the band had this issue. Also, the track list confuses me. I’m aware that the self titled record, Load and Reload were the big new releases from them at the time. But in hindsight, most fans would agree that the latter two albums contain some of their most lackluster material. And I am largely unfamiliar with those songs, so this was not a great way to get introduced to them. What this should have been is more like a greatest hits live show with the symphony. Why are ...And Justice for All and Kill 'Em All almost entirely omitted from these sets other than One? I do love that song, but I would have also appreciated to hear something like Blackened. Also two pretty big glaring omissions with Orion and (Anesthesia) Pulling Teeth, which would have fit the orchestral sound perfectly. Overall, I don’t hate this as much as I thought I might, but I’m also not absolutely in love with everything they do here. Rating: 6/10

I was only familiar with the work Eric Clapton did with Cream and Yardbirds before today. When this popped up, I assumed it was just a mostly unknown blues album since I didn’t recognize the name of the band. After doing some digging, I discovered that Clapton was also apart of this, and that immediately piqued my interest. I’ve learned a lot about that man today. Mostly bad stuff though. I was not aware of how much of a piece of shit he was in the past, and how much people really don’t like him. But I don’t think that changes the fact that he was great as a lead guitarist and vocalist in this group. No matter how much of it was unfortunately stolen from black people. Not justifying or excusing that, or any of his racist behavior by the way. That isn’t to discredit the other members either, since they are all fantastic as well. The vibe of this is as the title says. These are all love songs. Love songs that feel perfect for when the going gets tough. When life is just beating you down and the only thing bringing you solace is a pack of Marlboro Reds. Very specific imagery, but it’s just what comes to mind when I hear this. Considering this is the only real album they ever released, this is a pretty beefy double LP that’s almost an hour and 20 minutes long. Although I’m a little torn between whether I think some of these songs should be shorter or go for even longer. I can never really tell with jam band blues rock. It still feels like it drags in a couple places though. But all in all, what I have here is an album I honestly expected nothing from. And what I ended up hearing is basically everything I personally look for in a good blues album. Rating: 8/10

I think the most valuable thing this journey through this list has provided me is experiences. I’ve heard 300 albums at this point. Loved many. And really disliked many as well. But aside from a few, I can’t deny the experiences this has given me. That to me is far more valuable than much of the music itself. And it’s why I urge people to try this themselves. Because the way it has opened my eyes to so much unique art is wonderful. Before this, it was difficult for me to even name albums I didn’t like, because I wasn’t going out of my way to hear them. That is definitely not the case anymore. And such can be applied to this record as well. Because without this, I would never be able to say that I’ve had an experience with traditional Senegalese music. That’s something not many people can claim to be familiar with. And whether this is your thing or not, hearing something that is probably very foreign to the average person’s ears is special in its own right. And this album does do things well that I like. It’s composed of very lush and beautiful arrangements, with plucky electric guitars and choir-esque vocals. I was actually surprised by the amount of electric guitars in this, but this is also considerably more modern compared to the rest of the world music I’ve heard. Unfortunately, for me world music is never something I’m compelled to hear by itself. It sounds better when backing up or being accompanied by something else. So while I see the purpose this has on the list, I didn’t totally love it. Rating: 5/10

You want to talk about essential? You want to talk about genre defining? Or important? Fuck it, this is it right here. Possibly the single most fitting album ever released for those discussions. I distinctly remember a comment I made to my dad after I heard Black Sabbath for the first time. I said they were “everything I wanted Metallica to be”. Still really not sure what that means, and it didn’t stand the test of time. I respect both of those bands equally now, but Metallica is no Black Sabbath. No band will ever truly be like Black Sabbath. Especially not that beginning line up with Ozzy. That is one of the best band line ups ever. And although I’m aware this isn’t their debut, and I’ll have a chance to talk about that in the future, this record is everything. Any characteristic that has defined metal music for the last 50 years, especially with heavy metal and doom metal, can be traced back to this. You can thank, or blame I guess, Ozzy for basically creating the form of dark and intense lyricism that would be synonymous with the genre. And every part of this album is just so fucking awesome. I mean, it starts with 3 of metal’s most legendary songs ever. Planet Caravan is a complete deviation, but a welcome break after those first two songs. It’s so beautifully hypnotic, and probably contains the best bass part from Butler on the album. It’s honestly a hard toss up between that song and War Pigs for my favorite pick. But this album is by no means front loaded. The second half highlights their doom metal roots better. Rat Salad is mostly composed of amazing solo bits from Ward, and I’m such a huge fan of his drumming. It feels very jazz influenced, and his chops plus his dynamics and control are amazing to hear from a metal drummer. I’m really just a fan boy for every member of this line up. Ozzy is THE metal frontman, and Tony Iommi’s guitar parts are glorious. Everyone remembers the first time they heard War Pigs. It also may just be the remaster, but this album sounds incredible, and better than a lot of stuff bands would put out 20 to 25 years later. This album will never be overrated in my mind. Because it deserves every ounce of praise and love it has ever been given. Simply one of the best albums ever made. Rating: 10/10!

Crazy that I’m even about to speak remotely positively about this album. Because I know myself well enough to know that a year and a half ago I would have probably absolutely hated this. But people change I guess. By all means is this very silly music. Totally borders on being apart of the group of below average 80’s music. But I think the year is very important. Because in 1980, things were still a bit relaxed, and hadn’t gone totally off the deep end yet. This doesn’t go as far as sounding like all of the vomit-inducing glitzy rock and pop music that would pop up in the mid-80s. Imagine a more fancy kind of yacht rock. Like a less jazzy and more synth based Steely Dan. And speaking of those synths, they go pretty crazy on this. They are what composes a lot of this album’s main instrumentation. And I can’t lie. Steve is fucking ripping it on those things. I’m such a sucker for a cool sounding and well written synth passage. This album is full of them. This also gives me Donkey Kong Country water level music vibes. And Steve himself has a nice voice. Maybe something that only fits this sound, but not a bad one either way. I also just learned my grandfather was a big fan of this guy, which automatically bumps this up a few points for me. Overall, this is okay. Nothing more, and nothing too special, but there is still enjoyment to be found. Rating: 5/10

The 70s were a pretty great time for music. And it’s safe to say that glam rock and prog were thriving. A decade where Yes, Pink Floyd, David Bowie, T. Rex and Jethro Tull are all co-existing definitely sounds like thriving to me. Although before today, I was not familiar with the name Roxy Music. They seemed to have a good reputation though. Plus I thought the combo of glam and prog would be interesting. “Interesting” is definitely a word to describe this. This still didn’t sound anything like what I imagined it would. The best description I could come up with while listening to it is if Ween were a thing in the 70s and had a prog rock phase. Although I myself don’t really know what prog rock actually means, I think this album fits that category pretty well. The positives for this are as follows. Really solid drumming that definitely has some jazz in there. Songs that flow pretty well and feel multi-faceted enough to be considered progressive. The vocals are both one of the better parts of this, and one of the least desirable aspects of it. They aren’t exactly good, but they sure do fit the sound. Very strange and almost manic like. Sort of reminds me of how Iggy Pop sounded when he was with The Stooges. I can also appreciate the somewhat experimental edge this has. But that’s where my positive thoughts end. Because as much as I love experimental music, sometimes it can be too much. And it needs to feel fulfilling and reasonable. Maybe this album is just too out there for its own good? If it had toned that art rock aspect down and focused more the fusion between glam and prog, I would have enjoyed it more. I also understand that it can sometimes be hard to separate prog rock from experimentation. But I have heard albums in my life, like Thick as a Brick, which can do prog without pushing away a portion of their potential audience for being too much. There are still some memorable moments on this album though. Rating: 5/10

Kate Bush might be one of the most critically acclaimed pop singer-songwriters of all time. You just don’t see her apart of the same conversations as people like Taylor Swift, Michael Jackson or Elton John because her music has always been for a different group of people. I was only aware of her biggest hit before today. And based on the reviews I was seeing of this record, it was looking to be very interesting. One that was wholly unsuccessful upon release, but was eventually reevaluated as a highlight of her career. And to anyone that is thinking of listening to this, prepare yourself for something unlike any music you’ve probably ever heard. When I heard Swordfishtrombones, I was very shocked at how much I enjoyed it. And considering that, it makes sense why so much of this album is so cool to me. I’ve heard that this was a big influence on Björk. And listening to this, and then comparing it to her debut, it all makes so much more sense. This record is disturbing and incredible in so many weird ways. I was seriously not aware of the kind of vocal range this woman had, but the displays she puts on are haunting and so entertaining to listen to. There is probably more creativity and uniquely crafted instrumentation going on in this album’s 40 minute run time than in some artists entire careers. I was sort of on the fence towards the beginning, with some songs being cool and some not feeling as complete. But once you get to that second half, I swear the album just gets ten times as beautiful, and it totally elevates the quality of this. Those last five songs justify the entire listening experience. I think if you are a fan of art pop, and are prepared to hear something that is experimental, but still decently accessible, you should give this a shot. It’s definitely an important part of pop history. Kate was basically David Gilmour’s protégé at the beginning of her career when she was only a teenager. I think that speaks volumes about her talents as a songwriter. Rating: 8/10

It’s been a minute since The Rolling Stones have shown up for me. And truthfully I haven’t been complaining about that. Funnily enough I started with the debut, and what a weak start it was. I’m aware of what this band would go on to do, but it seems like other people also agreed that their first record wasn’t all that interesting. I had hoped that maybe Aftermath, which from what I had seen, is supposed to be the first noteworthy record they released would be better. Hilariously, I found it to be even less interesting than their debut. I want to preface this by saying that none of their music has ever really stuck out to me, even before I heard entire albums. Paint It, Black is the only song I’ve ever found enjoyable. And although that song technically is on this, that’s only the US version. Based on the cover I was shown, I was supposed to listen to the UK version, which seems to be the original intended version. That’s unfortunate, because without that previously mentioned song, the only other good track here is Lady Jane. And that barely sits above average in terms of other blues rock music I’ve heard. There is just nothing on this album that sticks out to me as cool or engaging. What are they doing here that I couldn’t find two dozen other bands doing from the same time period? Plus I think hearing this is what really cemented my opinion on Mick Jagger. I kinda can’t stand the guy. He’s not even like an amazing singer. If we are talking big legendary bands of the 60s, he is no Jim Morrison or John Lennon. He’s not even comparable to someone like John Fogerty. Maybe this is a sign that the Stones are just not for me. But now that I can put the two lackluster ones behind me, it’s supposed to be only good albums from them from here on out. I hope I can be proven wrong, and my opinions can be changed. Rating: 3/10

It’s rare for me to get an album as recent as this. I think I have only had a few others that came out within the last decade. And Beyoncé as an artist is not a mystery to me. I am very aware of who this woman is. But I’ve actually never listened to one of her solo records. After looking into the background info, it’s clear to me that there was a lot of ambitious ideas behind the creation of this album. It was huge on release. For something that came out near the very end of 2013, it performed incredibly well and pulled some of the highest streaming numbers ever on Apple Music up until that point. And I think this just has to do with Beyoncé herself. It seems like everything this woman is involved in goes global. And she is definitely one of the most successful talents of the 21st century. So of course, a woman like her would be able to pull together a star-studded list of people to produce her record. And pull it together she did. It’s actually crazy how many individual producers and writers featured here. Maybe the most I’ve ever seen on one record. She got the likes of Mike Dean, Pharrell, Justin Timberlake, Timbaland, Miguel, and even Caroline Polachek. Plus this ambitiousness is also aided by the creation of a short film for each song. And she was even working with some big names on that front as well. But from a music stand point, how does this hold up? The production is obviously amazing on pretty much all of the songs. How could it not be? I love all of the unique sounding instrumentals and cool beat switches. They are actually a ton of beat switches, which leads to this album feeling overwhelming sometimes. And Beyoncé herself shines through as a performer and singer so beautifully. She can obviously sing her ass off. But this is also a very tense, sexual, and personal album. That’s something I’ll always appreciate about her music. It’s apparent she puts her heart and soul, and truly a piece of herself, into every project she puts out. But when put up against other contemporary R&B music I’ve heard, it’s just not the same. There are stand out songs for sure. The closer Blue is an incredibly heartfelt tribute to her daughter, and the perfect way to end the album. But the songs that don’t stick out to me feel like a lot of filler pop and R&B music that I would rather hear from other artists. I wish I could speak more positively about the content of this, but some songs are just uninteresting and lacking. Rating: 6/10

A language barrier is always going to make connecting with music harder. Lyrics are a large part of what draws people in and helps them relate to the music or artist. But I try to not let that affect the listening experience too much. I’ve heard plenty of music in foreign languages. The problem is pretty much all world music is in a foreign language. It’s definitely been one of the most consistent genres for me. But that’s because it’s been consistently very middle of the road and average for me. I don’t love it or hate it, minus a few exceptions. I’m not sure how the name Baaba Maal didn’t jump out to me, since exactly a week ago I heard his collaboration with Mansour Seck. And the only reason I remembered who he is was because when I put the first song on, his voice sounded really familiar. I looked it up, and found out he had done work for both of the Black Panther soundtracks with Ludwig Göransson. That realization, and listening to this album made me come to the conclusion that Baaba does actually have an amazing voice. It must not have come through on that previous album as clear, because I barely remember him being apart of it. This is easily the most interesting and enjoyable piece of world music I’ve heard on the list so far. As I mentioned previously, his voice really does shine through. What you hear instrumental wise is a mix between the more traditional Senegalese music like I heard on that other album, but still mixed in modern electric guitars, and something that deviates much farther away from that. The best way I can describe is like it has a hint of 80s cheesiness. There are some synths and horn parts here and there. But they sound cheap, and just don’t fit that Central African sound, and especially not Baaba’s voice as well. It was the first time where I would actually rather hear the former over the latter. And since a good portion of this is made up of those songs, it loses a lot of appeal for me. I don’t know, maybe one day I will find a world album that really blows me away. Rating: 5/10

Rock music really is the best, isn’t it? It’s just the coolest thing ever, and as someone who, at one point, only really listened to hip-hop, actually diving into rock is one of the best things I did for myself. And now I can love both genres equally. Deep Purple is one of those bands I’ve heard a lot of good things about. Particularly regarding their most well received albums. And of course I’ve heard Smoke on the Water before. Like one of the most iconic riffs ever. It’s like Can. I am aware of their existence, but they sort of remain a mystery to me. Until now. First, I have to start by saying that this album might have one of the ugliest covers I’ve ever seen. And I mean that in the nicest way possible. The basic Microsoft Word font combined with what looks like a watercolor painting of all of the members faces on Mt Rushmore is crazy. It’s totally hilarious, and there is a part of me that loves it. But do not let that fool you. Because what lies below that cover is some of the most blood pumping and amped up music I have ever heard in my life. I began this review with how much I love rock music because this album in particular reminded me of why that is. Every aspect of this album feels so on point. They wished to make an album that conveyed the same fury and power of their live performances and I wholeheartedly think they succeeded. This is probably considerably heavier than what most people were making at this time period. It feels uncanny to sound this heavy and still this clear and well constructed in 1970. Really the closest thing at the time was Led Zeppelin, but they quickly became the standard. These guys might be some of the only to ever really reach it. The drumming is so cool. How can you hear those Bonham triplets at the end of Flight of the Rat and not shit yourself in excitement? Or how about Gillian’s wailing vocals? Speaking of wailing, that fucking organ on Living Wreck is actually one of the best things I have ever heard in my life. This feels like the life blood of everything that makes rock music such a blessing. You learn something new everyday. Today I learned Deep Purple is one kick-ass band. Rating: 9/10

Traditional punk is built on anger, vitriol, and speed. At least that’s what I would define it as. And hilariously enough, what punk originated from sounds nothing like what it is associated with today. It was rooted much more in raw psychedelic music. The Stooges are an obvious, and fantastic example of this. But I guess I wasn’t aware that another influential band hailed from the beautiful state of Michigan. That band was MC5. I didn’t know they were equally as important as the aforementioned group. But I think opinions of the band are very different. I was expecting them to be one of those groups who never really hit it off with their studio albums, but have one really great live record. But it seems that people either think this is some monumental achievement, or they can’t stand it and/or how much people like it. I think I lie somewhere in the middle. When it is at its best, this album is a flaming ball of fire, careening through the sky and lighting everything ablaze. Like the most punk rock world-ending meteor. But when it is at its worst, or really its slowest on the last three songs, it just doesn’t hit the same. I think this sounds great when it’s rampant and explosive, and doesn’t try and contain itself in any way. I’m aware that something like Fun House had this combination as well, but that album was just simply better written than these songs are. Interesting as a piece of history? Yes. But the greatest thing that ever happened to punk? No. That would imply it’s all down hill from here, which is the farthest from the truth. Rating: 6/10

The Soulquarian era of music in the late 90s and early 2000s is simply the most beautiful thing to me. I’ve never seen such an amazing selection of people come together like that. Beyond the original members that started the collective, you had insane talents like Erykah Badu, Bilal, Q-Tip, Mos Def, Talib Kweli, and Common. These people created some of the greatest R&B and hip-hop albums of all time. D'Angelo happens to be one of those original members. And this man is a mystical figure. I didn’t really get why the episode of Atlanta that was all about the main character trying to meet D'Angelo was so funny until I learned of his reputation. For how good his music is, this man has released a tragically low number of records. Brown Sugar is the first of those three. His output is so consistent, and so even if this is seen as a good album, it’s still probably regarded as the worst of the three. But I still went in excited. Nothing was going to sway me. I was ready to love this. And love it I did. It’s pretty obvious to me that this man has a deeper connection to the soul. Write it into history, because it’s a fucking fact. Reading some of the less than positive reviews of this blew my mind. I couldn’t believe how many people really didn’t enjoy this. Music is subjective obviously, but in my mind, this comes off as an under appreciated classic based on those reviews. Even for a mid 90s album, this clearly defined so much of the neo-soul and R&B movement of that time period. Anybody with knowledge in either of those genres can see that. I guess I can sort of understand why people aren’t interested in this. This is very slowly, and has no desire to speed things up. It’s methodical, and spends more time with subtleties. For how many vocal tracks they have running at the same time, this actually never feels too in your face. The vocals are the focus and the instrumentals, while amazing all around, are not what you should be expecting to be blown away by. I don’t even think this is too overly rooted in “hyper sexuality” as people claim it is. This is one of the most sensual and intimate albums I’ve ever heard, but I’m totally into it. This was so awesome, I put on Voodoo on my way home from work. Unfortunately that album is not on this list, so I won’t ever get the chance to talk about it. Rating: 9/10

I’ll admit when something intimidates me. I’m not going to put up a front, especially not when it comes to music. There have been artists I’ve just avoided, no matter how open I want to be, because I just don’t see it going well. I’ve heard Captain Beefheart before. But Safe as Milk did not break any new ground for me. I felt it lied in that same category of mostly forgettable psychedelic rock that haunts the 60s. But I made the note that the album was still weird. Don always had the capacity to make unique and unusual music. But that debut doesn’t even compare in the slightest to Trout Mask Replica. An album better known for why people don’t like it than vice versa. But even with its reputation, this has still garnered a very strong cult following of people who adore it. And that’s simply because it was, and still is, unlike anything another band has ever released. And I’m able to say that as someone who doesn’t enjoy this in much of any capacity. And I don’t think you can argue that this hasn’t influenced a huge amount of experimental rock. This is like the fucked up baby brother to The Velvet Underground & Nico. It’s not hard to understand where this album has gained its reputation from. If you are able to put this on, and not end up disturbed or confused at least once during the listen, you are either trying too hard or already pretty messed up yourself. This sounds like the ramblings and creative outlets of a madman. There is not one fraction of context that could be added to make these lyrics understandable. You can’t convince me otherwise. The actual performances are indeed impressive, and written in a purposefully confusing and technical manner. But I think fans of this lean on that fact too much. Because even so, the music itself still doesn’t sound that good. If you are going to go for complex songwriting, you have to make it sound at least decent. You can’t choose one or the other. But I’m aware, “That’s the point”, and “You’re just not getting it”. I’m assuming that’s what I would be told by some people. And that’s great. To each their own. But this album is not for me, and likely never will be for me. Rating: 4/10

Some bands are just eternally cursed for being known better for one particular member than for the band as a whole. Van Halen can unfortunately probably be thrown in that category. That’s another reason why this list is valuable. Of all the classic hard rock groups I hear about, Van Halen may be one of the ones I hear about the least. Like I said, I hear about Eddie more than the band itself. Which I think is definitely justifiable. Because not only was he really the face of the band, he sort of became the face of modern 20th century guitar playing for a brief time. And you can’t take that away from him. The dude was amazing, no matter who you say was better or worse. But it’s also important to acknowledge the value the rest of the members brought to the band. It’s always nice to see where bands got started. This band in particular came out swinging for sure. Runnin' With the Devil is such an awesome way to open your album. I was also surprised by the release year. 1978 seems very late in the decade to start, considering how much hard rock had already released by then. But it also means that with how huge this album was, the band basically defined the sound of the early 80s. Everybody wanted to be Van Halen. Of course, this is definitely a little dated and shows its age. But it’s dated in a good way. Like dated in the same way that Def Leppard or Rocks by Aerosmith are. Admittedly, David Lee Roth’s lyricism is pretty surface level and lame. And his singing is nothing special, but he definitely provides energy to the music. All in all, this is a band that maybe isn’t judged for the sum of its parts as much as it should be. Eddie was of course badass, but the rest of the band is cool too, and this debut is solid overall. Rating: 7/10

Sometimes an album comes along that is just so much of so many things that I can’t help but admire it a little. Case in point with today’s record. Blood, Sweat & Tears seems like a band that has sort of been lost to time. I don’t know if I’ve ever heard someone say, “Man I remember how cool Blood, Sweat & Tears was. I wonder if they still do shows”. The bands that could definitely be considered their contemporaries, like Chicago, seem to have just been luckier and struck the iron when it was hotter. Maybe it was too early for a band like this. But these groups also came up around the same time, so maybe BS&T just didn’t have the appeal they needed to get big. I can sort of understand that. This album is a mess. A bit overwhelming and really all over the place. Is it jazz? Is it blues? Is it funk or soul? Is it pop rock? Are they an orchestral group? Who really knows. You can’t even attribute any one band or artist to being the inspiration for this, because this sounds like the precursor to a lot of music. That appears to be where a lot of listeners issue lie. It’s just a lot all at once. But I dig it. And I can fully get behind this. Because even if the band themselves don’t know what they want to be, they sound pretty solid in whatever it is here. This group is tight as fuck. Especially on the bass and those horn sections. Good shit that I’ll always enjoy listening to no matter who it comes from. I’ve definitely heard music from this time period that isn’t even remotely as engaging or interesting as this. I’ll give them credit for that at least. If your stuff is cool enough to make me smile, you’ve got something going for you. Rating: 6/10

Talk about an artist lost to time. Wikipedia is a great source of information for these albums, and is consistently the first place I go to. But when the Wikipedia article for an album only includes very general facts about it and the artist, and that it was included on this list, that isn’t leaving me with much to go off of. I’m always down for some folk music though. Never found it to be something you can have too much of. But I think like the psychedelic rock music of the same time period, it can often fall into a pit of mediocrity. Some folk songwriters are simply just not as good as others. But it is a genre that lends itself to a lot of simplicity. Some of the most renowned folk albums of all time are the ones with the most sparse instrumentation. Sparse is definitely a word that could be used to describe this. This album in its entirety is just Herbert and his guitar. It’s most similar to those early Bob Dylan records or something like Pink Moon by Nick Drake. Except, even as drab as this is, it doesn’t contain the potent melancholy of Nick’s music. Or the striking lyricism and iconic voice of Dylan. Or really the songwriting prowess of either of those two. At least Dylan had the harmonica to spice things up a little bit. I’ll admit that the highs of this album are definitely solid. And unfortunately those highs are often the songs that don’t contain Bert singing. I find his voice to be the less desirable half of this album. But the lows are nothing more than below average folk songs. They don’t do much of anything to maintain my interest for very long. I’m sure this played a role in the development of folk and its presence in popular music. But I believe it’s really only evolved for the better from here on out. Folk can be minimal, but it doesn’t always have to be. Rating: 5/10

As much as jazz fills my heart with love and makes me happy, vocal jazz still remains as a bit of a grey area for me. I can deal with simpler jazz, but sometimes that genre is just too simple for me. Especially when the singers voice isn’t the strongest. I was ready to give this a lower score. But no. I just can’t. The more this went along, the more I became attached to it. I can’t pretend like this album isn’t beautiful. And easily the best vocal jazz album I’ve ever heard. But of course, who would receive that honor other than Nina Simone. I was not aware of this women’s excellence. But now that I am, I understand where the admiration comes from. She is an amazing vocalist and pianist. And one with far more vocal variety than I anticipated. And as a vocal jazz album, where the instrumentals tend to shine less and take the back seat, the band backing her is amazing as well. They are actually still very laid back, with it often just being Nina and the piano, with some bass and light guitar. But it’s always purposeful and effective. And sounds ahead of its time for 1966. Where the best this album has to offer lies is in Nina herself. She’s so cool it’s crazy. I can think of so many words to describe the emotions that are portrayed masterfully here. It’s so dramatic, and every song feels like an expression of pure love, infatuation, and desire. These are some of the most profound and powerful love songs I’ve heard in a very long time. Or how about my personal favorite song, Four Women, which confronts African-American stereotypes in a very powerful way. Or Lilac Wine. As much as I’m a huge fan of Jeff Buckley, I don’t think his cover compares to this version. For an album composed of mostly cut tracks from other albums, there is some fantastic songs here. Apparently Pastel Blues is even better, but unfortunately that isn’t on the list. Though for now, this works. Rating: 8/10

A band getting their big breakthrough is always great. But when they have to sacrifice the part of themselves that made them desirable in the first place in order to achieve that level of fame, it’s unfortunate. Metallica’s entrance into the 90s after leading the charge of the growing movement of thrash metal during the 80s isn’t their best effort. Not by any means. Any die hard fan would agree with that. And this album marked the fall of the band. It’s basically only been downhill from here on out. But this isn’t completely worthless. There are still some redeeming qualities about these songs that make them worth coming back to. From a production standpoint, this is one of their best efforts ever. They probably had a bigger budget than ever before backing them up, and they put it to good use. The biggest change is that, yes, you can in fact hear Jason’s bass. But the guitars and drums also sound very punchy and full. And this is still a Metallica album. So you still have the same songwriters behind it. And these are people who know how to write very catchy hooks and choruses. Songs like Sad but True, or the massive hit Enter Sandman, are instantly recognizable, and could probably be considered classics at this point. Although I could probably go the rest of my life without ever hearing the latter song again and be fine with it. Where the issues with this album arise is when you get into the actual meat and potatoes. When you look at it from a songwriting perspective, and you compare it to the rest of their catalog up until this point, these are some of the least interesting songs they ever made. And not nearly as ambitious and creative. Basically all of the powerful and speedy heaviness that made them an icon of thrash is absent. Even the heaviest songs on this album don’t come close to some of the highlights of their early career, like Battery or the second half of One. Those last 3 songs alone is probably some of the most generic music I’ve ever heard from these guys. There is also some silly lyrics here and there. Like, saying “You are holier than thou” doesn’t make much sense. Because he’s basically just saying you are holier than you. Is he talking to more than one person? I don’t know, I found it silly. The way that I see it is that they were already like one of, if not the biggest metal band in the world at this time. Did they really need to go any more commercial? But clearly it worked, so who am I to judge? And this is purely my opinion. Because people love this album for what it is, which is great. But when I want to listen to Metallica, this is probably the last of their first five big records that I would go to. Rating: 6/10

Hilarious that I’m about to start this review in the same way that I started the two previous Steely Dan reviews. I didn’t even realize it until I went back and looked at them. I think the only thing that has changed is my actual writing abilities. They are only slightly better though. I love Steely Dan. Point blank. A Steely Dan kind of day is bound to be a great one. I’ll never understand people’s problem with this band. Like, I guess I could see why some of the fans could make it annoying. Yes, they do in fact sound really good when there isn’t a middle-aged dad telling you how much better they are than everything else. But what is there to not like about the actual music itself? Put on Reelin' in the Years and tell me that isn’t the fucking best thing ever. They get a lot of hate, and I don’t really care. I haven’t found another group that does this pop and jazz-rock fusion as well as they do. So far, I’ve actually managed to go in release order. Pretzel Logic is their third, and the last they recorded as a full band together before Fagen and Becker became less like band mates and more like band leaders. Even if this does feature the whole band, there are still contributions from studio musicians. I obviously can’t exactly differentiate who wrote what, but the instrumentals on this are still great. They straight up kicked their drummer off the kit and turned him into a background singer. Instead, they got the drummers from Derek and The Dominos and Toto. The sound of this isn’t that different from their first two records. Fagen’s lyricism is still as strange and mystical as ever. But it does feel like they were trying some new ideas, and attempting to make more pop-centered radio friendly music. Which did help them find more of a presence on the radio after their sophomore album. But what they created on those previous albums just appeals to me a little bit more. This falls a little bit short of what I expect from them. But still a solid work from a band that I’ll never really get enough of. Rating: 7/10

This album is deceivingly modern. Because if this exact same thing, cover and all, came out in the 80s or even the 90s, I wouldn’t bat an eye. This doesn’t feel like something that released in the same year as Rodeo by Travis Scott. It’s hard to provide something new or unique to music in the 21st century. Any idea you might have has probably already been done by somebody in the past. So when something does actually give a new take or approach, it stands out. Except I don’t know how well this album really stands out. This band still seems to be pretty underground. That’s kind of the unfortunate fact of groups from eastern countries. But I believe they still succeed in providing a new angle on their genre. Specifically blues. They combine it with more traditional African rock and world music to make what is called desert blues. And I can admire this fusion. Because it is, for once, something new to me. But that is sadly where the positive things I have to say end. Because beyond that, this isn’t actually doing anything that interesting. It’s a unique blend of genres, but the most unique thing about the music itself is the vocals. I saw a comment someone made about this occasionally sounding like Home Depot music, and that stuck with me the whole listen. Because it is sort of true. But once I reached the half way point, everything just started to blend together, and I lost any engagement I might have had at one point. It’s not like I was anticipating anything mind blowing. But I can see potential for something better. Maybe I’m just not open-minded enough for something like this. Rating: 4/10

Pieces of past albums are coming together today. I had Eric Clapton with Derek and The Dominos not too long ago. And early on I first heard Ginger Baker on a Fela Kuti record. Now, with the addition of Jack Bruce as a bassist and lead vocalist, makes the band Cream. Considered by many as the first proper supergroup, this band has serious talent behind it. Whatever your opinions of Clapton are, you can’t deny that these guys were changing the game at a young age. Even Baker himself became known as one of rock’s first big drummers, along with people like Ringo Starr and Keith Moon. I found a fair amount of enjoyment from that other album featuring Clapton. So I had expectations to hear something at least mildly interesting. To my surprise, I was far less entertained by what is going on here than I imagined. Aside from a few highlights, these songs just don’t hit the same as that previous album, and other blues music I’ve heard in the past. Clapton’s guitar work doesn’t stand out nearly as much. And as much as I respect him as a drummer, Baker doesn’t feel as heightened and his drumming is not as engaging. Maybe it’s the time he spent with Fela, while embracing more African based rhythms and techniques that really made his skills stand out to me. In regard to Jack Bruce, I can’t comment much on his bass playing because it barely felt like it made an impact on the sound of this. And this album also made me realize that neither Bruce nor Clapton are the best vocalists. Sunshine of Your Love is definitely a blues classic, and a great song, but I’m disappointed by how little there actually is here. I’ll end this by saying that the cover is awesome. And the music definitely matches that vibe. I’m interested to see if anything from Yardbirds pops up in the future. Clapton plus two other legendary guitarists could be cool. Rating: 5/10

I’ll go out and say it right now. Stuff like this is why I love progressive rock so much, and why I have for the longest time. And this is one of the rare times where I see that label thrown around, and actually agree with it. It’s such a broad term. And sometimes it’s hard to tell what really counts as progressive. But when I heard this album, I couldn’t help but feel that same joy and curiosity that occupied my brain when I first discovered how powerful this genre really was. I have no idea who this band is. But they made one awesome and totally kick-ass album. It really blows me away what some bands were capable of creating in 1970. This isn’t too far off from the King Crimson debut. Which I think most people would agree created the foundations of everything we now know this genre to be. But this feels just as formative and essential to that history and evolution. The production might be a little bit muddier than my tastes in a few places, but I can excuse it as a characteristic of the time period. But musically, we are working with some serious heat here. Fat bass lines, solid drumming, and great vocals/vocal harmonies. Plus, it seems like I’ve had a very bluesy week. Because this album flawlessly fuses prog and art rock with psychedelic blues and folk music. Some of the musical stunts they pull here are full on genius. It’s like they were doing backflips over the rest of the music industry, and landing every single one without a hitch. If someone is at all interested in seeing the way this genre has progressed (no pun intended), they need to give this album a shot. A certified hidden gem for sure. Rating: 8/10

The Stooges are back on my radar. And as a very formative project for the roots of garage rock and punk, I thought Fun House was a very solid piece of work. So I was interested to see where they went with their follow up album. My biggest hopes were for some more ideal production, which to me was one of the biggest downsides to that previous album. Turns out this album was even more of a production disaster upon release. And it wouldn’t be fixed until much later when Iggy himself went back and re-mixed it. But even his mix is confusing. It’s far better than Bowie’s, but it’s still riddled with a lot of very intense compression, which makes the guitars feel squashed at some points. But I adjusted after a few songs. Instead of moving forward with a lot of the groove-based noise rock stuff from Fun House, they dialed it back quite a bit, and went for a simpler and much more familiar punk sound. It’s a lot softer and less intense. Like I already mentioned, I thought this might be the thing for me. A nice change of pace. But I was just flat out wrong. I found this significantly less interesting. And their signature sound just lost all of its cool factor. The best part about this is Iggy Pop, who still maintains solid vocal power. But all of the manic craziness is mostly absent. I think the decrease in intensity paired with the new guitarist they got for this leaves the album feeling plain and much more one-dimensional. Really, I only like it slightly less than Fun House. But it left me feeling so much less satisfied. As a proto-punk album, is this still important? Yes, of course. The Stooges’ catalog will never not be vital to that history. But this sticks out to me as a miss for such a cool and wild band. Rating: 6/10

From one era of garage rock to another. I found White Blood Cells enjoyable, and there was clearly potential for something more to be realized. On the other hand, Elephant shook me to my core and rattled my bones in the best way possible. Honestly still one of the coolest rock albums of the 2000s. And I think people are afraid to say this, so I’ll just go out and say it myself. Jack White is kind of a genius. But, often with that genius comes change. Change is good for bands, of course. Name one band who did the same thing their entire career and actually made it out in one piece. But change is best in small doses. Get Behind Me Satan is sort of a difficult album to take about. Because it still feels like it has the identity of a White Stripes project. Blue Orchid starts things off very strong. But it is a deceiving opening track. Because from that point on, this becomes something else entirely. The Nurse is pretty much immediately indicative of that. The band begins to sound much less like the pioneer of the garage rock revival era that they were, and more a product of the mid-2000s era of popular rock music. Never did I think I would hear a song from them that had a marimba in it. But there it is, only two songs in. The best part about this more alternative piano rock sound is that Jack is able to properly flex his skills as a songwriter. There was no doubt in my mind that he could write hard hitting and powerful guitar parts. But he wasn’t much else beyond that. Turns out he is also a very competent piano player. I’m also a fan of the production on this album. Some might call it messy, but I see nothing wrong with it. Somehow, the drums, and the sparing moments of distorted guitar, actually sound heavier than before. Those kicks are thumping. I will also not tolerate any Meg White slander around me. She’s awesome. I can totally understand why this is considered the weakest link of their catalog. It’s a good time, but lacking the same substance that made previous records both a good time and flat out well made pieces of work. Rating: 5/10

When I first saw the cover, my initial impressions were that this album was probably newer. I guess I didn’t pay attention to the date, because I was surprised to see 1968 as the year. My surprise was furthered after hearing it. This album is a lot of things. Progressive pop and soul mixed with jazz isn’t necessarily anything I haven’t heard before. But I don’t think anybody had done it to this level of complexity and pulled it off as well up until this point. The weather was weird today. Gray and overcast, but humid and sticky. I think the sound of this reflects that feeling pretty well. It’s not completely lifeless and sad. It’s actually kind of upbeat at some points. But it’s still very beautiful, serene and at many times solemn. This woman single-handedly reminds me of multiple other people. She’s like a 60s infused PJ Harvey combined with Joni Mitchell and Nina Simone backed by a jazz band. Her vocal variety especially makes me think about the latter two. The actual music here is pretty awesome though. This mix of jazz and pop kind of feels ahead of its time. Again, I can’t think of another artist that was pulling this off back then. Joni was around, but her career had literally just started. And I like the way this progresses and how the time signatures, rhythms, and melodies are constantly switching. Although the transition between said passages are a little too jarring and not as fluid as I would hope they’d be. But this is still an engaging album. It won me over very quickly, and was interesting from beginning to end. Rating: 7/10

David Bowie has a very large presence on this list. Maybe one of the highest number of albums of any artist. But after hearing 4 of them, including today, I think that presence is well justified. Few artists have as diverse and varied of a career. So each major project he released has something worthwhile to hear in it. Except for most of the 80s. Instead of continuing with the glam rock he had been making almost his entire career so far, he decided to switch things. And considering he was nine albums deep at this point, maybe that change was needed. Another thing I’ve learned about Bowie is that he always seemed to be a little bit ahead of the curve. I really think he was just that forward thinking of an artist. So instead of glam rock, we get funk and soul. I’m not really sure why this received so many mixed reviews upon release. It doesn’t seem like its reputation has improved over time either. In my opinion, this album slaps. At first I almost couldn’t even tell the lead singer was Bowie, but his vocal delivery sounds slightly off compared to other albums I’ve heard. And the backup vocalists, who I believe are on every song, do an amazing job. Bowie really showed off his inner Prince here. Or maybe some Parliament too. Maybe not as funk focused as you could be led to believe, but it’s that genre with a Bowie pop twist on it. Except when you think about it, Prince’s first record hadn’t even been released yet. So you could argue that this album really was the precursor to a lot of Prince’s music. Soul and funk are also obviously genres that get associated with black groups and musicians. And Bowie was one of the first popular white artists of the time period to involve himself with that musicianship. I think it turned out great. Just more examples of him being ahead of everyone else. Bowie himself wasn’t even a huge fan of this when looking back. That hurts, because it’s a blast from start to finish, and just as good as the stuff he was making earlier in the 70s. Rating: 8/10

This list has not been kind to electronic music. And neither have I really. The picks they chose just aren’t that good. I can’t think of one I’ve reviewed very positively, other than the one Kraftwerk album I’ve heard. As much as I claim to love electronic music, I don’t listen to it that often. And truthfully the really good albums are few and far between. What I’ve realized is that it is better as an element of some other genre, like indietronica or even metal music, and less as its own thing. Few people have mastered the ability to make interesting full length electronic albums. It’s also a genre that suffers from a lot of overly long songs and repetition. I was actually vaguely familiar with 808 State until today. Because I’ve heard Pacific State before. Or more like I’ve heard the songs it’s been sampled in. I’m convinced that electronic sub-genre names mean even less than metal sub-genres. Because how much of a difference is there really between acid house and ambient house? The average listener is not going to know, or really care about that distinction. This album isn’t actually horrible though. Not the best piece of electronic music I’ve ever heard by any means. And nothing super mind blowing. But I can appreciate some of what they are doing here. I like when the group leans more into the ambient side of things and incorporates these super spacey and lush synths. I’m always a sucker for that kind of stuff. The drum programming is also nice. Pacific 202 is great, and sounds like it would fit right in at some sort of neo-futuristic Cyberpunk-esque club. The way the album flows feels progressive and interesting enough to keep me engaged through out. This also allowed them to avoid any real repetition. The songs I didn’t like just didn’t do enough to stick out to me. That’s all this album is, really. Okay. Nothing more than that. Rating: 5/10

Every music genre had to start somewhere. It just so happens that rock and roll is the starting point of a lot of them. So much of what we know today in rock music had its humble beginnings in the 40s and 50s. Little Richard also happens to be an icon of this time period in music. And really the face of it. The closest that anyone has ever really come to reaching that same point is James Brown, but he was more iconic for the roots of soul music. And even that genre found its origins in rock and roll. So it’s safe to say Richard is a pretty vital figure in music history. You could say he is one of the few progenitors of rock. But how does all of this transfer over into an album, and how much do I like him? I have had a pretty consistent track record with this genre. But it’s been consistently on the low end of the spectrum. Thankfully, I can say that all of the reputation is there for a reason. This is definitely the best rock and roll album I’ve heard so far. A trait that many of the artists share from this time period is how outrageous their energy is. The coke must have been banging back then, because everyone was fucking wild. Richard is no different. Even if this is more like a best hits collection with a few new songs, his energy and vibe is infectious. You can’t not be in a good mood with this on. And every time that saxophone comes in, a big grin grows on my face. This is a great time all around. This is apart of the ten oldest albums on this list. And it’s one of the first ones from this decade that I actually really enjoyed. Rating: 7/10

One of the best things this list has done for me is show me things in music I have never seen before. And retroactively, it has made me more open to things I would have never experienced if not for this. I have not had the best track record with world music. Specifically the traditional Hindustani classical variety. I also haven’t had the best track record with electronic music. Now, those two worlds have collided in a manner I didn’t know possible. That form of classical music mixed with down tempo, similar to what you might hear on a Massive Attack or a Portishead album. It seems like this was received decently well from a critical standpoint. But it also doesn’t seem to be that well known. I’ve definitely never heard of this artist. But I fully respect what he did here. A genuinely unique artist with unique fusions of ideas is hard to come by. The subject matter of this album is also important. It centers around the theme of nuclear weapons, and even uses sampled conversations regarding the India-Pakistan nuclear situation. I think this theme is cool. And I appreciated the use of Oppenheimer quoting the Bhagavad Gita on the last song. Until they used the same sample again at the end of the same song. Kind of spoiled it a bit. The singing on many of these songs is really beautiful. And I love how fleshed out the drums feel with the keys and strings backing them. I’m not sure why he started rapping on Pilgrim, but it sort of made me cringe. Thankfully that’s the only time he does it. This got off to a strong start, but unfortunately fizzled out around the half way point and became far less interesting. Bottom line is, this album is cool. It’s not perfect, but people trying new things is always commendable. Rating: 5/10

One thing about me is I fucking love dance-punk. It’s such a perfect combination, that somehow has no right and every right to go as hard as it does. The genre found its root and began its inception in the 70s and 80s with bands like Talking Heads and Blondie. These groups are more adjacent to new wave, but dance-punk very much is the offspring of that era. Le Tigre brought it into the late 90s, modernized it, and gave it an electronic indie spin. But they also still maintained the punk aspect by backing it with feminist political lyrics. An all-girls dance-punk band? Sign me up! This is like the dance-punk equivalent of Live Through This by Hole. Just not as aggressive and heavy. Another really interesting element they play with here is samples. This just wasn’t something rock bands were doing at the time. It was a technique that seemed mostly relegated to hip-hop production. But the playfulness and range of sounds it adds to this makes the inclusion feel so refreshing. I’m surprised it isn’t something dance-punk groups haven’t done more. This was the TV Girl before that duo existed. My main concern when going into this was whether it was going to struggle with carrying on past its first song. I’m sure many people have heard Deceptacon before. Either because it’s a very popular song, or because of how big it’s been on TikTok in the past. Fortunately I believe they succeed in doing so. The rest of the album is solid, and the electronic parts combined with the fuzzy guitars sound great. Unfortunately I still think that song is probably the best this album offers. This isn’t a one-hit wonder type of group, but it is one that is judged more for that one song than for the sum of its parts. Rating: 8/10

Been a minute since I got the chance to talk about The Doors. They were such a solid band, and I have had nothing but positive things to say about them since I first heard the debut. Unfortunately this is the last time I’ll be able to talk about one of their records. Odd that Strange Days didn’t make the list. Another unfortunate fact is that this is their last album. By last, I mean last with Jim Morrison. The world lost him exactly two months and two weeks after this released. I’m aware that they made music after this. But Let It Be also came out after Abbey Road, but anyone with half a brain refers to the latter as their last. Mostly because it was the last one properly recorded. It’s different with The Doors. But everyone, including the band members themselves knew Jim was the heart of this group. It’s why they only made it a little over a year without him. But when you look back, what they achieved is remarkable for just 4 years. And I think they went out with a bang. Any bit of what you might have loved about them from previous albums is still present here. And some bits even feel turned up a notch. The production is fantastic, and makes the rhythm sections hit harder than they ever have before. The WASP has probably my favorite bass line they ever wrote. And I’m just now realizing after looking it up that they never had a bassist. Just session musicians. They do a good job though. Jim’s voice combined with his lyrics is still poetry. And I’m going to bring it up again, as I have in both of my previous reviews. Ray Manzarek is a fucking monster on this album. He just elevates these songs, and adds a whole other level of groove. Never imagined I’d find a keyboardist I liked as much as Rick Wakeman, but here we are. I can’t envision songs like Riders on the Storm or Hyacinth House being as cool as they are without him. Speaking of that first song, it’s their best. Don’t care how popular it is or how overrated people want to say it is. It’s the best thing they ever made, and an excellent way to close out the final record. It finishes things just as well as The End did for The Beatles. It’s crushing that we will never get to know what kind of magic these fellows would have cooked up later into the 70s. But L.A. Woman is still excellent, and just as good as their debut. Rating: 8/10

Sometimes this list makes me question how. But occasionally it will make me wonder why. Sometimes I really have to think where the author of the book could have found some of these albums considering how little seems to be known about them. But sometimes I’m just at a loss for what he could have been thinking to justify the inclusions of these albums. I’m not going to claim to be an expert in synthpop and contemporary R&B music. But I know my fair share. And I’m aware of which ones are worth talking about. The omission of artists like Carly Rae Jepsen, and albums like The Velvet Rope or Power, Corruption & Lies continues to confuse me. These feel like shoo-in picks that fully belong here. And this is an issue in other genres too. Still haven’t forgiven him for leaving out Discovery and Animals. Instead, we are presented with records like this. I don’t want to completely lowball Christine here, and claim that he is some sort of hack, or a completely worthless artist. But I’ve never heard of him or his music. Looking at his most popular songs, he’s done some work with Charli XCX in the past. And I feel that people who take an interest in her, or pop artists adjacent to her will get a kick out of this. I’ll mention the production, which is by far the best part of this album. I found many of the techniques and sounds I was hearing being used to be genuinely impressive at times. But this seems to be the way that this kind of pop has evolved since the 2000s, and especially in the 2010s. I can recognize his effort to merge those ideas with ones of the past, and bring the pop feeling of the 80s into the modern era. The first track even led me to believe I was working with something really interesting here. But aside from a few highlights here and there, this doesn’t really do much for me. At the end of the day, this is a pop album I can do without, when there are so many others that really excel in their spaces. Rating: 5/10

If we want to have a conversation about glaring omissions from this list, one of the ones that would shoot straight to the top of my list would be Songs for the Deaf by Queens of the Stone Age. It physically hurts me a little bit to know that it is not present. I want to talk about it so badly. In my opinion, it is the single most essential alternative rock album of the 2000s, other than In Rainbows. I could spend this entire review just going on and on about that album, so I’ll stop. Instead, we were given the bands debut. And you know what, I’m totally okay with that. That’s an acceptable replacement. And after hearing this, it’s now clear to me that Josh and his pals were really on top of the game from day one. Makes sense coming from the same man who was apart of Kyuss. From reading the reviews, it seems like some have this perception of their music as sluggish, laid back, and boring. Too repetitive and not interesting enough. But I think that those unfamiliar with who Josh Homme is as a person aren’t familiar with the particular kind of energy this band brings. Josh has always portrayed himself as this drunken and lazy persona, who may or may not be sober enough to be consciously aware of what he is saying. Their music is never really about the emotional connection it forms with the listener. It’s all about how much power and intensity they can cram into 45 minutes. Again, this is coming from the former guitarist of Kyuss. This man knows how to write wild, blood-pumping and driving riffs. Another thing you may notice about almost all of their albums is how loud they are. This debut proves to me that the production was excellent from the start. And really, all of the aspects that make their music so good are still here. I’ll admit that some parts maybe are a bit more repetitive than they need to be, but aside from the last song, I wasn’t bored at any point. The only edge this doesn’t have over their next albums is the drumming. But that’s because nothing can really compare to the work Dave Grohl did on Songs for the Deaf. It’s just not even close. What this album really marks is humble beginnings for the band. The more sophisticated ideas that are present moving forward aren’t present here, but this still manages to be an entertaining set of stoner rock bangers. Rating: 8/10

This week has been all over the place in terms of artists. Bouncing from well known to not so well known. Today’s album is another one of those instances where it makes me wonder what the authors sources were, and how he found some of these. When I clicked on this band’s Spotify profile, and saw that they just barely had about 1,500 monthly listeners, I was legitimately shocked. Being able to see every number in the streams of the most popular songs is always really weird. If we are basing this list on most influential and most popular, how in the world is this here? I’m aware of how horribly cruel that sounds, but it confuses me. Another thing I found amusing is a quote from the Wikipedia article. “It was one of 2004's most critically acclaimed releases…”. Maybe 20 years ago when this released it was worthy of critical acclaim, but if you look at the general consensus now, it’s mostly negative. They aren’t even that many people talking about this anyway. RYM? A total of 471 ratings, with less than 20 actual reviews. AOTY? Only 22 ratings, and a whopping 2 reviews. Who knows, I might be writing the longest review this album has ever received. All I have done so far is shit on this. So let me actually devote some time into talking about the things that I like. You know, even after everything I said, all in all this album isn’t actually half bad. It’s not amazing or anything. But for a small band, I think they manage to sound pretty good, and the production quality is surprisingly high. The vocalist was cool and intense at best, and maybe a little lame at worst. Really my biggest issue is identity. For as heavy and borderline violent that this sounds, it also tries to be experimental and pull together a nine minute long song with build-up like Getting Bright at Night. A lot of this probably comes from the guitarist, who would go on to tour with Nine Inch Nails. You can definitely hear the inspiration too. But if I was in the mood for this kind of music, I would go for other artists from the same time period, like The White Stripes, first. Rating: 6/10

I came to a conclusion today. When looking at how everything had progressed up until that point in history, 1969 really seems like the year where everything we now know modern music to be came together and started actually formulating. I’m not trying to say nothing interesting was going on before this time period. But it is remarkable how many genre and industry defining albums released in those 12 months. Just to name them off, King Crimson and Nick Drake both released their debuts. Led Zeppelin put out their first two records. In a Silent Way, Abbey Road, Hot Buttered Soul, Let It Bleed, Karma, The Velvet Underground self-titled, Hot Rats, and Neil Young’s first album with Crazy Horse. Mind blowing. And along with these, David Crosby, Stephen Stills and Graham Nash came together to record their debut as Crosby, Stills & Nash. I thoroughly enjoyed Déjà vu. But I worried that without the presence of Young, I wouldn’t enjoy this album nearly as much. It’s crazy to me that people actually think Neil Young brought the group down. I personally believe he only elevated it further. And “further” is the key word there. Because thankfully, this album doesn’t falter in the slightest from what made Déjà vu so amazing. This is just as good. This is still a collective of some of the strongest songwriters of the 60s. And their voices just fit together and harmonize so perfectly. It’s been a little while since I heard the album with Young, so my memory may be a little foggy, but I don’t recall it sounding as psychedelic as this does. That style, combined with the early blues sound makes this equally as important to the history of electric folk rock music. I’m so glad I liked this as much as I did. Because it would hurt me to low ball such a talented group of men just because one guy happens to not be present. Unfortunately, I’m too much of a Neil Young fanboy to help myself. Rating: 8/10

It’s actually been a while since I last listened to Eagles. Doesn’t feel nearly as long as it’s been though. That’s probably because I’ve put more thought into every other form of music I listen to over this band. I actually didn’t hate their debut album. I reviewed it quite positively. Some people would say more positively than it deserves. But once I finished the album, and woke up the next day, I completely put it behind me. Simply because even if I found it enjoyable, there was very little that was actually noteworthy about it. And that seems to be a common theme across the rest of their catalog. At least to those who don’t like their music very much. A comment I made in that first review seems funny to me now. I mentioned how this band never seemed to be that popular from a critic viewpoint. Hotel California, on the other hand, completely destroys that claim. People simply won’t shut the fuck up about how good this is. This is everybody and their mother’s favorite 70s pop rock album. What do I think? If I were to devise a list of the most overrated and unnecessarily hyped up records ever, this would belong near the top of the list. This doesn’t have any right to be lauded as much as it is. The same people that drool over this will try to convince you that Rush is a shitty rock band. It has a decently strong start. The title track is obviously very well known, and not necessarily bad. But I’ll also never take anybody who claims it has the best guitar solo ever seriously. But other than Life in the Fast Lane, it’s all downhill from there. This album goes back and forth between sounding like two things. Either it’s some of the most unoriginal pop rock ever, or they are trying way too hard to sound like Elton John. Like really lackluster Elton John imitation songs. This is an album that I had to actively force myself to pay attention to. Anything mildly interesting that was going on in the debut is mostly gone. These songs also feel like they take a lifetime just to get over with. I can’t see the appeal. And I’m really not sure where all of the love is coming from. But music is subjective for this exact reason. Rating: 4/10

I know a fair amount about shoegaze. Maybe more than the average person. But my knowledge is definitely still limited. And it seems like the number of artists who make shoegaze music, or anything adjacent to the genre, is endless. But Ride is a band I was vaguely familiar with before today. I’ve tried a couple of times to listen to this album, actually. But I was never able to make it past the first song. I just found it a little boring past that point. This debut from them seems to be quite popular with shoegaze fans, and people often place them at the top with some of the most important bands like My Bloody Valentine and Slowdive. I’m not sure what I was thinking in the past, because after hearing this whole thing, I see where the reputation comes from. I find this to be a very worthwhile experience for a shoegaze album. I still believe that the opening track, Seagull, is by far the best song here. Something about the way it comes in really gets me amped up. But everything else is consistently solid. Compared to some of the other most popular albums in the genre, this one feels much more drum heavy. But the guitars, and the effects that they play around with, are still very distorted and spaced out. I never thought I’d admit this, considering how much I disliked it, but the “influence” that people claim Psychocandy had can actually be felt here. Also, the impact that this album had on britpop is pretty interesting to hear. Because shoegaze and britpop aren’t exactly associated with each other. But it would only be a couple of years before britpop made its big breakthrough into the mainstream. Go back and listen to something like (What's the Story) Morning Glory?. It’s kind of weird hearing the small similarities between the two. I don’t know if I would put this album up there with the likes of the best this genre has to offer. But it’s still very good, and it was nice to see representation like this on the list. Rating: 8/10

Up until earlier today, I wasn’t really sure where I stood on The Police. Truthfully, I wasn’t really sure where a lot of people stood on these guys. They are respected by a lot of people. But considering the number of hits they had and how big they were in the 80s, other bands just seem to have more dedicated fans. I liked Synchronicity. It’s the one of the first early 80s albums I can remember enjoying and not being sickened by. And the one thing I remember taking away from that the most was just how talented all 3 men were as songwriters and musicians. The closest thing I could compare it to is Rush. Now, having the chance to go back and hear one of their earlier records, that fact has become even more apparent to me. They compliment each other’s strong suits and come together as a complete package so perfectly. Like, the way the drums in Bring On the Night feel so much more purposeful and satisfying when the lead guitar comes in blew me away. This band would absolutely not sound the same if even just one member was removed from the mix. It’s probably why Sting’s solo music was never really received in the same way. It was missing what made The Police so special. Reggatta de blanc really is everything I loved about Synchronicity, but at a seemingly much higher level of quality. I don’t want to say they progressed backwards, but I find this to be far better than their final album. I wasn’t aware of how rooted in reggae the band was when they first started. Trust me though, it’s not as obvious as it may seem. The reggae touches are much more subtle, but I love everything that they add to the music. This is probably because Sting was the one most influenced by that sound. Summers claims he wasn’t inspired by any of that, and more so just incorporated the strange chords he would play into the empty space the bass would leave. It seems that by the time they reached Synchronicity, this element of their music was largely gone, and that might explain why I like this so much more. I can officially say now that I’m a fan of The Police, but that’s solely because of how awesome this record is. Rating: 9/10

I’ll be honest, I did not have high hopes when I saw the name Ice-T. Because for someone who is proclaimed as “one of the original gangster rappers”, I rarely hear his name brought up in the conversation of this era of that genre. Not nearly as much as people like Dr. Dre, Eazy-E, Ice Cube, or even 50 Cent. And you know why I think that is? Probably because he is known better for his acting career than the actual music he put out. And after hearing this, I can understand why that is the unfortunate truth. Here’s my issue with this. When you have a song like First Impression, that talks about how you are “the epitome of antidisestablishmentarianism” and “embody the entire spectrum of the urban experience and struggle”, I would hope that those things would be communicated through the music. It’s clear you are trying to make those aspects of yourself known to the listener. Now I’m sure that statement is mostly hyperbole, but there is a part of me that believes he fully meant it. And that bothers me, because I felt none of that during the listening experience. This feels like gangster rap for those who have never ventured out far enough to find anything better. You don’t have to go very far. If we are speaking about strictly conscious political based hip-hop, Fear of a Black Planet literally came out a year earlier. What more could you ask for? Chuck and Flav are infinitely more charismatic and entertaining than Ice-T is. That’s another issue with this. It just does so little to feel unique. The beats are okay. Probably the best and most consistent part. I like the usage of rock and funk samples, but in comparison to what other producers were already beginning to do, it falls flat. The Low End Theory would come out only 4 months after this. Plus The Chronic and The Pharcyde debut would release the next year. The most interesting thing he does on this is Body Count. It caught me so off guard, I kind of just sat with my head in my hands for a second. It’s so fucking ridiculous, it’s almost admirable, but it’s objectively a pretty terrible song. Joining the cast of Law & Order was probably a smart decision on his part. Because it was more career defining, and likely more enjoyable than anything I heard here. Rating: 4/10

I very rarely listen to alt-country music. Country music and its sub-genres are really a bit of a gray area for me. The most familiar I’ve ever gotten with the genre is Yankee Hotel Foxtrot. Which I actually love. Problem is I often compare everything in a similar vain that I hear to that album. Because it’s all I can compare things to. Silver Jews are a group I’ve heard mentions of occasionally. It’s very unfortunate their lead singer died. Especially after hearing this, since it’s clear he had something going here with his band mates. And it would have been interesting to see how he moved further with his other band, Purple Mountains. The thing that immediately struck me about the music is Berman’s lyricism. It gets spoken about so often for a reason. The strange, sometimes quirky, and melancholic word choice is something that used to be a staple of 60s and 70s artists like Neil Young, Joni Mitchell and Bob Dylan. But I feel it is rarely found now. Lines like “Her doorbell plays a bar of Stephen Foster” or “We’re gonna live in Nashville and I’ll make a career out of writing sad songs and getting paid by the tear” do take a certain level of genius to write. Those are both apart of the same verse on Tennessee. For such a lo-fi love song, saying “Come to Tennessee, 'cause you’re the only ten I see” is beautifully lighthearted. The common criticism I saw floating around was that this is too boring and lifeless. Hilariously, I almost don’t disagree with that sentiment. I understand where people get it from. Berman’s delivery is monotone and immobile. Beyond face value, there isn’t much to get from his vocals. And the same could also be said about the music itself. It’s not the most sad or depressing thing I’ve ever heard. There are glimpses of sadness here and there. But it lies in this weird realm of being cheery and wry at the same time. It’s nothing too complex. But I don’t think this genre demands something like that. As much as I don’t want to continue making Wilco comparisons, this really does remind me of Yankee Hotel Foxtrot. It’s bright on the surface, but potentially hiding something deeper that you only see bits and pieces of. If you are having a bad day, and just want to lay in bed, this album isn’t going to make your mood any worse. But it also surely isn’t going to motivate you to get out of bed and do anything that day. Rating: 7/10

Muse is a band I’ve been aware of, but have only dabbled in lightly. I just figured for the longest time that they weren’t really my thing. But I’ll admit they have some interesting songs. I still think Butterflies and Hurricanes, Stockholm Syndrome, and Hysteria are some of the best alt-rock songs of the 2000s. I have Need for Speed to thank for that first song. The two bands you see get pegged as “Radiohead clones” the most are Muse and Coldplay. As much as I love Coldplay, their first two albums don’t exactly help them beat that label. Radiohead is a band that is known for their incredibly powerful and moving music. But it’s often more drawn back than people might think, and uses big moments as pay off. Muse, and more specifically Black Holes and Revelations, is the complete opposite of that. This is big, explosive, and in your face almost the entire way through. If Radiohead ever made anything like this, it would sound totally insane coming from them. Muse gets criticized for their overly self-indulgent and theatric sounding music. And to be honest, I’m here for it. Which was a shock to me. I figured I would walk out of this disappointed in what I heard. But when the drop came in on that first song, those thoughts were immediately put to rest. And the rest of the album is pretty consistently great from there on out. I’m still not a fan of Starlight though. It’s catchy, but that piano is so much it’s almost nauseating. The issue I have with a couple of these tracks is that, while the build up is cool, they always save the best for the end. So really I only enjoy 1/4th of those songs. But when they get it right, it fucking hits. There is some seriously strong musicianship at play here. Especially when it comes to their drummer. Matt also seems to get a lot of crap for his singing. I’m not really sure why, because the man can sing. Those harmonies on the chorus in Knights of Cydonia are insane. I think it’s just that same Thom Yorke comparison that makes people not like him. I love when an album surprises me like this. When I hear stuff like this, and The Mars Volta, I can only think that progressive rock was in good hands in the 2000s. Rating: 8/10

I’m more familiar with Otis Redding through the various samples I’ve heard of him. This dude is a legend when it comes to soul rap samples. Otis, Da Mystery of Chessboxin', Eye Know and Shimmy Shimmy Ya are all amazing hip-hop tracks that use his music. But after hearing this album, I would group this in with a bunch of other records that I think everyone needs to hear once in their life. I’ll admit that this genre and this time period has never been that strong for me. Most of it is just a little too primitive and repetitive for me. Otis Blue: Otis Redding Sings Soul does not suffer from those same issues. This is less the blueprint for soul, like Little Richard’s music was for rock and roll, but more like the standard. Or the bar. This is probably what all blues and soul artists in the 60s wished they could sound like. Because people weren’t really doing it like this back then. Even if this is mostly covers, I think Otis does justice to artists like Smokey Robinson, B.B. King, and even Mick Jagger. Truthfully he has one of the most iconic singing voices of all time. It’s totally timeless, and can be appreciated by anyone from any generation. But he is not the only thing that rules here. The band backing him, Booker T. & The M.G.'s, just bring the intensity up a notch. Plus, Isaac Hayes was playing piano on these songs, which just elevates the level of awesomeness even more. It’s wild how intertwined all of these artists' careers were during this time. Me liking this as much as I did was just as much of a surprise as the Nina Simone album. Unfortunately I have predetermined opinions on many of these genres from past experiences. But it’s always very cool when something like this comes along. Rating: 8/10

Never a bad day in my book when I spend part of it listening to some dance-punk. I’ve had a wonderful day, actually. And this was definitely a unique way to start it. I was not at all familiar with this group, and the cover of an egg being crushed doesn’t exactly give me a lot to work with. It doesn’t leave much to the imagination either though. I had a feeling this would be wild out the gate. And I think that’s a pretty good synopsis. I don’t know if I’ve ever heard dance-punk infused so heavily with electronic elements. It’s even got some rave and house vibes in there. I mean, it is really just a synthpop punk album, but I like it. It’s a beautiful thing when artists are willing to be so unabashedly uncompromising and unique. This maybe hasn’t aged the best. It feels very 2000s, and is definitely a little dated. I also lied. I have heard this band before. I just didn’t know it at the time. I think millions of people have heard this band before without even knowing it. If you have ever heard the “Dance till' you’re dead” meme, you have heard Heads Will Roll. It instantly hit me when I heard it. I love moments like that. Where a song I’ve heard countless times in other contexts finally comes full circle. It’s a pretty great song on its own too. This album all together isn’t half bad. This is a solid collection of well paced and creatively constructed pieces of music. And it’s very consistent in its own sound. It doesn’t stray too far, and doesn’t try anything too crazy. The lead singer’s voice is still a bit iffy for me. It’s not bad, but nothing mind blowing. I think it exemplifies the beauty of this genre though. It’s sort of rough around the edges, and so are the people who make the music. Rating: 6/10

I personally believe Gang Starr is one of the most important and criminally underrated rap duos of the 90s. Maybe even of all time. For as acclaimed as they are by many, it’s crazy how Guru and Premier continue to be undermined even after over 30 years. But they absolutely should be regarded as an essential part of any hip-hop fans’ library. The 90s was such an electric time for rap music. And in terms of duos, I’m aware it’s kind of hard to compete in the same decade that OutKast came up in. But they absolutely proved themselves to be a worthy competitor. Probably the closest any other duo has come to rivaling the success of Dré and Big Boi. This album comes after their debut. And based on what I see other people saying, it seems to only go up from here for them. At least in the 90s. Their run during that decade was very strong. And like all of their records, the marriage of both the MC’s strengths makes for a powerful dynamic. Guru is one of the smoothest and lyrically engaging rappers ever. He has all of the same qualities that make Q-Tip so good. And DJ Premier is what anyone could ask for as a producer. He is a hip-hop producer’s producer. His instrumental work is still solid here. But something feels missing. I guess I misremembered, and thought their sound was a lot more rooted in hardcore. But these beats are more adjacent to the sample heavy jazz rap, boom bap style of this era. The bass sounds better here than on any other album I’ve heard from them. But the drums also feel flatter and less punchy. Even if what Guru is actually saying still hits, the beats just don’t as much. I’m also not a huge fan of the way this is paced. The songs are shorter on average. But even with a decently long track list, it still only comes out to 50 minutes. It’s weird. This is a steady foundation for a sophomore album, but I can see the places where improvements needed to be, and were eventually, made. Even still, if you release 4 albums over the course of 7 years, and this is the worst thing that came out of it, you obviously have something going for yourself. Rating: 7/10

Folk music doesn’t feel like it had that much of a presence in the 80s. Not even remotely as much as it did in the 60s and 70s. It definitely faced a resurgence in the 90s though. And Tracy Chapman’s titular debut is proof of that. Coming out near the tail end of the 80s, this merges the familiar folk sound with the more pop based heartland rock of the late 70s and 80s. I’ll admit that I had never heard of her until the most recent Grammy event, where she performed her song Fast Car with Luke Combs. But honestly I couldn’t give less of a fuck about him. And I can say for sure that her original rendition is far better than his. It’s a great song. The sort of slow and simple folk rock I can get behind. The rest of the album is pretty decent too. Tracy’s solemn voice and poignantly conscious lyricism makes me think of late fall and autumn chill. Her songwriting style felt very reminiscent of Joni Mitchell and Blue. I see a lot of similarities between those two albums. I can also appreciate the use of some more unique instruments. I’m pretty sure I heard a harpsichord and a sitar in there at some point. Their parts are brief, but they stand out. Some of these songs are maybe a little too 80s for me personally, but I wouldn’t go as far as to say any song on the record is bad. As a complete package, maybe not something I would come back to. But Fast Car is definitely worth your time. Rating: 6/10

The way that hip-hop has opened up and allowed itself to become one with so many other genres is a beautiful thing. And its producers are largely the reason that this has happened. It’s why I have so much respect for those people. Beastie Boys definitely stand out. Because as much as it pains me to admit, white people don’t have the strongest track record in rap history. The ones that have made a name for themselves are few and far between. Vanilla Ice really doesn’t represent us very well. But these guys are different. Three of New York’s rowdiest white boys. Licensed to Ill definitely highlights that rowdiness in a juvenile way. Paul's Boutique doesn’t abandon that aspect of their music. But it evolves their sound in the best way possible. The sample work here is pure excellence. It’s another one of those situations that makes me question why people scoff at sampling so much. This is a precursor to fantastic albums like Endtroducing..... and Since I Left You. It may not be as complex as those, or have nearly as many samples, but they still use them creatively to their fullest extent. And talk about not limiting yourself. The variety of works they are pulling from here is vast. They chose to not be bound by any preconceived ideas of what hip-hop instrumentals should sound like. Especially in the late 80s, where everyone sort of sounded the same, but certain people were finally starting to branch out. This took a little warming up for me, but once it clicked, I was having a great time. It’s crazy how much this impacted the sound of experimental hip-hop. I don’t think artists like Danny Brown or Earl Sweatshirt would have the same style of production if it weren’t for this. It still generally sticks to funk and rock samples, but I’m sure there are dozens I can’t identify just off of one listen. I also love the integration of the samples themselves. Producers create the beats that act as avenues for artists to express themselves over. But they rarely feel like more than just a backdrop. The way the samples, particularly the ones containing vocals, are laid out on this record, and then built upon by all three MC’s with their verses is so cool. Their rhyme schemes often match up with the sample, which implies the instrumentals were made first, and then the lyrics were written to support them. It’s honestly genius. There are less interesting songs here and there. But overall this is pretty great throughout. It’s the perfect example of pure hip-hop ingenuity. And of course it came from the guys with the goofiest sense of humor and lyricism. Rating: 8/10

I very rarely listen to slowcore music. The closest I get is with Duster, or some post-rock stuff, like Godspeed You! Black Emperor. But often the slowest parts are just build up that lead to some very explosive moments. But music that is purely slowcore is not at all my forte. I was still intrigued by the idea of this combined with 80s alt-country though. Folk does often go hand in hand with slowcore music. If anyone decides to give this album a listen themselves, fair warning that if the first song does not interest you, the rest of the album won’t either. What you hear there is what you get in its entirety. It changes very little, if at all. To some, this consistency might be appealing, especially if they are into this sound. But I can understand why many others would be positively bored to death by this. There is very little to really latch onto. It’s probably one of the weariest and most depressing sounding albums I’ve ever heard. By all means, it’s pretty simple once you break it down. Just imagine any 90s indie rock/country album, but slower. This listen really just reaffirms my original thoughts. This isn’t much of my thing. I think the lead singer’s voice is lovely. And it’s clearly made by a group of very competent musicians. Although that harmonica is even more ear piercing and intrusive on the rest of the music than Bob Dylan’s. Didn’t think that was possible. I find it funny their name is Cowboy Junkies. Totally sounds like it would be some kick ass punk band. And it’s about as far away from that as you can get. This also feels like hippie indie nerd music. Reminds me of what I’d hear my English teacher playing in class. That’s not necessarily a good thing either. This is music suited for a very specific kind of person. That which I am not. Rating: 5/10

Glam rock is one of the easiest genres to mess up. It can be really good, or really bad. It isn’t hard to go completely off the deep end and make something really lame. Such is the case with this album. Most of what I’m about to say is going to sound really harsh. And I get it. If you and your bandmates had been at it for almost 4 years, were 6 albums deep, and had tried a multitude of different genres ranging from heavy psych to country rock, anybody would want to be like Bowie after seeing the success he had with Ziggy Stardust. And they had already attempted the glam rock thing in previous years. But what I wouldn’t recommend doing is swinging for the fences as hard as they do here. Maybe it’s not as bad as I’m making it out to be, but it feels like they are trying to really capture that same lighting in a bottle energy. Especially with the singer. Dude sounds eerily similar to Bowie. The problem with trying to “capture” that same energy is that there is only one David Bowie. And there’s a reason why no one has really come close to mastering the genre in the way he did. This has none of the personality or flair, and as far as I’m concerned, doesn’t revolve around any story or concept. Bowie always put a piece of himself into every project, one way or another. It’s what set him apart. This is just another 70s band of guys with long hair. Even with T. Rex, at least they had a little more going on. Beyond all of that, this is also very uninteresting. It feels stale after the first song, and the only real highlights are basically below average 70s rock songs. Just another one of the seemingly endless number of albums I’ll probably forget about a week from now. Rating: 4/10

Not a country guy. Nor am I a 50s music guy. When those two things come together, it’s either a recipe for success or a disaster. And thank god it was the former. Man what a good time this is. Big Iron is a certified classic, without a doubt, and immediately took me back to my time playing Fallout New Vegas. Really this whole album reminds me of that experience. This might not be as country as other music I’ve heard. I guess it’s more categorized as western. But I still think it fits under the umbrella of country. And this is country music for people who really care about the genre. Unlike that commercialized slop artists make nowadays. It paints a picture of the western period of the United States. Which is one of the most interesting periods in our history. And to see a piece of that history still hold so well is great. I give music from this time a lot of crap for being too simple. This is one of the only albums I’ve found where the general simplicity of the era actually works to the music’s effect. Again, it transports me to a different world. And this is most definitely aided by Marty’s fantastic lyricism. And really, storytelling. I have heard few artists who are able to tell a story through their songs as well as he does here. Whether it’s about a woman leaving him, and then him being hung for killing her and the man he left him for. Or about being a hit man in your past life, and leaving your lady to becoming a running gun, only to meet your end at the hands of another gunslinging bounty hunter. Funnily enough, a lot of them end in death. Particular Marty himself dying. Tall tales from a time that once was. But each one of them is unique and a joy to listen to. It’s what makes this stand out, so many decades later. And also what makes this an essential country album. Rating: 7/10

I have not been the kindest to The Rolling Stones. Listen, I didn’t want to dislike them and give them as much shit as I did. But I was presented nothing by their debut or by Aftermath that warranted a positive reaction from me. I sat around wondering where the praise was coming from. But I also acknowledged in that most recent review that the only albums left on the list were supposedly the good ones. I wanted to be given a reason to like this band. I needed something. I was sort of hoping the trend would continue in semi-release order. But instead, I skipped ahead to 1972’s Exile on Main St.. And man, it makes me so happy that I can sit here and genuinely write positive things about this record. Very positive, mind you. Any complaint or criticism I may have had about their older music is almost entirely fixed or no longer an issue. In the six years between Aftermath and this, they refined their own sound and identity into exactly what it needed to be. This is a blues rock album that finally feels worth a damn. It’s wild these are the same guys who made those other records. I mean, the potential was always there. Paint It, Black is a prime example of that. But with this I can see it come to fruition. This album is a mess. In its execution, and in its production. But I can embrace that, simply because of how good the music actually is. Compared to their earlier releases, everything here feels so much more lively. I wish I had a way of showing how much emphasis I’m putting on that word lively. I really mean it. This is such a good time from start to finish. I’ve seen it described as having a party-like atmosphere, and I couldn’t agree more. The energy is completely different. Especially with Mick Jagger. His performances really feel like they make a difference on the music. I can finally understand why everybody wanted to either meet Mick Jagger, or be Mick Jagger. Because THIS is the version of him they grew up with. The way they incorporate gospel into the music, particularly with the backing vocalists, makes the band sound free and alive. And even though I’ve already spoken about it ad nauseam in past reviews, the horns and saxophone just bring the energy up one level higher. It’s something I didn’t realize they needed until I heard it, and now I can’t imagine their music without it. It seems the consensus is that this is the culmination of the rest of their catalog up until this point. I really hope that doesn’t mean the other three big albums aren’t as good, but I am more optimistic now that they will be then ever before. Rating: 9/10

For as cool of a genre as grunge was, there was bound to be some duds. That is the case with any era of popular music. There are some that do it right and become synonymous with that time, and others who fail to capture the same buzz. I wouldn’t say that this group really falls into that last category. They definitely made some name for themself. But they are no Nirvana or Pearl Jam. Supposedly this particular record follows a toxic relationship, and its eventual end. I don’t know how anyone could ever regard this as “one of the best breakup albums ever”. Although that’s not a category of music I delve into that much, I know damn well this isn’t up there. But with that slightly more mature theming, comes music with a bit more of an edge to it. This is easily one of the more dark and gritty grunge records I’ve heard. Sometimes the guitars make them sound more like a post-hardcore band. The production style too. Except the production on this kind of sucks. I’ve heard other albums that sound similarly, but they have more going on that sort of help me move past it. As much as I like the unique approach they take, this just isn’t all that good. I’ll just put it bluntly. The lead vocalist can’t sing. Even when he sort of sounds like he’s trying to make it listenable, it’s not great. At its worst, it’s downright embarrassing. And I can’t really engage myself with the story they are attempting to tell, because of the lyrics. Not only are they not that good to begin with, but they are also incredibly juvenile and sexually charged. And in the worst way possible. Maybe I would have found this more enjoyable when I was 11-years old, but not now. When this album is at its best, I don’t think it’s doing anything more interesting than the loads of other alt-rock albums from the 90s that sound similar. Rating: 5/10

I had a conversation very recently with my mom about whether Prince was better than Michael Jackson. That doesn’t exactly apply to this review very much. But as I’ve gotten older, Michael has become much less of a mystifying figure as I’ve realized he wasn’t someone born with insane musical prowess. But no doubt he was someone who knew how to put on a performance and write good songs. Everything about him really is timeless. People still go back to that first time he did the moonwalk. Because he really changed the way everyone looked at stardom. And his music has that same irreplaceable quality. It’s remarkable how many songs of his I’ve subconsciously heard in my life without ever seeking them out. I damn near knew the entirety of Thriller before a full listen. And Bad is no different. I think this should still be regarded as a classic. It isn’t on the same level as Thriller. That album is just too close to having almost nothing wrong with it for it to be competed with. And I can’t imagine trying to make a proper follow-up to such a record. But Michael and his contemporaries did a damn fine job. It’s also really important to properly recognize the latter of those two. While he could write good lyrics and sing insanely well, Quincy Jones and the beyond star-studded list of musicians working on the actual music here are what’s really fueling the fire. Michael is not credited for any instrumentation here. Nor was he on Off the Wall or Thriller. Surprisingly he was actually given a lot of the arrangement credits on those records. But here it seems he had very little to do with the music. Thankfully it’s still good, so no complaints from me. This dips even farther into the 80s pipeline. Which I’m not opposed to. But there are a few songs, like I Just Can’t Stop Loving You, and yes, even Man in the Mirror, where it’s a little too much for me. But I comparison to some of the music I’ve heard from that era, this is very tolerable, and still a solid release from one of modern music’s biggest stars. Rating: 7/10

You know what? No. I tried really hard. I tried and tried and tried. But sometimes no matter how hard I try, some albums just don’t click with me. I wanted to like this. I wanted to give it the benefit of the doubt and find something good hidden under the rubble. But after the first few songs, I knew that wasn’t going to happen. With one of the most 2000s looking covers I’ve ever seen, this record does one thing. And only one thing. It is the single most one-trick pony piece of music I have ever had the displeasure of listening to. Think of all of the most generic drums, effects, and synth sounds ever made. Like bottom of the barrel club instrumentals off of a website like Looperman. And then throw some really uninteresting vocals on top of that. Make 16 songs with that, and make it over an hour. That is this album in a nutshell. Was there no one who ever stepped in on a studio session, listened to the music he was making, and said, “Hey, maybe you shouldn’t make every track have the exact same drums at the exact same BPM”. I genuinely thought I was losing my mind. It’s unfortunate to see what would otherwise be a collection of really cool sounds and loops wasted on such a drab record. I’m also convinced these recordings were done almost entirely in some inner circle of underground UK musicians. Because none of the vocalists featured seem to have anything else that they’ve done in their careers. It’s hard to even find info on some, like Danny Vicious. Who is also unbearably annoying. Most of the vocalists aren’t horrible, but don’t add anything of value. At least Elisabeth Troy can sing well. I will give credit where credit is due. Most of this is pretty lame. But there are a few decent songs here and there. And Rough Out Here is honestly a banger track. Not mad at that one at all. This really does feel like music only British people would get a kick out of. There are dudes that have been on Love Island who probably vibe with this. But let me make this clear. If someone try’s to tell you that this is one of the best UK garage albums ever, they are LYING TO YOU. Listen to something else. Rating: 3/10

After I finished listening to Dear Science, I thought, “Hey, that wasn’t actually half bad”. What I didn’t think was, “Man, I really want to hear another album from that band”. It was much more a one and done thing with me. Much to my dismay, this popped up today. It’s just another one of the many examples of serious missteps in terms of what albums were chosen. There really did not need to be more than one album from this band. Just having the one was probably more than needed. We couldn’t even get one album from Godspeed You! Black Emperor or J Dilla. But instead, I found myself listening to this. Being that this came out a couple years before the other record, it was bound to be somewhat different. Safe to say it was. It was such a drastic switch just within the first song, that I actually went back and listened to the opening track of Dear Science. And the differences are staggering. This takes a much more experimental approach. And I’m really glad their music evolved away from this over time. Because there is so little genuinely enjoyable music here, it’s surprising. This is not experimental in the right ways. At least not in the ways I like to hear. It’s more like if some AJR fans who are also theater kids came together to make an indie rock album, and were like “Let’s make it really dark and weird”. What results from that is this jumbled mess. First thing I have to speak on. The amount of A cappella on these songs drives me insane. Because this is the last context it would sound any good in. I am not opposed to that form of singing at all. I am an avid fan of Smooth McGroove. But you do have to be able to sing well in order to make it work. Singing well isn’t something these guys mastered. I actually found their voices interesting and enjoyable on the other album. So they must have improved between this record and that. This is like “baby’s first experimental rock album”. And it’s not one I would recommend to someone who enjoys that kind of music. Rating: 3/10

Unlike yesterday’s unfortunate album, Tom Waits is an artist that I will gladly spend time with again. Swordfishtrombones still remains one of the most interesting albums I’ve ever heard, and Waits himself is a very enigmatic person. So being able to dive into more of his music is great. Because I’d love to become familiar with as much of it as I can. Believe it or not, there was a time where his music could sort of be considered “normal”. The release of Swordfishtrombones seems to have been the turning point. This record comes quite a few years before that. And even before you can get into the music, you have to understand the set up. This is like a live album, but not. It was performed in front of a live audience, across four days. But at a recording studio, that was set up to feel like a jazz club. People didn’t pay for tickets to see this. At least I don’t think so. And you know what, all things considered they nailed the vibe and energy. This has a super relaxed atmosphere. The crowd also loves him. Maybe too much at some points. They laugh at damn near every remark and joke he makes. But this does a really good job at giving a much clearer view into who Waits is as a person, and as a character. And what a character he is. If that wasn’t clear from any one of his songs. His music is filled to the brim with a slightly twisted and dark adult sense of humor. It’s what makes him such a remarkable lyricist. This album in particular has some of the weirdest writing I’ve ever heard. But this fact probably contributes to the accessibility, or lack thereof, in his music. It’s something you have to be able to get behind. The idea of saying so much with so little is not at all present here. It’s the opposite, in fact. I’m aware this is almost entirely drunken rambling. But there is a part of me that could listen to him talk about anything. Thankfully, beyond all of that, this is a solid chill jazz album. And Tom just happens to have a fantastic band backing him up. That bass player? Good shit right there. If you are a fan of him, I believe there is reason to give this a chance. Even if it’s a little too long. Just think of it as Bedtime Stories with Tom Waits. Except you are more likely to get some pretty vivid nightmares from this. Rating: 7/10

Even with how long this list is, there can only be so many artists. Especially since so many of these have multiple noteworthy albums. But I still regularly take issue with some of the choices they made. But Amy Winehouse is an artist who I will fully get behind. She only got the chance to release two full length albums. Both of which deserve a place on this list. The more people that can be educated on this incredible woman’s career, the better. I thought Frank was a solid album. Maybe a little dated, but still worthwhile. The fusion between trip-hop elements and soul that they created for that record was cool to hear. But the former element was entirely abandoned for this follow-up. Instead, they fully embraced all of the soul and pop stuff. And it’s clear right from the start that this was a smart decision. Amy immediately feels right at home. And her voice is every bit as fantastic as it was on the debut. This may also be the first album I’ve heard that was produced by Mark Ronson. Dude has done some really great work, especially on this record. I’ll also mention Salaam Remi, who contributed just as much as Ronson, and did a lot of work with other 2000s artists who were very much inspired by Amy. This album feels the marriage of two time periods in the best way possible. It’s so reminiscent of the 60s, but has a fantastic modern coat of paint. And this is aided by the incredible Dap-Kings backing her. This also contains easily some of Amy’s most dramatic and emotionally open pieces of music she ever wrote, covering some very mature themes. Most of which were inspired by her relationship at the time, and him leaving to pursue his previous partner. Many of these songs are iconic, and they don’t overstay their welcome. It’s a well paced album, and one that everyone should hear. Amy’s story is one that far too many people can relate to, and unfortunately like her, many of them are not here to speak for themselves anymore. But we can continue to honor her legacy by listening to the wonderful art she put out during her short-lived, but stellar career. Rating: 8/10

Emerson, Lake & Palmer is one of those groups I rarely see brought up nowadays. As much as this trio were pioneers of the early 70s progressive sound, they really aren’t all that popular. They have their die hard fans, but they aren’t held to the same acclaim as many of the other more famous bands. I’ve never heard a ELP song before. And I’ve never really had the desire to dive into their music. With this being a live album, I figured I would need to have some service level knowledge to enjoy this. But none of these songs are from an actual stupid recording of theirs. This is the trio’s symphonic prog rendition of a piano suite of the same name, created by Russian Romantic composer Модест Мусоргский [Modest Mussorgsky]. Now I want to preface this by saying that my intention for this review is not to break down the careers of these three men, and attempt to make the argument as to why they aren’t good. All three of them are undoubtedly masters in their respective fields, and deserve the fame they have received. Albums and ideas like this are what progressive rock is all about. But I’m not a huge fan. What this ends up devolving into most of the time just sounds like the musicians noodling about to me. There is very little direction and actual purpose to the sections. It comes off as if they were frantically trying to cram as many unique ideas as they could into a performance that doesn’t even last 40 minutes. But those unique ideas really do nothing for me. At least in the first half. Blues Variation is decent, and is the first notable song. And I enjoy The Curse of Baba Yaga, and the two parts of The Hut of Baba Yaga that come before and after it. But the rest falls totally flat. It’s a great example of how overly excessive the genre can be. Keith Emerson might be a fantastic keyboardist, but I’m not interested in hearing him fly across four keyboards at the same time. Just because you have a group of people who are talented enough to execute an idea, doesn’t necessarily mean they should execute that idea. It’s a lesson many progressive rock bands did not learn. Rating: 5/10

Of all the Metallica albums included on this list, I was most excited to hear this one in particular. This is really the first proper album from them that I listened to, but I hadn’t heard it through to the end until today. This band had an incredible run in the 80s. That can’t really be argued. But the death of Cliff was rough. To replace him, the band got Jason Newsted. Who actually stayed with the band for nearly 4 times as long as Cliff did. And I think the work he did in his 15 years was strong. But, and I’m aware that I am beating a long dead horse here, I have to mention “the thing”. It’s one of the longest running jokes for fans of the band, and it’s almost as overplayed as Lars’ shitty snare on St. Anger. But I think the discussion around Jason’s bass on this record is justified. Or should I say, lack thereof. If you told someone who had no knowledge on this album that they were a three piece group with no bassist, they would probably believe you. Because it isn’t there. Like it’s remarkable how far they managed to bury his bass into the mix. I’ve tried really hard to hear it, and I have never been able to make it out. But I’m sure what he was playing was great. Thankfully the rest of the band is firing on all cylinders the entire time. Master of Puppets and Ride the Lightning might be better written, but I still firmly believe this record contains the three main members performing at their highest level. Easily the heaviest and darkest they ever sounded, and it contains some of Hetfield’s best riffs. Lars is also on fire the whole time. Compare this to the black album, or anything that followed, and it’s like night and day. Blackened is still my favorite Metallica song to this day. It just gets started so quickly, and doesn’t let up. And, although this isn’t a new opinion, I think One is objectively the best song they ever released. Perfect blend of progressive and thrash metal, with Kirk’s best solo ever. I’ll admit that this album is a little repetitive. It features the lowest number of unique concepts of their 80s records. And you can tell they were starting to run out of ideas, and were in need of a switch up. Personally I don’t think the direction they went was any better in the slightest though. And they haven’t managed to release anything of the same quality since. Unfortunate that this is the last Metallica I’ll get the chance to talk about. But what is here is solid. This still holds up, and is just as good as their most acclaimed releases. Rating: 8/10

I did not expect to be returning to the Stones so soon, but you can never have expectations for what you might get each day. As I mentioned previously, Exile on Main St. made me considerably more excited to hear what else this band had to offer. For today, I went back a few years to 1969 to dive into Let It Bleed. The aforementioned album really seems to be the best of everything the band was capable of. But this record focuses far more on the country and blues side of things. It’s something they hadn’t explored since Aftermath, and the albums that preceded it. Which, as shown by my reviews, I was not a fan of. But I figured this was going to be a little more enjoyable at the least, considering their abilities as musicians had definitely improved. Thankfully this album is good. Not Exile good. But still a worthwhile experience. It’s considerably more stripped back in comparison, and I think that’s what makes this less interesting to me. I was REALLY a fan of that party-like atmosphere that made Exile such a fun listen. This takes its time a little more, and isn’t as diverse from song to song. It’s starts insanely strong though. And ends decently strong as well. I sort of fail to see what is so amazing about that closing track. It’s good, not great. Gimme Shelter, on the other hand, is fantastic, and another one of their songs I recognize from my childhood. Seems like my dad played The Rolling Stones a lot more than I thought. It might be a bit too strong of a start. Because that song simply overshadows everything that comes after it. And only a few other tracks really get close to being as good. I may have expected too much from this album. I’ll just have to keep that in mind for their future albums. This is supposedly a follow-up to Beggars Banquet, so I’m intrigued to see if I like that any more or less. Rating: 7/10

Sometimes records come along that probably don’t have a right being as good as they are. You have zero expectations for anything, and then boom, you are hit with something amazing. That was the exact experience I had today. 24 hours ago, Fairport Convention did not exist to me. You may also be tricked into thinking the two elderly people on the cover are the ones behind the music. Fortunately that’s not the case. The Wikipedia article left me feeling kind of confused as well. It didn’t feel like it was giving that much info on what this record actually contained. So I was going in pretty blind. All I knew is that it was “British folk rock”. Which seems awfully specific. That just sounds like folk rock made by British people. Why the discrepancy? Either way, I could not have anticipated how good this would be. This is easily some of the best mixes of traditional and electric folk music I’ve ever heard. And it’s a good balance of feel good songs and more relaxed tracks. I’m just going to be completely honest. A Sailor’s Life might be one of the best songs I’ve heard throughout this whole journey. It was one of those times where I didn’t even realize the song is over 10 minutes long until I was 4 or 5 minutes deep and it still wasn’t over. But every minute is worth it. It’s surprisingly atmospheric and spacious. I feel like bands weren’t really making music like this when it came out. The closest thing I can think of is The End. But that came out 2 years prior, which probably proves how ahead of the curve The Doors really were. Maggot Brain’s opening track is also pretty close, but that’s definitely a different genre. The female lead singer also reminds me of Joni Mitchell. Which is always a good thing. I’d love to hear more of what this band has to offer, because this was thoroughly enjoyable. Rating: 8/10

Honestly I didn’t expect to hear Big Star again. Their debut was a genuine surprise to me, and a record I remember enjoying way more than I anticipated. So I was not at all opposed to the idea of another album. But albums like this are why I value context. Reading the background info before going into an album is something I always try to do. And here it definitely aids the listener in understanding where this sound is coming from. Their debut was one of the best examples I’ve heard of what the 70s energy was like. It was power pop in its most effective form. As far as I know, this can also be applied to their second album. But this one, which I would think most people consider to be their last, is distinctly different. Shortly after they had begun recording, one of the lead singers Alex Chilton, and the drummer Jody Stephens had mostly lost interest in the band. This was also due in part to Chilton’s worsening mental health, and the gradual decline of the band as a whole over the years. Add on financial troubles and an even less commercial appeal than their previous work, and this was almost never even released. All of this makes up for an album that is far messier than their debut, emotionally very different, and in my opinion, not as good. I was surprised to learn that they faced very little commercial success with those first two albums. And the same goes here. This is a band whose presence in music history has been maintained by a cult following. To me, what made that first record I heard so good was the charm. That charm is not present here. Which is okay, given the circumstances I’ve already laid out. But it doesn’t make for as enjoyable of a listening experience. It’s not necessarily the fault of the music either. Because it’s still made by the same people, and at the least well written. There are some decent highlights here and there too. But I don’t see myself coming back to this, because it isn’t as representative of what made this band stand out. Rating: 6/10

“Oh boy, another 60s rock album” is what I would have said if I didn’t know any better. But I actually do on those particular day. I have a rather interesting story regarding this album. When I got my first vinyl and had decided I wanted to start collecting, I did research on ways of keeping them safe and organized. In one of the videos I found, a man held up this exact album. And I was so intrigued by the cover, that I then had to find out what the album was. Of course, when I did actually find it, I never listened to it. Funny that it’s all coming full circle now years later. So I’ll admit that I was mildly excited to hear this finally. Unfortunately I don’t think it’s the greatest psych album ever like some may tell you. But I do think it does a good job at capturing what people think this genre should sound like. It’s probably the most legitimately psychedelic rock I’ve heard. In fact, these guys were the first ones to coin the term, and label their own music as such. The production is rough around the edges. And I’m being pretty generous. It has not aged very well. It definitely goes to show how much the industry has improved in that regard. By as a genuine “psychedelic experience”, it does a pretty solid job. The poor production actually adds to this swirling feeling. It really feels like you are caught inside the album cover, with all of these magnificent colors flying rapidly around your head. This is also aided by the jug instrument one of the band members plays. I’ve never heard of this thing. And because of the mix, you almost can’t even hear it. But when you, it’s the wackiest sounding thing ever. Even with all of that, I couldn’t see myself recommending this to someone who wants to jump into the genre. Because for the average person, it’s either going to be too much or not enough. Many will get the idea this represents the genre as a whole, which is not the case. Rating: 6/10

For as open as I try to be, it’s rare that a foreign album really stands out to me. But it’s a great experience when one does. Being able to get such a clear view into other cultures like that is amazing. And I will never not be open to hearing the unique ways these people make music. Because it’s very often drastically different to how Americanized music is generally approached. Some of the most interesting music I’ve ever heard came from these places. So I was happy to see that this record had generally positive reception from most. Unfortunately a lot of ignorance tends to follow records like this due to people’s inability to perceive or get into anything that isn’t in fucking English. That will never be an issue for me. It just adds another level of originality you can’t find elsewhere. Beyond all of that, this album is full of an energy I rarely find in music, but I relish in every time I do. This really took me back to when I started doing this, and hearing the Fela Kuti live album for the first time. Because this feels like a fusion of the best elements from those performances and something like Clube da Esquina. Seeing African and Brazilian musical history come together like this is very powerful. It really is the best of both worlds too. Super funky instrumentals that have the great complexities and writing quirks of popular Brazilian music. If people don’t allow the language barrier to affect them and prevent them from hearing this, it’s a very worthwhile listen. Rating: 7/10

I find it hilarious that I went almost exactly one year without hearing Led Zeppelin once. I kept joking about it with my mom, but I heard everything under the sun before these guys. But make no mistake, this is not a new band to me. I feel like you could make an argument for many bands having this title. But to me, there is no group that will ever come close to this group. I have bands I like more, but Led Zeppelin is the single most timeless band of all time. My grandparents grew up with them, my dad told me about them as a kid, and if I have kids, they too will know who these four were. And I hope they will pass that down to their children as well, long after I’m gone. What they did in their 10 years as a proper band is nothing short of sheer magic. And Physical Graffiti is to Led Zeppelin what Exile on Main St. was to The Rolling Stones. I’ve heard the four self-titled records before, but I had never actually listened to this album in full before today. It’s just about everything I imagined it would be though. From the standpoint of songwriting, this was the band at their highest level ever. Plant’s lyricism really stands the test of time, and feels genuinely intriguing instead of just “late 60s hard rock love song number five”. The same could be said for Page, whose guitar playing here really is the epitome of 70s rock excellence. Plus, I could potentially write a review just as long on why I love John Bonham so much. He’s the greatest drummer of all time, and it’s not even close. Sorry to the Carey and Peart fans out there, I love those guys too. What this album represents to me is the essence of rock, and everything I love about it. Much of their music hits in that same way for me. I love this band. And this is simply some of their best material ever. In My Time of Dying is their longest song ever. And it feels like one of their most cinematic and intense. It’s no doubt a highlight of this album. But then there is Kashmir. I’m aware of the reputation this has. It’s not like I’m really shocking the world by saying this. But this is their best song. Even better than Stairway To Heaven. Miles better in fact. It’s the first song I ever heard from them, and as a kid it legit blew my mind. I remember listening to it on YouTube in 5th grade. It’s probably the first proper rock song I really loved on my own. And I’ll never get sick of it. Pump the kick pattern on the first part of the bridge right into my fucking veins. I adore this band, and it hurts my heart to say anything bad about them. But unfortunately this album is not perfect. The first half is near flawless. But those last 4 songs are easily the least interesting Led Zeppelin music I’ve heard. They really leave a stain on what would otherwise be potentially their best album. But I still think this is one of the monumental achievements in rock history. And I’m delighted that I get to speak about it at such length. Rating: 9/10

Leonard Cohen is an artist who has a surprising amount of placements on the list, but hasn’t popped up for me yet. I know vaguely of his music. And of course I’ve heard Hallelujah before. That song still doesn’t do much for me though. Either way, Leonard was still one of the most storied and respected figures in contemporary folk and pop history. He began his artistic endeavors as a poet, and that aspect of his life definitely transferred over into the music. His lyrics often have a strange and poetic feeling to them. Although he started in folk, his last album before the 80s ended fully delved into a far more synthesized sound. And I mean fully. It’s about as late 80s as you can get. And personally I think it’s the last context Leonard’s voice should be heard in. It feels so off. There is something strangely off-putting and jarring about hearing such a deep voice over music that is generally accompanied by the exact opposite. And the addition of those backing vocalists makes this juxtaposition even more glaring. Cohen’s voice and striking lyricism are by far the biggest highlight here. It’s unfortunate that what he chose to sing over is pretty cringeworthy. Because I can see how much better he would fit on proper folk or pop music. But you know what? Some of these songs are actually not horrible. Like cringe in a somewhat tolerable way. But this bounces back and forth between actually using the synth style well and just jumping the shark completely. This doesn’t put me off to his music. I’m not going to go into the next record ready for disappointment. Because I know this isn’t his best, and it’s probably only up from here on out. Rating: 5/10

Man, it doesn’t even remotely feel like it’s been one year. I started this as a silly little thing, figuring I’d only make it a week or two, and now here I am. But I’ve loved (almost) every second of it. And when this album popped up, I figured it might not be a horrible way to spend the 365th day. The Stone Roses’ debut is one of those albums that really resonates with a lot of people, and those who love it won’t ever stop talking about it. It very much has an albeit small, but cult following behind it. Baggy isn’t really a genre I believe it real though. Like, it’s named after a sort of British fashion trend? I feel this kind of music is so rooted in British culture and history, that you sort of have to be clued into that in order to appreciate what this did for the time period. And I think this album definitely tackles the psychedelic feeling very well. It’s a record meant to heard during the summer in the warmth of the sun, on your bike with your friends. So I apologize to any rabid fans of this record when I say I just don’t see it. It’s the same way I’ve felt about Sonic Youth for a long time. Daydream Nation was supposed to be this incredible album that indie-heads have been drooling over for almost 40 years, and it just did nothing for me. I wanted to like this album so badly, considering there are a few decent songs. But the rest of this just blends together, and I forgot what I was even really supposed to care about. There were seemingly trying to capture the same energy of The Cure’s less intense material, while also having a rhythm section reminiscent of Joy Division and New Order. And it lacks any real personality. This is unfortunately one of the more overrated albums I’ve heard, and it breaks my heart that I didn’t love it and couldn’t have an amazing album to celebrate one year of pain and suffering. Rating: 5/10

I don’t hate hair metal. I think it’s perfectly acceptable to a certain extent. But it’s pretty rough when pushed too far. And honestly, grunge killing hair metal was probably the best thing for music in the 90s. I would have thought before today that by the time 1995 rolled around, hair metal had mostly been killed off. And yet, a band like The Darkness released Permission to Land in 2003. And it might be the most unapologetically 2000s sounding album I’ve ever heard in my life. Even down to the cover art. But it also seems like they were trying to merge the ideas of the 2000s with the late 80s and early 90s metal music. And the one thing you will consistently find during this listening experience is utter excess. This a flaming glam fireball of rock and metal that screams “Look how crazy we can get!”. But I honestly that excessiveness admirable. The performances here are pretty strong, and that definitely allows for them to get pretty wild. There is even some nepotism at play. This group’s drummer is the son of Queen’s Roger Taylor. He isn’t the one recording here though. The most abnormal and confusing part about all of this is the vocalist. I had a really hard time deciding whether I actually liked the way he sang or not. And I’m still not totally sure. I’ve listened to bands, like The Mars Volta or Protest the Hero, whose vocalists lie in the same range. But I feel like they balance a little better. Hawkins’ voice soars so high above everything else, and it feels the most egregious when it comes to that excess I was speaking of. He has some pretty solid moments, but others like the chorus on I Believe in a Thing Called Love where I questioned what I was listening to. But I don’t dislike this nearly as much as I imagined I would. Rating: 6/10

Few rock albums need less of an introduction than Electric Ladyland. Few rock artists need less of an introduction than Jimi Hendrix himself. It’s remarkable how deeply rooted he cemented himself in the rock ethos in such a short time. Given the time period that this released in, audiences were yet to hear some of hard rock’s biggest successes. Bands like Led Zeppelin, Black Sabbath or The Who hadn’t hit the stage. And the closest thing you could really compare The Jimi Hendrix Experience to was probably The Stooges. But I wouldn’t put them on the same level as this. This creates a world of its own, and feels indicative of everything that every other rock star wanted to be at the end of the 60s. Jimi was a trend setter and a revolutionary figure. But he was also a perfectionist, and insecure about things like his own voice. It’s probably a miracle this album even exists. But here we are, and I think I can say this is without a doubt the best piece of 20th century psychedelic rock ever made. It contains everything that I have continually made note of the other albums not having. And it features some of the monumental pieces of rock music ever made. Voodoo Chile and 1983 both push past the 10 minute mark, and feel massive in scale. The latter feels like a proper piece of psych music. Hilarious that I rarely get that from records labeled as “psychedelic”. These songs represent what makes Jimi’s music so impressive. It feels so alive. It’s the humanization of an instrument in its clearest form. He brought sentience to that instrument. I mean, just listen to the very beginning of Still Raining, Still Dreaming. He could make that shit sing man! Mitch Mitchell is also on fire, just as he was on that previous record I spoke about. Easily one of the most impressive guitarist and drummer duos. This record will forever stand as one of the most everlasting and iconic achievements in music, and was the perfect way for Hendrix to end off his trilogy of studio releases. What a legacy to leave behind. Rating: 9/10

Naming your group The The is almost as ridiculous as naming it Butthole Surfers. It’s so stupid it’s almost genius, and it totally makes sense that someone would think of that name at some point. The 80s were a strange time to say the least. There were a lot of bands making very regrettable and low quality music. And a lot of bands who were coming out and redefining the way that people looked at popular music of the 70s. This feels like one of those many groups. I expected an experience similar to that of The Birthday Party. A decrepit collection of songs that lack any of the redeeming qualities of “normal” music. But this was actually a surprisingly good album. They created a balance of very in your face and aggressive post punk, with super loud and over produced drums, and 80s pop funk rock. Some of these songs have some really punchy horn sections that just sound amazing on top of the guitars layered in effects. The best way I can explain the sound of this is like if someone traveled to the deepest and most grime filled corners of the 80s music world and put together a band. Imagine a singer that sounds like Tom Waits and Billy Corgan in one. I’m a big fan of the former’s music, and this puts a sort of new wave spin on it. This isn’t that well received, and it’s one of those ones that makes me wonder why people dislike it so much in comparison to the rest of their music. I guess I’d have to hear it for myself to understand why. Rating: 7/10

The stars have aligned in such a way that I am aptly naming today a Funkadelic Friday. Thankfully, this was one of the better parts of an otherwise pretty average day. Mothership Connection was a really solid album that showed the flashier and more mid-70s synth funk sound of Parliament, George Clinton’s other group. But Funkadelic is really where it’s at. And Maggot Brain really embodies funk rock at its purest and its most well-executed. I was actually introduced to this group from an episode of the TV show Atlanta, which featured Hit It and Quit It. Before I am really able to discuss anything else going on, I have to speak on that opening track. The titular song is definitely one of the most impressive ways I’ve ever heard a band open an album. Up there with the best of the best. What a bold move on their part to start this record with something so drastically different from the rest of the songs. And the fact that it’s entirely improvised is mind boggling. Eddie Hazel really creates his own universe with this solo, and each note, pumped full of delay, just rings out into the ether. There is a reason this album is more remembered for that song than anything else. It’s just that good. Thankfully, the rest of the album is fantastic as well. Both songs that follow Maggot Brain are probably up there as some of the best material on the album. It manages to be a funk rock album that really embraces the inspiration from rock music of the 60s. It’s a hypnotic collection of well paced and ultra catchy bangers. It’s all very well paced as well, not even reaching the 40 minute mark. I like that it also ends with an instrumental song, which is almost equally as impressive as the opener. It’s far more adjacent to the rest of the record though. I’ll admit the production is a little off in some places, but it was never enough to fully ruin a song for me. With an iconic cover, and equally as iconic music, this is a timeless funk album that completely knocks it out of the park. Rating: 9/10

Punk is a vast world of various genre fusions that definitely makes it one of the most over encompassing spaces in music. But it’s truthfully not one I find much interest in. There are very few punk records that I have been super on board with. It’s why Another Music in a Different Kitchen stood out so much. That album felt like it was made for me. I also haven’t heard too many big names yet. No Bad Brains or Dead Kennedys. I get that Sex Pistols count. But I’ve probably spoken enough about why I don’t like them by now. I guess you could make the argument that this album is anything but normal punk music. Which wouldn’t be totally wrong. It’s more like punk for the kids who are obsessed with Halloween. The only experience I’ve previously had with “psychobilly” is The Gun Club. Which was ok, I guess. But probably still better than this. This released in 1980. The 80s were very much the decade for punk. And it’s when everything really took off. Some of its best releases came out within a year of this. But I wouldn’t lob this into that group. It’s a strange set of rather simple songs, that feel very flat most of the time. But it has a dark and twisted sense of lyricism. It’s sort of a glimpse into the early workings of what The Cure would do better only a few years later on Pornography. It’s just as overtly and creepily sexual and hedonistic as Nico on the Velvet Underground debut. I mean, the husband-and-wife duo that leads the band are named Lux Interior and Poison Ivy respectively. If that doesn’t give you a good idea of what this is like, I don’t know what will. But it’s not that entertaining to say the least. And something I will not be coming back to. Rating: 4/10

I will quickly swipe any excuse I can get to talk about Black Sabbath. But, for as much as I love this band, I had actually only heard Paranoid all the way through. So this got me even more excited, because I could hear an album from this band for the first time again. Some might say that choosing Black Sabbath Vol. 4 over Master of Reality is a strange choice. But I think you could choose any three or four albums from 1970 to 1975 and be fine. Because they were just that consistent. Anything with the original lineup is pretty much golden. And this record does not disappoint. It’s fucking awesome. I would have thought that because they had already achieved quite a bit of success up to this point, they would abandon the doom metal parts of the music. But this actually has some of Iommi’s heaviest sounding riffs, at least from what I’ve heard. It may not be as heavy as the album that preceded it. But every member is just so good here. Ozzy sounds absolutely spot on, and I think Tony, Bill and Geezer all give career defining performances on tracks like Wheels of Confusion and Supernaut. As if Paranoid wasn’t career and genre defining enough. That’s the part that makes this band so wonderful. Nobody was really doing anything like this at the time. Metal was in its very early days, so to have a group that put out music which still feels so special and unique over 50 years later is wild. St. Vitus Dance is easily the least interesting song. It’s less metal and more hard rock, and it’s nothing special. Laguna Sunrise is a folk song of all things. And one I surprisingly don’t mind. And Changes is a weird one. I was initially led to believe maybe it was a David Bowie cover. But when listening to it, I knew for a fact that I had heard that chorus elsewhere, I just couldn’t think of where. To learn that Black Sabbath made that song was weird. But overall, this is another excellent album from one of metal’s strongest groups ever. Rating: 9/10

The Band might be one of the most ineffective band names of all time. I’m not saying that the name has to perfectly encapsulate what a group will sound like, but that name gives nothing. Like, wow, couldn’t tell you were a band just from looking at you. I’m mostly joking. The Band is actually a regularly acclaimed group, especially by many famous artists. And they were a big inspiration to many. They played with Bob Dylan for a while before starting their own thing, and they were the first electric rock band he ever played with, which I think says something about the quality of the musicianship here. And there is a surprising amount of historical value to get from this album in particular. It seems to be regarded as a form of concept album, that covers old Americana music and the culture that surrounded it. The life blood of the history of American music is very much infused with Americana. And it’s intriguing to see the ideas that were once considered distant history for them, and how their music now stands nearly 55 years later. Now, as much as I love learning about that kind of stuff, the actual music is even more important to me. And I’ll admit that a select few of these songs are pretty good. And feel decently ahead of the time in which they were released. I can also see where other groups like Wilco and Elton John might take some inspiration. But this album is populated with more lackluster songs that don’t do anything for me. I have heard much of what this offers from other albums before, and to a higher level of quality. The synergy between members is cool, but the actual performances aren’t amazing. I see the influence and appeal. But I would probably default to those who took the inspiration over the ones who inspired in this case. Rating: 6/10

I get each album for the day off of a website. One that I’ve recently learned is much bigger than I originally thought. And it’s interesting seeing the differences in how the average person on this site scores some of these huge albums. And how the scores are often much lower. I’m surrounded by music so much that to hear say anything less than positive about this album is strange to me. I’m really showing how much of a nerd I am here, but I think a 4.25/5 and number 9 overall on RYM, plus an 89/100 on AOTY says a lot about this record’s reputation. On the other website though? 3.16/5. That is a massive difference. But it makes sense in context. This sounds foreign and weird to people. Especially those who maybe have never heard anything like it before. From the thunderous opening four snare hits on Only Shallow, Loveless transports the listener to a world that really didn’t exist in this capacity before the 11th of November, 1991. The fact this came out so early in the decade probably has a lot to do with where it stands now. This bright pink fuzzy monolith of noise changed everything we know about indie rock and the perception of effects on a guitar. I see the phrase “reinvention of the guitar” thrown around. And I can’t even pretend it’s much of a stretch. 19 different recording studios, nearly three years of work, and 250,000 glorious British pound sterlings, and this is what they have to show for it. A success if you ask me. Kevin Shields is hilariously even more of a perfectionist maniac than Billy Corgan. But the meticulous, tireless and prolonged efforts of this band to really create something memorable thankfully paid off. They would break up just 6 years later, and waited over a decade and a half to attempt a follow-up because they simply couldn’t do it. This band’s release from their label after this record came out is also attributed to the label going bankrupt, if that says anything about how this impacted the industry. It’s so lauded for a reason. What was done here really elevated the idea of playing a guitar to another caliber of instrumentation. It’s an onion with an endless amount of layers. A very pretty onion, mind you. It took me months to realize there was humming on the opening track. It’s placed so neatly into the mix you almost can’t make it out, but it forever changed my view of the song. And that humming is found all over the place. This is the musical equivalent of a bunch of cars being crushed into a cube at a junkyard, and then being covered in makeup. It’s a mess. But one where the naivety and playfulness is clouded by the sheer and utter power and magnitude of the band. What this album has done for indie music is both irreplaceable and magnificent to see, but also damning. Because everyone has wanted to make the next loveless for 30 years, and no one has come close. That, plus the genuine genre-bending, boundary pushing experimentation, I think, justifies how I’m scoring this. Rating: 10/10!

I wish I could say that my experiences with electronic music over the last 300-some days was entirely good. But most of it has been unfortunately less than positive. It continues to confuse me. Because in all honesty I’m not that hard to please when it comes to that genre. If your songs sound cool, are varied enough, and have solid drum programming, you have me sold. So it’s baffling that almost none have managed to check each of those boxes. I am aware of a good amount of the albums on this list. And I know which ones are much, much longer, including this one. Thankfully I’ve been mostly lucky so far and haven’t had to worry about work when trying to finish those records. Sadly today was not one of those days. I guess an hour and 40 minutes isn’t that long in comparison to some. But it feels like a lot. Especially when you have that 20 minute long monster of an opener. I tried to let the length of it affect my rating as little as possible. And I’ll admit that this isn’t actually the worst thing I’ve ever heard. But it isn’t anything more than okay. I’ll start off by saying that the production here is consistently interesting and doesn’t feel completely lifeless throughout. I’m also not traditionally a fan of singing in this style of music. But there is enough room left for the rest of the music that makes the vocals feel worthwhile. They aren’t completely overwhelming the whole song for once. But most, if not all songs on this album are plagued by the same issue. Every small section of music I enjoy listening to is surrounded by something far more monotonous. I don’t have the desire or energy to force myself through 5 minutes of an 8 minute long song to get to the 3 minutes of it I like at the end. That’s not what I listen to music for. But like I said, not all of these songs are horrible. I wouldn’t actually classify anything on this as objectively trash. Much of it is just incredibly below average. And for its length, I couldn’t recommend it to someone. Most people don’t have the patience for 100 minutes of music, let alone 60. Rating: 5/10

Grunge is obviously one of the most prolific and recognizable periods of music from the 90s. It took the world by storm, and really altered the way we look at rock and punk. So much so that it would also drastically change how people approached rock music in the 2000s. But the roots of the genre were not all that complex. People will go back and forth on what they consider the real start of the genre. Some people even trace it all the way back to stars like Neil Young and John Lennon. But even if there were bands coming out in the mid 80s that reflected the sound better, to me the beginning was Doolittle. That frantic and noisy alt rock sound feels like the birthplace of everything that makes Nevermind so good. Where I am getting at with this? I don’t know. This is about Mudhoney. I bring Pixies up because I feel that same influence is present here. Except what you are getting on this record is much closer to punk than maybe any grunge album I’ve ever heard. Nirvana brought punk to the proper mainstream in little bite sized pieces. But Mudhoney couldn’t care less about that mainstream shit. This is as close as you’ll get to a real marriage between 70s/80s punk and 90s alternative rock. It consists of a slightly longer track list with much shorter songs. Ones that get to the point quickly. But I don’t think I would put this over any of the other big name grunge albums. It’s far too committed to being one thing and one thing only. Although I appreciate the occasional surf punk thrown in there. But I wouldn’t categorize this as an absolutely essential of that time period. It just doesn’t have the same appeal. Which I have a feeling was never this bands intention in the first place. Rating: 6/10

In the grand scheme of 90s rock, The Smashing Pumpkins are a band that admittedly I don’t listen to that often. I actually really enjoy their music too. At least when I really take the time to appreciate it. I’m glad I got the chance to talk about Siamese Dream first. It’s important to understand what the band went through during the recording process of that record and where it left them when the time came to start on this project. Thankfully the sessions here seem to have been a much more calm and balanced work effort. And I think that lack of tension is really felt. Something about the energy of this feels like a band just taking everything they are capable of and putting it all out there. But it’s also a lesson on why you don’t put all of your eggs in one basket. Because most Pumpkins fans will admit, this was basically it for the band. The members will admit that themselves. It was posed as a supposed “final album”. Creatively, they had reached the end. And so, they decided to create a gargantuan double album that puts the solid length of its predecessor to fucking shame. They swung for the fences and exhausted any and all ideas they had left. Which would unfortunately lead the rest of their albums from then on to feel stagnant. But what is here is nothing to scoff out. It’s very impressive, actually. To find a 2+ hour long album that I am not exhausted by is rare. But I will make the argument that this record contains more of the band’s most iconic work than Siamese Dream does. Almost the entire first disc, titled Dawn to Dusk, is fantastic, with very few low points. The second disc does also have some really solid material, like the beautiful 1979, but it also falls short in many places. You can almost see the progression of them loosing steam as this album goes along. It also feels like a remarkably better balanced album than the one before it. The softer, dream pop inspired bits of Siamese Dream weren’t anything to write home about, but they are turned up to 11 here. As a result, we get gems like Take Me Down, Cupid de Locke, and Tonight, Tonight. Additionally this contains some of the sludgiest, most crushing songs they’ve ever written. Zero, Jellybelly, Where Boys Fear to Tread, Bodies, and especially X.Y.U. prove just how brutal this band can be at its heaviest. Tales of a Scorched Earth would be amazing if the mixing wasn’t horrible. In many ways, this feels like a swan song of the best, and worst, parts of the band. Obviously, there was no death or retirement that followed this. But on a particular day, I’d be willing to say that this is better than Siamese Dream as a whole. Rating: 8/10

"Before closing my eyes and moving towards the vision of the Buddha, I respectfully plead to President Ngô Đình Diệm to take a mind of compassion towards the people of the nation and implement religious equality to maintain the strength of the homeland eternally. I call the venerables, reverends, members of the sangha and the lay Buddhists to organize in solidarity to make sacrifices to protect Buddhism." These were the last words left on a note by the Buddhist monk Thích Quảng Đức before he committed an act of self-immolation in the middle of a busy road in Ho Chi Minh City in June of 1963. This was done in protest of the repression and persecution of Buddhists by the South Vietnamese government during the Vietnam War. He is the man on the cover of this album. I begin this with his story because it represents the values at the forefront of this band’s whole existence. Political freedom and agency. “Fuck you, I won’t do what you tell me”. To those that believe that in recent years this group has become complacent and began conforming “to the machine” (as vomiting-inducing as that is to say), the music was never for you to begin with. And to those that lick the boots of the ones Zack is speaking about, but claim that you “fuck with Rage”, you are blissfully unaware of the messages they are trying to convey. I’m aware that all of that seems like a bunch of exposition for nothing. But it actually matters a lot more than the music itself. I’ll still talk about the music though. Rage Against the Machine’s titular debut is one that struck the music industry with the same magnitude as the meteor that ended the dinosaurs reign on the Earth. It proved to the world during a time where metal was at its most dumbed down and derivative that metal could actually mean something. And from track one to track ten, it is an onslaught. This is unequivocally the best record to ever bring rap and funk together with metal music. Nothing else even remotely reaches the same level of quality. Tom Morello gets a lot of flack for being too much of a one-trick pony. But the creativity he brings to the music with his riffs and solos still feels very uniquely him. His sound is instantly recognizable. You immediately know it’s him playing when you hear it. And he proves how effective simple riffs can still be when played with power. The performances from all three musicians backing Zack are very impressive and high-level, but still feel grounded and don’t overdo it. The production is also legitimately mind-blowing. Every instrument comes through so clearly, and these songs sound fucking massive. This debut is marvelous not only for its musical content, but also for its demands of action and change. I come from a place of privilege and luck, so these messages are important to me and my journey in learning more. And we can all do our part to contribute in some way, even in small amounts. So remember, never stand on a silent platform. Know who your enemies are. Fuck Paul Ryan. Free Palestine. Rage Against the Machine forever. Rating: 10/10!

From one conscious hip-hop inspired record to another. Although this is significantly less aggressive and in your face as yesterday’s was. Hilarious that they both have a song titled Freedom though. This album isn’t that politically charged. But there are definitely some choice words regarding the Black American experience which lead it in that direction. To be completely honest, I was anticipating a complete dud here. I’ve become prone to expect that from hip-hop albums I am not already familiar with. They rarely do much for me. But as I’ve mentioned many times, I am still in the process of learning to not judge a book by its cover. But now, I can say this is one of the most underrated hip-hop albums I’ve ever heard. It reminds me of the same feeling I had when I heard The Renaissance by Q-Tip for the first time. I thought, “How are people not talking about this more?” It gets off to an amazing start, but even after that beginning stretch of really great tracks, it is consistently entertaining. This group and the energy they present here really reminds me of A Tribe Called Quest and De La Soul at their absolute peaks. And since the former was on hiatus, and the latter was going through a rough period, this is easily the next best thing. Rarely do the instrumentals delve into anything super complex. But they are effective and serve the purpose they are meant for. Tribe had a very similar mentality. Beats don’t need to be overly flashy or filled with super impressive ideas to be interesting. And I’m always a sucker for hip-hop instrumentals with a little bit of funk and rock thrown in. This is simultaneously reminiscent of the 90s and also some of the best early 2000s rap out there. There’s even a fantastic feature from Nelly Furtado on one song. I love finding little hidden gems like this, and it’s unfortunate that these guys haven’t gotten that much love over the years. Because they deserve it. Rating: 8/10

My love for jazz knows no bounds. This is not new. And not something I need to talk about any more than I already have. But now, I am going to ramble about another jazz album I like. I’ll start off by confessing something. It might break some people’s hearts, and by some I mean no one. As much as I speak so positively about jazz on a regular basis, I rarely listen to it on my own time. I know, devastating, right? So much of my time spent listening to music is focused on super crazy and aggressive albums. But it’s why I enjoy hearing a new jazz record for the first time. It’s a welcome break from all of the other madness I’m hearing. Except in this case, this album may not stray too far from all of that craziness. Out of all the jazz records I’ve talked about so far, this is easily the most energetic. It encapsulates the vibe of life in the 50s, and the way that American culture was evolving. Especially through jazz, which was a vessel for all walks of life to come together. I guess you could sort of categorize this as the last hurrah of a dying breed of jazz. Because when you look at the 60s and 70s, big band and swing music had left the center stage. And some of the big names began moving avant-garde and jazz-fusion. But what a way to go out. The heroin was really cooking back then, because they guys are rolling. Not too long ago, I had the pleasure of playing a game from the 90s called Grim Fandango. And the soundtrack featured there feels very reminiscent of this wonderful period in the 50s. Except this album doesn’t contain all of the Day of the Dead, noir crime thriller aspects. What it does contain is some of the most impressive brass arrangements and dynamics I’ve ever heard. Neal Hefti definitely deserves a shoutout here for his fantastic compositional work. And each member of Basie’s band plays their role excellently. This isn’t necessarily boundary pushing material. And it probably won’t blow your socks off. But it was a fun album to sink into on a beautiful Labor Day afternoon such as today. Rating: 7/10

I wish I could say that my music knowledge was as vast as I imagine it is. But it is quite rudimentary when I break it down. This may seem like blasphemy to some. But I am almost entirely unfamiliar with The Beach Boys. I say almost because, of course, I’ve heard Wouldn’t It Be Nice before. Who hasn’t? But basically nothing beyond that. So the name Dennis Wilson did not stand out to me. I saw the label of country. And after hearing this, I couldn’t disagree with that label more. It let me to expect something akin to the 70s country rock I have heard in the past. And instead I was presented with one of the most intriguing pop rock albums I’ve heard in a long time. So intriguing, in fact, that I was really questioning what I was listening to. To put it simply, I was really impressed. And I figured there must have something going on behind the scenes. Once I saw he was one of the three founding brothers of The Beach Boys, it all made sense. After having worked in that group for over 15 years, he was bound to have acquired some skills and techniques of his own, in both production and songwriting. Especially considering how lauded they were for their ingenuity and boundary pushing ideas. Brian Wilson gets credited as a genius by many, but I think this solo record is proof that Dennis had a lot of talent himself. When the group first began, he wasn’t looked to for vocals often because of how his voice was compared to the others. And the contrast between his mostly baritone range and the music here is very much felt. But there are plenty of cool ideas here, that blur the line between late 70s and early 80s progressive pop, which keeps it interesting. Again, my admiration comes mostly from what I was expecting, and what I actually got. I think the perfect song to really capture what I mean is Time. How beautiful and soft the beginning is, contrasted with how blistering the horns are in the latter half is really brilliant songwriting. So if this is the caliber that I should be expecting from The Beach Boys, maybe I should be more excited for something like Pet Sounds. Rating: 7/10

Off the many records I’ve heard in recent memory, Unhalfbricking was one of the most genuine surprises. I couldn’t have anticipated anything from it, and what I got was maybe one of the best folk albums I’ve ever heard. I wasn’t sure if there other acclaimed record, Liege & Lief would appear at some point too. Turns out I didn’t even have to wait a month. But considering how much I enjoyed that other album, I had real expectations for something good here. And I guess I learned another lesson about having such expectations. Because I am slightly disappointed. I was really hoping for me here. The differences between the two are pretty minor. It’s made up of mostly original material instead of mostly covers, and it leans in a more electric direction than Unhalfbricking did. At least I think so, my memory does not serve me very well. The biggest difference is really the addition of Celtic folk. The closest I’ve ever gotten to other forms of Celtic music was The Pogues, which I haven’t heard in over a year now. But that aspect of the music is what makes Fairport Convention an interesting group. During a period of time where people knew what worked, and chose to chase success over innovation, this band was showing what could really be done with folk. And even if I admit that I had expectations for this, I wasn’t sure if anything would reach the level of A Sailor’s Life from the previous record. It potentially set the bar far too high. This follow-up doesn’t hit the same for me. It is far less consistent from track to track. And surprisingly feels more stagnant, even with all of the Celtic stuff added in. The band is still a very talented group, and they almost enter into a jam territory with the Medley or Matty Groves. I’m also aware I make a lot of Joni Mitchell comparisons, but Sandy Denny really sounds like her. Even will all of those positives, this doesn’t trend in the same directions that made it’s predecessor such a shockingly good record. Rating: 6/10

In my opinion, New York has never thrived more from a music point of view than when it was knee deep into the punk era of the 70s. And its underground scene was led by the momentum from the incredible CBGB music club. Patti Smith was one of the glowing stars from that club who ushered in a new level of creativity to rock that hadn’t really been seen yet. It’s unfortunately rare to see such an electric female figure in a scene like punk. But when they hit it right, you get someone as cool as Patti. What an interesting person. It really feels like you learn a lot about who she is just from these 8 songs. Her lyrics are personal, but also incredibly cryptic. So it may not be immediately apparent what she is speaking on. But so much of her personality just emanates from the lyrical content and delivery. I’ll admit, I do find it a little hard to speak on the actual music here. I was listening to it and thinking “What the fuck am I going to write for this?” I can’t really pinpoint what I like and dislike. It was difficult for me to wrap my mind around. But I know that I liked what I heard. Punk has never been my absolute favorite thing. And the roots of it don’t do much for me. Like for example, I think The Stooges are cool. But proto-punk really is just a devolution of something I’m already not big on. What I can get behind is what I’m hearing here. It’s the proto to the kind of punk I actually like. This isn’t at all a conventional punk album. In the same way that Marquee Moon very much wasn’t. Birdland isn’t my favorite song on this record. But it is undoubtedly a stunning performance from all parties involved. That combination of the uncompromising energy of punk with the avant-garde side of rock is what makes this a noteworthy album. Maybe not my favorite record ever, but I can’t take away what all of these beautiful people gave us in that city all those years ago, and everything that it led to. Rating: 7/10

As over-encompassing as this list is, country music has a surprisingly small presence. And that’s not something I’m necessarily complaining about. Maybe it just isn’t a taste I’ve fully acquired yet. But I do like a country song here and there. And I don’t scoff at people who enjoy it like I used to. But it also really depends on what kind of country music we are talking about. I am an avid and impassioned hater of what the genre has become in modern times. There are few words I wouldn’t use to describe my distaste for the Luke Combs and Morgan Wallen’s of the world. But those people are not the subject of this review. Dolly Parton is. And with this one album, she did a better job at convincing me of the power of country than maybe any other artist before. She’s definitely one of the most iconic female music stars of all time. And it’s impressive that she’s been making music for nearly 60 years, and consistently the entire time at that. I’ll admit that my perception of her had been a little twisted up until today. Simply because she has leaned more into that aforementioned form of music in recent years. But her roots were pure and strong. This album contains all of the things I look for in decent country music. And it also revealed to me just how talented of a songwriter and lyricist Dolly actually is. It’s a lot more sophisticated than I presumed it would be. What really carries the album is her voice though. Her delivery accompanied by the incredibly smooth natural vibrato makes for some marvelous performances. They are powerful, effective and simple. How I’m scoring this isn’t determined by Dolly herself, but more so my attraction towards country, and whether I see myself coming back to this in the future. Which is probably unlikely. Rating: 6/10

I venture today into an album from one of the Soulquarian movements strongest MC’s. Common is an artist that not nearly enough people have spent time with. But you can really tell the difference between a hip-hop fan who knows him and one who doesn’t. Be is by far the most acclaimed record he’s ever released. And it represents the transition that hip-hop was going through in the early 2000s. Remnants of the 80s and 90s gangster rap era were still floating around, but we were also starting to see artists like Kanye West, Lupe Fiasco, The Roots and the aforementioned Common take center stage. They were revitalizing the boom bap sound of the 90s with a refreshed and modernized pop rap twist. And Common immediately makes himself out to be an impressively charismatic rapper. And he does the whole album with very few features. I was also surprised by the length of the record. A flaw many 2000s hip-hop albums suffer from is just being too long for their own good. This is honestly the perfect length. Now, say what you will about what he has gone through and the circumstances he has ultimately led himself into, but Kanye during this time period was on top of the world. There really wasn’t anyone like him. The College Dropout had come out the year prior, and Late Registration would release only a few months after this. And this is simply some of the best work he ever got credited for. Although he is technically only listed as a feature on one song, he plays an instrumental part in almost every track. The only two songs not produced by him are Love Is… and It’s Your World, which were done by J Dilla. I haven’t really had a chance to properly talk about him here before, so I’m taking that opportunity now. I have a very personal connection to his work, and really value just about everything he ever did. And that closing track genuinely made me emotional. Those kids talking, plus the beautiful poeticism backed by the gorgeous piano honestly almost got the tears flowing for me. It’s what cemented this in my mind as a true passion project from two of 2000s hip-hop’s most talented artists. Rating: 9/10

This consensus that some people have collectively come to in recent years that Nirvana is somehow an overrated band has never made sense to me. They may have had a very brief history, but what they accomplished in that time should forever be recognized. But I will refrain from speaking on all of that until I get the chance to review Nevermind. It’s weird how these things align sometimes. The Unplugged record is definitely an interesting way to start. Truthfully I am maybe not in the best position to review this properly. Because I still haven’t finished listening to In Utero. So I am becoming introduced to a couple of these songs from this context. This live album was performed as apart of MTV’s Unplugged TV series. It put artists to the challenge of taking a new approach while performing their own music. And it’s probably one of the best things MTV ever did for themselves. This album is one of the best things Nirvana ever did for themselves. Because it proved they were capable of more than just being “the big grunge band”. You are hearing some of this band’s most well known songs tackled in a completely new context, and it makes them sound entirely different. A group known for their intense live shows and punk inspired energy being able to tone things down is interesting to see. But the essence of the band is still there. Dave Grohl is known for being one of the hardest hitting drummers on Earth. And the amount of control and dynamics he is showcasing here is impressive. And he doesn’t feel out of place. It’s not like he went in unprepared and ended up bringing the rest of the band down. Kurt and Krist obviously sound great too. And the guest musicians, particularly the cellist, really elevate these renditions to the next level. There are a multitude of covers, most of them very good. And of course, there is The Man Who Sold the World. Potentially the only example of a band actually doing a Bowie song better than Bowie himself. But I don’t know if I would label it as the best track on the record. What I enjoy so much about these performances is that they capture what I believe to be the power of live music. Musicians should give fans a reason to seek out live music. Yes, there should be extended versions of songs. Yes, there should be covers. And like this record, you should play different versions of your own music. If live shows were just note for note performances of every popular song, no one would bother. Why do you think bands like Grateful Dead and Phish have such dedicated fans? There is a reason this is so acclaimed. It’s taking already great songs, and doing something fresh with them. I don’t know if I would call it one of the greatest live albums ever. But everyone in that audience was witnessing history. Wild to think this wasn’t properly released on an LP until over half a year after Kurt’s death. Rating: 8/10

Guero was an interesting record for sure. It appeared early on enough for me that I hadn’t really figured out my style yet, and those old reviews aren’t very pretty. I actually remember more of where I was when I first heard the record than the record itself. It entertained me for 50 minutes of a very long and boring car ride to a very boring place. But I didn’t come out of it thinking I needed to hear more Beck any time soon. It’s been nearly a year, so I guess I got what I wanted. Beck has had a slightly quirky sense of songwriting from the beginning of his career. But there have been times, such as with this particular album, where he chose to abandon that aspect of himself for something more serious. I respect him as a musician. Because he is capable of switching things around so often and still sounding competent at the very least. This album sees him under the lens of alt-country and folk. It’s like he’s trying to be Wilco. Or Neutral Milk Hotel. Or Radiohead. Or more like all of them at once. Except the latter most of those could really go both ways. If someone told me Thom Yorke and company used this record as inspiration for A Moon Shaped Pool, I’d probably believe them. Why I say it’s all of those at once is because almost all of these folk songs are accompanied by some form of synth or string arrangement. Which are intended to add some level of emotion and intensity to the music. And when they successfully do so, they are quite evocative. But when they don’t, it’s like “Ehh, okay, cool I guess”. Where I began to take issue is the structuring of the songs themselves. Every track follows what feels like a very uniform, cut and dry pattern. They all sound the same, and most don’t get interesting until around the end. And some of them are too long to justify listening to the whole thing to get to the good parts. I don’t hate any one song, but I also don’t know I need 50 minutes of this album. It’s supposedly about a break up. So I don’t know, maybe if I’m going through a particularly rough split later on in life, I’ll give this a second shot and gain a new found appreciation for it. Rating: 5/10

It seems that this week I’ll be spending my time revisiting old friends. Kraftwerk is notable to me because they are one of the very few electronic artists that I’ve had good things to say about. Unfortunately though, much like with Beck, I enjoyed the album I heard in the past far more than the one I heard today. I really admire how ingrained German culture is into their music. This album’s title is Autobahn. Which means highway in German. It’s only notable because the Autobahn system generally doesn’t have speed limits. And the main lyrical motif of the song is just the band saying, “We are driving on the Autobahn” over and over. It’s very lighthearted. The subject matter of the song, and the album as a whole, might lead you to believe this is fast-paced, action packed electronic album. But it is actually far from it. It’s way more an ambient and progressive electronic record. The titular opening song is a beast that breaks past the 20 minute mark, and takes up about half of the runtime. And it is a pretty great song. Easily the most complete feeling piece of music for sure. But it causes this record to suffer from the same issue that 2112 by Rush does. Most people probably don’t remember this for anything else, because it’s sort of hard to ignore the massive opening track. I mean, it’s even the only song that has lyrics. Everything else after just sort of clumps together and becomes very forgettable. I think context is important for this group. You can make the argument that this sounds dated and a product of its time. But imagine being 20-something years old in 1974, and hearing this for the first time. It would probably blow your fucking mind. This sounded like the future. It’s like The Jetsons equivalent of music. There is a good chance they assumed all music would eventually sound like this. Even if 60% of this is mostly lackluster, this guys are still easily the most forward thinking and influential electronic act ever. And they would go on to have far more notable and entertaining albums in the future. Rating: 5/10

Can is a band I have a ton of interest in. I’ve had to actually hold off on diving head first into their most popular records because I want my first listens to be through the context of this list. I assumed upon first glance that Holger Czukay was a much smaller artist, because the name did not stand out to me. A quick Google search informed me that he was one of the founding members of Can. Which immediately piqued my interest. I’ve found that the way things often trend with these kinds of albums is not great. Rarely does an artist break away from their band to create something on their own and find the same success. A good example would be The Nightfly by Donald Fagen. I wouldn’t put that anywhere close to the best material from Steely Dan. So I imagined the same thing would happen here. Except this is less of a solo album than you might think. Because I’m pretty sure every major contributing member of Can appears in some capacity on this album. Which should mean this is another great outing from a sick band. And there isn’t really anything inherently wrong with any of the four songs on this album. They were all varied enough to keep me interested. And I always appreciate some longer songs, of which this record has two. And those two are most definitely the best this has to offer. Specifically the first of the two. Oh Lord Give Us More Money is actually pretty sick. Hollywood Symphony isn’t that bad, but admittedly it sounds like the band trying to fit as much of themselves into the span of 15 minutes. Cool in the Pool is like a pseudo-disco krautrock combo. And the band themselves are still on their A-game. Can is known for being incredibly influential and forward thinking. And the way they used sampling was completely unlike anything else of the era. It’s just that something about these songs feels lacking. Even if they are varied and interesting, they struggled to hold my attention for very long as the band noodled and jammed along. I like music that sets out to challenge the listener in some way, like experimental rock. And I enjoy seeing its presence on this list. But that doesn’t always mean the albums are all that good. Rating: 5/10

I’ve had some pretty rough patches in my many weeks of doing this. I would definitely group this week in with those. It’s not that any of the records have been objectively horrible. But I’ve found them to all to be very average, and bordering on something I don’t enjoy. Like, they each had only a handful of songs I actually saw as highlights. And just based on the cover and artist, I assumed that I would be continuing the streak. It’s an unfortunate aspect of the way I perceive artists. And I wasn’t seeing people saying any glowingly positive things. So I was ready for a stinker. But when the sax kicked in on the first song, I realized that I might have been wrong. And as each song went by, I started to get confused. Sometimes I really struggle to understand where the hate comes from on some of these albums. I’ve heard some amazing records that I find are receiving far too many negative comments and reviews. But isn’t that really just the beauty of music? It’s subjective for a reason. I initially thought this was gonna be a super flashy and over the top case of mid-70s pop music. The kind that was basically previewing what pop would become in the 80s. But it’s actually far more adjacent with art pop, soul, and gospel. Which is honestly one of the most underrated genre combos. And I think Dion did a really great job at putting these ideas at the forefront here. It also utilizes this “Wall of Sound” idea that I was not familiar with until today. It’s something that was created by the producer Phil Spector, who I guess happens to be a convicted murderer, where many instruments are layered on top of each other and are all playing at the same time. I wondered why a member of Primal Scream credited this as an inspiration, but now I see that it’s potentially one of the earliest examples of neo-psychedelia and shoegaze. So I think it should get some bonus points for that. This is a pretty average record, and I’m not blown away by it. But in comparison to the rest of what I’ve been listening to, it’s pretty solid. Rating: 6/10

And so the streak I spoke of yesterday continues. It’s been a rough week. I’ve been exhausted almost the entire time, and these albums are really not helping my case. I’ve spoken before about my dilemma when it comes to music released generally before the year 1965. So I won’t bog this review down by saying anything more. Truthfully I didn’t know there was a musician named Booker T. Because I always assumed that was a wrestler. But Booker T. and Booker T. Jones are two different people. The consensus towards this album seemed to be that the titular opening track was the one, and only, highlight. I wondered how that could be. And then I pressed play and understood why. Green Onions is actually an incredibly iconic song, that probably needs no introduction. Everyone has heard it at some point in their life, whether they remember it or not. So I can understand why this record is notable for that song exclusively. It is hard to do better than that. Definitely one of the most defining soul songs of all time. I saw a comment someone made that said Green Onions was released first, became super popular, and then everything else was recorded after, in hopes that they might capture the same energy and get another hit. I don’t believe that’s true at all. The only song that really sounds like they were trying to replicate Green Onions is Mo' Onions, which is pretty obviously a reprise of the former. And it’s still a decent song at that. Besides those two tracks, there is only one other piece of original music on the record. Everything else, including the entirety of the B-side, is all covers. So that’s not where my issue lies. Why is not giving this a glowing score is because almost everything else this has to offer past the first four songs is super lackluster. If Green Onions and I Got a Woman weren’t included, this was just be looked at as the weak debut from one of soul music’s most important groups. Rating: 5/10

I just can’t seem to catch a break. Although I am fully aware of the massive influence that the debut album from The Velvet Underground record has had on dozens of artists and bands. But that doesn’t mean I enjoyed the record. I heard it very early on, so there is a chance if I went back, maybe I would like it more. But fans of the album really like to throw that influence thing around a lot. I’m convinced it’s because they have all had to force themselves into submission until they think it’s the greatest thing since sliced bread. I found it incredibly average. And my least favorite part of the whole ordeal was 100 percent Nico. I did not expect to be hearing from her again though. I had no idea she even maintained a career after her stint with Lou Reed & co. Except, similarly to the record from Holger Czukay that I spoke about earlier this week, this is not really much of a solo album. Most of the actual instrumental contributions come from members of The Velvet Underground. And all of the flute and string arrangements were added by the producer Tom Wilson. Supposedly against her will too. Which sort of highlights my issue with her as a whole. The woman had zero experience with any instruments. And was relying solely on her former band mates to create good music to back her. But thinks the arrangements are unnecessary? This would be 10 times more unbearable without them. They are one of the only consistently enjoyable things from song to song. I won’t make the claim that she couldn’t sing, because I don’t believe that’s true. And I don’t abhor her lyricism. I listen to a fair share of artists with pretty strange lyrics. But it feels like the ultimate music equivalent to a fake deep Facebook post. She tried really hard to make the lyrics sound like something they aren’t, and I do not connect with them at all. Nico truly is not the reason why this music is even remotely interesting. Not at all. The rest of the band is hard-carrying her on their backs. I just fail to see where the brilliance or genius is. It is beyond me. I wouldn’t give someone any scrutiny for listening to her music. But I have heard dozens of other records that are far more memorable or remarkable. Rating: 4/10

I had a hope that maybe after powering through the last 6 days, the universe would throw me a bone. And I am delighted to say that it did. I didn’t know what to expect, but I don’t think I could have asked for something better. The name XTC seemed oddly familiar to me for some reason. I’m sure it’s just because I’ve come across the name at some point on the internet. But I had never heard music from them. I saw new wave and post-punk being thrown around, but this album in particular was being labeled psychedelic pop rock. So I was intrigued to say the least. And it seems like the band intended to thrust the listener into this unique world very quickly. Unlike the music from earlier in their career, this draws heavily on the contemporary sounds of the 60s. Taking inspiration from Love, The Zombies, Os Mutantes, and of course The Beatles. 1000 Umbrellas could probably fit right in on Revolver. But they don’t entirely abandon their roots. Because the jangle pop and new wave foundations are still here. And somehow, they manage to make this undeniably strange combination work. And near flawlessly as well. This, to me, is the absolute best example of why I still love doing this even after all I’m put through. Finding new music that really blows me away like this makes it all worth it. This album balances lighthearted and super catchy songwriting with some amazing arrangements. The Man Who Sailed Around His Soul is straight up a jazz pop song, and it is way too fucking cool. It also has some spectacular production from Todd Rundgren. Although I’ll agree that the mixing could be a little more full in some places. I just really admire what they are doing here. Every song is doing something original and unique. And there aren’t any objectively bad songs that I outright dislike. It’s all around a very impressive effort. I’m just happy that I was able to end potentially the most lackluster week I’ve ever had on a strong note. Rating: 8/10

The Foo Fighters, or more specifically Dave Grohl, have been in the news quite a bit over the last few days. Maybe not for the right reasons though. I will not let the marital affairs of the band leader affect how I review this album though. I have respect for this band. To the dismay of many. I think what Dave has managed to do is impressive in and of itself. But when put in context with what was going on personally for him, it makes it even more interesting. This debut record, which was actually recorded entirely by Dave himself, was a bounce back in many ways. Loss is never easy, and to spend years recording and touring with someone only to lose them to mental health is devastating. He doesn’t spend the entire length of this record speaking about Kurt. As far as I know, none of these songs were written about him. But there is definitely an energy present here. I feel like we were witnessing a man secretly vent out all of his frustrations and built up emotions. And doing so in the only way he knew how. Now I personally believe Dave to be a genuinely talented songwriter. I had no doubts that the drumming would be amazing, because this is Dave Grohl we are talking about. So many amazing fills all over this that just make me giddy. But everything else going on is still worthwhile. It comes in hard, and from front to back, is dominated by double tracked guitars that are distorted and blown out to shit. It’s easily the most raw and aggressive record the band has ever released, even delving into shoegaze territory at some points. I think this group often gets a bad wrap. And to a degree, I think it’s justifiable. By nature, they make music that falls more on the basic side. It isn’t meant to challenge anyone or alter the way someone looks at music. But it fulfills a very specific desire for a sound that many people have. It’s why the band remains so popular. And I’ll admit that I too have a soft spot for something like this. Now of course, I’ve heard much more sophisticated albums that completely blow this out of the water. But that doesn’t mean I can’t appreciate what’s here. Rating: 7/10

This list never fails to surprise me at every single possible turn. I believe this might be the first record I’ve listened to that has no form of a Wikipedia article. Which left me with next to no information regarding what I was going to be hearing other than the genre label of Tango Nuevo. I always feel compelled to have at least some semblance of background or context for each album, so instead I looked into the performers themselves. And the two lead men who are credited on the cover are nothing short of world-class musicians. I had never heard of them before today, but their work is intrinsic to the evolution of their respective careers and instruments. Gary Burton is one of the most innovative and widely imitated vibraphonists of all time. And is known for pioneering the style of playing with four mallets at the same time. On the other hand, Astor Piazzolla is a renowned Argentinian tango composer and bandoneon player, whose pieces basically created the genre of Tango Nuevo. That genre takes the sound of tango and fuses it with the tropes of jazz and more Western world music. And from the moment this starts, there is something inherently entrancing about these songs. Such strange sounding music, but performed at a monumentally high level of skill. The two instruments of focus here and relatively unfamiliar to me, but immediately I knew I would never hear another person play them to a degree of such quality. But there is also something inherently off putting about this music. It sounds creepy, and the amount of atmosphere and dynamics they create is remarkable. There is one sound I heard multiple times throughout which sounded like a police siren passing over my head. Even with all of this though, it isn’t something I would ever desire to come back to. As mind-boggling as what I’m hearing is, it’s more an experience you go through one time. I think the talent and dedication definitely still needs to be recognized though. Rating: 5/10

I understand the sentiment many have about certain artists maybe appearing on this list more than is warranted. But I’ve personally never felt this way towards Bob Dylan. Ever since I heard his sophomore album, I’ve genuinely looked forward to hearing the best of his career. Plus, as the weather gets colder and closer to autumn, his music really seems to thrive. I’m making a pretty big jump here, to Blonde on Blonde. Which is one of the most critically well received records he ever put out. It was the finale to the trilogy of rock records he put out in the mid-60s, which many would argue was the best period of his career. And it definitely feels like a direct evolution of The Freewheelin' Bob Dylan. It highlights every aspect of what makes this version of Dylan so memorable. The backing band is definitely present, but it works best when the changes they are adding are more subtle. Like the brief snippets of organ sprinkled in here and there. And although I didn’t really need to hear another album to know if I was sure of it, this listen absolutely cemented my thoughts on Dylan as a writer. I don’t think it’s unreasonable for the argument to be made that he is the greatest lyricist of our time. I can’t think of any other artist who can claim to be a Nobel laureate for literature. His style is distinct, evocative, strange, and infinitely influential. The dude has been around for 60 years. Name one famous rock artist that’s made music between 1975 and now, and I can guarantee you Dylan inspired them in some way. And there are some absolute career highlights here. Visions of Johanna would be the magnum opus of an average person, but it kind of just feels like another song for him. I think that’s what draws me to his music so much. For as much of a rockstar as he is, something about him has always felt very ordinary and normal. He represented the same corner of music as Jerry Seinfeld once represented for comedians. I’ll be honest though. This isn’t as good as I anticipated. Considering it’s a double album, it maybe drags on a bit longer than it needs to. And some of these tracks sound very similar to each other. But by no means is this a bad album. Rating: 7/10

An unfortunate truth about this list is that only a small percentage of it is taken up by female artists or female-led bands. Which is why people like Patti Smith or Janelle Monáe stand out, and deserve to be properly recognized. I’ve been around enough to have heard the name Kacey Musgraves before. She is one of the modern country industries’ biggest stars. And one of its most widely celebrated. I’ve explained before why I have such a disdain for the state that country music finds itself in now. So I was still slightly apprehensive towards this. But I had also had decently high hopes for something mildly interesting. Even if I had only listened to the first song, I would still easily be able to come to the conclusion that this doesn’t belong anywhere in the same conversation as those other artists are in. It instantly sets itself apart. It’s probably why so many country artists commit to making such similar music. They know it works, and if it ain’t broke, don’t fix it. But this record is proof that sometimes that change is good, and warranted. And it can be nice to branch out at some point and explore new avenues. Make no mistake though, the country roots of her music is not abandoned. But this is much closer to dream pop in many ways, and fuses that with contemporary country music. Unfortunately I find that I can’t rate this too highly, because I still have some issues. It’s not very long at all, but the best of its ideas were pretty much worn out by the half way point. Kacey can sing well, but the range and variety in her vocals is a little flat for my tastes. And even though I’m not ever going to country music to find really thought-provoking lyrics, but man, the writing on this is admittedly pretty bad. Maybe I shouldn’t say bad, but definitely incredibly basic. I think I was looking for more than I actually got here, which is disappointing, considering how strong this starts. Rating: 6/10

I can’t explain how happy it makes me that Rush has a place on this list. I am going to try my best to explain why I love this band so much, and why they make me so giddy. I know for many, this group means nothing, and they’ve never understood where the love comes from. The admiration I have for each member of this band is beyond myself. I stand by this. Rush is the single greatest 3-piece band in the history of everything ever. The fact that all three of these guys are entirely in a league of their own, and are easily some of the best musicians of their respective categories to ever live is mind blowing. But what’s even crazier is that they managed to come together for 40 years and make wonders like 2112. Other than Moving Pictures, this record is by far the one most acclaimed and most respected. And any Rush fan knows why this is. The band was struggling at this point, and was being pushed to make more commercially appealing music. What they responded to those pushes with was the monster that is the opening track of this album. The trifecta of most essential progressive rock songs ever is made up of three big boys. Shine On You Crazy Diamond, Close to the Edge, and the titular opener of 2112. It’s nothing short of a science fiction epic that packages an entire movies story into 20 minutes, and also happens to be backed by some of the coolest music ever. The pacing is just magnificent. Not one section drags on for too long. As a musician, I’d be terrified to try and create something to follow up a song like that. But I’d also have the biggest ego ever, because I just made 2112. But of course, considering my score, there has to be a caveat. Unfortunately the band kind of screwed themselves over. That song is too good, and nothing else even remotely compares. Every other song combined doesn’t even reach the length of the title track. The rest is more adjacent to their initial hard rock sound. I actually like A Passage to Bangkok a lot. Something For Nothing and Lessons aren’t horrible either. But The Twilight Zone and Tears are two of their least memorable songs. There unfortunately isn’t much else going on here. But the sheer excellence of that first song more than justifies how I’m reviewing this. Rating: 7/10

I don’t need to waste any more energy talking about why I haven’t enjoyed a good 80 percent of the albums that I’ve heard from the 60s than I already have. I feel like I’ve made that pretty clear. But that doesn’t mean that I still don’t cringe a little when I see a release date between the years of 1960 and 1969. The records generally tend to get better in quality towards the end of the decade though. Some of the best albums from Bob Dylan, The Beatles and The Doors came out during those years. Today’s group seems to be one that has unfortunately been lost to time. I’ve certainly never heard of them. But they seem to have been relatively successful in their time. This album in particular is largely considered to be their strongest work. And it is also considered one of, if not the first rock opera ever made. Which makes it influential for a ton of bands. Rock operas too often suffer from a lot of bloat though. I don’t know why every band felt compelled to make their rock opera some massive double album. I’m looking at you Roger Waters. Double albums definitely have to justify the length. Thankfully this record is not a double LP. It’s actually a really well paced 40 minutes. And it’s consistently interesting for those 40 minutes. I didn’t really dive into the actual theming very much. But I enjoyed what I was hearing. A few of these songs contain some of the roughest and most early punk sounding psychedelic rock I’ve ever heard. And the sort of weird, experimental sounding stuff isn’t too obtrusive. It doesn’t feel like the band sought out to make the craziest thing ever. They just happened to know what they were doing and made a sick record in doing so. It’s one of the only albums in recent memory where it finished and I went “Man, that was really cool”. I always love that feeling. Rating: 7/10

Talk Talk is one of the last groups I would have expected to find on this list. And this album is the one most people would say least deserves a spot. Not because it’s bad, but because its two successors are generally received better. They are regarded as one of the most influential and important bands in the history of post-rock. They were also one of the first groups to really that sound on the map. But they didn’t start out like that. Their debut and sophomore albums were more synthpop based, and for their third record, The Colour of Spring, they developed themselves into a progressive art pop sound. Bands and albums like this open up an interesting conversation. This is a list of 1001 albums that everyone should hear before they die. One would assume that the creator is trying to say these are essential. But should a list of essentials include albums that will most likely challenge the average person? Many would say no. That’s not what they are interested in hearing. But I would beg to differ. I think the best thing you can do for yourself, especially if you have a passion for music, is branch out and listen to things out of your comfort zone. But I can’t speak for everyone. I may not necessarily be challenged by this as a listener, but some might. But I can still acknowledge that this is weird. Easily some of the most unique sounding pop music I’ve ever heard. It is still very much an 80s record, both good and bad. But, much like 60s psych rock or 70s hard rock, there is a lot of fluff to be found in 80s era pop music. But this thankfully avoids that. There is a certain level of quality this displays that those other bands don’t have. The amount that they manage to pack into song is incredibly impressive. Most songs are constantly evolving, but have one specific aspect that it revolves around, like the lead guitar on Life’s What You Make It. In the grand spectrum of 80s music, this presents itself as one of most interesting and sophisticated new wave releases of the decade. And I think that more than justifies its presence on the list. Rating: 7/10

Kendrick actually making an appearance on this list is simply one of the best things ever. If I were ever to be asked to prove why hip-hop is such a powerful art form, I’d direct them to any one of this man’s records. But this major label debut is not a bad choice in the slightest. Beyond how much of a masterpiece this is from a writing perspective, it also made massive waves. It’s the longest charting non-greatest hits rap album of all time. And nearly every song on here was a hit. This shit ruled the 2010s. And Dot is arguably the most acclaimed rapper of our generation. And I’m willing to argue he is probably the greatest too. Here’s the way I see it. Any artist capable of making an album as retrospective as this one, and an album as introspective as Mr. Morale & The Big Steppers is nothing short of a genius. It takes a lot of to be so honest and reflective on your own self, especially in hip-hop. Whether you like it or not, it’s an industry riddled with bigotry, racism, gang violence, an ultra focus on materialistic things, and the hyper-sexualization of women. What makes this album so compelling is that it doesn’t pretend these things aren’t problems. But it faces them head on and highlights the impact they have on the average adolescent. And more specifically the impact they had on Kendrick. The album as a whole is stylized as a short film, and the first song begins the story moving forward a bit, where he talks about his relationship with a hoodrat girl named Sherane. Gang banging runs in her family, but he chooses to ignore it. Backseat Freestyle is sung from the perspective of an adolescent kid who is stuck in the tides of a corrupt system. The Art of Peer Pressure is a perfect example of why he’s such a sublime storyteller. Kendrick and his friends plan to rob a house without getting caught, and although he knows he shouldn’t be doing it, the pressure from his friends pushes him on. I’ve never been huge on Poetic Justice, simply because I’m not a big fan of Drake. good kid shows him confronting gang violence, and how it fueled him to leave Compton behind and become something more. m.A.A.d city exemplifies the intensity and confrontation of the streets. Sing About Me, I’m Dying of Thirst is, in my opinion, not only his best song, but the best hip-hop song ever made. And the messages left by his parents at the end of Real makes me genuinely emotional. In my mind, there is objectively nothing wrong with this album. I would say it’s the 2010’s finest rap album, but this isn’t the only time I’ll be talking about Kendrick on this list. Rating: 9/10

I did not get off to a good start with Leonard Cohen at all. His entrance into the 80s just felt wholly off to me. His voice over those sounds was not a match I wanted or needed to hear. Unfortunately it seems I’m continuing the trend with this album here. It’s not that I’m not a fan of Leonard and what he created. Because I see the potential for something really interesting. His voice was incredibly powerful, even if it has a serious lack of depth and range. There is just so little going on there, and it almost makes this feel more like spoken word poetry put over music. Which sort of makes sense, since he basically was a poet. No doubt he was a talented writer and lyricist. But I have yet to see what makes him one of the greats. Because from a musical standpoint, I find him incredibly uninteresting. The arrangements that Leonard’s very minimal approach to vocals are placed over are also incredibly minimal. At least on this record. I’ve heard that’s not exactly the case on something like his debut. There is an interesting idea displayed here and there, but these instrumentals, put together by Bob Johnston, are so drab. The album as a whole is potently melancholic, which I can appreciate. Especially with the weather getting colder and being particularly gloomy around here today. My biggest issue with Mr. Cohen’s music is how focused it is on the lyrics. I think it’s doable to make an album with as intriguing writing as this, that doesn’t shove the music part to the side and nearly forget about it. Pink Moon is a great example. Very simple, but insanely effective. Rating: 5/10

It has been nearly a year since I first heard The Score by The Fugees. By no means did I dislike it. But I really only remember two things clearly. The first being that I didn’t like it nearly as much as some. And the second being Ms. Lauryn Hill herself. It’s hard to go into any popular music discussion, especially one regarding the 90s, without mention of this record. It’s inescapable. It almost has this mysticism about it, where it’s more sacrilegious to have not heard it than the other way around. Apple ranked this as the number one best album of all time. And to many, that wasn’t inaccurate in the slightest. So you have to imagine, if you were in my position, I was expecting something pretty miraculous here. So, what do I think? I sort of see it. This is easily one of the most celebrated R&B albums of all time, potentially second only to Thriller. Except I can say for sure that every song on that record was iconic, and aside from a few faults here and there, it’s almost flawless. This album suffers from being super front-loaded. Lost Ones to Doo Wop is an incredible run. But it definitely loses a lot of steam from then on. There are still good songs though. This is probably the most complete sounding R&B album I’ve ever heard. It falls in with that group of records that I like to say leave no stone left unturned. It’s incredibly dense and includes every aspect of the instrumentals that should be present. It’s basically spotless production on all fronts. But this allows to speak on an opinion I have. As much as I respect Ms. Hill, because she’s an incredibly intelligent person, I feel people maybe give her a teensy bit more credit than she is deserving of. I think some have this perception that she’s like the female equivalent to Prince. The truth is this album is as good as it is because it has one of the most star-studded, stacked list of musicians performing on it and overseeing it. I feel like having James Poyser is enough, but that is barely the tip of the iceberg. Lauryn has a beautiful voice, and she provides more than enough. But listeners should also give credit where credit is due. This is still a great album though. But best of all time? I’d have to disagree. Rating: 8/10

This is another great example of an album I had no knowledge of, that I believe fully earns its spot on this list. I don’t care how people feel about this kind of music. It appeals to me in a very particular way. Fair warning, if you are looking for something that is really going to engage you through your whole listen, maybe pass on this one. I’ve often found electronic music, and things adjacent to said genre, to be really great for background music. Like studying and stuff. I know for a fact I’m not alone in this either. Lofi hip-hop isn’t electronic, but those 24/7 live streams exist for a reason. And this album definitely falls into that category of music. Someone described it as high quality phone hold music and I love that comparison. They aren’t even far off either. The production and elements being pieced together actually sound really good. I love the use of real live instrumentation, like the keyboards, double bass and violin. Plus another great thing about electronic and downtempo music is how infinitely versatile and unique it can be. When combined with other things, the possibilities are basically endless. For some reason, I’ve been getting more and more familiar with tango music recently through the list. And this is categorized as electrotango, which obviously combines the two genres. And the Latin feel of this, plus the mild World music inspiration gives this a totally different vibe. Queremos Paz is a fantastic way to start. My biggest issue is the length. This is nearly an hour long, and by the half way most of what it is has to say has been said. It gets pretty stale towards the end. But there are a few highlights spread through out. Rating: 6/10

Man I have been waiting for this one. I’ve gotten the opportunity to talk about both Bossanova and Surfer Rosa in the past. And I’m glad that I got to save the best for last. Because Doolittle is something else man. People need to really educate themselves on what the Pixies were doing. I always label them as one of the greats. And there are so many reasons why. Arguably the first indie rock band. And really one of the only groups that sounded like they were in the 90s in the 80s. They were way ahead of the curve. This is barely even an 80s record. But since it was released at the tail end of the decade, it earns itself a spot in my mind as one of most important records of that era. Here’s how I see it. If we look at the timeline of rock music, stretching all the way back to the 50s, there is a clear distinction between what we understand as rock pre-Doolittle and post-Doolittle. Things just weren’t the same after this released. It changed the fucking game. I mean this wholeheartedly. Nothing can convince me otherwise. It’s the same way I look at Nevermind and the alt-rock of the 90s. Funnily enough, Kurt Cobain was a huge Pixies fan. He claimed Smells Like Teen Spirit was his attempt to make the ultimate Pixies pop song. It definitely has that loud, quiet, loud feel that they pioneered. But I’ve always felt I Stay Away just oozed influence from them. Plus, they got Steve Albini for In Utero. But Nirvana is just one of many who loved this band. Pavement, The Strokes, PJ Harvey, Radiohead, Weezer, Modest Mouse, and even David Bowie for god’s sake. Creep is another song that fully embraces that same song writing structure. And of the three albums I’ve heard from this band, this contains everything that makes them so good. It is the body paragraph to Surfer Rosa’s thesis statement. The guitar playing is more interesting and dynamic. Frank Black is giving the best vocal performances of his career on tracks like Tame or Here Comes Your Man. And Kim Deal is one of the most kick-ass bass players ever. I mean, every time that line comes in at the beginning of Debaser, the neurons in my brain activate. I’ve grown up with that song because of a beautiful little video game called Skate 3. And I’m glad that as a young adult I’ve realized how awesome it really is. The impact this has had is nearly immeasurable. And I admire it as a piece of art so much for that. It also just so happens that the music is sick too. Rating: 9/10

I see Doggystyle as a companion album to The Chronic in many ways. They both released in close proximity to each other. Both feature Dr. Dre as the lead producer. Both have a very similar style. And obviously, both feature Snoop Dogg. One much more than the other of course. Snoop is one of those figures who has extended himself so far beyond his rap career at this point. Streaming gaming on Twitch, judging in the Olympics, and even becoming a member of FaZe Clan and getting his own skin in Call of Duty. What hasn’t he done at this point? I don’t know, maybe drop another record as good as this, but that’s just me. None of those interesting side-quests diminish from the quality of this album. If you enjoy The Chronic, or any other album Dre has played a significant part in, you definitely should have heard this by now. It’s equally as important to the 90s and the evolution of hip-hop as a genre. I mean, Snoop Dogg is nothing less than an icon at this point. It’s kind of ironic how earlier this week I talked about good kid, m.A.A.d city, and how its narrative revolves around the influence that the impact of Compton had on both Kendrick and those he grew up with. This especially has to do with gangster culture and the music. This record is the utter epitome of that culture. It is everything people love, and abhor about that sort of music. This really was gangster rap at its peak. It was thriving during this period of time. Dre continues to prove himself as one of the most competent and effective producers of all time. And Snoop just has a really great energy through out the whole thing. Again, because of everything else he does, I think people forget how strong of a rapper he really was back in the day. This is definitely equally as good as The Chronic. But I would almost argue it is more memorable and overall a slightly better record. Rating: 8/10

I couldn’t imagine being in Janet Jackson’s position. Being a naturally talented and well known musician, and still managing to be overshadowed by your sibling would break any normal person down to their core. Plus, that whole accident she had at the Super Bowl Halftime Show ended up being a much bigger deal than it needed to be. It basically got her blacklisted, and was even the reason why the term “wardrobe malfunction” exists. Now granted, it is kind of hard not to be overshadowed by Michael Jackson. Because it’s fucking Michael Jackson. But I’m not going to spend this review comparing her music to his. That wouldn’t be doing her justice. I’m actually glad I get to explore the history of the Jackson family a little deeper than their biggest star. It’s a whole generation of very talented people. And Janet is no different. This is just the complete opposite direction that I would imagine her music would go in. This surprisingly turned out to be one of the most intense listens I’ve had on this list so far. At least some moments feel that way. Truthfully this is the evolution of the 80s sound, and what it developed into right at the cusp of the 90s. People began to abandon the dance stuff for something more fitting of a nightclub. Darker and more in your face. But it’s impressive how Janet and the people she worked with managed to pull that off while still maintaining a level of radio-friendliness. This album was judged on release for its pretty blatant political theming and lyricism. But it was also acclaimed for its production, and rightfully so. There is some really cool stuff going on. The opener alone is indicative of that. But there are also some really beautiful songs, like Livin' in a World and Come Back to Me, which sound closer to what Janet might be known for. I can also appreciate the theming here. I think it’s admirable that a person of her size was willing to write an album like this, even with the opposition from her label. She used her platform for something important. Janet has actually always been an icon and innovator in the contemporary spaces of late 20th century music. And I enjoyed most of this album thoroughly. Rating: 7/10

I’ll just start this out by being as honest as I can. I didn’t enjoy this very much. You could honestly stop reading there and I wouldn’t blame you. Truthfully I don’t have a lot to say. Usually what I’m going to write naturally comes to me as I’m listening to a record. But I don’t have much today. I’m going to try my best though. Folktronica, in practice, makes sense. Of course, why wouldn’t two of the most adaptable genres of all time come together at some point? Few spaces have more room for eclecticism than electronic and folk music. But it takes a certain person to really do it right. And I don’t think this album falls into that category. There isn’t a lot going on in each song. This might be more fitting for an afternoon where you just need something to wind down. I’m well aware I make this comparison far, far too often. But I can’t help myself. Beth sounds a lot like Joni Mitchell. When I say that, I mean it in a good way. Being compared to Joni as a female folk singer is like being compared to Bob Dylan as a male folk artist. Except Beth’s voice is not nearly as clean, and there are a couple areas where I felt she sounded off. These songs also drag a lot. I don’t think this really needs to be nearly an hour long. I actually enjoy the songs that focus more on the electronic half more than the folk ones. The tracks where it is mostly just Beth and an acoustic guitar are not all that interesting, especially considering their length. Sometimes there are days where I’m not really given much to work with. So again, I tried my best. One can only hope for a more thought-provoking record tomorrow. Rating: 4/10

I’ve heard The Isley Brothers before. But I haven’t really heard them, if that makes any sense. It doesn’t, so I’ll elaborate. I’ve spent enough time with hip-hop music, both classic and more new age stuff, to be familiar with the work of this group. I mean, they are single-handedly responsible for one of the most iconic drum breaks of all time, second only to maybe the Amen break. And it’s been used in two massive hits. Them Changes by Thundercat and It Was a Good Day by Ice Cube. Beyond those two songs, they have been sampled by producers and artists alike. Maybe more than any other group ever. So many iconic songs and so many amazing producers. J Dilla was a huge fan of using these guys. So that’s what I mean when I say I’ve heard them. But I’ve never actively sought them out on my own, until today. Once you get past the reputation they have as your favorite producer’s favorite band, and actually dive into their music, you will realize just how much fun there really is to be had. This record is relatively short, straight forward and to the point. Which are all things I love. And once I really got into this, I realize The Isley Brothers are one of the most instrumentally sound funk groups there ever was. These guys just ooze a euphoric and incredible energy. And it’s hard to not be in a good mood when something like Summer Breeze is playing. Plus the playing done on guitar and keyboard here is immaculate. I wish you could have seen the visceral, physically reaction that I had to The Highways of My Life. It was like they shot me in the soul with an arrow of love, and I felt amazing. If you are in need of an uplifting listen, or are already having a great day and need something to bolster that even more, give this a chance. Rating: 7/10

When I saw Rings Around the World by a band called Super Furry Animals, I had a legit what the fuck moment. I couldn’t have possibly imagined what this might sound like. And I’m still not a hundred percent sure what I listened to. Beyond the list itself, this is just downright one of the strangest albums I’ve ever heard in my life. SFA are a Welsh band that were one of the leaders in the Welsh music renaissance of the 90s. That might lead to someone thinking this is just another generic early-2000s UK rock album. But it is far from it. The best comparison I can give is if Quebec by Ween wasn’t made by Gene and Dean. More like it was made by slightly less talented musicians who have their heads screwed on even less tight. Or maybe if Mr. Bungle and The Flaming Lips came together on a record. I’ll give credit where I believe credit is due though. This does a great job at proving how eclectic and genre-bending rock can really be when the musicians are willing to dip their toes into more weird territory. Here is the best example I can give that highlights what I’m trying to get at here. On the Wikipedia article for this album, it claims Paul McCartney was involved in the recording of a song. When you look at the additional musicians, he is credited as having played the “carrot and celery” on track 5. What the actual fuck does that mean? This is either some inside joke, or this relatively small band actually got Paul McCartney himself to play vegetables on this one song. I’ve tried my best to hear where it plays a role, and I’ve got nothing. But I grin at the fact that it’s even there somewhere. These are the kinds of things that make this admirable at the least. Unfortunately I find a lot of the music to be really lacking. It’s not boring, that’s for sure. But it borders on a bunch of different ideas mashed together into one. I do like the electronic elements, and how it occasionally brings in these much more abrasive passages. I feel they are always placed well and feel built up to. But everything else going on really isn’t enough to make this stand out any more to me. Rating: 5/10

I love the representation this list has for 80s new wave. It’s an era I abstained from for the longest time, but have grown a real affection for in recent memory. There are just so many great bands. Blondie is one of those many for sure. There is something really interesting about this album. It’s hard for me to pin down exactly what it is, but I know I like it a lot. Truthfully this gets close to being one of those 80s records that is too much for me. But it toes the line between that and being so awesome that you can’t help but like it really well. Except it isn’t an 80s album. But somehow it is, in many ways, the essence of what makes the best of the decade so good. I’ve always appreciated how rooted in punk new wave really is, especially considering its history in bands like Television. And this feels like one of the most glaringly punk inspired records in the genre. Which was definitely a surprise to me, since I was not anticipating something that went so far in the rock and pop direction. And with those punk roots comes an album filled with amazing performances from every member. It is very rare to hear a female voice in punk. Which is what makes Deborah Harry such a memorable icon. She took already great songs like One Way or Another and Heart of Glass and elevated them to a level that allowed them to be considered essential songs. And even if this album is surprisingly punchy at times, the fun and sweet flavor they manage to maintain on top of it makes it accessible to all. It’s not that anything they are doing on these songs is inherently that groundbreaking. But it’s effective, and there is clearly some thought put into it. It excellent bridges the sounds of the end of an era and the beginning of a new one. Rating: 8/10

All I asked for was a good album to end off a very slow and busy week of school. This is what the universe has decided to answer that request with. Sometimes you just can’t win. The rocky relationship I have had with Madonna and her music goes back well over a year now. I vividly remember being on the bus and deciding I’d rather listen to Henry Rollins talk about his life in Black Flag over her music. It has never appealed to me. She was actually the first artist I had that I wrote a negative review about. It’s still a little strange to me that she managed to find three placements at very time periods on this list. But when is the selection of records on here not confusing me? The progression of sound in her career is interesting to follow. And to a degree, I respect how much she branches out. On just the three albums I’ve heard, you get 80s pop in potentially it’s most unoriginal form on Like a Prayer, artsy 2000s dance music on Music, and downtempo electronic-based trip hop on Ray of Light. Except I would not regard her as an artist who is capable of applying herself to any genre and magically doing it right. I wanted to let my bias against my previous experiences with her, and honestly just her as a whole, affect how I looked at this as little as possible. Because that’s utterly unfair to do to any artist, no matter how much I dislike them as a person. The only exception is something like a Varg Vikernes situation, where they are genuinely irredeemable. You wouldn’t ever catch me willingly listening to Mayhem anyways. So I approached this album with the hope to find something good. I think that mindset actually helped me. Because this is the most tolerable and enjoyable piece of music I’ve heard from Madonna by a mile. It’s still not amazing though. This record feels so 90s, I can almost taste it. Why was everyone making music like this around the end of the decade? Everyone wanted to be Portishead, and apparently it worked because people were eating it up. The production here is actually really cool on many songs. It really draws on a club energy, and I can appreciate how it maintains a relatively chill vibe, and doesn’t have any throw away songs that are obviously radio bait. But because it sticks so closely to one style, it quickly backs itself into a corner and becomes stale. It’s a little bit of a slog to get through. Over an hour, with an average song length of around 4 or 5 minutes. I still don’t understand the perception she has garnered for herself over the last 40 years. Because I can name off 5 or 10 different pop artists who were cut from the same cloth that I would rather listen to. But at least there was something of value to be found here. Rating: 5/10

London Calling was a record filled with enough content as is to prove to me that The Clash deserved their spot in the punk hall of fame. I didn’t think I ever really needed to hear another record from them. It’s interesting now that I’ve had the chance to go back and become acquainted with the roots of this legendary band. As I’ve said before in the past, I don’t usually do well with just punk music. Listening to the genre at its most barebones and simple, around the period where the word punk actually started being used, usually isn’t my thing. I view it the same way I look at classic 50s rock and roll. I don’t really have a problem with any part of it, but I need something more in order to stay engaged. This debut from the band is some of the most strait-laced, quick and to the point punk music you can find. Which explains its presence as one of the genre’s founding fathers. I should really say a founding father of its placement in the mainstream though. Snobby punk fans could probably name two dozen other records that came before which they think are better. Either way, it’s still an important piece of music history, whether or not you like how popular The Clash is. I was prepared for a relatively enjoyable experience, but not one I was going to write home about. Thankfully, I got more out of this than I anticipated. Through listening to this, I’ve realized Joe Strummer honestly has the Goldilocks of all punk singing voices. It’s not too whiny, but it’s not obvious that he was trying too hard to sound old and cool. The vocals are often my least favorite part about this era of punk too. The guitar and bass playing are fantastic. But I’m not so sold on the drumming. It’s generally pretty basic throughout, aside from a few moments. I don’t recall it being anything mind blowing on London Calling, but it was definitely more unique than this. Other than that, the songs I don’t like are just too basic for my taste. But I believe this could act as a really great entry point into punk, and still stands the test of time. Easily better than Never Mind the Bollocks Here's the Sex Pistols too. Rating: 7/10

This is a pretty unorthodox way for me to be introduced to The Beach Boys. Or more specifically Brian Wilson. By far one of the most well recognized and respected songwriters of the 60s, and probably ever. People love this guy. And 100%, wholeheartedly believe he is a genius. I have no connection to him, his brothers, or their music. But I was surprised to learn he had solo material that made this list. Smile is a very interesting album to say the least, and one with an incredibly storied history. Originally intended to be the follow-up to Pet Sounds, Smile was eventually scrapped and became regarded as the most legendary unreleased album ever made. Brian had a pretty deep emotional connection to this material, and suffered from some trauma regarding that time period and the creation of the record. So the fact he even came back to make this is probably a miracle. There is a lot to talk about, so before I get into the music, I want to comment on Wilson himself. For a man who was in his early 60s when this was recorded, he sounds pretty damn good. Now the music. I’m not totally sure where to begin. And that’s because I don’t know if I fully processed what I heard. No doubt, the arrangements that are present here are incredible. Some of the strongest and most unique that I’ve heard so far. It’s clear a lot of effort was put into the recording part of that aspect. They are super varied and never really boring. But the pacing of each section is so quick, that I found it hard to keep up at times. I mean Heroes and Villains alone feels like it has 6 different songs contained within itself. It definitely justifies that progressive pop label. But I don’t know if they are pieced together and sequenced as well as they could be. This album comes off as more like one big continuous adventure. It doesn’t have a lot of replay value unless you are listening to it from start to finish. But as one big musical journey, it’s super fun and a ride to remember for sure. It has an almost barbershop quartet, doo-wop feel to it. I’ll be completely honest though. Some of those background singers sound a lot like My Singing Monsters to me. It’s not that I don’t like what I’m hearing on most of these songs, I just found it difficult to digest. I don’t know if personally I could consider Brian Wilson a genius yet, but I need to hear how he comes together with his fellow band mates. Rating: 6/10

I can appreciate the representation that metal gets on this list. There aren’t a lot of them, but the ones they have are generally very solid choices. Who the kings were of the 80s thrash and speed metal era aren’t really debatable. It has always been, and always will be, Metallica, Megadeth, Slayer, and Anthrax. But out of these four, I feel the latter definitely gets the least representation and love. I wouldn’t say for any particular reason. They just haven’t had the staying power of the other three. But they are equally as good in many regards. This album is also dedicated to Cliff Burton. Which really highlights how beautiful metal can be while simultaneously being so aggressive. The performances on here are incredibly strong. And super powerful. Slayer is the closest thrash band to straight death metal. Megadeth and Metallica balance the heaviness with some softer sections. Even delving into acoustic stuff every once in a while. But Anthrax on this record is straight speed and thrash for 50 minutes. So many incredible double bass parts all over this thing. Plus, this might have the best sounding production out of all of the big 80s thrash records. It sounds massive, and the bass guitar tone is super dense. I’ll be honest though. The vocals aren’t amazing. I’m not sure why most metal bands during this time had singers with relatively high range. James Hetfield is easily my favorite thrash singer of the main four. But he doesn’t exactly have much competition, since the other three aren’t amazing. But this is still a quality release from one of 80s metal’s most kick-ass bands. Rating: 7/10

Today I continued to delve further into the Soulquarian era of the 2000s. Which, through all of my listening, has steadily become one of my favorite musical movements ever. To me, Erykah Badu belongs in the trifecta of female soul artists, right next to Lauryn Hill and Sade Adu. And Mama's Gun is the most exemplary work of her career. It contains just about everything that I look for in a great neo-soul record. Erykah herself approaches this with such a sense of effortlessness. And in that approach she actually comes off as much cooler than the average artist. It’s not laziness. She just radiates a very powerful energy through her singing and lyricism. She has a beautiful voice too. This is often labeled as the female companion to Voodoo by D'Angelo. Which is unironically a really great comparison. Obviously both were released in the same year. But both also act as great vibe records. And D'Angelo also maintains that level of coolness. Most of what these two are singing is barely understandable, but their voices are so sublime and they just float over the instrumentals perfectly. Speaking of instrumentals, what a powerhouse this album is. Penitentiary Philosophy is such an explosive and exciting way to start things. And it sets the stage. Multiple members of the Soulquarian group are credited here. Most notably, three of the original ones who started the movement. J Dilla was involved in the making of a few beats. Particularly Didn’t Cha Know, which is an incredible song. ?uestlove plays the drums on multiple songs. I would say he shines best on A.D. 2000 and Green Eyes. And James Poyser honestly gives the strongest contributions out of all three. His keyboard work brings these songs to live, where they would otherwise be pretty plain without it. His work, and really this record as whole, is so much of what I love about the soul genre. And it’s remarkable how much amazing music was put together in such a short span of time. Rating: 8/10

I’ve noticed a pattern throughout this list. If an artist or band only has one album included, more often than not the album that was chosen is one of their least popular ones. I’m not sure why this is, but it definitely makes for some less enjoyable listening experiences. Such is the case today. Echo & the Bunnymen don’t seem like the world’s most well known group. But still, their debut Crocodiles is not a well received as what would follow it. But I still tried to approach with optimism. What I’ll say is that this represents the idea of “good, not great” perfectly. There is nothing wrong with this band as far as I can tell. And there are no glaring or frustrating issues that made listening to this record a challenge. It is some pretty straight forward early 80s post-punk. Much like what I’ve heard in the past. But that might be the issue itself. Its simplicity and utter lack of anything really unique left me looking for more. It’s not music I actively dislike. But it’s also not music that actively engages me. I can appreciate the sound though. I’ll always enjoy guitars that are absolutely dripping in chorus. Super floaty, like they are underwater. And there are some cool guitar parts on some tracks. But they are strangely very brief usually. Other than that, everything about this record feels like a carbon copy of what similar artists were doing at the time. Which again, is not a bad thing. But there seems to be an absence in the amount of enthusiasm and prowess that was put into this. If you really want something of a similar vain, just listen to Seventeen Seconds or Pornography. Rating: 6/10

I had a thought last night. I’ve written reviews for over 400 albums, and there are nearly 600 more to go. At what point will I run out of things to say? There is only so much to write about the two dozen albums that all sound the same. I worry that one day I may hit a brick wall and be left with nothing left to speak about. I feared that today might be that day, in all honesty. I looked at this album and its cover and assumed it might be a rough one. Thankfully there was more to this than I initially expected. As I was listening to this, I kept thinking to myself, “What seems so oddly familiar about this singer’s voice?” I couldn’t put my finger on it. I just decided to put the name Frank Black into Google. Immediately I saw that this was Francis Black, the lead singer of the fucking Pixies. And then everything I had been hearing made sense. I actually wasn’t aware Francis had any solo records. But it was an interesting experience exploring the creative endeavors of one of rock’s most influential figures, without the presence of his fellow band mates. Truth is, this is not comparable to really anything the Pixies made in their prime. It doesn’t really come close in the level of quality. This is due in part to both Francis himself, and the lack of his cohorts. I love the guy, and I think that by the time this released, he had done more than enough to prove himself. But it’s clear no matter how genius he is, the rest of the band is needed. Interestingly enough, the lead guitarist Joey Santiago actually worked on this record. But I don’t think what you hear on this is comparable to the work of the Pixies. Bossanova maybe, but still. It feels much less manic and dark, and contains some pretty bright sounding power pop songs. The guitar work from Joey and Francis is not bad at all. Pretty consistent throughout. But the rhythm section as a whole is significantly weaker than anything from something like Doolittle. Aside from a few drumming moments here and there, it leaves something to be desired. This also falls off dramatically around the half way mark, and doesn’t really recover until the last two songs. It’s not a bad record by any means, but not as essential or important as this icons other works. Rating: 5/10

Everything I have learned about Steven Tyler since I heard my first Aerosmith album has pretty much been against my will. Safe to say he wasn’t making the smartest choices back in the 70s and 80s. But I still thought Rocks has some of the most kick-ass hard rock of the mid-70s. It was much more intense than I expected, and I said I wasn’t sure if their music would hit the same for me if that aspect of it was abandoned. Pump doesn’t seem to have any big streaming hits on it, but it was still a massively successful album on release. And from its title, to its ridiculous cover, to the song titles and contents of the song themselves, this is overtly a very sexually charged album. One might say super fucking horny. I had hoped for something on the level of Rocks. And Young Lust, which I’m sure Steven knows plenty about, starts things off pretty strong. Probably the best thing this has to offer. But I can count on one hand the number of other songs I enjoy besides that opener. This is lacking in comparison to Rocks in almost every way possible. It’s like my intuition was trying to tell me that the exact thing I feared would be the case was true. This came well over a decade after Rocks, and it seems that in that time, they had adapted to the evolving hard rock sound of the era and softened up. Which I do not prefer. The grunge peak of the 90s is what killed this kind of music, and we were all better off without it at some point. Steven also just isn’t giving it his all here like he was before. Aside from a few moments where he really shines and he gets a little rowdier, these performances are very average. Like, I can only listen to him repeat the chorus of Love in an Elevator so many times before I want to rip my own head off. And at its worst, this bogs down to some very vapid and surface level hard rock. Nothing like I haven’t heard before. But something I don’t need to hear any more of. Rating: 5/10

I wouldn’t say I haven’t been kind to The Byrds. I’ve been totally reasonable in fact. I acknowledged the impact they’ve had. And since they appeared for me very early on, I rated them relatively high. I have a feeling I’d be more harsh on them now. My tastes have definitely changed in the year since, and I try to be more critical towards records. Now, as impactful as they were, I wouldn’t consider myself a huge fan. Because the two albums I heard fall perfectly in line with that incredibly overdone and repetitive psych rock sound of the 60s. The genre which I dread trying to write a decent review about. They showed up early enough where that repetitiveness hadn’t hit me yet. Thankfully, this record differs slightly. It leans way more into the realm of country rock. Which isn’t exactly unknown territory for the band. Their sound always had that vibe to it. Plus David Crosby and Gram Parsons were in this group. Which means some of country and folk rock’s most formative artists played a role in the creation of this. So in my mind, that mostly justifies the listening experience. And I wouldn’t go as far as to say any song on this album is objectively bad. No doubt, the band members have great synergy and harmonize very well with one another. But I’ll be completely honest. It’s just boring. This is rock and country in its purest form. It is the precursor to everything we know those genres to be now. And thank god we have had enough creative people come along and change things up to make it interesting. Because if it all still sounded like this, it would be a pretty miserable world. All of that good, new stuff, makes this sound flat and uninteresting in comparison. So it still checks the box for being essential, but doesn’t check the box for being anything above average. Rating: 5/10

The idea of separating the art from the artist has always been an interesting and divisive conversation. And one that I’ve never been able to give a definitive answer to. I feel partly inclined to begin this review with that topic because, whether his die hard fans like it or not, it applies to Kanye in many ways. From early on, he has been a controversial figure who was willing to take risks and put himself out there one hundred percent. That includes the good and the bad. Now, when it comes to that separation, it depends on what era of the man we are talking about. If we look at Ye as he is now, the man is broken, and the separation shouldn’t be made. Especially considering the anti-Semitic rhetoric which he continues to push in his new music. But the Kanye of the early 2000s is a different person entirely. It’s hard to explain just how on top of the world he really was during this time period. The Higher Education trilogy absolutely cemented him as one of the era’s greatest, and it seemed as if he could do no wrong. And The College Dropout is potentially the finest of the three. It’s rare for an artist to come out swinging so hard for their debut. And it’s especially rare for an artist to be nominated for so many awards and simultaneously win many of them after said debut. But that’s just the kind of person he was. I feel like most, if not all rap fans had a Kanye phase at one point. I know I did. I see it as a right of passage. And every bit of what made this era of him so great is felt the moment you turn this on. People should continue to look at his early works as a case study on how to structure and pace a hip-hop album in a manner that is effective and leaves the listener feeling satisfied. His production style and songwriting choices, influenced by the likes of J Dilla and Q-Tip, leads to some of the catchiest hooks you will ever hear on a rap record. If you don’t get the melody to All Falls Down or We Don’t Care stuck in your head, are you really even human? There is just such a clear love and care put into which samples are used, where the drums are placed, and how everything comes together. It’s seriously unfortunate to see how far Kanye has fallen from grace. It’s a combination of so many things, and mental health is a serious thing that people still don’t acknowledge enough. I admire Kanye as an artist because his catalog is undoubtedly one of the strongest ever made. But I also know what once was is long gone by now. Rating: 9/10

I am no expert when it comes to gothic adjacent rock. It’s rarely a space in music I delve into, and often I reserve that kind of music for when it gets colder out. That vibe doesn’t really fit spring and summer all that well. What I do know is that Siouxsie is fucking badass. I love that woman, and she is just as much of an icon for gothic music as Peter Murphy, Ian Curtis, Peter Steele and Robert Smith are. Thankfully, the weather has started to get chillier, especially today, and my allergies are kicking my ass. So an album like this is perfect for the environment. I love this very transitional period of music. The 80s is when risk taking in music really became prevalent, and people like Kate Bush and Talking Heads started making waves with their music. It’s not that there wasn’t any of that during the 70s. It’s just that people knew what worked and what was successful, so the number of artists or bands like Bowie or Television were far outweighed by the amount of generic copycats. Of course there is also plenty of that in the 80s as well. But it gets overshadowed in my mind by the successes of amazing records like this. Now, enough yapping. I want to talk about the music itself. This wasn’t my first time hearing this album. I’ve had experience with a few of these songs in the past, just because I was interested in this album. And something about the way this sounds scratches a very particular itch in my brain. It’s wholly unique and I rarely hear other bands come close to replicating it to the same effect. Siouxsie is undoubtedly an impressive vocalist, and I think she captures the energy and purpose of gothic music like few other people can. Like many of their contemporaries, the drumming is incredibly unorthodox. It abandons what most would consider the regular conventions of rock drumming, and creates a consistent beat for the music to follow in less obvious ways. The use of cymbals as a driving force is specifically very lacking. The rhythm section really is sublime as a whole. And man, that guitar is something else. Potentially one of my favorite uses of effects ever. McGeoch’s style feels solely focused on creating something really sinister and creepy with tone, and his choice of chords when playing just adds to that element. As far as I’m concerned, the five songs that make up the A-side are flawless. I have zero complaints there. The rest of the record isn’t bad at all. Definitely leans more into the experimental side of things, but it still hits all of the same notes. This is without a doubt a goth rock essential. If you are interested in this kind of music or are a fan, and by some miracle haven’t given this group a chance yet, do yourself a favor and throw this album on. Rating: 8/10

In my mind, The Pharcyde remain to be one of the most under appreciated rap groups of the last 30 years. I doubt they will ever get the recognition they deserve. I love Labcabincalifornia, and it contains one of my favorite hip-hop songs ever, Runnin', as one of its lead singles. It’s also easily my favorite hip-hop instrumental ever, courtesy of the legendary J Dilla, who did some incredible work for that sophomore record. But I had never dove into their debut. I’m glad they found a place on the list. Because more people need to be made aware of the power of this group. Considering I was only familiar with the one album, I wasn’t sure what kind of sound to expect. And I was shocked at just how much fun this is. They seriously mellowed things out for the follow-up, and chose to make lyrical content that actually represented something. On Bizarre Ride, the members are consistently high energy throughout. It’s interesting seeing them come out during the time when gangster rap was at its peak of popularity, and mesh the in your face energy of that genre with a certain level of silliness. They obviously aren’t taking themselves too seriously here. They were all in their 20s, and it sounds like a group of friends having a blast recording an album. This leads to some insane charisma. These guys are bouncing off the walls and absolutely rocking the house. The amount of totally ridiculous adlibs that are shouted at full volume in these tracks is hilarious. I couldn’t help but really buy into the vibe they were trying to create. And this is also aided by the production. I was not at all familiar with the work of J-Swift, as it seems his career was rather brief. His most notable work is specifically this album, and nothing else he worked on really reached the same level. But I love his style here. It initially appeared as a little overwhelming, but once I settled in, it reminded me of the best work from The Bomb Squad. So much flying at the listener at once, but it’s all sequenced really well. And much like the lyrical dynamic itself, every beat is super fun. I don’t really count their third and fourth record, since they don’t even feature all of the original members. So as far as I’m concerned, The Pharcyde released two of the best 90s hip-hop albums ever, back to back. Definitely an essential listen. Rating: 8/10

It has been quite a while since I spoke about Neil Young. So long, in fact, that his music had yet to be put back on Spotify. Rust Never Sleeps was a wonderful album, and a surprising precursor to the history of grunge music. But this record doesn’t really fit into the same category as that. The late 60s, going into the 70s, were a big period for Neil. He was actively involved in Crosby, Stills, Nash & Young, and began working on his solo career. After the general lack of success and acclaim that his self-titled debut in 1968 received, he geared up for something bigger and came together with Crazy Horse. Rust Never Sleeps definitely showed the power of this group, but I think listening to this sophomore release made it more apparent just how Neil flourished when in collaboration with those gentlemen. Contrary to what I was expecting, Cinnamon Girl immediately makes it apparent that this album is actually much more based in hard rock. But more than any other album I’ve heard from him, this record proves that Neil is actually quite a talented guitar player himself. Considering the first two Led Zeppelin albums came out in the same year, I don’t think it’s far off to say that Neil sort of caught the hard rock wave before it really hit the mainstream. I’m not sure where this consensus came from for a lot of people, but Neil Young isn’t the most popular classic rock artist out there. He often gets a lot of flak for being the pothead, hipster’s favorite singer. Some think he’s super overrated, and overall a bad singer. Now I am neither of those things. I just really like his voice and think he makes nice music. This record contains two much longer songs, at nine and ten minutes in length. And this jam band approach they take is super cool, and makes me think a Neil Young and Crazy Horse live album where they expand on those songs would be really cool. I consider myself a humble fan of Neil Young. I admire everything I’ve heard from him, but I’m also realistic with myself about it. No it’s not the greatest thing I’ve ever heard, but it definitely hits in the right moment. Rating: 8/10

I feel like in some way, I manifested the appearance of this. Mentioning Led Zeppelin in the review yesterday must have convinced the universe it was time for another record. Thank god I did not have to wait so long for the next one. Because I always get so excited when just about anything regarding this band comes up. I think I spent enough time gushing in my Physical Graffiti review where it isn’t really necessary here. Bottom line is my opinion on this band has not changed. In fact, sometimes I forget just how good they really are, and once it comes back to me, it’s all the more satisfying. Few groups in the history of rock have hit the scene with as much fiery energy and ambition as these gentlemen did. They were basically a supergroup, considering the members’ history with Yardbirds and Band of Joy. But they would quickly become something much more monumental than any supergroup to ever exist. Many would label this as the best work the band ever created, which I don’t see as unreasonable in the slightest. Aside from maybe their last two or three records, every album they made could qualify as their best. This is their bluesiest by a long shot. I just find it shocking how good they were from the very start. The version of me in my first semester of sophomore year was not at all ready for what this album would do for my brain. I can’t fully explain how the triplet kicks on Good Times Bad Times have affected me personally, but it’s something otherworldly. Each member immediately presents themselves as an all-star in their individual category. Some of their rawest and most explosive material, like Dazed and Confused and How Many More Times, can be found here. They also refused to ever perform Babe I’m Gonna Leave You live because Jimmy Page hated his vocal performance. Which I find funny because it’s one of the best he ever gave. Also a small aspect of their music that often gets overshadowed by his amazing bass playing is Jones’ organ bits. It really elevates I Can’t Quit You Baby to the next level. I’ll admit that I’m not a huge fan of how abruptly some of these songs end. And Plant’s lyricism doesn’t really reach the heights it would later on down the line. I think it’s more interesting to contemplate on what rock as an entity would be like if these four men never came along and put something like this together. People can have their opinions on how original what they wrote actually is, but this record, and the five that came after it, forever changed the way the world perceived hard rock. Rating: 9/10

Bossa nova is not a genre I have touched upon very much over the last year or so. But man, do I love that shit. It’s one of God’s greatest gifts to man. Not the first time I’ve said that either. But most of the Bossa nova related records I’ve reviewed felt more like the Bossa nova was made second to whatever else the artist had going on. I haven’t gotten a really true to form, proper jazz/Bossa nova record yet. Until today at least. Charlie Byrd is definitely an important figure in the history of the genre. He’s directly associated with Brazilian music, and this album was largely responsible for bringing Bossa nova to mainstream ears in North America. But I don’t think Stan Getz fits under the same umbrella. He is for sure a famous American saxophonist, but not at all a vital part in the evolution of the genre itself. He’s more known for another work he did, with a person many would refer to as the father of Bossa nova. And I am very excited to eventually speak on that recording. But this will suffice for now. It’s not horrible. But also not something I can’t live without. Bossa nova is, by nature, a very simple sound. But it takes a certain execution to pull it off. It’s also something that primarily relies on string arrangements and guitars. But here we see the influence that two jazz musicians can have. And what you get is a fusion of the two. But it definitely leans more towards the jazz side. Out are the arrangements. And in are bass and swing heavy drums. And at the center of it all is Getz and his tenor saxophone. Which is consistently fantastic throughout the whole runtime. Byrd’s guitar playing as well. There aren’t any vocals though. So even though it’s taking bits and pieces of two things I love, I don’t think this reaches the same heights as just a traditional Bossa nova album might. It’s maintains the same warmth and energy, but lacks the heart that makes the genre so good. Rating: 6/10

I love when albums have totally nonsensical and ridiculous covers. I initially thought this was cut straight from the front of a cereal box. But the cover and title are actually a spoof on the tinned tobacco called Ogden’s Nut-brown Flake. Definitely a bold and unique move, and I think it sets the stage for the rest of what to expect. This album as a whole is ridiculous in every sense of the word. I’ve never heard of this group, but they were inducted into the Rock and Roll Hall of Fame, and were a huge part of the modernist subculture in 50s and 60s Great Britain. Now yes, this album is considered apart of the 60s wave of psychedelic music. But I believe it does more than enough to set itself apart from the rest. The two sides of the album are so separate in their own concepts that they really feel like two different projects. Side A explores the varied styles of the band themselves, but it all generally revolves around a 60s neo-psychedelic style. And it’s genuinely great. Pretty much every song is at least decent, and the true highlights are some of the best psych rock I’ve heard in a long time. Full of an energy that few bands were really displaying back then. I listened to the mono version, so I can’t speak for how the stereo version sounds in both channels, but the production felt a little rougher compared to other records around the same time period. Side B on the other hand still has that same psych sound, but delves more into a progressive rock kind of deal. This is where the concept part of the concept album comes through. It’s based around a fairy tale the members of the band created, and has narration done by Stanley Unwin. And this is where my issues with the album begin. This side is less maximally focused than the previous, and doesn’t shine as much. There are decent songs still, but the goofy comedic narration really throws things off. I’m scoring this the way I am because I think the first half is so strong, it’s fortunately not dragged down too much by the latter half. Rating: 6/10

It shouldn't be understated the impact that Grateful Dead has had on the music industry. People love them, and people also hate them. But their model for creating and marketing themselves was something that had not been done until that point, and has yet to be replicated since. At least not on the scale at which they were running it. They are the most prime example of a work horse band. Fans of the group do not go around praising their work because of the studio recordings. It's the live recordings. The hundreds of hours there are of them, too. People made it their lives to follow the band around the country and catch every show. A feat which is near impossible now considering ticket prices. It begs the argument of whether we can really consider the Grateful Dead more of a band than a subculture or movement. Deadheads are rampant, and their "culture" has even invaded my own life. I own tie-dye Dead shirts that | never wear, and I got a Rolling Stone magazine about the band from my grandfather that I haven't read one page of. Yet I have never heard their music. I've actually attempted to check them out in the past though. But I just found it far too difficult. When a band has multiple series, spanning over 20 volumes each, of just live recordings, which are each one to two hours in length, I get overwhelmed. I actually like jam bands too. My favorite band ever is considered by many to be one. And the whole jam band thing really was the appeal of this band. Each night you could expect something new. I'm willing to admit that I admire this ability, and I know it's not something easy. To go on stage every night and play in a manner where you aren't sure what's coming next from either your band mates nor yourself is impressive. This was their first like album ever, and that chemistry between the members is definitely present. Their skill to take something like Dark Star, which is as short as 2 minutes, and expand it out to nearly 6 times its own length is wild. But especially considering how long this is, after a certain point I zoned out, and what I was hearing became background noise. I think that first song is really cool and engaging, but it is by and large the most interesting thing this album has to offer. Rating: 5/10

I don’t have any introductory background information on this band to really start this review. So I’m just going to get straight into my thoughts. This album is surprisingly recent. For a record released in 1994, it very much harkens back to the sound of the three decades prior. It takes some of the most impactful and popular genres in British rock music history, such as glam rock and psych rock, and brings them together with the Britpop sound that was thriving during the period this was released. And all of these things together makes an art rock hodgepodge of really dense and almost dirty sounding instrumentals. It’s an interesting mix, and one that seemed to be revived generally pretty well. So I went into this with hopes for something decent. Little did I know this would turn out to be one of the most boring listening experiences I have had in a very long time. To really sum it all up, this album is just mind-numbing and boring. An absolute slog that I felt well overstayed its welcome, being nearly an hour long. This is due to the track length being, on average, about four to five minutes. Not horrible really, but when put in this context, it is a struggle to get through. These songs aren’t plain necessarily, but I was left uninterested even after the first or second song had ended. And it just felt like they were repeating the same kind of sound, ad nauseam, for another ten songs. They were pulling from so many unique spaces, and didn’t manage to stick the landing on any of them. The singer also wants to be David Bowie so badly. And there are moments where he actually sounds quite similar. But I mean that in the worst way possible. It took until the second to last song for me to find something I wasn’t being put to sleep by. And you know what, I’ll give them credit where it’s due. The Asphalt World is pretty good actually. And the closing track isn’t half bad either. But this album as a whole is just more proof to me that the “Britpop” movement of the 90s was not as good as people remember it being. Rating: 3/10

I couldn’t tell you what the shortest album I’ve had so far is. But I don’t think I’d be wrong in saying nothing has been shorter than 25 minutes. Generally I feel it’s the opposite. Most often I complain about something being too long. I don’t know if I’ve ever had an issue with a record being too short. Now, 15 minutes is definitely different. I can’t think of any other album I’ve heard as short as this. It was kind of nice to not be bogged down by some massive double album that’s over an hour long. Even with the short, but favorable run time, it is still a punk record. So I didn’t go in with any large expectations. I haven’t had the best track record with the genre. A lot of the early punk albums I’ve heard feel more like a subsidiary of late 70s hard rock. And albums like Never Mind the Bollocks Here's the Sex Pistols, which are so engrained into the ethos of the culture, never did much for me. But I’ve noticed when things get angrier and a little more aggressive, my interest is piqued. Hardcore punk is what I look for in this genre. Punk is usually meant to mean something, and having whatever that meaning may be shouted at me in barely comprehensible ways really cranks up the effectiveness to eleven. It actually caused me to have a really interesting discovery. Because before, I wasn’t sure if this fast-paced, quick and to the point format would be enough for me. But I found it really surprising how much they are able to condense into such a short amount of time. I mean, some of these songs don’t even reach the forty second mark. And in order to write short songs that good, you have to be able to play music in such a short form well. And all around the performances here are good. Not the best punk album I’ve ever heard, but a short and sweet effort that I welcome. Rating: 6/10

You don’t need to hear it from me for it to be true that Dusty Springfield was an icon of her era, and one of the leading characters of the Swinging Sixties. But I’m really not all that familiar with her music. She seemed like a pretty cool person though. Best of all, she was pretty openly bisexual, which was a huge deal considering the standards of the 70s. But it’s interesting how this album resides when looking at it through a historical lens. This album draws heavily on the soft rock and roll, blue-eyed soul sound of the 50s. And in 1964, when basically every notable and memorable release from that year was a jazz album, this is an interesting callback. Plus, when this was made, it had only been a decade and a half since the 50s started. The most notable release from about 15 years ago is probably My Beautiful Dark Twisted Fantasy. We have to remember that what seems like history long past for us was once the new, cool thing. Which is wild to think about. But from the perspective of an actual listening experience, this album is just okay. I’ve expressive before that this era of music is sort of a gray spot for me, and that seems to be consistent here. There is just never enough going on in these old school rock and roll albums to keep me entertained. Plus, having her debut be entirely composed of covers maybe isn’t the best way to become familiar with the songwriting abilities and talents of Dusty. But thankfully, the one saving grace of this record is Dusty herself. She actually provides something to the covers, and her voice is wonderful. Definitely justifies why she was such a huge star back in the day. My score has less to do with her, and more to do with the music itself and my general bias towards this genre. Rating: 5/10

The Cardigans have faced an interesting resurgence of popularity within the last few years or so. Not to imply they weren’t popular in the 90s. Lovefool was still a big hit. But their presence on social media platforms like TikTok have really bolstered that popularity. I don’t even use the app myself anymore, and for good reason. But I can’t deny the effect that it has had, and will continue to have, on many bands and artists careers. I mean, I don’t think Duster would be facing nearly as much recognition as they are now if it weren’t for social media. I know I likely never would have found them. And I don’t think this is a bad thing. I don’t see why people feel the need to keep their favorite music under wraps, as if them becoming more well known wouldn’t be good for the growth of the band itself. Now I don’t really see that being the case with The Cardigans. They’ve been around long enough where anyone pretending they are still some underground band just looks silly. Before today, I’ve heard both Step On Me and Lovefool on many occasions. Specifically the latter. Where I find this album really shines is its deeper, lesser known cuts. This particular mid to late 90s indie sound is really something special. Records that delicately walk the line between indie pop and this sort of soft alternative rock. Everything I enjoy about this reminds me of what made me fall in love with Stereolab so much. Both have killer female lead vocalists too. Nina Persson is interesting to say the least. I really love her voice. It only adds to the warmth of the whole record. But her choice of words, plus her overall delivery, gives her performances this strangely seductive and sexual feeling that I’m not so sure about. It’s not enough to make me hate her presence on the album, but it’s also maybe a little too on the nose at times for me. Everything backing her is amazing though. Production was handled by Tore Johansson, maybe most notable for his work on the debut Franz Ferdinand record, and I love his style here. And man, the performances from each member, combined with the incredibly unique arrangements from Svensson, make for an engaging listen. The instrumentals are what really drew me into this, and all of the little touches are great. This is an album that thrives the most in its less popular songs, and even with its hits, I would potentially go as far as to say this is slightly underrated. Rating: 8/10

I didn’t hate it, but I’ll be honest and say that I don’t think I ever considered giving The Fat of the Land a second listen. I just couldn’t ever justify a reason to go back. But I was surprised that they found their way into the list not only once, but twice. Kind of makes the fact that Daft Punk couldn’t even get two spots hurt even more. But The Prodigy are still important to how dance music has evolved, especially in the UK. “Jilted” means to suddenly reject or abandon. Rave culture was growing during this period of the 90s, and as it grew, it would eventually be made illegal. This album, and most specifically the song Their Law, is a direct opposition to this change. And no doubt, this album fully embraces the sound and energy of Rave culture. There isn’t really a moment of down time. It’s a consistent ride through the nastiest and most underground pits of the world of English Rave. I’ll just cut straight to the point for this. I think this is equally as good in the same places as the album that would come after it. And in ways, it even does a better job. I actually like the lack of vocals on most of these songs better. They weren’t bad on The Fat of the Land, but I can only hear the same bits said over and over again so much before I get tired of it. And I still think the production is top notch stuff. Every song has at least one aspect to it that I enjoy, even if I don’t like the whole song itself. I can appreciate the metal and rock influence coming in on songs like the aforementioned Their Law, or Voodoo People. And whatever that synth sound might be on the latter is basically iconic at this point. But all of the same issues that were present for me in my previous review still remain here. Maybe my attention span is just ruined, and has gone far beyond what it takes to appreciate something like this, but many of these tracks feel like they drag on to lengths longer than they need to be. It’s full of bloat, and even more so than The Fat of the Land, since this is nearly 80 minutes long. There is rarely enough going on keeping me interested that makes a 7 or 8 minute long track feel worthwhile. So even with their success and status as club classics, I would put both of those records on an even playing field of just decent. Rating: 6/10

The Wu-Tang Clan have made their impact on hip-hop in a way few other groups can really compete with. But an aspect of their history that probably gets overshadowed more than it deserves is the members’ solo careers, and how solid most of them are. Raekwon, Ghostface Killah, Ol' Dirty Bastard, and GZA/Genius all have solo projects that rival the best of the group as a whole. Even RZA, and his stint with Gravediggaz, made waves. It’s proof that each of these guys is as good on their own as they are collectively. But I specifically left out Method Man from that list. Not because I dislike him or anything though. It seems of all the members, he has received some of the least critical praise for his solo work. This debut, Tical, doesn’t seem to have really broke any new ground for audiences. But for me, all I really need is production from the RZA. I know these guys strengths well enough to have some hope. As a whole though, something feels off about this album. There was a lot of hype going into seeing what each member would be able to pull off on their own. Method Man was sort of pinned as the star player for the group, so there was especially expectations for him. And I think these expectations led to this being rushed out before it was really done cooking. The output from Method Man and RZA, who are really the two key players here, isn’t bad at all. But it’s definitely some of the most lackluster I’ve ever heard from them. The production feels muddy, and not nearly as polished or detailed as his best material. Compare something like 4th Chamber to the best this has to offer, and it’s night and day. Method Man, on the other hand, feels half asleep on most of these tracks. His lyricism is still as sharp as ever, but his delivery is surprisingly monotone and uninteresting. One of the best songs on the album is Meth Vs. Chef. And that’s almost entirely because of Raekwon, who seems to be putting way more energy into his performance and immediately upstages his co-star. Enter the Wu-Tang (36 Chambers) was a huge success for everyone, and it highlighted each member’s qualities very well. So I’m glad to see that most of the major ones are represented in some way on this list. But I’m also disappointed that something this drab could come from such a great artist. Rating: 6/10

You know, seeing Lenny Kravitz’s name pop up this morning really isn’t what I was anticipating. It has to be some kind of inside joke that this list does not have artists like Death or Neutral Milk Hotel, but does have the debut from Lenny Kravitz himself. In my mind, I don’t really see him as much of a musician though. Like even if he can play instruments, musician implies he belongs under the same umbrella as David Gilmour or Paul McCartney. Not very accurate if you ask me. He’s sort of like Jason Derulo at this point. Where his public image has extended beyond my view of him as an artist. Except I think even Jason Derulo can classify as an artist better. By either way, I found myself listening to Let Love Rule today. And thank god I was in my room by myself, because I’d be embarrassed to be caught with this on in public. Fans of Lenny may try and peddle this to you as some sort of Prince level effort. If you look into it, it is written online that Lenny produced this whole thing and played every instrument on it. The credits in other places online say otherwise, so I’m not sure how to feel. But make no mistake, even if he is playing every instrument, this is not some sort of virtuosic situation, where every instrument he picks up, he instantly masters. He might be a jack of all trades, but he’s most definitely a master of none. Because nothing he is playing at any moment really feels impressive or even remotely above average. This is entirely just soul music at its most surface level and basic. You couldn’t make a harder billboard, radio play bait album if you tried. Possibly the least appealing aspect of this whole mess is his voice. From what I’ve heard of him in the past, his voice never seemed that bad. I mentioned Prince earlier. And I don’t know if I’ve ever heard someone try to sound like Prince harder, and fail more miserably. Again, because he’s not fucking Prince. I cringed a multitude of times when he attempted to hit a certain note and it was blatantly obvious he was straining his voice. I’m not sure in what universe we should be considering this an essential listening experience. This is wholly unnecessary, and hilariously out of place next to so many fantastic records. Whatever, middle aged women love this guy, so what do I know? Rating: 3/10

Whether I actively listen to them or not, The Kinks are no doubt a very important band in the history and evolution of the 60s British Invasion. But they weren’t always as highly regarded for their creativity as they are now. Which is where this record comes in. It took a couple years and quite a few albums for them to really make waves in the industry as songwriters. I was not initially aware of this, but they were actually quite successful at the beginning of their career, especially with You Really Got Me, and even released five albums in the span of two years. But Face to Face was definitely the turning point, because they’d be on a roll from here on out until the beginning of the 70s. Much like the band Small Faces that I spoke about not too long ago, The Kinks were also a big part of the modernist youth subculture that was growing at the time. From the brief amount of music I’ve heard, I’ve learned to embrace and even appreciate how unapologetically weird this band tends to be. Even down to the conventions of their album names, they represent the quirkiness that ran rampant in this decade. And this carefree nature allows their creativity to really flourish. Best example I can give is that they are one of the few bands I’ve heard who can make the harpsichord not sound ridiculous and out of place in a rock context like this. I guess I don’t really have gripes with any specific aspect of this. Sunny Afternoon is a standout song, and feels oddly nostalgic and familiar for some reason. But of course, like many records before it, this falls in line with that same sound that has become far beyond saturated for me. So I don’t know if I see myself coming back to any other part of this. Rating: 6/10

The story of New Order is one of triumph. I believe they have more than earned not only their spot on this list, but their place in the history books, for their willingness to push past the obstacle that was Ian Curtis’ death. I didn’t mention this in my review of Low-Life, so I will now. When you really break it down, as much as the difference between the two bands is really only one member, Joy Division and New Order are artistically very different. And should be respected as such. They shouldn’t be defined in history as “the band who lost their singer and became anew”. I find their success really impressive, and they are maybe one of the few bands who continued so far past their genesis that still found ways to keep things interesting. This came nearly a decade after the debut, and just under ten years after Unknown Pleasures. It’s also probably the last noteworthy piece of music they released. Thankfully, innovation was still to be had. It has been quite a while, so excuse me if I’m wrong, but the alternative dance and synth pop foundations of this record are relatively similar to that of what I’ve heard before. The difference here is that they supposedly push the dance side of things much harder. So far that it gets labeled as acid house. These are the same people who made Blue Monday, so dance-centric music was never too far out of their playbook. I didn’t really know what to expect, but Fine Time immediately hits like a brick wall and puts all expectations to rest. Fortunately, they also immediately set themselves apart from their contemporaries, if they hadn’t already by now, and prove that they were creating with a better understanding of what worked and what didn’t. There is so many little sounds here and there that make some of these songs actually worth multiple listens. And I think a lot of what they pulled off is super cool. Except, I was actually a little disappointed at how much this leans into the jangle pop sound. I really was hoping for more of whatever I was hearing on songs like Round & Round. Hilariously ironic, considering around a year ago I would have scoffed at the idea of a whole album like that. Overall though, I find this to be equally as enjoyable as Low-Life, and another solid example of why these people are still spoken about today. Rating: 7/10

Few bands or artists have found success in only releasing one album. Temple of the Dog, Lauryn Hill, Derek & the Dominos, and The Postal Service are the main ones I think of. Maybe Germs or the Sex Pistols if you are a punk person. After hearing this, a band who absolutely does not belong on that list is The La’s. This list is unfortunately plagued with a lot of blah. And this is the utter definition of blah. This came out early enough into the 90s that Britpop hadn’t really hit yet like it would a few years later. So what stands as potentially one of the genre’s first records or biggest points of inspiration, this sucks. I can’t tell if they are trying to sound as uninterested as possible on purpose, or if that’s just the result of having a complete lack of charisma. You could realistically pick four random English blokes off the streets of Liverpool and hand them instruments, and it would result in something equal to what I’m hearing here. Their lead singer even resembled the Gallagher twins a little bit. Not only does his voice just scream blasé and boring, but his lyrics fall into that same category of Britpop writing where it’s overly cryptic and metaphorical for no reason, considering they probably mean nothing. Each members performances also definitely leave something to be desired. They are very rudimentary. The first track basically has no rhythm section at all. Which I’m sure was a stylistic choice, but that doesn’t mean it was a good one. I just can’t get behind this at all. In what universe would I ever listen to this when, in the same year, Rust in Peace and Heaven or Las Vegas both came out? Thank god they never made another album, because there’s a good chance it could have ended up on this list, and I don’t know if I’d be able to stomach that. Rating: 4/10

It slightly hurts me that Mermaid Avenue is on this list. Maybe one of the few times where I’d argue less is more. Just having Yankee Hotel Foxtrot would be fine. If you aren’t looking for a full deep dive, all you need from this band is right here. I’m not sure why I ever listened to this album in the first place. Or what has kept me coming back. In the back of my mind I know there’s probably something better out there I could be spending my time with. Maybe it’s my dislike towards being told the music I listen to isn’t cool. I definitely feel like a hipster when this is on, but I promise you I am not. It’s surprising, because I’ve heard enough music similar to this that I’ve actively disliked to know this is generally not my thing. In some way, the crown jewel of Jeff Tweedy’s career resonates with me in a way I have found few other albums capable of doing. This is my definitive Americana/indie rock album. The weather was so beautiful today. At least I thought it was. Very windy but not uncomfortably cold, with the slightest hint of rain coming down. Pretty gloomy, but fitting for the season. That’s sort of the way I see this album. It’s so steeped in a deep and suffocating melancholy, but there is an ever so small amount of hope coming in through the crack in the door. The light at the end of the tunnel. Something like Radio Cure is oppressively sad, and feels gray and bleak in comparison to the song that precedes it. The lyrics are really where that hipster idea comes from. A lot of what he’s saying might not have any profound meaning. But every so often there is something really good. “Distance has no way of making love understandable” and “I know I would die if I could come back new” have always stuck out to me. Reservations is particularly a song I want to talk about. It had been a while since I last heard it, so I was going in more blind than not. But it’s hard to really explain the effect it had on me. The best way I can break it down is as if the song physically expunged all of the air from my lungs. I was left feeling winded and short of breath. By no means is it a traditionally written indie rock song, but it’s a positively beautiful one. I may never really know why I continue to come back time and time again to this. But it has rooted itself deeply in my heart, and it’s not going anywhere anytime soon. Rating: 10/10!

This is probably the single ugliest album cover of any album I’ve ever listened to myself. It’s almost so ugly looking it’s actually profoundly beautiful. Like a piece of collage art on acid. I’m also disappointed that this band is called Scissor Sisters and it’s mostly men playing. Seems pretty counterproductive considering the name. Everything about this group is confusing, if I’m being honest. I saw an interesting comment from another reviewer that said “I'm sure that there are people reading these reviews who simply don't know how awful music was in the early 2000s.” I’m not necessarily disagreeing with that statement, but I don’t know if this is exactly the best album to use for your argument. This did really well when it came out, to my upmost surprise, and has been named “the top gay album of all time”. Pretty accurate if you ask me. I can’t remember the last time I heard something that draws so heavily on the biggest and most influential LGBTQ music stars of the generations before it. I hear so much Elton John in the song Mary, and it kind of kicks ass. But I don’t know, maybe it’s because I wasn’t alive and conscious enough early on in the 2000s to witness the music scene and understand why this is important. It’s a pop glam rock album with electronic elements that fully embraces the gay life of New York City. And some of these songs actually pull moves that pique my interest and make me think it’s heading the right direction. But others are maybe just a little too schlocky for me. Like, I’m sorry, but there is absolutely no way their cover of Comfortably Numb is worth a Grammy nomination. Pink Floyd is a pretentious person kind of band, and I try not to be too pretentious myself about them. But all that their cover made me want to do is listen to the original, because it was so genuinely unenjoyable. This album left me feeling disoriented and potentially confused as to who I really was. That, combined with the music itself not being amazing, doesn’t make me want to revisit this ever. Rating: 5/10

Few punk bands have garnered such a fervent fan base the likes of which Fugazi has. People are still waiting for that reunion that is probably never coming. They were absolutely instrumental to the evolution of hardcore punk and post-hardcore in the late 80s and into the 90s. But this is not a Fugazi review. That will come later down the line. For now, what I have is Minor Threat. Which some would argue played an even more important role in hardcore punk’s popularity than the band which succeeded it would. The one thing consistent between these two entities is Ian MacKaye. And as far as I’m concerned, he’s just one of the coolest people ever. I know it’s not Ian doing the cool thing, but if you haven’t seen the video of them performing in that gymnasium by now, do yourself a favor and check it out. You know exactly why I’m bringing it up if you’ve seen it. He is everything I look for in a proper punk band front man. Especially with his voice. It’s not too whiny, but also not too deep and booming. Neither of which fit punk very well. He sounds especially young on this record. Even more so than on the debut Fugazi EP or Repeater. Except this almost can’t even be classified as an album or a full length LP. Much like the Circle Jerks album I heard not too long ago, this is very short in length. It’s barely over 20 minutes. Really the bands whole discography could probably be heard in less than an hour. Which definitely makes what they achieved in such a short time even more impressive. This album peaks at its beginning and its end. By far the best it has to offer. And I don’t necessarily take issue with anything in between that. Most of it is pretty good, and the performances from each member are consistently energetic. This knows what it wants to be, and does a killer job at it. The problem with songs in such a short form is that they require multiple listens for me to really grasp them. And I’m not sure if these songs really have that much replay value. But I can acknowledge that this is still a solid album and one of hardcore punks earliest successes. Rating: 6/10

I think I’ve figured out what the bias is here. And why there are so many totally middle of the road and super uninteresting albums from the UK all over this list. First of all, British people don’t always make the best music. More like 6 times out of ten. Secondly, the author and curator of this list is from the UK himself. So there is definitely a big bias. Many of these records might seem rudimentary in hindsight to us when compared to other works we are more familiar with. But those same albums could have been huge hits and massive achievements during that time period in the country. This album in particular actually works really well for this idea. I have never in my life heard of Ms Dynamite. Doesn’t seem like her career ever really took off outside of the UK. And she hasn’t released anything in almost 20 years. I don’t think there was any single person of note who contributed to the creation of this. Except for maybe Ky-Mani Marley, but there are so many Marley children that they all sound the same to me. I don’t think this is a bad thing either. A record doesn’t have to contain a stacked list of personnel to make it good. But when you are trying to sound like Lauryn Hill, and don’t have some of the greatest musicians ever backing you up, it just isn’t going to work. That’s what this whole album sounds like to me. A poor impression of The Miseducation of Lauryn Hill. It’s the definition of strictly decent at best. When these songs aren’t boring, there just generally isn’t a lot going on. The instrumentals themselves are not amazing, but they are consistently okay on almost every song. In terms of positives, Niomi herself has a very good voice, I won’t take that away from her. Dy-Na-Mi-Tee is a solid hit, and All I Ever is genuinely an amazing R&B song. But man that length is killer. Over an hour of this is not ideal. Either way, somewhere out there, this is someone’s magnum opus neo-soul record. And that’s great for them, but I am not one of those people. Rating: 5/10

I managed to avoid the inevitable obstacle that is Elvis Costello’s presence for as long as possible. Well over a year is a pretty solid record too. I have a feeling I am going to be seeing his name pop up a lot more soon. I don’t have anything in particular against the guy. His music has just never appealed to me, and taking up six spaces on the list with his records is maybe too much. But again, this is where that bias comes into play. Costello is another English musician. And a well respected one at that. He is credited as bringing back the lyrical wizardry of Bob Dylan and putting it through the various punk concepts that were evolving at the time. I can admire some of his writing here. But I don’t think it’s anything on the level of Dylan or Van Morrison, who he is also often attached to. I’ve just never really understood the hype behind him. Every once in a while I’ll see a really positive review pop up for This Year's Model, and I still wonder why people like it so much. I also wonder if maybe I missed the point, and owe myself a reassessment of that album. Either way, this is about his debut. Which is one of the only records he ever put out that wouldn’t feature the group which would be known as The Attractions. Much like what I’ve heard from him in the past, this album is bringing together a varied selection of sounds from different time periods. The basis of this is rooted in that classic rock & roll sound that artists like Little Richard and Elvis Presley popularized. But, since this is still the late 70s, Costello brings in the layered punk-esque new wave sounds that were also growing in popularity at the time to spice things up. And it’s actually not a terrible combination. I won’t disagree that he is a competent musician. I just have yet to be shown something that really impresses me. Now, it’s been a long time while since I heard This Year’s Model, but I think I enjoyed this one slightly more. Rating: 6/10

For every innovative and influential album from the 80s that deserves the recognition it gets, there are two completely unnecessary records that provide absolutely nothing which counteract the good one. I never thought the would come where I’d find a band that puts even AC/DC to shame in terms of making the most generic rock music ever, but even they are more interesting than this. This is so predictable, it’s maddening. I fail to see what the purpose of music like this really is. Maybe you are just looking for something fun and mindless? I don’t know, I’ve heard some pretty dumb and mindless music before and even this sounds bad. It begs the question of what really drives someone to make this kind of art. Drugs? Pure boredom? Too much money that you don’t know what to do with? I have no idea. I’m being a little harsh though. I guess this isn’t actually all that bad. But I can tell that it provides me with zero stimulus. Not one neuron is firing while this is playing. I just look for more of an actual experience when I’m listening to my music, and this gives me nothing. It’s like the Madonna equivalent of rock music. This is possibly the most 5/10 album I’ve ever heard in my life. I guess technically I heard was objectively bad. None of it made me groan or cringe or nearly fall asleep. But I also wasn’t impressed by any aspect of the music itself. Singer is decent, but has no real standout moments. The guitar playing and drumming are also pretty run of the mill. But almost every song starts the same, and I felt like I could almost what I was going to hear next in each song. This basically exhausts any ideas it has in its first song, and just rides that for the next thirty-something minutes. It sucks too, because before making this record, they used to be a post-punk band. Not sure where the change came from, but this could have been something much more interesting. Rating: 5/10

It’s unfortunate I’ve only had one opportunity to talk about Björk so far. The choices out of her albums that made the list are also strange. Vespertine and the debut are totally justifiable, but no Post or Homogenic should be criminal. Medúlla would probably be one of the last picks for many fans. Simply because it is so drastically different from her previous works. Following up a record as monumental as Vespertine would be a challenge for any artist, let alone someone as talented as Björk. But it doesn’t seem like she let any potential expectations get to her. She claimed she wanted to move away from the realms of traditional instrumentation and make something based on vocals. It was an idea she knew she would one day put together since she was 18. And create a vocal based album she did. Maybe to the furthest extent that I’ve ever heard such a mainstream artist go. This really does abandon what most would consider the typical conventions of music and just focuses solely on the singing aspect. Even for her standards, this is still an unconventional piece of music. You’d be hard pressed to find another record on the list that uses beatboxing in even remotely the same way, if at all. Now, A cappella is by no means my wheelhouse. But I can’t deny that some of her strongest vocal performances she’s ever recorded are found here. It reminded me that the voice is just as much an instrument as anything else. But I’ll also be honest and say that this is one of the least memorable releases of her career. As a full album from front to back, it might work better. But on an individual track to track basis, it doesn’t work so well. And this is coming from someone who adores this woman. Even I can see the artistry at display here, but I can also see why this is often not included with the rest of the heavy hitters. It’s a really interesting case study into how the human brain works and evolves in such a way that allows someone to create art like this. I wish I had more positive things to say, but I’m not going to pretend this is some masterpiece, because it just simply isn’t. Rating: 6/10

I’ll begin this by saying I completely forgot who The Specials were. Or that I ever would have reviewed one of their records in the first place. I clicked post on the review of their sophomore album, More Specials, and then removed their presence from my brain. It confuses me how they managed to find a spot on this list not once, but twice, and why this was necessary. Going back to that original review from some months ago, it’s funny seeing how many of the same thoughts I wrote there that I was feeling while listening to this. This album in particular was produced by Elvis Costello himself, so that’s now twice I’ve had to listen to him in some capacity this week. So I’ve basically hit my limit. And all of the same gripes that I had with their follow up record are mostly present here. The way my smooth pea brain interprets ska music is very much an amalgamation of the basics of reggae and punk. That’s probably a really small minded way of looking at it, and I apologize. And I like both of those genres on their own merits. But take all of that and bring it together under this late 70s umbrella of 50s influenced new wave music and you lose me a little bit. What the band is actually playing is not what I take issue with. I also like that this form of music is rooted in a sense of rebelliousness and distrust like much of the music it is inspired by. It more so comes down to personal taste. Reggae and ska have always been gray areas for me, and it takes something particularly interesting to keep me coming back. This is not one of those cases, but I still enjoy it slightly more than their second album. Rating: 5/10

Funny how these things line up sometimes. This album turns 30 years old in exactly a week. Although I’ve personally never heard of TLC before today. I’m more familiar with the TV program of the same name than this group. And I’ll take the blame for this one. Because clearly I needed to educate myself. This may be some of smoothest and most seamless R&B music I’ve ever heard. In the 90s, R&B definitely reigned supreme over many different genres. But records were more focused on vibes than anything. Brown Sugar is a perfect example. Few people create a buttery smooth vibe like D'Angelo does. This album feels more in line with the pop rap side of things, while also bringing late 20th century soul music into the mix. And while these three might not be as renowned for their talents as something like Destiny's Child, but I find them equally as enjoyable to listen to. Aside from the closing track, the subject matter of most of these songs is generally pretty simple-minded and in line with the music of the time. But their delivery just oozes so much charisma that I don’t really care. They have good voices, good chemistry, and good energy on every song. Initially I didn’t know what to expect from this, but once I saw the admittedly brief, but stacked list of features, my interest was piqued. Anybody that can get André 3000 on a song has my respect. And man, the production is so awesome. How could it not be, considering many of these songs have Organized Noize credited on them. They do an amazing job too. Unfortunately, another name that can be found in the list of credits is P. Diddy. Which might be a first for me on the list. The weird thing to remember is that for as horrible of a person as he is, the impact he had on hip-hop in the 90s was pretty massive. But his very minor presence doesn’t bring this down much at all. I love when something I’m unfamiliar with is as fun as this is. Good stuff. Rating: 7/10

The 80s were a time where creative ambitions really felt like they were flowing. People actually attempted to push boundaries and change the dynamics of popular genres without falling victim to conformity. But, as they say, not all that glitters is gold. I’m all for experimentation and new ideas, as they are the driving force of what makes music so great. But when I go back, I look at a lot of these older albums in hindsight with the context of the music that came after them. I can imagine this record by The Associates was probably pretty cool stuff for the early 80s. But I also know it wouldn’t take too long for someone to come along and upstage this in many ways. I’ll still give this album the credit it rightfully deserves, because it holds its own at several moments. I think, at its absolute best, this album showcases some of the most interesting and well put together synth pop I’ve ever heard. Stuff that can even rival the best that the generation had to offer, like Tears for Fears or Depeche Mode. I wish every song sounded like Club Country, because it’s a legitimate banger. But more often than not, the record does not reach those heights. It’s recorded in a very manic and energetic way. Almost to its own fault. The drumming, for example, often sounds all over the place and very random, and only occasionally catches its footing to really provide a solid beat for the music. The rhythmic gap left by the drums is primarily picked up by the many synth sounds, which tend to be the best aspect of each song. I don’t think the singer’s voice is bad, but it’s also all over the place, and feels like an amalgamation of every popular male singer’s voice at the time. That includes both the good and the bad. This albums biggest fault is inconsistency. Like I said, in a perfect world, every song was similar to Club Country and this was an amazing album. Unfortunately, it regularly falls short of its own highs. Rating: 5/10

The combination of the name Cat Stevens and this album’s cover makes for one of the best things ever. It reminds me of the old children’s books my grandmother used to read to me when I was little. And I think the music carries that same childlike, whimsical quality of those books. But also similarly to those books, these songs likely have a deeper, more purposeful meaning behind them. My mother claims I should have known who this was. But I was drawing a blank on even his biggest songs. There are just so many songwriters from the era of music that have achieved what people deem as “legend status” who I just don’t know. It has a lot to do with the music that was played around me as I grew up. Where this record excels the most is in its brevity and pacing. Which might sound like a seemingly backhanded compliment. But I mean it as an overall net positive. This is the perfect definition of short and sweet. Average song length is around 3 minutes, which is basically the most suitable length for this genre of music. And for how short these songs are, he manages to pack in a really good amount of material. Many songs feel long and dense, without actually dragging on and becoming boring. Stevens has a nice voice. And the instrumentation, while simple, works effectively. I think the reason why I’m rating this the way I am is because a few of these songs just don’t feel as complete as the best the album has to offer. And they end up falling into the category of largely forgettable 70s folk music. But generally I think what is here is pretty solid, even if it’s not the most consistent. Rating: 6/10

I’d like to imagine my introduction to Dinosaur Jr. was similar to many people my age. Playing Skate 3, cycling through the music player and deciding which songs I wanted to keep and which to omit. I’m sure at that age when Almost Ready, the opening track to their 2007 album Beyond, came on, I probably turned it off. I don’t know if I was really capable of handling something that blown out. But I also enjoyed the Pixies song they had and most of the heavy metal tracks, so who really knows my reasoning? Only as I’ve gotten older have I gone back to that soundtrack and realized who that band was. And I’m glad their presence is on this list, no matter how much they get shit on by the average person. I guess I can understand that to the ears of the unaccustomed, this sounds horrible. Just plain noise with no real purpose. But considering the year this released, this album is huge. Few bands have made such a massive impact on the growth of alternative rock like my bloody valentine has. But Dinosaur Jr. is one of them. If there is anyone who loves his guitar pedals more than Kevin Shields, it’s J Mascis. Such an interesting frontman too. I saw it described by someone as “singing from your heart despite not being able to sing at all.” Which I love. It’s incredibly endearing. And any sane, non-biased fan of this band will tell you that admittedly Mascis can’t really sing. But I like his voice, no matter how much dissonance it really creates. Since this is Dinosaur Jr. though, what I really came here for is the guitars. And man, they are way more kick-ass than I ever could have imagined. All that I’ve heard about Mascis and his songwriting capabilities make sense to me now. The man is an expert at writing incredibly wild and captivating lead bits and solos that make every song a unique experience. As far as I’m concerned, the first four songs on the A-side is some of the most flawless sounding noise rock I’ve ever heard in my life. The rest of the album is solid too. Aside from maybe the closing track, which is almost alarmingly loud, and really puts the noise in “noise rock”. I’m really happy I enjoyed this as much as I did, because it makes me considerably more excited to hear what their previous album has to offer. Rating: 8/10

There is a very small list of albums which I knew would appear at some point. And I dreaded the day they came up. 69 Love Songs was one of them, but thankfully I got that out of the way before I had a job and real responsibilities in life. One of the others was this particular Ella Fitzgerald record. It is, in fact, her only appearance on the list. I’ll preface this review by saying that technically I haven’t heard this entire album. I tried as hard as I could, but given my schedule throughout the day and things I have going on, I physically wasn’t able to hear this all the way through. To those unaware, this is over three hours long. It’s the fifth entry in her career defining series of recordings spanning nearly a decade that tackle the Great American Songbook. So this material she is working with is not original, but it is some of the most classic and timeless music ever written in the English language. Of course, my biggest complaint is going to be the length. After hearing multiple records this long, I’ve come to the conclusion that I don’t think albums need to be this long. Unless the artist can somehow find a way to justify that length. But 69 Love Songs couldn’t do that, even with its decent amount of variety. I’ll state what I love about this box set, at least from what I’ve heard. Ella Fitzgerald has one of the best voices of any female singer ever, point blank. It transcends the generation she dominated in, and can be appreciated by almost anyone. The nickname “Queen of Jazz” is very fitting. I can’t think of one moment I heard where I thought she genuinely sounded bad. She is seemingly on point in all 59 songs. The arrangements, on the other hand, are also generally pretty stellar. From the first song I was really struck by how good they are. Easily some of the best I’ve ever heard from the time period. They go from dreamy and entrancing, like one of the old, hand-animated Walt Disney films, to slightly more energetic jazz-affiliated instrumentation. All of my issues with this record lie in its length and its similarly massive track list. After a certain point, it just becomes exhausting to hear dozens of songs that all sound relatively the same. As badly as I wanted to hear this entire thing and really see the best it has to offer, unfortunately it wasn’t achievable for me in one day. Rating: 5/10

The amount of artists currently working today who are making incredible music that may never be discovered is probably innumerable. It’s really up to the average person like me to discover those talents and hopefully spread the word, even if it’s just one person at a time. Look at bands like Have a Nice Life or Duster, who potentially never would have made it out of those small Internet forum board circles and into the limelight like they have now if it weren’t for social media and such. Those vessels have not had the same effect on Nick Drake. But this idea still applies to him. In many ways, Drake is the folk world’s equivalent to Jimi Hendrix. Three studio albums all released within a very short amount of time, with the last coming shortly before their death, which all had profound impacts on their respective genres. Except unlike Hendrix, Drake saw none of the same commercial success in his time. He was rather unknown, and has only garnered the appreciation he has now after his death. Which makes me even more glad all three of his records found their place on this list. I guess from a critic standpoint, this sophomore release would be considered his weakest. But that doesn’t really mean anything considering who I’m talking about. I am only familiar with Pink Moon, so I was not used to hearing his performances at a such a sophisticated level. At least not with proper instrumentation other than just himself. Backed by members of the wonderful Fairport Comvention and John Cale of The Velvet Underground, what you get here is jazz-influenced chamber folk. And it’s some of the best I’ve ever heard. There are very few musicians that I know of who can command a song with an acoustic guitar like he could. Even with all of the wonderful arrangements present in the background, his slightly dark and mystifying guitar parts still come through clearly. His voice is soft as silk and many times barely present in the music itself. He was clearly someone very reserved, a fact that comes through very clearly in his works. Even something as simple as the introduction, which is an instrumental mostly consisting of strings and guitar, is still incredibly captivating. This is a really solid way to become familiar with his music, and I wish he could have lived to see how he would affect hundreds of thousands of people later on down the road. But this listen also makes me considerably more excited to hear Five Leaves Left. Rating: 8/10

Although I’ve never listened to him personally, I’m not going to sit here and try to undo history. Bruce Springsteen has probably done more to legitimize and popularize country-affiliated rock music in the mainstream than any other artist ever. He’s called “The Boss” for a reason, and he’s easily one of the most successful and celebrated rock musicians of all time. So my opinion of him or his music isn’t going to change anything for anyone. Although I wouldn’t say I really had any concrete thoughts, because I don’t know if I’ve ever put on a song from him on my own volition. Although I’m not going to allow my thoughts on this record decide how I feel about him as a whole. Because I know this is very different from his typical style. You know, generally something like this is inspired by tragedy and sorrow. But I don’t think any personal event led to the creation of this album. It’s more so based on individual fictional stories about the sufferings of others. It’s so interesting seeing such a record like this come before what would end up being his biggest and most commercially renowned success. If the contrast between the red and the black and white wasn’t enough, Nebraska is incredibly dark and solemn. Almost exhaustingly so. It’s strange to hear someone who is almost always backed by his band be so stripped back and musically naked. I can almost envision him sitting alone in a completely empty warehouse with just his instruments. He recorded everything you are hearing on this, and there really isn’t even one ounce of a rhythm section to be found. It’s like the 80s Americana equivalent to Pink Moon. As much as this helped me learn to appreciate Bruce as a songwriter and become accustomed to his methods, his voice here is definitely an acquired taste. And it’s such a bare set of recordings that it’s not something I would want to revisit. It’s foreboding melancholic, and doesn’t make for an enjoyable listen, which I doubt was really the purpose in the first place. Rating: 6/10

From one country music icon to another. And from one dramatically sparse record to another. I am not familiar with Willie Nelson in the slightest. I could say this about the majority of the big country stars from the last 60 years because it’s not a genre I listen to. And aside from a few standouts here and there, none of the albums I have heard have made my opinion of said genre become any more positive. I still really don’t resonate with it on as deep of a level as some do. Some people live and die by this shit. I was still open to hearing what Willie had to offer. Unfortunately, I don’t find it to be much. To start with the good, he’s got a great voice. One of the best I’ve heard in country, and one that feels immediately iconic. It’s also one of the most seminal releases for the history of the Outlaw Country movement. So it’s nice to see people like him and Johnny Cash inspiring others to fight for creative freedom. But that’s where the positives end for me. This is basically a pseudo-concept album about a fictional outlaw on the run. But I’m not really sure how well that story comes through. And his guitar playing is anything but remarkable. This entire album is composed of relatively short and simple songs. But these aren’t really the kind of short and simple songs that I enjoy. He recorded everything by himself, and there are sparse instances of something other than just his guitar here and there. There is just so little going on, and Willie’s songwriting and lyricism do not make up for that fact in the same way as people like Marty Robbins or the aforementioned Johnny Cash. Rating: 5/10

It doesn’t seem like the universe wishes for me to escape the realm of country music just yet. It’s dominated a good portion of my week. Except this particular album tackles the country idea in a significantly different manner than the previous two, which were much more traditional. Maybe even too traditional and lo-fi in some cases. This takes the small scope and intimacy of those other records and throws it out the window for something completely unorthodox. The most similar thing I can compare this to would be the Violent Femmes debut. Which is probably the only album I’ve heard that tackled the folk punk sound and did it pretty successfully. In fact, it may have been the only folk punk album I’d ever heard until today. This is less based in folk and more in country or classic 50s rockabilly though. I could also argue it’s really just a post-punk album with a fancy twist. This sounds like the music that backs the strange ramblings of Tom Waits. It’s anything but traditional. But it’s slightly impressive that the post-punk elements still come through well combined with the weird country stuff. There are some moments of real ingenuity that I was pleased with. It is credited as one of the first of its kind, and was a far cry from the music the band had made up until that point. Everything about this, including the cover, feels raw, dirty, and unpolished. I see what they were going for, and there is a surprising amount of catchiness to be found in its best moments. But as a whole, this isn’t something I can recommend or see myself ever coming back to in any amount. Rating: 5/10

This whole endeavor I’ve undertaken has introduced me to more than a fair share of strange and unusual albums and bands. But I can’t even explain the feeling I had when I saw Rising Above Bedlam by Jah Wobble's Invaders of the Heart pop up. Excuse my language, but what the fuck does that even mean? That title and artist name, combined with the cover I think genuinely re-wired the way a part of my brain works. It’s so ass it’s almost a form of art all on its own. I’m all for experimental and genre-bending music. But at what point do we break past the point of genuinely interesting experimentation and just start experimenting for the sake of it. John Joseph Wardle, or as he’s better known, Jah Wobble (not making that up), was once a member of the well-known experimental rock outfit Public Image Ltd. This was his fifth solo album, and the second with his group Invaders of the Heart. And I’ll just be completely blunt about it and not beat around the bush. It’s awful. I can’t think of anything in particular that I found to be enjoyable about this. I’m purely scoring this the way I am because I can sort of appreciate the musicianship and the risks that were taken here. It’s a total mess of genres and sounds from all over the musical spectrum that feel pieced together with scotch tape. This is probably the least pleasant experience I’ve had listening to an album in the category of world music. It takes reggae, Indian and Latin sounds, and puts it all over downtempo beats. Vocals are split between Wardle himself and an Egyptian-Belgian singer by the name of Natacha Atlas. She does a fine job, but he seemingly puts in zero effort, and gives a completely bland and monotone performance on every song. Sometimes it just feels like mindless rambling. Sinéad O'Connor even pops up on a song. And although even she couldn’t save it from still being boring, this gets a point for having her. I wouldn’t ever consider recommending this to anybody, because there is largely nothing of value to be found here. Rating: 4/10

In light of the recent passing of Quincy Jones, it feels no more fitting than now that I would get an album like this. It’s hard to really express how much of a powerhouse duo those two were. And now that they are both gone, all we have left to remember them is their contributions to the music industry. And thank god this is what it is. I said to my friend recently that if any record were to be left on Earth after we are all gone as proof of human existence, it should be Thriller. I’ve decided today that Bad and Off the Wall belong in there as well to complete the trilogy. Many people forget this was not Michael’s first album, and obviously not his first venture into music. But it acts more as a debut than any other work he had released previously. The differences between this and Forever, Michael, the album the preceded it, are staggering. But it’s clear the four year gap was spent well. I’ve always tried to be realistic about the kind of talent that Michael really had. No, he couldn’t play any instruments. But the voice is just as much an instrument as any, and damn did he know how to use it. I challenge you to find another artist who put layering of his own vocals to use like this. These vocal harmonies are otherworldly. Also, can we talk about this production? Quincy must have been Midas incarnate, because he somehow simultaneously created three of the best sounding albums of their respective time periods. Some of the best bass lines you can find from the 70s, like on I Can’t Help It. As far as I’m concerned, the first half of this is near flawless. And the second leg is great as well, but definitely not as consistent. She’s Out of my Life might not be the most instrumentally compelling the song. But if you aren’t captivated and deeply touched by how genuine and beautiful his vocal performance is on that song, are you even human? Nearly brought tears to my eyes. Much like Led Zeppelin, if I grow to have kids in my future, they will know who Michael Jackson was. And I hope their children will too. Thriller was my dad’s first record at age 5, so clearly it’s been passed down through the generations. The impact these three records have had can never be undone, and I’m glad I got the chance to speak on each of them. Rating: 9/10

As people have “grown up” and matured, the general public’s disdain towards gangster rap in hindsight of its popularity has only grown. Now granted, there were people during that time period as well who actively fought against it. I, for one, have never been opposed to it. And I don’t think it should be looked at as this sort of scornful thing in comparison to more notable and serious forms of expression in hip-hop. I will admit that the blatant bigotry and misogyny is off putting. And I shouldn’t be so quick to brush it aside, considering how prevalent it was back then. I will take the blame for that, but this was also two decades ago. So I would hope everyone has realized those things are harmful and not true. I was actually pretty excited to hear this for the first time. Because I was interested to see whether this had any good deep cuts beyond its biggest hits. And truthfully, it does have a few solid lesser known songs. But the biggest draw is really the four songs everyone knows. And still, to this day, I will defend the viewpoint that those songs are bangers. Especially Many Men and 21 Questions. Through my listen, I also found this contains some of the most impressive work I’ve heard from Dr. Dre. It’s impressive that he was still finding ways to sound modern and engaging this far into his career. I enjoy this a normal amount. But even I can admit that the “gangster” aspect of this is almost oppressively in your face. Maybe more so than any other record I’ve heard from the genre. Heat is a good track, but the way the gun sound effects are just worked directly into the beat cracks me up. And I can’t take the chorus of Poor Lil Rich seriously with his delivery, but that’s what makes it one of my favorites. I’m here for the goofiness. I’m here for 50 sounding half asleep and slightly incomprehensible at moments. Which is why I firmly believe this is just as consistent as the genre’s best known records. Rating: 7/10

Any double album is a hard sell for me. But it’s an even harder sell when it’s from an artist I am not even remotely familiar with. I have no idea what to expect in terms of quality. And generally speaking, double albums aren’t perfect. Far from it actually. Even artists I have a serious appreciated for like Led Zeppelin and Bob Dylan couldn’t put together a double LP that didn’t contain any unnecessary feeling songs. I’m looking at you Boogie with Stu. It’s not that I wasn’t looking forward to this first listen. But I also wasn’t jumping for joy at the opportunity to hear it. In hindsight, it’s not as bad as some might make it out to be. I think it’s definitely a bold move to open with a short interlude track and then launch into a 13 minute long progressive pop epic. And it’s potentially one of the best I’ve heard from the genre. It maybe starts things too strong, because nothing really reaches that same height after. I’m actually mostly a fan of this album’s decidedly quirky style of writing. And I think there is enough variety from song to song to keep things interesting. I’m not sure if this is supposed to be a concept album, because these tracks feel like they have a semblance of inter-connectivity, especially with the parts of people talking. But if so, it feels mostly sidelined in favor of the music. And the music, while cool, isn’t always the most consistent thing. I think the more energetic songs, like their cover of Born to Run, are worthwhile. But everything else in between the occasional highlight feels like filler to me. Which I’ve grown to learn is what should be expected from these mid-80s synth pop groups most of the time. Rating: 6/10

Another double album, but this is one I can confidently get behind. Deep Purple in Rock was one of the most surprisingly kick-ass albums I’ve heard in a long time. And even just that first listen cemented me as a fan of their work. Made in Japan is a legendary set of recordings from the bands various performances in Japan in 1972. The majority of the material featured here comes from Machine Head, an album I have not heard. So, aside from Smoke on the Water and Child in Time, most of this was new to me. You could make the argument that there really isn’t a reason for this to be on the list as their two most acclaimed records already are. But I think there is enough added to these songs to make them feel worthwhile. The length of some of these tracks is extended well beyond the original length. Whether it’s improvised guitar parts, or the sick drum solo that occupies the majority of The Mule’s runtime, they always add something. Although I’ll admit that as epic as these guys are, there are moments where even I was sitting wondering when it would end, because it felt like it would go on forever. What makes this interesting for me is simply the band themselves. I just find them to be an incredibly enjoyable band to listen to. And on these particular recordings, they sound absolutely massive. Amazing performances all around. I mean, if you aren’t even a little impressed by Ian Gillan’s belting on Child in Time, I don’t know what to say. At its best, this album is some of the finest live hard rock you can hear. At its worst, it’s only a little lackluster. Rating: 8/10

To me, when The Kinks got a little weird and quirky is when they excelled the most. Their run at the end of the 60s and into the early 70s is what cemented them as one of pop rock’s most essential and influential bands. The Kinks Are the Village Green Preservation Society was no doubt surprisingly much better than I imagined. But I won’t pretend it was the greatest thing I’d ever heard. Ray Davies and his band mates were definitely a talented group of people though. Now, after hearing this album, I think my opinion of this band has actually grown considerably. I didn’t anticipate liking this so much. But from an objective standpoint, some of these songs are of the best that the decade has to offer. They were in their prime here, and like I mentioned at the beginning, the creative juices seemed to really be flowing. I feel like Australia is potentially an early example of blues rock, and it’s killer. This is also probably one of the earliest rock operas. But whatever concept or interpretation they were trying to push with this doesn’t come through all that clearly. Overall, I don’t know if I would say this is better than the album that preceded it, but I think I enjoy it more. Rating: 7/10

There is a small part of me that still regrets the way I reviewed and scored Daydream Nation. Going back and looking at what I wrote, I don’t know if it would still stand. It’s been just over a year since I heard that, and truthfully I can’t recall one memorable thing about it. I think it’s caused me to have to this warped perspective of the band and their fans. I want so badly to enjoy their music and that record. But I was presented with anything that made me feel inclined to do so. In that original review, I said “What I want to hear when I listen to other Sonic Youth records is more. More heaviness. Go crazier. Be more experimental and weird.” Funny how that has aged considering the context of this album. This would mark the beginning of the band’s very strongly praised period from the mid-80s and into the 90s. Kim Gordon calls it their gothic record. And it represents a much darker and less appealing side of their music. What you are actually hearing isn’t too far off from the noisy post-punk and goth music of the time period. But it has their unique spin on it. Kim’s voice is still just as lifeless as ever. I don’t think the music itself is terrible. The first three songs start things off very strong, and led me to believe I would be in for something especially interesting. But after that, the only song that even remotely caught my attention was the longer closing track. To me, the issue that still remains which bars me from really enjoying this is how inconclusive it feels. There are so many times where a proper pay off moment or exciting climactic part feels worthwhile or even necessary. There doesn’t have to be a massive explosive end to every song. But just something more. The only example in which I feel this works is Shadow of a Doubt, where the almost melancholic vibe adds to the song. Even more so than their most celebrated album, I am still searching for more within Sonic Youth’s music. And I’m still holding out hope that one day I can find it. Rating: 5/10

There are just some albums that, after hearing them, make me question whether or not they were actually written to be enjoyed. Like, I’m not sure what path you have to take in life that leads you to a point where you think this sounds good. It also makes me wonder what kind of taste you need to have in order to like this. Everyone is entitled to their own opinion. And maybe this is karma for speaking so positively about bands like Avenged Sevenfold or Protest the Hero. Because this is so unappealing to me, I actually enjoyed working an 8-hour shift at my shitty part-time job more than the 40 something minutes I spent with this. The opening track left me thinking maybe there was a small chance I would find some enjoyment in this. The actual music I was hearing sounded good. But somehow every song after this gets progressively more uninteresting and boring than the last. And there is no part of me that can justify something like Knowledge of Beauty being 7 minutes long, The Waltz being 8 minutes long, or especially This Is What She’s Like being over 12 minutes long. These songs aren’t even remotely unique enough to make that length feel worthwhile. Where my biggest gripe lies is in the vocals. They are just flat out awful. I guess I shouldn’t claim outright that I could sing any better. But I don’t think it’s much of a stretch. These are the most painfully British sounding vocals I’ve ever heard in my life, and they drive me insane. There are some short spoken word sections in these tracks, and it would help to make them more interesting if I could actually make out what he is saying. But most of it is basically unintelligible. I tried so hard to understand what this could possibly be going for, but nothing about it was really appealing to me in the slightest. Rating: 3/10

Just another one of the many artists who I would have never guessed would one day make an appearance. Interestingly enough, Mariah Carey has managed to cement herself as a one-hit wonder in maybe the best way possible that is most beneficial to her career. She makes millions off of her iconic Christmas song, but I couldn’t name one other hit from her by name without hearing it first. So she’s been around a while. But her relevance also relies on the existence and seasonal popularity of one song. Like I said, have never heard anything else, and never would have sought it out on my own until today. Before we get into the general positives, I’d like to get my one gripe with this. And it’s more so a gripe with the era as a whole. Why was the R&B trend of the late 90s and into 2000s for every artist to release an album that’s nearly an hour long. I have a hard time getting into records that long, even from my favorite artists. And I wouldn’t say that Mariah does enough from song to song to justify that length. Now, as everyone knows, the woman has a wonderful voice. And I was genuinely surprised at how much influence there is on here from hip-hop. This seems to mark the transitional phase in her career where hip-hop took more of a precedence in the music and her celebrity persona began to shift. I mean, you’ve got production from Puff Daddy and Q-Tip on the opening song, two members of Bone Thugs-N-Harmony on another, and they even sample Shook Ones, Pt. II for the The Roof. That sample is maybe a little more on the nose than I’m generally a fan of, but it’s not terrible. There are a select few highlights here and there, but this just isn’t the kind of music I listen to a lot, so much of it sounds very stale to my ears. Rating: 6/10

The sentiment I see online towards Bob Dylan still confuses me. Of course, music is subjective. So I can’t speak for everyone. But the avid hatred that some people maintain towards this gentleman and his music is kind of intense. I personally have yet to see what’s not to like. And each record I hear unravels another layer of his history. A history which has imprinted itself into the ethos of rock music and its evolution. When you have such a wide range of incredibly talented people who wish to follow in your footsteps, I think it’s a testament to the quality of your musicianship. Either way, I’m here to talk about Highway 61 Revisited. One of the many lauded records from his catalog. I guess you can pinpoint his sophomore album as the establishment of his sound, which would then be back up by The Times They Are A-Changin' and Another Side of Bob Dylan. So when Bringing It All Back Home released, which would then be followed by this album, it upset a lot of people. You were seeing one of the biggest contemporary folk artists of the time period and watching him transform his sound into something very different. Quickly Dylan became the man leading the charge on the electric folk and blues rock movement. This change would obviously be immense, as it would result in the highlights we see here, along with Blonde on Blonde. And much like the best which that record has to offer, these highlights are definitely career all-timers. I mean, opening with Like a Rolling Stone starts things off really strong, and makes it very difficult to do better. But the rest of the album generally maintains the same level of quality throughout. Ballad of a Thin Man and Desolation Row are two of the best ballads of all time, but I’ll admit that the latter maybe runs a little longer than it needs to. And the rest of the album is made up of really solid blues and folk songs like Tombstone Blues and the title track. As I continue to hear more and more of what Dylan has created, it becomes increasingly apparent to me that he is a lyricist few can compete with. He just has an unparalleled amount of charisma and each line he writes is both poetic and fascinating. Another thing I’ll never understand is the criticism towards his voice. He lies in the same category as Neil Young, and they both get a lot of slack for the way they sing, but I think their voices are wonderful. So far I have seen great consistency from Dylan, and I think this takes the lead as my favorite album of his. Rating: 8/10

The name Brian Eno should sound familiar to anyone who has spent a considerable amount of time with this list. Or anyone who has explored various spaces of experimental rock through the 70s and 80s. The amount of absolutely iconic music that has sprung from his countless contributions and collaborations is innumerable. And this doesn’t even factor in his solo work, which is just as essential. He basically created the namesake for ambient music, which I think says a lot. The man has had nothing short of a storied career, and I love seeing so much of his work represented on this list. This is his second solo release. And there is a rather star-studded list of people who were working behind the scenes, including members of his former band Roxy Music, and even Robert Fripp. All of the background info surrounding this and the way it was made is incredibly interesting. Eno specifically chose people he thought would not work well together, and deserved to them what he wanted them to play using body language and dancing. He essentially made the creative process be based on interpretation and emotion rather than critical thinking. He then took everything they made and mixed, or altered, the recordings heavily, which resulted in the final product. Mind you, this was all recorded in less than two weeks as well. So from the beginning, Eno was already showing his prowess and ability to push the musicianship in a different direction. This is probably the best place to start for his catalog, but it also sets the precedent that his music is the least bit ordinary. This feels like a really well packaged experimental rock album that draws from a variety of different places. It challenges the listener, but in a very palatable way. And you can hear how bringing together musicians from such different places can lead to wildly unique results. Crazy that he hadn’t even really become acquainted with Bowie yet. Pandora’s box had yet to be opened. This isn’t my first experience with the work of Brian Eno, but it does work as a great view into his mindset and creative talents. Rating: 7/10

If this album has given me one thing, it’s helped me realize world music is just not for me. I’ve heard over half a dozen different records at this point, and I don’t know if I can continue to hold out hope I’ll find something I really enjoy. They have all either been okay at best and borderline unenjoyable at worst. This album falls into the former category. What piqued my interest about this in particular was the presence of Ry Cooder. A name I did not recognize, whose music I was already familiar with. Being apart of Buena Vista Social Club and the Captain Beefheart band means he is no stranger to potentially foreign instrumentation. It reminds me of those Fela Kuti live performances with Ginger Baker. The amount of contributions he actually made to this is quite impressive, with a wide variety of unusual instruments that create the records unique sound. I cannot speak on Ali Farka Touré, but from what I read, he was one of Africa’s most respected musicians. This album blends different genres to make a very warm and chilled out acoustic blues sound. Because of the language barrier, I don’t feel much of a connection with the lyricism, but I don’t hold that against him. I feel this album simply overstays its welcome, with many songs that are probably longer than necessary. This is mostly caused by the instrumentals generally meandering around the same ideas, and not being all that varied. This means the music ends up turning into background noise for me, where I’m not very focused on what I’m hearing. Which is maybe what it’s best for in small samples. But as a full album experience, it’s a little lackluster. Rating: 5/10

It has been a long time since I heard The Velvet Underground & Nico for the first time. And I’ll admit that, unlike many who have heard it, the album had no real personal impact on me. I have not listened to it voluntarily since, and I really don’t think I ever will. I view it as the young and naive teenager’s first experience with experimental rock. Not saying it’s a bad album, or one that doesn’t deserve the praise it’s received. Or even one that works as a good gateway into the more unusual side of rock music. I just question how we can still regard it so highly, at the same level as other landmark art rock releases, like Marquee Moon for example. My experience with that debut was not that bad in retrospect though. So I wasn’t opposed to hearing what else they had to offer. Plus, the absence of Nico would definitely make other albums more tolerable. Safe to say I’ve never been a fan of her. While the debut was thematically hedonistic and dark, this follow-up fits the experimental label much better. It’s more noisy and unkempt. All around it’s pretty fucking weird. As strong as Lou Reed, and I guess Nico’s, writing was, the music on that debut was not doing enough to keep me engaged. This is far more interesting. The titular opening track is short and simple, but still solid. Here She Comes Now and I Heard Her Call My Name are a combo of very noisy and wild recordings, the latter of which I like better. The Gift is potentially one of the most perplexing songs I’ve ever heard in my life. Everything about it is designed to be a confusing listen. The completely monotone delivery from Lou Reed being used to tell such a strange story, one that I found myself really entranced by in fact, and the hard panning of vocals to the left and instrumental to the right, make this an undeniably difficult song to get through, but such a cool one. Many would argue that the real star of the show here is Sister Ray. And while I agree, is there a debate to had about it being too long? Potentially. Especially when it devolves into mostly structureless noise towards the end. But it’s a good song no doubt. I’m still not entirely sold on this band. But in my eyes, this is a steady improvement from what I heard on their first. I hope to hear something even better on the second of two self-titled albums they released. Rating: 7/10

I’m surprised I scored Snivilisation the way that I did, because I don’t remember anything positive about it. But I guess I don’t remember anything negative about it either. What I have learned is that traditional techno, like the kind developed in the mid-90s United Kingdom, is not for me. I just don’t see the appeal of it. Unfortunately I’ve had to hear a number of albums on this list in order to come to that conclusion. Not sure why it’s taken me so long. From what I read, this self-titled Orbital album was supposed to be one of their best. So I had expected at least something good. And I left feeling even less satisfied than the previous record. At least with that it was somewhat middle of the road, with a few peaks here and there. Even this album’s best stays pretty consistent at not being entertaining. I don’t know if I’ll ever not be worn out and exhausted by hour-long techno and electronic albums. Aphex Twin and Boards of Canada are the only ones that can get away with it in my book. Since the first song here isn’t really a song, the second track Planet of the Shapes is where things really get started. And I held out hope that in 9 minutes of music, I would hear something I liked. You know what the issue is? Cool noises for sure. But do they really have any purpose or direction other than floating in, out and around each other in circles? This seems to be the theme with every song. Too long and not enough going on. Although like the last album, the longest song is surprisingly the best one. Not sure how that works. Thankfully I don’t ever have to hear another album from Orbital, because clearly I’m not the target audience. Rating: 5/10

I honestly did not know this was on the list. It’s rare to see something so recently released show up. I could probably count on both hands the number of albums I’ve had from the 2010s and beyond. Fiona Apple is one of the most widely appreciated and respected female singer-songwriters of all time. As far as I’ve read, she’s got a pretty consistent, some would even say flawless, career. And she’s also an artist who takes her time. She’s gone six, seven, and even eight years between album releases. This album, being her most recent, is almost half a decade old itself. I guess I can’t really say it definitively, but I’m not so sure this is the best introduction to her music. For anybody, let alone me. But I still dove in with reasonable expectations. This record is the finished project of nearly five years of work. Mostly done hilariously in GarageBand. Which just proves you do not need fancy equipment to put something worthwhile out if you have the talent to properly realize your vision. Apparently much of these vocal takes were taken and largely unedited from their original sound, which really brings out the raw emotion. The album as a whole feels like it was recorded in a living room with one microphone positioned on the coffee table in the middle of the room. This lo-fi feel is also aided by the style of instrumentation. It is much more percussion based than I ever would have imagined. They supposedly used a variety of different unusual methods to create these sounds, using regular every day objects. And I can almost imagine the clinking and clacking of pencils on desks or pots and pans tapping together. Apple herself is a poignant lyricist, and her vocal delivery is undeniably striking. For how late this was into her career as well, she sounds fantastic. It is a little hard for me to properly review this though. I’ve never heard another one of her album’s, so I don’t know what to compare this to. I can’t say for sure how this holds up, but I also don’t know how much replay value this has for me. It is definitely an experimental album, and its unusually bare and stripped down approach left me confused as to whether I should focus on the music or the singer herself. But overall, as an experience the album is pretty solid. And it surely gives me more of a reason to check out her other albums in the future. Rating: 7/10

An unfortunate truth is that Dusty Springfield debut, which I heard a little over a month ago, wasn’t the least bit impressive to me. It being composed entirely of covers really didn’t do much for her. But thankfully, the aspect of that debut which stood out best was Dusty herself. As far as I was concerned, what she had going on there needed no real improvement. Her voice was beautiful, and it gave me hope that I’d hear an improvement on her sound in the future. I couldn’t have imagined how much of an improvement it would be. This takes every issue I had with the actual music backing Dusty and throws it out of the window. She not only sounds just as amazing as she did before, but somehow improves in many ways. And the instrumentals and orchestral arrangements are so good. Like I can’t stress enough how much depth they add. They are this nice blend of soul and jazz. I think the best example I can give is towards the end, with The Windmills of Your Mind. It starts out as this really serene, almost Bossa-nova like, introduction. But within the last minute, the tempo changes, everything ramps up, and it gets super dramatic. Dusty also just has an incredibly powerful and earnest way of describing love, longing, sadness, and desire with her voice. Of course most people have heard Son of a Preacher Man before. And I think it’s an absolute classic. This quickly worked its way to the top of my list for soul albums, and I think it is a considerably more worthwhile listen than anything else I’ve heard from her. Rating: 8/10

The extent of my knowledge for the Chili Peppers’ discography consists of hearing their most popular songs over the years. I mean, I remember finding Can’t Stop for the first time in 6th grade, and showing my friend the music video in art class the next day. I went home after that and asked my dad if he knew who Red Hot Chili Peppers were, like I had discovered the most underground band ever. As I’ve grown up, I’ve realized they might be one of the most polarizing bands ever. At least at their level. There are a lot of people who can’t stand them. Although, it does beg the question, do they really hate the band or just Anthony Kiedis? To a degree, I understand where the distaste comes from. It’s really what inspires most of my gripes with this album. Aside from it probably being too long, Anthony just sticks out like a really ugly, sore thumb. Every piece of info I’ve learned about him has been against my will, and has generally not been positive. As much as I enjoy some of their music, I’ll never pretend that he can really sing all that well. He’s definitely at his best on something like Under the Bridge. He sounds very young here, and his lyricism often feels like purely goofy rambling. On this particular record, it leans more towards the very sexually charged kind. Sir Psycho Sexy or Suck My Kiss are glaring examples of that. It’s unfortunate that Anthony brings this down so much by just being himself. Because everything else is awesome. The band dynamic is really strange, considering almost everyone can unanimously agree on what the draw of this group really is. Flea, John Frusciante and Chad Smith are some of the best ever in their individual categories. Particularly the first two. This albums’ best moments are when Anthony shuts up and lets the music really run wild. I do think there could’ve been a little more variety though. Like, The Greeting Song is good, but My Lovely Man almost sounds like the same song. This isn’t a bad album. But it’s not a game-changer for me. I doubt a Chili Peppers' album ever would be. Rating: 7/10

The Flaming Lips have been lucky enough to accomplish a feat many bands wish they could achieve, but few actually do. They have reworked their own sound numerous times when releasing new records. But have never fully abandoned what makes them unique or special. The core of what has fueled the band for so long has never been forgotten, which is what has allowed them to stay so consistent. And when you really look at what they have created, they have potentially one of the most fun discography’s of any band ever. Yoshimi Battles the Pink Robots, which sounds straight from a cartoon, is probably the best known album by the band. It’s also sort of a concept album, although I think that concept only really comes through in the two parts of the title track, which are great songs either way. Much like I was saying earlier, this isn’t exactly the same as The Soft Bulletin. But it still contains much of the DNA which made that record so good. The fuzzy explosiveness is substituted for a much glitzier and more dream pop adjacent sound. But that’s all still wrapped up in that really nice quirky psychedelic blanket. There are also aspects of electronic music being brought in, even more so than the previous album. This would definitely contribute to ideas they would tackle later on down the line. I think the best this has to offer is on par with the best of The Soft Bulletin. But I still find it to be a better album overall than this. Ultimately though, this is still another banger from one of psychedelic rock’s most inspiring and wacky groups. Rating: 7/10

I’ve been unironically waiting for this to pop up for months. I wanted it so bad, because I just have so much to say in regard to what is really going on here. You’d be hard pressed to find a band which gets more heavily scrutinized than Limp Bizkit. There has been a general consensus since the 2000s ended, and people moved on from nu-metal, that Limp Bizkit sucked. People decided they always have been, and always will be a shitty band. It’s interesting how similar both this band and Red Hot Chili Peppers are in this regard. Because most of the hate stems from one person, and one person only. Mr. Fred Durst himself. I mean, people blame the guy and his bandmates as the sole reason why Woodstock '99 was a complete disaster. Which most people know by now to be almost entirely incorrect. I say almost because they definitely contributed a bit. The presence of Chocolate Starfish and the Hot Dog Flavored Water, which is unfortunately a real album name that’s also accompanied by possibly the most grotesque cover ever conceived, genuinely offends some people. I’ve personally never found Fred Durst all that annoying. I can tolerate his voice and antics. And he’s honestly become much cooler in recent memory than he ever was back then. Once he ditched the tough guy act and embraced how goofy their music really is, he became much more tolerable. But much like Anthony Kiedis, this album is at its best when Fred shuts up. Wes Borland and John Otto are fucking animals, and pretty much every performance they give here is top notch. Every breakdown sounds absolutely massive and kicks total ass. I’m not afraid to admit how much I like that aspect of their music. It’s hard as fuck, no doubt in my mind. Fred’s lyricism is garbage. Obviously. My personal favorite is probably “If I say fuck two more times, that’s 46 fucks in this fucked up rhyme” on the first song. The Christina Aguilera and Ben Stiller name drops on Livin' It Up are also insane. Also, on the aforementioned Hot Dog, is the chorus not just completely ripped from Closer? I’ve always wondered if Trent Reznor actually signed off on that. Now, am I aware that me scoring this higher than a number of deeply loved and largely lauded albums is probably punishable by law? And that in comparison to other well known nu-metal groups, this album, and really band in general, is less impressive in almost every way? And that from an objective standpoint, this is a bad album? Absolutely. But I’m also aware of what I’m listening to, and it’s basically just a guilty pleasure at this point. There aren’t many records that capture everything wrong with the 2000s so perfectly. But if there was anyone to do it, it would be these guys. As Zakk Wylde put it, “Limp Bizkit sucks cock”. Rating: 7/10

Aside from all of the freakish animals, I used to believe everything that came from Australia was golden. When it comes to music, I still believe this to a degree. Some of my favorite bands ever originate from there. Plus, a little AC/DC every once in a while isn’t so bad. But this record doesn’t exactly give credence to that statement. This is another really strange addition, where I can only wonder what circle the author would have had to be in to find a record like this. But at the same time, this cookie cutter, copy-paste albums were, and still are, all over the place. Especially during the 80s. I don’t have much to say about this album. Because I feel there is very little to really talk about. If you could imagine the music that plays in the background of a cheaply made indie coming of age film, you might think of something close to this. Like the soundtrack to the school dance scene. It’s entirely unmemorable, and completely devoid of things I look for in enjoyable music. I guess there is an interesting melody on occasion, but not often enough where I can pick out which songs they happen in. Past all of the sickly indie pop, there is a slightly stranger edge to the music that slips through the cracks every once in a while. But that alone is not capable of saving this from being very mediocre at best. Rating: 4/10

The prefix of “post” can be both a positive and a negative. When you slap it on and create something like post-punk or post-rock, then I’m on board. But when you present me with something like post-britpop, I grimace. Even just what that name potentially suggests is slightly vomit-inducing to me. Britpop is already not my favorite. I haven’t had much success with it in the past, and it unfortunately dominates a portion of this list far bigger than is necessary. In a way, I had no expectations for this, but also knew exactly what to expect. The best way I can describe this is like the wet cardboard or stale bread of music. Even the cover itself is representative of this. Everything about this album feels so lifeless and devoid of substance. I can’t even pretend that this record’s very best moments are worth your time. Because most, if not all people have heard an indie pop, or even britpop, album better and more interesting than this. This band belongs in the same category as groups like The Verve or Keane. Maybe Kings of Leon too. Except nothing on here is even remotely in the same universe as Bitter Sweet Symphony or Somewhere Only We Know. The one thing this did for me is made me realize that The Bends really is a britpop album, as much as I didn’t want to accept it. Unfortunately for these guys, they don’t have the talent or songwriting prowess of the fellows in Radiohead, so this is just boring as all hell. Rating: 4/10

I’ve thrown subtle, mostly lighthearted, jabs at AC/DC through these reviews in the past. I even mentioned them in a review from earlier this week. So I think this is the universe trying to communicate to me. I actually have quite a bit of nostalgia when it comes to this band. When I hear something like Shoot to Thrill, I think of my father. This music was around a lot when I was younger, and I guess I have fond memories of those times in the car with their music playing. It really is no wonder this is one of the best selling records of all time. It was clearly written with the intent of reaching as big of an audience as possible. Maximum widespread appeal. And because of this effort, these guys have cemented themselves in the history books of rock. Much like The Rolling Stones, these guys are miraculously still kicking it to this day. This was also the first record to feature Brian Johnson. He’s been their lead singer for over 40 years now, and has even served them longer than Bon Scott. As impressive as it is that they got someone so close to Scott, I don’t Johnson has ever recaptured the same energy that he had. His performances on this album are still good though. Really though, the guitar is without a doubt the main focus of the music here. There is just not enough going on with the drums or bass to really keep things interesting. I’m not sure whether Phil Rudd is only capable of playing at such a level, or if he can pull out some crazy chops at any moment. But this is about as basic as rock drumming can be, unless you delve into Meg White territory. Basic doesn’t necessarily mean bad though. Thankfully, when you have someone like the Angus Brothers writing your guitar parts, you can definitely rely on them. They are the most consistent aspect of this album, and carry the whole thing on their back. I don’t know if I ever see myself going out of my way to put on some AC/DC, but on a particular kind of day, or when I’m in a particular mood, this might hit just right. Rating: 7/10

It seems the further back I go into a genre’s history, the less interested I become. The only situation I have found where this is not the case is with jazz, because most of the genre’s most iconic and influential albums came out between the 50s and the 70s. It’s especially true with rock music, and I found out today that it’s probably true for hip-hop as well. I haven’t had the best track record with some of the genres earliest hits, many of which are considered to be landmark achievements. Unfortunately that trend continues with the debut from Run-D.M.C. I need to preface my thoughts by saying that it can’t be understated how immeasurable the impact this group had is and will always be. Just because I don’t enjoy it that much doesn’t mean that can be taken away from them. This was the genesis point of a whole new world for hip-hop, and it is largely responsible for many albums which I love dearly. In many ways, hardcore hip-hop started here. But we have been beyond spoiled by the massive amount of really well put together and quality albums in the same genre from modern times. And in my mind, this does not hold up well enough to even really compare to its successors. This isn’t a bad record by any means. But from a production and lyrical standpoint, this isn’t even close. It’s an incredibly stripped back version of what we know today, and my bias and personal tastes don’t allow for me to really enjoy this. The delivery and lyrics are incredibly simple. And this was during a time where the beat and the rappers themselves weren’t so 50/50. So there are good chunks of songs on here that are just the instrumental. Which aren’t really good enough to make those parts worthwhile. I think it’s definitely important to hear something like this, especially as someone who enjoys the history of hip-hop. But this isn’t something I would ever want to revisit on my own time. Rating: 5/10

Considering a review I wrote only a few days ago about a particular album, I think I’ve made it pretty clear britpop is generally not my cup of tea. So I wasn’t exactly exhilarated to learn there was another britpop album awaiting me. But thankfully, I have pretty pleasant things to say about this. From the very first track, this sets itself apart. So much so that I thought maybe the album had been mislabeled and was something else. But it became clear this is very much still a 90s britpop album. But it’s one that knows what it wants to be, and that confidence elevates it. This record goes for a much fuzzier and more blown out sound profile, which pulls on the same shoegaze and power pop influences of other hits in the genre. And for as amateur as they are, I like the vocalist a lot. The energy here is just so much more infectious and exhilarating, and it provides a very satisfying listening experience. But this doesn’t limit itself, and has unique elements to keep things interesting. I really appreciate the occasional use of horns and organs. The songwriting style combined with the singers voice make it so this doesn’t really feel like a late 90s album. It’s definitely drawing some inspiration from the 60s at points. But also the opening bit of the title track doesn’t sound too far off from something you might hear on an 80s gothic rock record. It’s a fun listen overall, and simply higher quality than the majority of britpop music I’ve heard so far. Rating: 7/10

I have not had very many soundtracks pop up for me. I could probably count on one hand the number I’ve had. The best are the ones that don’t need to be approached as a soundtrack to be enjoyed. Ones that can stand on their own as its own entity are really great. There aren’t a lot of those. But one you will always see mentioned is the Superfly album. Done by the Gentle Genius, Curtis Mayfield, himself. The film this records title is based on is a classic 70s film, and one that Curtis is featured in himself. This record wasn’t predicted to do any sort of numbers when it released alongside the film, and I think the fact that it outperformed the movie is hilarious, but also very telling. During the 70s, “fly” was used to describe someone confident and fashionable. It acts in the same way as “ill” did in the 90s. And I personally can’t think of a better adjective to describe the sound of the record other than fly. It’s fly as fuck. Maybe the single flyest set of songs I’ve ever heard. I guess I should have expected something this good from the same guy who made Move On Up, but I couldn’t have ever anticipated how amazing this is. This album is so overconfident in how cool it sounds, but it absolutely has the chops to back itself up. I was not aware of the kind of compositions Mayfield was capable of. But the string and horn sections are all top of the line. From an instrumental perspective, this album is flawless. Not one lackluster moment. Mayfield also has a delightful voice. Many would say the lyrical content here is more ideal than the movie. In terms of theme, this almost directly parallels the movie, which is probably a genius move on his part. It gives a much more direct take on drug dealers and poverty, which the movie more so embraces. I think my least favorite song is probably the second of two instrumentals, called Think. And it is not by any means a bad song. Even the shorter tracks still fit so much into such a brief amount of time. This doesn’t even reach the 40 minute mark, but I wish it were an hour. Some of the most suave and badass sounding music I’ve ever heard, and it completely makes up for most of the forgettable garbage I hear on a regular basis. Rating: 9/10

I may have ruined this album for myself before even listening to a second of it. In a way, I couldn’t really control it. I like to do a minimal level of research on these albums to have a little background knowledge. I was not expecting to learn that Ryan Adams was accused of sexual assault by multiple people, including Phoebe Bridgers and Mandy Moore, and possibly had relations with a 13-year old. He may have apologized, but he still seems like a piece of shit. Which makes this hour plus long album hurt even more. Especially since it’s an incredibly boring 70 minutes. This is the music equivalent to a stale saltine cracker. Like other albums in the past, I don’t have much to say, because there is really very little of note here. Think of the most generic and unoriginal alt-country music possible, and you get this. In fact, you might get something even more interesting. This isn’t uninspired. It takes a lot from other famous Americana singer-songwriter acts. But it does nothing to separate itself from those and standout amongst the crowd. Ryan is known most for his cover of Wonderwall and the entirety of Taylor Swift’s 1989. And I think that says a lot about the quality of his actual songwriting. Rating: 4/10

The dance scene has been, and probably forever will be, an integral part of the UK’s culture. It even managed to persist through raves being banned in the 90s. And throughout the number of albums I’ve heard from that scene, none of them have really clicked with me. I like some dance and electronic albums. But the picks for the list have been pretty consistently uninteresting. There isn’t a lot out there to find regarding this group, other than their biggest hits. So I can’t say for sure whether or not this had any impact on the scene itself. But it seems to contain their most popular material. And I guess I don’t completely hate this. I wouldn’t call it amazing by any stretch of the imagination. But it definitely has more going for it in comparison to the other dance adjacent slop I’ve heard. The group combined alternative dance with a more traditional UK hip-hop sound. And it feels much less repetitive and stale. Which I think probably has to do with the presence of actually decent vocals for once. Singing never seems like the strong suit of these English gentlemen. But I like the main guys voice on this. But again, this still isn’t the best. There are a select few instrumentals I enjoyed, but not enough to remember after finishing the album. I think the way I score these just comes down to personal tastes for me. I’m not a huge fan of this genre or sound in general, so an artist would have to pull something really impressive to make me come back. Sort of like what Happy Mondays did with Pills 'n' Thrills and Bellyaches. Rating: 5/10

There are a lot of Billie’s in the music world. Billy Joel, Billy Strings, Billy woods, Billy Idol, Billie Jean. And Billy Bragg, I guess? I still really don’t know who this gentleman is, but the last time I spoke about him, I was covering his collaboration with Wilco. And I didn’t give it the most positive score. I thought the album was okay at best. I remember finding the songs where Billy was not the main focus to be the best. I did not find his voice very appealing. And so I wasn’t totally ecstatic to learn he had another album on the list. Now it has been almost a year since I first heard that record, so maybe if I revisited it, I would enjoy it more. But you know what? This solo record from Billy isn’t half bad. I think allowing his style in particular to shine actually makes for a better experience. And his very unique style of poeticism through the lyrics comes through way clearer. I found myself focusing more on what he was saying than the music itself at times. It’s what makes something like Honey, I’m a Big Boy Now. Aside from the first song, which is the best thing this has to offer by a good amount, the instrumentation is rather sparse. But it’s really the juxtaposition of what Billy is singing about against the music that makes this for me. It’s often very melancholic and sometimes even saddening, especially with his delivery. But the music does not reflect this. It’s much more upbeat. Many of these songs do fall into this weird 80s singer-songwriter thing, and that’s where I don’t connect as much. But I still think this is better than Mermaid Avenue. Rating: 6/10

Seems like I was meant to spend the majority of my weekend listening to dance music. Everything I said two days ago, and in any other review of a dance album still works here. Although, after hearing the first two songs on this, I had hoped that maybe I found something cool. I enjoyed the vibe they were giving off, and thought this was a dance record that had a more hip-hop centered sound to it. But once I got to track three, I realized it sounded a lot like track two. And track four sounded a lot like track three. And so on and so forth. There is a lot of repetition here, and it wears itself out very fast. I like that the main vocalist featured here is a woman, as opposed to the usual. But that doesn’t mean I actually enjoy her vocals. Like most things on this, they outstay their welcome in my mind pretty quickly. I initially appreciated the quirkiness of them, but it’s not something I can tolerate for nearly 50 minutes. I guess you could consider this band a one-hit wonder. As Groove Is in the Heart is pretty much the only thing they’re known for. It’s easily their most popular song. And I’m willing to bet that’s more because of the Q-Tip feature than not. Honestly the last thing I was expecting to hear on this. And of course it’s good, because it’s Q-Tip. But I’m not sure how they managed to get him for this record. The song is good, but not amazing. And his relatively brief verse being the highlight really strengthens that opinion for me. Sadly this is another dance album that I just couldn’t get fully into. Rating: 5/10

The last time I talked about krautrock is technically when I was covering a solo album from one of Can’s members. But that didn’t really represent the best aspects of the genre to me. So the last time I spoke about something krautrock related that I really enjoyed was the titular fourth album from Faust, whose existence is basically the genesis of the genre itself. I haven’t gone back to give that record another listen recently, but I’m always down to hear more krautrock. NEU! is a band who also had a pretty huge impact on the genre. Except on this album, they take a less electronic drone and post-rock approach, and more focus on ambient psychedelic music. This can be split into two halves. The first, which covers track one through three, lean way more on the ambient stuff. It’s incredibly meditative and entrancing, and also entirely instrumental. Most of the album is, really. They’re super chill songs, and it’s definitely a cool sound. The latter half, on the other hand, delves into what could possibly be considered proto-punk. This was after some of early punk music’s most important albums had come out. But punk was still very juvenile and experimental. And that can be seen here. The last three songs are more intense in execution for sure. But they still maintain that repetitive feeling. Maybe to their own fault at some points, as E-Musik is too long for how little is really going on. I don’t think this tackles how weird this genre can be in as effective of a way as Faust’s album did, but it’s still enjoyable. Rating: 7/10

This list sure has introduced me to some unique albums and artists. I don’t have much of an introduction for this record, so I guess I’ll just get straight into my thoughts. I do like this, but it’s very far out from what I normally listen to on a daily basis. When my ears are constantly being flooded by super heavy, loud, and aggressive music, it’s a stark contrast to take such a far step back into something so subdued. There are moments on this, like on the last two songs, that feel so gentle it’s almost chilling. Especially with the way the album closes out, being this almost ambient synth moment. But this is very much a pop album that draws heavily on the baroque singer-songwriter music of the 50s and 60s where the vocalist was the main focus. It does break away from that focus slightly though. The singer has a nice voice, but I don’t know if it’s anything to really write home about. What really struck me was the arrangements and instrumentation. Apparently Richard composed the whole thing and played a good portion of the instruments you hear, which is definitely impressive. And there are some genuinely gorgeous sounding and really serene moments of composition to found on this. They are super warm and incredibly evocative. This album’s worst moments are really the occasional dull ones, where the orchestration maybe isn’t as interesting. But I still think this is worth giving a shot if you enjoy that kind of thing. Rating: 6/10

I’m not sure how many dance albums it’s going to take before I go insane. They all sound VERY similar, so it does drive me up the wall a bit. I’m glad that I do actually have things to say about this particular record though. Instead of focusing on the alternative dance scene of the UK, I visited France and their house and electropop sound. And after today, I think I’ve fully decided France is where the best dance music comes from. That is just my opinion, of course. But most of the dance music I fondly remember or really enjoy originated from that place. And although I don’t love this, I think I could add it to that list. It’s not half bad. I’ll always hold Discovery as the most landmark dance album ever released. Because the way everything was structured and pieced together for that record is next level. There’s simply nothing like it. It consistently displays the thing I look for most in a good dance album. Which is elements that, at first, are seemingly unrelated, but once paired with everything else going on in the song, create an incredibly fulfilling listening experience. One that justified sitting through a 5 to 6 minute long song. This album doesn’t always do that, but when it really hits the mark, it kind of knocks the ball out of the park. The best songs are actually the ones featuring guest singers. Since their vocal performances are really good, and definitely elevate an instrumental that would not be enough on its own. The other highlights aren’t anything to write home about, but still decent. And the worst is either boring, repetitive or feels too disjointed. Who knows if I’ll ever come back to this. Probably not. But I’m glad this still gave me something worthwhile to talk about. Rating: 6/10

XTC, or more specifically their album Skylarking, was one of the most recent big surprises for me. I couldn’t have ever imagined enjoying that record as much as I did. But it was so out there in all of the right ways, and I was very intrigued by all of it. I didn’t know whether or not they would appear again, but I was not at all opposed to hearing more. If Skylarking merged the ideas of new wave with psychedelic pop, this leans far more on the latter genre. It came 13 years after that album as well. And I wasn’t really aware how far into the 90s they were putting out music. But it’s weird to see a band release something like this in 1999. Considering this was right around when nu-metal would begin to take off, plus hip-hop was still going strong, people really weren’t looking for something like this. I think it’s one of this records admirable traits. They chose to take a risk. Except it’s probably a miracle this album came out in the first place. Tensions were high within the band, and that caused a very rushed production. Specifically with the orchestral arrangements. And unfortunately this is felt. At least I feel it is. For as grandiose as they are with the limitations, they still could sound fuller. And although each song is doing something unique, there is much less variety to keep things interesting. I’m a little disappointed, because I really wanted to hear something that both challenged and surprised me as much as their other album did. Rating: 5/10

I feel it’s very safe to say that Radiohead’s run in the 2000s should, and likely forever will be studied. It’s inexplicable how a group of six gentlemen could come together during a ten-year period and create a body of work like that. Despite what the many detractors say, they will never not marvel me with how immense their creations are. They have managed to both abandon their own styles completely and still maintain the same musical identity for over thirty years. But they’ve never abandoned each other. Remove one member from this mix, and Radiohead is not the same. In a way, every record they release is a turning point for them, both personally and creatively. Hail to the Thief feels like an especially potent one though. The band was officially entering the age of the Internet. And with that came the choice of whether to adapt to the public’s changing mindset regarding music. The way I interpret this record is the precursor to the release which would succeed it. Which I am intentionally choosing not to name. For no real reason in particular, other than to withheld my thoughts on it as much as I can. Obviously they didn’t know this at the time, but in hindsight it’s very clear. The arduous, and electronically focused, recording sessions that birthed Kid A and Amnesia permanently altered the band and its members, both positively and negatively. So they decided they would record the next album in a manner as far removed from those methods as possible. They wanted to work efficiently, and they wanted the album done in a timely manner. Everything you hear on this, particularly when it comes to the electronic parts, was all recorded in a very short period of time. And they refused to overdub any of it. It’s all live takes. This even affected the amount of time Thom was given to write lyrics. Whether or not you like what they were going for here, it’s still an impressive effort. The reason why I label this as the precursor to unnamed album number seven is because this is the first time they really fused both halves of their identity. The rock and the electronic came together as one. Hail to the Thief highlights the band at potentially their most frantic and anxious up until that point. But also some of their most mellow writing. It features a handful of the most blood-pumping and electric sounding songs they’ve ever made. But also some of their most lifeless. Which works simultaneously for them and against them. Thom borrowed his own idea from years prior of cutting up random words and putting them into sentences to write his lyrics for this album. Which possibly makes them feel less put together, but there still is this overarching idea of the band’s time working in Hollywood, and also political conflicts that were taking place in the U.S. at the time. You do really get some of the member’s best performances here though. Especially on Philip Selway’s part. It’s just unfortunate that many of those amazing moments feel very short-lived. 2 + 2 = 5 is further proof that they always know how to properly open an album. Sail to the Moon is incredibly beautiful, but almost hauntingly so. We Suck Young Blood is so unnerving, especially with those live hand claps added in. Plus I like how it gets all manic and weird in the middle and then dies back down. Myxomatosis will forever be one of the band’s most underrated tracks, and it was my favorite on this record for a long time. And although I’m aware that Backdrifts maybe isn’t all that special, I think Thom gives a fantastic vocal performance, and I really enjoy the way the instrumental sort of floats about and whirs in your ears. Where my issues with this album lie is really in the album as a whole. Something feels so much less cohesive, and from one song to the next, it does not maintain the same consistency of their best work. Songs like I Will or Scatterbrain basically amount to nothing, and The Gloaming probably could have been left off the album entirely. I’m aware this is a whole lot of basically nothing for an album I don’t even like as much as it may seem. And as much as I want to give this a glowing five-star review because it’s Radiohead, and solely for that reason, I have to be fair and reasonable. If Kid A was the band’s experimentation with electronic music in its purest form, but arguably at its best, Amnesiac felt like a regression of what made that album succeed. Hail to the Thief is more on an even playing field with that previous album than not, and I think they are relatively equal in quality. I can only hope I won’t have to wait another 7 months for Radiohead to appear again, because it’s pretty clear I can spend a long time talking about them. Rating: 7/10