My 1001 Albums Journey

Album	You	Global	Diff
Music Has The Right To Children	5	2.91	+2.09
Reign In Blood	5	2.96	+2.04
Truth And Soul	5	2.97	+2.03
Vulgar Display Of Power	5	2.97	+2.03
Spiderland	5	2.97	+2.03
Skylarking	5	3.04	+1.96
Vespertine	5	3.16	+1.84
Loveless	5	3.17	+1.83
If You're Feeling Sinister	5	3.18	+1.82
Close To The Edge	5	3.19	+1.81

Album	You	Global	Diff
Live At The Star Club, Hamburg	1	3.28	-2.28
Hypnotised	1	3.06	-2.06
A Date With The Everly Brothers	1	2.96	-1.96
Electric Prunes	1	2.73	-1.73
Next	1	2.71	-1.71
Snivilisation	1	2.71	-1.71
A Grand Don't Come For Free	1	2.67	-1.67
Haut de gamme / Koweït, rive gauche	1	2.61	-1.61
Licensed To Ill	2	3.56	-1.56
Antichrist Superstar	1	2.48	-1.48

Artist	Albums	Average
David Bowie	6	4.5
Radiohead	4	4.75
Pink Floyd	4	4.75
Miles Davis	4	4.75
Queen	3	5
Jimi Hendrix	3	5
Bob Dylan	5	4.4
Neil Young	4	4.5
Talking Heads	4	4.5
U2	4	4.5
The Velvet Underground	3	4.67
Black Sabbath	3	4.67
Prince	3	4.67
Kanye West	3	4.67
Leonard Cohen	3	4.67
Creedence Clearwater Revival	3	4.67
Nick Drake	2	5
Elliott Smith	2	5
Metallica	2	5
Green Day	2	5
Nirvana	2	5
Aretha Franklin	2	5
Beatles	6	4.17
R.E.M.	4	4.25
The Kinks	4	4.25
The Beach Boys	3	4.33
Kate Bush	3	4.33
Led Zeppelin	3	4.33
Marvin Gaye	3	4.33
The Doors	3	4.33
Yes	3	4.33
Stevie Wonder	3	4.33
Sonic Youth	5	4

Artist	Albums	Average
The Undertones	2	1.5
Pere Ubu	2	1.5

Artist	Ratings
The Rolling Stones	2, 4, 3, 5, 2

Van Halen

4/5

There it is. The first album of this journey. Also the first album of what is arguably one of the most legendary rock bands of all time. And oh boy, what a debut. For this being their first album, it's spectacular! The sound immediately captured me in its fantastic energy. Eddie's guitar work will always stand the test of time. And do I even need to mention Eruption? Easily one of the greatest rock instrumentals of all time. It’s not a perfect album or anything, but it is very fun and good. I'm kind of lucky to get music that appeals to me like this as my first on the journey. I am now very excited to see what else this generator brings me. 4/5.

Meat Is Murder

The Smiths

4/5

"It's like Moz once said, 'Hold on to your friends.' Morrissey. The Smiths. You don't know 'Meat is Murder'? It's one of the best songs ever written about industrialized beef consumption." Well, Eagleton Ron, let's see about that. I did not know what to expect going into this album. I've never heard a Smiths song before today, so going into an entire album might be somewhat of a risky move. Honestly, I thought it was pretty alright. I really liked the instrumental work. The guitar on tracks like "The Headmaster Ritual" and bass on "Barbarism Begins at Home" were pretty neat. Despite what I've heard about Morrissey as a person, his vocals are pretty good. I think some of what this album has to say is pretty good too. This is far from a bad album, and I see why it and its band are iconic, but I don't think I'll really ever get a hankering to listen to it again, and it's not going to stop me from eating cheeseburgers any time soon. 3/5. 7/10 if it was out of 10. EDIT: As it turns out, I actually like this album way more than a lot of albums on the list, I just didn't know that would be the case two albums in. This is pretty good. 4/5.

Bossanova

Pixies

4/5

This is definitely a pretty cool album alright! Similarly to The Smiths, I had never heard a Pixies song before. Unlike The Smiths, I'm not entirely sure if I had even heard of them before either. They did, however, influence some other bands that I like, so I was very eager to give this album a shot! And I gotta say, it was worth that shot. This album is great! The sound is pretty unique, but it really strikes a chord for me with it's blend of the lighter surf-rock and darker grunge styles. I think I saw a review on this site or some other site that said that some of the tracks don't stand out much on their own, but work really well together to form a great album. Honestly, I kind of agree. There were some great songs, don't get me wrong. I really liked Velouria, All Over the World, and Dig for Fire, for instance. But I feel that the experience of this album as a whole is probably better than the experience of most of these individual songs. Overall, I think this album is really good. Perhaps I'll be able to appreciate it a bit more once I get to some of their more popular albums like Surfer Rosa and Doolittle. Or maybe I'll like this one less in comparison. Who knows? But for now, I think I'll give it a 4/5.

At San Quentin

Johnny Cash

3/5

This album marks a few firsts for me. Perhaps the most notable of those being my first country album of the project, my first 60s album of project, and my first live album of the project. I definitely enjoyed listening to this. This is kind of a similar thing to the previous album I reviewed, "Bossanova", where the experience of the album is better than listening to its individual songs. This is made even more prominent with this being a live album where you can hear the reactions of the audience during the transitions between songs. Honestly, the energy of the crowd and Johnny himself are what make this such a fun listen. The songs are pretty good, but they're a bit basic and not really my thing. I do really like Johnny's singing though. His voice is iconic for a good reason. What's potentially even better than the songs, however, is just the feel of the whole show. The way the crowd reacts during songs like "San Quentin" is pretty entertaining, and the way Johnny plays along, clearly knowing how the prisoners feel, is just as good. I don't like the censorship though. Overall, I liked the experience, as well as the context behind it all, but I don't really see myself listening to it again. I have a lot of respect for Johnny Cash, however. Perhaps I should've listened to the legacy edition instead. From what I've heard, the legacy edition content includes some pretty neat things involving other artists. High 3/5.

Bad

Michael Jackson

4/5

I'm kind of surprised to get an album from an artist as big as Michael Jackson this early on, but it's definitely a pleasant surprise. There's not really a ton to say about Bad. Contrary to its name, this album is quite good. Obviously, Michael's vocals are very unique and good. Some of the songs on here are quite forgettable, but the memorable ones are great! Obviously, the title track, as well as Smooth Criminal, are absolute classics. The sound of the album is very 80s. Even though I haven't heard it yet, I do feel like this album has a hard time living up to Thriller, but it is definitely a pretty good successor from an all-time great artist. Even if that artist may have allegedly been pretty weird with kids. Still, I am making it a goal to separate the art from the artist for this project. HIGH 4/5.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars

David Bowie

5/5

I just keep getting luckier and luckier, don't I? From Johnny Cash, to Michael Jackson, to David Bowie. A back-to-back-to-back string of legendary artists. This is the first real concept album that I've reviewed so far. This album is essentially a rock opera telling the story of the titular androgynous alien rock star himself. From the moment he comes to a dying earth, to what seem to be his dying moments. I don't really know what to say about this album. It is absolutely a masterpiece. For once, I don't think there are any bad songs on the album. All the others have had at least a song or two that weren't quite as good as the others. This one though? All of the songs are bangers, both on their own and as a cohesive album. The sound is triumphant and glorious, yet also showing a sign of the loss of glory that Ziggy himself faces throughout the album's story. Bowie's vocals are great, with the backing tracks being even more awesome. Everything just comes together to form an absolutely legendary album from a legendary artist. 5/5. The first of the project.

Wild Is The Wind

Nina Simone

5/5

Well, a week has already gone by. And oh boy, do we have an interesting album to end the week with. This also marks a few firsts for me, similarly to the last one, the most notable of which to me being my first album by a female artist and my first non-rock or rock-inspired album. Funnily enough, that's not the only connection to the last album I listened to, as David Bowie actually covered the title track from this album. It might seem surprising, but I don't think I had heard of Nina Simone before today. I gotta say, this was a great introduction. I can't really say that this album had a bad song on it. The tone was very consistent and wonderful, despite this being a compilation album. Her voice is very pleasant to hear. The piano work was quite good. Some of the songs are about meaningful topics that weren't sung about as much in the 60s, with Four Women being the pinnacle of that. After doing some research, I can absolutely see the impact of this album and artist. And seeing as this is apparently the only one of Nina Simone's albums to be on this list, I feel like giving this album a 5/5 is the right call.

Behaviour

Pet Shop Boys

3/5

Behaviour (or Behavior for Americans like me) is definitely an interesting album. Apparently it's quite different from what is usually to be expected from the Pet Shop Boys, and I can kind of tell. Early on, this album didn't seem that amazing to me. Unlike a few of the albums I've listened to so far, I feel like the second half is better than the first. This might be kind of weird to say, but I feel like I'd enjoy listening to just the instrumentals of some of the songs more than the versions with vocals. The instrumentals, by the way, are amazing. I really like the chord progressions and instrumentation. Fun fact: some of the guitar work for this album was done by The Smiths guitarist Johnny Marr. Pretty neat how some of the albums I've done for this project are connected to each other. This album has some pretty interesting subjects that it tackles. I didn't even notice at first that the opener "Being Boring" was supposed to be about AIDS. The ending was pretty good. I thought it was weird at first that it didn't end with the song called "The End of the World," but Jealousy proved to be an even better finisher. Overall, I don't feel that passionately about this album, but it's pretty good nonetheless. High 3/5.

Arrival

ABBA

3/5

I can't believe these guys copied the famous Icelandic pop group BABBA and their classic song "Disco Girl". All Gravity Falls references aside, this album's pretty alright. I'm not huge on it or anything, but it's definitely not bad. ABBA isn't really a band made for full album listening. You just kind of throw on some of their songs during a community college Halloween party (I didn't say anything about referencing other shows). The instrumentals are pretty neat. Dancing Queen is an absolute classic for good reason. The singing isn't bad at all. I'm not the biggest ABBA fan out there, but I do respect them and their music. I just don't think the full album experience is anything special. The bonus track "Fernando" slaps though. Overall, pretty catchy and well done, but nothing to write home about. 3/5.

american dream

LCD Soundsystem

3/5

Would you look at that. The first album I've listened to so far from the 21st century. Neat! Anyway, this album's alright. I think the general concept with what American Dream wants to say is pretty good. The subject matter is quite modern and the writing does good at showing these themes at times. The song "black screen" is a pretty good and a nice tribute to David Bowie. I think some of the instrumentals are pretty groovy. The bonus instrumental track "pulse (v.1)" really shows that LCD Soundsystem knows what they're doing. I do have a few problems though. Even though some instrumentals are really good, others have some weird decisions at times. My other problem is that it could've been a bit shorter. I don't really think this needed to be nearly 90 minutes. Because of this, it kind of dragged a bit at points. Overall, probably one of my least favorite albums for this project so far, but I wouldn't call it bad, and I see why others like it. I can definitely see this being subject to change, as other albums that show up might be a lot worse. light 3/5.

Back to Basics

Christina Aguilera

3/5

And here we have the most overt pop album I've done so far. It was also released the year I was born! Anyway, this one's okay. I think Christina is a really good singer. Her voice lends well to these songs. The writing and subject matter is a bit basic, though. The album is a bit too long, but unlike the last album I listened to, LCD Soundsystem's "American Dream," that comes from the amount of songs, as opposed to the length of the songs. Something interesting about this album is the clear split between the first and second halves in terms of tone. The first half is fairly consistent, with the same general sound and use of horn samples throughout. The second half started by feeling pretty unique, then it made me uncomfortable, and it ended fairly strongly. Overall, nothing amazing, but a pretty decent album all things considered. 3/5.

Sound of Silver

LCD Soundsystem

3/5

Well, I can't say I was something like this to happen so soon. We return to the world of LCD Soundsystem. I already listened to American Dream just two days ago, so how does Sound of Silver compare? I do think I liked it a bit more. For one, it's shorter. One of my big complaints with American Dream was just how long it was. Sound of Silver is still decently long, but I wouldn't consider it too long. What I would consider it, however, is repetitive. Each song typically contains a few lines that are repeated throughout, with the title track having just 5 lines total. The sound itself is also quite repetitive throughout the album. It didn't really drag or anything, but some songs definitely suffered a bit from the repetitive nature of this album. I think that's why my favorite song on the album was definitely the album's closer "New York, I Love You, But You're Bringing Me Down." I didn't think this album would have a better closer than Black Screen, but they proved me wrong. I guess it's kind of the other way around though, seeing as this album came out 10 years before American Dream. Overall, pretty decent and maybe a bit better than American Dream, but I still don't think I'm a huge LCD Soundsystem fan. 3/5.

Os Mutantes

4/5

Well, that was definitely the weirdest album I've listened to so far. It's also my first non-English album, so that's neat. I actually liked this one quite a bit. As stated earlier, this album is very weird, but I think it's in a good way. It is psychedelic rock after all. This album goes all over the place, and yet somehow makes it sound somewhat cohesive. The lyrics, while I don't fully understand them due to the language barrier, yielded some good results when I put them into google translate. Despite having never heard of this band or album before today, I think this album deserves to be on here because of the cultural context behind it and the fact that it's just a fun album with plenty of surprising turns in its direction. low 4/5.

KIWANUKA

Michael Kiwanuka

5/5

Wow. What an album. This is the most recent album that I've listened to for this project so far. I can't believe I hadn't heard of Michael Kiwanuka until now. This album is phenomenal. The titular Michael Kiwanuka is a really good singer. The lyrics and subjects for these songs feel very personal to him. The sound is simultaneously classic-feeling and quite modern. This album has so many seamless song transitions, you'd think he was crazy. And I love it! This album really is just a great package. I've seen some people (including a certain "Internet's busiest music nerd") say that the album's interludes don't really work. I disagree. I think the interludes really drive home the feel of this album and provide more of those glorious transitions. This is easily the best album I've listened to for this project in like a week. 5/5.

The Gilded Palace Of Sin

The Flying Burrito Brothers

3/5

First off, I want to start by saying that I really like the name "The Flying Burrito Brothers". I just think it's really funny. With that positive statement out of the way, I am not the biggest fan of this album. Given the name of both the album and artist, you'd expect something really weird akin to the Os Mutantes album I listened to a few days ago. In reality, it is merely serviceable country music. I really do not like modern country music, but classic country's alright. It's just not really my thing. And you know what, that's okay. This album's sound is pretty good. The lyrics and subject matter are fine. Nothing really stuck out to me. I wouldn't call it bad per se. I'm sure there are people who would really like this album... but I'm not one of them. I will however show it some courtesy due to its influence and the fact that it's a country album that I didn't absolutely hate by giving it a low 3/5.

Ramones

3/5

Ramones by the Ramones is a pretty influential album, but not a very impressive one overall. This is one of the first real Punk albums ever released, so that's pretty cool! The sound of the songs is pretty neat, especially for the time. I do, however, have a few problems with this album. For one, it is quite repetitive. Even if I like the sound of the album, all of the songs sound the same, so there's not as much substance as I would like. Instead of feeling like 14 songs, it just feels like one 29-minute long song. Speaking of which, this album is really short, but I guess that's a good thing with the aforementioned repetition. Also this album has some really weird lyrics, and not in a good way. Take for instance, the second song, which is about wanting to beat a kid with a baseball bat. Yeah. Or the last song where the singer claims to be a Nazi (although that one can be explained by the perspective being from a Hitler Youth member). Overall, I definitely understand why this album is on here, but it's nothing really special to me personally. High 3/5.

Fifth Dimension

The Byrds

3/5

Fifth Dimension by the Byrds is definitely an album that exists. I though it was alright. It is a fairly important and influential album, as it helped lay the groundwork for psychedelic rock. However, this album on its own isn't anything that I find that special. It's decent, but not much more. The fact that 4 out of the 11 songs are covers makes it feel less original than it should. There are some bonus songs as well, but I didn't really see a ton of value in them. I like the sound of the album, though. It's nice. Some of the songs are pretty good. The general feel of the album is good. It's nothing special, but I definitely wouldn't call it bad, and I definitely understand why it's on here. 3/5.

Otis Blue/Otis Redding Sings Soul

Otis Redding

5/5

I gotta say, I was pleasantly surprised by how good this was. I wasn't looking forward to it that much at first. I didn't want to do another 60s album, I wasn't interested in doing an album mostly comprised of covers, the album cover didn't seem interesting to me. When I listened to the album, however, I really liked it. It was pretty good. The titular Otis Redding has quite a good singing voice for the songs he wants to sing. Despite most of them being covers, the songs fit together quite nicely. I really like the instrumentals, what with the brass and keyboards and all. I don't have much to really say about this album. It's just a really good soul album. It's kind of like a "greatest hits" of soul music in a way. I think this project is starting to make me realize how good soul music can be. Because of that and the impact it has had on soul as a genre, I think I'm going to give this a 5/5.

On The Beach

Neil Young

4/5

On The Beach by Neil Young is a pretty good album, alright. It's only 8 songs, but none of them are particularly bad. Neil's a pretty decent singer. The whole album has this really well done feel where it's fairly melancholic, but not too depressing. The subject matter fits that as well, with some varied topics ranging from Neil's feelings on his career to Charles Manson. Apparently, this album is connected to some of Neil's other albums, so I may want to listen to those later. Luckily, or unluckily depending on who you ask, Neil Young has more albums on here than most other artists, so I'll eventually get to experience more of his long career. In conclusion, this album is just a solid folk rock album. I think I'll give it a strong 4/5.

Transformer

Lou Reed

4/5

I want to start this review by getting a potentially controversial complaint out of the way. I'm not a big fan of Lou Reed's singing in this album. I can tell that he can sing if he wants to, but it doesn't sound like he wants to. Half the time it just sounds like he's talking. He does good when he tries though. However, despite my complaint there, I think everything else about the album is really good. The instrumentals are quite good and have some interesting sounds with each song. I really like David Bowie's work on this album. The pacing and of the album is just right. I think the biggest and most important thing to discuss about this album is the lyrics and subject matter. The fact that an album all about drug use, sexual orientation, and gender identity released in 1972 is astonishing. The songs get their points across quite well. Overall, while the singing could've been more interesting, this album is quite good and absolutely deserves to be on this list. high 4/5.

Music

Madonna

3/5

This album is kind of like the opposite of Transformer for me. I think Madonna is a pretty good singer. Don't get me wrong, I think Lou Reed's singing could grow on me with future listens to other Lou Reed albums as well as the Velvet Underground albums, but I wasn't a big fan of his singing. What I'm trying to say is that while I think the singing was the worst part of Transformer, I think the best part of Madonna's "Music" is her singing. Nothing else really stuck out to me that much. I didn't like the sound on a lot of the songs. I just don't think that the contrast between the techno sound and the almost folk-like sound work well together. Some of the songs dragged on for me. Did "Paradise (Not for Me)" really need to be 6 minutes? Some of the songs were good though. I think the closer, Gone, is the best song in the album. The editing just isn't my thing a lot of the time. Overall, I can see why others might like it a bit and I understand why this album is on here, but this just isn't my thing at all. low 3/5.

More Specials

The Specials

3/5

Despite the band's name, I did not find this album to be very special at all. As much as I can appreciate the instrument work that went into this album, I didn't really care for the sound. None of the songs really stuck out as being that great to me. The singing wasn't anything to write home about. I can appreciate some of the lyricization for some of the songs, with there being some good messages in there as well, but other songs just didn't really make sense to me. While I can appreciate what this album tried to do and I have respect for the band itself, I just don't think I am a fan of this type of music. low 3/5.

Violator

Depeche Mode

5/5

I wasn't sure I would be a big fan of this album going into it, but I was very pleasantly surprised by just how much I liked it. There's something about this album compared to other synth-heavy albums I've listened to already (i.e. Behaviour, both LCD Soundsystem albums, etc.) that just really clicks with me. The sound is synthy, but also quite a bit darker than the others. I feel like I shouldn't have liked the sound much given my current track record, but it just works for me for some reason. The vocals stuck out to me as being quite good. The lyrics and subject matter are somewhat connected throughout each song without it seeming too repetitive. I don't really know what else to say. I think this album is pretty cool. Very high 4/5. EDIT: This might actually be one of my favorite albums of all time. 5/5.

A Rush Of Blood To The Head

Coldplay

4/5

A Rush Of Blood To The Head is a good album in my opinion. Coldplay is one of those bands that you either love or hate, but I don't think I'm really in either camp. I don't think they deserve to be hated on, but I can see why someone might not like Coldplay that much. With that said, I did like this album in particular. I think that the overarching theme of relationships and existential crises is handled in a good and interesting way. The songs of the album are pretty alright. Clocks is an iconic song for a reason, and the other songs don't disappoint either. The singing is pretty good. The album is definitely on the longer side, but it didn't really drag for too long. This album isn't perfect and I don't really see myself listening to it again in the future, but it is without a doubt a well made album that I respect. Light 4/5.

Nick Of Time

Bonnie Raitt

3/5

And here we have an album that just kind of exists to me. I don't really know what I can say about this album because of how neutral I am to its existence. I think the singing is pretty good. Bonnie Raitt definitely isn't a bad singer, I'll give her that. The songs are nice, albeit a bit repetitive at times in terms of what the songs are about. The instrumentals are fairly simple, but they get the job done quite well. Does this album deserve to be called "Album of the Year" at the Grammys? Probably not. Maybe this album was important and groundbreaking at the time, but it doesn't really seem special to me now. Still, I will acknowledge that is definitely not a bad album. 3/5.

The Stone Roses

5/5

I wasn't looking forward to this album that much at first. It just kind of seemed like another random uk rock album I had never heard of to pad out the 1001 albums. Instead, what I got was arguably the best rock record I've listened to for this project so far. This thing is spectacular! I'll start with my one complaint, however, and that's the fact that I can't understand the singing sometimes. That's not a huge issues though, and the singing is good otherwise. The instrumentation kind of reminds me of Meat is Murder by The Smiths, but better, in my opinion. I did like that album, and in retrospect I'd probably bump it up to a low 4/5 instead of the 3 that I gave it, but I do like this album more. I think it's a pretty unique album that defined a somewhat important cultural scene back in the day. I think some of the ideas like having one song that's basically the one before it but backwards is a pretty novel concept, even if Don't Stop is probably the worst song on the album. I really liked the other songs though. Songs like Made in Stone and She Bangs the Drums really stuck out to me as being top-notch. The whole album has a fairly consistent tone, yet still gives some variety. Overall, a phenomenal album that I can't believe I hadn't heard of until now. 5/5.

Urban Hymns

The Verve

4/5

This album's pretty alright. It's definitely not bad, in my opinion. I'd call it good even. The album started off very strongly with the band's most famous song by far "Bitter Sweet Symphony". And yeah, that song's an absolute classic. The other songs aren't bad though. Some of them drag a bit, like the back-to-back "Catching the Butterfly" and "Neon Wilderness", but most of the others are good. The singing is somewhat hit or miss, but when it's good, it's good. It's almost a concept album of sorts, all about life. I think it works well. I like the inclusion of a secret instrumental at the end, but why is the break in between so long? Overall, I think "good" is kind of how I feel about this album as a whole. I don't feel super strongly about it either way. It's just a decent album. light 4/5.

Pet Sounds

The Beach Boys

5/5

What is there to be said about Pet Sounds that hasn't been said already? This is probably one of the most influential and important albums of all time. But does it deserve that status? Yeah, it totally does. This is a pretty solid album by today's standards, but by 1966 standards? This thing is a freakin masterpiece! This whole album is very finely crafted to make something great. The singing, both when solo and all together, is quite good. The writing and lyrics are impactful, leading to this whole album feeling very personal to Brian Wilson. The instrumentation is very diverse, and the tone ranges from very feel-good in songs like "Wouldn't It Be Nice", to quite somber pieces like "Caroline, No". Overall, while there may be a few albums I've given a 4 that I might like more than Pet Sounds, the sheer impact and impressive nature of this album warrants a very deserved 5/5.

Abbey Road

Beatles

5/5

I know I said there wasn't much to say about Pet Sounds that hadn't already been said, but I genuinely don't know what to say about Abbey Road. It's The Beatles, likely the most iconic and influential band that has ever or will ever exist, at what is arguably their peak. Some people could go into a whole rant about how overrated The Beatles are, but I just can't. This album is a masterpiece by today's standards. Imagine how groundbreaking this was in 1969! The variance in tones and moods, the vocal harmonies between the band members, the writing, everything about this album is just phenomenal and very experimental for the time. The medley in the second half is mind-blowing at times when you think about the culture of the era. I can't really think of a song on here I don't like. Even something like Maxwell's Silver Hammer, as weird as it is, is still enjoyable for me. I think my favorite thing about this album is the finality of it all. You can feel that the band knew this would be the last album that they ever record. It adds this mood to the second half in particular that feels like the finale of a really good TV show or movie series. I haven't even listened to the other albums from before this, and yet, this feeling still shined through. It cannot be underestimated just how influential and amazing this album and band are. 5/5.

Rock 'N Soul

Solomon Burke

3/5

Well, after listening to Pet Sounds and Abbey Road back to back, this seems like a bit of an end to a streak I had going with extremely iconic and beloved albums. This album, however, isn't bad. For one, I think that Solomon Burke has a phenomenal singing voice. His singing is easily the best part of this entire album. The compositions aren't bad on their own. All of the songs on the album are at least decent. My main problem with this album, however, is how similar it feels, not just to itself, but to other music. All of the songs are quite simple in terms of lyrics and the compositions are a bit too similar to each other for any of them to stand out. It also feels a bit derivative of other pieces of music from the era. Overall, a decent soul album, but not one that really sticks out to me. 3/5.

Teenage Head

Flamin' Groovies

2/5

You know, every album I've listened to for a project has given me some reason to say, "Yeah, I could see this being one of the top 1000 or so most important albums to listen to." Whether the artist and/or album has an iconic legacy, the ties to a specific genre or music movement give it historical value, or the album is just really good, these albums (for the most part) all make sense to be on this list. Teenage Head by Flamin' Groovies does not make sense to be on this list. Between Wikipedia, Apple Music, and the description on this very website, the only thing of value that I gathered about this album is that Mick Jagger liked it. That's it. But hey, something doesn't have to be popular to deserve recognition. Maybe this album is really good to give it that value. Well, if you're looking for a really good album, look somewhere else. This album has two songs that I thought were decent (Yesterday's Numbers and Whiskey Woman). The others made me feel practically nothing. While this album isn't horrible or anything, and I didn't feel any true negativity while listening to this, I can not find a good reason as to why this should be considered for this list. 2/5. The first of this project.

Melodrama

Lorde

4/5

Now this is an album that deserves to be on this list. I'm not really a fan of pop music in general, but Lorde's Melodrama is an album I can get behind. Everything about this album is very well crafted. From the lyrics, to the beats, to the storytelling. This is an incredibly well-made album that I have a ton of respect for. This almost doesn't feel like a pop album just because of how conceptual it is. This is a pretty good example of a concept album, with the whole album telling a story relating to the start and end of a relationship, beginning and ending with the party that started it all, going over the early obsession phase, the breakup, the acceptance of the breakup, and more. Overall, while this type of music isn't really "my thing" per se, I have a ton of respect for this album and artist and I can absolutely see why this is considered one of the best albums of 2017. High 4/5.

More Songs About Buildings And Food

Talking Heads

4/5

Why is there not a single song on this album about buildings or food? I can't believe I was lied to. All jokes aside, this album's pretty alright. I really like the instrumentals for this one. The whole album is very funky and I like that. The lyrics, while some songs had me a bit stumped as to what they were about, were well written and some of the meaning behind some of the songs were quite good. The pacing of this album is pretty alright as well. Now, let's talk a bit about what is, if I had to guess, the most divisive aspect of this album and band; the singing. I feel like David Byrne's singing is very love-it-or-hate-it. I myself think it's really goofy most of the time, but sometimes the singing is pretty good. I don't hate listening to the singing, but it's not the ideal experience for me. Overall, this album is definitely influential and I understand why people really like it. light 4/5.

Five Leaves Left

Nick Drake

5/5

Wow. What a beautiful work of art. This was one of those albums where I kind of had to listen to it to understand if the album deserves to be on this list or not. What I found while doing research was widespread critical acclaim, and even with that, I was still shocked at how great this was. Everything is so expertly crafted, and it honestly feels ahead of its time. The singing is emotional, the tone is consistent, and the writing is quite good. This is basically "Depression: The Album" and I mean that in the best way possible. Everything feels so organic, which is really sad when you think about it. Still, this is an absolute work of art that was severely underappreciated in its time. Thankfully, it has received widespread acclaim in the decades since this album's release, and has deservedly been included in this list. 5/5.

The Psychedelic Sounds of the 13th Floor Elevators

The 13th Floor Elevators

3/5

This one's okay. I'm starting to run out of things to say about these albums. I definitely respect this album for being one of the first real psychedelic rock albums ever made. That gives it value and a reason to be on this list. The album itself definitely isn't bad. The instrumentals are good. The writing can be good at times. The singing is hit or miss for me. Sometimes it's good, other times it isn't. I think the singer does good screams. These reviews are really starting to blend together, aren't they? Oh well. This album isn't really anything special to me, but it was a nice short listen that I would call a milestone album for this specific genre of music. High 3/5.

I Should Coco

Supergrass

4/5

I'm starting to feel like this list has every single britpop album ever made on it. Oh well, at least this one's pretty good. I like it. After listening to quite a few pop-punk albums for this project, I'm still not entirely sure how to feel about it, but I will say that this album is basically the perfect blend of pop and punk. The whole tone and mood of this album is consistently great and very enjoyable, with the exception of We're Not Supposed To. I didn't like that song very much. Other than that one song, this album is quite good overall. The singing is good, and the instrumentals complement that singing quite well. It's probably the most British album I've listened to so far, but that's not really in a bad way. This is definitely a solid album, and I somewhat understand it's inclusion in this list. light 4/5.

Imagine

John Lennon

3/5

Let's start by getting this out of way: Yes, John Lennon was not a great person. However, I am here to listen to and review these albums primarily by how good they are, with the cultural impact of the album being the only other thing that even remotely impacts the rating. With that said, this album is just kind of alright. First of all, it does kind of peak at the beginning with the title track. There are other good songs on here, but I do feel like the titular "Imagine" is probably the best one. John's singing is pretty decent as well. The songs topics range from simple declarations of love for Yoko to what is arguably one of the first popular diss tracks in "How Do You Sleep?". That's honestly kind of funny. The instrumentals are quite good at times, and I really like George Harrison's guitar work. Overall, not the best work from a Beatle that I've heard, but it still isn't bad. High 3/5.

m b v

My Bloody Valentine

3/5

This is kind of a weird one for me in terms of how I feel about it. There are definitely things that I like. I think that the instrumentation, while a bit noisy at times, is well-made and I can tell that the people at My Bloody Valentine have a talent for making music. Everything else about this album just doesn't click for me though. The singing, if you can call it that, is weird and slow and I don't think I like it much. I don't exactly know what this album is supposed to be about. Obviously, not every album needs to be high concept, but I'm just not sure what they were going for. I'm not the biggest fan of the whole feel of the album, but I can see why others like it. I just don't really "get it". It's well made and I can appreciate the work that went into it, especially with how long it took to get this thing to finally come out, but I just don't think it's for me. I'm definitely willing to give this band another try later for some of their other albums that are also on this list, but I don't really see why this one specifically needs to be on here. Low 3/5.

Figure 8

Elliott Smith

5/5

Wow. What a great album. This one gives off a similar feel to Five Leaves Left by Nick Drake, another album that I listened to recently for this project. Honestly, I think I like this one a bit more. The sound of the songs themselves is great, with the singing and instruments complimenting each other quite well. The instruments in particular really stuck out to me as giving off the perfect type of sound for an album like this. What really elevates this album is the writing. This whole album is very self-reflective and very personal, which gives the lyrics a whole new level of gravity to what's being sung. This is just another expertly crafted album by another tragic artist that absolutely deserves to be on this list. 5/5.

Dummy

Portishead

5/5

I have to say. This album was way better than I was expecting it to be. While I still haven't listened to a rap record for this project yet, this album does have hip-hop-esque production. That production, by the way, is really well done. And I mean that in the good way, not the steak way. This whole album just has immaculate vibes all throughout. The use of sampling suits the album very well. The singing is oddly fitting for an album with beats like this one. Speaking of beats, they're really good as well! This album's mood is perfectly executed, and there really isn't a bad song. This album gives me similar emotions to Violater by Depeche Mode, another album I've listened to for this project. Honestly, I should've given that one a 5 in retrospect, and I think this one deserves a 5/5 as well.

Heroes

David Bowie

4/5

Well, well, well. If it isn't the first artist to give me a 5/5 for the project. My hopes for this one were quite high given Mr. Bowie's track record for me so far. Did he give me another 5/5? Well, I think Heroes barely misses the mark. This is still a pretty good album. It goes in some interesting directions, the instrumentation is great, and the singing, while not quite as consistently good as it was in Ziggy Stardust, is still pretty good. Speaking of instrumentation, Robert Fripp's guitar work is great, and the talent that went into this album is insane. The title track is really good, and some of the other tracks are quite good as well. I think my big complaint is that it just feels more confused than Ziggy Stardust. That album had a concept and it ran with it. Heroes doesn't really seem to have any major goals in mind. It starts with some pretty standard rock tracks before going into a more avant-garde set of instrumentals in the second half. I can appreciate the willingness to do more than the basics, but I don't really know if that switch worked for me as much as it could have. The instrumentals did make my math homework quite a bit more bearable though. Overall, Heroes is a pretty good album, but I definitely wouldn't call it my favorite of David Bowie's catalog. 4/5.

Want Two

Rufus Wainwright

4/5

Well, here's a pretty weird album. But you know what? I liked it. This is an album that goes in a few interesting directions that come together to form a pretty solid album. The opening track didn't sell me and is probably the worst on the album. Once the other songs started, then it started to reel me in before closing on another somewhat weak note. But the stuff in between those two songs is quite good. The sound was well made. I've seen some reviews on this site claiming that all Rufus does is whine instead of sing. Honestly, I don't get where those people are coming from. I think that the singing is just fine. There's some pretty interesting subjects in the songs, and this album definitely shows the range of the artist. Overall, I thought this album was pretty decent. Although, maybe listening to Want One will make me understand it a bit more. light 4/5.

Germfree Adolescents

X-Ray Spex

3/5

You know, I can't say I was ever expecting to listen to a female-fronted punk album featuring saxophone solos in it. Anyway, this one's okay. I was quite intrigued when doing research and also when I started the album. It's definitely an interesting album to say the least. The sound is pretty good, with the saxophone solos being a great touch. The lyrics and writing touch on subject that remain relevant to this day. However, I have two main problems with this album. First off, I'm not the biggest fan of the singing at times. It just doesn't really resonate with me all that much. Secondly, and this is the big one, is that after a few songs, this album became quite repetitive and samey. Each of the songs just kind of blended into each other. Overall, not a bad album, but not the greatest thing in the world. I do think that another rock album with saxophones from another band could be an interesting idea though. light 3/5.

The Downward Spiral

Nine Inch Nails

4/5

This is an absolutely fascinating album. To start off, it's a concept album, and a great one at that. The idea of an album all on the "downward spiral" of a man is one that can either be really good or really embarrassing. Fortunately, this one ends up in the former of those two categories. It is a very haunting album, to say the least. The writing captures that feeling of incoming madness and tells a great cohesive story. I have an immense amount of respect for this album. However, my respect for the album is quite a bit higher that how much I actually like the album. It's quite well made, but I don't really know if the sound of it is for me. The vocals feel too quiet at times, and I can see where they were going with the editing on the vocals and instruments when it comes to the concept, but I just don't really know how to feel when it comes to how good I think it sounds. The final thing I need to bring up is whether or not I prefer the original or the Johnny Cash version of Hurt. I think both versions have very distinct feels and honestly tell different stories. They're both very good in their own ways. Overall, this is an expertly made concept album that I'm never going to listen to again. 4/5.

Fun House

The Stooges

4/5

This is some good stuff right here. This is a pretty short and focused album. It knows what it wants to do, and it does it in 7 songs throughout 36 minutes. This is just a really solid punk album all throughout. The writing fits the time period while also not aging too poorly (even if some parts can be made uncomfortable if you think too much about Iggy Pop's history). I really like the instrumentation on this album. One big problem I've had with some of the punk albums I've listened to is that they get pretty repetitive. Fortunately, with only 7 songs, this album doesn't have the time to get repetitive. The songs actually stand out from each other. I do think this album could've been a bit crazier though. With a name like Fun House, you'd think that this would be like an actual circus. This album is not that, but it's still pretty good. The vocals could've been better, but could've been a lot worse. The screaming was pretty good when it happened though. Overall, a pretty good punk album. 4/5.

The Velvet Underground

5/5

I want to start this review with the one complaint that I have about it. I did not enjoy listening to "The Murder Mystery." I have... respect for the song, but it just give me too much of a sensory overload that I feel like if I ever listened to this album again, I would probably skip this song. But would I ever listen to this album again? Yeah, probably. Aside from the one skippable song, this is basically a perfect album. Going back to when I listened to Lou Reed's "Transformer" a while back, my one complaint with that album was that I didn't like Reed's singing. Fortunately, his singing in this album is a million times better. The singing from the other members is great too. The songs have interesting writing that makes you really think about these songs. The instrumentation and tone are expertly crafted as well. Overall, this is a (mostly) phenomenal album, and I'm willing to excuse the one song that freaks my brain out and give this album a 5/5.

Superfly

Curtis Mayfield

5/5

What a great album, man. I wasn't expecting there to be any movie soundtracks on this list, but if there's any movie soundtrack that deserves to be on this list, Superfly is a strong pick. Even when looking at this album on its own, it still tells somewhat of a story and serves as a concept album of sorts about drug abuse. Despite the subject material, this album is very funky, and I like that. Curtis's singing is quite good and works well with the songs. I think the instrumental songs added quite a bit to the album's concept to really make you understand what's going on in the story better. The pacing works wonders for this as well. Overall, this is a great album with a great concept that manages to stand out as both a great accompaniment to a movie that I might want to watch in the future, and an amazing standalone concept album. 5/5.

At Budokan

Cheap Trick

2/5

Here's an album that I'm going to forget about as soon as I finish this review. Look, this isn't a bad album or anything. I think the instrument playing in particular is good enough. I just don't really care all that much. Maybe I would've cared a few weeks ago, but at this point it might be possible that I'm starting to become numb to 60s and 70s rock. The writing on these songs is incredibly basic and the singing isn't that impressive to me. On a more positive note, at least the songs don't all sound the same. They sound similar, but fortunately it's not too repetitive. I guess I kind of understand why this is on here from an impact standpoint. Apparently this album and band was pretty big in Japan and Cheap Trick did influence bands that I do like such as Nirvana and Green Day. However, this album in particular does nothing for me. 2/5.

Out Of The Blue

Electric Light Orchestra

4/5

Electric Light Orchestra's "Out of the Blue" is another example of an album that I would call "pretty good." I think this album has a lot going for it. The production on this thing is top-notch. The instrumentation, the editing, and the whole flow of the album are very high quality, especially for 1977. The songs are quite enjoyable. Some of them are a bit somber in their theming, and others are Mr. Blue Sky. Speaking of which, the big hit from this album and ELO's biggest song ever is a hit for a reason. Sure, it is a bit overplayed and I may have heard it in too many movies by now, but it is absolutely a good song. The singing is alright. It's not the best singing I've heard, but it definitely isn't bad though. My main complaint about this album is that it's too long. This thing did not need 17 songs. Oh well, at least it wasn't annoying as well. The length really isn't that big of a deal. Overall, this is a solid album with some good songs. Light 4/5.

Pyromania

Def Leppard

3/5

Here it is. The 50th album. And on Thanksgiving too! I'm genuinely shocked that I've managed to have the dedication to doing this for 50 whole days. So, is Def Leppard's Pyromania fitting for an occasion like this? Not really. This is a very basic rock album. The writing is fairly simple, the riffs are made to be catchy, and it's a very accessible album as a whole. Does this mean that the album is bad? I wouldn't say so. I enjoyed listening to this album. I just don't think it's anything too special. Bands like this thrive more on their standalone big hits than their full-fledged albums. Overall, this album does its job of being an accessible metal album and that's about it. It's fun and cheesy, but not exactly a masterpiece. High 3/5.

Ill Communication

Beastie Boys

3/5

After 50 albums, I finally got a hip-hop album. I've never really been a hip-hop guy. I've always respected the genre, I just don't really listen to it all that much. Despite that, I was quite excited to finally listen to a hip-hop album for this project. So, does Ill Communication by Beastie Boys disappoint? Absolutely not. This is a very interesting album right here. It goes all over the place in the best way possible. I said that it was a hip-hop album, which is correct, but it also has elements of rock and jazz as well. Somehow, all of those blend together to form something good. The lyrics are very referential, with there being common theming between the references like jazz artists. I think the most interesting part of the album is the fact the second to last song is straight up a song all about Buddhism. That's just really interesting to me and I don't know why. I guess my main complaint is that the vocal effect on the vocals doesn't really resonate with me much. It just kind of makes it hard to understand the lyrics at times. Overall, this is a fascinating album and a somewhat worthy pick of being my first full hip-hop album that I've listened to. High 3/5.

Aftermath

The Rolling Stones

2/5

You know, there's a lot to commend about this album as far as the time it was released in goes. This album is quite important. It was the first album of The Rolling Stones (one of the biggest and most influential bands of all time) that really hit it big. It also did some things that hadn't really been done before. The opening track "Mother's Little Helper" was apparently the first pop song ever written about middle-class drug dependency, at least according to Wikipedia. The song "Goin' Home" was one of the first popular 10-minute+ long songs, so that's kind of neat. However, I did not really like this album that much. I respect the album in regards to its musical talent and cultural significance. I think the singing and instrument playing is quite good. However, I have two major complaints. For one, it does get somewhat repetitive. It's not the most repetitive album I've ever heard that still gets points for its cultural significance (cough cough, Ramones, cough cough), but it is definitely somewhat noticable. Secondly, the biggest complaint of them all, is that the writing has not aged that well. This album is remarkably misogynistic at times, and was even criticized for this all the way back in the 60s when it released. I definitely felt uncomfortable at times with songs like "Under My Thumb" in particular. Overall, definitely a culturally significant album, but not one that I really liked listening to. 2/5.

This Is Fats Domino

Fats Domino

3/5

Okay. So for whatever reason this album is like an enigma of sorts. The website says this album released in 1957, even though it released in December 1956, the album cover on this website is one that I couldn't find anywhere else, the album isn't on my streaming platform, and weirdest of all, the wikipedia link on this website links to the article for Fats Domino himself, rather than this album. Maybe things are just really weird with 50s albums (of which this is the first I've listened to for this project). I seriously have no idea what's going on here. Anyway, this album's alright. It's some pretty basic 50s rock and roll, which isn't really a bad thing. I think that this serves as a pretty good representation of music at the time. Mr. Domino is quite an influential artist, having influenced the likes of Elvis Presley and The Beatles, however I was not able to find much evidence supporting the major cultural impact of this specific album. Maybe this is more of a representation of him and his career as a whole. Regardless of that, I give this album a high 3/5.

Parsley, Sage, Rosemary And Thyme

Simon & Garfunkel

3/5

This is a nice little album right here. Simon and Garfunkel are definitely one of the most legendary duos in all of music, and after listening to this album, I can kinda see why. This is another short album, but it doesn't feel like it went by too quickly. The songs are fairly simple, but they're good. There are some interesting things to look at here. The closing track seems pretty fitting for right now given that it's basically Christmas time and the world is still in the never ending chaos that is the 2020s. Speaking of now, this album has aged pretty well. The writing is, again, a bit basic, but still well thought out. The mood is a bit somber, but not too somber, with some lighthearted moments thrown in there. I don't have much to say. It's a solid folk rock album, and that's kind of it. High 3/5.

The Message

Grandmaster Flash & The Furious Five

3/5

This might be the cheesiest album I've listened to for this project thus far. However, I would be lying if I said I didn't enjoy this album. This is early 80s hip-hop in its purest form. This album is a bit repetitive at times, and some of the songs do go on for a bit too long. Fortunately, there's only 7 songs, so it is pretty short overall. Still, there is a nearly 6 minute long song about how much the group loves Stevie Wonder. I can't blame them, but I don't think the song needed to be that long. The title track, which also happens the be the album's closer, is an all-time classic. I wasn't sure if I had heard it before listening, but once it started, I recognized the beat, although it may have possibly been from another song that sampled it. Overall, a decently influential album that, while fun, doesn't really offer a whole much to stand out as an exceptional album. 3/5.

Make Yourself

Incubus

2/5

I am going to say what is quite possibly the most controversial thing I have said for this website so far. I don't hate nu-metal. Don't get me wrong, there is some really bad nu-metal out there (I'll get to you eventually, Limp Bizkit), but it also has some decent stuff. This album is almost that. I didn't dislike this album as much as I thought I would. It wasn't that good, but it wasn't horrible. The vocals, could've been better, but definitely aren't the worst vocals I've ever heard. The instrumentals had some weird choices (turntable moment), but weren't really bad. The writing occasionally had some of that vulgarity that comes hand-in-hand with nu-metal, but wasn't too constant or that horrible when it was there. Despite those, I thought the album was kind of okay at times. This album isn't even fully nu-metal. Some songs don't really have those elements, like at all. Overall, an okay album, but not one with a ton of impact or anything to really stand out all that much. 2/5.

A Date With The Everly Brothers

The Everly Brothers

1/5

I don't know if I was in a bad mood or what, but I did not like this album. It basically represents everything that hasn't appealed to me with some of the albums on this project I've done so far. It's repetitive, unoriginal (I'm fine with covers, but with only 3 out of the 12 songs being written by the Everly Brothers themselves, it's a bit too much on the "they didn't write these songs" side of things), boring, and worst of all, it hasn't aged well! That first song. Oof... That is what you call an uncomfortable listen. I guess this serves as a representation of the music of the time, but maybe I just don't like the music of that time. I also don't like the singing. I don't know why, I just don't. The instrumentation is probably the best part of the album, and even then it's only average at best. Also, what's with all the fade-outs? I know I'm nitpicking at this point, but it happened for what I think was all of the songs. With all of those, as well as this specific album not really having much impact (even if the artists have had a slight cultural impact), I think this album warrants my first ever 1/5.

Tea for the Tillerman

Cat Stevens

5/5

Now this is some great music right here. After getting my first 1/5, I was really hoping that I would get something that was at least decent to follow it up. Luckily, Tea for the Tillerman is a great album. I really don't have any complaints. Cat Stevens is a very unique singer, but I definitely like his singing. I like how he's able to vary his singing depending on the song (or in the case of the absolute classic that is "Father and Son", depending on who's speaking in the song). The writing is meaningful and goes over various topics that are both personal and still relevant to many people to this day. The instrumentation is pleasant, with there being some variety in what instruments are used for different songs. Overall, this is an amazing album that, because I'll probably grow to like it even more over time, deserves a 5/5.

Talking With the Taxman About Poetry

Billy Bragg

2/5

I genuinely can't tell if this is a good album or not. Every other album I've listened to, I've been able to determine whether it was good or bad. Abbey Road is a good album. A Date With The Everly Brothers is a bad album. As for Talking With the Taxman About Poetry? I don't know! This album has some stuff going for it. The instrumentation isn't bad at all. The way the music sounds is pretty decent. The writing, while a bit weird at times, contains some good lyrics. The messages are definitely respectable as well, with "There Is Power in a Union" being a fairly nice song about, well, power in forming a union. There's just one *small* problem with this album. I can't take this seriously, and it's all because of the singing. It's not painful like others on this site have said. It's just goofy and not fitting for these songs. Maybe with a better singer this would be definitively good. However, I can't say that I didn't feel anything. If there's one thing that this album isn't, it's boring, which should warrant a 3 or higher, but can I really say call this a good album? While there was some genuine enjoyment, some of it was also pretty ironic. Is it bad? Is it good? Well, I think I should look at cultural impact as a sort of tiebreaker, if you will. I wasn't able to find any significant cultural impact for this album, with Billy Bragg's career having a very minor cultural impact. Because of that, I think giving this album a high 2/5 seems fair.

Planet Rock: The Album

Afrika Bambaataa

2/5

Don't get yourself ready for another rock album. We've been lied to. This is not another rock album. This is, as the name does not suggest, an 80s hip-hop album, and a mediocre one at that. I'll start with the thing I like. The beats aren't that bad. I liked them at times, and they were pretty well made. That's really the only thing about this album that stands out though. The rapping itself is just kind of okay. The lyrics are repetitive and uninteresting. The album also kind of drags a bit. It may only have 7 songs, but those songs range from nearly 4 minutes to 7 and a half minutes. Why? I don't know. My overall problem with this album is that it lacks substance. Most of the songs just feel like, "Hey, we're rockin' and rappin'! Here's the crew!" It feels like a couple of singles cobbled together to form a not-so-cohesive package... probably because that's what it is, at least according to the wikipedia article. Overall, this is an album that starts with a pretty decent hip-hop song, before continuing into an uninteresting drag, produced by someone with some major allegations against him. 2/5.

Who's Next

The Who

5/5

Finally, an album that I can say, with 100% confidence, is deserving of being considered and album that you should listen to before you die. It feels like I haven't gotten very many of those lately. Luckily, this is a phenomenal and absolutely iconic album. You'd think that, given my track record as of lately, a 9-song, 44-minute-long album would drag quite a bit and have songs that feel like they never end. Somehow, that isn't the case. All of these songs are great, even if some of them could be seen as "filler-y". Admittedly, this album is strongest with the opening and closing tracks, but everything in the middle is still amazing. The usage of synthesizers and other instruments creates what are arguably some of the most iconic riffs of all time. I really liked the vocals. All of the singers do great jobs, and the screaming in particular was some of the most satisfying screaming I've ever heard in rock music. The album feels cohesive, yet varied at the same time. Overall, this is a legendary album, and a really good one at that. 5/5.

Sticky Fingers

The Rolling Stones

4/5

Okay. Aftermath did not leave a good taste in my mouth for Rolling Stones albums. Sticky Fingers definitely has more impact than Aftermath, as well as higher praise. I mean, it does have a JoJo stand named after it, so clearly it must be better, right? This would be the part where I break the bad news and say that it isn't, but fortunately, Sticky Fingers is a way better album than Aftermath. Everything about it just works for me in ways that Aftermath didn't. I definitely liked the instrumentation more. The brass usage was definitely unexpected, but very welcome. The writing was also immensely better. My big complaint with Aftermath is that it just hasn't aged well. While Sticky Fingers isn't completely devoid of questionable lyrics (looking at you "Brown Sugar"), it definitely isn't as egregious as it was there. The songs are quite a bit more thoughtful as well. A lot of them are about drugs, but that fortunately doesn't get repetitive with how varied the songs can be. This album isn't perfect and it is a bit too long in my opinion, but it is a pretty good album that definitely deserves to be on this list. Strong 4/5.

Gasoline Alley

Rod Stewart

2/5

If I had to describe this album in two words, those words would be "nothing special." This is certainly an album that exists. It's not horrible or anything, but it's not particularly interesting. The most interesting thing about this album is Rod Stewart's singing, which is interesting, but not exactly for the right reasons. I don't like it. It sounds like an elderly Chris Rock trying to be a mediocre folk artist. The other parts of this album are just kind of fine. The lyrics are okay, the instrumentation, while somewhat varied, doesn't stand out that much. This album kind of suffers from what I call "Long-Ass Song Syndrome", where an album has a fairly low song count, but most of the songs are way longer than they need to be, so the album kind of drags a bit. Think about it. Why does "Come Across Shorty" need to be 6 and half minutes long? More importantly, why is this album on the list? Rod Stewart had 10 number-one albums in the UK. Gasoline Alley was not one of them. This album has little to no cultural significance whatsoever aside from being one of the first albums of a pretty popular artist. Overall, this is a forgettable album that has no real reason to be on this list. 2/5. I sure hope the next album I get isn't another 70s rock album.

The Coral

3/5

Okay. This album does not deserve to be on this list. It simply does not have enough cultural significance or substantial quality to warrant its inclusion. Fortunately, more recent versions of the 1001 albums book have omitted this album from the list. With that said, this album isn't that bad, at least compared to the other albums that I've claimed do not deserve to be on the list. The sound is pretty good at times. It's somewhat interesting. The singing could be better, but it could be worse. The writing was a bit confusing, and I'm not exactly sure what most of the songs were about. The album doesn't really drag on for too long, which is good. I did actually like this album at times. However, it is fairly forgettable and, as stated earlier, is not significant or excellent enough to belong on this list. However, I will give this album credit for being decent and give it a light 3/5.

Foo Fighters

4/5

So, are these guys fighting against Foo or for Foo? Weird band names aside, this is pretty great. First off, I have to commend how this band is even successful in the first place. The fact that the drummer of one of the biggest bands of the 90s managed start a band as the frontman and have it become nearly as successful as Nirvana was is immensely respectable. I have nothing but admiration for Dave Grohl. Speaking of Dave, despite the album sharing the name that would belong to a full band, this album is, for the most part, just Dave Grohl. And you know what? He does a pretty good job. This man has to have a crazy amount of talent to play all of the instruments, do all of the writing, and the singing for this one album. Good job! Anyway, all of the aforementioned aspects of this album are pretty good as well. The songs are memorable and stand out from each other. It's not necessary to have listened to Nirvana to understand this album, but it does help knowing the context behind everything to understand songs like "I'll Stick Around" and "Alone + Easy Target". I like the tone most of the time. Some songs aren't quite as good as others, but the whole album's pretty solid. However, I have to admit that it might have made more sense for "The Colour and the Shape" to have been the Foo Fighters album of the list. I mean, that's the one with Everlong on it. What more could you say. Despite that odd choice on the book author's part, this is still a solid album and a representation of what would come of grunge post-Nirvana. 4/5. EDIT: I no longer "have nothing but admiration for Dave Grohl."

Metallica

5/5

If there's any genre that I listen to on my own time more than any other, it's probably metal. And yet, I haven't gotten an outstanding metal album yet for this project. Sure, I started with Van Halen and that was pretty good, but I have yet to get a truly defining metal album for this project. Until now. This is a really good album from one of the greatest metal bands of all time. Say what you will about their later albums or Lars's drumming or whatever. Their first 5 albums are some of the best of the genre, and this was the last of those. This is probably the band's conservative album. Not so much in the political sense (aside from Don't Tread on Me), but rather in the sense that it's not quite as experimental as albums like Master of Puppets or And Justice For All. Despite that, the style is so finely tuned that nothing else matters (see what I did there?). There is some variance in here. Look at this album's two most iconic tracks, Enter Sandman and Nothing Else Matters. The sounds have similar aspects, but the tone is very different between the two songs. The instrument playing is quite good, as this was near the end of Metallica's peak. I was surprised by the quality of James Hetfield's singing for songs like "The Unforgiven". Metallica's performance when playing live can be hit or miss, but the studio quality for those early albums was top-notch. The writing is solid and gets the points across well. Those points, by the way, remain relevant to this day. Overall, while this album probably isn't Metallica's best, it does remain as their most successful album, and absolutely deserves to be on this list for its excellent quality and cultural significance. Light 5/5.

Better Living Through Chemistry

Fatboy Slim

2/5

This is not a review of an album. You want to know why? Because Better Living Through Chemistry by Fatboy Slim is not an album. It is a collection of random beats. That's it. Let me just say that I don't have a problem with instrumental songs or albums. I haven't listened to any other instrumental albums, but I do know that they can be good and meaningful. You don't need to use lyrics to have emotion in a song. You can use aspects of the musical composition like chord progression to tell a story. This collection of beats does not tell a story or do anything unique of the sort. It's just beats. The beats aren't bad. I could see these making for good songs. That's just the thing. These could make good songs. However they do not stand out enough on their own to constitute as good songs. They're serviceable background noise I guess, but they don't really have much value beyond that. Why is this album even on the list? Fatboy Slim apparently has better albums, one of which is also on this list! I think it's just another classic case of "We wanted to represent an artist so we used their debut album even if it's far from their best work." Overall, I don't care about this one. It's well made, but it doesn't mean anything to me. 2/5.

Murmur

R.E.M.

4/5

You know, R.E.M. has never really stuck out to me as being one of the all-time great bands, but after doing some research that I hadn't done before, I can see why people consider them to be among the greats. They were one of the first big alt-rock bands, and with this being their debut album (what's with all the debut albums on this list, by the way?), Murmur serves as one of the first major alt-rock albums. So how does it hold up? I think it holds up pretty well. This is a good album. The writing is admittedly a bit confusing, but it just works for some reason. You can still feel that there's something to be said with each song. You can't hear it though. Yeah, the singing is a bit unintelligible at times, but I can tell that Michael Stipe is a decent enough singer. The instrumentation is quite nice, and has the perfect balance between positive and negative vibes. It kind of makes me feel similar things to how I felt with Meat is Murder by The Smiths all the way back for my second album of the project. However, this album doesn't have a weirdly, kind of mid title track, so I do think this is a better album. I don't even know why I'm comparing those two albums other than "I kind of felt similar feelings when listening to them." Anyway, this is good debut album from a pretty iconic band. 4/5.

Hypnotised

The Undertones

1/5

I do not like this album. Let me explain why. The sound of the album is just kind of okay. It is passable early 80s punk rock. The bass is good at times. The singing is fine. It does nothing for me, but it's not inherently bad. Those are the positives. I don't like anything else. This might just be the most repetitive album I've ever listened to. Why does there need to be 15 songs if they all sound the same? All of these songs are practically the same thing, both in terms of sound and lyrics. Three of songs (20%) have the phrase "Boys will be boys", including a song of the name "Boys Will Be Boys". That should tell you what this album is like. Most of the songs are just about girls. That's it. I couldn't discern anything else! This album has absolutely no lasting impression; not just on me, but on culture as a whole. This album does not deserve to be on this list. I. Don't. Like. It. 1/5.

3 + 3

The Isley Brothers

4/5

Would you look at that. This album's pretty good. I liked it. However, I don't have much to say about 3+3 by The Isley Brothers. The singing is quite good. The sound is nice as well. Some songs lean more into funk, while others are closer to soul music. There's enough variety in the songs, both in terms of lyrics and sound, for it to not get too repetitive by the end of the album. The lyrics definitely aren't bad. This is just a pretty decent funk/soul album. I do have to point out that the Isley Brothers are still a thing, albeit with different brothers. The fact that these guys started in the 50s and still go today is very impressive. From what I've heard, this album is one of their best, and I believe it. This is some good stuff. light 4/5.

In Our Heads

Hot Chip

4/5

Well, I think this might be the biggest surprise out of any album I've listened to so far. First of all, I was surprised to even get a relatively modern album. Sometimes it feels like this list is just 90s and earlier, so getting something from 2012 felt pretty nice (even if that was 11 years ago). What really surprised me with In Our Heads by Hot Chip is just how much I liked this album. I was really worried that I wouldn't be a fan of this album. I don't know why, but I just wasn't that excited. After listening to the album? This is pretty great! I had to make sure that I was in the right mentality for this album, as I had heard that it wasn't anything super mindblowing or complex. I just had to expect a pretty fun album with decent music. With that in mind, this album managed to exceed my expectations. The singing and writing are admittedly not the most special, but they're not actively bad either. The album is also a bit long. The sound of the album is where my praise really comes in. My favorite thing about this album is just how different each song is. They're all clearly the same genre, but each song stands out from each other in a way that a lot of albums just don't. This is a very good album that serves as a nice fun listen for someone looking for some good electronic music. Strong 4/5.

Ready To Die

The Notorious B.I.G.

3/5

Look. There are definitely some positives to "Ready To Die". However, there are also some very obvious things about this album that make my enjoyment of it lower that it probably should be. I should start with the positives. Obviously, The Notorious B.I.G. is arguably one of the greatest rappers of all time. His voice makes his rapping stand out in a great way. His flow is absolutely impeccable, and I do think that he is a great rapper. The sound of the album is also quite good, and there are some great songs on here. Unfortunately, this album has some major missteps. The writing, for one, falters at points. Sometimes, the "gangsta rap" lends itself to some thought-provoking tracks like "Things Done Changed" and "Juicy". Other times it just kind of ends up feeling edgy and unnecessarily vulgar. I'm fine with songs have controversial lyrics if they have a point to them. However, not all of these songs feel like they have a point to make beyond being about Biggie's history with crime. Finally, I have to talk about the skits. Sometimes they work to further tell a story, like at the end of "Warning". However, a lot of the times are just kind of gross. I have to admit; this was the first time I ever had to skip a song on an album. The interlude was just... no. On top of that, the ending skit of "Respect" was similar in that they are both just sex sounds. That's not music, and it kind of ruins the listening experience of the album. I'm sorry, but that's just how I feel. I understand the value of this album. It serves as a harrowing tale about the dangers of inner city crime, and Biggie himself is a phenomenal rapper. However, the skits and lyrical matter drag this album down to being one that I just don't personally enjoy listening to as a whole. 3/5.

Boy In Da Corner

Dizzee Rascal

2/5

I can't say I expected to get 2 rap albums in a row, but I'll take it I guess. Anyway, Boy In Da Corner is a weird album. It was one of the first big albums of the Grime genre, and I can't say I'm the biggest fan of it. It's not bad or anything. I just don't really get it myself. The rapping is decent enough. I don't really know if the accent works for rapping though. The beats aren't bad. They're well made. The writing isn't the best, but it's good at times. Surprisingly enough, I did somewhat start to warm up to it a bit by the end. That took a while though, as this album does drag quite a bit. Overall, I kind of understand why this was put on the list, but I wouldn't really recommend it myself. It just isn't my thing. High 2/5.

Vulnicura

Björk

4/5

This might just be the most depressing album I've listened to so far. And I listened to a Nick Drake album! However, that is not a bad thing. Björk's Vulnicura is a concept album of sorts, focusing on emotions surrounding a real-life breakup of hers, among a few other things in the later songs. This album is executed wonderfully. This also ended up being the most artsy album I've listened to so far. This isn't the kind of music that you or I would listen to casually during a normal day, and that's fine. Different kinds of music can serve different purposes, and this album happens to succeed at its purpose. The sound is quite interesting. I really like the usage of string instruments, and the occasional electronic sound adds even more things to pay attention to while listening. The singing, while somewhat hard to understand at times due to the vocal effects, is very good. The writing is pretty simple, but oh so very effective. You can really feel that there's a story being told, and the given emotion that a song focuses on can really shine through. It's all very personal. It is, like the past few albums I've listened to, a bit long, but it works better here since the feelings one experiences regarding a breakup last for quite a while. Overall, while this is definitely not the kind of music that I listen to, Vulnicura does exactly what it wants to do in a very unique and respectable fashion. Light 4/5.

Hounds Of Love

Kate Bush

5/5

Wow. Now this is a great album. It's pretty cool that Kate Bush and her music got a resurgence in popularity recently, and based on this album, which happens to include the song that got really popular, it's absolutely deserved. The sound is quite interesting at times. I really like the usage of different instruments, particular on side A. You've got a cello in the title track, some really good strings in "Cloudbursting" and even a didgeridoo in "The Big Sky". When your album has didgeridoo in it, that automatically earns my respect as an album willing to take interesting directions. The writing is probably the highlight of this album for me. It's very interesting and does a great job at telling the story. Speaking of story, this is somewhat of a concept album, at least for the second half, which tells the story of someone lost at sea. While I do think that the first half is stronger from a music perspective, I highly respect side B, also called "The Ninth Wave" for doing something neat. Overall, this album is excellent and really paved the way for other artists to do similar, yet very different, things with their music. 5/5.

Bummed

Happy Mondays

2/5

Well, well, well. We meet again, Madchester. I've listened to a few albums from this fairly niche movement before, and I quite liked them. The debut album from The Stone Roses in particular stood out to me as a truly great album. So how does Bummed by Happy Mondays compare? Not well. I did not care for this album. The sound is pretty decent. It's somewhat repetitive, but I wouldn't say it was too repetitive, even if it was kind bordering that edge. The singing was okay at times, but also was just kind of dumb at others. The lyrics don't make much sense to me. I couldn't really gather what most songs were about, and when I could, it was about drugs or sex. I just wasn't interested in this one. Apparently this band has another album on this list, so I'm not excited for that. However, apparently that album is better than this one, so I'll try to remain optimistic whenever that comes up. For now though, this album gets a 2/5 for being uninteresting.

Duck Stab/Buster & Glen

The Residents

2/5

What the hell did I just listen to? I don't know how to feel about this! The sound is just weird. It's decent at times, but at others it just feels like noises. The singing is horrendous. Sometimes it sounds like Waluigi with weird voice effects. The falsetto is even worse! It genuinely sounds like Chris Chan at times (if you don't know who that is, good. Don't google them.). The writing is nonsense, and the theming is unclear. This album is just a load of nonsense! But you know, at least it's interesting. At least I can laugh at this album for how goofy it is. It actually kind of wraps around to a sort of "so bad it's good" type of deal. There's enjoyment to be had in the madness, even if it is completely ironic. Also, at least it's only 35 minutes! So, while I can't in good consciousness give this a high rating and I never want to listen to this again, I can at least give it the courtesy of not being a 1 since it actually stands out and isn't completely void of effort. Low 2/5.

Medúlla

Björk

3/5

And so, we return to the world of Björk. I listened to Vulnicura a few days ago for this project, and I quite liked it. I thought it was a really good album. So, how does Medulla compare? Well, I think this one's good too. It's very refreshing to listen to an avant-garde album that doesn't make you want to tear your ears off after listening to Duck Stab yesterday. I think the idea of having an album focused primarily on a cappella is one with some substantial merit to it. While this album isn't totally instrument-less, it does focus on instruments less than the average album. Björk's singing is still quite good. This album was released 11 years before Vulnicura, and her voice didn't change much in that time, which is something that I consider to be good. This album isn't as focused as Vulnicura. That one was clearly a concept album through and through. While this album does occasionally go back to common themes tying to motherhood and politics, it's not as evident through the lyrics, which are a bit more abstract than they were in Vulnicura. Overall, while I liked that album a bit more, I do still think that Medulla is a good album, and my opinion of Björk's music remains a positive one. High 3/5.

Physical Graffiti

Led Zeppelin

4/5

I've never been this happy to get a classic rock album. I didn't think I'd miss all of them, but after getting some other, more abstract stuff, sometimes it's just nice to kick back and listen to something classic, and it's hard to get more out of classic rock than Led Zeppelin. This album's pretty good. I really like the variety that's here. One thing I don't miss about a lot of classic rock albums is how samey the songs can feel. Luckily, Physical Graffiti has diversity in it's sound between each song. My opinion on Robert Plant's singing varies at times. Sometimes I'm not really feeling it, but most of the time I can definitely enjoy what it adds to the songs and performances of said songs. The writing on this album is also quite good. It's aged well, for the most part. This album is definitely a bit long and some of the songs definitely drag a bit, but it's not the worst instance of an album dragging I've heard so far. The sound in this album is quite great. The band's members definitely have substantial talent, and I think that Led Zeppelin's sound is extremely iconic. Overall, while it's not my favorite classic rock album, Physical Graffiti is still a really good album that deserves to be on this list. Strong 4/5.

Soul Mining

The The

4/5

First off, I just want to say that "The The" is kind of a dumb band name. It's not the worst band name that exists, but I just think they could've come up with something better. Anyways, Soul Mining is a pretty good album. I really wasn't expecting to like it as much as I did. The album does start with the worst song, but it gets significantly better after it. The sound is very 80s, but it's not bad. I think the instrument usage is solid. The singing is quite different than what I expected from an early 80s English rock band, but that's also a good thing. Sometimes it's good to listen to different styles of singing. What really stands out about this album is the writing. This album really does have a way with words that turns songs like "The Sinking Feeling" and "Giant" from good songs to great songs. Overall, I think this album is quite good. Light 4/5.

Drunk

Thundercat

4/5

Hey, look at that. A fairly modern album. You don't see a lot of those on this project, so it's pretty cool to get something new regardless of if it ends up being good or bad. Fortunately, I really liked this album. Let's start with the positives. I think the sound and production on this album is excellent. Thundercat clearly has a talent for music, which can be easily seen through things like the production of the album, as well as his bass playing. I also like his singing. It's nice. Another thing that I like is the whole feel of the album. It's nice, but also thought provoking. It manages to have songs about death that aren't completely depressing for a change. Speaking of which, the writing is alright. Some lines are kind of silly, but there's a charm there. I have two problems with this album. For one, it is a bit long and some of the short filler tracks are a bit unnecessary. Finally, the features could've been better. I think they do fine enough, but they don't really enhance the songs as much as they could have. Overall, this is a very nice album and a change of pace from what I usually get. Also, Fantano was wrong. This is not a 6/10. It's at least a 7. As for my own 5 star rating, I think I'll give it a light 4/5.

A Christmas Gift For You From Phil Spector

Various Artists

3/5

Merry Christmas and happy holidays everyone! I think it's really fun that the guy who runs this website decided to give everyone the Christmas album on Christmas itself. You know, I can't say I've ever wanted a Christmas gift from a convicted murderer, but I will gladly take "A Christmas Gift For You From Phil Spector", because this is some good stuff. There really isn't much to say. This is an album with some absolute Christmas classic. They're some pretty good covers too. Some of these, like the Ronettes version of "Sleigh Ride" are even considered by many to be the definitive versions of these songs. The songs themselves are good Christmas songs. None of them have aged particularly poorly (although as long as you're not including Baby It's Cold Outside, I'm pretty sure you're set). It does end weirdly with Phil Spector thanking the listener over an instrumental of Silent Night. Obviously that's weird now with what we know about Mr. Spector, but even on its own it's kind of a weird way to end the album. Overall, it's nothing crazy, but a nice little treat for the Christmas season. High 3/5.

Bringing It All Back Home

Bob Dylan

4/5

You know, I'm kind of surprised it took this long to get a Bob Dylan album given how highly praised he is. Oh well, I got one now and I thought "Bringing It All Back Home" was pretty good. You know an album's iconic when all of its songs have wikipedia articles. I'll start by talking about Dylan as a singer. Sometimes he's good, other times he's not. It kind of fluctuates for me. I didn't like his singing in the opening track, but it was alright for the rest of the album. Where Bob Dylan really shines though is not in his status as a singer, but as a songwriter. This is a man that knows how to write a song. The writing is fairly abstract, but it gets its point across quite well. I definitely think he makes for a better folk artist than a rock artist. I feel that the second half of this album, which focused more on folk than rock, is more consistent in its quality than the first, more rock-focused, half. Overall, while I'm not the biggest Bob Dylan fan in the world, I definitely see the value in his music, and am not opposed to listening to more of his albums in the future. Light 4/5.

Document

R.E.M.

4/5

This is a pretty good album right here. I listened to Murmur by R.E.M. a few weeks ago and I thought that was quite good. Honestly, I like Document more though. The band's sound is definitely a bit more refined here than in Murmur. Case in point, the singing. It was kind of hard to hear the singing at times in Murmur. Now, Michael Stipe's singing is at the forefront of the album, and it's quite good. He's a pretty good singer that is largely responsible for R.E.M.'s iconic sound. The instrument playing also adds to that, with the whole album having a consistent, yet not too repetitive, feel to it. The writing, I feel, was also drastically improved from that album. This album's a lot more political than I expected it to be, with songs that clearly commentate on things the Reagan administration and even a song that directly name drops McCarthy in the title. Overall, this is a great album that reaffirms the opinion I gained from listening to Murmur that R.E.M. is a pretty good band. High 4/5.

Stories From The City, Stories From The Sea

PJ Harvey

4/5

Here we have an album from an artist that I really didn't know anything about prior to today. Needless to say, I was definitely intrigued to see if PJ Harvey's music was anything that stood out to me. Fortunately, I think that this album is pretty good. I think the singing is very interesting. She's got quite a bit of range, which is never a bad thing. She also gets Thom Yorke from Radiohead to do the verses on one of the songs, which is pretty neat. The sound is nice. It is some solid alt-rock if I do say so myself. There's definitely variety in the tone of each song. The writing is good as well. Love is a common theme throughout the album, but it's not too repetitive and the songs do stand out from each other. Overall, this is a pretty solid album and I'm intrigued to listen to more of this artist's albums later in the project. Light 4/5.

Be

Common

4/5

This album's great. I've been needing more good rap music for this project, and "Be" by Common absolutely delivers. Common is a pretty good rapper. I think his flow is nice and the writing is good. The album has a consistent tone and common theming in regards to what Common wants to say, which works well in this album's favor. The production on this thing is also quite great. As much as I hate Kanye West (I'm not calling him Ye) now, he definitely had a talent for music production in the past, which is something that is especially evident in albums like this. Overall, I don't really have a ton to say. This is just a pretty good rap album. 4/5.

Rings Around The World

Super Furry Animals

2/5

This is an album that exists. You'd think with a name like "Super Furry Animals" that this band would have something unique and weird in a good way. Instead, Rings Around The World is just kind of mediocre. The singing isn't bad, but I'm not particularly impressed by it. The sound quality is okay. It sounds weird at times in regards to the production. The writing is fine. Maybe I'm just in a bad mood or something, but I just don't really get this album. I thought it could maybe be a light 3 at first, but then this weird thing happened at the end of "Receptacle for the Respectable" that I didn't like at all so I bumped it down a bit. I see no reason for this album to be on the list. It doesn't have enough cultural impact or quality to justify its inclusion. Apparently they're notable enough to have 2 albums on this list. Isn't that just great? 2/5.

G. Love And Special Sauce

G. Love & Special Sauce

2/5

Well, here it is. The last album of 2023. I've only been doing this for a few months, but the end of the year is still an important milestone. So, does G. Love And Special Sauce feel like a good album to end on? Probably not. It's not like this album's insanely iconic or anything. It really doesn't need to be on this list. But is it good? Eh. It's fine. I like the instrumental sound. I think that the jazz and blues influence was a good choice to make. The last song wasn't good though. However, I must specify that it is the sound of the instruments that I like, because the singing, if you can call it that, isn't great. He sounds weird. There might also be an effect on his voice, but I honestly can't tell. The writing is also confusing. I can kind of tell what some songs are about, but others don't really make sense. That can be good, but I don't think it works here. Overall, while this album is pretty decent from a sound perspective (mostly), it doesn't really stand out to me in much of a good way other than that. High 2/5.

Illmatic

Nas

5/5

Well, here it is. The first album of 2024. I've only been doing this for a few months, but the beginning of a new year is still an important milestone. So, does Illmatic feel like a good album to start the year on? Absolutely. This is what a 1994 debut album that deserves to be on this list looks like. Everything about this album is just so immaculate. The beat production and sample usage creates this sound that really exudes this feeling of being in New York's inner city. I've never experienced that for myself, but through this album I can kind of see what that's like. The rapping itself is on a whole other level. Nas's internal rhyming on this thing is excellent and very impressive. The writing lends itself well to telling its story through some of the finest rapping you will ever hear. The one feature this album has, AZ's verse on "Life's a Bitch", is just as good as what Nas offers on that same song. That's not to mention how the pacing on this album is great too. My big problem with a similar East-coast 1994 debut rap album, Ready to Die by The Notorious B.I.G., was that it could've had better pacing, what with all of the skits and such. This album starts off with something like that in "The Genesis", but everything after that is just straight-up rapping. Overall, this is often considered to be one of the greatest hip-hop albums of all time, and while I'm not an expert on the genre, I can definitely see why people feel that way. The impact of this album is hard to understate. 5/5.

Suzanne Vega

3/5

This one's alright. I think the best way I can put this album is "It's nothing special, but it also doesn't give me any reason to dislike it." It is perfectly average. The singing was worrying at first since I didn't really like the talking style of the first song, but then she started actually singing in the second song which sounded good for the rest of the album. The sound was decent. I really liked the bass in the last song. The writing was a bit basic and it was somewhat repetitive in theming at first, but it got better in the second half. I do like how the royal imagery of "The Queen and the Soldier" carries into "Knight Moves". I just think that's a neat theming idea. Overall, this is a decent folk rock album. 3/5.

Paul's Boutique

Beastie Boys

3/5

Time for another artist to join the "I've gotten 2 albums from them for this project" club. This time, the Beastie Boys are back with their second album, Paul's Boutique. This one's okay. The writing could be better, but it's not that bad and could've aged worse. The rapping itself is still something that I'm not huge on, but it's not ear-grating either and I can see why it has its fans. The album goes on for quite a bit, but it doesn't drag too much. However, this album is not on the list for its sheer quality or anything (at least I don't think it is). No, this album is on here, and deservedly so, for technical reasons. This album is just a master class in the power of sampling. Most of the instrumentals on this album is sampling. One could say that this album is unoriginal as a result. However, I see this album for the technical accomplishment that it is. The sampling all works quite well, and this album was a sort of pioneer in that regard. Overall, while I think I liked Ill Communication more, Paul's Boutique certainly isn't bad. High 3/5.

Bridge Over Troubled Water

Simon & Garfunkel

5/5

What a surprise! Two returning artists in a row was not something I was expecting, but it is definitely something that I am more than okay with. Anyways, Bridge Over Troubled Water is really good. I thought that Parsley, Sage, Rosemary, and Thyme was good, but nothing spectacular. I knew that there had to be something better in Simon and Garfunkel's catalogue. Fortunately, the iconic duo went out with this, which is widely considered to be their best album. Despite the fact that I haven't heard their other albums besides the two that I've gotten for this list so far, I would probably agree. The songwriting on this album is top-notch. It's very personal at times in regards to the then soon-to-end relationship between Simon and Garfunkel themselves. The sound on this thing is also great. I like the variety between each songs and their influences. The pacing is also quite good. It doesn't drag on or end too soon. Overall, this album absolutely deserves to be on this list for its quality and cultural significance. 5/5.

One Nation Under A Groove

Funkadelic

3/5

Here's a weird album. First of all, it's not on the streaming services, so I had to listen to it on YouTube. That doesn't really say anything about the quality of the album, but it might say something about its cultural significance. Anyway, as far as sound goes, this album's solid. It is some good funk music. The instrumentation is quite good and well-produced. The writing could've been better. It didn't exactly stand out to me that much and the nonsense moments like in the fourth song lack substance. The singing is good at times and somewhat forgettable at others. Finally, this album is just too long. There aren't very many songs, but they all go on for so long. Overall, this is an okay funk album. Not the best I've heard, but not particularly bad. 3/5.

Ray Of Light

Madonna

3/5

Another returning artist. Nice. I wasn't really a big fan when I listened to "Music" by Madonna all the way back in October. I thought the singing was fine but nothing else stood out. Fortunately, "Ray of Light" is a significantly better album. The singing is still solid. Not much else to say about it. The writing is probably better. I don't really remember much about that other album's writing, so I can't exactly compare that much without looking up the lyrics for the songs in "Music", which isn't something I feel like doing. The sound is definitely what makes this album better. It's a lot more cohesive and the direction on what this album wanted to do is much clearer. One problem that both albums share is that they both drag. Every song on "Ray of Light" is 4 minutes or more. I don't think these songs needed to be as long as they are. Overall, I definitely understand why this album is on here and it's a significantly better Madonna album, I'm still not the hugest fan overall. High 3/5.

They Were Wrong, So We Drowned

Liars

1/5

Wow. This sucks! Not only that, but this album seems to have almost no cultural significance whatsoever. Why is this on the list?! The singing is extremely boring and not at all enjoyable to listen to. The sound is listenable at best and painful at its worst, which also happens to be its most common. The writing doesn't make much sense. I can kind of see where this band may have been going for with the witch theming, but it doesn't feel cohesive whatsoever. I really don't know what to say. This is just worthless. Why the guy who made the book this website is based around thought this was a good addition is beyond me. Nobody should have to listen to this before they die, and if they listen to it after they die, they're in hell. 1/5.

Queens of the Stone Age

3/5

Here's an interesting album right here. Queens of the Stone Age is one of those bands that I've heard good things about, but didn't really know what they were like or if I would like them. Well, after listening to their debut album, I can sort of see why people like them. The sound is interesting works to create a unique feel that I haven't heard from many other albums. The writing is kind of hit or miss for me, but has potential in my eyes. The singing is not really my thing but I can see why others might enjoy it. I feel like this album may not have been the best to represent this band however. From what I've seen, there are other albums from Queens of the Stone Age that are more beloved and deserving of being on this list. I feel like this is probably another case of "debut album syndrome" where the book just decides to represent a well-known artist through their debut album regardless of its quality or how well it represents the artist. The band does have another album on this list though, so maybe I'll like that one even more. For know, this album gets a high 3/5. EDIT: Apparently that was a mistake. There is not a second Queens of the Stone Age album on this list, which makes the inclusion of this one even more dumb. The album's still a 3.

Ace of Spades

Motörhead

3/5

For most people, Motorhead is one of those bands where you really only know them for one song. That was certainly the case for me, so I was quite excited to listen to the full album that the iconic "Ace of Spades" song comes from. After listening to this full thing, I was somewhat disappointed. This is not a bad album, not in the slightest. It does, however, have some major flaws. For one, it's pretty repetitive. The sound, which I like, feels the same all throughout, leading to there not being much to miss out on. The writing is sometimes samey but usually pretty decent. Finally, as far as big problems are concerned, there is one song on the album that is kind of gross. I don't like that song very much, but the other ones are alright. The title track is obviously amazing. This is the song people think of when Motorhead comes to mind, and I don't think that's a bad thing because this song is awesome. The other ones are good (save for that one), but don't really stand out much overall. Lets talk about the singing for a bit. Lemmy's one of those singers that you either love or hate the sound of. I think its funny. He sounds like an anthropomorphized pack of cigarettes, but that makes Motorhead sound unique in a way. Overall, I do really like Motorhead's sound and I think they're definitely an iconic band that deserves to be on this list, but this album did have some things left to be desired that hold it back a bit. 3/5.

Deep Purple In Rock

Deep Purple

3/5

Time for some more classic metal! This time, I'm looking at Deep Purple In Rock. Deep Purple has never been the biggest name in metal, but I think they served as an important stepping stone for the early foundations of metal. Obviously they weren't quite as important as a band like Black Sabbath for instance, but they've got some well known songs and albums, like this one! Anyways, this album's pretty alright. I like the sound. It's cool and the guitar solos are even cooler. I love a good guitar solo, and Ritchie Blackmore delivers some great ones in this album. The songs focus more on quality than quantity, with there only being 7. Fortunately, they're quite good. There's some variety in the writing, which is practically a godsend for early albums like these. The singing isn't bad. Overall, this is a fun album that serves as a good representation of early 70s metal. High 3/5. Barely misses that spark it needs to be a 4.

Let's Get It On

Marvin Gaye

4/5

I have a lot to say about this album. First of all, it definitely deserves to be on the list. Marvin Gaye is arguably one of the most iconic soul singer-songwriters of all time, and Let's Get It On is one of his most iconic songs and albums. Does the quality line up with the impact though? Yeah. It does. The best thing about this album is easily the singing. It is immensely satisfying to listen to. The writing is solid. One thing that would normally be a huge turn-off for me is just how much this album is trying to be a turn-on, if you know what I'm saying. Yeah, this album is very suggestive, but hear me out. You could look at these songs all having the unifying theme of sex and ask "Is that all he knows how to sing about?" However, you could also view this as a concept album. And you know what, it does a good job with that concept. If I wasn't a total virgin, I would totally have sex to this entire album. The subject matter of the album was not only groundbreaking for the time, but it also meant a lot to Marvin Gaye himself. Knowing what Marvin Gaye had to go through in his life makes this album feels a lot more personal than it would with any other artist. So, honestly, I look at this album and say, "Here is an artist making an album about a subject that people didn't want him to care about. He takes the idea, runs with it, and presents it all in a very beautiful way." Overall, I think this album is quite good. 4/5.

Electric Warrior

T. Rex

3/5

100 ALBUMS! I have reached another milestone, and with it comes another album to listen to. Is "Electric Warrior" by T. Rex worthy of being my 100th album? I'm not sure. Despite the fact that I haven't heard of this album until now, this album definitely deserves to be on the list. It was one of the first, if not the first, glam rock albums ever made, which is definitely significant in my books. You can really hear that too. There were multiple parts in this album where I thought, "Yeah, I can see how this influenced David Bowie". In a way, the connection to the first album I ever gave a 5 kind of do make this deserving of being album #100. But is this album good? Yeah. The singing isn't my favorite. Sometimes it's good but it isn't always that way and it's kind of weird for some songs. The writing has good aspects such as interesting concepts and good imagery, but isn't always the most intriguing. The album is slightly repetitive, but it's not that big of a deal. Overall, this is a decent album that is worthy of being on this list, but not quite the big celebration I was hoping to get with album 100. Maybe #200 will be something great. High 3/5.

Juju

Siouxsie And The Banshees

4/5

I'm running out of ways to start these reviews. This album's good. I wasn't expecting to like this album much at a first glance. I started to become hopeful when I did some basic research to find the reasoning for this album's inclusion. After listening to it, I can safely say that this album is pretty good. The singing works most of the time. You don't see female-fronted rock bands all the time, so it's cool to listen to something that's a bit different for once. The writing is fairly unique and has this dark energy to it that wasn't common for the time. The sound is pretty interesting. This has been called somewhat of a concept album, but it's pretty loose one. It really only has concepts in regards to its sound. This album is really ahead of its time in many ways. If I listened to this without knowing the year it released and someone asked me when I thought this album released, I definitely wouldn't have said 1981! I can definitely hear and see the influence that this album had on future alt-rock and post-punk artists in the years that followed this album. Overall, this is a great album that paved the way for others like it to come. Light 4/5.

The Village Green Preservation Society

The Kinks

5/5

This is a great album right here. I was pretty excited to listen to this one since The Kinks are a band that I've actually heard of. And you know what? For my first time listening to their music, they did not disappoint at all. "The Kinks Are The Village Green Preservation Society" is not only an extremely influential album, but a really good one as well. While this certainly isn't the first concept album ever made, this was one of the early great examples of what a concept album can be. Most songs on this album focus on the theme of nostalgia and preserving memories. This is very evident with the songs, but fortunately, they don't all feel the same because of it. These songs are quite distinct in terms of both sound and lyrics. Both of those aspects, by the way, are great. I like the varied instrument usage throughout this album, even if quite a few of those instruments were actually just a mellotron. The writing is also quite varied. There are a few songs in the second half that don't really fit the theming and are a bit weaker than the other songs, but that doesn't really detract from the experience much. The sheer influence of this album is hard to understate. This band and album influenced so many other iconic bands and songs that in turn would be super influential on their own. It was kind of funny to find out that the opening of Mr. Blue Sky was practically copied and pasted from a song off of this album. Overall, this is a great album that absolutely deserves its place as one of the top 1001 albums to listen to before you die. 5/5.

Live At The Star Club, Hamburg

Jerry Lee Lewis

1/5

Let's get this out of the way. Fuck Jerry Lee Lewis. I can't believe that guy even had a career after people found out that he MARRIED HIS 13 YEAR OLD COUSIN. Anyway, this album isn't even that great to begin with. There really isn't much to this album. It's a live album, something that I believe I've only experienced once all the way back with that Johnny Cash album I did a while ago. That one was alright, not necessarily because it wasn't made by a pedophile, but because it had something special with its energy. Johnny's interactions with the crowd made it feel special, especially given the context. This album just kind of has cheering from the crowd and that's about it. The music itself is decent as far as sound. It's passable 50s/early 60s rock and roll, but it's not original at all. Jerry Lee Lewis only wrote two of the thirteen tracks off of the album. I know that that was kind of the norm at the time, but that still doesn't sit right with me, especially since he was also racist and most of these songs were originally written by black artists. Okay then, I could try to separate the art from the artist! The problem with that is how much he name drops himself. One of the two songs that he wrote was called "Lewis Boogie". So apparently, he's also a narcissist! On top of that, most of the songs are about love and stuff, so it's even harder to get that knowledge out of your head when you know that the song could've been written about a 13 year old. Overall, even if I could separate art from the artist, the content's of the album are not only negatively affected by the knowledge of what the singer did, but also aren't original or spectacular enough to warrant listening to this ever again! 1/5. Rest in piss Jerry, you piece of shit.

KE*A*H** (Psalm 69)

Ministry

4/5

First of all, I just want to say that this album has one of the worst names for an album that I've ever heard. This genuinely gives off the same energy as that one Limp Bizkit album that I am sadly going to have to listen to later in the list. With that being said, I actually kind of really liked this album. This thing is freaking weird and I love it. The sound is unexpectedly thrashy in comparison to what I would expect from industrial metal, although that could just be because my main source of industrial metal was in The Downward Spiral, an album that I listened to earlier for the project. Honestly, I liked the sound of this album quite a bit. The vocals had a similar effect to those on The Downward Spiral, but they do still stand out a bit in comparison. The writing is kind of all over the place a bit. Also, hearing this album say the phrase "Jerry Lee Lewis is the devil" after listening to a Jerry Lee Lewis album for this project LITERALLY YESTERDAY was actually hilarious and I can't believe that that happened. It's true though. That guy sucked, unlike this album. The song that that lyric comes from, "Jesus Built My Hotrod", might be the highlight of this album for me. Finally, I do have one other complaint. Some of the songs, and to a lesser extent the album as a whole, did drag a bit. It could've been a bit shorter. Overall, this is a very weird industrial metal album that enjoyed listening to. Light 4/5.

GREY Area

Little Simz

4/5

Oh hell yeah, something recent! I mean, I guess it was 5 years ago, but that's still a lot newer than 99% of the list. Anyways, this album's really good. The rapping style of Little Simz is definitely unique. I haven't really heard anything like it until now, but that's definitely not a bad thing. It's a rare case of a British rapper's raps not being overshadowed by the accent. The rhymes are usually really good too. Sure, you do have a few moments akin to rhyming the n-word with itself 8 times in a row, but those are few and far between and also not that egregious. The flow on the whole album is very nice. The beats are also quite well made. They have a nice vibe to it while still having each song sound a bit different. The features on this thing are also quite good. The last album that I got that was as recent as this one was from Michael Kiwanuka, which is funny because he actually has a feature on the last song of this album. His music work on that album was a 5/5, so obviously, he does a great job with his feature here too. The other features are also pretty good. Overall, this album is a great sign of things to come for this artist, and I can totally see why Fantano gave this a 9. High 4/5.

Endtroducing.....

DJ Shadow

5/5

You know, I wasn't that excited to listen to this album. Instrumental hip-hop made entirely from samples didn't really interest me at all. However, upon listening to this album, I discovered that it's actually really good. This wasn't just an album made from samples. Apparently, it was the first album to be made entirely from samples, so it has a reason to be on this list, alongside my opinion that the musical contents of this album are also quite good. The sample usage is quite impressive and it pulls from a variety of songs from artists like Metallica, Bjork, and some band called Nirvana that isn't actually the Nirvana you think it is, but rather a 1960s British rock band. The whole sound of this album is quite nice to listen to. The vibes are absolutely immaculate. There's also quite a bit of variety in the sound. My one problem with this album is that some songs go on for far too long, but with some of those basically being two songs in one, I can excuse that. Overall, this is quite an impressive album that absolutely deserves to be listened to before you die. Light 5/5.

Disraeli Gears

Cream

3/5

As if there wasn't enough already, it's time for some more 60s British rock. Cream was never the biggest band, but they garnered a pretty good reputation during the short few years of their formation, as well as the decades since. You know, aside from Eric Clapton being... Eric Clapton. With that said, this album is alright. It's not the most special album I've listened to, but it doesn't really have too many major faults for me to knock the album down much. The instrument playing is quite good. The sound is somewhat different in comparison to other bands of the time, which is rarely a bad thing. I lightly bashed Eric Clapton earlier, and while I stand by that when it comes to him as a person, he was a pretty good guitar player, I'll give him that. The wah-wah usage was apparently unique at the time, so that's cool. The writing doesn't stand out much, but it definitely isn't bad. Some of these songs are pretty cool. "Sunshine of your Love" is iconic for a reason, and the other songs are pretty decent as well. Overall, while this album doesn't stand out to me much, it nevertheless deserves its inclusion on this list for being decently significant for pop culture and also not bad. High 3/5.

Pacific Ocean Blue

Dennis Wilson

4/5

This is a nice little album right here. I'm kind of surprised that I haven't gotten more solo albums from former members of huge bands. The only one I can think of off the top of my head until now was Imagine by John Lennon, so getting an album from a former Beach Boy was a pleasant surprise for today. And you know what? I really liked Pet Sounds when I listened to it, and I liked Pacific Ocean Blue as well. The album definitely has some common elements in its sound with what I know of the Beach Boys, but it also stands out pretty well. The sound has quite a bit of variety throughout the album. Each song sounds different and has a different theme to it. The singing is great. Did you really expect it not to be? There isn't much more to say. This is just a very solid album. Light 4/5.

Arise

Sepultura

4/5

Sorry Os Mutantes, but I think I've found my new favorite Brazilian album. What can I say? I like me some good thrash metal, and Arise by Sepultura delivers just that. This is a pretty good thrash metal album, which is just what I need to thoroughly enjoy it. The sound is great. The riffs and solos are pretty good. The vocals are definitely growly, which fits the nature of thrash metal like this, but they are still intelligible, which is always a good thing. The lyrics are a bit nihilistic for my taste at times, but are still well-written and have some good points at others. This album's not perfect or anything. It does get a bit repetitive by the end, but I don't really care that much. I really enjoyed listening to this album, and that's good enough for me. 4/5.

Moondance

Van Morrison

4/5

I don't really have much to say about this album. This is really good. Van Morrison's singing style is pretty unique for an artist like him, but I like it. I think he makes it work. The writing is nothing crazy, but certainly isn't bad. The sound of this album is quite nice. I like the varied instrument usage throughout the album. I've heard some people say that the second half is quite a bit worse than the first half. I would probably agree, although the second half isn't that bad. Overall, this is just a solid album that deserves to be on this list. It's a real shame that Van Morrison is kind of a wacko these days, but what are you gonna do about it? 4/5. Good album.

James Brown Live At The Apollo

James Brown

3/5

You know, I'm kind of surprised to get another live album just a little over a week after the last one I got. Fortunately, not only I do respect James Brown more than Jerry Lee Lewis as a person (although, unfortunately, he wasn't perfect either), I also liked Live At The Apollo more. This album isn't really special to me, but it's at least decent. James Brown was a really good singer. His screams are undeniably iconic and would justify him having multiple albums on this list, if he had more than one album on here. Apparently this is his only album that's on here. That doesn't seem right. Anyways, the writing is fairly basic, but that's to be expected of early 60s music. My biggest problem with this album is the mixing. I can only hear the singing in my right ear. That's a problem. This also doesn't really feel like a live album. A live album should really make you feel like you're there at the performance. This is just kind of music that is being played. Overall, not the most interesting album, but not particularly bad either. Light 3/5.

Antichrist Superstar

Marilyn Manson

1/5

I think I'm starting to regret doing this project. First of all, fuck Marilyn Manson. Second of all, fuck this album. It's not good. I was hoping that I could at least separate the art from the artist by enjoying the album, but the album isn't good enough for me to do that. I'll start with my one positive. The sound and the instruments are mostly tolerable. The guitar riffs, drum playing, and bass lines aren't that bad. There are, however, moments of noise. Painful noise. Painful noise that brings back bade memories from that Liars album that I listened to a few weeks ago. Still, the musical style of this album isn't particularly horrible. Everything else though? Not good. The vocals, while varied between songs, are never enjoyable to listen to. The pacing is pretty bad as well. This thing just does not end. Finally, my biggest problem, the writing is just gross. I think to look at what makes this album suck so much, we have to compare it to another 90s industrial concept album that Trent Reznor helped produce, that album of course being The Downward Spiral by Nine Inch Nails. I think that the main thing that makes that album work for me is that it's clearly a story about a fictional character. There may have been some elements derived from Trent Reznor's personal experiences, but it's still a clear story about a character. Antichrist Superstar doesn't feel like a story about a character. It just feels like Marilyn Manson himself screaming about his own life, which doesn't paint him in a flattering light. I know he was supposed to be this counter-culture icon or whatever, but it just feels gross to listen to this because it gives off the energy of a whining incel. Also, he says the n-word in the first song. Why the fuck did he think that was a good idea? Is he stupid? I get why this album's on here. The album and band do have the cultural significance to back its inclusion. However, it still sucks and I never want to listen to this creep's "music" ever again. 1/5.

The Sensual World

Kate Bush

4/5

I'm gonna be honest. I genuinely did not know that Kate Bush had a second album on here. I obviously knew that Hounds of Love would be on here, but I didn't expect to listen to another album of hers. I'm not upset or anything, I'm just a bit surprised. And why would I be upset? I really liked Hounds of Love, and The Sensual World is pretty good too. A lot of what I liked about Hounds of Love does carry over to this album as well. Kate Bush's singing is still very unique and pleasant to listen to. The sound is still very majestic, with this album also featuring some neat contributions from people like David Gilmour from Pink Floyd (speaking of which, why haven't I gotten a Pink Floyd album yet?). I think the best thing about this album is the storytelling. Songs like Deeper Understanding and This Woman's Work have such a way with words that makes Kate Bush's music really stand out. Overall, while I do consider Hounds of Love to be the better album, The Sensual World is still a really good album. Light 4/5.

OK Computer

Radiohead

5/5

You know, it's been a while since I've gotten an album that many consider to be one of the greatest albums of all time. I've gotten quite a few albums that have been highly praised, but not many, if any at all, of the albums I've listened to so far have been consistently put on a pedestal as high as that of OK Computer. This is one of those albums that people praise like its their god or something. But does OK Computer deserve this praise? Yeah. It totally does. This thing is, to put it simply, a masterpiece. The sound was groundbreaking for the time. To get British rock of a more somber nature like this in comparison to the dominating Britpop scene of the 90s was something that would forever change popular music. I really like the sound. It has this aura to it that is very hard to explain, but it just keeps you hooked the whole time. Thom Yorke's singing is certainly interesting. It gives everything this sense of emotion that is hard to replicate. The writing is very well done, with overarching themes enhancing the full album experience. One thing that I really didn't expect was that this album has a "weird song" that actually works for me. There are some very good albums out there that happen to have a "weird song" that does kind of drag down the experience just a tiny bit or even more in some cases. For instance, I really liked The Velvet Underground's self-titled album, but felt that the penultimate track, "The Murder Mystery", was a bit too unpleasant to listen to and it kind of dragged the experience just a tiny bit. OK Computer also has a weird track with "Fitter Happier". But for whatever reason, that track works in a full album setting. While I wouldn't want to listen to it on its own, the track does add something of value to the experience of listening to the whole album, which is something that I really have to commend. The other tracks are also quite great. I like how the sound can go from being fairly whimsical in a song like "Subterranean Homesick Alien" to being very somber and emotional in songs like "Exit Music (For a Film)". It ensures that the album doesn't get repetitive or boring. Overall, there's a reason why many people consider OK Computer to be one of the greatest, if not the greatest, albums ever made. While there a few albums that I might like more, I can absolutely see why so many people consider this to be the best of the best. 5/5.

Morrison Hotel

The Doors

4/5

You know what they say; good things don't last forever. I'm not saying that because of any "good album streaks" ending or whatever, I said that because this album doesn't last forever. Morrison Hotel is pretty good. Let's start with the best thing about this album in my opinion. I really like Jim Morrison's singing. I just think it sounds nice and different from other singing styles. It's a real shame that he died as young as he did. The rest of this album's sound is also quite good. It's nothing crazy, but it is very solid. The writing and lyrics aren't bad. There's some variety on here and the album doesn't really have any notably bad songs on it. Overall, this is a pretty good album and I wouldn't be opposed to listening to more albums from The Doors later for this project. Light 4/5.

Rust Never Sleeps

Neil Young & Crazy Horse

4/5

So, does this count as my second Neil Young album or my first Neil Young and Crazy Horse album? I've been keeping track of which artists have given me multiple albums so far, and I need to know if Neil Young is now part of that list or not. It won't matter eventually, but I still want to know. Either way, this album is really good. I still think Neil Young is a pretty decent singer. The instrumentation is also quite good. Something interesting about this album is that it's split into clearly defined acoustic and electric sections for each half of the album. Surprisingly, this doesn't result in any weird pacing issues. The electric nature of the second half gets eased into despite there only being four songs on that part of the album. Another interesting thing is that this is sort of a hybrid between a studio album and a live album. It definitely feels more like than the former than the latter, but there is just a slight hint of what makes live albums different from studio albums. The writing is pretty good at times. There's a reason why the lyric "it's better to burn out than to fade away" is as iconic as it is, even if some of that fame is attributed to something very very sad. Overall, this is a great album that deserves to be on the list. Still, it's not quite my favorite album to contain the word "rust" in the title. I'll review that one eventually since it's also on this list. This one is a pretty close second place though. High 4/5.

Wish You Were Here

Pink Floyd

5/5

Would you look at that? Just 4 days after I asked why I haven't gotten a Pink Floyd album yet in my The Sensual World review, I finally get one! And in the same week as Radiohead too! This has been a great week so far for my album listens. Anyways, Wish You Were Here totally lives up to the hype. This is really good. There's only 5 songs on here, so naturally those songs were made to be longer to compensate for that. However, they don't really feel that long. For as long songs like Welcome to the Machine and both sections of Shine On You Crazy Diamond are, they don't drag on at all. For Shine On, that can be explained by it being split into different sections, but the whole album has really good pacing. The songs are all excellent. I could probably talk about all of them individually, which is something I don't usually do. And I will! Shine On You Crazy Diamond is just such a great idea that gets executed flawlessly. The different sections vary, yet flow into each other without anything being jarring at all. Also it has a saxophone solo that surprisingly works really well! Welcome to the Machine and Have a Cigar are similar songs in concept, but stand out in comparison to each other and other songs. Having a guest singer on the latter definitely aids in that variance. The title track is just a masterpiece. It perfectly encapsulates the feeling of wishing that someone you love was still here with you, even if they may not actually be dead. Finally, closing out with the rest of Shine On is a bold move, but one that definitely pays off. The whole sound of this album is excellent and results in the experience having this great vibe to it all. The singing is quite good. There is so much to say about this album that I unfortunately don't have the time to get into. This is just an excellent album, and I am very excited to get to other albums like Dark Side of the Moon and The Wall later on. 5/5.

A Short Album About Love

The Divine Comedy

2/5

You know what they say; good things don't last forever. I'm not saying that because of the length of this album, although it is quite short. I'm saying that because I had a really good streak of albums going, and now it's over. This album sucks. Well, okay. That's a bit harsh. I'm not a fan though. Let's start with the positives. As far as instrumentation and sound go, the album's not that bad. The chamber-pop sound does work fine enough. The singing is also tolerable. It is basically just a worse Frank Sinatra though. I have two main complaints with this album. Problem 1 is that it has absolutely no reason to be on this list. Apparently there's another album from The Divine Comedy on here, but that one, from what I've read, has an argument to be made for its inclusion. It's not a great argument, but it is an argument. But this? I see absolutely no reason for this to be one of the top 1001 albums to listen to before you die. Like, why does The Divine Comedy get two albums on here but Weezer and MF DOOM get absolutely nothing? That doesn't seem fair to me. Finally, let's talk about this album's writing. It's bad. Straight-up. I don't get it. The album starts out innocently enough. The writing isn't great, but it's not horrible. Once you get to the song "If...", then things start going downhill quickly. That song just sucks. The line "If you were a tree I could put my arms around you and you could not complain" seems pretty rapey to me. The last stanza about a dog is just straight-up creepy. And the horse lines. Horses are brought up in two songs, with another being implied to be another horse song, and the way he sings about this subject makes me worry if this guy wants to pull an Enumclaw (DONT GOOGLE ENUMCLAW HORSE BY THE WAY). Overall, this is just not worthy of being on this list. I don't get it man. 2/5.

Non-Stop Erotic Cabaret

Soft Cell

2/5

I'm starting to get annoyed by the sound of singing British men. I don't like this album. Soft Cell is the definition of a one-hit wonder. If you go on to Apple Music and look at the top songs from Soft Cell, the top 7 are just different releases of Tainted Love. And that's not even their song, so it doesn't even really count. This version and the original Gloria Jones version are about the same in quality for me. That song, at least, is pretty good. The others? Hoo-boy these are bad. The synths are fine. They're serviceable. The singing was kind of annoying as stated earlier. The writing does not stand out at all except for the very few moments that make you seriously question what you're doing with your life. Like, why am I listening to a song called Sex Dwarf. Let me repeat that. There is a song on this album called "Sex Dwarf." SEX. DWARF. I don't care anymore. This album's bad. It has no reason to be on here aside from one song that they didn't even write. 2/5. Tainted Love saves this from being a 1.

The Soft Bulletin

The Flaming Lips

4/5

Finally, some good music again. This time, it's The Flaming Lips, a band that I have vaguely heard of before and that's about it. Seriously though, this album is pretty good. I have a few minor problems to go over first. First of all, it is a bit long. It doesn't drag too much, but it is somewhat noticeable. Secondly, the singing isn't bad, but it isn't everyone's thing, and I could see why someone else might not like it. That's it for complaints. Time for praise! I like the sound of this album. It's not the craziest thing out there, but it is just a nice solid pop-rock sound. I like it. The writing is also quite good. There are some great songs on here. Songs like "Race for the Prize" and "Waitin' for a Superman" are so good that they have two versions on this album! The alternate versions are at the end, so they don't really have any negative bearing on the whole album experience. They're just kind of nice to have. The other songs are good as well. There's some good emotion to this album, with prevalent themes like death and the struggles of life being executed well. Overall, this is a great album that serves as a nice listen for the end of a middle-of-the-road day. 4/5.

Bryter Layter

Nick Drake

5/5

Time for another returning artist! This time, we return to Nick Drake, and artist whose debut album, Five Leaves Left, was given a 5/5 by me a few months ago. Now, I'm listening to his second album out of three, Bryter Layter. By the way, all three of his albums are on here, and I'm getting them in release order. Neat! Anyway, this album, like Five Leaves Left, is insanely good. It's fairly different from that other album. It's significantly more upbeat, which isn't a bad thing. Don't get me wrong, the depressing nature of Five Leaves Left is a big part of what makes that album such a good piece of art. However, I kind of like this album's blend of emotions. Bryter Layter does get emotional, but the overall sound is more accessible and laid-back in comparison to the consistently drab (but not in a bad way) sound of Five Leaves Left. However, despite the differences, everything else that made that album great still applies here. The singing and writing in particular are still excellent. The writing especially still holds up as being quite good. Let's talk about the sound itself. I like it. It just has this nice cozy feel to it that I feel isn't something that many of these albums have had. Don't get me wrong, I love a good crazy album every once in a while. But sometimes it's nice to just sit back and listen to something nice for a bit. The pacing is also near-perfect. Nothing drags or ends too soon. Overall, this album is just as good, if not better than Five Leaves Left, and I'm very excited to get to Pink Moon eventually. 5/5.

Superunknown

Soundgarden

5/5

Well, this is an interesting change in pace. Surprisingly, this is the first grunge album I've gotten for this project! You'd think I would've gotten one in the 100+ albums I've gotten so far given how big grunge was in the 90s, but I guess the list needed more Britpop so I had to wait. Still, it's better late than never, because Superunknown by Soundgarden is amazing. I really like this album. This is my first time ever listening to Soundgarden, and they did not disappoint. I've always heard of this band and its frontman Chris Cornell with people giving nothing but praise, but even I didn't expect to like it this much. The sound is so captivating. As reliable as 4/4 is, it's always cool to switch things up in the time signature department every once in a while. The riffs and solos are quite good. And the singing? Top notch. Chris Cornell truly was an amazing singer. The writing is also solid. There really aren't any bad songs on here. Overall, this is a great album that I am happy to have listened to before I die. 5/5.

Machine Head

Deep Purple

4/5

Alright, Deep Purple album #2! I listened to Deep Purple in Rock just under a month ago, and I thought it was a solid classic rock album. One thing that I saw when doing research for In Rock was that the general consensus for the best Deep Purple album was that it was either that or Machine Head. Well, after listening to Machine Head, I now have an answer for which one I like more. I'm gonna have to go with Machine Head. I mean, it's the one with Smoke on the Water. What more can I say? Well, quite a bit actually. I feel like, in retrospect, In Rock was a bit repetitive. Not the most repetitive album I've ever listened to, but it did feel a bit samey in some regards. I feel that Machine Head is a more sonically diverse album, albeit just slightly. The songs on this thing are pretty good. The aforementioned Smoke on the Water is an absolute classic and a pretty good song. The other songs are quite good too. I really like Pictures of Home and Never Before. The singing is still pretty decent. The lyrics are solid. There isn't a ton to say. I think that this is a pretty good improvement on what worked in Deep Purple In Rock. Light 4/5.

Sgt. Pepper's Lonely Hearts Club Band

Beatles

5/5

Okay, I have to tell the story about this insane coincidence I experienced in regards to this album. Last night, I was looking around on itch.io for games and I saw one that included the phrase "a day in the life" in the title. So me, having brain rot, said out loud, "Oh my god, a day in the life? Beatles reference?" I then noticed the time and decided to check on what my next album would be. As I did this, I, again, said out loud, "Now watch me get a Beatles album." Lo and behold, I got Sgt. Pepper's and, needless to say, I was shocked. You know what else is needless to say? "Sgt. Pepper's Lonely Hearts Club Band is a really good album." What can I really say? It's The Beatles at the start of their peak. The songwriting is solid with there being a very light, but noticeable, concept for the album, making this one of the first notable concept albums to really hit it big. The sound is still great. I listened to the most recent mixing of this album and it sounds great. There's some nice transitions between songs and the variety between each and every song on this album is just wonderful. There's some very interesting choices that, in my opinion, work to make this album better. Letting George make his Indian-inspired song, having a song that only features John, Paul, and string instruments, and various others make this a very bold album for the time. And do I even need to talk about the sorta aforementioned "A Day in the Life?" That ending is just magnificent. Overall, while I do like Abbey Road more, Sgt. Pepper's is a great album that deserves to be considered one of the best of all time. 5/5.

Nighthawks At The Diner

Tom Waits

2/5

I've never heard of this guy before, but apparently he had a song in the Shrek 2 soundtrack, so I trust that this guy has enough cultural significance to be on this list. However, I don't like this album. I've never really understood what people mean when they say that certain music is "pretentious". I get it now. This is pretentious. Maybe I just don't get it. I'm sure this has value to some people. I'm not one of those people. I think the background music works. If this was just instrumentals, it would be a decent background noise album but nothing more than that. Possibly high 2 or light 3. However, things change once this guy starts talking. Not singing, talking. Well, okay. He does actually sing a few times in this album. His voice is weird. It's not the worst voice I've ever heard, but it's not great. He could probably sing, maybe. It's very racially ambiguous. That's not important, I just felt like mentioning it because I don't know what else to say. The things he says don't really make sense. I'm tired. This album drags for way too long. I can't wait to listen to the other 4 albums this guy has. Yippee! I'll give it a light 2 because there's a semblance of something valuable here.

Exile In Guyville

Liz Phair

3/5

Going into this album, I wasn't that excited. I could tell that there was a good intent behind the album based on the research I did, but I wasn't sure if I would like the album or not. Fortunately, I thought it was a good album. I like the singing. It's nice. The concept behind the album is certainly respectable. Although, if I had listened to Exile on Main Street before this one, I would probably be able to appreciate it more. The sound is good, but it gets slightly repetitive near the end. The writing is also well made. Based on the pre-research, I expected it to be way too vulgar for my tastes. Fortunately, while the themes are always there, it really isn't that bad in that department. Overall, this seems like the kind of album that I'd be able to appreciate more on a re-listen, if I ever decide to do that. High 3/5.

Winter In America

Gil Scott-Heron

4/5

It's time for another album that isn't on my streaming service! Fortunately, there's only been three of them, so that's good. Honestly, this is by far the best one I've had so far. My one major problem off the top of my head is that some songs drag a bit. Everything else is great. I like the singing. It's very soulful. The sound is pleasant to listen to. None of the songs are particularly bad. It's kind of interesting to hear a sort of prototype of rap in some of these songs. The writing is also quite good. Songs like The Bottle are able to tell great emotional stories, while songs like H2Ogate Blues provide political commentary that remains relevant to this day. Despite being made in 1974, this album honestly reminds me of some of the poetry and music that came out of the Harlem Renaissance all the way in the 1920s. It's cool to know that the stylings of such an important cultural movement were able to remain in art 50 years later. Overall, this is a great album and I wish it was available on the streaming service. Light 4/5.

Yankee Hotel Foxtrot

Wilco

4/5

Here's another album that I don't really know what to say about. It's some good art rock. I like the sound. It's a great blend between being accessible and being weird, and I like that. The singing is solid. The writing is pretty good. The fact that this album was originally released just 7 days after 9/11 and yet songs like "Jesus, Etc." (great song by the way) reflect that tragedy very well with lines referencing tall buildings shaking is pretty neat. There's some other really good songs on here. I can totally see why people really like this album, but I can also see why others aren't entirely sold on it. I think it's solid. Not the worst thing to come out of September 2001, but not the best (if only Toxicity was on here). High 3/5. EDIT: What was I thinking? This album's great. 4/5.

Sheer Heart Attack

Queen

5/5

OH HELL YEAH! Queen has always been a band that I really like, but I've never really dived deep into their albums. I've always just kind of listened to and really enjoyed their big hits. So, after listening to Sheer Heart Attack in its entirety, do I still really like Queen? Of course I do. This band is excellent. The sound is just exquisite. The guitar work is always a joy to listen to and solos like that of the album's opener "Brighton Rock" show off that great talent. The drumming and bass help make it so that the sound is as lively as it is. And the singing. Do I even need to explain what makes Freddie Mercury's singing so great? No I don't. Everyone knows that he's one of the greatest singers in all of history. The songs are great. Some songs don't hit quite as hard as the others, but the ones that are great are really great. The aforementioned "Brighton Rock" sets a great stage for the album. "Killer Queen" is easily my favorite song on the album and one of my favorite songs from Queen's discography. It's just SO GOOD man! The triple transition from "Tenement Funster", "Flick of the Wrist", and "Lily of the Valley" is just so satisfying to listen to. I could go on. Overall, while I'm willing to bet that Queen has better albums, Sheer Heart Attack is still a great album from one of the greatest bands to ever perform. 5/5.

Funeral

Arcade Fire

5/5

This is a great album right here. I feel like I've been getting a weirdly high amount of indie rock lately. I'm not complaining, I'm just noting that it's a thing. And why would I complain? Funeral by Arcade Fire is an amazing album. This album is very consistent in its tone, but in a good way, rather than a mind-numbingly repetitive way. There's common theming throughout the album making it a light concept album of sorts. The sound is very good. There really isn't a bad song on here. The writing is thoughtful, which makes sense given that a lot of the theming on this album comes from some of the band members having recently lost some of their relatives. I like the singing. The balance between the two main singers is nice. It's crazy to think that this was Arcade Fire's debut album. I can totally see why this is considered one of the best albums of the 2000s. I like it. 5/5.

The Velvet Underground & Nico

The Velvet Underground

5/5

Finally, B A N A N A. Yeah this album's really good. It's one of the most highly praised and iconic albums of all time, and that's for a good reason. I think the best word to describe this album is "revolutionary". The sound is abrasive and the writing is dark in its subject matter. These weren't common attributes for music in 1967. This album changed that. Without it, music as a whole would likely be less powerful, less unconventional, and less willing to take risks. The songs are quite unique, not just for the time, but right now. The singing is definitely interesting. Having Nico do some of the singing was a great move since, while I feel this is arguably him at his peak, I can understand if someone wouldn't want to listen to Lou Reed's singing for 11 songs straight. The sound, while noisy and unpleasant at times, has a purpose at all times. The harsh sound and rapid acceleration of the song "Heroin" encapsulates the experience of a heroin rush, or so I've heard. It definitely sounds like how I've heard drug experience be described. The album is also thought provoking. This really is just a very culturally significant album. From the change it brought in music, to the absolutely iconic album cover painted by the legendary Andy Warhol, this is absolutely one of the top 1001 albums to listen to before you die. 5/5. That's three in a row!

Live / Dead

Grateful Dead

3/5

Now this is one of the albums of all time. It's fine. The musical contents are respectable. The guitar work is nice. Jerry Garcia's a good guitarist, but he's not the kind of guy whose tap water I should be drinking, at least according to a certain anthropomorphic gecko. The writing, when it's there, is serviceable. I can see some ideas in there. I have a big problem with this album. It just goes on and on. It feels like 75% of this album sounds like a jam session. That's it. There is no reason why this needs to go on for 75 whole minutes. There also isn't a reason for this album to be on this list. Well, okay. This album does have some technical accomplishments, and I genuinely forgot that this was made in 1969. However, it's a live album that doesn't really come with the limited pros of a live album. While I can respect the sound and improvisational work of the album, I just don't really think I want to go back to it all that much. Light 3/5.

Follow The Leader

Korn

3/5

Oh boy. There's certainly some things to be said about this album. Nu-metal is quite possibly the most polarizing music sub-genres out there. Some people enjoy it, but a lot of people hate it. So, would you be surprised if I told you that I don't hate "Follow the Leader" by Korn? I know, right? I think Korn's sound, at least instrumentally, is actually pretty interesting and I kind of like it a bit. It has this dingy feel to it all that isn't present in a ton of popular music. I think Jonathon Davis is also a fairly interesting vocalist. The weird grunts are not painful to listen to and his actual singing aids that aforementioned dingy tone. The writing could be better, but it's not the worst thing in the world. There are some decent songs on here. There are also some terrible songs on here. Namely, "All in the Family", which is just not good. The features are weird. I wasn't the biggest fan, but they weren't all bad. Overall, while I can absolutely see why others would despise this album and avoid it like the plague, I don't hate it. I find it to be a very interesting album that isn't the worst thing I've ever heard. It was somewhat enjoyable at times, and given how this album, for all intents and purposes, brought nu-metal in the mainstream to reign in the late 90s and early 00s, I can also see why this album was included on this list. Light 3/5.

Ellington at Newport

Duke Ellington

4/5

It's kind of surprising that after over 130 albums, this is only the second 50s album I've gotten. I guess it really shouldn't be that surprising since the album era didn't really kick in until the 60s, but that's still kind of crazy. Anyways, this one's really good. I'd go so far as to easily call it the best live album I've listened to for this project so far, even if the original version, the one I listened to, isn't entirely live. This is an instrumental album, and a great one at that. One thing I really like about this album that I didn't expect from older music like this is that the tone in each song is pretty different. Sure, it's all the same instruments and such, but each song on this album has a different feel than the one that came before it, which is super respectable. The sound is quite good. There's some nice solos in there, with the one from "Diminuendo and Crescendo in Blue" obviously being the highlight. Perhaps the full version is an even better experience, aside from the sheer length. I don't know if I feel like doing that, but it wouldn't be worst idea for music to listen to. Overall, this is a very impressive album for 1956 and a solid collection of instrumental jazz. Light 4/5.

Yoshimi Battles The Pink Robots

The Flaming Lips

5/5

Wow. This is amazing. The Flaming Lips did not disappoint when I listened to their album, "The Soft Bulletin" about 2 weeks ago. I really liked that album. And yet, there were able to outdo themselves just a few years later. "Yoshimi Battles the Pink Robots" is truly something special. The sound is quite a bit different than it was in their previous album, but I like it. You'd think that the more electronic and top-40-esque production would result in something that lacks what made prior work so great (I call this pulling a Raditude). However, Yoshimi manages to make something that seems more accessible at first, but retains the complex writing and musical compositions of The Soft Bulletin. This album also improves on problems I had with that album. The singing is better. The album now has a perfect length in comparison to The Soft Bulletin, which was a bit long in my opinion. The writing is still great here. The overarching themes make this a sort of concept album, with the first four songs telling a specific story that comes from the album's title. All of the songs on this album are great. I really like this album. I truly had no idea that I would like the Flaming Lips this much. 5/5.

Aja

Steely Dan

4/5

I like this album. Some people don't, but that's okay. Not every type of music is going to appeal to everyone. Fortunately, Aja by Steely Dan is an album that appeals to me. I enjoy the sound of this album. It's got a nice blend of rock, jazz, and blues to it. The instrument work is quite nice, and the production is very high quality. The songs are good. There's only 7 of them, and they're all pretty decent. The writing is solid. There's some thought put into it. Would I call it one of the greatest albums ever made? Probably not. I get why others would, but I don't. The album is somewhat repetitive, but with the album only being 40 minutes, it's not that big of a deal. Overall, this is a good album that I don't get the hate behind. 4/5.

Kollaps

Einstürzende Neubauten

1/5

This is it. This is what they play in Hell. I genuinely believe that, if there is a hell of some sorts, the music that plays there sounds like this. Is that a bad thing? YES. OF COURSE IT IS. The sound is atrocious. Half the time it sounds like suffering and pain. That's especially the case with the vocals. As others have pointed out, listening to this album occasionally feels like I'm being screamed at by Hitler, which is fitting given that, like Hitler, this album belongs in the depths of Hell. The writing is bad. I google translated it from German to English, and most songs are just filled with random grim phrases strung together. I really don't know what to say. If anyone wants to experience what Hell sounds like, this is it. Here's the album for you! I don't want that though. People shouldn't listen to this before they die. Maybe if the vocals were better I could give it a 2, but as it is, this album gets a 1/5. The first one I've had in three weeks. I can see why this is the lowest rated album on this website.

Electric Ladyland

Jimi Hendrix

5/5

Well, after listening to the absolute nightmare that is Kollaps yesterday, something like this is exactly what I needed. This album rocks. Jimi Hendrix is quite possibly the most highly praised guitarist of all time. Does he deserve it? Absolutely. While it could be argued that his guitaring isn't special by today's standards, the reason why that could be is that so many other guitarists have been inspired by Jimi Hendrix. For coming from the 1960s, this is an absolute marvel. This album as a whole has some faults to it. It definitely feels a bit unfocused and the album does go on for a bit too long. However, that's not to say that I felt tired at the end, mainly because the album ends with its two best songs. I'm sorry Bob Dylan, but "All Along the Watchtower" is, for all intents and purposes, Jimi's song (although, to be fair, Dylan's version is pretty good as well). And "Voodoo Child (Slight Return)" is also an amazing track. The instrumental work is outstanding. Obviously, Jimi's guitar work is phenomenal, especially by 1968 standards, but the other sounds are also great. The singing and writing are both fairly solid. This is a really good album. 5/5.

Modern Sounds in Country and Western Music

Ray Charles

4/5

Well, this was a lie. This album is neither modern, country, or western. Anyways, this is a very groundbreaking, albeit fairly middle-of-the-road in terms of quality, album. I'll start with my biggest complaint, one that has been repeated for various older albums at this point. It's kind of repetitive. Most songs feel the same, which is kind of to be expected. However, when the album is fairly short and the quality of the songs is as high as it is, it isn't as big of a deal as it is with other album. The sound is great. While it doesn't really feel like country, which may be good or bad depending on who you ask, you can still feel the emotions that come with the best, most honest country music. Ray Charles, of course, was a great singer. The instrumentation elevates his singing to create a very high quality album. The main reason why this album deserves to be on this list is more so about the cultural significance rather than the actual album itself. This thing, as stated earlier, was groundbreaking. It's kind of funny since a lot of popular music in the 50s was white men covering songs made by black men, while this album is the complete opposite of that. How neat! This album broke racial boundaries and is considered an important album for a good reason. So, with every thing in mind, I think this album deserves a light 4/5.

Fly Or Die

N.E.R.D

4/5

You know, out of all the albums on this list I've gotten so far, I think this album has had the biggest disparity between how much I thought I would like it, and how much I actually liked it. Based on things like the name, album cover, and apparent lack of a strong enough reason for this album's inclusion on the list, I didn't think I would like N.E.R.D's "Fly or Die" that much. However, I actually really like this album. First off, I just want to say that I had no idea that Pharrell Williams was in a band. I just think that's kind of cool. Second of all, this album is pretty unique. I really like the blend of various genres. The wikipedia article said this was rap rock, which was another reason I thought I wouldn't like it. However, there's a lot more soul influence than I thought there would be. There really isn't that much in here I'd truly call "rap rock", or maybe this album just shows what it can actually be. This whole album has this feel-good energy to it. The writing is a bit basic at times, but not in a painful way or anything. The singing is nice, the album doesn't go on for too long. I do have one complaint though. The ending was a bit underwhelming. Not the last song specifically, that one was good. All of them are good. I just liked the first few songs overall more than the last few overall. This is a real sleeper hit you guys. I can't believe no one told me how good this was! 4/5.

Group Sex

Circle Jerks

2/5

Let's start with the elephant in the room. "Group Sex" is a terrible album name. There may be worse album names out there, but this might be the most infuriating for how blatant it is. I think "blatant" is probably the best word for this album. The sound is loud and fast, just like the album, which breezes by in 15 minutes. There are entire songs longer than this whole album. The singer isn't great. He's like the worst result of Joey Ramone, Billie Joe Armstrong, and Lemmy Kilmister having, well, group sex. The sound is fine. I don't care. Short album gets short review. 2/5.

Californication

Red Hot Chili Peppers

3/5

Now here's a divisive one. Red Hot Chili Peppers is another example of a very love it or hate it band. Some people love them while others find them annoying. As for me, I can see aspects of both in my opinion, though I do lean more towards the former. Californication is a pretty solid album. I like the sound. I think John Frusciante's guitar playing is nice and there's a good reason why Flea is one of the only examples of a band's bassist being the most popular member. I don't love Anthony Kiedis's vocals though. They work on songs like the title track, but other songs like the opener "Around The World" aren't my thing as far as vocals go. The writing is also a bit hit or miss. Some songs are very introspective and really come from personal experiences that warrant writing songs about them. Others aren't quite at that level. I will say that the first half is quite a bit better than the second half. Overall, a good album with some good songs, but I can see why people dislike this band and album, even if I myself have a mostly positive opinion of it. High 3/5.

Done By The Forces Of Nature

Jungle Brothers

3/5

I mean, it's 80s hip-hop. What do you want me to say? This album has everything that one would expect from 80s hip-hop. Group name-dropping, socially conscious lyrics, elements of African culture. Those aren't bad things, they're just things I've already experienced through other similar albums. I will say though that there is a very feel-good energy in "Done by the Forces of Nature" that makes this a pleasant listen. There's some good messages in here. I especially like the messaging in the song "Acknowledge your own History" with what it has to say about history and culture. I also like the part in that song where they diss Christopher Columbus. I just think that's funny. The beats are well made and the rapping is decent. Overall, while this album doesn't stand out much to me, it's still a positive, albeit a bit long, experience that gives me no real reason to truly dislike it. Light 3/5.

Guero

Beck

3/5

This one's alright. I don't really know if it needs to be on here since there are apparently other, better Beck albums. On top of that, I don't really know if Beck has had enough of a cultural impact to warrant having 3 albums on here, but sure, I guess. This album isn't bad though. I like the overall sound. The instrumentals are nice. I'm not the biggest fan of Beck's vocals, but they aren't particularly bad or anything. The writing is unique. I guess that's kind of to be expected from the guy whose most popular song starts with the line "In the time of chimpanzees, I was a monkey." That song isn't on this album by the way, or any of the albums of his that are on this list. That's weird, but okay. What stands out to me for this album is the variety in both writing and sound. Some songs are very clearly in the alternative rock field that Beck established himself to be a part of, while others are almost hip-hop like in a way. The writing is also about a variety of things, although many tie into similar themes. Overall, a decent album with some pretty positive aspects. 3/5.

Africa Brasil

Jorge Ben Jor

4/5

Time for (what I believe to be) my third Brazilian album! I liked the debut album from Os Mutantes as well as Arise by Sepultura, so how does Jorge Ben's "Africa Brasil" compare? It's also really good! I guess there's just something about the Brazilian albums I've gotten so far that appeals to me. What appeals to me with this album is the sound. It's funky and I love it. The singing and writing are also both pretty good, even if I can't understand it. Though, from what my browser's translations gave me, there's some substance in these writings. Overall, given the quality and the apparent cultural impact that Jorge Ben has in Brazil, I think this is a worthy inclusion in this list. 4/5.

D.O.A. the Third and Final Report of Throbbing Gristle

Throbbing Gristle

1/5

Wow. This is garbage! I genuinely don't see the value in this at all. Most of the songs aren't songs. In order for me to call something a song, you have to have some sense of rhythm, melody, or ideally, both. There's only like two songs on here that fit that and they both suck. The rest of the album is just pure noise. Sometimes it's just talking, other times it is literally just random noise. One songs on here was originally an actual song, but for whatever reason why sped up to become 16 seconds of sped-up garbage. I hate this. This infuriates me. This might be my least favorite album of all time. Everything here is stupid. I can't even call this music. Fuck this album. 1/5.

Apocalypse 91… The Enemy Strikes Black

Public Enemy

3/5

You know, after listening to Throbbing Gristle yesterday, all I wanted for today was something that I can actually call music. Fortunately, "Apocalypse 91... The Enemy Strikes Black" by Public Enemy is actual music. That music happens to be pretty decent. It's not really my personal thing, but I still see the appeal. The rapping is good. It's got a nice flow to it. With that said, I definitely liked Chuck D's rapping a lot more than Flavor Flav's rapping. The writing is pretty solid. Public Enemy has this very direct and punchy approach with how it handles politics that I can really admire. The instrumentals are also good. The album does go on for quite a while, but there's just enough variety to warrant listening to the whole thing. Besides, the last song has Anthrax on it. That's just awesome. Overall, a solid rap album with a purpose. 3/5.

Bert Jansch

3/5

Happy Leap Day everybody! This is the only leap day that I will listen to one of these albums on. Will this album make this day memorable at all? No. I wouldn't say so. This is a perfectly fine and serviceable album. Does it belong on this list? Not really. This album doesn't really have a ton of cultural impact. Although, admittedly, Bert Jansch himself, despite not being super well known himself, did influence quite a few artists that I like such as Neil Young and Nick Drake. Nick Drake in particular is the interesting one since, prior to listening to this album, I saw quite a bit of comparison in the reviews to him for this album. After listening to the album, I can kind of see it. The voice felt more Bob Dylan-esque for the first song, but later songs did give me an idea as to how someone could make comparisons to Nick Drake. This album isn't as good as his stuff though. A decent portion of the album is instrumentals, which is an interesting choice. His singing is fine. The musical contents are a bit samey, but not the worst in the world. The writing is probably the best part of the album, but it's still just kind of solid. Overall, nothing I really feel like revisiting ever again, but a pretty harmless album that's significantly better than a lot of the "this shouldn't be on here" albums that I've already listened to. 3/5.

Madman Across The Water

Elton John

4/5

You know, I feel like it's been a while since I've gotten an album from a truly legendary artist. I've gotten albums recently from artists or groups that I'd consider "iconic", but no one that I've gotten in the past 10 days or so is anyone that I would consider as legendary as Elton John. The guy's just awesome, and so is this album. It's really good! The album opens with one of his most well known songs, "Tiny Dancer". Needless to say, it's a great song. The rest of the songs are also great. The sound on this album is very pleasant to listen to. Elton John's singing is just phenomenal. The instrumentation is very good. Elton John's piano work in particular is always great. The writing is solid. Overall, this is a great album from a truly iconic artist. 4/5.

Face to Face

The Kinks

3/5

150 albums. I wasn't sure I'd get this far. This is actually the first 50-album milestone where I've gotten an album from an artist I had already gotten! 50th was my first Def Leppard album and 100th was my first T Rex album, but Face to Face is not my first album from The Kinks. I listened to Village Green Preservation Society about a month and half ago and I really liked it! So, how does Face to Face compare? Well, it's definitely an earlier album of theirs, that's for sure. It kind of gives of similar vibes to earlier Beatles work. It's good, but not nearly as groundbreaking and top-notch as later work. There are things that I really liked about Village Green that are here in Face to Face, but in a way that isn't as refined as it would be in later work. There is a variety of songs in terms of writing and sound, but there aren't as many songs that truly stand out. In fact, the only song on this album that's really seemed to make an impact is Sunny Afternoon. That song is great, and there are other really good songs too, but this album isn't really anything spectacular. I like the sound and singing, but as stated earlier, it does feel a bit too similar to early Beatles. The writing is quite good. I do like it. Overall, while Village Green is still a much more noteworthy and better album, Face to Face is still a solid collection of songs with a loose theme to tie them together. High 3/5.

Hearts And Bones

Paul Simon

4/5

Alright! I haven't gotten very many solo albums from former members of iconic groups so far, so getting a Paul Simon solo album is neat. While I hadn't heard much about this album in comparison to something like Graceland, Hearts and Bones is actually pretty good. The sound is varied. One complaint (if you can call it that) that I have is that the final three songs give us one of the funniest tonal shifts I have ever heard in an album. You have two mostly serious songs with historical ties to tragedy with a funny car song in between them. That's just hilarious. Anyway, I still like Paul Simon's singing. The writing is pretty solid. Overall, while this might be a somewhat redundant pick for this list, I can see why some people have called this his most underrated album. I'd go so far as to say I liked it more than S&G's "Parsley, Sage, Rosemary, and Thyme", but not as much as Bridge Over Troubled Water. I'm feeling generous, so I'll give this album a light 4/5.

Debut

Björk

4/5

Well, well, well. It finally happened. There have been 16 artists until now who have given me two albums for this generator (15 if you don't count the Neil Young and Crazy Horse album as being from the same artist as the Neil Young I've gotten). However, I have not gotten three albums from the same artist until now. The artist to first bestow three albums upon me... is Björk. I don't know how to feel about that. I don't dislike Björk. Quite the contrary. I thought Vulnicura was really good and Medulla, while not quite as good, was still not a bad album. It's just that Björk isn't really the kind of artist that I expected to ever listen to this many albums from in my life, especially before ever listening to a single full album from artists like Nirvana and Stevie Wonder. But, that's besides the point. Do I like Debut? Well, if I'm going to be honest, I think this is my favorite Björk album yet. Her singing sounds the same, which isn't a bad thing. I know singing experts would probably tell me that her voice has changed a lot since 1993, but I don't really hear it which, again, isn't a bad thing. The writing is pretty solid. She's not afraid to get weird while also remaining mostly comprehensible. One thing that makes listening to three Björk albums a potentially worthwhile experience is that she is an artist who is more than willing to experiment with each album. This is a very different album than the one's I've listened to before. This album has a lot more pop and electronic elements to it, as well as a generally more upbeat mood. That's not to say it's too positive or anything. There's still this aura of mystery surrounding each song. There really isn't a bad song on here. It's crazy to know that Björk's first album (even if technically wasn't her first) is so good. So you know, after listening to this album, I'd say that Björk being my first three-album artist is a good thing. High 4/5.

Tragic Songs of Life

The Louvin Brothers

2/5

Well, this is an album. I find it weird that I've only gotten 50s albums and they're all from 1956 specifically. Did albums just not exist before 1956 and then stop existing from 1957 until 1960? Anyways, this album is one that exists. Country music has never been my thing. 50s music has never been my thing. You put the two together and you get an album that I'll forget about in a week. The singing is okay. The duo work is respectable. Definitely a bit cheesy. The sound is certainly repetitive, but not unlistenable. The writing is where this album gets interesting. It's quite dark at times. The last few songs in particular tackle things like war, murder, and grief. I mean, I guess that counts as a tragic song of life. There's quite a bit of Christian imagery in here. I'm not a Christian, so that does nothing for me. Overall, this is a forgettable album, but I surprisingly don't hate it in a similar way to similar albums like "A Date with the Everly Brothers". Light 2/5.

Phaedra

Tangerine Dream

3/5

Did I just listen to something? I guess I did. Tangerine Dream's "Phaedra" doesn't really feel like an album to me. It feels more like 40 minutes of ambience. But hey, it's some damn good ambience. The production of this thing is immaculate. The sound makes for some decent background noise at times. I feel like I would enjoy this album a lot more if I just laid in bed and zoned out for 40 minutes. Perhaps then I would "get it". For now, I guess the best thing I can say about this album is "it has a purpose that it succeeds at." It kind of makes me feel like I'm in space. Fortunately, that's more so in the "drifting away in nothing" way and not the "lack of oxygen boiling my blood" way. It doesn't do much for me, but perhaps it will at another point in my life. I'll give this thing the benefit of the doubt. Light 3/5.

Virgin Suicides

Air

3/5

From one ambient instrumental album to another ambient (mostly) instrumental album. It's kind of weird that I got two in a row of that. Interesting. Anyway, this one's pretty alright. It's a film soundtrack, which I believe I've only gotten once before with Curtis Mayfield's Superfly soundtrack. I think Superfly was better, but that's irrelevant. This one does it's job well. The sound is nice. I can tell that it fits a story. I haven't seen the movie that this score is from, so I'm not 100% sure if it fits the story or not. There isn't much to say. It's some solid instrumentals. High 3/5.

Power In Numbers

Jurassic 5

4/5

Okay. I just want to start this review with something that caught me off guard in the best way possible. When I was doing the research about this album, I found out who the members of Jurassic 5 are. The name "Chali 2na" stood out to me because I knew for a fact that I had heard the name somewhere before. I just wasn't sure what it was. Lo and behold, he was Neil DeGrasse Tyson in an Epic Rap Battles of History video. I had no idea that that guy was a legitimately successful rapper in a somewhat popular group! Anyways, this album is actually quite good. I like it. It kind of makes me feel similar things to how I felt listening to Fly or Die by N.E.R.D. Most of this album has this positive energy to it that is always nice to see. The flow in this album is amazing in my opinion. It just lines up well. The members actually play off of each other very well. The beats are nice. The writing is solid. My one complaint is that the song "One of Them" feels pretty out of place in this album. That's really it. I like this album quite a bit. 4/5.

Smash

The Offspring

3/5

Finally, another artist I've heard of before. Although, that isn't much to say since the only thing I can think of when The Offspring comes to mind is that one Sam O'Nella clip. Anyways, this album isn't bad. It's a decent punk rock album. Throughout this journey, I have noticed some things that are common-place for certain genres. In particular, I have noticed some tropes of punk-rock. Tropes that are in here. Most of the songs on this album are quite short and pretty similar to each other. There's some light political commentary, but also some songs that are just there because why not. The sound on this album is good. The singing reminds me of Crazy Taxi, which makes sense given that The Offspring's music was in Crazy Taxi. I've never played Crazy Taxi. This review might make it seem like I dislike the album, but that isn't true. It is a perfectly fine album. 3/5.

Woodface

Crowded House

3/5

You know, I'm kind of surprised that I haven't gotten very many albums from Australia or New Zealand so far. I believe Melodrama by Lorde is the only one I've gotten until now. Anyways, Woodface by Crowded House is a pretty good album. I did like Melodrama more, but like most of my album comparisons, this is completely meaningless. This album is enjoyable though. The sound is just nice. I like the singing. The harmonies work well. The writing isn't the best, but it does the job. I wasn't sure if this deserved to be on the list, but seeing as how these guys seemed to have had a much bigger impact in their home turf than in America, as well as the quality of this album, I'd say this is a decently deserving album of being on this list. High 3/5.

Is This It

The Strokes

5/5

Man. It feels like it's been forever since I've gotten an album that I was actually excited to listen to. Every day for the past week or so (possibly even more) I've clicked on the next album button wondering "is this it?" Well, fortunately, "Is This It" is, in fact, it. This album is awesome. I love it. It feels like what the modern equivalent to something like The Velvet Underground would sound like in the best way possible. I think the clearest example of this is in the singing. Julian Casablancas is like if Lou Reed was a good singer. That was a joke, but I do like this singing more. The sound is just great. It's like the perfect mix of punk, alt-rock, and even pop at times. The writing is quite good as well. There's depth to this album. There really isn't a bad song. The popular ones like Last Nite are deservedly popular, but even the tracks that don't get talked about as much still stand strong. This isn't that important, but I find that both the original album cover and the replacement are quite good. I think the original fits the album better, but I do really like looking at the replacement. Although, that's not to say that the original isn't visually pleasing in a different way, if you know what I'm saying. Overall, this is easily the best album I've gotten in a while, and my second favorite album of 2001, only behind Toxicity by System of a Down. 5/5.

Another Music In A Different Kitchen

Buzzcocks

3/5

Hooray. More British punk. My favorite. Those are the thoughts that were in my mind leading up to me listening to this album. However, I was pleasantly surprised by this album. Don't get me wrong, there are still some major problems I have with this album. The writing is a bit basic, but not the worst I've ever heard in an album. The singing is easily my least favorite part of the album. I just don't like it. However, the instrumental sound is enough to make my overall experience with this album somewhat positive. I can definitely hear how these guys influenced more modern groups like Green Day. There's some decent variety in these songs, something that most other punk albums I've listened to lack. There's a song in 6/8 time signature for crying out loud! This album has memorable parts to it, which is a godsend for albums like this. I will say though that the second half is quite a bit better than the first half in my opinion. Overall, while this is far from my favorite album ever, this is also far from my least favorite album ever. Good job Buzzcocks! I don't like your band name, but this album's alright. 3/5.

Axis: Bold As Love

Jimi Hendrix

5/5

Hell yeah. What can I say? You can't go wrong with some Jimi Hendrix. I honestly don't know whether I liked Electric Ladyland or this one more. I might have to do some relistening, although I'll probably wait after I've also heard Are You Experienced before I do that. This album is just awesome. The sound, as is to be expected, is phenomenal. Jimi's guitar playing was incredibly ahead of its time and holds up very well. The rest of the sound is also amazing. I really like the drumming on songs like Spanish Castle Magic. The singing is good. The writing is solid. There's some loose connected theming here without the album feeling repetitive. This is just an all-time classic from a true legend of music. 5/5.

Listen Without Prejudice Vol. 1

George Michael

4/5

Nice. Another great album! George Michael is an artist that I've always just kind of known as "The Careless Whisper Guy" and not much else. I knew he was famous, but I hadn't heard much of his stuff. I didn't even know he was in Wham! Anyways, this album is really good. I wasn't sold on his singing at first, but it grew on me and I appreciate it. The sound is quite nice. It's a solid pleasant sound that I can't really pinpoint a genre for. The closest I'd call it is R&B, but that doesn't really paint the whole picture. The writing is also very good. There's substance to these lyrics, and every song has a purpose, leading to the album not feeling samey. Overall, this is a good album, but not quite in the top echelon for me. 4/5.

Blood On The Tracks

Bob Dylan

5/5

Alright! It's time for my second Bob Dylan album. You know what? I really liked this one. This is a truly legendary album right here. A lot of what I had to say about Bringing It All Back Home applies here too. Bob Dylan's singing is hit or miss, but when it works, it definitely works. The instrumental sound in this album is top-notch. Everything about the instruments just works wonderfully. The songwriting is easily the best thing about this album. The ability that Bob Dylan has to tell a full complex story in a song like "Tangled Up in Blue" or "Lily, Rosemary, and the Jack of Hearts" is one that not very many songwriters have. While there are overarching themes, and it is speculated that multiple songs on here were written about Dylan's then-wife, each song's story stands out to create a great collection of stories in the form of amazing songs. Overall, this album absolutely deserves to be on this list for its cultural impact, and the sheer talent and quality behind it. 5/5.

Rattlesnakes

Lloyd Cole And The Commotions

2/5

I don't care about this album at all. Why should I? It has little to no cultural impact and should not have been included on this list over more impactful albums. How do these guys get on the list but artists like Louis Armstrong, MF DOOM, and Weezer get absolutely nothing? This whole album just feels derivative. I've heard people compare this album to Bob Dylan, with it said that he inspired this album. Well, and I'm saying this as someone whose last album they listened to before this was a Bob Dylan album, I don't see it. If anything, the singing in this reminds me more of Lou Reed than anyone. Even then, this guy's worse. The sound is fine, I guess. It's just that the jangle-pop sound can be heard through infinitely better and more significant bands of the time like The Smiths and R.E.M. The writing is nothing to write home about. The messaging is basic. I just don't care about this album. It means nothing to me. 2/5.

Hypocrisy Is The Greatest Luxury

The Disposable Heroes Of Hiphoprisy

2/5

Eh. This album exists and that's about it. These guys call themselves disposable, and they're absolutely correct. This album could be removed from the list and I wouldn't bat an eye. I wouldn't be surprised if this album wasn't in the most recent version of this book. The beats are pretty decent, I will say. They definitely work for what they were going for. The rapping itself is just kind of okay. Nothing crazy. It's mostly just talking. The writing is confusing at times. It's a bit repetitive and sometimes it just feels like buzzwords. While I do respect this album and I can see what these guys were going for, I just don't really care enough about the final product to warrant thinking about this album ever again. 2/5.

Queen II

Queen

5/5

I mean, what can I say? It's Queen. In the 5 weeks it's been since I listened to Sheer Heart Attack, my opinion of Queen has not changed much. They're still one of my favorite bands, and Queen II adds further reinforcing to that. This is an interesting album to include on the list, as it serves as a good representation of what early Queen was like before they started to lean more into the stadium appeal of songs like "We Will Rock You" and "Don't Stop Me Now". As great as those songs are, I actually really like the sound that albums like this and Sheer Heart Attack are going for. Everything I said about that album remains true here. The instrumental work is still amazing. Freddie Mercury was one of the greatest singers of all time even in 1974. The transitions on this thing are unlike any other. One thing that makes this album stand out is just how fantastical it is, particularly in the second half. Songs like "Ogre Battle" and "Seven Seas of Rhye" just have this whimsical and magical feel to them that makes them such great listens. Another standout track is "The March of the Black Queen", which almost acts a sort of precursor to "Bohemian Rhapsody" in that they both feature very distinct sections across a fairly long run-time. The first half is good too, just not as good as the second half. Overall, this album is great and Queen is still one of my favorite bands ever. 5/5.

Shake Your Money Maker

The Black Crowes

2/5

If there was an award for "album with the title that least fits the sound of the album," it would go to this. You give me an album called "Shake Your Money Maker" and I'm expecting some off-the-wall dance music, not southern blues rock. Anyways, this album is fine, I guess. I have some problems. The sound itself is okay. There's definitely talent, I will admit. The singing is alright. I'd even call it good. The writing is okay. However, there is an overarching problem that I have with this album. It feels unoriginal. This album was made in 1990, yet it feels like it's trying too hard to sound like something from the 70s. I'm not saying that every song has to feel like it came out in the year that it came out. Some songs can fit an older style, while others can be ahead of their time. However, while I could potentially respect an album that serves as an homage to 70s rock, it feels like this album uses that less as a source of inspiration and more as a crutch that this album is bound to. Overall, while I can say that the contents of this album are objectively not bad, I just don't really care about it personally. 2/5.

We're Only In It For The Money

The Mothers Of Invention

3/5

Well. That was certainly an interesting listen. I went into this album with a worry, but also a bit of hope. I had heard people call this album nonsense, which made me fear another Throbbing Gristle or Liars situation. However, Frank Zappa is a fairly iconic and respected figure. I mean, he has a Guilty Gear character named after him! There has to be something special about this guy, right? Well, fortunately, I was pleasantly surprised by this album. Sure, there are definitely some noisy and unpleasant parts of this album. However, in comparison to some of the 1/5s that I've given, I respect this album and the vision behind it. There's an overarching theme and points to be made. Do I agree with all of them? Not fully, but I can see what these guys were trying to say. I mean, "your mind is the ugliest part of your body,"? I get it. I also didn't hate the sound all of the time. There are some songs on here that, while certainly weird, were enjoyable to listen to. The chaos does lean towards something like The Residents at some points, but at other times it feels more controlled like System of a Down (my favorite band). Overall, while it has its problems, I would say that listening to this album was an overall positive experience that I don't regret. I can see why this is on here! 3/5.

Fresh Fruit for Rotting Vegetables

Dead Kennedys

5/5

Dude. This is awesome. I kind of love this album. I'll start with the one thing that was negative at first. I wasn't big on the vocals at first. They were 80s punk vocals, which I've never liked. However, weirdly enough, they kind of grew on me. They're not my favorite vocals, but they work at times. As for the rest of the album, it's just great. The writing is unique in a great way. The things these guys have to say make a lot of sense, and the writing gets their points across quite well, in addition to being entertaining. However, the sound is what makes this album so amazing. While there are some similar songs, it doesn't feel repetitive, unlike other punk albums of the time (looking at you, Undertones). There's tempo changes and stuff. I love tempo changes! Also, I like this version of "California Uber Alles" a lot more than the Disposable Heroes of Hiphoprasy version that I listened to a few days ago. The guitar tone is energetic and fitting for the energy of the messages. The bass? Oh my god. The bass in this album is just wonderful. I love it so much! I think I know why I love this album so much. Between the heavy-handed politics, the guitar riffs, and the sheer insanity of this album, it kind of reminds me of System of a Down. I think I've mentioned (or at least implied) before that System of a Down is my favorite band, so hearing something even remotely similar to them is just what I need. Apparently these guys influenced SOAD, and I can hear it. Overall, I was very surprised by just how passionate I am about this album. I might have to check out the other Dead Kennedys albums. 5/5.

Either Or

Elliott Smith

5/5

I want to start this review by bringing up a weird pattern I've had with albums lately. You see, 9 days ago, I got my second Jimi Hendrix album, which I gave a 5. After 1 album from a new artist, I then got my second Bob Dylan album, which was also a 5. This was followed by 2 new artists and then my second Queen album, also a 5. Finally (at least for now), I got 3 new artists, and my second Elliott Smith album. You notice the "1, 2, 3" going on there? That's just funny. But does the 5/5 part continue? Yeah, of course it does. I really have no complaints about Either/Or. Everything I said about Figure 8 applies here. The sound is still great, which is impressive considering it all comes from one guy. The singing compliments the tone of the album very well. The songwriting and storytelling is still top-notch. It's a very cohesive experience that feels very personal. There's variety in everything. This is just an amazing album. Unfortunately (or fortunately depending on how you see it), I'm not sure I'm in the right headspace for the album right now, but I can tell just how good it is anyways. What can I say? This is a masterpiece. 5/5.

British Steel

Judas Priest

4/5

Hell yeah. This is some good stuff right here. Not every album on the list needs to be some emotional masterpiece. Sometimes, it's just nice to do some headbanging to some classic metal, and it's hard for metal to get more classic than Judas Priest. This album's great. The sound is strong, and the songs manage to stand out from each other. I really like Rob Halford's vocals. There's a reason why he's considered to be one of the all time greats of metal vocalists. The energy of the album goes on for the perfect amount of time. Songs like "Breaking the Law" are absolute classics and very good songs. The writing is solid. Overall, I don't really have that much to say. This is just some great early metal. It's awesome, and I want more of it. 4/5.

Haunted Dancehall

The Sabres Of Paradise

1/5

Look. My criteria for my album ratings is somewhat complex. I'm not going to explain the whole thing right now, but I have something to say. My criteria for giving an album a 1/5 is that if I am upset that I listened to a given album, that album gets a 1/5. I don't mean that in a "This album is sad" kind of way, I mean that in a "This project would be better without this album" kind of way. It is the simplest rating criteria that I have. I am upset that I listened to this album. How can you have so many albums from 1994 on this list (This is my 9th!) with some of them being worthless, culturally insignificant trash like this, and yet the Weezer blue album is nowhere to be seen?! WHY?! That album is awesome! This? I hate it. The sound itself is fine, I guess, but it leaves no lasting impact on me. There are some great instrumental albums out there with enough impact to warrant an inclusion on this list. This is not one of them. I've probably written reviews for this site that are longer than the wikipedia articles for this album and its band combined before! But you wanna know the biggest issue with this album. It does not fucking end. It lasts for 76 whole minutes, with there being multiple songs that go for 8 minutes each! On top of that, the songs are kind of repetitive. I'm pissed off. I genuinely question what logic there was behind this album being included. Wikipedia says that this was the first techno concept album. First of all, I don't believe that for one second. There had to have been something before this. Second of all, what is the concept for this album? Being shit? If so, good job "Sabres of Paradise," you succeeded! Now get out of my sight. 1/5.

Rio

Duran Duran

4/5

Dude. After listening to a boring 76-minute long album with no cultural impact at all yesterday, an energetic 42-minute long album from a group that's sold over 100 million copies is exactly what I needed today! Rio by Duran Duran is a great album. I love it. It deserves to be on this list not just because of Duran Duran's cultural impact during the Second British Invasion of the 1980s, but also because it's just a damn good album. The sound is top-notch. Everything from the bass, to the vocals, to the instruments that only show up once like the saxophone in the first song and the ocarina in the last song just works to create a very energetic and fun album. The writing is solid, the pacing is perfect. It kind of reminds me of a more energetic Depeche Mode, and if you're making me think about Depeche Mode, you're probably doing something right. This is awesome and it's way better than that stupid Haunted Dancehall album. High 4/5.

You Are The Quarry

Morrissey

3/5

Ah yes, The Smith. Just one of them. Here we have the first of four Morrissey albums that I'll be listening to for this project. He definitely does not deserve four albums, but if any of his solo albums are going to be on this list, this one makes more sense than the others. Anyways, I didn't hate it as much as I thought I would. Is it as good as the one The Smiths album I've gotten so far? No, definitely not. However, this album isn't that bad, but it's not perfect. I'll start with a complaint that I don't think I've ever made before. The singing is decent, and the instrumentals are quite solid, but I feel like they don't mesh well with each other. Anyways, the writing is certainly interesting. Some of it makes sense, other parts don't. I was expecting the album to feel like The Smiths, but it really didn't at all. That's fine and all, I just don't like the sound of this album as much. Has this album aged all that well? Not really. Sometimes it's for funny reasons, like in the first song where he brings up how America's never had a black president. Other things relate to more serious topics regarding who Morrissey is as a person. Overall, this album's fine, but kind of forgettable. Low 3/5.

Konnichiwa

Skepta

4/5

Well, the pattern ends. I have now gotten 5 new artists in a row. Damn. Anyways, this is a fun album. My first experience with grime through Dizzee Rascal's "Boy in Da Corner" wasn't the most positive one. Maybe I just wasn't in the right headspace, but my thought upon listening to that album was "I don't think grime is for me." However, the great thing about listening to multiple albums from a certain genre is that preconceived notions can be disproved. I actually did go back to a few songs from that album after this, but I still am not really a fan of that album. Despite that, I actually like Skepta's "Konnichiwa." This album isn't the most serious thing out there, but it doesn't have to be. The rapping is enjoyable to listen to. The writing is solid and not too problematic. The beats are probably the best part. They just go so hard for no real reason. The album's not perfect, don't get me wrong. I did feel like the appeal of the album did start to dwindle by the end of the album. That's not to say that this album dragged or went on for too long. 44 minutes is like the perfect album length. However, it didn't feel quite as special after twelve songs. The features are also just fine. Overall, this is a surprisingly enjoyable album. Fantano was in the right when he gave this a 7/10. That would be equivalent to a 3.5/5, so I'll round up and give this album a light 4/5.

Triangle

The Beau Brummels

2/5

Well. That was aggressively mid. I see no reason why this should be on the list. There are many other albums on this list that basically do what this one does but with more cultural importance and quality. Even the vocals are a bit too reminiscent of Bob Dylan at times. Basically, imagine a Bob Dylan album but with worse writing and no real meaning behind it. That's what this album is. I felt nothing listening to it. The song "And I've Seen Her" aged like milk. The others are okay I guess. The second to last song, "The Wolf of Velvet Fortune" is probably the best one. The sound is fine. I'm not upset that I listened to this, but it really isn't anything special to me at all. I'm not upset that I listened to this, mainly because it's only 28 minutes. I am going to forget about this as soon as I finish this review, and I'm okay with that. Low 2/5.

Rubber Soul

Beatles

4/5

Alright! Beatles album #3! This time, we have Rubber Soul to look at. This is generally considered to be the turning point for the Beatles where they finally started to make truly amazing albums. I haven't heard the albums that came before this, but that seems about right. Regardless of if this was their first great album or not, it is definitely a great album to be sure. While their sound isn't quite as experimental or polished as it is on the other albums of theirs I've heard (Abbey Road and Sgt. Pepper's), it's still very strong. The writing, sound, and singing is all still great though. Not every song is as good as the rest. I thought "The Word" was just alright and the album ends with what is probably the worst one on the album, "Run For Your Life." This album does however contain some truly amazing songs though. Songs like "Norwegian Wood", "Nowhere Man", and especially "In My Life" stand out as being some of the best songs that you could listen to in 1965. Overall, while Rubber Soul isn't my favorite Beatles album, it is still a worthwhile listen that serves some importance in the career of the most iconic band to ever exist. High 4/5.

Palo Congo

Sabu

3/5

Well this is a harmless little album right here. Does it need to be on this list? No, not really. However, I'm not upset at all that I listened to this. It's just nice. I don't really get a lot of 50s albums, so it's something different. The sound is a nice change of pace from the standard genres like rock, pop, hip-hop, and soul. It has a purpose and it fulfills that in every way it needs to. The instruments are pleasant and the singing/chanting works well. It does feel a bit quiet at times, but that's not that big of a deal. I'm sure this album has more value to other people and groups, but for me, it just serves as some decent background music. 3/5.

Time Out Of Mind

Bob Dylan

4/5

I feel like Bob Dylan's been coming up more than usual lately. Between me getting my second Dylan album just over 2 weeks ago and the various Dylan-inspired albums I've gotten since, it's definitely a noticeable pattern that has continued with my third Bob Dylan album today. However, this one's pretty different from the other two I got, mainly because this one released over 20 years after those other two that I've gotten. Because of that, the most obvious thing that's changed about Dylan is his voice. It's noticeably aged, but that's not a bad thing. I feel like his voice in this album is more consistently good, whereas earlier albums were kind of hit or miss in that regard. This version of his voice creates a different atmosphere than his earlier work, but the quality hasn't managed to take a hit. This is still a pretty good album. It's not perfect, don't get me wrong. I know I've defended Bob Dylan's singing, but I did not need to hear it for 73 straight minutes. If the last song had just been cut down from 16 and a half minutes to a normal song length, then we could've had a decent album length. Anyways, on to the positives that aren't the voice since I already went over that! Bob Dylan's songwriting is as strong as ever here. The storytelling and world building is still that of a man with lots of talent, now with 20 more years of life experience. The sound is nice. It's a little repetitive at times, but I still enjoy listening to all of these songs. Overall, while it's not a perfect album, this is yet another solid collection of songs from Bob Dylan. Light 4/5.

Getz/Gilberto

Stan Getz

4/5

Mmm... nice. You know, I didn't really know anything about this album before today. I had seen it when I looked up the complete list of albums for this project, but I didn't know anything about the actual album itself. As it turns out, this is actually a pretty influential album right here. The album sold over a million copies and popularized the bossa nova genre. After doing my preliminary research, I came to the conclusion that this album deserves to be on this list. That conclusion was further supported by the thoughts that were entering my head when I listened to this album, because it's really good. Is it a bit repetitive? Yes. Do I care? No. The vibes here are just immaculate. I love the singing, the sound and compositions are top-notch. This is just a great collection of some nice music to just sit back and relax to. High 4/5.

Stripped

Christina Aguilera

3/5

Yep. That was an album. This was my second experience with Christina Aguilera, and I'd say I enjoyed the two albums about the same. This is a solid pop album. As stated in my Back to Basics review, I think that her singing is quite good and impressive. The instrumentals are decent. They vary in quality, but most of them are good. The writing is pretty personal actually. The big reason for why this whole album feels personal was because Christina felt that her debut album wasn't personal enough, with her not really getting any creative control. This album was said to be her true debut, and I can see that. Is this my favorite album in the world? No. It really isn't my thing personally. On top of that, this thing is just way too long. They probably could've cut half the songs from here and all of the desired points would have still come across in a meaningful way. However, I have an immense amount of respect for this album and can see why it's on here. High 3/5.

Music From Big Pink

The Band

4/5

Oh boy, another album with ties to Bob Dylan. Look. I like Bob Dylan, but I feel as though I've gotten too many albums recently that are either from Bob Dylan himself, similar to Bob Dylan in a noticeable way, or, in the case of this album, directly tied to Bob Dylan. Also, before I talk about the album itself, I just want to say that "The Band" might be one of the worst band names I've ever heard. It's just super pretentious. Fortunately, despite my complaints, this album definitely isn't bad. Despite the ties to Bob Dylan, this album doesn't really feel like an album of his. There are aspects that are reminiscent of his work such as the songwriting at times, but this album manages to stand out as something original and not riding off of another artist's popularity and style. There's a good genre mix in here, with aspects of rock, country, and r&b showing all throughout. The sound is solid, with singing that compliments the writing. The writing is quite good. Overall, this album definitely has the impact and quality that an album needs to be included on this list, even if it's not my personal favorite album ever. Light 4/5.

Nixon

Lambchop

2/5

Meh. This album bores me. This was considered one of the best albums of 2000? I don't get it. I haven't even listened to albums like Kid A and Stankonia yet, but I already know that those albums are better than this. That's not even taking albums that I have heard into account that I did enjoy more like Figure 8 and Stories from the City, Stories from the Sea. The sound on this album is fine. I can respect the blend of various genres. Some songs lean more into country elements, others feel more like a chamber pop type thing. The singing is serviceable. The falsetto isn't great, but everything else is alright. The writing doesn't really speak to me. It just feels like words are entering my head and exiting right out. Maybe that's a me problem, but I have seen others call this album unfocused and nonsensical, so I don't think that's the whole truth. The mixing isn't great either. The vocals felt too quiet. Also, what does this album have to do with Nixon? Nothing about this album makes me think of him. Overall, this album really doesn't need to be on here and is just kind of forgettable. 2/5.

Brilliant Corners

Thelonious Monk

4/5

If I had to describe this album using one of the words from its title, corners wouldn't make sense at all, so I'll just go ahead and call this album brilliant. This is some great jazz right here. The work that went into this album is tremendous. The mastery of the instruments, understanding of music itself, and complexity behind the compositions make this a great listen. It serves well as good background noise for other tasks, but also has enough depth to it to be able to spend the whole 42 minutes just analyzing the sound. All of the instruments just blend well to create an album that's well worth a listen, or maybe even multiple. Light 4/5.

Untitled (Black Is)

SAULT

3/5

Well, well. What do we have here? An album from the current decade? Who would've thought?! I've finally reached an album from the 2020s! There are a very small amount of albums from the past few years on this list, mainly because we just don't know how culturally significant many albums from the recent years will go on to be. That brings us to an important question regarding this album in particular. Why is this album on the list? It's not particularly well-known. Well, my theory is that this has less to do with music culture and more with the world's culture in 2020. 2020 was a year of many shocking things that still impact us today. Obviously the COVID-19 pandemic was the biggest of these, but not far behind were the Black Lives Matter protests brought upon by the deaths of individuals like George Floyd and Breonna Taylor. Let's not beat around the bush any further. This is a protest album. That's why this album is on here. It represents the cultural attitude of the time. In particular, the black cultural attitude of the time. You see, I'm white. This means that I am not the target demographic for this album. However, that does not mean that I'm unable to appreciate this album and what it stands for. This album has some great messages about police brutality, self-love, and faith. Do I personally relate to any of it? No. But if this album was able to relate to its target demographic during the time it came out, then I would say that this album was a success in that regard. The features are solid. I find it interesting that every album I've gotten so far from 2019 or later has involved Michael Kiwanuka in some capacity. Is he just that great of an artist? Yes. The musical contents of this album could admittedly be better though. As much as I respect what this album's saying, it is a bit too blunt with it at times, making the album feel less like an actual album and more like affirmations or preaching at times. That's not necessarily a bad thing, it just isn't for me personally. The vocals are serviceable. The album does go on for a bit too long. The album is fairly repetitive. However, this album is an overall positive experience, just not one made for me specifically. High 3/5.

Jazz Samba

Stan Getz

3/5

Time for my second bossa nova album involving Stan Getz of the week! Yeah this album is very similar to Getz/Gilberto, which is an album that I listened to 6 days ago. My thoughts are basically the same, with the exception of this album not having as much of a cultural impact despite coming earlier. I guess it's one of those things where this album helped lay the foundations, but Getz/Gilberto perfected it to the point where it's the one that popularized the genre. Basically, this is the Wolfenstein 3D to Getz/Gilberto's DOOM. Still a good album, but not quite as great as the other one. The sound is still here, although the singing that I really liked from that other album is missing. What gives? Anyways, this album is perfectly fine, but a bit of a redundant pick when you have a better and more culturally impactful album from one of the same artists that is also on this list. High 3/5.

Highway 61 Revisited

Bob Dylan

5/5

Guys I'm tired. I am tired of Bob Dylan. THIS IS MY FOURTH BOB DYLAN ALBUM AND MY THIRD OF THE PAST MONTH! I don't even dislike him or anything, I'm just tired of getting all of these albums that come from him or are inspired by him or involve him in some way. Still, regardless of my frustration with the random album generation, I have to admit that this is an objectively great album. I could say a lot about this album, but I don't really need to because I've said it all about the other albums of his. The songwriting and storytelling are great and the singing is very love-it-or-hate-it. "Like a Rolling Stone" is a great opener. There's a decent variety in this album's sound. It's another Bob Dylan album. What can I say? High 4/5. Now please give me at least 2 months before another one of these. EDIT: Yeesh... I really let the whole "3 Bob Dylan albums in 1 month" thing get to my head, didn't I? This album's fantastic. I do still prefer Blood on the Tracks personally, but Highway 61 Revisited is super cool. It's just Bob Dylan aura farming for 50 minutes and it's great. 5/5.

This Is Hardcore

Pulp

4/5

This album name is an utter lie. This isn't hardcore! Oh well, at least the album is good. With how much I've seen complaints about the overabundance of Britpop on this list, I haven't gotten very many Britpop albums as of lately, and the one's I've gotten so far have been mostly alright, with Pulp's "This is Hardcore" being no different. This album is fairly Bowie-esque in a way, mainly with the singing at times. I kind of like it. The sound is pretty enjoyable to listen to. The writing is slightly repetitive and the album is a bit long, but those are minor issues that don't really impact the album all that much. I think this is a pretty good album. Not the best I've listened to, but a fairly solid album that gives me a good first impression of Pulp. Maybe I'll like Different Class even more! Light 4/5.

Autobahn

Kraftwerk

3/5

Time for another artist I've heard of! I've been on a good streak with that lately, but that's mainly because two out of the past 4 albums I've gotten were from artists that I've gotten earlier in the project. Kraftwerk is a fairly iconic band, so I wasn't surprised to see one of their albums in here. Based on my research this seems to be the album that put them on the map of popular music. After listening to it, I guess I can see why. Is this my favorite album ever? No. Not even close. It's a good album though. The sound is enjoyable to listen to. I like how the album doesn't just throw everything at you right away and builds up to the different sounds that it wants to make. The whole feel of the album is pretty mystical. The 22-minute long title track is probably the most interesting song on the album for multiple reasons. This seems to be a love-it-or-hate-it kind of album based on the reviews I've read from this site. I'd say I'm closer to the love it side, but I'm not super passionate about it. Still, this album is pretty good, and I'm excited to hear what else this band has to offer from the two other albums they have on this list. High 3/5.

White Blood Cells

The White Stripes

4/5

This is a solid album right here. The White Stripes are, in fact, a band I've heard of, but I had really only heard one of their songs before, so getting to experience an album of theirs was an intriguing experience. This is not the album with Seven Nation Army on it, but it is the album that truly kickstarted their career, so I'd say it deserves to be on here in addition to their other album Elephant. If it was just this album, then I'd have some questions, but the two of them both being on the list is something that I can accept. The sound of this album is quite nice. One interesting thing that this album does that I haven't really seen a ton of is that this album goes for more of a quantity over quality approach with the songs. That's not to say that the songs are bad, it's just that there's a higher focus on making more short songs rather than fully fleshing out ideas for specific songs. Fortunately, each song is short, so an album with 16 songs ends up being a tight 40 minutes rather than a 70+ minute slog. I like the singing. I think it fits the overall feel these two were going for. The songwriting is decent. There's a very unique feel with this album that I'm not sure how to put into words. It feels raw, but not too heavy. I guess that's garage rock for you, and this album spearheaded the 2000s revival of garage rock in addition to other albums like Is This It by the Strokes. I don't like this album quite as much as that one, but this one is still pretty good. 4/5.

Vol. 4

Black Sabbath

4/5

FINALLY. It is about time that I got a Black Sabbath album. What's funny is that I got this after an album from The White Stripes. I got white and black. That's funny. Anyways, I am very happy to finally get to this band since, in my opinion, they are one of the most important bands to have ever existed. I say that because, for all intents and purposes, Black Sabbath created metal music. They may not have made the first metal song, but they were the first true metal band. However, Vol. 4 isn't an album that I've seen a ton of discussion on. My research brought me to the conclusion that this is generally considered to be one of their better albums, but there isn't as much cultural impact for this one compared to the band's other albums on this list, those being their self-titled debut and Paranoid. Despite that, this is a great album. The sound is just amazing. Every member brings something to the table. Tony Iommi's guitar work is practically perfect, Geezer Butler serves as a great bassist, I really like Bill Ward's drumming, and of course, I can't forget about Ozzy Osbourne's impeccable vocals. There's a decent amount of variety on this album. It's mostly heavy, but you also have the song "Changes" which is just a straight up piano ballad. I certainly didn't expect that. There really isn't a bad song on here. I think my favorite may be "Snowblind," which was originally supposed to be a title track before they changed the name of the album. This song is particularly notable to me not just because it may be my favorite of the album, but because it was covered by System of a Down, which is a band that I have gone on record to say that they are my favorite band. Honestly, I don't know which version of the song I like more. This album is great, but I feel like there's probably going to be better on here, so I'll save the 5s for those. High 4/5.

Beggars Banquet

The Rolling Stones

3/5

Time for Rolling Stones album number 3! It's been a while since I got one of these, about 4 months as a matter of fact. I did not like my first album of theirs, Aftermath, and I thought my second experience of theirs with Sticky Fingers was pretty good. Beggars Banquet was released between these two albums and, fittingly, my enjoyment of this album was between those two as well. I like this album significantly more than Aftermath mainly because it has less offensive writing. I was actually hopeful that I would get to experience an entire Rolling Stones album without an offensive song in it, but then "Stray Cat Blues" comes on and Mick Jagger just has to sing about having sex with a 15 year old! God damn it! Anyways, back to comparing this to their other albums, the sound is kind of in between those two, but it does lean closer to Sticky Fingers as a whole. There are some pretty good songs on here. The album's opener, "Sympathy for the Devil" is one of the band's most accomplished tracks, and for good reason. That song is pretty good. It has an interesting concept that is executed well. I think the album also ends on a good note with "Salt of the Earth," which is another good song. Not every song works, but the ones that do work pretty well. The overall sound is decent. It feels consistent, but not too consistent to the point of monotony. Overall, while this is not my favorite Rolling Stones album, it certainly isn't my least favorite. 3/5.

Sunday At The Village Vanguard

Bill Evans Trio

3/5

I can't believe I actually got this on a Sunday. That is hilarious. I love getting weird little coincidences like that on this journey. Anyways, this is a solid little jazz album. It serves as good background noise and that's basically what my thoughts on this album amount to. The sound is nice. All of the instrument playing is good. The album length is good. It's not too short, but not too long. The live nature of this album really isn't all that noticeable. You kind of forget that this is a live album until a song ends and you hear the audience clapping. That's really the only live element to this, and that's okay. I'm not really a fan of live albums anyway, so I'm happy with this. The compositions are good. Overall, while this album doesn't stand out to me much, it also doesn't do anything wrong. High 3/5.

Hotel California

Eagles

5/5

Now this is a great album right here. It's been a while since I got an album with a song I've definitely heard before. I think the last one was British Steel which I listened to about 3 weeks ago. Today, we have one of the best selling albums of all time, Hotel California by Eagles. I find it weird that they're called "Eagles" and not "The Eagles" but whatever. Anyways, this album absolutely deserves all those sales because it's great. I'll start with my one problem that isn't even really a problem. It peaks at the beginning. The title track off of this album might just be one of the greatest songs ever made. None of the other songs capture that perfection to quite the same degree, though they are all good songs. Everything that makes Hotel California a great song does apply to the other songs and the album as a whole, just to a slightly lesser extent. I do like the vocals, but the song and album as a whole stands out with the other aspects even more so than that. The writing is great, the pacing is effective, and the sound is amazing. I really like the guitar work. It lends itself to some great moments, with the highlight easily being the solo at the end of the title track. Overall, this is an amazing album that absolutely deserves the praise and fame it's gotten over the years. 5/5.

Natty Dread

Bob Marley & The Wailers

3/5

You know, I'm kind of surprised it took this while to get a reggae album. I got a ska album pretty early on, but that's not really the same thing, nor is it what I think of when reggae comes to my mind. If there's one artist that I think of when I hear the word "reggae," it would have to be Bob Marley. Because who else would I possibly think of? He was basically "The Reggae Guy" and for good reason. This album's pretty good. It makes me feel nice. The sound is pleasant to listen to while still having some depth to it. The singing feels very authentic and true to his culture. The lyrics are thoughtful and adds to this album's feel-good nature. Obviously, "No Woman, No Cry" is the best song on this album, though the other ones aren't bad. Overall, this is a solid album that serves as a good representation of a genre that I respect, but don't really feel all too passionate about myself. High 3/5.

Fishscale

Ghostface Killah

3/5

You know, I'm kind of surprised it took this long to get an album from a Wu-Tang Clan member given that there are five albums from the Wu-Tang Clan and its members on this list. Oh well, it's time to talk about Fishscale. This is a solid album. I like the variety in the songs. I think a big reason for this is because of how many producers are on here. There's quite a few of them on here, perhaps the most notable of which is MF DOOM. Given that he doesn't have any of his own albums on here, I'm happy to see that he has some representation on this list, even if this album did get removed from later versions of the book. I'm not a fan of skits in hip-hop albums as a whole, but the ones on this album aren't too egregious. Ghostface Killah's rapping is alright. I can definitely hear how he and other East-Coast rappers like Nas are cut from the same cloth. The album is a bit long, but I didn't really feel like it dragged too much. The writing is pretty good for the most part. Overall, while this is not my favorite hip-hop album I've gotten, it's still pretty decent. High 3/5.

The Doors

5/5

Man this is an amazing album. I've listened to an album from The Doors before. I liked Morrison Hotel and I also really like their self-titled debut. As was the case with that album, the highlight for me is Jim Morrison's singing, which still holds up as being very unique in the best way possible. The instrumental sound in this is very enjoyable. I really like the organ keyboard thing they've got going on. The writing is very interesting. This is perhaps most obvious with the final song, fittingly titled "The End." Not every song hits quite as hard as the best of the best from this album, but the best songs are truly fantastic and the worst songs are still pretty enjoyable. It's crazy to think that this was their debut! It's another debut album that absolutely deserves its inclusion on this list. Light 5/5.

Goodbye Yellow Brick Road

Elton John

5/5

You know, I wouldn't usually be excited for a 76-minute long album. That is, unless, it's from an artist that I'd want to listen to for 76 minutes at once. Fortunately, I am more than okay with listening to 76 minutes of Elton John, especially since this is some of his best work. This album's amazing! I love the variety in the sound of the album. You've got slower, more emotional songs like "Candle in the Wind" balanced out by fun, energetic songs like "Saturday Night's Alright for Fighting". Both styles work very well. I noticed a few themes that show up throughout the album like love and fame. That's pretty cool. Of course, Elton John's singing is top-notch, with the writing on the whole album being just as good. I've got to give props to Bernie Taupin for his work on this thing. Somehow this album doesn't drag on as much as one might expect. Is the album pretty long? Yes, and I think a song or two could've been cut. Regardless of that, this is absolutely an album that's worth listening to. 5/5.

E.V.O.L.

Sonic Youth

3/5

Time for another artist that I've heard stuff about but never really listened to! Sonic Youth is a pretty influential band that doesn't really get talked about a ton. This was one of their first albums to hit it big, with it being the first album with their "standard" line-up. I'm not entirely sure what to think about it. It's a fairly avant-garde album, which is something that has been pretty hit-or-miss for me. Some of the more avant-garde or artsy albums I've gotten are pretty good, while others are some of my least favorites of all time. Fortunately, this album leans much closer to the former. If there's any album I've listened to that I've thought "I hope this grows on me," it's this one. There's things to like here. The whole feel is very mysterious and dark. It's noisy, but not in an annoying way. This results in a unique sound that takes a while to click with you. It still hasn't fully clicked with me, but I have a feeling that it will eventually. The writing is interesting, with it taking influences from some unexpected places. I like that there are multiple vocalists with such different vocal styles. Overall, I like this album, but I feel like other Sonic Youth albums may end up being more my style. Still, I respect this album and may (KEYWORD: MAY) even bump up the rating if I revisit it in the future. High 3/5.

Paris 1919

John Cale

4/5

Wow. 200 albums. It's kind of hard to believe that I've made it this far. For 200 days now, I have listened to an album nearly every day. Some of those albums are iconic masterpieces that everyone should listen to in their life. Others are the complete opposite of that. Fortunately, most of the albums have leaned closer to the former than the latter. Even more fortunately for today, Paris 1919 by John Cale is one of those albums! I was a bit miffed when I saw that this of all albums was #200 initially. I mean, a solo album from a former member of the Velvet Underground? I was hopeful that the album was good, but I didn't really see much of a reason for this to be on here at first. However, a few things happened that changed my perspective on John Cale's inclusion on this list. For one, I realized just how expansive his career is. He didn't just work with the Velvet Underground. He's also had appearances on some other albums on this list, with one of them being Bryter Layter by Nick Drake. I love that album! I didn't know he was on there. Also, apparently his version of Hallelujah was the one used in Shrek. That's just awesome. Being in a Shrek movie doesn't automatically mean I'll like an album from an artist (see my review of Nighthawks at the Diner by Tom Waits), but it adds some credibility to their name in my eyes. On top of all of that, in addition to some other instruments, John Cale frequently plays the viola. I play the viola! The viola is such an underrated instrument, and I'm always happy to learn of more violists. Finally, there's one more thing that happened that made me understand this album's inclusion on this list. I listened to the album. I know, right? Honestly, this album's really something amazing. The sound immediately hooked me with the piano on the opening track. The variety in each song is very respectable and I like it. The singing is quite good. I think John Cale is a good vocalist who is, dare I say, better than Lou Reed. The writing is quite solid as well. Songs like "Andalucia" and the title track are just great songs in every regard. Overall, this album is a very pleasant surprise that is, in my opinion, better than any of the other 50-album milestones I've gotten yet. High 4/5.

Graceland

Paul Simon

5/5

It's kind of crazy that this is my fourth album with Paul Simon involved. Honestly though, I'm fine with it for a few reasons. I mean, two of them are Paul Simon and the other two are Simon and Garfunkel, so they're kind of different things entirely. On top of that, the two Paul Simon albums are pretty different. Hearts and Bones is kind of what you'd expect from "Paul Simon solo album." It's not bad, far from it actually. It's a good album. However, Graceland is just way better. It's so much more unique. The sound is fantastic. The multicultural influence adds to this experience to make it something truly special. The impact that this had regarding South African music was so huge that Nelson Mandela himself invited Paul Simon and his band to play in South Africa once apartheid ended. That's just awesome. I love the bass work on some of the songs. Everything here is just so fun and energetic. Paul Simon's singing is solid. The writing is nice. This album is just one of a kind and is very worthy of this list. 5/5.

Dub Housing

Pere Ubu

1/5

You know, I was really hoping this album would be good. It's one of the lowest rated albums on the website, and despite that I hoped that I would be able to see the value in it that others couldn't. So what if it's an avant-garde post-punk album? I've enjoyed avant-garde albums and I've enjoyed post-punk albums. They're not for everyone, but I was at least hoping that Dub Housing by Pere Ubu is just one of those things that fits that bill as well. But no... Unfortunately, the people on this website were right. This album's terrible. I'll start with the positive. The sound at times is not bad. I think that the instrumentals on the first few tracks gave me hope that this could be somewhat tolerable. The instrumentals for most of the songs have that Talking Heads vibe I was hoping for this album to have. That's it. That's the positive. I don't like anything else. The vocals might just be my least favorite vocals ever. I can't stand them. They're so ear-grating that it's not even funny. At least the vocals on albums like Duck Stab by The Residents were comical in a way. This one just hurts. The writing makes zero sense whatsoever. It's fine to have confusing writing if there's still a goal in mind. I don't think there was a goal in mind. These guys just shat out what they thought was quirky and let it release in stores. Finally, I said that the instrumentals on SOME songs were good. However, there are a few tracks, mainly on the latter half of the album, that are painful to listen to. You'd think that the instrumentals would be good given the lack of the horrendous vocals. And yet somehow, the instrumental "Thriller!" is probably the worst track on this album! I tried justifying in my head a reason for this to get a 2, but I just couldn't. This is awful. 1/5. And I'd still rather re-listen to this than Haunted Dancehall!

The White Album

Beatles

4/5

Oh boy. There is a lot to say about this album, mainly because of how much there is in this album. This is my first 90+ minute-long album for this project. I've gotta say, I'm pretty happy this was the first one. If my first one had been something I was unfamiliar with, it may not have been an easy listen. Fortunately, this is my fourth Beatles album, so I'm very familiar with the Beatles at this point. I've also thoroughly enjoyed all of their albums until now, and the White Album is no different. This is a great album, but it's not perfect. First off, let's get the obvious out of the way. This thing is really REALLY long and a lot of the tracks are kind of filler songs. Between that and the cultural impact, this is kind of the One Piece of albums. Now I'd much rather listen to 90 minutes of the Beatles than most other artists, but a 90 minute album is still very long and many tracks could've been cut. Anyways, the musical contents are great as always. You can't really go wrong with a late Beatles album. There are some truly amazing songs on here. From beautiful thought-provoking tracks like "Blackbird" to fun and heavy tracks like "Helter Skelter." There are definitely some weaker tracks though. Fortunately, most of them are short and fairly insignificant like "Wild Honey Pie" and "Why Don't We Do It In The Road?" Even then, those songs aren't really confusing or anything, just kind of there. The same can not be said for "Revolution 9." Back in my OK Computer review, I brought up the idea of "weird songs" like that album's "Fitter Happier" or "The Murder Mystery" from The Velvet Underground. "Revolution 9" might just be the most infamous "weird track" of them all. I didn't care for it, but I somewhat respect it in a similar vein to the latter of those two earlier examples. While I'm talking about the "weak tracks," some of you might be wondering, "What about Ob-La-Di, Ob-La-Da?" You know what, I don't get the hate for that song. It's perfectly fine. Anyways, the sound of this album is great, the writing is good, and the best songs are masterpieces. This is a Beatles album. I don't think I need to explain anything else. The White Album is a great, albeit needlessly long and bloated album. High 4/5.

Electric Music For The Mind And Body

Country Joe & The Fish

3/5

Okay. So this album is called "Electric Music For The Mind And Body." That implies that is some sort of electric album, right? However, this album comes from Country Joe and the Fish, which to me implies that this is a country album. Well, as a matter of fact, it's neither! This is instead the millionth psychedelic rock album on this list. You know what that means! It's fine. I'll give this album some credit. I think the sound is pleasant enough. It's a bit trippy, but it's not painful to listen to. The electric guitar (I guess there is something electric about this music after all) is pretty solid. The sound is pretty raw at times, which is okay. I actually like the singing quite a bit. It's not my favorite, but it's pleasantly surprising. The writing could've been a bit better, but it's not egregiously bad or anything. Overall, while this album gets props for being decent, it doesn't really need to be on this list. Light 3/5.

American Idiot

Green Day

5/5

You know, my track record for punk albums hasn't been the best so far. I mean, there's a reason why, as of me writing this review, punk is listed in the "worst genres" part of my summary. Until now, there was really only one punk album I'd gotten that I felt passionate about (Fresh Fruit for Rotting Vegetables). On top of that, while it's not necessarily a bad thing, every punk album I've gotten until now, with one exception, was from the 70s or 80s. What about the 21st century punk, huh? Well, if you want a punk album from this century, you'd be hard-pressed to find one better and more important than American Idiot by Green Day. Green Day has always been a band that I've liked, but have never really dived deep into. I've gotta say, American Idiot is a modern masterpiece. The sound in this thing is just amazing. The guitar and bass work is practically perfect, with the riffs for each song standing out in their own unique ways. The drumming is really something special. Tré Cool is just an absolute beast. The singing is great. I think Billie Joe Armstrong is a strong contender for the best singer in punk. The way each song stands out is just amazing. You have of the best energetic songs I've ever heard with songs like the title track balanced out by deeply emotional tracks like "Wake Me Up When September Ends." The addition of the Bohemian Rhapsody-esque multi-part suits with "Jesus of Suburbia" and "Homecoming" do a lot to aid in this album's story. Speaking of which, let's talk about the story. This is a concept album through and through. The overarching narrative is quite possibly one of the best I've seen in an album. The sharp song transitions represent the rapidly changing mental state of the main character, and the story actually feels complete. Overall, this album's awesome. It might just be one of my favorite albums of the project so far. 5/5.

Arc Of A Diver

Steve Winwood

3/5

I feel like this is the album that I've had the least to say about. It doesn't have a ton of cultural significance, but it's not too low to the point of there being no good argument for, at the very least, Steve Winwood himself having an album on here. His career has had some notable points. The album's sound is solid. It's very Steely Dan-esque in both the singing and sound. The writing is okay. Nothing about this album is groundbreaking, but the album is perfectly serviceable to the kinds of people that this kind of music appeals to. High 3/5.

Out of Step

Minor Threat

4/5

Alright, another punk album! Getting two punk albums in three days isn't something that I really wanted to do, but it's something that I'm fine with on account of both of the albums being good. While this isn't my favorite punk album, it's FAR from my least favorite. I quite like this album. The vocals are the make-it-or-break-it thing for me when it comes to punk. Entire albums can be ruined for me if I don't like the vocals. Fortunately, I enjoy Ian MacKaye's vocals. As is often the case, the instrumentals are where this album really stands out. Every song is just so high-energy and fun, and I love that. The guitar riffs and bass playing is amazing. The drums do feel a bit samey for each song, but that's not a big deal. That kind of applies to this album as well. The album is a bit repetitive, but that's not a big issue for two main reasons. Reason 1 is that the album is only 22 minutes long, so the album doesn't really give you enough time to feel burnt out from hearing similar songs for a while. Reason 2 is that even though the songs sound the same, that song that each one sounds like is pretty good, so I don't really care. The writing is very respectable and I appreciate what it has to say. Overall, this is easily one of the better punk albums I've gotten, and a pretty influential one despite Minor Threat only having one album to their name. 4/5.

Come Away With Me

Norah Jones

3/5

This is a very interesting album to look at. It's a slow, melodic, almost jazzy album released in a time when popular music was dominated by pop, rap, and the occasional alt-rock or nu-metal band. And yet somehow, this album sold over 27 million copies and is one of the best selling albums of all time. What? I never hear people talking about Norah Jones, so I'm not exactly sure what to say. Then again, I wasn't around in 2002, so maybe she was much bigger of a deal back then. Still, the high sales are enough to warrant this album being on this list. As for the quality? It's fine. I like the singing. I think the instrumentals are pretty decent. The album is pretty repetitive though, and the writing didn't really stand out to me that much. Overall, this album isn't really my thing, but I get why it's on here. 3/5.

Remedy

Basement Jaxx

2/5

Well, that was an album. I certainly listened to it. You know, the group who made this album, Basement Jaxx, complained that dance music of the time was "very shiny and so robotic" and that there wasn't much feeling in it. That's how I feel about this album. This is one of those albums that really don't need to be on here, but don't particularly upset me with their inclusions. I mean, this album sold approximately a million copies, so it's not like there isn't an argument for this album to be on the list. It's just not a very compelling argument. This album sounds fine. Some songs are pretty okay, others are kind of annoying. The vocals are varied, I'll give the album that. The writing is uninteresting and repetitive, kind of like this album as a whole. Did this really need to be 57 minutes long? I don't think so. This album's okay. I'm just gonna move on now. 2/5.

The Nightfly

Donald Fagen

4/5

I feel like I've gotten a lot of solo albums from former members of well-known groups lately. Well, okay, maybe it's not "a lot," but with me getting albums like Fishscale, Paris 1919, Graceland, Arc of a Diver, and now this all in the span of two weeks, it's definitely noticeable. Fortunately, none of those other albums were bad, and The Nightfly is not an exception. This is a good album. The sound definitely reminds of Donald Fagen's work with Steely Dan. This is just a feel-good album. I like the singing and the instrumental sound. They're both very pleasant to listen to. This album has a good blend of complexity and simplicity. With only 8 songs, there really isn't a bad one on here. I like the writing. Overall, this is a nice album that I'm happy to have listened to. 4/5.

D

White Denim

3/5

You know, I wasn't sure how I'd feel about this album at first. This is one of those 2010s album picks that feel like they were made as guesses to what would become influential rather than what did become influential, as this band and album are completely new to me. However, I saw praise for this album when I did the research, and the reviews on this website seem mostly positive. Fortunately, I like the album. I wasn't sure of it at first, but it grew on me as I kept listening. The singing is solid. The writing is interesting. The sound is pleasant to listen to. It's got a good blend of modern and classic. I can definitely hear inspiration from groups like The Grateful Dead. Overall, while this inclusion in the book was a bit preemptive and this really doesn't need to be here, I am not upset at all that I listened to this solid album. 3/5.

The Fat Of The Land

The Prodigy

3/5

Here we have The Fat of the Land by The Prodigy. There is a reason for this album to be on the list. It's decently popular. Apparently it's sold over 10 million copies, which is nothing to scoff at. Also, I've heard of this band and one of the songs on this album. Granted, I only know of it because of Epic Rap Battles of History, but that's still me having heard of the artist. Anyways, is this album good enough to balance its popularity? Yeah. I'd say it is. It's not my favorite album. Hell, it's not even my favorite album of 1997. But, it isn't my least favorite of 1997 either, and that's good. This album's pretty fun. The sound is bombastic and I enjoyed each of the songs. The writing isn't particularly meaningful, but does it really have to be? In an album like this? No. No it doesn't, and that's okay. This album succeeds at its goal. Are there problems? Yes. The album is too long, in my opinion. That's basically the one problem that I can describe without having to go into extreme detail about why this album just isn't really my thing personally. So yeah, this is a good album, but not one that personally appeals to me all that much. 3/5.

Pornography

The Cure

4/5

Okay, I highly doubt that this was intentional, but I got this album on the anniversary of the album releasing! That is just insane, assuming that it is a coincidence. It's kind of eerie, just like this album. I've heard great things about The Cure, so I was excited going into this album. Fortunately, unlike other highly praised bands with dark slow sounds (I'll understand you eventually, My Bloody Valentine), I immediately see the appeal of this album. This album has been considered post-punk, but the only thing that reminds me of post-punk at all is the vocals. Even then, Robert Smith's vocals are still different and unique enough to make this album something special. The sound is dark and mysterious, but I like it. I can really feel the atmosphere of what they were going for here. This album is seen as a pioneer of gothic rock, and gothic is definitely a word that describes this whole album. The writing is intriguing as well. There's actually a few common themes that loosely tie into the album's title. Well, okay, the album isn't actually about pornography itself. Rather, there are loose themes of sex and the nature of it sprinkled into a few of the songs. Overall, I like this album. I am very excited to get into this band even more with their 2 other albums on this list. Light 4/5.

Sweet Baby James

James Taylor

4/5

I genuinely don't know if I've heard of this guy before. I feel like I've heard the name James Taylor before, but the name is so generic that I may have either made the name up on my own, thought of a different person, or misremembered an amalgamation of other names. It is possible though that I have heard of this guy because he seems to have a decent cultural impact, with this album selling over 3 million copies in the US. So, is this album good? Yeah. I liked it. The singing is good. It works for the style of music he wants to make. The sound is also quite nice. The guitar work is solid and the rest of the sound is also pleasant. There is a decent variety in the songs. The writing is thoughtful and there isn't really a bad song on here. Some songs blend together a bit, but others stand out. Overall, this is a pretty good album. I would be surprised to see that it didn't win the Grammy for album of the year, but it all makes sense when you see that it lost to Bridge Over Troubled Water. Light 4/5.

The Wildest!

Louis Prima

3/5

You know, Louis Prima wasn't really the trumpet-playing Louis I expected to see on this list, but I'll take him. I mean, Louis Armstrong probably should be on the list, but I don't think Prima "stole his slot" or anything. I don't know why Armstrong isn't in the book anywhere, but at least he has something on the user list, so I'll get there when I finish the whole 1089. Anyways, this is a good album. I enjoy Louis Prima's singing. It's very joyful and serves as the perfect voice for an animated orangutan. Another artists named Keely Smith also provides vocals on this album, and hers are amazing as well. The instrumentals are very enjoyable to listen to as well. There's a very good blend of the popular genres of the time. Rather than feeling like any other 50s rock and roll album or any other jazz album, this album blends the two to stand out in the crowd. The writing, while slightly questionable at points, is never offensive or even ill-intentioned. It's just kind of funny to hear backing vocals of the word "gigolo." Overall, this is solid album that I'm happy to have listened to. High 3/5.

The Dark Side Of The Moon

Pink Floyd

5/5

I mean, what do you want me to say? Am I really going to argue against The Dark Side of the Moon being called one of the greatest albums of all time? No! And I'm not going to do that because The Dark Side of the Moon is absolutely one of the greatest albums of all time! Everything about this album just works perfectly. The songs all flow into each other seamlessly. This might just be the most cohesive album experience I've ever had. The connecting themes of life make this a truly unforgettable listen. The sound is phenomenal and the singing is great too. The writing is compelling and immersive. I get it. I'm not special. I know everyone calls this one of the greatest albums of all time. But for me to argue against that would just be lying to myself. This is easily one of the best albums I've ever heard. It might actually rival Abbey Road for my current favorite album on the list. I think this goes without saying, but this album gets a 5/5.

Cut

The Slits

3/5

I'm gonna be real with you all, I was dreading this album when I first got it. I mean, an English punk-reggae fusion album from 1979? That sounded like Hell to me. I just "knew" that the vocals would be annoying, the lyrics would be meaningless, and the songs would all sound the same. I was so caught up in being upset that I got such a "bad album" right after The Dark Side of the Moon that I didn't even realize until just before I listened to the album that it was from an all-female band! I just thought the album cover was a random thing they found from like a movie or something. Anyways, this album, despite my preconceived notions, wasn't bad. It was kind of like Germfree Adolescents by X-Ray Spex in a way. A surprisingly tolerable English punk album with a female vocalist that does something instrumentally to stand out from other punk albums. My main worries were that the vocals would be annoying. Fortunately, while they were a bit quiet and hard to understand at times, I wouldn't say I found them annoying. The writing has variety and isn't meaningless. The sound is fine. It's perfectly fine. I think I kind of enjoyed it. This is FAR from my favorite album I've gotten for this project. Again, I listened to The Dark Side of the Moon yesterday. This is nothing compared to that album. But, I respect this album. I'm not upset that I listened to it. I can see why it's on the list. This is an album with value. It's just not really my thing personally. Light 3/5.

In The Court Of The Crimson King

King Crimson

5/5

You know, I feel kind of bad for the last album I got. Cut by the Slits should be an album that I remember for what it is. A unique, inspired album that, while it isn't really my thing, is an album worthy of my respect and time and was way better than I thought it would be. Instead, it seems I will only be remembering that album as "the one that came between two of the greatest prog rock albums of all time." I got The Dark Side of the Moon the day before, and now I've got In The Court of the Crimson King the day after. That's neat. Anyways, I say these are two of the greatest prog rock albums of all time not just because they both have immense cultural significance, but because they're also both amazing. I already talked extensively about Dark Side in that review, so now it's time to explain why I like King Crimson so much. Compared to Dark Side, In The Court is a much more somber album, with the lyrics focusing on heavy allegories for the Vietnam and Cold Wars. This is perhaps most evident in songs like "Epitaph" and the title track. The variety on this album is great too. Despite there only being 5 songs, it feels like there's more, mainly because some of them are split into multiple sections. If you compare a song like "21st Century Schizoid Man" to one like "I Talk to the Wind," you get two pretty different sounds. I've mentioned 4 out of the 5 songs now, so I might as well say something positive about "Moonchild" just to say something about all 5 songs. I like that one. Despite being 12 minutes, it surprisingly doesn't overstay its welcome. None of the songs do, and neither does this album. The singing is pleasant, even with the crunchiness of the aforementioned "21st Century Schizoid Man." I love the sound. The chord progressions are just beautiful. Overall, this is another amazing album that I get the hype behind. 5/5.

The Clash

4/5

You know, if I had a nickel for every time in the past week that I got one of the greatest prog rock albums of all time immediately followed by a 70s English punk album with a hint of reggae influence, I'd have two nickels, which isn't a lot, but it's weird that it happened twice. However, while Cut by The Slits, as solid of an album as it is, isn't generally considered one of the greatest punk albums of all time, the debut album from The Clash is. The Clash is one of the most iconic and important punk bands out there, or so I've heard. After listening to this album, I can see why. This is a damn good album right here. I enjoyed it. There's a decent amount of variety here, which in an early punk album is practically a godsend. In terms of sound, the tone is consistent but not repetitive. When it comes to lyrics, while there are common themes throughout the album, each song doesn't feel like a rehashing of the last one. The sound, by the way, is quite good. I actually like the singing! I really like the guitar tone. The bass and drums get their jobs done perfectly. For some reason, this album feels longer than it actually is. I don't know why, but this just felt a bit longer than 35 minutes for some reason. That isn't a bad thing though. There's good messages in this album. There's even a cover of a reggae song that fits perfectly into the album! Overall, I really like this album. It is definitely one of the better punk albums I've gotten so far. High 4/5. I'm probably gonna save the 5 for London Calling, whenever I get it.

Tonight's The Night

Neil Young

4/5

You know, it's been a while since I got an album from Neil Young, and even longer since I got one that didn't have "& Crazy Horse" in the artist credit. Although, Crazy Horse is still important to this album's story, as it was dedicated to one of the band's then-recently deceased members. Anyways, this album's alright. I don't really have any major issues, but I still feel like something small might be missing. The positives of the other Neil Young albums I've gotten are still here. I like his singing, he's good at writing, and the sound is great. There's some common themes, which is usually nice to see. This isn't my favorite Neil Young album so far. If anything, it's probably the least interesting so far. However, this is still a solid album that I would consider good. Light 4/5.

Fire Of Love

The Gun Club

2/5

Okay. I feel like I've gotten a lot of punk lately. Fortunately, most of it has been good, but it's still something I've noticed. Anyways, is Fire of Love by the Gun Club one of those good albums? Eh. I don't know. This album just doesn't interest me. It doesn't really do much to stand out at all. The singing is okay. It kind of sounds like Mick Jagger at some times, Lou Reed at others, and some third artist that I can't think of at the rest of them. The instrumental sound is also just kind of okay. It's not the most repetitive album I've gotten, but there also really aren't any songs that stick out to me as being truly great. The writing could be better. Again, it could be worse. This still isn't the worst punk album I've ever heard. But that's all this album really has going for it. This album is the definition of "it could be worse." I mean that in a few ways, as there are many ways that this album could've been worse. It could've been way longer, the vocals could've been more annoying, they could've said the N word a few more times. If any or all of that stuff applied, there could be a 1/5, and if the album was more interesting it could be a 3/5, but as it stands, this album is gonna get a 2/5. Also, the album cover is really bad.

All Directions

The Temptations

3/5

Man, it has been a while since I got some classic soul music. I think the last one I got was that Ray Charles album I listened to all the way back in February, meaning that it's been nearly 3 months! And you know, I've kind of missed it. Because of this project, I have a newfound appreciation for music like this, and this album is a good representation of it. The sound is nice. I enjoy the singing, and the multiple members of the Temptations allows for more variety in each song. The instrumentation is also great. I think the highlight of the sound in this album is probably this album's biggest hit, "Papa Was a Rollin' Stone." Needless to say, that song is great, and the rest are quite good as well. The writing is solid as well. With only 8 songs and a few repeat themes, there isn't much ground that gets covered, but what they do sing about fits perfectly in an album like this. Overall, this is a solid album that I enjoyed. It's not the best soul album I've gotten, but it's still quite good. High 3/5.

Supa Dupa Fly

Missy Elliott

3/5

Well, I had a whole review for this, but I accidentally closed the tab and I don't feel like writing all that I said again, so I'll be kind of brief. I see the value in this album, but it's not really for me. Missy Elliott is iconic, yes, but I just don't really feel much with this album. I'll start with praise. I think she is a fairly solid rapper. The features are okay. The beats and music production are quite good. Timbaland definitely has a talent for it. As for my problems, it really just boils down to "it doesn't personally speak to me." The writing is kind of weak. I feel there's too many shoutouts to the featured artists. I obviously support giving credit where credit's due, but this is kind of overkill. The album was a bit long. None of the songs were that memorable to me. It felt kind of repetitive in a way. Overall, I understand why this album's on here, but it's not my thing and I have problems with it. Low 3/5.

The United States Of America

2/5

Jesus Christ there's more psychedelic rock on here?! Isn't there enough already? Whatever. I don't like this album very much. I think that "The United States of America" is both a terrible album and band name. That's the name of a country not a band. Anyway, as far as music is concerned, this is annoying. I was able to respect this album for having a female lead vocalist, which led to the album standing out in comparison to its competition, but then she just stops singing about halfway through and suddenly it turns into every other psychedelic rock album ever. There's some parts that are just really noisy for no particular reason. While it does fortunately lean closer to something like Frank Zappa than something like Throbbing Gristle, I still think the album's bad, just not as bad as the latter. Still, not as good as the former. Also, the writing is just kind of okay. I've seen multiple people on this site compare this album to both Sgt. Pepper's and Os Mutantes. This album is nothing in comparison to those albums. I really like those albums, this one is just kind of annoying. At least the strings are good. High 2/5. It's at least better than the other 2/5s on account of the fact that I'm considering a revisit of this album in the future when I'm in a better headspace.

First Band On The Moon

The Cardigans

3/5

Alright. This is good. I think this is a pretty fun album. It definitely feels Scandinavian. I can hear similarities to artists like Björk and ABBA. This is a nice middle ground between the simpler, upbeat nature of the latter and the more experimental, occasionally melancholic nature of the former. I like the singing. Again, it definitely reminds me of Björk. The sound is very pleasant to listen to. It's cheery, but not mindless. The instrument work is quite good. The writing is also solid. I think the funniest thing about this album is that it has a cover of Iron Man by Black Sabbath. As soon as I started listening to the album, I knew that the Iron Man cover would be something special. It absolutely did not disappoint. I can't say I ever expected to hear a Black Sabbath cover in music that sounds like this, but I'm happy to have listened to it and this album before I die. High 3/5.

Feast of Wire

Calexico

3/5

You know, sometimes I come across albums on this list that really have no reason to be on the list. Some of them back this up by being garbage. Other lesser-known albums manage to be unique in some way and also not be terrible. Fortunately, Feast of Wire by Calexico is much closer to the latter than the former. While I have never heard of this and don't really think it needs to be on the list, I do respect this album for trying something kind of new. This album is a blend between indie rock and alternative country. While I have gotten plenty of albums that fit the former, I really can't say I've gotten to listen to much alternative country at all. I think it's a lot better than mainstream country, at least in the present day. I think modern country is terrible, but this is alright. The singing is solid and the writing fits the vibe. The sound is enjoyable. The instrumentals that are dispersed throughout really showcase this. Overall, I'm happy to say that this relatively unknown band has made a bit more money thanks to me, but I still don't really feel all that impressed and wouldn't really listen to this again any time soon. High 3/5.

A Seat at the Table

Solange

4/5

I don't know how to start this review. It's getting hard to come up with unique ways to begin without feeling like the review just starts with no build up. Anyways, this album's good. Solange is an artist that doesn't get much discussion surrounding her. When it comes to musical members of the Knowles family, pop culture gravitates towards her older sister. What's her name again? Oh right, Beyoncé. So yeah, Solange was always going to have a hard time living up to her sister. But honestly, I think she succeeds with this album. I haven't really dived into her sister's work, but I can tell that this album is up there in quality with it. The themes and messaging of this album are quite great and very respectable. Everything feels connected without the album feeling repetitive. I like the singing. The instrumental sound has the modern soul feel that has proven to appeal to me with albums like Kiwanuka. The album has 21 songs, but a lot of them are short interludes, so it's really more like 12 songs. The album fortunately doesn't drag despite lasting for over 50 minutes. Overall, this is a great album that I can see having a positive, somewhat long-lasting legacy. Fantano gave this a light 8 and I kind of have to agree with him. That translates to a light 4/5.

Gunfighter Ballads And Trail Songs

Marty Robbins

4/5

Howdy y'all! (I'm sorry, I had to.) If there's one thing that you can do to feel like a badass cowboy, it's busting out some Red Dead Redemption 2 with Marty Robbins playing in the background. Unfortunately, I don't own RDR2, so I guess I'll just stick with the Marty Robbins. Gunfighter Ballads and Trail Songs is an absolute classic of an album. It's just a nice collection of, as the name suggests, gunfighter ballads and trail songs. The songs are all quite similar to each other, but I choose to look at this album less as a repetitive collection of similar songs and more as an early concept album pertaining to cowboy life. If you envision the cowboy singing this with a guitar, then the album feels very atmospheric and almost like a journey of sorts. The singing, by the way, is great. The tone of the singing is just perfect for this kind of music and the multiple layers of the singing aids in making the sound as good as it is. The instrumental sound also fits the vibe perfectly. The writing and storytelling is quite good. Of course, the album's opener "Big Iron" is the biggest highlight for me, but the other songs are also of a similar level of quality. Overall, this album is great and serves its purpose extremely well. High 4/5.

Surfer Rosa

Pixies

4/5

It has been a hot while since I got a Pixies album. My first album of theirs was Bossanova, their third album. But that's not the only context where it's the third album, as it's also the third album that I ever listened to for this project all the way back in October 2023! I've been pretty excited for this day to come ever since, as Surfer Rosa as seen quite a bit more acclaim. So, does this album live up to the hype? Yeah, I think it does. This is a much more aggressive album in comparison to Bossanova. The sound is more raw thanks to Steve Albini's production. The writing is also more taboo and intense. There's some great songs on here, but all of them are eclipsed by what is easily the band's most popular song, "Where is my Mind?". While I do agree that it's an amazing song and it's probably the best on the album, I can't help but feel that it's kind of out of place. Like, the other songs are quite heavy and written about things like sex and violence, and then you have this slower song about scuba diving (though that is just the literal interpretation). This is one of those rare albums where being loud and noisy actually works. Still, it isn't quite perfect enough to warrant a perfect score. High 4/5. Maybe Doolittle will be the one to break the barrier.

Come Find Yourself

Fun Lovin' Criminals

2/5

Well, that was an album. It kind of reminds me of Fly or Die by N.E.R.D. but worse. This one didn't do it for me. I respect the genre blend, I guess. The sound is mixed. Some songs are alright, others are kinda boring. There's some weird tonal shifts in this. I'm not a fan of the vocals. The writing is okay. I was really worried that there would be constant band name drops given that they said the phrase "Fun Lovin' Criminal" in the first two songs, but those were the only times the phrase was said in the album. This thing's pretty long too. It's kind of all over the place, honestly. It's also kind of concept album? Interesting. Anyways, this one just doesn't appeal to me. High 2/5.

Second Toughest In The Infants

Underworld

3/5

Sure. Why not put this album on the list? Surely there aren't any other albums that deserve to be on this list more (there are). Whatever, at least this album is okay. I was really worried that this would be another Haunted Dancehall situation. I mean, these are both mid-1990s British techno albums that last over 70 minutes each. Can you blame me for thinking this would be garbage? Fortunately, even before listening to Second Toughest in the Infants (what?) I saw that the wikipedia article was longer, so clearly this album is more deserving of being on the list. Fortunately, this album's actually not garbage. It's far from my favorite album, but I don't hate it. The sound is actually good. It's not the most interesting, but it's not bad either. There are definitely other albums that do this sound better though (Violater, my beloved). The singing is alright. The sound variety is decent. The writing is certainly unique. My biggest problem, of course, is how long this thing is. Did it really need to be 73 minutes long? I don't think so. Still, this is solid background music. If you ever have some work to do for 73 minutes, maybe put this on in the background. You might like it more than I did. Low 3/5.

Harvest

Neil Young

5/5

And for the third artist to give me four albums, we have Neil Young with the album Harvest. I've liked the Neil Young albums I've gotten so far, but unlike the other members of the 4-album club (which as of right now is comprised of Bob Dylan and the Beatles), none of his albums have yet to cross into 5 star territory. However, if there's any album of his that can do it, it's probably Harvest. I mean, it's his best-selling album, many have called it his best album, and it even got a JoJo stand named after it! It passes all of the tests for if the album deserves to be on the list or not. So, does the album live up to the hype? Yes. Yes it does. Neil's singing is still good. The instrumental sound in this album is great. It's simple, but very pleasant. What elevates this album to a whole new level for me is the songwriting. Between the four albums of his I've listened to now, the songwriting is absolutely at its peak in this album. The tone of the whole album is just top-notch. Do I feel like finally giving Neil Young a 5 star rating? Yep. This is it. 5/5.

Back At The Chicken Shack

Jimmy Smith

3/5

This is one of those albums that really doesn't need to be on here but doesn't anger or even baffle me with its inclusion, unlike other albums. (Am I just gonna be known as the guy that hates Haunted Dancehall?) Anyways, Back at the Chicken Shack doesn't upset me with its inclusion because its a perfectly fine album. The musical contents are solid. The writing is nonexistent, but that's okay. Instrumental albums are valid too. The sound is nice. It does feel kind of samey throughout, but with only 37 minutes of run time, it doesn't drag or get old. This album isn't very compelling, but it also gives me no reason to think negatively of it. Light 3/5.

A Love Supreme

John Coltrane

5/5

I can't say I expected two jazz albums in a row, but hey, I'm here for it. Back at the Chicken Shack was silly jazz, but now it's time for the serious stuff. It's time for what is arguably one of the most important and greatest jazz albums ever released, A Love Supreme by John Coltrane. I have consistently seen this album praised as being a masterpiece of jazz. Do I agree? Of course I do. Am I really going to deny this album the praise it deserves? No! This thing's amazing! Despite not having any lyrics aside from "A Love Supreme" in the first song, there's a feeling of raw emotion that comes from the music here. You can tell that this music meant a lot to Mr. Coltrane. The music by the way is an absolute marvel of musical prowess. The technical skills behind the instrument playing is beyond perfect. The album is only 33 minutes, and because of that, this one of the only albums I've ever listened to that makes me wish it was longer. Still, as it is, this thing is an absolute masterpiece. If you've never been able to get into jazz as a genre, I feel like this album would be a great way to get in to it. 5/5.

Dire Straits

4/5

Dude. I had no idea Dire Straits was this good! Dire Straits is a band I've heard of, but I never really checked them out before. After listening to their self-titled debut, I see the appeal. This whole thing is just a very pleasant smooth experience. I like the vocals. I can hear a slight influence from artists like Bob Dylan but I can still hear that Mark Knopfler is a pretty unique singer. Speaking of Mark Knopfler's work on this album, the guitar work is great too! He, along with his brother David, allow the band's music to sound as smooth as it is. The writing is solid, with the tone being very consistent, but not too repetitive. There really isn't a bad song on here. Obviously, "Sultans of Swing" is an absolute classic, but the other songs are just as good. This is a great introduction to a band I'm excited to hear more of. High 4/5.

Bat Out Of Hell

Meat Loaf

4/5

It's time for another one of the best-selling albums of all time! Here we have Bat Out of Hell by Meat Loaf. Given the name of the album (and maybe the artist) and the album cover, you'd think this was something super heavy and dark. While this album does have rock elements to it, it's fairly soulful as well. Like, most of these songs could be classified as ballads. Anyways, despite being misled by that, the album's pretty good. I like Mr. Loaf's vocals. They're very good. The writing is mostly solid. The instrumentals are great. I like the disparity between the hard rock and piano ballad parts of songs. Is this album pretty cheesy? Yeah. Do I care? No. While this isn't my favorite album, not by a long shot, it's still a great album that absolutely deserves to be on this list. High 4/5.

Being There

Wilco

3/5

I was not looking forward to this album one bit. Of all the artists I've gotten albums for already, Wilco was certainly not on the list of artists that I'd want to listen to for 76 minutes straight. I thought that their so-called magnum opus, Yankee Hotel Foxtrot, was pretty good, but not great, and I definitely don't think they need three albums on here (one of which is with another artist that I don't care for, Billy Bragg). However, this album pleasantly surprised me. I mean, at least the album's 76 minutes of songs that actually stand out from one another rather than 76 minutes of pure boring garbage (I'm looking at you Haunted Dancehall). The praise I gave to YHF still applies here, but with a much longer runtime. The singing, writing, and instrumental sound are all solid. I respect alternative country for doing its own thing and not blending in with the modern corporate country that I loathe so much. Overall, I don't want to listen to this again, but I may have to revisit Yankee Hotel Foxtrot as I can clearly see that Wilco isn't a bad band at all. 3/5.

Twelve Dreams Of Dr. Sardonicus

Spirit

3/5

Look, there's only so many times you can listen to a 60s/70s psychedelic rock album and have it still interest you. This album's good, but I'm probably going to forget about it. Don't get me wrong, I like the album. The sound is nice. The singing is good. There's good variety in the songs, so at least the album isn't repetitive. The pacing works. The writing is decent. This is a pretty good album that just kind of has the unfortunate circumstances of being the 35th psychedelic rock album I've listened to for this project. It's a solid album, but there's certainly better ones I've listened to. High 3/5.

Green

R.E.M.

4/5

And for the next artist to be added to the three-album club, we have R.E.M.! It's been like 5 months since I listened to an R.E.M. album, so I'm more than okay with listening to Green today. I though Murmur and Document were pretty good, and Green is no different. Well, okay. It's different, but it's still pretty good. It's pretty clear that the band went through a shift in sound at one point. Comparing this album to an album like Murmur or even Document to an extent is kind of crazy. As for what I like more, I'm not sure. It's all great. Of course, I still like Michael Stipe's singing, and the instrumental sound is still great. The writing is also very good. Some songs are a bit basic, but you also have songs like "The Wrong Child" and "Orange Crush" that stick it own terms of what the songs say. "Stand" is a really good song too. I had a bit of a moment when I realized that was the song that played in that one Parks and Rec scene with Ben's stop-motion movie. I don't have much to say. My opinion of R.E.M. is still quite positive. I think I might like Document a bit more, but it's a close call. High 4/5.

The Joshua Tree

U2

5/5

I mean, it was kind of inevitable, wasn't it? Knowing the albums I've gotten on the list so far, it was kind of obvious that U2 had to be on here somewhere. But you know what? I'm not gonna argue against them. They're a very popular band, and The Joshua Tree is their best-selling album. This thing that sold over 25 million copies, so I agree that this album should be on the list. You wanna know another reason why I think this album deserves the inclusion? The album's really good. I think Bono's singing is pretty solid. The sound of the album is pleasant. It is a bit repetitive in the instrumental department, but as long as the sound is good, that's not a huge issue. The writing is varied though. There are overarching themes, but it doesn't feel bland to me. What I really like is that this album takes inspiration for the writing from various different countries. Obviously, there's an Irish influence given the origin of the band, but there's also influence from countries like the US, UK, and even some Latin American countries with the album's closer, "Mothers of the Disappeared." Overall, this is an absolute classic that definitely deserves its inclusion on the list. Light 5/5.

New York Dolls

2/5

Hmm... a band that prominently performed in drag and were often rejected by labels out of fear they were gay? On the first of June?! Wow. Of all the coincidences pertaining to this project, this may be one of the funniest yet. As for the album itself? I didn't really care for it much. It's a pretty run-of-the-mill 70s hard rock album. The singing is okay. Not bad, but it doesn't really stand out. The instrumental sound is solid. There's nothing fundamentally wrong with it. It, again, just doesn't stick in my head. The writing is 70s rock writing. They sing about drugs and women. What a surprise. Overall, It definitely feels like an early Rolling Stones album. I don't really like early Rolling Stones that much. I see the value in the album, but it doesn't really appeal much to me myself. High 2/5.

Ambient 1/Music For Airports

Brian Eno

3/5

Okay. Ambience. Sure. I mean, it's got Brian Eno's name attached to it, and he's one of the greatest producers in music history! I don't really know what I was expecting, and I don't know what to say. It's 42 minutes of ambient music. But hey, it's some great ambience. I listened to this while drawing and I gotta say, it was a pleasant experience. The sound is quite enjoyable. Would I want to listen to this in an airport? I mean, it's not the most fitting in my opinion, but I certainly wouldn't be upset if this started playing. The instrumentation is quite good. Overall, this is probably one of the most important ambient albums of all time, so it deserves the inclusion on the list. High 3/5.

Ágætis Byrjun

Sigur Rós

5/5

Boy do I love being able to pronounce the names of albums! It's a shame this album's name is in Icelandic, a language I know nothing about. However, that is the one thing about this album that gives me shame. Even then, it isn't really shame. I was just joking, and I learned how to pronounce the name of this album. Everything else about the album, though? I love it. I was really worried that I wouldn't "get" this album. This is an album that I've seen quite a bit of praise for online, but I wondered if this would be another "m b v" situation or not. Fortunately, it's not (I'll still give My Bloody Valentine another shot when I get to their other albums on the list). This Sigur Rós album is one of the most unique albums I have ever heard, and it's amazing. If there's one word I can use to describe this album, it would be "ethereal." The sound is so interesting. I feel like I've escaped the confines of the planet Earth. Even the somewhat noisy parts at least sound cool. This album is like the perfect blend of Portishead, Björk, and some other thing that I can't think of. The singing is nice. I don't understand it, but from the research I did, the songs have interesting writing. I think the biggest accomplishment of this album (other than arguably being the most important post-rock album ever released) is that it kept me hooked for 72 whole minutes. With practically every other 70+ minute long album, I've complained about it being too long. This? No complaints. I was enticed with every single song on this album. This is an easy 5/5 for me.

The Marshall Mathers LP

Eminem

4/5

Would you look at that? We've got a topical album today! Because of his recent single and upcoming album, people have been talking about Eminem more than they have been for some time, so getting this album when myself and many others are thinking about Eminem is pretty neat! Anyways, this album's an absolute classic. I don't really need to explain why it's on here. It's probably the most acclaimed album from one of the most iconic rappers of all time. It really just boils down to that. The album's certainly an interesting one to look at today. The big thing people look at is the writing and the nature of the writing. Look, I'll say that there were parts where this album was a tough listen. Songs like "Marshall Mathers" and "Kim" are the obvious examples of this. However, I feel like there were points to be made. Like, one could say that the writing is just offensive for no reason, but I'm here to say that it's offensive for a reason. I think some songs boil down to it being from a character's perspective like on the opener "Kill You," while others make a point about the world like on "Who Knew." I'm not excusing it per se, I'm just saying that I can still see the appeal of the album today. Speaking of which, the musical contents are pretty good. The beats are fun, and when they're not fun, they're like that on purpose like on songs such as "Stan." I enjoy the rapping. I think Em is at his slimmest and shadiest when he's just having fun and not trying to be the fastest rapper or whatever. The technical skills are still there though, and they're great. The features are solid and the skits are tolerable. Also, there are some great songs on here. The obvious highlights are the aforementioned "Stan" as well as "The Real Slim Shady." These two songs represent a great dichotomy between fun Eminem songs and serious Eminem songs. Overall, while I have problems like the album, namely certain lines and the overall pacing, there's no denying that this is an interesting and very important album that I would say I enjoyed as a whole. Light 4/5.

Calenture

The Triffids

2/5

Welp, that was pointless. Yeah, I don't think this album needs to be on the list. There aren't a ton of Australians that I would consider legends. Among my very small list are Steve Irwin, AC/DC, and the "Democracy Manifest" guy. Notice how the Triffids aren't on that list? It's because I've never heard of them before, and to be honest, it doesn't even seem like they're that popular in Australia either. As for the quality of the album itself, it's kind of mediocre. The singing and instrumentals are solid, I'll give the album that. However, they are a bit repetitive. The writing is fine, I guess. Some songs felt a bit too similar to each other, but whatever. Overall, it's kind of mid, and didn't need to be on here, but I didn't hate it as much as other people on this website did. High 2/5.

Hot Fuss

The Killers

4/5

Hey, look at that! Another iconic album, and a great one at that! I feel like, aside from the Marshall Mathers LP a few days ago, I haven't gotten very many 2000s albums as of lately, so getting Hot Fuss by the Killers was a nice treat. The sound of this album is pretty unique. The instrumentals are all great, and the singing is pretty good. I liked every song on here. Obviously, "Mr. Brightside" was a highlight and is an iconic song for a reason, but I also really liked songs like the album's opener "Jenny Was a Friend of Mine," as well as the rest of them. I will admit that the first half is definitely stronger than the second half, but the latter 6 songs are still pretty good. The writing is solid as well. I certainly enjoyed this album quite a bit and it absolutely deserves to be on here, but I think it just barely misses the mark of being among the best of the best. High 4/5.

Are You Experienced

Jimi Hendrix

5/5

You know, I didn't really want a returning today. I don't know why, I just didn't. However, if there's any artist that I'm cool with getting another album from today, it's probably Jimi Hendrix. Because of today, I can finally say that I've listened to every Jimi Hendrix Experience studio album that released in Jimi's lifetime. I did it in reverse release order over the span of nearly 4 months, but I did it! So, how do I feel about Are You Experienced? It might just be the best one. I wasn't sure at first. It was more Jimi Hendrix. What can I say? You can't really go wrong with him, but it was still something I was used to. However, there's two important points I need to make. One point is that the album got better. I don't usually listen to bonus tracks, but because of the two US and UK versions of the album, I decided to listen to the Deluxe Edition which includes all of the songs from both versions, as well as a few extras. Because of that, the album went for a bit longer, but I think it was worth it because those later tracks slap. The title track might just be my favorite on the album. I genuinely can't believe that that song was released in 1967. "Stone Free" is a really cool song. I can see why Araki named Jolyne's stand after it. Speaking of songs on this album with JoJo stands named after them, the opener "Purple Haze" is a pretty cool song as well. Every song on this album is great. But there's a second point that I need to make. You see, even though I was, in fact, experienced in regards to Jimi Hendrix's music, the people weren't when this album released. This was his debut. This was brand new to the people, and it changed everything about music. Jimi's guitar playing is what made him such a revolutionary legend. Sure, his singing, the song's writing, and the rest of the instrumentation is great too, but it's the way that Jimi Hendrix used his guitar that made him the legend he is today. So yeah, this is an extremely important album that I thoroughly enjoyed. 5/5.

Sex Packets

Digital Underground

2/5

Okay. Why is it that like half of the hip-hop albums I've gotten come from 80s/early 90s (occasionally early 2000s) rap groups that nobody talks about anymore? I'm not upset to get albums from hip-hop groups. There are plenty of albums from rap groups that I want to listen to eventually. "Three Feet High and Rising," "The Low End Theory," "Stankonia," stuff like that. I'm not getting those albums though. I'm getting the weird obscure stuff, and I'm tired of it. I'm especially tired because a lot of the albums, including this one, are kind of meh. I don't care for Sex Packets. The rapping is fine. I didn't hate it. The beats are okay. Nothing particularly stands out to me. The writing is interesting. This is a concept album, but it doesn't really go as far with it as I'd like it to. The concept is about the titular "sex packets" that are basically pills that give you a sexual experience. However, they really only bring this up at the end of the album. The other songs are just your standard 80s/early 90s hip hop affair. Rapping about rapping, rapping about girls, you get it. Imagine if the album had songs about the business of the packets or whether or not society approves of their usage or not. You actually could have a pretty neat concept for a story right there. They just don't really do anything with it. Also, this thing is pretty long. I don't really feel anything with this album. It's fine, but I don't think it needs to be on here. 2/5.

All Things Must Pass

George Harrison

5/5

The Beatles were a really interesting band when you think about it. They were huge and are treated like gods of music or something. And yet, despite that, they didn't even make music for 10 years. The experience of being a Beatle must have been such an interesting one, especially in the time after the band's breakup. And the best way to look to see what was happening with the band members after the breakup is to look at their solo albums after the breakup. All 4 Beatles had/have interesting careers with interesting albums (one of which, John Lennon's "Imagine", I already listened to), but if there's one ex-Beatle album that I've seen praise for more than any other, it would have to be All Things Must Pass by George Harrison. George doesn't really get talked about much in comparison to the rest of the band. He made some of the band's best songs like "Here Comes the Sun" and "While My Guitar Gently Weeps," but I feel like I've seen more people today talking about Ringo than George. Despite that, this album has been put on something of a pedestal. So, does it deserve that? Absolutely. The first two thirds of this album are, in my opinion, perfect. Every song is just phenomenal. I really like songs like "My Sweet Lord," "Wah-Wah," and "What is Life." You get to hear about things like George's thoughts on his band mates and his absolutely fascinating spiritual journey. The sound is amazing. It's very Abbey Road-esque in a way, and that's still my favorite Beatles album to this day. The last third, dubbed the "Apple Jam" isn't as interesting, but it's at least a fairly enjoyable jam session. The album is very long, the longest one I've done so far as a matter of fact! And yet, I still didn't feel like it was dragging in a way that I felt for other, much worse albums. Also, getting this album on a weekend day definitely helped. Overall, this is a masterpiece. I think this might be one of my favorite albums yet. 5/5.

Station To Station

David Bowie

5/5

I have now reached album 250! For this 50-album milestone, we have my third David Bowie album, Station to Station. I'm quite surprised to see that this is only my third Bowie album, when other artists like Bob Dylan, the Beatles, and Neil Young have already given me four despite having less albums on the list than Bowie. Oh well. It's a shame too, because every Bowie album I've listened to so far has been phenomenal, and Station to Station is no exception. This album's inclusion (to me) serves as a representation of Bowie's "Thin White Duke" era, which was certainly an interesting and important part of his career. This was an era marked by a few things, namely cocaine. However, despite Bowie's heavy cocaine usage in this time frame, he managed to produce an amazing album with this one. It's only 6 songs, but they're all great. The title track is Bowie's longest recorded song, and it's awesome. "Golden Years" is a pretty neat song as well. Something interesting about this album is that it ends with a cover of "Wild is the Wind," a song that is perhaps best known for Nina Simone's rendition, which is funny because that album of hers with the song on it came right after my first Bowie album of the project! I think Bowie's cover of the song is also really good. His singing on, not just that song, but the whole album is amazing. I really like the instrumentals. Overall, this is another absolute classic from one of the greatest music artists to have ever lived. 5/5.

The Hangman's Beautiful Daughter

The Incredible String Band

1/5

What is this? It's garbage, that's what it is! Look, I was not looking forward to this. It's another album on the "worst albums" section of the global stats page on this website, and I can see why. The most enjoyment I got from this album was when the first song mentioned the name Bridget, which made think of Guilty Gear, leading to me playing Guilty Gear. I really like Guilty Gear, but I do not like this album. The sound is unpleasant to listen to. Not quite in the same way as an album like Kollaps or the Throbbing Gristle one, but enough to say that I didn't enjoy listening to the album. The singing is a part of that. It's kind of annoying. The writing is just there. The whole album feels like an acid trip at a really shitty renaissance fair. However, I wasn't sure that this deserved a 1/5 for a bit. I mean, it's bad, but my disdain for it isn't nearly as high as it is for an album like Haunted Dancehall or Hypnotised. I really had to ask myself the question of "Am I upset that I had to listen to this?" When I think about it, I hate the album, but every reason that I don't like it is just a lesser version of a reason for albums that I hate more. As stated earlier, it's not fun to listen to, but not as painful as some of those noise albums I got. It certainly drags, but not as much as an album like Haunted Dancehall. I don't respect the band for getting into Scientology, but they're still not as evil as someone like Jerry Lee Lewis or Marilyn Manson. But honestly, I think it's the fact that all of these things are in combination with each other that makes me answer that rhetorical question with a yes. I am upset that I listened to this album, just not as upset as some of the other albums. High 1/5 (that means closer to a two).

Tigermilk

Belle & Sebastian

3/5

I'm gonna be real. I wasn't looking forward to this. This just seemed like another mediocre 90s UK inclusion that really didn't need to be on the list. However, I actually kinda liked this one. It's not amazing or anything and I wouldn't go as far as to say that I loved it, but I certainly liked it. The singing is pretty alright. It kind of feels like a Scottish version of Nick Drake, and I am very fond of the Nick Drake albums I've gotten so far. The sound is fairly pleasant and also a bit varied. The writing is pretty good. The album doesn't drag for too long. There is no reason for me to dislike this album. Is it the most deserving of being on this list? No. But is it a solid album? Yeah. I think it is. High 3/5.

Layla And Other Assorted Love Songs

Derek & The Dominos

4/5

Imagine writing an entire album to express your infatuation with a fellow musician's wife. Couldn't be me. That could only be one man. Well, okay. I'm sure others could do it too, but no one could do it quite like how Eric Clapton and the other members of Derek and the Dominos. Eric Clapton may be a racist antivax piece of shit, but he's a talented racist antivax piece of shit. This is a damn good album. Is it long? Sure. It could've been a bit shorter. But it's definitely not the worst 76 minute long album I've ever heard (I have got to stop complaining about Haunted Dancehall). The singing is alright. The writing, while a bit repetitive, is solid. The best part is easily the instrumental work. Songs like the iconic "Layla" stand out as being really good songs. I mean, there's a reason why this is the one that's mentioned in the title. I hate to say it, but this is a really good album. 4/5.

You've Come a Long Way Baby

Fatboy Slim

2/5

You know, with the exception of the Rolling Stones, every artist so far to give me multiple albums has been one that I had a pretty positive opinion of from the first album of theirs that I listened to. Even then, I knew that I would eventually find a Rolling Stones album I cared about, and I was right. I did not care for my first Fatboy Slim album, if you can call it that. I myself refer to it is a collection of random beats. However, I have seen more praise for You've Come a Long Way, Baby than that other one. So, do I care for this album more than the first? Well, I do, but only by a tiny margin. I really just don't think I care about Fatboy Slim. Is he talented at making beats? Sure, I guess. I just don't feel anything when listening to this. There's enough substance here for me to actually call this one an album, but not enough for me to like it. The added words make the album feel more complete, but they're so repetitive that it doesn't really matter. There's some okay songs on here. I thought "Praise You" was pretty solid. Other songs just aren't fun to listen to. That third song really made me want to fucking-fucking-fucking-fucking end it all right there. I don't really care at all about this album or artist, and I'm happy to say that Fatboy Slim doesn't have any more on the list. 2/5.

Mothership Connection

Parliament

4/5

This one's alright! I've needed something like this lately. I feel like I haven't gotten a ton of funk albums, so getting one is always a nice surprise. Also, I feel like I've gotten a lot of long albums as of lately, so getting one that's a nice 38 minutes is good for me. Anyways, the album's good. I like it. It's just a fun funk album. George Clinton always knows what he's doing, and what he's doing is pretty neat. This album is kind of a concept album with its themes of space. Cool! I like that. It helps make the album stand out. The sound is great, the writing fits the theme well, and the singing is solid. There isn't much to say or complain about. This is just a nice album to listen to for some fun funky goodness. Light 4/5.

Sunshine Superman

Donovan

3/5

Oh, a 60s psychedelic album? You shouldn't have! Seriously, you shouldn't have. I've gotten enough of these already. Oh well, at least the album's good and the artist's important enough to be referenced in JoJo. This album's alright. Is it my favorite psychedelic album? No, but it's also not my least favorite. I actually enjoyed it. I might enjoy it more if it wasn't my 38th psychedelic rock album, but whatever. Is it special? No, but it's good enough. The singing is solid. The writing is pretty decent. The sound is good. The sitar usage is respectable. There's some pretty good songs on here. None of them are particularly bad. I think "Season of the Witch" is probably my favorite. Overall, this is a perfectly fine psychedelic album. Nothing crazy, but nothing bad either. High 3/5.

Crosby, Stills & Nash

4/5

Alright, another group I've heard of! This is certainly an album that you could argue for inclusion on the list. The group of Crosby, Stills, and Nash is pretty well known, and with this being their debut, one could say that these three artists coming together for the first time is enough for the album to be on here. The album also deserves to be on the list because it's quite good. I think this is a pretty solid album. It's very pleasant. The singing from all three guys is nice. The writing is alright. The sound is enjoyable. I have no reason to dislike this album, and plenty of reasons to like it. This is just a great folk rock album. There's not much else to say. 4/5.

Thriller

Michael Jackson

5/5

If you're looking for a hot take, this album is not the place for you, because I think Thriller is a pretty great album. I know, right? It's only the best-selling album of all time. That alone warrants the album's inclusion, but it's important to know why this album is the best-selling one. There's many factors that led to this, but the main thing is that it's Michael Jackson, one of the most significant figures in the history of pop culture, at his absolute peak in both popularity and talent. Say what you will about him as a person, but the talent that Michael Jackson and the rest of the people involved with this album was immense. Each song stands out and there really isn't a bad one in the bunch. There's a reason why 7 of the 9 songs on this album were singles. This resulted in what is arguably the greatest three-song-string in any album ever with the songs "Thriller," "Beat It," and "Billie Jean." The sound is excellent and the singing is great. The writing could be a bit more varied, but the differing styles of each song makes the album not feel repetitive. The extra music talent is also important. Things like the production from Quincy Jones, the writing from other people such as Rod Temperton, and the occasional appearances from people like Paul McCartney and Eddie Van Halen really stand out to make this a safe candidate for greatest album of all time. Is it my personal favorite? No. But there's no denying that this is an insanely important album that also happens to be really good. 5/5.

Bad Company

4/5

I WAS JUST THINKING ABOUT THIS ALBUM! I literally looked at the list of albums, noticed the album cover thinking it was Bad Company and thought "Wait, is Bad Company on the list?" I went to check and realized that they're on here and thought "Oh cool, another artist on the list that was referenced in JoJo!" Not even a minute later, I clicked the next album button and Bad Company is right there! HOW?!?!! Weird mind powers aside, this album's pretty good. I'd say it's one of the better 70s rock albums I've listened to. The sound is solid and so is the singing. The writing is alright. A bit repetitive, but mostly pretty good. The album's nice and short so it doesn't drag. This is just a good experience. They may call themselves a Bad Company, but they're pretty good in my eyes. 4/5.

Buena Vista Social Club

4/5

Isn't it weird that, between Bad Company yesterday and Buena Vista Social Club today, I got two albums in a row that contain a song that's also the name of the album which is also the name of the band that happens to start with a B? I think that's weird. You know what else I think? I think this album's pretty good. I feel like I've had a really good track record with non-English albums so far. Albums such as Os Mutantes, Getz/Gilberto, Ágætis Byrjun, and now this have all pleasantly surprised me with how much I enjoyed them. The sound and singing are quite pleasant. It feels distinctively Latin American. I translated the lyrics and the results were also positive. My one complaint is that it's a bit repetitive and long, but that's not that big of a deal in comparison to other albums that go on for way longer and are way more repetitive. This is just a nice album that somehow managed to sell over 8 million copies. Wow! Good job Buena Vista Social Club. You deserve it. Light 4/5.

1989

Taylor Swift

3/5

Hooooh boy... I'm scared to say something about this album. Taylor Swift is arguably the biggest music artist of the past 10 years. Because of this, she has developed something of an... interesting fanbase. A lot of people treat her like the greatest musician to ever live. I remember in my high school weights class the students would ask for Taylor Swift to play, which led to various days of deadlifting to nothing but her music for 40 minutes at a time. I hated those days, but I know realize that they prepared me for this, the inevitable Taylor Swift album listen. Here we have her 2014 album, 1989. In my opinion, this album... is alright. It's not really my thing personally, but I can see the talent and I respect the album. I can see why this is popular. The production behind the sound is pretty good when it comes to the beats and stuff. It's definitely modern but there's a little 80s influence that aids in making the album decent. I will say, for as long as I've thought that Taylor Swift was overrated, I've always been able to recognize that she's a good singer. The writing is a bit mixed for me. Some songs are pretty solid. Of the big hugely popular songs I've heard before, I think "Blank Space" and "Style" are pretty alright. I don't know if this is an unpopular opinion or something, but I think "Shake It Off" and "Bad Blood" are probably the worst songs on the album. Maybe I'm biased from how overplayed those songs are. I don't know. Overall, this is a perfectly fine pop album. Again, it's not really my thing. But I don't dislike it. It's solid. I still think she's overrated though. 3/5.

Exit Planet Dust

The Chemical Brothers

2/5

Oh boy, another English electronic album. I don't care about this one! I've had some very good electronic albums from artists like Depeche Mode and Portishead as well as albums that I just don't care about from artists like Fatboy Slim. This album leans a lot closer to the latter than the former. Why am I even calling this an album? I really don't even consider this product to be an album. It's more like a collection of random beats. The beats themselves are whatever. They're okay. Some of them are fine, others aren't great though. I really did not like the second-to-last song. Fortunately, the album is mostly instrumental, meaning that we don't have to deal with another "Fucking in Heaven" situation. Still, this album's mid. And of course these guys have two albums on the list as well! Great. How great. 2/5

Nevermind

Nirvana

5/5

Oh my god. I listened to Nirvana not long before generating the album in hopes of finally getting a Nirvana album, AND IT ACTUALLY WORKED. This is it. This is definitive proof that I can somehow occasionally manipulate the album I get. Anyways, I FINALLY GET TO LISTEN TO NEVERMIND! I have been dying to listen this album eventually, so I am so happy that it finally got generated. Needless to say, this album's awesome. Every band member stands out to make the album as great as it is. Dave Grohl's drumming is outstanding all throughout. Krist Novoselic's bass playing gets its moments to shine on songs like "Lithium" and "Lounge Act." And of course, the fantastic guitar riffs, guitar solos, and vocals come courtesy of the one and only Kurt Cobain. There's an amazing balance between the high-energy grunge anthems like "Smells Like Teen Spirit" and "In Bloom" and the much darker slow tracks like "Something In the Way" and "Polly." "Come As You Are" is another stand out track in my opinion. There really are no bad songs. Even the hidden track at the end, "Endless, Nameless" is certainly an interesting listen to close out the album. Overall, this is an amazing album that absolutely deserves all of the praise it gets. 5/5.

Fragile

Yes

4/5

Yes. It's Yes time. This is a great album. I don't know a ton about Yes. But if there's one thing about this band that I know, it's the song "Roundabout." That's the opener on this album and it's amazing. I've never heard the full 8 minute long song until today. It's great, and so is the rest of the album. There's a few little ditties in there that are kind of fun, but the album really shines with the longer more complete songs. In particular, the aforementioned "Roundabout," as well as "South Side of the Sky" and the album's closer "Heart of the Sunrise" stand out as truly phenomenal songs. The sound on this album is very pleasant. The guitar and bass work is just top-notch. The drumming and keyboard work is also quite great. I like the vocals. They give a very positive vibe to the songs. Overall, this is an amazing prog rock album, though not quite my favorite one. High 4/5.

Dear Science

TV On The Radio

3/5

Well, here's an album that I had no expectations for. From the research, this seemed like an album that didn't need to be on the list, but also doesn't have zero reasons whatsoever for inclusion. Like, it's nobody's first or even hundredth pick for a list like this, but it also isn't low enough to be on the level of something like Haunted Dancehall. However, everything depends on one simple question... Is this album good? Fortunately, I think it's pretty alright. It's fairly different from a lot of the other indie rock albums on the list. There's a bit of funk and soul influence in here. That's nice. The singing, instrumentals, and writing are all pretty solid. There's really no reason for me to dislike this album. It's not my favorite album or anything, but I respect it and can kind of see why it might be on a list like this. High 3/5.

The Lexicon Of Love

ABC

3/5

Okay, hear me out. I like this album. I think it's pretty alright. The instrumental sound is interesting. It's very 80s. I really like the bass. The singing is alright. It fits the vibe. The writing is pretty decent. There's some good songs. However, while I like the album, if someone told me that they hated this album, I'd kind of get it. With albums that I've seen people complain about that I liked like Aja by Steely Dan, I don't really get the hatred. It's not for everyone, but I think it's great and don't see why someone could just despise it. I can kind of see it with this album though. The writing is a bit repetitive, it could be seen as a bit generic, and I can kind of see how someone would think that the album hasn't aged all that well. I mean, is it really one of the best albums of the 80s? It's not even the best album of 1982. I liked albums like Thriller, Pornography, and even Rio more. Overall, I can see why someone wouldn't like this album, but I think it's perfectly fine. 3/5.

Strange Cargo III

William Orbit

3/5

What's this? An obscure 90s english electronica album that I actually liked? What universe is this? So yeah, I actually kind of enjoyed this one. I really thought that this would be another Haunted Dancehall situation. Fortunately, this was way better. This might actually be one of the best (mostly) instrumental albums I've gotten so far. It's not quite as good as something like Endtroducing, but it's sure as hell better than something like both of the Fatboy Slim albums I've gotten or the aforementioned Haunted Dancehall. I listened to this album while building a Lego set, so maybe the usage as background music made me enjoy it more than I would if I just listened to it on its own. The sound is just really engaging. That's what my praise really boils down to. I have problems, sure. Despite my focus on other things at the time, I can kind of tell that the album gets a bit worse as it nears its end. I liked the first few songs a lot more than the last few songs. The vocals don't really do it for me either. They're fine, but not that important to the overall package. I feel like this music would work really well in something like a video game documentary. Like if you've ever seen a Summoning Salt video, that's what I'm imagining. Overall, while this doesn't really need to be on the list, I feel like this album is somewhat of a hidden gem. It's a shame it's not available on Apple Music. It's almost a 4, but I don't know if I feel comfortable rating this on the same level as albums like The Downward Spiral or even the Marshall Mathers LP. High 3/5.

Can't Buy A Thrill

Steely Dan

4/5

Alright, Steely Dan album #2! I really liked Aja, and I think Can't Buy a Thrill is pretty good too. I probably liked Aja a bit more, but this is still some good stuff. The blend of rock, pop, and jazz is probably the most defining aspect of Steely Dan's music. It might be a reason for why some people dislike them so much. The pop elements don't appeal to rock fans, the jazz elements don't appeal to pop fans, and the rock elements don't appeal to jazz fans. However, that blend also happens to be exactly why I do like them so much. The musical talent behind this band is just immense. Songs like "Reelin' In The Years" and "Do It Again" showcase this through things like cool guitar solos and interesting chords. The singing is nice, the sound is pleasant, and the album isn't too repetitive. This is just a very nice album that reaffirms my belief that the Steely Dan hatred is unwarranted. 4/5.

Parallel Lines

Blondie

4/5

Would you look at that? Another iconic album! Blondie's Parallel Lines is not only a very interesting album, it's also very good. I really like it. The sound is very fun and enjoyable. Debbie Harry's vocals are very unique and I like it. The instrumental sound is quite varied between the songs. And yet, despite that, the album still feels focused and consistent in tone despite the different influences and tones between songs. The writing is solid. The genre blend is very commendable. I can't really say that there's a bad song in the bunch. Obviously, the big hits like "Heart of Glass" and "One Way or Another" are great songs, but even the lesser known songs like "11:59" and "Fade Away and Radiate" are very good in my opinion. This is just a great album right here that may grow on me even more with time. High 4/5.

The Piper At The Gates Of Dawn

Pink Floyd

4/5

Now this is a fascinating album right here. Pink Floyd is a very iconic band that I've had good experiences with in regards to their prior albums that I have gotten. However, when I say "prior albums" I mean that in terms of albums I listened to before this one. However, in a chronological sense, there are no albums prior to The Piper at the Gates of Dawn because this was their first album they released. Because of that and various other traits, this album feels drastically different from albums like Wish You Were Here and The Dark Side of the Moon. The vibe is just completely different. It's more whimsical and the sound leans a lot closer to psychedelic rock rather than the progressive rock the band would become known for. On top of that, this is their only album to heavily involve Syd Barrett, as his mental health heavily deteriorated after this album's release, leading to him leaving the band. Enough with the facts, it's time for my opinion on the album. I like it. It's a very good psych rock album. The sound is nice, and so is the singing. While the album doesn't feel much like Pink Floyd, there is one song that kind of has those foundations. The instrumental song "Interstellar Overdrive" has the same ambitions that later songs like "Echoes" and "Comfortably Numb" would have. I also like the album's opener "Astronomy Domine." Overall, this is a fascinating album that managed to not only revolutionize psychedelic rock, but also kickstart the career of an amazing band. Light 4/5.

The Score

Fugees

5/5

You know, I wasn't really looking forward to another group hip-hop album, mainly because a lot of the ones I've gotten are just kind of okay and don't have a ton of impact. However, after doing a quick bit of research, The Score by Fugees is an album that definitely makes a strong case for inclusion on the list. Apparently it's sold over 22 million copies. Wow! Also, even though I only vaguely recognized the album cover and name, as it turns out, I have in fact heard one of the songs from this album before, so it kind of passes the "I've heard of it test" that helps justify an album's inclusion. On top of that, the album itself supports the inclusion by being really (and I mean REALLY) good. This is one of the best hip hop albums I've heard yet. The beats are just phenomenal. It's very consistent in tone, and yet various songs just stick out. The group's three members all work together very well. Wycleaf Jean and Pras both do a great job with their verses and have very fun flows to them. However, while the guys are both great, I think the standout performance on this album absolutely belongs to Lauryn Hill. Her presence on the album turns this already good album into an amazing one. The features are also pretty good. The skits don't really impact the album in any negative way. The writing is fun at times, but also somewhat serious. The songs are all great. This is just an amazing album that absolutely warrants inclusion on a list like this. 5/5.

Close To You

Carpenters

3/5

Eh. It's fine. It's kind of like the 1970s equivalent of that Norah Jones album I got earlier. It's perfectly fine, but it doesn't really stand out. Both of the singers are solid. I do like Karen Carpenter's singing more though. The instrumental sounds are also fairly decent. A bit samey, but it's not too big of a problem, especially since the sound is good. The writing is perfectly fine as well. This album is one that I can see someone either loving or hating. Except me of course. I'm in the middle. I think it's alright, but I can see why others don't like it that much. 3/5.

Violent Femmes

3/5

Okay. Not bad. This is a decent little album right here. It's alright. It feels quite classic with a hint of modern indie in there. This thing wears its influences on its sleeve. I detected a very strong influence from both the Velvet Underground and the Rolling Stones. The song "Gone Daddy Gone" felt especially similar to the Stones. I can also see how this would influence later groups like the Strokes, but that could just be the influences for this album speaking. The sound of the album is quite solid. Both the singing and instrumental work feel somewhat varied throughout the album, yet consistent in tone. The same can't quite be said about the writing, which does feel a bit repetitive, though not too repetitive. Still, it is noticeable. The writing, however, is pretty good. Overall, this isn't my favorite album, but it's far from my least favorite. I can totally see how some would love it and others would hate it. 3/5.

Goo

Sonic Youth

4/5

You know, when I reviewed Evol, my first Sonic Youth album that I got back in April, I said that I felt that other Sonic Youth albums that would show up later might be more in line with my taste in music. Fortunately, I was right! I really like Goo. Is it my favorite album ever? No, but I would say I liked it a bit more than Evol. The writing is interesting. There's a strong variety in the songs. The singing is interesting. The use of different vocalists for different songs gives Sonic Youth a unique identity, even though there are some vocalists of theirs that I like more than others. I'm sorry, but I'm not the biggest fan of Kim Gordon's vocal performance on this album. The sound is great though. It's raw, but still palatable. It's not for everyone, but it is for me. Overall, this is a solid album. My opinion of Sonic Youth is quite positive now instead of just slightly positive. 4/5.

Licensed To Ill

Beastie Boys

2/5

I'm gonna be honest, I don't think I'm a Beastie Boys fan. I've listened to three of their albums now. The first two that I heard, 1994's "Ill Communication" and 1989's "Paul's Boutique" were alright. I respect those albums and they have some good songs, but they're not really my thing. As for their 1986 debut, Licensed to Ill? I just don't like the album. The juvenile parts of this one really make me appreciate the more mature elements of those other albums. Don't get me wrong, there are things to commend with this album. The production, courtesy of industry legend Rick Rubin, was quite revolutionary for its time. But that's what this album is... a product of its time. The lyrics are just bad. If you drank a shot for every time they say the world "girls" on this album, even if you were to exclude the song "Girls," you'd still die of alcohol poisoning. And don't even get me started on how many times they say each other's names. I swear if I hear the names Mike D, MCA, or Ad-Rock ever again, I may just hurt someone. Anyways, I feel like the Beastie Boys are at their best with this album when they lean into their punk influences more and combine it with hip-hop instead of just going with straight hip-hop. This is why songs like "No Sleep till Brooklyn" and "Fight for Your Right" work for me, while all of the other songs don't. Overall, while this album may convince me to revisit their later work eventually, I don't think the Beastie Boys started out on a very strong foot. 2/5.

Deloused in the Comatorium

The Mars Volta

5/5

Dude. This is unlike anything I've ever heard before. There's so many conflicting things interacting when you listen to De-Loused in the Comatorium by the Mars Volta. It's catchy, yet emotional. The lyrics are somewhat nonsensical at times, and yet the whole album tells a compelling story. Oh yeah, this is a concept album, and a damn good one at that. Imagine the theatrics and conceptual uniqueness of an album like The Black Parade by My Chemical Romance (how is that not on the list?) mixed with the prog rock talents of a band like Rush or Yes. That's this album, and it's amazing. The Rush comparison is also quite fitting in regards to the vocals. They're the kind of vocals that kind of have to grow on you, and I can see why others would be annoyed by them. I for one think they work quite well with the emotional beats of the story. Why don't more people talk about this album and band? Seriously, this is some amazing stuff right here. 5/5.

evermore

Taylor Swift

3/5

Welp. Time for more Taylor Swift. Hooray. Whatever, this is the last one on the list, so I never have to listen to any of her album ever again. As stated in my 1989 review, the music really isn't my thing. I'm gonna be honest, I have some problems with this album. I'll start with praise. The production is quite good. It's very clean, which works for an album like this. I also respect this album for the exploration of its themes. However, this also ends up tying to one of my big problems with this album. It feels kind of repetitive. It might just be me, but for the first half in particular, the songs just felt a bit too similar to each other. Fortunately, this isn't nearly as big of an issue in the latter half or so. I also wasn't the biggest fan of the singing, which feels a bit bland to me here. The writing also isn't my favorite. I can't explain why. Unfortunately, I may be biased. As stated in my 1989 review, Taylor Swift's music has effectively been shoved in my face for years. Combine that problems involving her fandom and you get a general lack of interest in listening to an artist's music. I've really tried with these two albums to look critically and avoid any preconceived notions, but it's really hard. If you like this album, I totally get it. I can see good things here. I just don't personally care about it, and that might be my own fault in a way. I'm sorry. Low 3/5.

Fear Of Music

Talking Heads

5/5

I feel like I've gotten a lot of repeat artists recently. In the past two weeks, I have gotten my second Steely Dan album, my third Pink Floyd album, my second Sonic Youth album, my third Beastie Boys album, my second Taylor Swift album, and now my second Talking Heads album. Interesting. Anyways, I really like this album! I liked More Songs About Buildings and Food, but I felt it could be improved on. Fortunately, it was improved on in its followup, Fear of Music. My two big complaints with More Songs were the singing and writing. In hindsight, I don't know why I complained about the singing. I said it was goofy, but I don't know why I had a problem with it. Maybe it just grew on me or something, but I like the singing on Fear of Music. It's fun. I complained about the writing being a bit unclear in More Songs, which was fixed in this album. These songs are quite interesting, and the writing provides some interesting messages. The songs are good, and the sound is fun. Despite the fun sound of the album, it's also weirdly dark in a way. I saw someone say that this album could also be called "Music of Fear" and I think that's pretty fitting. Songs like the closer, "Drugs" embody that very well, and the themes of songs like "Mind" and "Air" fit that as well. There's lots to say about this album, but I think I'll leave it at that. This is just an amazing album that cements my liking of Talking Heads. Light 5/5

LP1

FKA twigs

4/5

You know, I don't want to downplay the work of FKA twigs on her debut album. However, if I had to explain how I feel about LP1, I think my best way to do it is by comparing her to another artist. I know, that's probably not the best way to go about doing things, but I'm not really comparing her to another artist. I'm comparing how I feel about her to how I feel about another artist. The way LP1 makes me feel is similar to how I feel about a Bjork album. Not a specific one, just Bjork albums in general. Is this the kind of thing I'd listen to on my own time? No. It's not my daily music. However, I hear a lot of talent on this album and highly respect it. This is pretty good. The production is immaculate. It's very well put together. The pacing is also nice. I like the connected themes throughout the album. It makes LP1 a concept album of sorts in regards to its provocative theme. The singing is nice, the instrumental sounds are pleasant to listen to, and the album doesn't go on for too long. It feels distinctly modern without a lot of the problems that make people dislike "modern pop music." Overall, this is a pretty good album, even if I probably won't go back to it much. Low 4/5.

The La's

2/5

Oh wow, another obscure 90s British alt-rock album. Yippee. This is another one of those bands that has like one somewhat well known song and that's it. "There She Goes" is a solid song. It's not my favorite thing ever or anything, but it's not a bad song. The album as a whole is kind of mid though. I'll start with my biggest complaint. The singing is annoying. It just is and I can't explain why. At least the instrumental sound is fine. It's not great, but it isn't painful to listen to. The writing is whatever. It isn't particularly bad, but it doesn't interest me at all. That's basically what this album is. It's basically just a worse version of R.E.M., a group that has 4 albums on the list. Why does this need to be on the list? Does it really need to be on here? I don't think it does, mainly because of its low cultural impact and the fact that it doesn't do really anything that other albums from more iconic bands do better. 2/5.

Liquid Swords

GZA

4/5

You know, I've kind of been missing out on some classic solo hip-hop work as of lately. I feel like I've gotten quite a bit more group albums as of lately, with my last solo hip-hop album being over a month ago. Anyways, I was very excited to get this album for the project. Of all the Wu-Tang Clan solo albums, GZA's Liquid Swords is among the most acclaimed. This is for a good reason, as the album is really good. I liked Fishscale, but it doesn't really hold a candle to Liquid Swords. Though this is GZA's album for a reason, the album does feature the entire Clan (at the time) in some capacity. Most of them get features at some point, and RZA was even the main producer. Needless to say, they all do a great job with their work. The beats on this thing are quite fun. They're well made. The flows from everyone stand out as being very well though out and are also very enjoyable. The skits, if you can call them that, don't bring the album down in any way. They all tie into the album's general vibe quite well. The writing on this thing is great. The way everything just flows effortlessly is very respectable. Overall, this is (as of right now) my current favorite Wu-Tang solo album, and one of my favorite hip-hop albums of the project so far. High 4/5.

That's The Way Of The World

Earth, Wind & Fire

4/5

This is some good stuff right here. Earth, Wind & Fire is a fairly well known band all things considered, but I've never really dived into their stuff before. I've always liked what I've heard though, and this album is no different. This is just a great funk album. The singing is very pleasant. I like it. The instrumentals are well made. They're very fun as well. The writing is also nice. Everything contributes to this being a very feel good album. It's not the most complex thing ever, but it doesn't need to be. It was also a movie soundtrack. It's not the best movie soundtrack I've gotten for this project. Hell, it's not even the best funk movie soundtrack I've gotten for this project. But this is still a very nice album to listen to. 4/5.

The Madcap Laughs

Syd Barrett

3/5

I don't know man. This feel like a bit of a redundant pick. I mean, did we really need a Syd Barrett solo album on the list? Is his career noteworthy enough to be here? Is his debut album "The Madcap Laughs" really necessary to listen to before you die? I'm not sure. Is the album bad? No. I wouldn't say that. If you really liked Piper at the Gates of Dawn, you'll like this album. It is a well made album. I'm just not super invested in it personally. The sound is good and I appreciate the variety between each song, both in terms of the sound as well as the writing. The writing is certainly interesting. The singing is good sometimes but not always. The album goes on for a decent length. Overall, while I'd still call this a good album, I probably wouldn't include it on my own personal 1001 Albums list over albums that are better and more important in my eyes. 3/5.

Truth

Jeff Beck

3/5

Sure. Why not. I've heard the name Jeff Beck before. I was pretty hopeful for this album, but then I found out something that worried me. Jeff Beck didn't do the vocals on this album... Rod Stewart did. I didn't really like his album Gasoline Alley that much when I listened to it back in December, and his voice was a reason for that. However, I feel like his voice is better here. Sure, I still can't get the feeling that he sounds like Chris Rock out of my head, but the vocals on this album feel bluesier than on Gasoline Alley, and I kind of like that. Who knew that 2 years would make your voice more annoying. The writing is also just kind of fine. It's a bit repetitive, but I wouldn't say the writing's bad. Where this album really shines however is in the instrumental work, which is great. Jeff Beck's guitar work is quite good. Dare I say, it's great. The other instruments like the pianos, bass, and drums add to the sound in positive ways as well. Overall, this is a solid album, but not one that I'm super passionate about. High 3/5.

Purple Rain

Prince

5/5

How do I say this? How do I review this album while making sure to properly give every important opinion I can on this album. I mean... it's Purple Rain. What can I say that hasn't been said already? This thing is an absolute masterpiece. This is absolute 80s perfection right here. There's no denying the fact that Prince was, is, and will always be a legend, and this album is proof of that. Everything about this album just works perfectly. Prince's singing is incredibly varied. Some songs have him hitting intense falsetto and emotional screams like "The Beautiful Ones." Some songs have him going a bit lower like "When Doves Cry." Either way, it's amazing. The writing is great as well. The only song that I'm not 100% sold on with writing is "Darling Nikki." It's still a good song though. When that's the weakest song on the album, that's how you know you've got an amazing album on your hands. And the sound. It's beautiful. The energy of songs like the opener "Let's Go Crazy" balanced with more somber songs like the closer "Purple Rain" works amazingly. The title track is just phenomenal. It's one of the best closers for an album I've ever heard. There isn't much else I can say. This is one of those albums that's absolutely iconic for all of the right reasons and then some. I get it. 5/5.

Rapture

Anita Baker

3/5

This one's alright. This album is weirdly balanced in terms of things I have to praise and things I have to complain about. As far as praise goes, I like Anita Baker's singing. She's good at it, and the vibes this album is going for fit the singing quite well. The sound is also pleasant to listen to. The writing is also solid. As for my complaints, it mainly boils down to this album not standing out much and feeling repetitive. With the "not standing out" point, I feel that this album just kind of exists. Nothing really stands out to me that much. Even the things I praised are things you can experience in better albums. As for the repetition complaint, yeah it's kind of undeniable. This is a very repetitive album. However, it's not the worst repetitive album I've ever heard. Don't get me wrong, I still feel like all of these songs were practically written to be the same both musically and lyrically. However, when the one song that they all feel like is pretty good, you can't really complain too much about the album. Overall, this is a fine album, just not one I feel like revisiting ever again. 3/5.

Welcome To The Pleasuredome

Frankie Goes To Hollywood

3/5

I mean this in the nicest way possible, but this might be one of the gayest albums I've ever listened to. This band was actually one of the first openly gay pop acts ever, at least according to Wikipedia. I guess that's an argument for inclusion on a list like this. As for the album itself, it's alright. I wouldn't call it bad, but it's not my favorite. Somehow this album manages to be both pretty ahead of its time and incredibly dated simultaneously. It's ahead of its time for being a pretty explicit album by 1984's standards (the year, not the book). As for the datedness of the album, that mainly boils down to the sound. It's very 80s. Some might love that, others may hate that, and I'm fine with it. The singing is pretty good. The writing is decent. Though, a large reason for that is because of the decent amount of covers on this album. The album's also pretty long. Overall, while this is far from my favorite album and I wouldn't be too upset if this was cut from the list entirely, I can still see some value in this, as it's a decent, albeit flawed album all things considered. 3/5.

Darkdancer

Les Rythmes Digitales

2/5

Oh boy, another obscure British 90s electronica album. What am I gonna say about this one? I. Don't. Care. About. This. Album. Why is this on the list? I don't know! I'm starting to think that I just don't like electronica music. That might just be the one genre I can't get in to. Nothing about this interests me. The writing's repetitive and doesn't mean much to me. The sound is okay, sure. The production is well done. The last song was at least somewhat interesting with its darker tone and whatnot. This thing also drags. Am I really surprised? Not really. This doesn't need to be on the list. Low 2/5. Also the album cover looks goofy as hell. That's not important I just wanted to say that.

Led Zeppelin IV

Led Zeppelin

5/5

Alright, another iconic album! Led Zeppelin IV is arguably one of the most iconic albums ever released. It has been praised to a degree that very few other albums have. I mean, it's the fifth highest rated album on this very website! But does it deserve this high praise? What do you think I'm gonna say? Of course it does. I think the most impressive thing about this album is that it was released in 1971. Obviously, great music had been released by 1971, but this just feels way ahead of nearly every other band from this time. The blend of hard and soft sounds creates a lot of variety in the feelings this album gives you. All of the band's members provide something of value to this band. Robert Plant's vocals are probably my favorite part, but Jimmy Page, John Paul Jones, and John Bonham all deserve plenty of praise as well. All of the songs are great too. Obviously, "Stairway to Heaven" is insanely iconic for a reason. It's just an amazing song that I'm listening to again as I write this review. Songs like "The Battle of Evermore" retain that song's emotional high points, while songs like the opener "Black Dog" add a bit of fun into the mix. Overall, this album truly does deserve the praise it gets. Even if I personally wouldn't call it the greatest album ever made (there are quite a few albums on this list that I like more than it), I can totally see why others would call this the greatest album ever. 5/5.

Haut de gamme / Koweït, rive gauche

Koffi Olomide

1/5

Well guys, I think we've found the least deserving album of being on the list. I mean, this album doesn't even have a wikipedia article! It just links to the artist. That doesn't do this album any favors, and neither does the article itself, as all I got from it was that Koffi Olomide is a horrible person. As for the album, I don't like it. It's boring. The actual instrumental sound is fine enough, but it does nothing for me. The singing isn't really my thing. The writing means nothing to me, but that's because of the language barrier. Remember, giving an album a low score because it's a language you don't speak is not valid and also prejudiced. From the google translates, the lyrics don't mean much to me anyways. So that's not that big of an effect on the score. While I can not critique this album for being in a foreign language, I can critique it for other things like being way too long and repetitive. However, as much as I don't like this album, I can't justify giving this a one as the musical contents aren't inherently bad. I have to eliminate my bias of the low cultural impact and heinous actions of the musician, and at least give this album some credit for being well made... is what I would say if this thing AT LEAST HAD A WIKIPEDIA ARTICLE. High 1/5. I AM upset that I had to listen to this.

Rum Sodomy & The Lash

The Pogues

4/5

Now this is an album I can get behind. I wasn't sure what to expecting when I saw this was a folk punk album, but I am very satisfied with what I got. This album's kind of like Marty Robbins' album "Gunfighter Ballads and Trail Songs" in that it evokes the vibe of a certain aesthetic, but whereas Gunfighter Ballads evokes a cowboy theme, Rum Sodomy & The Lash evokes this sort of Celtic wartime feel to it that's hard to explain, but once you start listening, you just kind of get it. I get it. This album put a big old smile on my face for nearly the whole time, and when I wasn't smiling, it was because of the emotional nature of some of the later songs, namely the 8-minute closer "And the Band Played Waltzing Matilda." The singing is something that seems very love-it-or-hate-it, but I think it fits the album's vibe very well. The writing contains some pretty good storytelling that also fits the vibe. Of course, some of these songs are actually traditional folk songs, but the original ones are great too. The production is also great. The production comes courtesy of Elvis Costello, and if any of the 6 ALBUMS that he has on this list are as good as this one, then maybe I'll be okay with listening to 6 ALBUMS OF HIS. I'm very shocked that I haven't gotten any of them yet. I was conflicted on what score to give this album, but then I realized something. This album has a very specific goal in mind with its aesthetic and appeal, and it succeeds in accomplishing that goal with flying colors. Because of that and the enjoyment I had with this album, I will give it a light 4/5.

Cheap Thrills

Big Brother & The Holding Company

4/5

Alright! This is a good album right here. First of all, I just want to praise the album cover for a bit. It has this underground comics vibe supplied by Fritz the Cat creator Robert Crumb. I like it. Anyways, the album itself is also pretty good too. Of course, the most notable thing about this album is Janis Joplin's vocals. This is my first time hearing her vocals, and I can safely say that the praise is absolutely warranted. I really like her vocals. The rest of the album's sound is also great. I like the guitar tone. The songs, of which there are only 7, are all quite good. Overall, this is a fairly short album that I really like. 4/5.

Black Sabbath

5/5

I waited for over ONE HUNDRED DAYS to get another metal album. My last one was Black Sabbath's Vol.4 which I got back in April. Now, I finally got another metal album! And of course, IT'S THE SAME BAND. I can't help but be a bit miffed that I went this long without any metal albums only for me to finally get one that happens to be the same band as the last one. But that negativity didn't last long, as I love Black Sabbath. The band, the album, and the song, are all incredibly important. This album, Black Sabbath's 1970 self-titled debut is, for all intents and purposes, the first metal album ever released. That is huge. This album changed music forever. And I say that that's for the better. Imagine being the average music listener in 1970 and you play this album. When the first song, "Black Sabbath" plays, you're just shocked at what you're hearing because it's unlike anything you've ever heard before. It's very dark and sinister in a way. While that song and, to an extent, this whole album may seem very tame today, this was shocking in 1970. However, unlike other bands that were shocking when they started (cough cough, Marilyn Manson), Black Sabbath is actually good, like really good. Everything I said about Vol. 4 applies here with the added knowledge that this is the one that started it all. Ozzy Osbourne's harrowing vocals, Tony Iommi's fascinating guitar playing, Geezer Butler's flawless bass playing, and Bill Ward's respectable drumming come together to form something truly special. The title track is amazing and dark, but later songs like "The Wizard" and "N.I.B." manage to be slightly lighter and bluesier yet still heavy. Overall, this is an album that changed music for the better by marking the birth of metal. On top of that, the album itself has managed to age remarkably well despite coming before conventions of the metal genre were established. While there are certainly better albums than this, both inside and outside of metal, there's no denying that Black Sabbath by Black Sabbath is a truly magnificent album that deserves all the respect it can get. 5/5. Here's hoping I can get more metal albums pretty soon.

Blackstar

David Bowie

5/5

Now this is how you go out. With a bang. David Bowie had a very long career with many albums. I would know, as this is the fourth one I've gotten for this project, and there's still 5 I haven't gotten yet. And that's not even half of all the albums he released! Anyways, Blackstar was the last one he released in his lifetime, as Bowie would tragically pass away just two days after this album's release and his 69th birthday. Of course, the close proximity of Bowie's death and this album release have affected how people view this album. This feels intentional to me. This is clearly a swan song, and David Bowie knew this. This feels like a final album. Death does appear as a theme in this album. But does the album hold up on its own? Absolutely. This album is just phenomenal. Bowie's voice aged very well, as it still sounds quite good here despite him being in his late 60s at this time. The instrumental sound is also quite interesting. The influences come from many different place. There's a clear jazz influence on this thing and even an influence from contemporary hip-hop artists like Kendrick Lamar and Death Grips. That's just awesome. All 7 songs on this album are amazing. There's not a single bad one or even a bad moment in one of the songs. Blackstar manages to have some energy while still being incredibly emotional. There's so much more I could say, but I'm not sure I could put it in to words. This album, and what it represents, are immensely meaningful and create a truly fantastic experience that deserves all of the praise it can get. 5/5. R.I.P. David Bowie.

xx

The xx

3/5

Would you look at that? It's my first album from 2009! This one's alright. It's far from my favorite album, but far from my least favorite as well. It's not the kind of thing I feel like listening to much at all, but I respect this album. It's quite well made. The sound is quite pleasant to listen to. The vocals and instrumentals are both big parts of this. Clearly the instrumentals stand out as one of the most popular songs from this album, "Intro," is an instrumental. The writing is solid. My problem is that is a bit repetitive and I can see why others would call this boring. I personally wouldn't call it boring to the extent that I've seen others call it, but it is a fairly slow album, so I can see where those people are coming from. However, I personally like this album, but I wouldn't really say that I love it. High 3/5.

Frank

Amy Winehouse

3/5

You see, this is one of those albums that would only be on the list in 2005. My guess as to why this album was chosen initially is that in 2005, someone working on this book (probably from the UK) was looking for a more modern jazz-adjacent artist to put on this list. There, that person found this album, one which saw modest success, and put it on the list. Of course, Amy Winehouse would become a much more iconic artist as a result of the success of her 2006 album Back to Black. Because of that, this album was apparently removed from the list and replaced with Back to Black, a decision that I totally understand. I've seen a lot of praise for that album, but not as much for Frank. I kind of went into this album totally blind. As for how I feel about it? It's good. It's not my favorite, but it's still good. Amy Winehouse's singing is phenomenal. There's no going around it. It's easily the best part of this album. The sound is also quite pleasant. The writing is certainly interesting. I feel that it's maybe a bit lyrically repetitive, but I view that as more of the sign of a concept rather than laziness. The writing is quite personal and honest though, and I like that. This album is pretty long though. Overall, this is a solid album that makes me excited to get to Back to Black eventually. High 3/5.

Gris Gris

Dr. John

3/5

Here's a weird little album right here. I've never heard of Dr. John, the night tripper, but he seems like a fun character. His voice is certainly interesting. It's pretty Tom Waits-esque in a way. I don't know how to feel about that. Anyway, the musical contents are also decent. This album's pretty short with only 7 songs across 33 minutes. They're not the best 33 minutes of music I've ever heard (albums like Fresh Fruit for Rotting Vegetables and A Love Supreme have it beat in that regard), but they're okay. I think it just boils down to this kind of music not really being my thing personally. I respect this album, but it doesn't really make me feel that much. The sound is solid. The writing is fine. Overall, this album doesn't do much for me, but I can see enough value in this for me to give this a low 3/5 as opposed to something lower.

Lost In The Dream

The War On Drugs

4/5

I think it says a lot about this list that even the more recent albums are clearly heavily influenced by music from before the 2000s. Although, given how meh the popular music of 2014 was, I can't blame the book writers for wanting to think about the past a bit. Anyways, this album's alright. It's not the most interesting album ever. I mean, I could certainly name a few more influential and better indie rock albums. But there's clearly quite a bit of talent here. The sound is very pleasant. There's a good blend of acoustic and electric sounds. I like that. The singing is interesting. It's very Dylan-esque at some points. The writing is pretty good. I have some complaints, but they're pretty minor. This album is a bit long and the songs do kind of blend together a little bit. However, this is still a pretty good indie rock album if that's your thing. Fantano gave this a 7 and I kind of agree. So I will round this album up to be a low 4/5.

Let It Bleed

The Rolling Stones

5/5

It happened. It finally happened. I finally got a Rolling Stones album without an offensive song in it! I didn't think it was possible! That must automatically make Let It Bleed the best Rolling Stones album I've listened to yet, right? Well, I don't want to say that it's because of that, but I think this is the Rolling Stones album I've heard so far. Let It Bleed is amazing. I've seen some people complain that it has a really good opener (Gimme Shelter) and a really good closer (You Can't Always Get What You Want) with 7 songs of filler in between. While I agree that those are the two best songs on the album, I wouldn't call the rest filler or even bad. The rest of the album is still quite good. Everything just works well in this album specifically. The sound still has elements of their early work and yet it still feels like they were doing something special here. The writing is the best it's been, at least as far as I'm aware. Mick Jagger's singing is still fun, but the addition of some extra singing in the songs I mentioned earlier as well as the song "You Got the Silver" adds some variety to the album. The pacing is practically perfect. I'm at a loss for words. I actually loved a Rolling Stones album. Sticky Fingers was really good, but I think Let It Bleed has become my new favorite (though that could just be recency bias as I haven't heard Sticky Fingers in a while). This thing is great. Light 5/5.

At Fillmore East

The Allman Brothers Band

4/5

300 albums. It's kind of hard to believe. And I'm not even 30% of the way through the list! So, how do I feel about this album being my 300th album? I mean, it's not the best 50-album milestone I've had (album 250 was Station to Station and it's kind of hard to top a Bowie album), but it's not the worst one. This is easily one of the best live albums I've gotten so far. I was pretty worried at first when I saw this was a 76-minute long live blues rock album. But hey, it is far from the worst 76 minute long album I've ever heard (Haunted Dancehall, am I right?). The sound is thoroughly entertaining. There's a lot of talent here with things like the guitar work. The singing and lyrics are both quite good as well. The elements of jazz mixed in with the blues rock provides a good genre blend. The album's pretty long, but there are albums that felt slower than this for sure. The live elements like speaking from band members and audience noise are minimal, but still present enough to provide a cohesive experience. Overall, this is a solid album, but not the best one I've listened to this week. My last album, Let It Bleed, would've certainly made for a better milestone than this. Light 4/5.

Sail Away

Randy Newman

3/5

Well, I can't say that I expected to ever listen to a full album from Randy Newman of all people, but I'm kind of happy I did. Randy Newman is an artist that I've heard plenty of songs from before, but there's one thing in common with the context I heard them in. I heard them all in animated movies. But you know, I've always liked what I've heard. I always did like the music in the Toy Story movies. But now, I get to talk about his music outside of that! And I've gotta say, it's pretty solid. The sound is familiar territory, mainly in regards to the singing, which I should've expected given that it's still Randy Newman. It's pretty good though. His music is kind of like Bob Dylan's in a way where the songwriting is the main focus as opposed to the singing and instrumentation, because while both of the latter things are good, it's the songwriting that makes this a listen that's worth your time. There's an element of satire that I didn't expect to be there, but I gladly welcome it. It makes this music stand out from the movie stuff. There's a solid variety in what's written about, including religion ("He Gives Us All His Love" and "God's Song"), America ("Political Science" and the title track), and whatever "Simon Smith and the Amazing Dancing Bear" is supposed to be about. The many short song approach aids in this variety. Overall, it's not amazing or anything, but Sail Away is a pretty good album that makes me appreciate Randy Newman's musical talents a lot more. High 3/5.

Clandestino

Manu Chao

3/5

This one's alright. It's certainly better than the last non-English album I got (fuck you Koffi Olomide). Is it the best one I've gotten? No. I definitely liked the albums from groups like Sigur Rós and Os Mutantes more. However, I can certainly see quite a bit of value in Clandestino, even if it's not really my thing personally. One interesting thing about this album in comparison to others is that different songs are in different languages. Most are in Spanish, but some of them are in French, Brazilian Portuguese, and even English! The writing is decent from what I can tell. It's got some good variety. The singing is pretty interesting. It's kind of Sgt. Pepper's-esque in a way. The sound is pleasant. It doesn't go on for too long, and none of the songs do either. It's pretty fun. Overall, this is a decent album that I can see the appeal of. 3/5.

Live And Dangerous

Thin Lizzy

3/5

Another live album already? I just got one a few days ago! Anyways, This one wasn't quite as good, but was still one of the better live albums I've gotten. First of all, I'll start with the problems. For one, it's pretty long. It was long enough for me to feel great when the album ended, but as I've said about many albums, it certainly isn't the worst 76 minute long album I've ever listened to. This being a live album definitely makes the length more understandable. Secondly, the album is a bit repetitive. It's not the most repetitive album I've listened to, but it's noticeable. Now it's praise time! This album's pretty fun. It's just some good simple hard rock akin to something like Def Leppard and even Van Halen at times. I'd say I like this more than the former but not quite as much as the latter. The vocals are pretty decent. The writing is too. The sound is the highlight of this album. There's definitely some talent that you can hear through the basslines and guitar riffs/solos. There's not much else to say. It's a good fun hard rock live album. High 3/5.

Music for the Masses

Depeche Mode

4/5

You ever get worried that you don't actually like a certain artist and that you really only like the one song or album you've heard? Well fortunately, I can safely say that that does not apply to me and Depeche Mode. I loved Violator. I can't believe I initially gave it a 4. That has since been remedied. But yeah, that album is phenomenal, so I was very excited to see if the album that came before it, Music for the Masses, holds up too. Fortunately, it does! Well, okay, I have to say one thing. Violator is the better album. I can confidently say that. However, Music for the Masses is still a great album. You can still hear the things that make Violator so special. The dark atmosphere, the stellar vocals, and the eerie lyrics are still there, albeit not quite as refined as they are one album later. Certain songs even remind me of specific songs from Violator. For instance, "Nothing" kind of gave me "Sweetest Perfection" vibes. I really think I'm gonna have to check out the other Depeche Mode albums after this. This is just great. High 4/5.

Dry

PJ Harvey

4/5

Alright, back-to-back repeat artists! My first PJ Harvey experience wasn't quite as special as something like my first Depeche Mode experience, but I did like Stories From The City, Stories From The Sea quite a bit. I thought it was a pretty good album. As for her debut album, Dry, it's also pretty good! The sound is great. It's just a solid alt-rock style that appeals to me. The vocals are unique in a good way. The writing is solid. Many of the songs give off similar vibes and might be similar in what they're about, but the writing for each song combined with the sound creates a desirable variety in its tracks. Overall, while I liked Stories marginally more, Dry is still a good debut that shows a considerable amount of talent right from the get-go. Low 4/5.

If You Can Believe Your Eyes & Ears

The Mamas & The Papas

3/5

First off, fuck John Phillips. That guy sucked. It's a good thing he's dead so I can feel comfortable listening to this album on streaming. I mean, I could've said the same thing about Jerry Lee Lewis, but I didn't. Maybe it's because this is from a band with other living members that get the money instead as opposed to a solo live album where the shithead says his own name and puts his last name in one of the songs that makes it okay to me. Whatever, let's move on from that. Something something "separate the art from the artist," you get the idea. This album's alright. I like the vocals. The presence of a whopping FOUR vocalists really adds a variety in vocal sound that you don't get much with music like this. At most it's usually two singers. The instrumental sound takes a bit of a backseat in this one, but it's still solid. The songs themselves are alright too. The highlight of course is "California' Dreamin." That song's pretty great and was an easy add to my "Best of the Albums" playlist. The others are good too. I like this album. I don't love it, but it's good. High 3/5.

People's Instinctive Travels and the Paths of Rhythm

A Tribe Called Quest

4/5

Now this is a hip-hop group that belongs on this list! A Tribe Called Quest is arguably the most acclaimed hip-hop group that I've gotten an album from so far. They're certainly up there. Here we have their debut album. I've been getting a lot of those lately. Does this album hold up? Yeah. I'd say it does. This is a pretty good album right here. It's definitely one of the better hip-hop albums I've gotten so far. The beats are great. There's an element of light jazziness that gives this album a different vibe in comparison to other acts of the time. And you know what? I like that. Of course, the jazz elements apparently end up increasing in later albums of theirs, including their most acclaimed album, and this album's followup, The Low End Theory. I'll have to hear that for myself whenever this generator decides to give me that album though as it fortunately also appears on this list. Another thing that apparently increases on later Tribe albums is the presence of members that aren't Q-Tip. Despite being a group, the vocals in this album primarily come from Tribe's de facto leader, Q-Tip. While he does a great job and I can see why he's the leader, I did enjoy Phife Dawg's verses and hope to hear more of him on The Low End Theory. The writing on this album is also solid. It's a nice album. Songs like "Can I Kick It?" showcase the joys of music quite well. The album's closer "Description of a Fool" is an entertaining call-out making fun of abusive boyfriends. "Ham 'N' Eggs" is about healthy eating. Everything comes together to make an album that's fun but also a bit chill. It's a mellow fun, you know? Good album. Low 4/5.

Automatic For The People

R.E.M.

5/5

Well, it's time for the fourth, and final, R.E.M. album of the list. I'm gonna miss these. I truly had no idea going into Murmur for the first time back in December that I would end up liking them as much as I do. So how is Automatic for the People as a closer on this arc of my life? I think this is the best one yet. While there is still enjoyment to be had, there's a deep layer of emotion in this one. This is most evident in songs like "Everybody Hurts" and "Try Not to Breathe." These songs are supplemented with your more high-energy tracks like "Man on the Moon" and "Ignoreland." That's not to say that one is better than the other. Every song on this album is quite good. But the variety on this album is really something special. Everything else that makes the prior R.E.M. albums great is here and they're arguably better than ever. Everything from the writing to the instrumental talent to Michael Stipe's singing is all spectacular in this album. I can totally see why people say this is R.E.M.'s best album. I can understand why someone might prefer the other albums, but this one is my current favorite. Because of that, I think this warrants a light 5/5.

When I Was Born For The 7th Time

Cornershop

2/5

What is with this list and these British 90s one hit wonders getting whole ass albums on the list? Why is this band here? They have one popular song and it's not even the version from the album that got popular! It was the remix by Fatboy Slim, an artist that I have gone on record saying that I don't give a crap about, that got popular! So that did not make me excited for this album at all. So, after listening to the album, how do I feel about it? I mean, it's fine, I guess. I don't really care about it that much. I'll give it this, it was different than what I expected, and by extension, different from the rest of the obscure 90s British indie albums on the list. This album's big song, "Brimful of Asha" is alright. It's not my favorite "one-hit" to show up on this list, but it's probably not the worst. The rest of the songs are whatever. Some are okay, but others are kind of interlude type things that just pad out the runtime. This album kind of dragged a bit. At least it ended on somewhat of a high note, but I don't think the final song is good because of what Cornershop did. I think it's good because it's Norwegian Wood. It's kind of hard to make a song like that sound bad. The sound is fine. It's got elements of Indian music to make things a bit interesting. But then again, speaking of the Beatles, that was something George Harrison had done 30 years prior to this album's release. Whatever, it's at least something I can respect about this album. The writing is fine, I guess. I just don't really see why this needs to be on the list. There's better albums with this kind of vibe that do it better. High 2/5.

Mellon Collie and the Infinite Sadness

The Smashing Pumpkins

4/5

I LITERALLY JUST LISTENED TO THIS ALBUM. I decided to start what I call the "Mega Album Mini Project" where I listen to every album on the list that's over 2 hours throughout the end of Summer so I don't have to listen to them after a long day of school or something. I started with this one because it's the shortest of the collection. I LITERALLY LISTENED TO THIS OVER THE PAST TWO DAYS. Of course, I'm not going to listen to it again, even though it's a good album. So here's the review that I wrote yesterday (as of when this review is being uploaded). Wow. That was something. This is a great album right here. I'll start by addressing something very important right off the bat. This album is very long. There's a reason why I listened to this and 2+ hour albums when I had the free time in the summer instead of just waiting for the generator to give them to me. However, the 2 hours of runtime are not wasted in Mellon Collie and the Infinite Sadness. There's a good variety in this album. Some songs are heavier and more aggressive, while others are more ballad-like than anything. These two styles come together to form a complex album with complex themes that get explored quite well. The sound, regardless of if it's heavy or light, is pretty good. The instruments sound cool. The vocals on the other hand are something to get used to. Billy Corgan's vocals are certainly interesting. They're the kind of thing that needs to grow on you as you listen. Fortunately, I'd say they kind of grew on me. Not fully, but enough to say that I can defend his singing. It fits the themes of the album. The writing is great. There isn't a clear story here, but you can catch glimpses of general themes like relationships and adolescence. Overall, while this is certainly a daunting listen, I'd say it's worth it for any alt-rock fan. I never knew the Smashing Pumpkins were this good. High 4/5.

Q: Are We Not Men? A: We Are Devo

Devo

3/5

I mean this as an entirely sincere compliment, but this might just be the funniest album I've ever listened to. This is what an album like Duck Stab should've been. Weird, but not painful to listen to at times. It feels less like Devo is trying to be as weird and off-putting as possible and more like they're trying to make good music but they happen to just be fun, weird guys so the music ends up being weird too. And I mean that as the good kind of weird, not the bad kind. The writing is silly but also genuine and good. The sound is off kilter, but there's still elements that can appeal to less experienced music listeners. The vocals are pretty Talking Heads-esque which is not a bad thing. I do happen to like Talking Heads more, but this served as a pretty good introduction to Devo for me. I'd never really dived into their stuff before. I just vaguely knew them as that band that the guy who made the Rugrats music was in. Needless to say, my opinion of Devo is now positive instead of fairly neutral. Overall, while this album is certainly not for everyone, I had quite a bit of fun with it, especially in comparison to other albums that could be considered weird and off-putting. High 3/5.

Seventh Tree

Goldfrapp

3/5

If I had a nickel for every obscure British album with the word "seventh" in the name that I got in the past week, I would have two nickels, which isn't a lot, but it's weird that it happened twice. Anyways, this one's alright. I don't love it or anything, but I would call it a good album. Alison Goldfrapp's vocals are a bit incomprehensible at times, but at least they sound nice. The instrumental sound is nice too. There's a pretty solid blend of electronic elements with the acoustic folk base. It works. The writing is respectable and good. I like the songs. None of them are particularly bad. They kind of blend together, but this isn't the worst instance of that happening especially because the songs themselves are good. I don't have a ton to say. This is a pretty good album. High 3/5.

Coat Of Many Colors

Dolly Parton

3/5

It's stuff like this that affirms my belief that there are, in fact, no objectively bad genres, at least as far as broad genres are concerned. I've never been a fan of country music. However, the country music I've been exposed to is primarily what I would call "modern bro-country." You know, stuff like Florida Georgia Line, Jason Aldean, and Luke Bryan. I hate that music. It's so bad. I can't stand it. However, country as a genre is not objectively bad, and I know that because of Dolly Parton. Well, okay, there's other important artist like Johnny Cash that also affirm that belief. Dolly Parton is truly an American legend, and for good reason. Not only is she a stunning philanthropist (in more ways than one), she's also a pretty good musician. This album is quite good. The opening title track is just a great song, but the rest of them aren't bad either. Dolly's vocals are impressive and a joy to listen to. The writing is also solid. The sound is pleasant to listen too. Overall, while country isn't really my thing, there's no doubt that this is a solid album that has a lot going for it. High 3/5.

Chris

Christine and the Queens

3/5

First off, I just want to say that it's pretty cool that this album has both an English version and a French version. I only listened to the French version as it seems to be the version most people consider to be better, but it's cool that both options are there. Anyways, this album's good. Like a lot of the albums I've gotten recently, it's not really my thing personally, but I respect this album quite a bit. Is it the most essential album of 2018 that they could've put on the list? No, but it's not the worst pick they could've made. At least it represents a country and language that don't already have a crap ton of albums on the least. The sound is pretty good. The production has a good blend of classic synth-pop and modern pop production. The singing is pretty decent too. I translated the lyrics from French to English and they're pretty unique. Overall, this is a pretty decent album that I can see the appeal of. However, I don't really feel like going back to hear what the English version is like any time soon. High 3/5.

1/5

This fucking sucks. Yeah, I said it. Not that anyone cares since I don't think anyone even gives a shit about this album in the first place. Why is this even on the list? Well apparently, this guy was a big inspiration on Nick Cave, a musician that Robert Dimery seems to have a gigantic boner for since he has 6 ALBUMS on the list. If any of those 6 albums is anything like this, I might just quit the project entirely. I don't know if I can handle 6 more albums like this. I'll start with the one decent thing about this album. The instrumental sound is not bad. I don't particularly care for it, but I can respect it for what it is. However, everything else about this album is so bad that that barely even matters at all. The singing? Atrocious. Absolutely horrendous. It's Pere Ubu levels of bad. And I literally said that the vocals in Dub Housing were the worst I had ever heard! And somehow the writing is even worse! It's awful! "Gang Bang" has some of the worst writing I've ever heard in a song before. But all of this begs the question... the ultimate question to determine if this is among the worst of the worst. Am I upset that I listened to this album? Well, despite the admittedly okay instrumental aspects of this album, my answer to that question would have to be a resounding YES. 1/5. The only sensation that Alex Harvey makes me feel is pain.

Hard Again

Muddy Waters

3/5

I'm gonna be honest. I don't really care for this album that much, but it's still WAY better than that Alex Harvey album I got yesterday. This is an album that I can absolutely see the appeal of even if it's not really my thing. The singing is alright. It's good. The instrumental sound is solid too. The harmonica talent in particular is nothing to scoff at. The writing could be a bit better. It's a bit repetitive and hasn't aged the best. The last song makes me uncomfortable. Why did so many singers in the 70s sing about wanting to fuck underage girls?! It's gross, and yet somehow it was more comfortable than like half of the last album! The most popular song on this album is undeniably "Mannish Boy," a song that proved that this album has more cultural impact than the last one because it has a JoJo character named after it, and that's one of the ultimate tests of the cultural impact of a piece of music from the past 60 years. That song is good, as are most of the others. Overall, this album's fine. I don't really care much for it, but there are some pretty good elements to it that could warrant a higher rating for someone else. As for me... I think I'll give it a 3/5. I've been giving a lot of those lately. I don't know why. Hopefully that changes soon.

To Pimp A Butterfly

Kendrick Lamar

5/5

Finally, an album that I was actually excited to listen to. The past 6 albums have ranged from albums that I really like to albums that I actively hate. But now, I can finally say that I have listened to the top album of all time on Rate Your Music. The people have called To Pimp a Butterfly the greatest album of all time. So, do I agree? Well, I personally wouldn't go that far, but I can absolutely see why others would. This is a truly wonderful album of a caliber that we only see every once in a while. I really only have praise to give to this album. The production on this thing is magnificent. The strong influences from funk, soul, and jazz create an aura that not many other hip-hop albums have. Even the interludes have a sense of musicality to them that you don't usually find in the interludes of other hip-hop albums. The writing is top-notch. The overarching themes of race, fame, and culture are utilized flawlessly alongside a few other songs that dive more into the mental state of Kendrick Lamar himself. Speaking of Kendrick, his rapping is some of the most unique rapping I've ever heard. The flow is certainly impressive and him changing the way he raps based on the perspective of the verse is just amazing. There's a deep personal core to this album that isn't the most accessible for newcomers. And yet there's still some pop sensibilities that allowed this album and Kendrick's music as a whole to become as popular as it has. I really don't know what else to say. Though I may like a few albums more than this, it would be hard for me to say that TPAB is anything less than a masterpiece. I get it. I see the appeal. To the surprise of nobody, I will be giving this album a 5/5.

Halcyon Digest

Deerhunter

4/5

Normally I would complain about how most of the 2010s picks on this list are obscure indie rock albums with low cultural impact, but I just got TPAB yesterday so I have no right to complain about that right now. Anyways, this album's good. It's not my favorite, but it's good enough for me to feel like it's someone's favorite. The sound is interesting. It's got an interesting genre blend. It's very indie, with a bit of a shoegaze-like feel to it. The vocals fit that as well. It's a good vibing album. There's some good emotion to it. The writing is pretty decent. This is just a solid indie rock album. Fantano gave it an 8, which I think is a bit high. However, I wouldn't put it that much lower. Maybe like a light 7 or something. I thought about giving it a high 3, but it's better to initially overrate an album than it is to underrate it. So instead, I'll give it a low 4/5.

Daydream Nation

Sonic Youth

5/5

It seems as though I've finally gotten out of the rut of 3/5 albums. Daydream Nation is a great album. I know, right? This is my third Sonic Youth album of the project, and it is easily the best one so far. This just feels the most like a cohesive musical statement. The sound is noisy yet still weirdly pleasant to listen to at times. It's probably the best part of the album. That's not to say that it falters with its other elements. The vocals enforce this sense of angst that ties the whole album together. The writing is certainly interesting, but still quite good. The album's opener, "Teen Age Riot," is one of the band's most popular songs, and for good reason. It's a great song, and the others are almost as good as it. Daydream Nation is 70 minutes long, but the album is so sonically dense that it doesn't drag whatsoever. It kept me engaged, which is something of an accomplishment for 70+ minute long album. This may not be the best 70+ minute long album that I've listened to this week. I do prefer To Pimp a Butterfly. However, there really isn't any reason to compare the two albums given how different they are, so I won't! But there is one thing that makes these albums similar in my eyes. They're both phenomenal pieces of music. I'm proud to announce that I finally loved a Sonic Youth album. Light 5/5.

The Freewheelin' Bob Dylan

Bob Dylan

4/5

Well, well, well, well, well. We meet again, Mr. Dylan. I said well 5 times because this was my 5th album of his, making Bob Dylan the first artist on the list to give me 5 albums. However, the spread of those albums was not very even as my third through fifth albums of his were all in the span of a month. Because of that, I wasn't as passionate about the music my reviews for Time Out of Mind and especially Highway 61 Revisited weren't as positive as they could've been otherwise. I might even have to relisten to the latter to see if it's worthy of being a 5 or not. In that review I "requested" for at least two more months before another Dylan album. And would you like at that? It's been four months without one! I'm okay with that, and I am in the mentality to properly praise Bob Dylan. However, that doesn't mean that what I have to say is entirely new. A lot of what I'm about to say is repeated from other albums of his. His singing is still very love-it-or-hate-it. I myself still feel mostly positive about it though, especially earlier in his career. Speaking of which, this was only his second album ever! And you know what? For being his second album ever and his first one to be mostly comprised of Bob Dylan originals, it's really good! The musical contents are a lot more simple than later albums. All songs but one are just Dylan's voice, guitar, and harmonica. This creates a more personal atmosphere of sorts that allows this album to excel in its simplicity. But as is always the case with Bob Dylan albums, the songwriting is the highlight. I cannot stress enough just how good of a songwriter Bob Dylan is. The album's opener, "Blowin' in the Wind" is probably Dylan's most iconic song, and for good reason. It might just be one of the best songs I've ever heard. I also really like "Masters of War." It's weirdly aggressive but in the best way possible. However, I do still have complaints about this album. It's not perfect. I think that the wonder I had with the first few songs died down a bit near the end and I don't think that's just on me. I do feel like the beginning of the album is stronger than the end. The latter half is still good, but not quite as good. It's not as cohesive of an experience as something like Blood on the Tracks, my current favorite Dylan album. So, overall, The Freewheelin' Bob Dylan is an impressive, albeit somewhat flawed, album that showcases that Bob Dylan had a lot of talent going into his second album. I'd go so far as to say that this is his true debut, and the beginning of a long and fascinating career. High 4/5.

Signing Off

UB40

3/5

You know, when I first got this album, my first though was "Come on England. Why are you trying to do reggae? Can't you just leave it to the Jamaicans?" However, after listening to UB40's Signing Off, I realized that those were stupid questions, because this album is pretty alright. I actually had no idea that reggae has as big of an impact on British music as it does. So you know what? It's not like there isn't an argument for this album being on the list. I say let it stay. It adds some variety and is also, as I stated earlier, a decent album. The thing that surprised me the most was with the singing. I was really worried that it would be super annoying. Fortunately, I was wrong. The vocals were softer than I thought they'd be, which isn't a bad thing. I liked it. The sound was a bit repetitive, but was similarly pleasant. The writing was also alright. It's fairly political in a good way. It's not really what I was expecting, but I was pleasantly surprised by it. This album isn't really my thing personally, but I have quite a bit of respect for it. It was quite a bit better than I thought it would be. 3/5.

In The Wee Small Hours

Frank Sinatra

4/5

Would you look at that? It's the oldest album on the list! You know, if I had decided to listen to these albums going in release order while still starting the day I did, I would've listened to this all the way back in October! Anyway, how does this album hold up? Well, I think it holds up decently well. I really liked this album! I think it goes without saying that Frank Sinatra was an incredible singer. His voice is very smooth and pleasant to listen to. The sound of his music is quite cozy. I like it. It's soft but engaging. The writing, and to an extent the sound, is somewhat repetitive. But I don't think it's that big of a deal when it's as good as it is. These songs are all about heartbreak. In a way, this is one of the first concept albums ever released. The songs are all written by different people, but they work well together in this package. For being released in 1955, this is a surprisingly heartfelt and mature album. The theme is handled in a respectable way. I saw a review on this site comparing how Sinatra wrote to how artists like the Everly Brothers by highlighting the absence of bitterness in Sinatra's writing while the Everlys wrote like incels (their words, not mine). As someone who proudly gave A Date with the Everly Brothers a 1/5, I have to agree. The maturity in how the topics of heartbreak and failed romance are handled makes this album a breath of fresh air in comparison to other music of the time. While this album isn't perfect, it manages to be a very important release in music history that's aged pretty well while also having that 50s charm. 4/5.

Run-D.M.C.

3/5

I mean, it's 80s hip-hop. What do you want me to say? I'm just kidding. Apparently if I start my review like that it ends up being more popular than my other reviews. But yes, I do have things to say about this one. For one, Run-D.M.C. is one of the most iconic hip-hop groups of all time, certainly more iconic than some of the other 80s/early 90s hip-hop groups I've gotten. And with this being their debut, I can see why this is here. Although, I would say Raising Hell makes more sense for inclusion. Fortunately, It's also included on the list, so we'll be seeing how good it is later. As for their self-titled debut, I think it's a solid album. It's not amazing or anything, but it's fun and it does the job. It's quite influential in the development of hip-hop, and I can tell. It still sounds a bit dated, but it's better for an album to be a bit dated in the sound department than for it to have aged poorly in the lyrical department. Speaking of which, the writing is similarly fun. I think my favorite song is "It's Like That," which says some good things about society. Some songs do still do that thing early hip-hop groups do where they rap about themselves and their origin story or whatever, but at least these guys do it pretty well. The beats are decently well made. The actually rapping is entertaining. This album's alright. I like it. High 3/5.

The Wall

Pink Floyd

5/5

Oh boy. What an album. This might just be one of the most fascinating albums of all time. It's also a lot to handle and discuss about. I really don't know if I can do this album justice with my writing. To start, The Wall is one of the most conceptual concept albums to ever be conceived. It tells a clear narrative in an excellent way. You can actually understand the main character of the album. Of course, it might be easier for one to do that with the album's film adaptation, but the album version does quite a good job fleshing out the character of Pink. Speaking of flesh, the album's opener, "In The Flesh?" establishes everything about this album quite well. It's also a pretty good song. Most of the songs are quite good. Some aren't as good as others, but when a song on this album is great, it's phenomenal. All three parts of "Another Brick in the Wall" add to the story in unique ways, with the second (and most iconic) part being a stand-out. Songs like "Mother" and "Hey You" give this album an emotional core, while others like "Young Lust" and "Run Like Hell" give the album some energy. And of course, I would be hard-pressed to review this album without bringing up "Comfortably Numb," which might just be one of the greatest songs ever made. The sound of the album is varied with all of it being quite great. The singing is similarly varied and always fits the song. The writing is truly something to behold. The story is emotional, harrowing, and deep. This isn't my favorite Pink Floyd album, I'll say that. I did like both Wish You Were Here and The Dark Side of the Moon more. But this is still an absolute accomplishment of an album that has stood the test of time in a way that very few albums have. 5/5.

Marquee Moon

Television

5/5

What is happening right now? I went from 6 albums in a row that were all 3s and one 1 to a streak of 9 albums with only two 3s and everything else being above that. I'm not complaining that I'm getting great albums now, but where where they earlier? I was getting demoralized for a bit there. Anyways, that's over because now I'm getting albums like Marquee Moon. I love this album. It's amazing. I get the hype. The pacing is perfect. There are some albums I've gotten that are great but aren't perfect in the pacing department. Case in point, the last album I got, The Wall. I love that album, but I wasn't just saying that it's a lot because of the heavy subject matter. I was also saying it because the album's 82 minutes long. Marquee Moon? A tight 46 minutes. I'm fine with long albums, but I do prefer albums in the 40-minute range. The writing is pretty good. There's things to think about. But the sound is what I love the most about this album. The singing is fun. It's not for everyone, but it gives me a sort of Talking Heads vibe that I do enjoy. And the instrumental sound? Awesome. The guitar work is stellar. The riffs and solos stand out and are very fun. The rest of the sound gets the job done excellently. With this album being released in 1977, it's also influenced later iconic bands like Joy Division, R.E.M., and the Strokes, making Marquee Moon a no-brainer for a list like this. This is a truly excellent album that has stood the test of time for 46 whole years and will do it again for another 46 and beyond. 5/5.

Dirt

Alice In Chains

5/5

God I love grunge. I don't know what it is, but anytime I get a grunge album on this list, I'm practically guaranteed to love it, and Dirt by Alice in Chains is no exception. Alice in Chains was one of the big 4 grunge bands in the early 90s, and they managed to stand out from the others in (in my opinion) two notable ways, both of which are related to their sound. The first is that their music is much more metal-adjacent than bands like Nirvana, Soundgarden, and Pearl Jam. This is perhaps most obvious in Dirt's opener, "Them Bones," a song that actually manages to make 7/4 time signature sound cool as hell. The sound of this album as a whole is just excellent. It nails intense sound in songs like the one I just mentioned and the song that follows it, "Dam That River." However, slower, more melodic songs like "Down in a Hole", "Rooster", and the closer, "Would?" also manage to succeed in their beauty. The other thing that makes AiC stand out is the singing. All of the big grunge bands have great singers, and you can get some amazing performances from Kurt Cobain, Eddie Vedder, and especially Chris Cornell. However, the other bands don't have the harmonies of AiC. The way that the voices of Layne Staley and Jerry Cantrell harmonize is truly stunning, as is everything else about this album. The writing and theming is striking, and the pacing is perfect. This album is just phenomenal. What more can I say? 5/5. And for the second time ever, I have now given three 5/5s in a row. Here's hoping I can get a fourth!

Rage Against The Machine

5/5

Some people are going to hate me for saying this, but fuck 'em. This is one of the greatest albums ever made. I love Rage Against the Machine. Everything about their music and this album speaks to me on every level. The sound is so crazy and unique and awesome. Everything from Tom Morello's unconventional guitar playing to Tim Commerford's heavy bass playing to Brad Wilk's intense drumming to Zach de la Rocha's iconic vocal style comes together to form some of the most intense music I've ever heard. And I love it. There's something magical that happens every time you hear one of Zach's famous UGHs that truly makes you feel like raging against the machine. Speaking of the machine, let's talk about the writing of the music! You see, unlike some people, I actually understand what they're saying in these songs. This is some truly revolutionary stuff. It's a shame that a lot of it still applies over 30 years later. All of these songs go crazy. "Bombtrack" might be one of the greatest album openers ever. It perfectly sets the stage for what the next 9 songs will entail. And it's immediately followed by "Killing in the Name"?! How did they make an album this great?! That song is, of course, amazing. "Know Your Enemy" is another one of my favorites from the album, and the presence of Maynard James Keenan in the bridge is the closest we'll get to having a Tool album on the list. I can't believe there's not a Tool album on the list. Overall, I love this album. It is an aggressive, powerful album with so much to say. These messages are rapped and screamed in ways that I could never. I don't know what else to say. Maybe I should think less about what to say and more about what to do. That is the ethos of Rage Against the Machine. 5/5. Four in a row, baby!

Never Mind The Bollocks, Here’s The Sex Pistols

Sex Pistols

4/5

You know, punk is a genre that really tends to be hit or miss for me. Bad punk music ends up being really annoying to me, but the feeling that I get from a great punk album is hard to find in most music. It's always nice to get a great punk album. Fortunately, the Sex Pistols made one and then never made an album again. Why did they only make one album? Oh boy. That is not a story that I am equipped to tell. However, what I can tell you is how I feel about this album. As stated earlier, I think it's really good! The writing is not perfect, but still manages to succeed in providing the things that I like about punk such as nonconformity and heavy-handed politics. The instrumental sound is pretty good too. It's very fun. One thing that makes this album great in terms of both writing and sound is that each of the songs feel somewhat different from one another. They all have the same general style to them, but there's enough variety for this album to not get stale or repetitive. But of all the elements that make up a punk album, the one that affects my opinion the most is arguably the singing. There's a reason why I said that bad punk can be "annoying." It's the singing. Fortunately, I enjoyed Johnny Rotten's vocals. He maybe an insufferable twat, but he knows how to make these songs fun. They're definitely something that you either love or hate. I can totally see why others would hate these vocals, and I'll admit that I won't always be in the mood for them, but I think they're funny enough for me to say I enjoyed it. I like the way he sometimes rolls the r's. Overall, while this isn't my favorite debut punk album (that honor currently goes to Dead Kennedys), Never Mind the Bollocks is certainly an iconic album that's worthy of being on this list for both its historical importance and the fact that it's really good. High 4/5.

No Sleep 'Til Hammersmith (Live)

Motörhead

3/5

Well, I accidentally deleted the review I had. So here's a shorter review of this Motörhead live album. I said in my Ace of Spades review that Motörhead's music is pretty repetitive. Fortunately, this album is less repetitive on account of many of the songs coming from different albums. In a way, I kind of liked this one more than Ace of Spades. The album, not the song. The song is on this album though, and it's as great as ever. Other songs like "Overkill" are also fun. One thing I should've highlighted more in my Ace of Spades review is how much of a legend Lemmy is. I may not be the biggest Motörhead fan, but there's a reason why people have called Lemmy a god amongst men. Despite the fact that I was an actual child who had no idea who he was when he died, I still miss that man. Let's wrap this review up real quickly. The sound is fun, but still fairly repetitive. The live album nature is not too intrusive. The album's fun, but not the most memorable. High 3/5.

War

U2

4/5

Wow. The difference in sound between this and The Joshua Tree is actually insane. I had no idea that this is what U2 was earlier in their career. But you know what? I like it. War is a pretty good album. I think I liked The Joshua Tree more, but this one's also a solid album. The sound is much closer to something like a post-punk album, largely in part due to The Edge's guitar sound not being fully established at this point. The writing has a political focus, making this a pretty interesting listen lyrically. Not every song is great, but the one's that are are pretty good. The album does start with it's strongest outing, "Sunday Bloody Sunday," but other songs like "New Year's Day" are also solid. Overall, I still have a pretty high opinion of U2. I know, right? I prefer The Joshua Tree, but I could honestly see someone else feeling differently. That's the neat thing about music opinions. They're all subjective, and that's good. 4/5.

Led Zeppelin II

Led Zeppelin

4/5

For the first time ever, I have now gotten three repeat artists in a row! Oh well, I can't be too upset considering that all three albums have been, at least, pretty good. "Pretty good" is basically how I feel about Led Zeppelin II. Admittedly, it's probably my least favorite of the three Led Zeppelin albums I've gotten so far. Led Zeppelin IV and even Physical Graffiti were better in my opinion. However, I don't want to downplay the importance of this album, especially considering that this album is quite important. It's certainly very influential. I have problems with it, sure. I do think that it is a bit repetitive in some regards and the writing isn't always great. However, there are some truly commendable elements of this album. The sound is great. It's got a bluesy core while still being a bit heavier than what was to be expected of music in 1969. Songs like "Heartbreaker" exemplify this excellently. Most songs on here are pretty great. "Whole Lotta Love" is a classic. I really like "Ramble On." It might be my favorite of the album. Back to the sound, the singing is quite fun and the instrumentation is on point at all times. Overall, while I like the other Led Zeppelin albums more than this one, there's no denying that Led Zeppelin II is an iconic album that absolutely deserves the praise despite its faults. 4/5.

A Night At The Opera

Queen

5/5

Another repeat artist? I'm gonna be honest, I'm starting to get tired of it. Oh well, at least this is another amazing album. I know I already rated the other Queen albums on this list very highly, but this might just be the best one. There's just something special about A Night at the Opera. I think it might be the willingness to be special. This is a bold album with bold ideas that absolutely pay off. I mean, the album starts off with a pseudo-diss-track towards the band's original manager with "Death on Two Legs"! That's interesting! The foundations made by Queen in their earlier albums are still here. The sound is still excellent. Freddie Mercury's vocals are still phenomenal. The production on this thing is insane. There's so many good songs on here. Not all of them hit as hard as the best ones, but the ones that are great are just phenomenal. Songs like "You're My Best Friend" exemplify the fun of Queen, while others like "Love of my Life" bring some emotion to the album. And yet, the impact of 11 of the 12 songs on this album combined pale in comparison to the impact that this album's biggest song has had. The song, of course, is "Bohemian Rhapsody." I could go on an on about this song. Call it overplayed or overrated or whatever. All I'm saying is that there's a reason why people have called it one of the greatest songs ever made. It's just such an innovative, wonderful song that serves as an absolute marvel of a musical masterpiece. I really don't know what else to say. This is Queen's finest outing (at least as far as I'm aware), and when their earlier work is already as amazing it is, it's no surprise that this album is a 5/5 in my opinion.

Fever Ray

3/5

Well, at least it's something different. My streak of albums from artists I recognize is now over, as I have never heard of this before. Fortunately, that is not a sign of the album's quality. I had no expectations going into this. How do I feel after listening to it? It's alright. It's solid. I didn't love it, but I'd say this is a good album all things considered. It's not the most original album ever. I can definitely see where the Björk comparisons are coming from. However, I do think they're a bit overblown. This is still a different type of listen. It's not as good of a listen as Björk's better albums, but it's still different. The sound is somewhat interesting, as are the vocals. The writing's fine. It's not the most memorable, but what are you gonna do about it? I like this album, but it's not really my thing in some regards. I can see why they felt like including this on the list, but I can also completely understand why it was removed in later versions of the book. High 3/5.

The Low End Theory

A Tribe Called Quest

5/5

Now this is an influential album right here. My first A Tribe Called Quest experience was with their first album just under a month ago. I'm a bit miffed that there wasn't much time between the two (as well as the sheer abundance of repeat artists I've gotten as of lately), but those feelings are strongly outweighed by my positive feelings on this album. Every piece of praise I had for their debut applies here, but to a stronger degree. The jazz influence was certainly there in their first album, but it is in full swing on The Low End Theory. They even acknowledge that in the first song on the album! Speaking of songs, there's some great ones on here. Of course, you have the classics like "Check the Rhime" and "Scenario" that are obviously great. However, the deep cuts from this album like "Skypager" and "What?" are pretty good as well. There aren't really any bad songs on this album, which is good. The rapping is even better on here than the debut. My big complaint on the debut was the lack of Phife Dawg. Fortunately, there is no lack of Phife Dawg on The Low End Theory. He is here and he is great. Q-Tip still does great as well, and even though he doesn't rap, the work that Ali Shaheed Muhammad provides on this album is essential to what makes it so great. The sound is excellent, the writing is enjoyable, and the pacing is much better. This album has aged magnificently and its influence remains in and outside of hip-hop to this day. The Low End Theory may not be my favorite album to release on September 24, 1991. I personally liked Nevermind more. But there is no denying that this is a legendary album that deserves all of the praise it has gotten over the years. Light 5/5.

Roxy Music

4/5

Dude. This is weird. But you know what? It's a good weird. Roxy Music's self-titled debut is a very fun album. A word I've seen people use to describe the sound of this album is "eclectic" and I would have to agree. The sound is widely varied, and I really like that. Bryan Ferry's voice is one of those love-it-or-hate-it voices in a similar way to someone like David Byrne from Talking Heads. The vocals here are certainly weird, but very fitting for an album like this. The writing is probably thing I cared for the least. It's not bad, it's just probably the least interesting part of this album. I might be wrong though. My one other problem is that some songs are a bit long. The overall album is a great length, but some songs drag a bit. However, there are some pretty good songs here. Despite not being on the original album, I'm very glad I listened to "Virginia Plain." It's probably the best on the album. As for the best song that was on the album's original pressing, I'd probably have to go with "If There is Something." That one's good. It's fascinating that this marked the beginning of Brian Eno's musical career. Yes, the guy responsible for an album called "Ambient 1: Music For Airports" also did some funky keyboard work for an album like this. Crazy. Anyways, this album's pretty good. It's not for everyone, but I liked it well enough. Light 4/5.

Live At The Witch Trials

The Fall

3/5

Oh wow, another British post-punk band from the 70s/80s. What a surprise. I definitely needed more of this. Yeah, I didn't care for this album much. I'll start with the praise that I have. I actually do like the instrumental sound quite a bit. It's pretty interesting. I'd call it good. "Frightened" is a pretty solid song. The album is a pretty decent length. The rest of the album isn't my cup of tea. I respect this album, but I just don't really vibe with it enough to give it a super high rating. The vocals are fine, I guess. They're okay and aren't too annoying. The writing could have more substance to it. I feel like this album needs more to keep me engaged. I don't know what it is, but I feel like this just could have been a more fun album. It's not the length. I can see potential here. This could be a great album, it just needs a bit more to it. Oh well, maybe I'll find that in one of the other two albums that this band has on the list. Really? 3 albums for The Fall? You serious? Those other two better be damn good albums. 3/5.

Highly Evolved

The Vines

3/5

This is truly the album of all time. The notes are musical. The writing has words. I definitely listened to this album alright. Yeah, this album's just kind of okay. There's nothing particularly wrong with this album. It's perfectly fine. The singing is not too annoying. The sound is acceptable. The production is pretty solid. Apparently the guy who did it also helped produce for some of Elliott Smith's albums, including the two I've listened to. That's nice. I just feel that this album doesn't do anything that hadn't been done before or during the time this album was released. I mean, when you have better, more iconic garage rock revival bands like the Strokes and the White Stripes on the list, adding the Vines feels kind of redundant. British media really loved this album for some reason. They called these guys the next Nirvana or something. Really? I don't hear it. NME also called this the 2nd best album of 2002, only behind Coldplay's "A Rush of Blood to the Head." I certainly wouldn't go that far. There are quite a few albums from 2002 that I like more than this one, including the Coldplay one. I can see good things about this album. It's just that it's not a very exciting addition to a list like this. I don't get the reviews saying that this is soulless or anything, but I also don't get this being one of the best albums of 2002 when albums like Yoshimi Battle the Pink Robots exist. 3/5.

Unknown Pleasures

Joy Division

5/5

Damn. What an album. I've heard plenty of good things about Unknown Pleasures in the time leading up to me finally listening to this album, and I've gotta say that it did not disappoint. This album is absolutely fascinating. There's a lot that I could say about it. The sound is great. It's bleak, but not entirely unpleasant to listen to. Ian Curtis's vocals are a bit haunting, especially when you take his lyrics and his life story in to account. Speaking of which, the writing is great. It's very deep and personal, and I love it. There's some great songs on here. The opener "Disorder" is pretty good. The back-to-back string of "New Dawn Fades" and "She's Lost Control" is amazing. Even the weaker songs like "Wilderness" are still pretty good. The pacing is perfect. I also really like the album cover. It's neat. I really like this album. It's not my favorite, but I could see it growing on me over time. Still, I can absolutely see why so many people consider this to be a masterpiece. Light 5/5.

Dog Man Star

Suede

4/5

You know, for all the complaints I've seen about the list having too much britpop, I haven't really gotten much of it myself so far. What's even better is that most of the britpop albums I have gotten have been pretty good, and Suede's Dog Man Star is no exception. This is a great album. I really like it. I'm a big fan of the sound. It's kind of Bowie-esque in a way. It's a very minor way, but definitely a way. The singing is pretty nice too. The writing is solid. One thing I like about this album that applies to many aspects of the album is that it's a bit darker than most britpop. A lot of British alt-rock from this time and movement tended to be very upbeat and geared towards "the lads." While this did result in some good albums (take Supergrass's I Should Coco for example) it also was kind of dumb in some ways. This album is certainly more upbeat than something like a Radiohead album, but not quite as much as one from a group like Oasis or Blur. There's a good balance here. It's not the deepest album, but it's still got a good amount of substance to it. Good album. High 4/5.

Public Image: First Issue

Public Image Ltd.

3/5

More post-punk?! Come on, give me something different already. I don't even dislike post-punk or anything, I'm just tired of it. I've gotten like three post-punk albums in the past 5 days. That's the same as the amount of hip-hop albums I've gotten in the past month. That's insane. On top of that, this album has John Lydon (formerly known as Johnny Rotten) on vocals, which is a problem because I just got the Sex Pistols less than two weeks ago! I'm not upset that this is here, I just think now was the worst time for me to get it. Anyways, at least the album's pretty solid. It has problems, sure. The first and last songs aren't my thing, largely because of how long they are. The last one in particular is not great in my opinion. The vocals on it sound like Carl Wheezer from Jimmy Neutron. The 6 songs in between are good though. "Public Image" is probably the best one. Aside from the last song, the vocals are pretty similar to the work on Never Mind the Bollocks, which means they could be more annoying. I miss the "r" rolling though. The writing is okay. It's vague, avant-garde post-punk writing. What do you want me to say? The sound is cool though. I don't have much else to say. I just want some more variety in what I get, even if what I'm getting now is pretty solid. High 3/5.

Fleet Foxes

4/5

That was nice. This is a nice album. I like it. I'm cool with it being on the list. It's different from other things. It's a folk album that has clear classic roots but also feels modern at the same time. That's a good thing. The sound is very pleasant to listen to. I love it. It makes me happy. The singing is similarly nice. I like the harmonies. The writing is quite good too. This whole album makes me feel cozy in a way. This album makes me want to go outside in the fall. It's not quite fall yet, but at some point in the future, I would love to spend a fall day in the forest listening to this album and then come home to binge watch Over the Garden Wall again. That would be nice. This album's great. I wish I had more to say. High 4/5.

Paranoid

Black Sabbath

5/5

I mean, it's Paranoid. What do you want me to say? This is easily one of the greatest, most important metal albums of all time, and by extension, one of the greatest albums ever. Everything I said about prior Black Sabbath albums applies here. The sound is still phenomenal. This album takes the feeling of doom that their debut captured so effortlessly and refines the sound to be a bit more accessible, yet still so special and awesome. There is not a single bad song on here. I could say something good about all 8 of them, so I will. "War Pigs" might be one of the greatest album openers ever. I love it. "Paranoid" is an absolute classic that shows that the guys were able to increase the energy of the sound perfectly. "Planet Caravan" is so radically different from the other Black Sabbath songs and it weirdly works. "Iron Man" is just awesome. Everything in it just works. I really like the weirdness of "Electric Funeral." "Hand of Doom" is super underrated. It's great. "Rat Salad" is a very fun instrumental that really shows the technical capabilities of the band's instrumentalists, especially drummer Bill Ward. Finally, "Fairies With Boots" is a great way to close the album. Tony Iommi's guitar work is just the best, Ozzy Osbourne's vocals capture the themes of each song perfectly, Geezer Butler is a great bassist, and I already complimented Bill Ward. This album is just amazing. Easy 5/5.

Truth And Soul

Fishbone

5/5

HOW HAVE I NEVER HEARD OF THIS BAND BEFORE??!! What happened to society to let Fishbone go unnoticed? This is amazing! I love this album! The sound is so unique and wildly varied and insane and I love it! The blend of ska, funk, and even metal influences is just awesome. The singing is nice too. The writing on here is just as varied as the sound. You'll have a song like "Subliminal Fascism" with a Dead Kennedys level of obvious political messaging that come two songs after "Bonin' in the Boneyard" which is exactly what it sounds like. The cover of Curtis Mayfield's "Freddie's Dead" at the beginning might be one of the best song covers I've ever heard. But why is this band on the list? As I said, Fishbone is far from the most well-known band ever, and my feelings on how good this album is are entirely subjective. Well, as it turns out, Fishbone is actually pretty influential in the underground, and has garnered a pretty strong cult following over the years. They've even influenced a number of very well-known artists and bands like the Red Hot Chili Peppers, No Doubt, Ice-T, and Primus. There's an argument to be made that if there's a thing that can be considered the "most important" of something, then the thing that influenced that first thing is actually more important. Many people consider Sgt. Pepper's to be the most important album of all time, but since Sgt. Pepper's was strongly influenced by Pet Sounds, does that make Pet Sounds the real most important album? I guess what I'm trying to say is that sometimes the greatest things in life are also the most underappreciated. I'm also trying to say that Fishbone is really good and should've been way more popular than they were. Light 5/5.

Real Life

Magazine

4/5

Well, at least it's an important post-punk album this time. Not only it Magazine's Real Life an important album in the development of the post-punk genre, it's also really good. This thing is awesome. The sound is great. It's quite varied and unique. Comparing the tones of songs like "Definitive Gaze" and "Shot By Both Sides" is pretty crazy. The latter of those two songs is just amazing, and the former is a pretty good opener. The vocals are pretty solid as well. I definitely like Howard Devoto's vocals more than I did the vocals on the album I got from his former band Buzzcocks. The writing does its job well. I do have problems though. While the best songs on this album are total bangers, the weaker ones don't really do much for me. They're fine, just nothing special. I praised the vocals earlier, but honestly they don't always work for me either. Those problems are pretty minor though. This album's great. High 4/5.

Highway to Hell

AC/DC

3/5

Finally, a member of my Australian legends list! AC/DC is simultaneously a very interesting band and a very uninteresting band. They're very popular, so I definitely think they deserve to have at least one album on here. Fortunately, they have two, with this being the earlier one. This album's pretty alright. The sound is quite good. I've always liked the riffs and solos I've heard of AC/DC. Although, I did just realize that, until listening to this album today, I had only ever heard like 4 AC/DC songs in my life ever. My belief has been reaffirmed with this album listen. Bon Scott's vocals are certainly unique. One may find them annoying, but I find them to be fun. Now, let's get the obvious complaint out of the way. Let's just say that there's a reason why people say that every AC/DC song sounds the same. This album's pretty repetitive in both sound and (for the most part) lyrical matter. However, while this does lead to a less interesting album, it does make Highway to Hell a pretty consistently solid album. Of course, it does peak with the title track at the beginning, but the others aren't bad. They're just not as interesting. Overall, this is a solid album from a pretty influential band. It may not be an album that I'm super passionate about, but I see the appeal and the importance of this album. High 3/5.

All That You Can't Leave Behind

U2

4/5

Welp, I guess I have to admit that I actually really like U2. Yeah, it's undeniable at this point. When you've listened to three albums from a band or artist and really liked all of them, you've officially reached the point of no return. You're a fan now. I guess I'm a U2 fan now. Admittedly, All That You Can't Leave Behind isn't the most inspired album ever. It's pretty similar tonally to The Joshua Tree, an album from 13 years prior to this one's release. The album's still good though, I swear. I don't get the hatred. I mean, the album starts with "Beautiful Day"! That's a great song. Sure, the album kind of peaks at the beginning. But the ending isn't bad. It's still alright, just not the best. I still really like the sound, both instrumentally and vocally. The writing is still pretty good, but not quite as good as it was on some of their earlier albums. This may not be the best U2 album or the best album of 2000, but I still like this album for what it is. 4/5.

Hot Shots II

The Beta Band

2/5

Hmm... let's see. An obscure Scottish indie electronic rock album from the early 2000s with minimal success, a weirdly high amount of praise from one or two magazines, and a band where one of the first things the Wikipedia article mentions is that the band was praised by members of Radiohead and Oasis? Yep, I think I've found the album that most exemplifies the weird picks of this list. Only Robert Dimery could consider this album worthy of a list like this. I know I don't. This album's mid. The singing's kind of annoying to me. The sound is fine. It's not the most unique, but I respect the production. The writing exists. At first I was thinking that I was just not in the mood for this, but by the end I really started to feel that my complaints with this album were more legitimate than I thought. This thing kind of drags a bit near the end and is a bit repetitive. I just don't see why this is here. Apparently Kludge, a magazine I've never heard of, called this the best album of 2001. Really? You're joking right? I mean, how can you call this the best album of 2001 when albums like Is This It and Toxicity exist? Don't get me wrong, the release of Hot Shots II is not the worst thing to happen in 2001, but it might just be the least interesting. Hot Shots 2? More like, Hot Shots 2/5. It's a high 2 though. No wonder this got removed from the list.

Cloud Nine

The Temptations

3/5

Another repeat artist? I feel like I've gotten quite a bit of those lately. Oh well. I've been needing some more soul albums in my life, so revisiting the Temptations will do. This one's pretty good. Admittedly, I did like All Directions more, but Cloud Nine is far from a bad album. It's the earlier of the two albums and I can kind of tell. This doesn't really feel as refined as All Directions. Still, this is a perfectly acceptable soul album. The singing is pleasant and, well, soulful. The sound is also quite good. There are light psychedelic elements in there, but it's still a nice soul album through and through. The writing is pretty decent. This is some good stuff. It's nothing too groundbreaking or even special, but it doesn't need to be. Sometimes all a man needs is 34 minutes of some nice soul music, and this provides that. 3/5.

So

Peter Gabriel

4/5

I like this album. It's good. This is just a nice 80s pop album. I like Peter Gabriel's singing. It's kind of hard to explain why I like it, but I do. Of course, there are guest singers as well, and they all do great. More albums should just have Kate Bush in them for a song. The sound is great. The synths and other instruments are awesome. There's a good balance between fun time and serious time. Speaking of which, the writing is nice. You have some fun, less serious songs like the classic "Sledgehammer" balanced out by a more romantic track like "In Your Eyes". There's good emotion all throughout. This isn't like a perfect album or anything. I mean, there's a reason why it lost Album of the Year to Paul Simon's Graceland. The reason is that Graceland is a better album (in my opinion). However, that doesn't make So a bad album. This album's really good. I absolutely see the appeal. 4/5.

Chocolate Starfish And The Hot Dog Flavored Water

Limp Bizkit

2/5

Oooohhhh boy... I have a lot to say about this album. First of all, this album name and artwork is disgusting. Just absolutely gross. I don't like looking at it or hearing the album name. Of course, one could also say that about the name Limp Bizkit, but I've gotten kind of numb to that. Anyways, Limp Bizkit, am I right? They're certainly a band that exists. Now, Limp Bizkit was very culturally relevant in the late 90s and early 2000s, so there is an argument for this album's inclusion, especially considering that this is their best selling album at over 10 million copies. But is the album good? Uhh... no. Admittedly, Chocolate Starfish and the Hot Dog Flavored Water is not a very good album. However, it's not like there aren't good things in here. Limp Bizkit is a band with 4 very talented musicians... and Fred Durst, but we'll get to him in a bit. For now, I have to give the instrumentalists some credit here, especially guitarist Wes Borland. Though he is responsible for the horrendous cover art, the riffs that he plays are actually really good at times. Limp Bizkit's sound is certainly unique. I have to give them credit for that. The genre blend is commendable. There are some genuine bangers in here. I unironically really love "Rollin' (Air Raid Vehicle)." The other big single, "My Way" is also pretty good. They're guilty pleasures, sure, but I still like them. Now, let's talk about the bad. First of all, this album is long. 75 minutes is a lot of time to listen to any band for in one sitting. Secondly, the writing is just awful at times. The first actual song, "Hot Dog" is probably the worst offender here. Let's talk about Fred now. His vocals are kind of annoying. I can handle it for a little bit, but as I stated earlier, 75 minutes is a lot to handle. I've seen a lot of people just hate on Limp Bizkit relentlessly. Here's the thing. While I do get it, I can't say that I'm upset I listened to this album. While there are some awful songs here, the fun ones that I mentioned earlier honestly are worth it for me. This album is just dumb fun. Is it painful at times? Yes. However, I had a big smile on my face for a large chunk of the album. It's kind of like (hear me out on this one) Duck Stab by the Residents in that regard. They're not good (in my opinion), but I had too much pleasure to give this a 1. Still, this thing does have some major issues that make this an album that I'm not comfortable calling good. Still, I guess I kind of had fun during some parts. I don't hate Limp Bizkit. High 2/5.

Trans Europe Express

Kraftwerk

4/5

Wow. This is exactly what I needed after Limp Bizkit. It's almost comforting in a way. I am familiar with Kraftwerk, with my most notable Kraftwerk experience being the time I listened to Autobahn for this very project back in April. I liked Autobahn, so I figured I would like Trans-Europe Express too, and something that I knew I would like all throughout was just what I wanted. And you know what? I got exactly what I wanted and then some. Some people might disagree with me on this, but Trans-Europe Express is a much stronger album than Autobahn. Well, I don't know if I can objectively say that. I'm sure there are people who prefer Autobahn's sound. I'm not one of them. I liked Autobahn, but I love Trans-Europe Express. The sound is just better in my opinion. It appeals more to me. This album feels a lot more cohesive in my opinion. The concept of this one, that being the titular Trans-Europe Express, is explored a bit more than the concept of the Autobahn was in Autobahn. It's not explored much, but it's something. The sound itself just feels more fun to me this time. I especially like the album's opener "Europe Endless." It's nice. This album is nice. It's just more interesting to me. Maybe I'm just not a fan of albums with 22-minute songs in them. I should stop comparing this to Autobahn. Trans-Europe Express stands out as a strong electronic album that makes me feel good. The sound is pleasant and also somewhat complex. It has a fun concept that's executed well. I love it. 4/5.

Bookends

Simon & Garfunkel

4/5

That was a nice little album right there. Yes, it is finally time for the last Simon & Garfunkel album of the project. The last one I got was Bridge Over Troubled Water back in January, so I was more than okay with getting Bookends now. After listening to this album, I can safely say that this is a great album. Admittedly (and take this with a grain of salt as I haven't listened to Bridge Over Troubled Water in a while) I do like Bookends a bit less than Bridge. However, Bookends is still amazing. It's just a nice album. It's quite short, not even half an hour long. I'm okay with that though. The 29 minutes are used quite well. There's some great songs on here. Of course, "Mrs. Robinson" is an absolute classic. It perfectly encapsulates what makes S&G such an iconic duo in music history. I also really like "America." It's a cozy song. The singing is quite great all throughout. The sound is very pleasant. The writing is amazing. It's not all perfect. I think the presence of "Voices of Old People" is kind of weird. It kind of almost works, but I'm not sure if it does. It at least fits the themes of the album. Overall, while this may not be my favorite Simon & Garfunkel album, it's still an impressive showcase of musical talent that deserves to be recognized in a list like this. High 4/5.

Djam Leelii

Baaba Maal

3/5

That was nice. Was it the most necessary album listen I've ever done? No, but it certainly wasn't the least necessary. I mean, at least this album has a Wikipedia article! Anyways, this album's pretty solid. I enjoyed it. The sound is nice. It's a bit different than what I was expecting from an album originating in Senegal. I guess I've just never really been exposed to Senegalese music before. I've gotta say, this album makes a strong first impression. The singing is good too. I don't know what they're saying, but that's not a problem with this album, it's just a language barrier. Remember, it's not okay to give an album a low score just because the singing is in a language different to the one you speak. It's a pretty respectable length if you only listen to the 8 songs that were originally included. Later versions of this album have 12 songs on them and I didn't really feel like listening to that much. Maybe I should have, or maybe not. This album's pretty good. It's not my favorite, but I can absolutely see the value in something like this. High 3/5.

Darklands

The Jesus And Mary Chain

4/5

Time for another band that I've vaguely heard of! I knew practically nothing about the Jesus and Mary Chain until today, so I didn't have any specific expectations. I've gotta say. This is some great music right here. I like this. The sound is pretty cool. It's pretty chill. It's somewhat fun, but there's also some noise there. Fortunately, it's the kind of noise that doesn't hurt to listen to, which I think works very well in an album like this. The singing is pretty interesting. I think it works very well with the feedback to create a unique vibe that I really like. The writing is pretty good too. Songs like "April Skies" are just wonderful in many regards. My biggest complaint is that there's just not enough of it! This album is only 36 minutes long, so I feel that I really didn't get to appreciate it as much. Fortunately, the Jesus and Mary Chain's debut album, Psychocandy, is also on this list. Apparently that album is even better than this one, so it must be pretty great. Still, Darklands is a really good album. 4/5.

Time Out

The Dave Brubeck Quartet

4/5

Now this is some amazing jazz right here. I've been needing more jazz lately. It's a genre that I haven't gotten to experience that much of. I still haven't gotten a single Miles Davis album on here, and he has like 4 of them on the list! Anyways, Time Out by the Dave Brubeck Quartet will have to do for now. And oh boy, it sure does things. Easily the most interesting thing about this album is its use of weird time signatures. I love it. I've always had an appreciation for songs that are outside of the typical 4/4 time signature. I want weird stuff some times. The opener is mainly in 9/8! That's awesome! The compositions on these tracks are amazing. Funnily enough, the one song that wasn't composed by Dave Brubeck himself actually ended up being this album's biggest hit, "Take Five," which is also in a unique time signature, that being 5/4. That song is, of course, amazing. The other 6 songs are also quite good. Nothing in this album overstays its welcome, which is great. You love to see it. This may not be my favorite jazz album. I'd say A Love Supreme has it beat in that regard. But Time Out is truly a work of art that absolutely deserves the recognition it's gotten over the years like being put in the National Recording Registry and this list! High 4/5.

Timeless

Goldie

3/5

Hmm... okay. This is an album alright. Here, we have Timeless by Goldie, which is the earliest of three albums on this list from a genre known as drum and bass, a genre categorized by its characteristic drums (often in the form of break beats) and its bass. Despite this being the first one I've gotten from the generator, I have listened to the other two drum and bass albums on the list already. I did those ones because they were over two hours each, and were thus albums that I felt the need to listen to when I had free time so that I can do them during days where I have as much time to get through them as possible. Maybe I should've extended the minimum time to include this one. Let's move past that though. Back to the genre itself, this album is seen as a seminal album for the genre, giving it an argument for inclusion in this list. So, is this album truly Timeless? No, but that doesn't mean it's not good. I think this album's alright. Is it a bit too long for my liking? Yes, it is. However, the contents of this album are pretty good. This would've been a great album for me to do homework to if I had homework tonight, which I didn't. The sound is somewhat interesting. It's certainly more interesting than other 90s British electronic albums, that's for sure. The singing that shows up sometimes is neat. It's kind of Björk-like in a way. The sampling is good. I do have problems with this album, don't get me wrong. The pacing is kind of wack. The longest song, which is the first one by the way, is 21 minutes long, while the shortest one, "Angel," is just under 5 minutes long. That makes some songs drag too long while others feel tiny in comparison. Still, I respect this album for doing something different at the time. It may not be timeless or faultless, but it's still a solid album that I can see the appeal of. 3/5.

Home Is Where The Music Is

Hugh Masekela

4/5

Well, shoot. There's no denying it at this point. I really like jazz, don't I? You know what? I'm gonna admit it. I like jazz. Sure, was today the best day for me to get a 76-minute long jazz album seeing as I got a really long album yesterday and a different jazz album the day before? Well, no. But darn it I still like this! The instrumental talent of jazz musicians like Hugh Masekela is something that I have learned to really appreciate. His trumpet playing in particular is awesome. The piano playing in here is also great. The compositions of these pieces is just crazy and it's amazing. This isn't the best jazz album I've ever heard. I think some songs go a bit too long and not all of them stick out to me. However, I enjoyed this album a lot and that's all that really matters. Light 4/5.

Rain Dogs

Tom Waits

4/5

I get it. I finally get it. I understand the appeal of Tom Waits. When I listened to Nighthawks at the Diner back in February, I didn't see the appeal. I just thought it was mumbling over some decent jazz instrumentals. Surely there was more to Tom Waits than that, right? Well, it's September now, and I've listened to Rain Dogs, an album that is considered by many to be the best Tom Waits album. I've become accustomed and open to "weird music" in the 7 months since Nighthawks. Because of those reasons, I was very hopeful that I would be able to see what makes Tom Waits so great because of this album. Fortunately, I was right! This is a great album! This album is just so weird and all over the place. But you know what? That's what makes this album great. I respect this album because each song feels completely different from the last. Comparing the opener, "Singapore," to the closer, "Anywhere I Lay My Head," really makes you appreciate that. Like, how is a beautiful song like "Time" on the same album as something insane like "Cemetery Polka"? I don't get it, but I also do! Tom's vocals are also very unique and characteristic. I feel like I was way too critical in my Nighthawks at the Diner review, and me calling Tom Waits's vocals "not great" was wrong of me. What was I thinking? Do I need to relisten to that one? Now I feel that his vocals add to the strange feel of this music in a good way. The writing is pretty good too. While I don't love this album as much as others do, I feel like it's really opened my eye to the appeal of artists like Tom Waits. I sarcastically said in my Nighthawks review that I was "excited" for there being 5 Tom Waits album on here. But you know what? I'm not sarcastic about that anymore. I genuinely want to see what those other albums are like. Maybe, just maybe, I will become an actual Tom Waits fan. I wouldn't go that far now, but I do see the appeal of this album. High 4/5.

Tom Petty & The Heartbreakers

Tom Petty and the Heartbreakers

3/5

You know, sometimes it's nice to just get a run-of-the-mill decently successful rock act. As much as I may like some (key word: some) of the weird stuff I get, it can be nice to get something that I know I'll understand. Case in point: Tom Petty! I mean, he's a pretty well known name, right? I think he deserves to have an album here. Not only are Tom Petty and the Heartbreakers a successful group, but their self-titled debut album is pretty good! It's not amazing or anything, but it's nice. It's just a solid rock album. It's not groundbreaking, but it's not bad at all. The singing is nice. The instrumental sound is even better. The writing is solid, but not the most unique or impressive. It's a very short album, but that's not a bad thing. "American Girl" is not only the album's closer, but also it's best song. The album's good, I don't have much else to say. High 3/5.

Liege And Lief

Fairport Convention

4/5

That was nice. British folk rock isn't what I really needed today, but if it's an album as good as this one, I'm okay with whatever. At least this album is important to the development of the genre and thus has a valid reason for being on the list. You wanna know another valid reason as to why this is on the list? The reason is that the album is good. I really liked this album. The sound is pleasant and has this modern medieval feel to it. Like, you can clearly tell that this was made in the late 60s at the earliest, but the instruments make me feel like I'm at a casual ren faire, if that's even a thing. The singing is great. Sandy Denny's vocals are just wonderful. The writing is great too. It captures the vibes perfectly. What can I say? This is just a great folk rock album that simultaneously feels classic and a bit ahead of its time too. Some of the instrumentation kind of reminds me of what Led Zeppelin would end up doing in the 70s, so hearing this in 1969 is pretty cool. Light 4/5.

Lam Toro

Baaba Maal

2/5

No offense to Baaba Maal or the country of Senegal, but why is this on the list, and why did I have to listen to it now? I mean, I just got the other Baaba Maal album like 8 days ago. I'm kind of burnt out on Baaba Maal. Not only that, but this album really doesn't seem to be nearly as impactful as Djam Leelii. I mean, this album doesn't even have a Wikipedia article! The last time that happened was with Koffi Olomide, and I gave that album a 1, largely because it has seemingly no reason to be on the list. Fortunately, I will not be giving this album a 1 because I do respect this album. I don't think it needs to be on the list at all, but I respect the album. There are definitely things to like about it. The sound is okay, as is the singing. I don't know what the lyrics say because I couldn't find them anywhere, but I'm sure it's not too bad. The album's not too repetitive either, which is a point over the Koffi Olomide album. I don't have anything else to say really. Lam Toro is fine, I guess, but I really don't see why it deserves to be here. High 2/5.

Illinois

Sufjan Stevens

5/5

This album really makes you FEEL like you're in Illinois. For real though, this album's phenomenal. Illinois by Sufjan Stevens is one of the most critically acclaimed albums of the 2000s. My expectations were very high for this one. Fortunately, my expectations were met. There's really something special about this album. It's a concept album, and an excellent one at that. The focus on the state of Illinois is something that could be too narrow in scope for many artists, but not Sufjan. Despite the overarching setting, each song feels completely different from the last and they're all great. You have bombastic songs that exemplify the fun of the state like "Come On! Feel the Illinoise!" that fit in with the theme. And yet somehow a song like that is perfectly balanced by some of the most gut-wrenching songs you've ever heard like "Casimir Pulaski Day" and "John Wayne Gacy, Jr." and it works. Of course, you also have songs that find a nice point between the two like "Chicago" as well. Again, all of these songs are amazing, even the instrumentals. On top of the theme of Illinois, other themes like religion also seep their way into the writing. Speaking of which, the writing is amazing. The biggest reason as to why the concept works is because of how good the writing is. The sound is incredibly varied as well, but once again, it's all great. I really like Sufjan's singing. It fits the vibe of this album amazingly. I really cannot praise this album enough. This is one of the finest, most ambitious albums I've ever listened to. It kept me captivated for the whole 74 minutes, and I am very glad to have finally listened to this album. 5/5.

Copper Blue

Sugar

3/5

You know, if I had a nickel for every American alternative rock album released in 1992 that had a song named "Man On the Moon" in the second half, I would have two nickels, which isn't a lot, but it's weird that it happened twice. Anyways, between this and R.E.M.'s Automatic for the People, this is definitely the weaker album. This is what Foo Fighters sounds like to people who don't like Foo Fighters. It is the definition of average alt-rock. It's fine. I would call it a good album, but it's not exactly an interesting album. The vocals are okay, as is the writing. The sound is good, but not my favorite. That's really how I feel about this album. It's not my favorite. However, I did like it generally. It just kind of feels like filler. Light 3/5. And with that, I am official 1/3 of the way through the list!

Rust In Peace

Megadeth

5/5

I have to admit something. You see, all of my reviews so far have been after my first listen of an album. At most I had heard just a few songs from the album before for some of the more popular ones like Thriller and Paranoid. Rust in Peace is an exception. I actually listened to this album about 2 years ago because I wanted to explore metal a bit more and I saw a lot of people praising this album in particular. So, after listening to it a second time, how do I feel about Megadeth's fourth studio album, Rust in Peace? Well, and I may be biased seeing as this was one of the first albums I listened to that really got me passionate about music listening, but this is one of my favorite albums of all time. I love this album so much. I want to say something about every song, but I'll start with the general traits pertaining to the whole album that I love. The sound is just awesome. There's so much energy here and I love it. The mixing (the original 1990 mixing, that is) is really good. Some metal albums tend to have poor mixing, especially in the bass department (I'm looking at you, ...And Justice For All). Rust in Peace does not have that issue. The bass work from David Ellefson is amazing. Nick Menza's drum work here is also stunning. It doesn't get focused on much in the album, but it's still there and it's great. Of course, the thing that makes Rust in Peace such a special album, in my opinion, is Marty Friedman's guitar work. In particular, this album has some of my favorite guitar solos ever, with there being one in particular that stands out above the rest. There is one band member whose talent is a a bit more mixed though, at least according to most people. Yes, I am of course referring to the band's frontman himself, Dave Mustaine. Look. There's no debating over whether or not he's a good guitarist or lyricist. He just is. The debate comes when you talk about his vocals. Yeah, they're not great sometimes. However, I actually think they work really well on this particular album. They sound decent here. Are there better vocal performances in metal albums? Sure. However, I think that this album is not a good example of a bad vocal performance from Dave Mustaine. Going back to general elements, the writing is pretty good too. I feel like Rust in Peace is a very cohesive album despite the variety in songs. Speaking of which, let's go over each song and what they bring to the table. "Holy Wars...The Punishment Due" is the perfect opener. Everything I've said about the album so far is perfectly encapsulated in this song, It's a masterpiece. "Hangar 18" is one of my favorites. The second half in particular is especially fun, and the writing is good. "Take No Prisoners" is a very fast song that I just love. The talent shown in this song alone is just immense. "Five Magics" is crazy and I love it. It's all over the place in the best way possible. "Poison Was The Cure" has some particularly amazing bass work. The juxtaposition between the fun sound and the not-so-fun writing about Dave Mustaine's drug problems creates a very unique song. "Lucretia" feels pretty different from the rest of the songs, but it's great too. I really like Dave's vocals on this one. "Tornado of Souls" might be even better than Holy Wars. The song would already be great without it, but the guitar solo in this one is the stuff dreams are made of. It is honestly one of my favorite parts of any song ever. "Dawn Patrol" is probably my least favorite on the album, but revisiting it has given me a bit of a new perspective. I think the song does its job well and shows off some more great bass playing. Finally, "Rust in Peace...Polaris" is a great closer. Maybe not as good of a closer as Holy Wars is an opener, but still amazing. The theme of nuclear war is especially strong on this one. I know I yapped a lot about this album, but how could I not? It's literally Rust in Peace. It is easily one of the best metal albums ever made, and because metal is awesome, that makes it one of the best albums of all time, in my opinion. It is a metal masterpiece. 5/5.

BEYONCÉ

Beyoncé

3/5

Well, that's one way to follow up Megadeth. That's also one way to mark 365 albums done for the project. I've done this for a year. Well, okay, because 2024 is a leap year, I'm counting tomorrow's album as the one year mark, so sorry Beyoncé fans. However, that is the only apology I will issue to Beyoncé fans in this review. Quite frankly, they have things pretty good. This a solid album. Like most modern pop albums, it's not really my thing, but I do respect this album quite a bit. I think Beyoncé's a pretty good singer. She adds some character to these songs. The writing isn't my favorite, but it has it's great moments in there. The production is great. One interesting thing about modern albums to me is how many producers are on there. Fortunately, I didn't really feel like any of the production on here was subpar. Then again, I'm not an expert in that regard, so take that with a grain of salt. The features are mostly pretty good. Of course, the one problem with the features here is that I can no longer make fun of Drake for not being on the list in any capacity. The songs on here are pretty good too. I will say that the idea of a "visual album" that this album kind of pioneered is really cool. I didn't watch the visuals of this album, but I'm sure they're neat.I see the appeal in this album. It might not appeal much to me, but I get why others like it. I'm not one of those kinds of people who just endlessly complain about music from the 2010s onward being "all bad" because I know that that simply isn't true, and this album shows that. Strong 3/5.

Exodus

Bob Marley & The Wailers

5/5

Well, I feel like I can official say that I have now been doing this project for an entire year. I started on October 5th, 2023. It is now (as of when I'm writing this) about 8:00 PM on October 4, 2024. Every day on the calendar can be associated with me listening to an album from this list. I can hardly believe. Fortunately, I get to celebrate this occasion with an amazing album. This is just a phenomenal album right here. Bob Marley is a legend of music. If anyone gets to be called "the Reggae Guy," it's him. I already listened to Natty Dread and liked it quite a bit. However, there's something about Exodus that just makes it a special listen in comparison. Perhaps this album feels more varied, because it does. While the songs do generally have the same feel to them, it's more so in a "this is just what the artist sounds like" kind of way and not a "these all feel like the same song" kind of way. The writing is perhaps the biggest source of variety in this album. Some songs really hone in on the feel-good aspect of reggae. Songs like "Jamming" and the absolutely iconic "Three Little Birds" just make me happy. The whole album does bring great vibes. However, some of the songs on the first half in particular really have a lot of depth to the writing. I mean, the opener "Natural Mystic" has the line, "Many more will have to suffer / Many more will have to die." What? I did not expect that from this album, but it adds some depth to the music that is not a bad thing in the slightest. The sound is great too. The reggae style has practically been perfected in this album. Again, there's a similar feel to the songs, but each song has its little quirks and features that make them stand out from one another. I really have no complaints with this album. It's perfectly paced, it's got a great blend of emotions, and the sound is amazing. This is an essential listen to anyone who is even remotely interested in reggae. I'd even recommend this to people who aren't that interested in reggae just so they can hear how amazing it can be at its peak. Light 5/5.

Maxwell's Urban Hang Suite

Maxwell

3/5

Man, I am so happy that someone like this guy is on the list and not Chris Brown. Fuck Chris Brown. Me and my homies hate Chris Brown. Anyways, this album's good. I wouldn't say I love it, but it is a solid modern r&b album. I've never mentioned this before, but contemporary r&b is kind of what I was raised on, and by that, I mean that's what my parents listened to for a large part of my childhood. So I'm sure my parents have engaged in some Maxwell action before. I probably shouldn't phrase it that way. Let's actually talk about the album. This is somewhat of a concept album, which is something that always interests me. The album has a heavy focus on adult romance. That's it? I mean, I'm fine with an album having seductive writing. I mean I gave Marvin Gaye's Let's Get It On a 4! However, I feel like that's kind of the focus of contemporary r&b as a whole, which makes this album not feel like a concept album as much. But, another way to think of this is by looking at the release year. This was long before this style of music really hit it big, so this album plus a few others helped form the foundations of the genre. That gives this album value. The album also has value because it's good. I like Maxwell's singing. It fits the vibes very well. The writing is a bit repetitive, but certainly isn't bad. It gets the job done. The sound is pleasant and similarly arousing. The album's good, but it's nothing too special in my eyes. Still, I see the appeal. High 3/5.

Strangeways, Here We Come

The Smiths

4/5

Well, on the 1 year anniversary of me listening to my first ever album by The Smiths, we have another album by The Smiths. HOW?! How does this happen?! This may genuinely be the craziest coincidence I've had in regards to this generator, and I've encountered some weird coincidences. Am I going to have to wait until October 6, 2025 to get The Queen is Dead? Maybe? I don't know. Let's move on and talk about Strangeways, Here We Come. I liked Meat is Murder quite a bit. I initially gave it a 3/5 but that was because it was the second album I ever got and I didn't like at as much as the first one I got. Since then I have gotten that rating bumped up to a 4 because I realized that the album is quite good actually. However, it's not the best Smiths album. To be fair, I don't know if Strangeways is the best one either, but it's at least better than Meat is Murder. Everything that I liked about that album is here, but it seems that the band really improved on their style in the two years after that album's release. The sound is still very unique and pleasant to listen to. Johnny Marr's guitar work is just as great as ever, as are Morrissey's vocals and writing. Andy Rourke and Mike Joyce also do great playing the bass and drums respectively. I don't have much to say about them, but I figured that I might as well give them praise since I'm doing so for the other members. There's some wonderful songs on here. "A Rush and a Push and the Land is Ours" is strong opener. It really sets up a different feel for this album. "Girlfriend in a Coma" is a pretty similar song that has this weird blend between being very fun to listen to and having very sad lyrics that I kind of really like. I think "Stop Me If You Think You've Heard This One Before" might be my favorite on the album. It's great. Overall, this is a strong album that really goes to show just how much talent there was in the Smiths. It's a shame that this was their last album. At least they ended strongly. High 4/5.

Joan Armatrading

4/5

You know, it's always interesting to see a self-titled album that isn't the debut, because you never know what it's going to represent in their career. For the Beatles, it meant getting weird and doing whatever the hell they wanted to. For Metallica, it meant the start of a shift in sound to become more accessible. And for Joan Armatrading, well I don't know what it represents other than being good. I like this album. It's not a masterpiece, but it's solid. I like what I heard. The singing is pretty nice. The sound is fairly interesting. All of the descriptions I found beforehand labeled this as something like folk rock or singer-songwriter which gave me a certain impression of what this would be like. However, I'm sensing a much stronger funk and soul influence than I expected. But you know what? That's far from a bad thing. I mean, I like folk rock, but there's only so many folk rock albums you can listen to before it stops being interesting. It's always nice to get something that's a bit different but still somewhat familiar. It's especially nice when the sound is as good as this. The writing is also pretty good. Overall, this isn't the most fascinating album out there, but it is pretty good and sometimes that's all you need. Light 4/5.

Black Monk Time

The Monks

3/5

What the hell! These guys are neither black nor monks! I can't believe this. You know what else I can't believe? I didn't hate this album. I wasn't sure I'd like this album much based on prior albums I've gotten. However, while I don't love this album, I do respect it quite a bit. I mean, this thing was super ahead of its time. This could've easily been released in the late 70s with little to no questions. But this album was released in 1966! That definitely justifies this album being on the list. As for the quality of the album itself? Well, I like the album, but it's far from my favorite. The vocals kind of fluctuate for me in terms of how I feel about them. Sometimes they're kind of annoying, but other times they fit quite well. The writing doesn't mean much to me either. It's not particularly bad, just not spectacular. The sound is alright. The organ is a bit overbearing, but at least it's played well. A very broad thing about this album that really struck me as being great is the presence of a punk-like energy. Between the nonconformity in sound, the sometimes political writing, and the general vibes of the album, I can definitely see how this was a big influence for the punk ethos as a whole. And you know what? That's great. That gives this album something that other "punk" albums like (I'm looking at you Hypnotised). Overall, I would say that I liked this album. However, my respect for this album is much higher than my actual enjoyment of the album. Still, I wouldn't really consider removing this from the list. It belongs here, even if I'm not the biggest fan of it myself. Solid 3/5.

My Aim Is True

Elvis Costello

4/5

Well, well, well, well, well, well. It took long enough. If there's one thing that's kind of infamous about the 1001 albums list (in my eyes), it would be the fact that Elvis Costello of all people has 6 whole albums on the list (1 for each "well" at the beginning of this review). Despite that, I have just now gotten my first Elvis Costello album over a year into the project. Statistically speaking, I should've gotten two or three of them by now, but I guess I had to wait. So, is my first impression of Elvis Costello a positive one? Yeah. I'd say it is. I really liked this album. My Aim is True is a strong debut album. Costello's voice is alright. I like other vocalists more, but he definitely isn't a bad vocalist. The sound is great. There's a consistent feel to it all, but there is a strong variety between songs. Comparing a song like "Welcome to the Working Week" to "Allison," the latter of which is probably my favorite from the album, really shows this. Like, you can tell this is the same artist and the same instruments. And yet, the vibes are pretty different, so that's good. The writing is also quite good. Apparently some of the book's selections as far as highlighted artists were made because of good songwriting, and Elvis Costello is an example of that. You know what? I can see it. These songs are good. There really isn't a particularly bad one. So, do I think Elvis Costello is worthy of being on the list? Yes. I do think that My Aim is True is a good enough and popular enough album to warrant being on the list. Is he worthy of having 6 albums? Well, we'll see about that when I get the other ones. For now, my opinion is positive. High 4/5.

Among The Living

Anthrax

4/5

Hell yeah! You can't go wrong with 80s thrash metal. Of course, thrash metal was largely defined by 4 specific bands: Metallica, Megadeth, Slayer, and the focus of this review, Anthrax. Despite being part of the "big 4", Anthrax isn't really talked about as much is its contemporaries. I mean, when it comes to peaks, they were never really as innovative as Metallica, as technically impressive as Megadeth, or as heavy and intense as Slayer. That's not to say that they weren't innovative, impressive, or heavy. I think Anthrax is definitely all of those things. However, their main appeal to me is how fun they are. Among the Living is a fun album. You just put it on and headbang for 50 minutes. Sometimes that's all you need. Of course, I don't want to downplay the great qualities that this album has, so I won't. The vocals from Joey Belladonna are enjoyable. Not quite as good as someone like James Hetfield's vocals, but he's probably a better vocalist than Dave Mustaine. The sound is great. It's a pretty consistent album in terms of tone, but when the sound is so great it hardly even matters. The lyrics are pretty good too. There's some solid variety. From commentary on the poor historical treatment in the song "Indians" to a Judge Dredd tribute in "I Am the Law." It's great! Anthrax definitely belongs in the pantheon of all-time great metal bands. I love this, and I want more. Give me more metal. Please. High 4/5.

It Takes A Nation Of Millions To Hold Us Back

Public Enemy

4/5

Isn't it funny that I got Anthrax and Public Enemy back to back considering that they've collaborated with each other before? I think it is. You know what else I think? This is a great album. I think it goes without saying that It Takes a Nation of Millions to Hold Us Back is one of the most influential hip-hop albums ever made. Fortunately, it's also an album that still holds up over 35 years after its release. The sound is quite good. The production is just phenomenal, especially for the time. The Bomb Squad really knew what they were doing with this one. The rapping is also great. It's quite fun, and I feel like Chuck D and Flavor Flav have a much better balance in this album than they do on the other Public Enemy album I've gotten for the project, Apocalypse 91... The Enemy Strikes Black. I think Flavor Flav works a lot better as a hype man than a stand-alone rapper. The writing is quite ahead of its time. Of course, you can still feel that this is, in fact, 80s group hip-hop. However, not every song on here is just "let's have fun rapping." You have plenty of songs with meaningful messages. I especially love "Black Steel in the Hour of Chaos." It really shows how meaningful hip-hop can be. Overall, while there are certainly hip-hop albums that I like more, there's no denying the impact that this great album has. It's great. High 4/5.

Suede

4/5

Well, there are worse bands to give two albums. I'll say that. This list really does love Britpop, doesn't it? But you know what? I'll give Suede a pass. I actually really liked Dog Man Star. I gave it a high 4 and I'll stand by that. So, my expectations for Suede's self-titled debut album were high, but not too high. I definitely wasn't expecting a better album than Dog Man Star. So, were my expectations met? Yeah. They were met exactly as I expected them too. However, while it's not as good, I would still say that I liked this album quite a bit. A lot of what I said in that review applies here, albeit with a bit of that first-album roughness. I get the comparisons to Bowie, but they do feel kind of overblown. I'm not as huge on the singing this time around, but it still isn't bad. The sound is great though. I do like the darker feel that this has in comparison to other Britpop bands of the time. Songs like "Animal Nitrate" stick out as being really good. The writing is also really good. I don't know if this needs to be on here, and I can see why others aren't as into it, but at this point, I guess I have to admit that I actually think Suede is (or at least was) a really good band. This isn't their strongest work, but it's still strong enough for me to give it a low 4/5.

Parachutes

Coldplay

4/5

What's this? I got Coldplay's debut album within 10 days of them releasing their newest album? How fun! Anyways, I know a lot of people don't like Coldplay, but I've gotta say... they started out on a good foot. Parachutes may not be the best debut album I've ever heard. I've heard so many that I honestly don't even know which one I'd call the best. However, Parachutes is also far from the worst debut album I've heard. This is a great album. A lot of what I really liked in A Rush of Blood to the Head is still here. There really isn't even much of a noticeable difference between the two in quality. Then again, I got Rush of Blood like a year ago, so my memory of the album isn't perfect. Still, I know what I liked about that album and it's also here in Parachutes. The sound is pleasant, yet also somewhat emotional. This is obvious in songs like "Yellow" and "Sparks" which are some of the highlights of this album. I like Chris Martin's voice. The writing is solid. I can definitely see the overall comparisons to early Radiohead that people have made with early Coldplay. Of course, I like what I've heard from Radiohead more than what I've heard of Coldplay, but I still really like Coldplay's first two albums. I don't really know which one I like more. Both are quite good. 4/5.

Blue

Joni Mitchell

5/5

See guys! The Blue Album is on the list after all! I'm joking, of course. However, while I would love it if the Weezer blue album was on the list, I am perfectly content with getting Joni Mitchell's Blue instead. Why is that, you may ask? The reason is simple. This album's amazing. I've said this to a few other albums, but this might be the saddest album I've ever heard. Songs like "Little Green" and the title track are written in such ways that really capture strong emotions well. Speaking of which, the writing on these songs is great. I can see why the 1001 albums book listed Joni Mitchell as an example of a great songwriter. Of course, while a great songwriter can be successful despite having a weak singing voice (just ask Bob Dylan), strong lyrics are made even stronger with a good vocalist. Fortunately, Joni Mitchell is also a good vocalist. I really like her singing. It's nice. The sound is quite simple, but still excellent. A lot of the sound was provided by Joni Mitchell herself, though other artists like James Taylor contribute as well. They all do well with the music. Overall, this is a timeless album that absolutely deserves the praise it has gotten and then some. It is a true artistic statement of a quality that doesn't come all the time. It is, dare I say, a masterpiece. 5/5.

Everything Must Go

Manic Street Preachers

4/5

I get one day of something different and then it's back to late 90s/early 2000s British alt-rock. Of course. Oh well, at least this album's good. I mean, the two I got before yesterday's album were good as well, but you get the point. I had only vaguely heard of Manic Street Preachers before today, so I really didn't know what to expect. Fortunately, what I got was something quite good. I like this album quite a bit. The sound is probably my favorite part. It's not super complex, but everything comes together to form a sound that appeals to me. The singing and writing are also solid. There's some pretty good songs in here. The songs have a good enough variety to them. There's not much to say about this album. It is a pretty good alt-rock album. It's nothing spectacular, but it still appeals to me. Light 4/5.

Slayed?

Slade

3/5

More British rock? Really? Of the past 5 albums (including this one), 4 of them have been British rock. I know that's a broad label, but I still want more variety than that! But hey, at least they're all good albums, right? Well, I did quite like those Suede, Coldplay, and Manic Street Preachers albums I got earlier this week. I gave them all 4s! Is Slayed? also a 4? No. I wouldn't say so. This album isn't very interesting to me. The singing is alright. It's not bad, but not my favorite. It's kind of like a weaker Robert Plant at times. The sound is somewhat repetitive, but is decent enough for it to not be a huge deal. It's still noticeable though. The writing is also okay. It is similarly repetitive to a degree that isn't infuriating, but is still noticeable. I definitely wouldn't call this a bad album. I see the value in it. Nothing here is particularly bad. However, it's not special enough for me to particularly care about it. Maybe on another day I'd give it a lower score, but I'll give it a light 3/5 for now.

Kid A

Radiohead

5/5

Is it more British rock? Sure. Do I care? No. I love Radiohead. OK Computer is still one of the best albums I've listened to for this project. Now I get to listen to Kid A! I'm just happy that I got Kid A before Amnesiac since listening to those two in reverse order would just be weird to me. So, how does Kid A compare to OK Computer? Well, I'll start by saying this: these are very different albums. Kid A marked a significant shift in Radiohead's sound. This was the point where Radiohead had really become something very different from what they originally were. This is perhaps most obvious in the song "Idioteque," which honestly feels like a different band. But you know what? I think that worked out well for them. Radiohead has arguably become even more successful than would've been before because they've explored their sound so much. But of course, the biggest pay off was that they made a phenomenal album. Kid A is truly something special. I genuinely don't know whether I like it or OK Computer more. The sound is just mesmerizing. I adore it. I actually think Thom Yorke's singing works better in this style than it did in the earlier sound. It feels more fitting. There are some amazing songs on this album. "Everything In Its Right Place" is such a perfect opener for this. It really hits home how different and unique this album is. The aforementioned "Idioteque" is another one of my favorites. It was kind of the point where my rating for this album was locked in. And of course, I would be remissed if I didn't bring up "How to Disappear Completely." Thom Yorke said that this was the most beautiful piece of music Radiohead ever wrote. I haven't heard every piece of music that Radiohead has made, but I definitely believe this claim of his. It truly is one of the best songs I've ever herd. I don't know what to say. This album would easily be many other artists best albums. And yet somehow, this is just one candidate for the best Radiohead album. Now that I've heard two Radiohead album, I think I can confidently call myself a fan. This is a band that really knows how to make amazing albums, and Kid A is among the best of them. 5/5.

Tracy Chapman

5/5

Wow. This album's great. I feel like I haven't gotten as many albums from women within the past few months as I should. Sure, I did get Joni Mitchell, Joan Armatrading, and Beyoncé in the past month, but then you have to go back nearly two months to find the Dolly Parton album I got before those ones. Needless to say, Tracy Chapman's debut album serves as a nice source of variety that I've needed from this generator as of lately. Let's talk about the album now. As stated earlier, I think it's absolutely wonderful. Everything about this album just works. Tracy Chapman's singing is nice. I really like it. She really gets to shine on songs like "Behind the Wall," which only has her voice in it. Of course, most songs on this album aren't just singing. The other 10 songs all have instruments in them too. Fortunately, they're also great! The sound is generally fairly soft, with a heavy focus on acoustic guitar. There are moments where other instruments show up though. I really like both styles. The writing is arguably the highlight of this album. There are some absolutely amazing songs on here. The highlight, of course, is "Fast Car." What a song. That song alone justifies this album being on the list. Other songs like the opener, "Talkin' Bout a Revolution," and "Across The Lines" do a great job at focusing on social issues in an interesting way. Other songs like "Baby Can I Hold You" and "For My Lover" are just very solid love songs. This album's great. There are definitely albums I like more, but the impact of this album and the quality of its music are more than enough to justify this album's legacy. Light 5/5.

The Slider

T. Rex

4/5

You know, I may be upset that so many of the albums I've gotten lately are British rock albums from bands I've already gotten albums from before in the past. However, that feeling typically goes away as I start listening to the album, as all of these albums have been great. Suede self-titled wasn't quite as good as Dog Man Star, but it was still solid. Parachutes was a strong debut that reaffirmed my belief that early Coldplay was actually really good. Kid A might be one of my new favorite albums ever. And now, we have to talk about my second T. Rex album, The Slider. I liked Electric Warrior. I didn't love it, but I liked it. It was actually my 100th album for the project, so that's fun. So, when I got a second album of them, I practically knew that I would like the album, but it wasn't guaranteed that I would love it. After listening to the album, I actually liked the album a bit more than I thought I would. This is some great stuff right here. It feels quite unique for the early 70s. The sound is strong. It's got some solid glam to it without being too annoying. The writing is interesting. I'd say it's pretty good though. The album's decently varied in terms of songs. That's usually a good thing. The singing is fun. Overall, I think this is a fun album that deserves its spot on the list. Maybe I need to re-listen to Electric Warrior to see if I like it even more now. 4/5.

Here Are the Sonics

The Sonics

3/5

This one's okay. I don't love it, but it's not the worst thing I've ever heard. It is slightly above-average 60s rock and roll. I have problems with this album, as well as things that I like. I'll start with the positives. I think the style that these guys have is pretty unique for the time. It's fairly high-energy in a strong way. The album doesn't over stay its welcome. It lasts exactly as long as it needs too. Finally, the writing could've aged worse. I've heard worse writing in this kind of music. Now for the negatives. First of all, while I praised the writing somewhat, that isn't really a praise for The Sonics as they didn't write much of this album. There's a few songs they wrote, but as is to be expected with artists from around this time, most of their music is comprised of covers. Secondly, the sound quality isn't great. I know this is from 1965, but it kind of hurt to listen to at times, especially when the singer does those screams, which is something that happens quite a bit. Speaking of which, this album is fairly repetitive. There's more repetitive albums out there, but there's also a sense of originality that is a bit lacking in this album. Overall, while I do have problems with this album, I generally respect it for what it is. It is a solid early rock album that managed to be decently influential. It could definitely be worse. Low 3/5.

Iron Maiden

4/5

Hell Yeah! There's a reason why metal is probably my favorite genre. It's just so cool, and bands like Iron Maiden are proof of that. I've always wanted to get into Iron Maiden, but I haven't really had the time. Now I have an excuse to listen to one of their albums, and their first one at that! So, do I like Iron Maiden's self-titled debut? Yeah! I like it a lot! The most notable thing about the first two Iron Maiden albums is the difference in lineup. The sound is a bit different on here from what I normally think of when Iron Maiden comes to mind, largely because Bruce Dickinson wasn't the vocalist until their third album. For the first two albums, we get Paul Di'Anno on vocals instead. While I love Bruce Dickinson's vocals, Paul Di'Anno absolutely deserves praise as well. He's a strong vocalist that makes these songs work. Other than that, the core of Iron Maiden is still here in full. The guitar style, fantastical writing, and sheer energy are present right from the very beginning. There are slower parts that also work pretty well in songs like "Strange World." Overall, while I'm sure Iron Maiden has made better albums since this one, their first album is still a strong debut. Unfortunately, it was announced earlier today that Paul Di'Anno passed away at only 66 years old. Damn. At least he will always have an important place in metal history. This album is a High 4/5. RIP Paul Di'Anno.

Imperial Bedroom

Elvis Costello & The Attractions

4/5

Well, after a whole year of waiting for the first Elvis Costello album, it's only fitting that I would get my second one less than two weeks after the first one. Of course. But this one's slightly different though! My Aim is True is just Elvis Costello, but Imperial Bedroom is Elvis Costello and the Attractions! They're completely different, I swear. They really aren't though. Making that difference a big deal is liking making a big deal over the difference between Neil Young albums and Neil Young and Crazy Horse albums. It doesn't matter. I don't want to say bad things about the Attractions though. They do a pretty good job with the instrumentals on this album. Of course, Mr. Costello himself also is still here singing in his unique style and writing lyrics pretty well. There's a strong variety in songs on this album. I have respect for this album for switching things up with each song. I can definitely sense a slight Beatles influence on this thing. Perhaps that comes from the fact that this album was produced by Geoff Emerick, who worked with the Beatles on albums like Revolver, Sgt. Pepper's, and Abbey Road. Overall, would I call Imperial Bedroom a masterpiece like the promotional material of this album said it would be? No. Honestly, I think I liked My Aim is True more. However, I still like this album. It's not the most essential album for a list like this, but I still like it for what it is. I'm not going to be one of those people who just gives this album a low score because of how many albums Elvis Costello has. I'm going to be fair, damn it! I think this album's a light 4/5.

Lust For Life

Iggy Pop

4/5

Why is Iggy Pop looking at me like that? I can't describe the emotion on his face. Is he happy? Sad? I can't tell. Whatever. It doesn't matter. All that matters is whether or not I liked Lust for Life. So, did I? Yes. I did. I think this album's really good. There's a lot to like about this album. The sound is great. It's just a very strong rock sound. It's decently varied, and also stands out alongside other iconic and unique albums of the time period. Comparing this to other 1977 albums like Marquee Moon and "Heroes" doesn't make a ton of sense, but the fact that all of these albums are as great as they are really shows how great this time period was for music. Speaking of "Heroes," I really like the presence of David Bowie on this album. More albums should just have David Bowie involved. Iggy's vocals are solid. The writing is really only bad in one song. The production and pacing are excellent. This is a great album. There are others I like more, but that doesn't mean Lust for Life is bad, because it isn't. High 4/5.

The Miseducation of Lauryn Hill

Lauryn Hill

5/5

Now this is an album that I had high expectations for. I mean, how could I not? Between Apple Music calling it the greatest album ever made, the overwhelmingly high praise I've seen for it online, and my own experience with Lauryn Hill's former group Fugees, there was a lot of high pressure for me to like The Miseducation of Lauryn Hill. So, did this album meet my expectations? Of course it did. This album's phenomenal. Would I call it the greatest album of all time? No. Absolutely not. However, aside from that one list, this album is properly rated. It truly is as amazing as people have said it is. Lauryn Hill was my favorite part of that Fugees album, so hearing her get to shine on her own here was great. Her singing and rapping is impeccable. Of course, she isn't totally alone. The features on this album are quite strong. The skits actually add to the theming of the albums, which is something that they kind of need to do. The actual songs are all great too. I especially love "Doo Wop (That Thing)." The themes of the album are also nice. The focus on things like love, spirituality, and gender are very welcome in an album like this. Despite lasting for 77 minutes, this album really doesn't drag. It's a bit long, but the time is spent well. Overall, this is a wonderful album that serves as an excellent showing of talent from Ms. Lauryn Hill. This album is truly one of a kind. Literally! She only released one album. I guess that technically makes this her worst solo studio album too. Let's not think about that. This album's amazing. 5/5.

Black Holes and Revelations

Muse

4/5

I can't believe this is only my third album from 2006. The only other albums I've gotten until now from my birth year were Christina Aguilera's Back to Basics and Ghostface Killah's Fishscale. I liked those albums well enough, but Black Holes and Revelations by Muse is definitely my new favorite from the year. This album's awesome. The sound is just so cool. The space rock vibes are just incredible. There's some heavy moments in here that just wowed me upon listening to them. Matt Bellamy's vocals are pretty solid, as is his writing. Songs like "Starlight" and "Knights of Cydonia" really stand out as being awesome. I wouldn't call the album perfect or even a masterpiece. This is definitely one of those albums where it appeals to me specifically as opposed to being an objectively amazing album. I wouldn't quite go all the way with a 5, but I would definitely give this album a very high 4/5.

Shalimar

Rahul Dev Burman

3/5

Hmm... sure. Why not? Let's just throw a random Bollywood soundtrack on the list. But you know what? I didn't hate this. I wouldn't even say I disliked this. It's alright! This definitely isn't my favorite album. I wouldn't even call it my favorite "world music album." However, I see the appeal of something like this. The sound is pretty good. There's some solid variety to each song that is kind of lacking in albums like this sometimes. I can definitely see how George Harrison was inspired by the music of India. I don't know what the writing says, but you can definitely still get a general feel for narrative structure in regards to this being the soundtrack to a movie. Apparently, the guy who made this soundtrack, R.D. Burman, composed the soundtracks to over 300 films from the 60s to the 90s. That is genuinely very impressive. Good for him. Overall, I don't love this album, but it's a solid piece of art that serves as a companion to a piece of art that I'm unsure of the quality of due to the fact that I've never seen this movie. The plot seems very interesting though. 3/5.

Loveless

My Bloody Valentine

5/5

Alright, My Bloody Valentine round 2. It's been nearly a year since I listened to their third album, m b v, and gave it a 3. Since then, my perspective on music has shifted quite a bit, and I'm much more open to slower, more shoegaze-like music. I mean, I gave Sigur Rós a 5. That alone should be enough evidence. On top of that, I'm feeling exceptionally good today seeing as it is, in fact, my birthday. So, maybe I'm more open to positively reviewing an album like this, right? Right indeed. I get it now. I see the appeal of My Bloody Valentine. Loveless is a fantastic album. This is how you make a noisy album. Music with a sound like this was practically unheard of until this album released. The sound is excellent. The album cover perfectly encapsulates this. It's noisy and a bit unclear, but there are still clear musical sensibilities that create this hazy, atmospheric feel that I really like. There's also some decent energy at times. It's not exactly a happy energy, but it's much more musically active than what I remember from m b v. The writing is hard to hear, but looking at the lyrics gave me good results. There's a very consistent theme in this album that I feel is explored quite well. Of course, the sound is the stronger focus, so it doesn't matter as much. Still, it's nice knowing that the writing is good. There's some great songs on here. I love "When You Sleep." If you had to show someone a single song from this album to make them "get it," play this one. "Sometimes" is a great example of a less energetic song from the album. It's definitely more drony than a song like "When You Sleep," but that allows you to really appreciate the atmospheric aspects of the album. In conclusion, Loveless really is as good as I was told it would be. It's not my favorite album, but the cultural impact and quality of this album are enough for me to justify giving this album a 5/5. I guess I have to revisit m b v now.

Maggot Brain

Funkadelic

5/5

And with this, the "listening to the Parliament-Funkadelic albums on the album list" chapter of my life has come to a close. I started with Funkadelic's One Nation Under a Groove way back in January, then listened to Parliament's Mothership Connection in June. Now, I'm going back to Funkadelic for their acclaimed 1971 album, Maggot Brain. I've gotta say, this is my favorite of the three albums. On first listen, I was kind of thrown for a loop. This album isn't really a traditional funk album. There's a much stronger psychedelic influence on here, with the tone even being somewhat somber at times. But you know what? Once I knew what the album was going for, I went back to some of the earlier songs and it clicked for me. This album's amazing. The sound is excellent. As stated earlier, there is a significant psychedelic sound, especially in the album's earlier songs. Of course, there are still funk elements. Songs like "Hit It and Quit It" and "Super Stupid" definitely feel like funk. And yet, there's still something special there that makes the sound stand out. The instrumentation is just phenomenal. The highlight for me is Eddie Hazel's guitar work. It's great all throughout, but it peaks with the guitar solo at the beginning of the album. I can see why people have called it one of the best guitar solos ever, because it probably is. And I've listened to the one from Megadeth's "Tornado of Souls," so that's saying something. The writing is pretty good, as is the singing. The general tone is all over the place in the best way. This might be one of the most unique, inspired albums I've heard. It's great. Light 5/5.

Colour By Numbers

Culture Club

3/5

I'm gonna try to be brief on this one for once because I have to go somewhere soon. This one's good. It's very 80s, especially in the sound department. "Karma Chameleon" is a pretty fun song that is simultaneously ahead of its time and very dated. The other ones aren't as interesting, but are still solid. The singing is quite fitting. The writing is also alright. It's very funny that, between Funkadelic yesterday, and the band that Boy George was in today, I got two artists in a row that were referenced in Gex. The album's solid, but it's not my favorite. I wish I could say more. Strong 3/5.

Let's Get Killed

David Holmes

2/5

BOOOORING. Do we really need more 90s British electronica on the list? No. I don't think we do. I think I've had enough of it by now. There is absolutely nothing special about this album to me. The sound is fine. It works for what it is. Unfortunately, what it is is uninteresting, at least to me. The skits, if you can call them that, are weird to me. They're not Ready to Die levels of bad, but they don't really serve a purpose to me. The album's pretty long, but it could've been worse. That's this album to me. It could've been worse. It's not quite at Haunted Dancehall levels of terrible for me, but it's still a very weak album pick for a list like this. Low 2/5.

Different Class

Pulp

4/5

Bruh. British new wave, British electronica, and Britpop all in a row? If any string of albums I've gotten so far represents this list perfectly, it's these past three albums I've gotten. And of course, this one happens to be from a band with another album on the list. I'm not too upset though because this album's pretty good. A lot of what I said in my review of the other Pulp album on the list applies here too. My complaints of that album being a bit long and the writing being a bit repetitive are kind of still here, but they're to a much lesser extent so it really doesn't matter at all. The singing is solid and somewhat reminiscent of David Bowie. The sound is my favorite part of Different Class. While some songs are similar in the writing, the sound differs quite a bit between songs, which is something that I like. Comparing songs like "Common People" and "Disco 2000" really show the talent of this album, partially because of those songs feeling different from each other and partially because those songs are great. The other ones are solid too. I don't have a ton to complain about. This is a solid album with an excellent sound and a pretty solid everything else. Did I like Different Class more than This is Hardcore? I'd say so, though I haven't listened to that other one in a while so I'm not entirely sure. 4/5.

Head Hunters

Herbie Hancock

5/5

Now this is the kind of music I'm looking for! I don't want another hundred British new wave and electronica albums, I want stuff like this! Despite not having any words, this album speaks to me. Head Hunters is amazing. Of course, I can't praise the writing or singing since those things don't exist in this album, so all I have to praise is the instrumental sound. Fortunately, I love the sound of this album. The blend of jazz and funk (junk, if you will) is wonderful. Some of these songs are pretty long, but they never drag. Speaking of songs, there's only 4 of them and they're all great. "Chameleon" is an excellent opener. It's the album's longest song, but it absolutely warrants the 16 minutes of runtime. "Watermelon Man" has this really unique sound that I absolutely love. "Sly" is just crazy in the best way possible. Finally, "Vein Melter" is a solid closer. It's pretty chill and I really like it, even if it is probably the weakest song on the album. Overall, this album's great. I will now eagerly wait for more albums like this. If only this website could give me some Miles Davis soon. I've heard his stuff is kind of similar to this. If so, I'm in for a treat with those. For now, Head Hunters by Herbie Hancock gets a light 5/5.

Snivilisation

Orbital

1/5

I want my 75 minutes back. I mean it. Why did I have to listen to this? What cultural impact does this album have? Not much. What about the quality? It's mid. This album is mid. It is yet another boring, long-as-hell 90s British electronica album. I literally don't even feel like writing a ton for this one. Just read my review of Haunted Dancehall by the Sabres of Paradise. That's how I feel about this album but to a marginally lesser extent. This shit is still uninteresting and unimportant. Haunted Dancehall is still worse, but these albums are way to similar for both or even one of them to be on the list. And of FUCKING course, there are TWO Orbital albums on the list! They barely even deserve one, especially when great artists like MF DOOM, Louis Armstrong, and Weezer don't have shit on this list! I'm upset. 1/5.

Crime Of The Century

Supertramp

4/5

I needed this. I haven't had nearly enough prog rock as of lately, so I'll gladly take an album like this. I think Crime of the Century is a pretty solid album. Don't get me wrong. This is not the best prog rock album ever made. It doesn't have to be. Not every album is going to be on the same level as something like The Dark Side of the Moon or In the Court of the Crimson King. However, all I wanted from this album was some pretty good prog rock. Fortunately, that's what Supertramp have given me with this album. I like the singing. It kind of reminds me of Yes or Electric Light Orchestra. I know ELO isn't really prog rock, but I can make cross-genre comparisons, can't I? The writing is pretty good. There's some general theming here that makes the album a cohesive experience. It's a bit of a vague theming, but it's there if you listen hard enough. The sound, of course, is great. I like the keyboards especially. They really elevate songs like "Dreamer" to make them better than they would've been with weaker keyboard work. Overall, this is a pretty good prog rock album, which means I like it more than many of the albums on the list. 4/5.

Pretenders

3/5

Yep. This is definitely the self-titled 1980 debut of the Pretenders. I don't have a ton to say about this one. While that does mean I don't have any major praise, it also means that I don't have any real complaints either. This is a perfectly solid album that gives me no reason to be upset. The sound is fun. It's got a nice blend between new wave and punk that actually kind of works for me. The singing is also solid, as is the writing. "Brass in Pocket" is probably my favorite song on the album. I like it. Overall, this album's good, but it's not exactly exciting. Still, I respect it for what it is. High 3/5.

Moving Pictures

Rush

5/5

I know I just got Supertramp two days ago, but prog rock is still a genre that I need more albums from, so getting Rush today was a very welcome treat, especially to ease the tensions of election day here in the US. Anyways, this album's awesome. I love prog rock, and this is one of the all time great prog rock albums for a reason. All three of Rush's members bring something special to the table. Geddy Lee is a solid frontman. His vocals are an acquired taste, but his bass and keyboard work is undeniably phenomenal. I love Alex Lifeson's guitar playing as well. The solos on songs like "Limelight" really appeal to me. And of course, there's a reason why Neil Peart was considered the heart of Rush. His drum work is excellent. There's a reason why he's considered one of the greatest drummers of all time. His songwriting is also great. It's kind of weird that "Tom Sawyer," the one song Neil Peart didn't write, became the most popular one from the album. I'm not going to say this song doesn't deserve the popularity though. It's great. I love it. All of the songs here are amazing. "YYZ" is one of my favorite instrumental pieces of all time. It really shows the talents of every member at their absolute best. This album absolutely belongs on here. It is a strong showing of some exceptional music talent that you don't see very often. Rush is cool as hell, and this album is apparently one of their best. Light 5/5.

Here, My Dear

Marvin Gaye

4/5

And now, exactly 300 days after my first Marvin Gaye album, I finally get another one! It's not the one people really really like, but Marvin Gaye is Marvin Gaye. I'm never upset to listen to his music. Although, I have to be honest... Let's Get It On is better. In fact, because the one I haven't gotten is one of the most critically acclaimed albums ever, I might as well just say now that this is the weakest album of his on the list. It's not bad, don't get me wrong. I think this is a good album. Marvin's singing is excellent as always, as is the instrumental sound. There are also some great songs on here. However, I have problems with the album. Firstly, it's a bit long. That's not a huge issue, but it's certainly noticeable. Secondly, the writing is a bit repetitive. This album was written about Marvin's divorce with his wife, and practically every song is about something pertaining to his marriage or divorce. While I do feel that the songs do pretty well with tackling different aspects of this topic, you can definitely feel that this album was written about one thing and one thing only. Overall, I definitely liked this album. This style of music just appeals to me in nearly every context. Despite this album's issues, Here, My Dear still manages to be a strong showing of music from an all-time great. Low 4/5.

Wild Gift

X

3/5

400 albums. Wow. I'm running out of things to say about these milestones. Anyways, here's an album! I wasn't super excited for this, but I still kept an open mind. Fortunately, that payed off! I like this album. I don't love it, but I like it. I'll start with my biggest complaint about the band... the name. X? Seriously? Who named your band, Elon fucking Musk? I jest, of course. X is a punk band. These guys would hate Elon Musk (and rightfully so). While the writing on this album isn't overtly political, you can still feel the punk spirit at the core of this album. This isn't another Undertones situation we're dealing with here. I definitely wouldn't call this hardcore punk, but not everything has to be hardcore punk. There's definitely a slight ska influence, which seems to be a lot more common in punk than I once thought it was. The singing is fun. I like it. The sound is pretty good. I like the sound of other punk bands more, but that's just a personal preference. The tone of this album is very consistent, but because of the varied subject matter and the short album length, I wouldn't call this album repetitive. Overall, this is a solid punk album that I respect. It probably doesn't need to be here, but it also doesn't need to be removed. I'm okay with it being here. High 3/5.

I Never Loved a Man the Way I Love You

Aretha Franklin

5/5

Yeah, this is an amazing album. Were you expecting me to say something else? Aretha Franklin is arguably the most iconic female singer that I hadn't yet gotten an album from up to this point. This album is one of her most iconic, and for good reason. This album is excellent. Aretha's singing is just phenomenal. I totally get why people love her singing so much. The sound on here is strong too. It has a perfect blend of jazz and soul that I really like. The songs are great as well. While she did help write a few of these songs, most of them are covers. However, these covers are quite transformative in my eyes, both in terms of the sound and the perspective. The obvious example is in the absolutely legendary opener, "Respect." I like the original Otis Redding version. I did give the album it was on a 5 after all. However, this is basically Aretha's song at this point. Her slight lyrical changes and overall performance change the song from being yet another song about a man wanting a sexual relationship with a woman to the strong female empowerment piece it's seen as today. That is the beauty of this album. While no other songs live up to the example set up by "Respect," this album's other songs are still great and have a similar core to them. Overall, I Never Loved a Man the Way I Love You is a strong album that has stood the test of time and left a cultural legacy that most albums can only dream of having. While there are albums I like more, I can not deny this album the praise it deserves. Also it's like the perfect length so it has that going for it as well. Light 5/5.

Hysteria

Def Leppard

4/5

Here's an album that I'm not opposed to the inclusion of. I mean, this thing has apparently sold over 20 million copies! Def Leppard's Hysteria is clearly an album with cultural impact from a very well-known. This actually isn't my first Def Leppard album of the project, as I got Pyromania nearly a year ago at this point. So, which one do I like more? Well, and take this with a grain of salt because I haven't heard Pyromania in a while, but I'd say Hysteria is a bit better. The singing isn't my favorite, but it's not horrible. Joe Elliott is certainly not the worst vocalist in hard rock. The writing is solid. It does go a bit too far in the "generic 70s/80s rock" style for some songs, but it's not too repetitive and hasn't aged that poorly. The sound is probably the best part of the album. It's kind of hard to believe that the drummer only has one arm! The guitar riffs and solos are pretty cool, but not mind-blowing. That's basically what Def Leppard and other bands like them are to me. This album has some great songs. "Pour Some Sugar On Me" and the title track are particular highlights, and I wouldn't really say I actively dislike any of the songs. Overall, while this albums isn't perfect and is a bit on the long side, I would definitely consider this album worthy of being on this list. I like it. Low 4/5.

The Man Who

Travis

4/5

The Man Who? The Man Who what? Anyways, this album's pretty good. I wasn't expecting anything special, and while I wouldn't say I got something special, what I did get is still a solid album. Travis kind of reminds me of Radiohead and early Coldplay. Fortunately, I love Radiohead and early Coldplay, so while I wouldn't call this album as good as those bands, it still gives me some of the things that I love about them. The sound is where this is the most obvious. I really like this album's sound. It's just nice. The singing fits the instrumentals quite well. The writing is alright. It's not super interesting, but it doesn't have to be. My favorite song is probably "Why Does It Always Rain On Me?" I listened to it after first generating the album to see if I'd like it or not, and it gave me a good first impression. Overall, this is a nice little album that does its job and is also somewhat influential on what's known as post-britpop. Interesting. Light 4/5.

AmeriKKKa's Most Wanted

Ice Cube

3/5

Time for an album from another one of hip-hop's legends! Ice Cube is certainly one of the most influential names in hip-hop history, largely due to his work with N.W.A. However, his solo work, which start with this very album, has also seen a considerable amount of success, so I can understand the inclusion of an album like this. So, how do I feel about AmeriKKKa's Most Wanted? It's fine. It's far from my favorite hip-hop album, but I've definitely heard worse. There's good and bad to this album. The production is great. It's interesting to me that this was largely produced by the Bomb Squad, a group largely known for their work with Public Enemy, because they're from the East coast, while Ice Cube is from the West coast. And if you know anything about early hip-hop history, you'd know how big of a deal the coasts were. The sound is great, and Ice Cube's flow is solid. The album is also a solid length, and is paced pretty well. My problems with the album largely lie in the writing. It hasn't aged the best. It definitely leans too much into the whole "I'm killing bitches" thing that gangsta rap has been criticized for over the years. The skits are also not my thing. They're not Ready to Die levels of "almost ruining the album" for me, but they don't add much in my eyes either. Overall, while I respect this album to a degree and can understand its inclusion, I'm just not a fan of the overall package. Still, there are definitely things to like here, so I can't be too hard on this album. Light 3/5.

Ocean Rain

Echo And The Bunnymen

4/5

Ooh... I like this. Echo & The Bunnymen is the newest addition to the "bands I had vaguely heard of but knew practically nothing about before getting an album from them" club, so I was definitely intrigued to see if I would like my first album of theirs, Ocean Rain. Fortunately, as I said in the beginning, I really like this album! It's kind of like Joy Division in a way, which is funny because both bands had frontmen named Ian. The general vibes here are pretty good. They're dark and mysterious, but not depressing. The singing fits this very well. The album is paced well, and is comprised of some pretty good songs. I especially love "The Killing Moon." That was an easy addition to my "best of the albums" playlist. Of course, the other 8 songs are great too, just not quite as great. Overall, this is a strong album that I wish I had more to say about. This is some great stuff right here. Strong 4/5.

Rattus Norvegicus

The Stranglers

3/5

Hmm... interesting. This is an odd little album right here. But you know what? I like it. I'll start with the issues I have before going into praise mode. The writing could be better at times. Some lines are a bit questionable, but I fortunately wouldn't call any of them offensive. Secondly, the vocals aren't my favorite at times. They're definitely not bad, but they work in some songs more than others. Now it's praise time. The instrumental sound here is pretty good. It's interesting in a way that I like. The basslines are especially something to appreciate. The pacing and general tone of the album are both solid as well. I don't have a ton to say. This is a solid punk album that definitely stands out more than many other punk albums on this list. It's a solid album. High 3/5.

We Are Family

Sister Sledge

3/5

Okay. I can vibe with this. This is a nice album. It's definitely different than the past few albums I've gotten. I'm really liking the variety of the past few weeks. Keep it up website! Anyways, back to Sister Sledge. The style of this music is fun. It's got some strong disco elements mixed in with a bit of soul. The presence of Nile Rodgers alone is enough for me to call this album good. I love his basslines. The singing is pretty good too. The writing is a bit repetitive, but certainly isn't bad. The album is quite consistent, with one stand out song in the title track alongside 7 other songs that are also pretty good. I like this album. High 3/5.

Destroy Rock & Roll

Mylo

3/5

But I like rock and roll! I don't want to destroy it! Fortunately, this album was not responsible for the destruction of rock and roll. And why would it be? It's not like this album is good enough to do that, right? Well, it isn't. I'll say that. However, I don't hate this album. This Mylo album is FAR from the worst electronic album I've heard. I think that this album isn't bad and is, dare I say it, actually good. I don't love it, but I respect it. There really isn't much to focus on in writing, so I'll just talk about the sound. It's good. It grabbed some of my attention. I wasn't hooked on it for the whole 55 minutes, but I wasn't eagerly waiting for the album to end. The songs are alright. I guess that's what I'd call this album... alright. It's not my cup of tea, but I can see the appeal of this. Good job Mylo, you made an electronic album that I'm not upset by the inclusion of. I wouldn't include this on the list myself, but I'm not outraged like I was for something like Haunted Dancehall, because this album at least made me feel something. Light 3/5.

Aha Shake Heartbreak

Kings of Leon

3/5

Really? This is what Kings of Leon is like? This is... completely different from what I thought it would be. I thought this would be like theater kid music or something! Although, I'm pretty sure I only thought that because because of that one joke from the glee club episode of Community. But yeah, here we have my first Kings of Leon experience. How do I feel? Confused, I guess? I have problems with this album. I'll start with what is probably the biggest one. I don't like the singing. It's kind of annoying. That's all I'll say about that. The writing also falters at times. Some songs aren't as good as others. The instrumental sound is pretty good though. I didn't love this album, but for what it is, I think it's okay. Maybe the other ones on the list will be better. Low 3/5. I'm on a bit of a 3/5 streak right now. Hopefully that changes soon. It happened the last time I acknowledged it, so maybe the website will do it again!

Sea Change

Beck

4/5

You wanna know something funny? Because it's been nearly 9 months since I got Guero for the album project, a child could have been conceived and born in between my first and second times listening to a Beck album. The child would've been born a bit prematurely, but they'd live, so I'll count it. Anyways, here's my second ever Beck album! I liked Guero well enough, but Sea Change is definitely an album that appeals to me more personally. The two albums are pretty different. This album goes in a much simpler direction, but that's not a bad thing. The writing in these songs isn't as abstract as the more typical Beck song, but it's not like it's dumbed down or anything. The lyrics still have depth to them, just in a clearer way. The sound is nice in both the instrumental and vocal fronts. The production is solid. The album definitely feels like a Nigel Godrich production, but it still stands out from other artists and bands he worked with like Radiohead. The songs are all pretty good. The tone is consistently solid. This is just a nice album. I really like it. Maybe the last Beck album on the list will be even better. Who knows? Strong 4/5.

Felt Mountain

Goldfrapp

3/5

Really? Goldfrapp has two albums on here? I don't know chief. I mean, I don't dislike Goldfrapp. I think both this and Seventh Tree are solid albums. I just don't think that Goldfrapp is noteworthy enough for two albums. Anyways, let's talk about Felt Mountain for a bit. I say "a bit" because I don't have much to say. This album kind of reminds me of Björk in a way. I've also seen comparisons to Portishead that I can kind of see. I like Portishead more though. The sound of this album is mostly good. There's some parts that don't interest me, but the variety in this album's sound is certainly respectable. The singing is kind of weird, but I wouldn't call it bad. This album's alright. I don't know which of the two I like more. Because of that, I'll give this album the same rating I gave to Seventh Tree. High 3/5. Good album.

Vivid

Living Colour

4/5

Huh. That was interesting. But you know what? I really liked this album! It kind of gives me Fishbone vibes, which is not a bad thing seeing as I gave their album a 5. I wouldn't go that far with this album, but it's still great. This album does kind of get knocked down a few points on the cultural impact scale on account of suffering from "One Song with Cultural Impact and then a Bunch of Obscure Ones" syndrome though. As far as that one song goes, I love "Cult of Personality." It's just such a cool song. The other ones are okay, but the album really does just come out swinging with its opener and then not hit that high for the rest of the album. The album is a bit repetitive in the sound department, but when the sound is as unique as it is, it hardly matters. The sound of this album is just so fun! It's great. The singing is interesting. The writing is pretty good. I think this is a solid album. I can see why it might not appeal to others, but I really like it for what it is. 4/5.

A Northern Soul

The Verve

3/5

Okay. Why are there two albums from the Verve on here? At least Urban Hymns had the one song these guys are known for. A Northern Soul is not a justified album inclusion. I'm sorry. The album's fine. It's good. I just see nothing special about this album that justifies it being here. The sound is pretty similar to that of Urban Hymns. Again, I'm sorry that I have to compare the two, but I'm also not sorry at the same time. The writing is alright. The songs are way too long though. Why does the album end with a 6 minute instrumental track? That's something that you do if your band has exceptional talent like Pink Floyd, not if you're an okay alt-rock band that most people have forgotten about. The songs are good though. I would call this album good. I just don't see why it should be here. 3/5.

In A Silent Way

Miles Davis

5/5

How did it take over 400 albums for me to get Miles Davis? The man has 4 albums on the list and I had to wait this long for one of them? I can't believe this. You know what else I can't believe (except I totally can)? In A Silent Way is amazing. This was an excellent introduction to one of the greatest jazz artists to ever live. In A Silent Way stands out in the Miles Davis discography for two notable reasons. Reason 1 is that this album is seen as his first foray into jazz fusion, a decision that would cement the later years of his career as being just as important as the early ones with albums like this and its followup Bitches Brew. The other reason is that, as I said earlier, In A Silent Way is REALLY good. It's considered by many to be one of his best albums. Of course, I haven't listened to his other albums, but I can safely say that this is something special. The album is a lot more chill than I thought it would be. It's not entirely chill. There are fun elements in here. The general vibe manages to strike a great balance between the two, which works out quite well. The sound is just amazing. There's only two songs here, but both "Shh / Peaceful" and the title track keep you captivated long enough to really appreciate the artistry here. Honestly, that might be my favorite thing about jazz. The technical artistry at work on the best jazz albums is truly something to behold. The unconventionality of arrangements like these works to create a unique music experience that's pleasant enough to work as background music, but interesting enough to analyze as a work of art. This album is great. I love it. Light 5/5.

So Much For The City

The Thrills

3/5

Well, I'm going to forget about this album as soon as I finish this review. Why is this here? What does this album accomplish that other early 2000s indie albums don't already have? This inclusion is pointless when better bands like the Flaming Lips and Wilco already have multiple albums on the list. Let's talk about the album now. The sound is alright, I guess. The fact that I'm even thinking about bands like the Flaming Lips is a good thing I guess considering how much I loved those albums. This album just isn't as interesting though. The writing is kind of weak and pretty repetitive. Seriously. This album has more singing about California than a Red Hot Chili Peppers album. Also it might just be me, but this album felt a bit long. Like, it's only 46 minutes, but something about this album just made it seem longer than it is. In conclusion, this is truly one of the indie albums of all time. Low 3/5. I'm talking 5/10 territory.

Since I Left You

The Avalanches

5/5

Now this is an excellent album right here. Electronic music generally isn't my thing, but this style just works for me. I'm definitely getting some Endtroducing... vibes from this album, which is fitting because both of these album revolutionized the art of sampling. Apparently this album was made from thousands of samples, which is just insane. And they all come together to form a very cohesive album that I love. Each song continues into the next, and I love it. I do feel like the whole album experience is probably better than listening to its individual songs, but that's not to say that some songs don't stand out. The title track and "Frontier Psychiatrist" are particular highlights. Those tracks are just amazing, and the rest of them work very well together. The vibes are great, and the album doesn't overstay its welcome. This is easily one of the best electronic albums I've ever heard. It's an absolute classic. Good job Australia! Light 5/5.

Meat Puppets II

Meat Puppets

4/5

Ooh. That was good. This is an interesting little album right here. Meat Puppets aren't a super influential band or anything, but I think there's enough popularity to warrant this album being included. There's also enough quality for inclusion, as I think this album is pretty good. The style is pretty unique. I like the blend of various influences like punk, country, and psychedelia. It works pretty well. The singing is certainly interesting, but I think there's a charm to it. The songs are solid. Perhaps the biggest impact of this album was that three of its songs, "Plateau," "Oh, Me," and "Lake of Fire" were part of Nirvana's MTV Unplugged show, where they were joined by the two main members of Meat Puppets for the performance. That's neat! I haven't heard Nirvana's Unplugged album yet (I'm waiting for this generator to give it to me), but it's pretty cool that these guys influenced and got to work with Nirvana. Those songs are great by the way, as are the other ones on the album. Overall, this is a nice album that I enjoyed. 4/5.

Rock Bottom

Robert Wyatt

3/5

Huh. That was... interesting. This is the first album in the bottom 20 of this website that I've gotten in a while. The last one I got was The Hangman's Beautiful Daughter by the (not so) Incredible String Band back in June. Because of the low rating, I was a bit worried for this album, but the album's also rated relatively high on Rate Your Music, so I went into Rock Bottom with an open mind. Fortunately, I think that paid off. This album isn't that bad! Don't get me wrong. I don't love the album, and I can see why people dislike it. This album isn't for everyone. However, for what it's worth, I think this is a decent album. The sound is odd, but not painful to listen to. I wouldn't even call it unpleasant. I'd just say that it's a bit unorthodox. The singing is also strange, but not the worst singing I've ever heard. I think one of the biggest reasons why I don't hate this album is that it's actually a good length with decent pacing. Too many albums just go on and on for way too long. This album is not one of them. It's a clean 39 minutes and it works. Overall, this isn't my favorite album ever, but I respect it and enjoyed it enough to call myself a defender of this album. It's okay in my eyes. It's not something I see myself going back to though. Low 3/5.

Lupe Fiasco's Food & Liquor

Lupe Fiasco

4/5

Alright. This is an album I can get behind. Lupe Fiasco is a man that I've heard of, but have never really dived into until today. I had heard good things going into this album, but had yet to hear any of the actual music. My expectations were fairly high. Fortunately, those expectations were met. This is a strong first showing for Mr. Fiasco. The album is a bit long (that outro really could've been a lot shorter), but that's really my only major complaint. The songs are pretty good. There really aren't any that I dislike. The production is great and was done by a lot of notable people, including Kanye West, the Neptunes, and even Mike Shinoda from Linkin Park! The features are also pretty good, with the standouts being Jill Scott's singing on "Daydreamin'" and Jay-Z's verse on "Pressure." The writing is just excellent. Lupe's flow and rhyming is top-notch. The theming and story-telling of the album is also great. Overall, this is an amazing debut album that I really liked. Good job, Lupe! Strong 4/5.

I’ve Got a Tiger By the Tail

Buck Owens

3/5

So this is what I get for album 420 huh? Damn. I really wanted that Snoop Dogg album today. That would've been hilarious. Anyways, this Buck Owens album is okay. It's nothing special, but it's good for what it is. The sound is fun. This is definitely sillier than something like a Johnny Cash album, but it works. The singing also fits the tone of this album very well. The writing is solid. The album and its songs are nice and short. Overall, this is a pretty decent little country album right here. I approve, even if it's not really my thing. 3/5.

I See You

The xx

3/5

A second album from the xx? Sure. Why not. I liked their debut well enough. That album was good and so is this one. The sound is solid. It's got a good blend between mainstream pop sounds and a general indie vibe. I can definitely hear an evolution in sound from 2009 to 2017, so that's good. The singing is alright. I like the presence of two vocalists. The songs are good. This album isn't excellent or anything, but it is pretty good for what it is. I really don't have much to say about this album. High 3/5.

Street Signs

Ozomatli

3/5

Well... at least it's something interesting! This is definitely one of the more obscure albums on the list, but it's not another 90s electronica album, so I can at least appreciate that this album fills a very specific niche that hasn't really been filled by any albums I've gotten so far. Of course, that's not the only thing that I can appreciate Ozomatli's 2004 album Street Signs for. I think this album is good! The sound is lively and interesting. There's a strong genre and influence blend here, so that's nice. The songs are pretty varied. I guess if I had to compare this to any other album on the list, it would be that Jurassic 5 album I got a while back, which is fitting since that group's own Chali 2na was a guest on one of this album's songs. That's cool and all, but this album still isn't my favorite thing that he was a guest on. That honor, of course, goes to the Epic Rap Battles of History video he was in, where he played famous astrophysicist Neil deGrasse Tyson. This album's a close second though. It's pretty good, but it doesn't really need to be here. Still, the inclusions is certainly not the most egregious inclusion on here. Solid 3/5. Definitely closer to a 4 than it is a 2.

The White Room

The KLF

3/5

You know what? I've heard worse. That's right! I didn't hate a 90s British electronic album for once! Well, okay, it's definitely happened a few times. However, I feel like I complain a lot about obscure British electronic albums from the 90s, so to hear that the KLF's The White Room was actually solid was a surprise to me. I think the biggest thing that makes me not hate this album is that it's not pointlessly long. This album's a nice 44 minutes, which is a good album length. The songs themselves don't go on too long either, which is nice. The songs themselves, by the way, are good. As always, I must admit that this style of music isn't really my thing. However, I definitely respect this album enough to give it some praise. It's a solid electronic album with a style that I like well enough. It's also decently influential. Of course, it's not the most influential electronic album on the list, but it's certainly more influential than a lot of the albums I've gotten so far, so it has that going for it. Good job KLF. You're alright. Low 3/5.

Surrealistic Pillow

Jefferson Airplane

4/5

You know, I've always wanted to listen to an album from a band whose name is comprised of a US president's last name and an aerial method of transportation. Fortunately, Jefferson Airplane has me covered with their second album, Surrealistic Pillow. This album's great! Never before have I been so happy to listen to a classic rock album. The style here is very enjoyable. I like that it's not definitively one specific style of rock. Most albums fit comfortably into something like psychedelic rock or hard rock. This album largely has elements of folk and psychedelic, with a bit of blues in there as well. I like listening to this music. The singing and writing are both pretty good as well. I especially like Grace Slick's vocals. The album has some great songs, with the obvious highlights being "Somebody to Love" and "White Rabbit." Both of those songs are excellent, but the other songs are also enjoyable. Overall, this is just a nice album that I really like. Good job, Jefferson Airplane! High 4/5.

In Utero

Nirvana

5/5

Dude. What can I even say about this album? I had very high expectations going into In Utero. I already knew I loved Nirvana, so I definitely knew I would like In Utero as well. I actually relistened to Nevermind pretty recently, and loved it even more than the first time. So, how do I feel about its followup? Is it better or worse than Nevermind? I don't know. I genuinely don't know. Both albums are excellent, albeit in different ways. Of course, there are things that both albums have in common. Kurt Cobain, Dave Grohl, and Krist Novoselic show off just as much musical talent in this album as they had in the past. If anything, there's even more talent here, especially from Kurt. His writing in this album is just excellent. I think the biggest think that makes In Utero stand out is the production. Steve Albini had a very different vision for this album in comparison to what Butch Vig had for Nevermind. This is a much rawer album in sound, but given the more personal nature of the writing, I think it works very well. Besides, it's not like the production's bad. It's still quite good, just in a different way. This album has some amazing songs. "Heart-Shaped Box" has always been one of my favorites. There's something about it that's just mesmerizing. Some songs really lean into the aggression like "Scentless Apprentice" and "Tourette's," while others are much more somber and personal like "Dumb" and "All Apologies." "Rape Me" is another standout track, largely for the lyrical matter. The song caught a bit of flack upon release, but Kurt made it clear that it's an anti-rape song, and I can definitely see that that's what he was going for. That song's pretty neat. Overall, In Utero is an outstanding album, and a great swansong for one of the most influential bands of all time... unless you count MTV Unplugged, but we'll get there when this website decides to give me that one. In Utero is amazing. 5/5.

Aqualung

Jethro Tull

4/5

This album's super cool. Jethro Tull are a band I've heard of, but didn't know a ton about going into Aqualung. Fortunately, my first experience with them was quite good, as I really liked the album. The sound is quite interesting, but I really like it. It's got quite a bit of hard rock with a prog rock core and even some folk rock elements. Perhaps the most notable folk rock element here is the flute that occasionally gets a solo. I like the flute. It makes the album and its songs stand out. Speaking of songs, this album has some, and they're pretty good. The opening title track is pretty good. The writing of it and the song that follows, "Cross-Eyed Mary" is a bit questionable, but I don't think there were gross intentions with them. "Locomotive Breath" is also really cool. The other songs are also great. The singing and writing are both above-average. The general tone is great. This is just a really strong album with some great songs that kind of vaguely tie together even if the band has denied this being a concept album. I think there was a concept though. The concept is that the album is really good, and if that's something they wanted to do, they succeeded. High 4/5.

The Poet

Bobby Womack

4/5

Alright. I can vibe with this. This is just a nice soul/funk type album. The singing is pretty good. There's some solid emotion here. The writing hasn't aged poorly. That's a good thing. The sound is nice. It's quite pleasant, and also fits the writing quite well. "If You Think You're Lonely Now" is the stand-out track, but the other ones are still good. The general tone is quite sensual, but it works well. It's not my favorite "sexy album." I think Marvin Gaye has Bobby Womack beat in that regard. However, this is still an album that I enjoyed significantly. I don't have a ton to say. The album's pretty good. Light 4/5.

Smile

Brian Wilson

4/5

Of all the albums I've gotten so far, this might be the one with the most interesting history. I could go over the history of this album, but if you're reading this, chances are you already know the general history of Smile. This is one of three main projects that have come as a result of the original Smile project, along with the much earlier Smiley Smile from the Beach Boys in 1967, and the later Smile Sessions compilation album from 2011. We're not talking about those though. We're talking about Brian Wilson Presents Smile, the re-recording that Brian Wilson made in 2004. This is a fascinating album right here. The pacing and cohesion of the album is insane and I love it. The songs themselves are generally great. I especially love "Heroes and Villains" and "Good Vibrations." The sound is clearly based on a classic work, but still has some modern-ish elements, I think. I'm not an expert on that kind of stuff though. Brian Wilson's singing definitely has some age here, but I'd say his voice aged pretty well. Here's what I will say about Smile. If this was a Beach Boys album from 1967, I would definitely give it a 5. Hearing this in 1967 with all of the Beach Boys' involvement would've been groundbreaking. However, BWPS as a Brian Wilson solo project from 2004 isn't something that I would score as highly. This is still an excellent album, don't get me wrong, but my ratings are largely based on two things; quality of the album and cultural significance of the album. I do try to focus on the former, but I'm fully willing to admit that cultural impact of an album has absolutely affected my score of the album, for better or worse. In 1967, Smile would've been a groundbreaking record that somehow managed to be almost on par with something like Pet Sounds in innovation and quality. But in 2004, Brian Wilson Presents Smile is a cool look into what the result of an infamously unfinished album could've been, but isn't exactly the cultural game-changer that it could've been. While I do really like this album, I just don't know if I can go all the way with a 5. Still, Brian Wilson Presents Smile is an excellent album with some great ideas that has an interesting place in music history. I respect this album quite a bit. High 4/5.

Want One

Rufus Wainwright

4/5

It's been over a year since I listened to Want Two by Rufus Wainwright for the album project. Now, I finally get to listen to that album's predecessor, the aptly named Want One. It's kind of a shame that I had to listen to these two swapped. I feel like it would've made a lot more sense to listen to Want One before Want Two. Whatever, let's just talk about this album for a bit. I like it. I'd say it's about as good as I remember Want Two being. The things I liked from that album are definitely here too. The singing definitely has a sort of Thom Yorke-esque vibe to it, but I'm okay with that. The sound is nice. I don't think I said anything about the instrumental sound in the Want Two review. Obviously this isn't a review for that album, but I do want to say that the sound on Want One is pretty good. The writing is still quite interesting. It's good though. The album is a bit long in my opinion, but when these songs are as good as they are, I don't care that much. I especially like the opener, "Oh What A World" and "Go Or Go Ahead." There aren't really any bad songs on the album though. Overall, I like this album a good deal. I may want to revisit Want Two after this to see which one I like more. It's close though. 4/5.

Tical

Method Man

4/5

Alright, Wu-Tang solo album #3! It's time to talk about Method Man's debut album, Tical. This one's pretty good. I think Method Man has a great voice for rapping, and his flow is strong. RZA's production on the album is great as always. It feels a bit different in comparison to the production on something like Liquid Swords, but it's still great. The lyrics are also great. One interesting thing about this album is that appearances of other Wu-Tang members is minimal. Aside from Method Man and RZA, the only other members to appear here are Raekwon and Inspectah Deck with one verse each. I'm okay with that though. Sometimes you just have to let Method Man do his thing and see if it pays off. Fortunately, it paid off. Tical is a good album. I wouldn't say it's as good as Liquid Swords, but I'd say it's a bit better than Fishscale. Light 4/5. I've now given 5 4s in a row, but I'm okay with that. It means it's been a while since I got a bad album, and that's all I really want.

Chelsea Girl

Nico

4/5

Well, I've experienced the Velvet Underground with and without Nico, so I guess now's finally the time to experience Nico without the Velvet Underground... except it's not. See, despite this album being considered Nico's first solo album, the majority of instrumental and songwriting work was done by members of the Velvet Underground like Sterling Morrison, John Cale, and, of course, Lou Reed. However, Nico's voice is still the main focus of this album, which is good because it didn't get much time to shine on The Velvet Underground & Nico. I like Nico's singing. I didn't praise it in the VU&N review, but I'll praise it now. It's good. The sound is nice. It's a nice midway point between the Velvet Underground & Nico and The Velvet Underground (the album). The songwriting is pretty good, even if it isn't Nico's. The songs are nice. I'm looking at the reviews on this site and this album doesn't seem to be the most popular. I don't get the hatred for this album. Don't get me wrong, this is no Velvet Underground & Nico. I'm sorry for the endless comparisons, but it has to be done. That album is better. However, I like this album quite a bit for what it is. It's not a masterpiece or anything, but I like it. I just think it's neat. Light 4/5.

The Rolling Stones

2/5

Okay. Why is this album here? Obviously, the Rolling Stones are more than iconic enough to be on the album list. However, as I'm sure you're aware, they have multiple other albums on this list, all of which are better and more iconic than their self-titled debut from 1964. I should know. This is my fifth album of theirs, and I'm still missing Exile on Main St. What does the first Rolling Stones album bring to the table? Um... not much. This is basically just a glorified cover album. Mick Jagger and Keith Richards only wrote one song for this album, and it isn't even that great. There is praise to give the band here. The instrumental sound is alright. Obviously, the mixing and general sound quality isn't great, but I can still hear what they were going for. I think Mick Jagger's voice has really grown on me throughout these albums of the Rolling Stones that I've gotten over the course of the project. It's good. The writing, as I kind of expected coming from an early Rolling Stones project, hasn't aged the best. It hasn't aged horribly, but it's not great either. It's definitely repetitive, with most of the songs clearly being about women. Overall, I just don't see why this of all albums needs to be here. We already have an early Rolling Stone album with Aftermath. I don't really like that album much, but I still know that that album has an important place in the band's history and is justified in being on the list. This debut is just kind of okay. It is nothing spectacular at all. If this wasn't from the Rolling Stones, this album would have no place on a list like this. I'm not upset I listened to this, but I do feel that this inclusion is very unnecessary given the quality and cultural impact of this specific album. 2/5.

Histoire De Melody Nelson

Serge Gainsbourg

2/5

This might be the most uncomfortable I've ever felt listening to an album. Here we have the acclaimed 1971 album Histoire de Melody Nelson by French musician Serge Gainsbourg. This album is freaking weird. This is most obvious in the album's premise. See, this is a concept album. Okay. I like those. What's the concept? It's about a man who hits a 14 year old girl with his car and then falls in love with her before her eventual death. Okay. What the fuck? Of course, I'm not one to complain about a piece of media being batshit insane. As a JoJo fan, I don't think I'm allowed to do that, as that would make me a hypocrite. However, I can complain about the glorification of pedophilia, and I will. The writing in this album is kind of gross. I don't like it. And yes, I checked the translations from French to English. I'm not one of those people who gives albums low scores because they're not in English. No, I give albums low scores for having songs that imply statutory rape. My other main complaint with the album is that I don't like Serge's singing, if you can call it that. Well, you can call it that... in some songs. It's fine when he actually sings, however there are other moments when he's doing a spoken word type thing that makes me more uncomfortable. Of course, this album isn't entirely bad. There's a reason why this album is acclaimed and on this list. While I don't like the story, it's at least interesting, so it has that going for it. My main source of praise for this album has to be the instrumentation, which I actually really like. There's good variety between the songs, and the way the songs are composed adds to the progression of the story. I like that. So, overall, while this album kind of grosses me out, I can see good things here. Given the influence of the album, I can understand why this album is on the list. I just don't really like the album myself. Maybe I'm missing something. I don't know. But hey, at least the album's short. Still, given the positive elements here, I can't say I'm entirely upset to have listened to the album. Low 2/5.

I Am a Bird Now

Antony and the Johnsons

4/5

Wow. I really like this. I've seen some people on this website complain about this album. Admittedly, this kind of album isn't for everyone. However, it is absolutely an album for me. Anohni's singing is probably the most divisive aspect of this album. It kind of had to grow on me a bit, but I like it. It feels very genuine, which makes sense given the personal nature of these lyrics. This is probably the trans-est album I've gotten (and probably will get) for the project thus far. Songs like "For Today I Am A Boy" exemplify this quite well. Of course, not every song is about gender identity. Songs like "Hope There's Someone" and "Fistful of Love" are much more relatable to a general audience with themes of fear and love. Either way, I like these songs and their writing. The instrumental sound is nice too. It fits the vibe very well. There's some very interesting features here, including artists I've already discussed like Lou Reed, Rufus Wainwright, and Boy George. These features all work well. Overall, this is an excellently emotional album that really appeals to me. I love it. High 4/5.

The Yes Album

Yes

4/5

Do I love this album? Yes. Am I biased towards anything that's considered progressive rock? Yes. What's the name of this band? Yes. Here we have my second Yes album, fittingly called The Yes Album. I loved Fragile, and I also really loved this album too! The style is basically the same across both albums which makes sense when you realize they both came out in the same year. The Yes Album only has 6 songs, but as is to be expected with prog rock, they're quite a bit longer. They're not too long though. The longest song here is the album's opener, "Yours is No Disgrace," clocking in at just under 10 minutes. I really like all of these songs. I especially like the back-to-back "Starship Trooper" and "I've Seen All Good People." Jon Anderson's vocals are fun and engaging. The instrumental work is excellent all throughout. Bass, guitars, keyboards, drums, you name it. It's all great. Overall, this is an outstanding album. I'm not entirely comfortable calling it better than Fragile, but I'm definitely thinking it. And I haven't even gotten their most acclaimed album yet with Close to the Edge! The moral of the story is that I really like Yes. High 4/5.

Seventeen Seconds

The Cure

4/5

Well, I guess Disintegration's going to be my last The Cure album of the project. Oh well. Apparently we're saving the best for last. For now, let's talk about my second album of theirs and their second album ever released, Seventeen Seconds. I listened to Pornography (the album) way back in May and liked it quite a bit. Honestly, this might have to do with how my music taste has shifted over time, but I think I liked this one even more than that one. Maybe I need to revisit Pornography later on. For now, I'll give Seventeen Seconds the praise it deserves. This album's great. The sound definitely feels like post-punk, but there's a gothic vibe that really appeals to me in this album. Robert Smith's vocals are a bit spooky, but I really like them here. The pacing is great. The writing is interesting. All of the songs are good. The first non-instrumental song of the album, "Play for Today" is a great first impression of what the album will be like. "A Forest" is pretty cool. It's the most popular song on the album and I can see why. Overall, I really like this album. I'm not going to go all the way with a 5 for this album, but I'm sure Disintegration will earn that when I get there. Still, my positive opinion of the Cure has been affirmed by listening to this excellent album. High 4/5.

The Sounds Of India

Ravi Shankar

3/5

And here we have the newest winner of the "Most Literal Album Name" award! This is definitely what I expected an album called The Sounds of India to be. The only way this could be more literal is if the album was just recordings of life in India. What we have here is effectively an introduction to the stylings of instrumental Indian music, brought to us by acclaimed sitarist and George Harrison collaborator Ravi Shankar. Let me tell you, this is a man that knows his stuff. The bits of him talking about what he's doing with the music are nice, albeit a bit unnecessary for someone like me. The music is pretty good. It's very interesting to hear the differences in what non-western music focus on compared to the western music that I'm more familiar with. It's nice. The compositions are quite good. The Sounds of India is a pretty good introduction to what classical Indian music can be. It doesn't really do much aside from that, but it succeeds at its goal, so can you really call this album a failure? I wouldn't. I like this album. It may be a bit long and repetitive, but I'm happy I listened to it, even if I'm probably never going to listen to it again. High 3/5.

Alien Lanes

Guided By Voices

3/5

Well... that was an interesting album. Fortunately, it's definitely a good interesting album. It's kind of hard to compare Alien Lanes to any other album I've generated thus far. We have an album here comprised of 28 songs, which would make the album long if these songs weren't all incredibly short. The longest one is just under 3 minutes, and the shortest song lasts for a whopping 18 seconds, which is probably one of the shortest songs on this entire list. The rapid changing in song format and lyrical matter kind of reminds me of the Beatles White Album in a way, just way shorter. This is one of two things that give the album a demo-tape-like feel to Alien Lanes. The other thing is the production. The production here is very low-quality, but given the album's lo-fi nature, I'm assuming that was a stylistic choice. Honestly, I'd call it a good choice. I think the production gives the album a unique feel to it. I do think hi-fidelity versions of these songs could be cool though. The singing is solid, the writing is mostly decent, and the overall feel of the album is quite unique. I don't love this album, but I definitely respect it enough to see why it's here. High 3/5.

Floodland

Sisters Of Mercy

4/5

Here's a bit of a different album from what I usually get. I'm not exactly in the need for 80s gothic rock since I just got my second album from the Cure a few days ago, but I'm okay with getting this album since I think it's pretty good. Not as good as that other album, but still quite good. The sound is very 80s, but I wouldn't say it's aged poorly. It hasn't aged the best, but it doesn't sound too dated. The singing is interesting, but definitely not bad. The writing is good. The sources of inspiration for this album's songs is interesting, with some songs being inspired by a prior break-up of the band like "This Corrosion" and others being inspired by Chernobyl of all things with the opener "Dominion." It adds variety, so I'd say it's a good thing. This album definitely adds variety to the list. I haven't gotten very many albums like this, so I'm happy this album's here to fill in this niche. The album's also good. Light 4/5.

Teen Dream

Beach House

5/5

Where has this album been my whole life? I haven't listened to many 2010s albums for this project yet, but this Beach House album has easily become one of my favorites of the decade. Everything about Teen Dream just works. The atmosphere and sound are excellent. The general tone of the album is kind of hard to explain, but I love it. It's quite nostalgic. I guess the best way to put it is "dreamy," which is fitting as this is considered a dream pop album. I don't know what that means, but I like it. Teen Dream also has some shoegaze elements that I really like as well. Shoegaze has really grown on me over the course of this project. The singing is solid. There are other parts of the album I like more, but the singing is still quite good. The writing is wonderful. I love the emotion on this album. This is just such a pleasant album. There's better albums, sure. But there's something about this album that just speaks to me. Maybe it has something to do with my current emotional state. Who knows? All I know is that I love this album. Light 5/5.

Horses

Patti Smith

5/5

This album's amazing. That's the start of the review. I'm running out of ways to start these things. This is Patti Smith's 1975 debut album Horses. I love it. This is definitely a landmark album in some ways. The fact that an album like this was released in 1975 is astonishing in the best way possible. The sound is excellent. The general feel is consistent, but each song's theming is distinct in a way to make each song stand out. Speaking of which, the writing of these songs is really good. The enjoyable sound is balanced by personal writing about things like growing up poor in the song "Free Money" or her younger sister in the song "Kimberly." The album's opener "Gloria" is just great. The singing is quite good. The progression of the album is perfect. As far as 70s debut albums from art punk acts that got their start at CBGB, I do prefer Television's Marquee Moon just a smidge, but there's no denying that Horses is an amazing first showing and an excellent proto-punk album that really stands out in a list like this. Horses is great. 5/5.

The College Dropout

Kanye West

5/5

Kanye... oh Kanye. What the fuck happened? Kanye West used to be cool. Then he started getting egotistical, but his music was still good, so there wasn't a huge problem. Now? Not only has he gone even more crazy with the Hitler shit from the past few years, but his music isn't even good anymore! But you know what? I don't care. Well, okay, I do. However, while it's important to discuss Kanye's issues, I'm not going to be one of those people who just gives all of his albums 1 star without even listening to the music. I have to focus on the quality and impact of the actual album that is The College Dropout. Fortunately, this is his debut album, so none of the issues that I've mentioned even really matter. I'm saying all this stuff like I'm an expert, but this is effectively my first time ever really listening to Kanye West's music. So, how do I feel about The College Dropout? It's great. While I obviously do not love Kanye West as a person, I do love his debut album. Admittedly, this album isn't perfect. However, my only major issue is the length, especially regarding the final track "Last Call." Everything else is great though. Kanye's rapping isn't revolutionary or anything, but it gets the job done quite well. I enjoy it. The writing is pretty good. I haven't listened to his other albums, but I do know that other Kanye albums have some lyrical issues. The College Dropout's writing is very solid. There's funny moments that are actually entertaining and haven't aged poorly. This album has aged remarkably well overall, and the writing demonstrates this well. The subject matter for these songs wasn't as common for hip-hop in 2004 as it is now. You have songs on here about things like religion (Jesus Walks), self-consciousness (All Falls Down) and, of course, school (School Spirit). The variety in songs is just incredible. The concept here is interesting. The production is incredible and ahead of its time. The features are all great. The skits add value to the meaning of the songs and the album as a whole. Ultimately, I can understand why someone would struggle to separate the art from the artist in cases like this. I know I have before. However, I think we have to look at the bigger picture pertaining to the impact of The College Dropout itself. This album not only kick-started the career of (for better or worse) one of the most influential rappers of the 21st century, but it also showed the world that hip-hop was more than edgy gangster music. Of course, other albums did that before, but the influence of The College Dropout is hard to understate. The album's also really good. While Kanye West as a person would probably get a 2/5, I think I have to give The College Dropout a 5/5. The impact and quality are just too hard to ignore.

Abattoir Blues / The Lyre of Orpheus

Nick Cave & The Bad Seeds

4/5

Wow. I am shocked. Not by the album or anything like that. It's really good as I'll get to in a bit, but there's something even more shocking. I'm surprised that it took me 443 days to get a Nick Cave album when he has 5 of them on the list (6 if you count the Birthday Party)! That's a lot. Surely there's something about Nick Cave and the Bad Seeds that warrant the high album count. Fortunately, while 5 albums is still too much for an artist of his popularity, I definitely think Nick Cave is worthy of being on this list in some capacity, and Abattoir Blues / The Lyre of Orpheus is proof of that. This is a great double album right here. Let's start with the big thing that justifies Nick Cave's presence... his songwriting. It's quite good. The 1001 albums book listed him as a gifted songwriter for a reason. While I wouldn't put him on the level of someone like Bob Dylan, there's no denying that this man has a talent for the art of songwriting. The variety in this album's songs is quite commendable. It's a double album that's effectively split into two distinct sections. The first half, Abattoir Blues, is more energetic in its music and varied in its writing, while the second half, The Lyre of Orpheus, is slower and more emotional. I think this works quite well. Comparing songs like the opener "Get Ready for Love" with the closer "O Children" paints a very interesting picture of this album and, by extension, Nick Cave as a musician. I feel like I've been talking too much about Nick Cave himself and not enough about his backing band, the Bad Seeds. This is the part where I talk about the instrumentals of the songs. They're great. The energy of the first half's songs is balanced out by the gentler tone of the second half. I like it. Back to Cave himself, his singing is definitely interesting. I think it works quite well here. The album is quite long, but I feel that its time is well-spent. Despite lasting for over 80 minutes, the album doesn't feel like a slog, which is always a good thing. Overall, this is a great album that paints a good first impression of an artist that I have a lot more of to listen to in the future. I think I'll give it a high 4/5 for now. I do want to revisit the album in the future after listening to more of his stuff though to see if this could be bumped up to a 5 in comparison.

The Band

3/5

One of the top reviews for this album says that this should be called "The Album" and I really have to agree. Getting something generated called The Album by The Band would just be really funny. It would be even more funny if this album was my first exposure to The Band, but I got Music From Big Pink back in April so I'm not a total newbie when it comes to The Band. Anyways, this album's pretty good. It's not my favorite thing ever, but it's alright. I would call it good. The sound is nice. The whole album has this Southern Americana feel to it, which is funny since most of The Band's members are Canadian. This feel is also reflected in the songwriting, which is pretty solid. It does a good job at not sympathizing with the Confederacy. I hate the Confederacy. The singing is alright. Overall, there are things to like about this album. However, I just don't think The Band interests me all that much. They just kind of exist. Maybe it's because of their name. I don't know. The album's good, but not really my thing overall. I respect it though. High 3/5.

The Grand Tour

George Jones

3/5

I mean, it's a pretty run-of-the-mill country album from the 70s. I don't have a ton to say about this album. Fortunately, that means that I don't have anything major to say that's negative. There's not any grand praise I have to give for The Grand Tour, but I will say that this album is good. The singing isn't too annoying. The writing is solid. The opening title track in particular is quite interesting with its writing. That song is probably the most memorable one on the album. The others work, but don't really stand out. The sound is pleasant. Country music still isn't really my thing overall, but I can respect the classic, and this album is a bit of a classic. Good job George Jones! 3/5.

All Hope Is Gone

Slipknot

4/5

So... this is Slipknot, huh? As someone who enjoys metal more than most people, I've felt for a while that Slipknot is one of those bands that I have to try and get into eventually, but I wanted to wait until I got one of their albums for the project since they are (rightfully) included on this list with two albums! I would've liked to start with their self-titled debut, but I guess I'll have to settle for their fourth album, All Hope is Gone from 2008. Hey, I'm sure this was someone's first Slipknot album before me. Anyways, how do I feel about Slipknot after listening to my first album of theirs? I get it. I see the appeal. This album's pretty good! The style is strong. This is definitely one of the heaviest albums I've gotten so far, which is a good thing for me. Apparently this album departs a bit from the nu-metal stylings and goes for more of a groove metal sort of thing. I'm okay with that. There's still some occasional nu-metal moments here, but this is definitely a more standard metal affair. Slipknot definitely has some very talented members behind it when it comes to instrumentals. I especially want to give a shout-out to the band's drummer at the time, Joey Jordison. Fortunately, unlike a band like Limp Bizkit where the band has a bunch of talented instrumentals and a shitty vocalist, Slipknot has Corey Taylor, who is a great vocalist. I like how he can go from intensely screaming to actually singing pretty well like it's nothing. Good for you Corey! The writing here is also solid. It's got some depth to it while still being full of edge. There's even some personal moments here, with the obvious one being the penultimate track, the acoustic "Snuff." Still, the majority of this songs are general "I hate the world" songs, but there's something about a song like "Pscyhosocial" that just makes this sort of thing work. It's probably the talent of the band members. Overall, this album gives me a good first impression of a band that I probably should've gotten into by now. The album's not perfect, but I like it for what it is quite a bit. It appeals to me. Light 4/5.

Tago Mago

Can

4/5

Holy shit. What did I just listen to? I have no idea, but I know that I kind of liked it. This album is fucking insane and I love it. But how? How can I hate something like Throbbing Gristle or Einstürzende Neubauten but enjoy Tago Mago by Can? I'll tell you. See, those other albums did not feel like music to me. They just felt like random noise meant to evoke discomfort from the noises themselves. Tago Mago still feels like music to me. It may be very unconventional and (at times) deeply unsettling music, but it's still music. Well, except for the second half or so of "Peking O" which does feel like pure insanity. However, given what came in the album earlier, I guess it makes sense that this is what it results in. Speaking of which, let's talk about the earlier songs in the album. The first half or so of the album is actually relatively straightforward. It's not too unconventional. It's a bit odd, but it's absolutely in a good way. The singing is a bit odd, but it fits the vibe. The writing gets the point of each song across well. The sound is the focus of the album for. The first few songs and the last one are clearly musical, but are still a bit odd for newcomers to more avant-garde music stylings. Later songs like the aforementioned "Peking O" and its predecessor "Aumgn" just get weird. However, it's still tolerable for me. It's funny. The perfect blend of these two vibes comes in the 4th song on the album, "Halleluwah." If there's one song that represents what makes Tago Mago such a great album, it's this one. In conclusion, Tago Mago is absolutely not for everyone. I myself have to admit that some parts of the album aren't for me. However, the fact that something as fascinating and (at times) haunting as Tago Mago was made in 1971 is astonishing to me. This is an album that belongs on this list. 4/5.

Double Nickels On The Dime

Minutemen

4/5

Umm... Merry Christmas everyone! This definitely isn't the kind of album I was expecting to listen to on Christmas, but you know what? I welcome it. This album's great. I'll start with my big complaint. This thing is loooooong. Over 80 minutes split across 45 songs. That's a lot. But hey, at least the contents here are good! This is some good stuff right here. It's got a hardcore punk style that really appeals to me. It kind of reminds me of Dead Kennedys, which is, of course, a good thing. The singing is fun. I've really started to become more accustomed to punk vocals over the course of this project. Good for me! The instrumental sound is also very enjoyable. The basslines are cool. The general tone is fast-paced, with the longest song only being about 3 minutes. Most songs on this album are under 2 minutes, allowing this album to have over 40 songs. Fortunately, there's a solid variety in the songs, which is nice. Some songs are a bit slower like "History Lesson Part 2" while others are frantic like "Viet Nam" and it all works. Overall, while this isn't my favorite punk album, I still really like this album and I'm happy that I listened to it, even if I may not listen to the whole album again. High 4/5.

London Calling

The Clash

5/5

I mean, it's London Calling. I already loved The Clash's self-titled debut album and gave it a high 4. I went into this album fully expecting to love it, and I was right to do so. This album is excellent. Everything about it just works. The vocals are engaging in a way that isn't annoying. The instrumental sound is strong. There's still a clear punk core, but the clear influences from genres like reggae, new wave, and even jazz at times makes the album an enjoyable listen that never bores you, which is kind of important for any album that lasts over an hour. The variety in each song is awesome. Comparing the opening title track to the closer "Train in Vain (Stand by Me)" really shows the varied talent of the Clash. The themes pertaining to things like society, drugs, and conflict provoke thought, which is kind of what punk is meant to do. London Calling is one of those albums that absolutely deserves the praise it gets. It's captivating, entertaining, and full of things to appreciate. I love it. 5/5.

Kind Of Blue

Miles Davis

5/5

Look. I'm not going to pretend that I'm some sort of jazz expert. I don't exactly know what makes a jazz album great or not. All I know is that Kind of Blue is one of the finest albums I've ever heard. I already loved my first Miles Davis album with In A Silent Way, so my expectations for Kind of Blue were very high. Needless to say, they were met. This album is just wonderful. The pacing is perfect. None of the songs go on for too long, nor do they end too soon. That's what you want to see. Of course, the big thing to focus on with any instrumental album is the musical compositions, which are excellent in this album. It's simple enough to work as pleasant background music, but more than complex enough for you to sit down and really digest what you're listening to. The vibes are immaculate. The talent behind this album is just incredible. Obviously, Miles Davis himself is incredibly talented, but the presence of people like John Coltrane and Bill Evans just adds to the talent to create an all-star lineup of jazz legends. This album is simply magnificent. It is, dare I say, the perfect jazz album. 5/5.

Shaft

Isaac Hayes

4/5

Man, I loved the part in Shaft where John Shaft said "It's Shafting time!" and shafted all over the place. I'm just kidding. I've never seen the movie Shaft, but I have now listened to its soundtrack courtesy of Isaac Hayes. This is my first time listening to any music of his and I've got to say, it's pretty good. The instrumental sound is the main focus of the soundtrack, with there being only 3 songs with vocals out of the 15 on the album. Isaac Hayes's vocals are pretty good. Of course, despite having never watched an episode of the show, I did run into the problem of only being able to envision Chef from South Park upon hearing his voice, but I can still recognize that his voice is good. Going back to the instrumentation, it's great! It's just some nice, fun soul music. I really like it. I'm sure these songs work well in the movie. It's kind of weird how some songs are only like a minute long and then you have "Do Your Thing" at a whopping 19 and a half minutes. Because of that, I feel that "Do Your Thing" is probably the second most notable song on the album, only behind the one and only "Theme From Shaft." Yeah, that song is great, with the others being pretty cool too. Overall, I really liked the Shaft soundtrack. It's not my favorite soundtrack to a 70s Blaxploitation film (Super Fly has it beat in that regard), but it's still a very strong album. Good job Isaac! High 4/5.

Talking Book

Stevie Wonder

4/5

FINALLY. I have waited for 452 days to get a Stevie Wonder album. I've had to listen to some hot garbage to get here. But now, I can finally say that I've listened to a Stevie Wonder album. How do I feel about his 15th studio album Talking Book? It's pretty good! Stevie Wonder is a man with some insane musical talent. The sheer fact that he's playing most of the instruments on this album despite literally being unable to see anything is just immensely respectable. He's a damn good singer-songwriter too. These are some pretty good songs right here. There's a decent balance between slower, more ballad-like songs and the funkier songs. Although, I do kind of wish we got more of the funky stuff as those were probably my favorite songs on the album. That's not to say that songs like the opener "You Are The Sunshine Of My Life" are bad. They're pretty good too. But when you also have a song like "Superstition," you kind of want more of that. I've always loved "Superstition." It's easily the best song on this album. Overall, Talking Book is a strong showing for Mr. Wonder, and was a sign of good things to come, as other classic albums like Innervisions and Songs in the Key of Life would follow in the years after Talking Book's release. Those albums could get 5s, but I think Talking Book lands at a solid 4/5.

The Modern Lovers

4/5

Here's a solid little album right here. The Modern Lovers is another band that only made one album, but I would say that this album has the praise and impact to warrant its inclusion. The talent behind this album is very respectable. The band's vocalist, Jonathan Richman, definitely has an interesting voice, but I liked it well enough. The band's members also includes people that would later join more iconic bands like David Robinson from the Cars and Jerry Harrison from Talking Heads. That's cool! The instrumentation is quite solid. This album's vibe has a sort-of proto-punk vibe going for it with a dash of the Velvet Underground. The Velvet Underground comparison is fitting as many of the album's songs were actually produced by John Cale! Neat! Anyways, the album itself is pretty good. I like the sound, the writing is solid, and the songs are good. I wish I could say more. Low 4/5. I'm feeling generous today.

Quiet Life

Japan

3/5

Welp, 2024 is over. Aside from a few days I missed that I later made up, I listened to an album every day for the entire year. I have listened to over 366 albums this year, and now it's time for the last one. What is it? Some new wave thing I've never heard of before. Of course. Whatever, at least the album itself is good. It's certainly better than the album I got on December 31st last year! It was G. Love and Special Sauce in case you're wondering. This is just a solid album. It's nothing groundbreaking, but I like it for what it is. The sound is good, as are the vocals. I've seen comparisons to Bowie that aren't completely unjustified. There's a Velvet Underground cover in here. That's neat. The album definitely feels like it came from the 80s, which is interesting as the album was actually released in 1979. Cool! Quiet Life is a good album. Considerably High 3/5.

Rumours

Fleetwood Mac

5/5

Well, as worried as I am for 2025 as a whole, I can at least rest knowing that I'll be able to listen to some more amazing albums this year. Case in point, my first album of 2025, Rumours. Fleetwood Mac's 11th album is one of those albums that has garnered a reputation as being among the best of the best. There aren't very many albums out there with a reputation like Rumours. I mean, it's literally the highest rated album on this very website as I'm writing this, with Abbey Road at a very close second place. Is this warranted? It absolutely is. Rumours may just be one of the greatest albums I've ever heard. There was a lot of hardship during the making of this album. Between the relationship struggles between band mates, the pressure to make their best album yet, and a heaping dose of the 70s rock staple that is cocaine, Fleetwood Mac was not a very stable band during the process of making Rumours (when have they ever been stable though?). And yet, they made a masterpiece. The singing from Lindsey Buckingham, Christine McVie, and Stevie Nicks is always excellent. The instrumentation here is so finely-crafted to be as wonderful as possible and it works. Apparently the guitar strings for one of the songs were swapped out every 20 minutes so the song could sound as good as possible. That's insane. The songwriting is great too. There's a common theme of relationships, which makes sense seeing as the band was struggling a lot in regard to their romantic relationships. However, not every song is sad. Songs like "Don't Stop" are actually quite positive. And of course, we have to talk about the songs themselves. There's not a bad one in the bunch. They're all amazing. Obviously, the big hits like "Dreams," "Go Your Own Way," and "The Chain" are some of the best songs I've heard, but the deep cuts here are still great. The fact that a song like "I Don't Want to Know" is one of the less popular songs on the album speaks to how consistently excellent this album is. I don't know what to say. Rumours lived up to the expectations. I get it. There's so much more I could say, but I don't even think it matters. The album speaks for itself. It is a masterpiece, through and through. 5/5.

The Who Sell Out

The Who

3/5

You know, I'm kind of surprised it took this long for me to get my second album from The Who. I feel like I should've gotten my second or even third album of theirs by now, but I guess the list really didn't want me to listen to a single album from The Who in 2024. Okay I guess. Anyways, The Who Sell Out is okay. It's nowhere near as good as Who's Next, but it's still solid. It kind of reminds me of how I feel about Face to Face by the Kinks, an album I gave a 3 in comparison to the much stronger Village Green Preservation Society, which I gave a 5. Would I give The Who Sell Out a 3 in comparison to Who's Next's 5? Yeah, I probably would. The songs are good. "I Can See For Miles" is a highlight for me. There's a bit of a concept here about advertising or something like that. That's neat. There weren't very many concept albums from 1967 and earlier, so it's cool to see an early example of one. The style is quite different from their later work. It's a lot more psychedelic in nature, which kind of makes this album not as interesting since there's a lot of psychedelic rock on this list. The singing and writing are both good. I don't have a ton to say. This is a solid early work from a classic rock band. It's good. As stated earlier, I will give this album a 3/5.

Sulk

The Associates

2/5

Okay. Why is this on the list? Did we really need another new-wave album on here? No. No we did not. There's enough of it already. This album is not notable enough to be on the list. But impact isn't everything. Sometimes, we have to ignore the low cultural impact of an album to praise it. The problem is that this album isn't good or original enough for me to do that. Sulk is mid. Admittedly, there are decent elements here. The instrumentals are very 80s, but they work sometimes. They're a bit overstimulating at times though. I'm not a fan of the vocals. I can get behind some weird vocals. That's like a quarter of the appeal of Talking Heads for me. These ones just aren't for me though. The writing is fine, I guess. It's a bit uninteresting though. Songs like "Bap De La Bap" just kind of annoy me. The album's also pretty inconsistent and all over the place. Overall, Sulk is fine, but I really didn't need to listen to this before I die. High 2/5.

Kala

M.I.A.

3/5

Here's an interesting album. M.I.A. is an artist that I've definitely heard of before, but have never really listened to the music of. I think the biggest thing I've heard about her is that she's a crazy conspiracy theorist now or something? It's a shame because this album of hers is pretty good. It's not exactly my thing personally, but I definitely respect Kala quite a bit. I think my favorite thing about this album is the variety in songs. No two songs on this album sound exactly the same, which I'd say is a good thing. Fortunately, most of the songs here are pretty good. I know I said I had never listened to M.I.A.'s music before, but I'm like 99% sure I've heard "Paper Planes" somewhere before. I don't know where or when, but I've heard it. I like that song. Some don't hit as hard as others, but the good ones are pretty good. M.I.A.'s voice is interesting, but certainly not bad. The writing is solid. There's a variety of world influences throughout this album, with the album being recorded in countries like India, Liberia, and Australia. That's cool. This album's nice. It definitely grew on me over the course of the listen. It's still not my favorite, but I would definitely call it good. Solid 3/5.

Duck Rock

Malcolm McLaren

2/5

Huh. Well, that was an album. After getting an album from M.I.A. yesterday, I wasn't exactly in the mood for a British album that combines world music and hip-hop, but here we are, I guess. I mean, I didn't hate the M.I.A. album. I quite liked it actually. I just didn't want two semi-similar albums in a row, you know? However, the two album couldn't be more different in the other ways. This album's weird. Would I call it bad? Not objectively. Would I say I liked it? I don't know. The style just isn't really my thing. None of the songs really interested me that much. I guess the most interesting thing that I gained from this album was learning that the opening lines of Eminem's "Without Me" were interpolated from something. That's neat. I guess this album does have influence. However, I'm not sure all of it is for the better. The "artist" credited for this album, Malcolm McLaren, apparently did not credit many of the musicians responsible for this album's existence. That sucks. The rapping is pretty rudimentary. Overall, Duck Rock is fine. I'm not entirely opposed to this album's inclusion on the list, but I'm also not exactly a fan of it. At least it's interesting! High 2/5.

Trafalgar

Bee Gees

3/5

And the winner of the "biggest disparity between my preconceived notions of a band and what their album is actually like" award goes to Bee Gees! Yeah this is not what I thought this album would be. Like many, my only exposure to Bee Gees until now was through the absolute classic that is "Stayin' Alive." So, needless to say, I was not expecting a slow, sappy album that is very much-so not disco. But is Trafalgar any good? I guess. It's nothing crazy, but it's alright. It's certainly not the best album I've gotten in this first week of 2025, but it's not the worst either. The sound is alright. It works for the vibe that the album is going for. The singing is decent. The writing works. It's good. The album does feel a bit long even though it's only 47 minutes, but it's not too long. This album really doesn't make me feel any super strong emotions. It's alright. Not bad, but not great either. 3/5.

Whatever People Say I Am, That's What I'm Not

Arctic Monkeys

4/5

You know, it's been a while since I got one of these sorts of 2000s alt-rock bands that were hyped up like crazy by the British media. Some of the albums I've listened to that fit this category are albums that I really liked, with Is This It by the Strokes being a particular highlight. Others were much less interesting. Ask me to say anything about Highly Evolved by the Vines. I couldn't. Fortunately, Whatever People Say I Am, That's What I'm Not by Arctic Monkeys leans a lot closer to the former than the latter. This album's great! This is a very consistent album, both in theming and quality. Starting with the theming, a lot of the album is about British nightlife and clubbing, which is something that I can't relate to. However, the writing's good, so the repeated themes work here and don't make the album feel too repetitive. But what really sticks out to me is just how good this songs are. "The View From The Afternoon" serves as a good first impression for what this album is going to be like. I'm not huge on Alex Turner's singing myself, but I think it works with the general vibe of the album and its songs. The instrumentals are what really appeal to me here. They're all excellent. I especially love the album's lead single "I Bet You Look Good on the Dancefloor." This song is a perfect representation of what makes this album so good. The other big single, "When The Sun Goes Down" is also great. Overall, while I wouldn't call this my favorite indie debut of the 2000s (I do still prefer Is This It), WPSIATWIN is an amazing first-showing of a band that I can now say I like. High 4/5.

L.A. Woman

The Doors

4/5

Well, I guess it's time for my last time listening to an album from The Doors for this project. Fitting, seeing as this was the last album released by the band in Jim Morrison's lifetime. How did the Doors finish their career with Morrison? Pretty well! This album's great! I don't think it's quite as good as their debut, but I would say it's better than Morrison Hotel. I don't have a ton to say that I didn't say in those reviews. Jim Morrison's singing is as great as ever. I really like the style of this album. It doesn't feel quite as energetic as some of their earlier stuff, but I think that works here. That's not to say that there aren't bops here, but the album is definitely a bit bluesier than the others I've heard. The songs and writing are pretty good too. I wouldn't call any of the songs here bad. "Lover Her Madly" is a solid love song. I like the title track. It's pretty good too. And of course, the highlight of the album comes from its closer, "Riders on the Storm." This song is just excellent. Overall, while it's not my favorite Doors album, L.A. Woman was a great closing album for the band, even if it had to be that way for less than great reasons. High 4/5.

Private Dancer

Tina Turner

4/5

I feel like it's been a while since I got some real classic 80s pop from this site. Most 80s albums I've gotten have been a lot more focused on stuff like new-wave and post-punk, so it's nice to get something like this for a change. Anyways, Private Dancer is pretty good. Tina Turner is an absolute icon, and she may not have that status without this album. Despite many of these songs being written by different people (including David Bowie and Mark Knopfler by the way!), the tone of this whole album fits the liberation that represents this part of her career so well. Tina's voice is strong. I like it. The sound is nice. It's very 80s, but I wouldn't say it's aged poorly. It's aged in a way that paints a positive picture of the time it's from. Maybe I'm biased. I don't know. The album's not perfect. Some of the songs don't hit as hard as the others. But generally speaking, I think this is a solid album that I like. Low 4/5.

Close To The Edge

Yes

5/5

Welp, it's time for my final Yes review. And would you know it, I happened to close things out with their best album! Well, best album I've heard, that is. Close to the Edge is amazing! This is far and away the most cohesive Yes experience I've gotten thus far. Everything that I loved about Fragile and The Yes Album is even stronger here. I think what really makes this album work is that there really isn't any filler. There's only 3 songs, all of which are excellent. Compare this to an album like Fragile which had some smaller, less interesting ditties in between the big masterpieces like "Roundabout". Given the low song count, I might as well say something about all 3 songs here. The album starts with its centerpiece, the title track. Yeah this song is a masterpiece. If you wanted to play one song to someone to show them what makes prog-rock so special, "Close to the Edge" might be a good pick. Everything just works, and the 18 minutes are absolutely warranted. I love "And You And I." This one's just such a pleasant listen. I wish I could say more, but I think it really speaks for itself. Finally, "Siberian Khatru" is the album's closer and it's also great. It's probably the most fun song on the album and it serves as a great way to end the album. Jon Anderson's vocals add to the wonder of the instrumentals perfectly. The instrumentation is so technically impressive it's almost unbelievable. The pacing is really good somehow. Albums like this are why I love prog rock so much. There's so many crazy ideas at play that shouldn't work, and yet they do. And it's amazing! This is the kind of album that changes a person's perspective of what music can be. It's not that for me because I've already been exposed to these kinds of songs, but there's no denying that Close to the Edge is an absolutely mind-blowing album that I can't help but love. 5/5.

Water From An Ancient Well

Abdullah Ibrahim

4/5

This is a nice jazz album right here. I don't really have a ton to say. I like jazz, so I like this album. It's kind of interesting that this isn't actually my first jazz album to come from South Africa, considering I got Hugh Masekela's "Home Is Where The Music Is" back in September 2024. That album's good, and so is this one. I like it. The sound is nice and very pleasant. It's not super complex by jazz standards, but it's still fairly engaging. The pacing is solid. None of the songs go on for too long, not even the nearly 12-minute long title track which, for some reason, isn't on spotify despite the rest of the album being there. Water from an Ancient Well is pretty good. Low 4/5.

Neon Bible

Arcade Fire

4/5

Ooh. I'm okay with this! I listened to Funeral about 11 months ago and loved it. I haven't gone back to it that much since then, but my opinion of it is still positive. So, my expectations for its followup, Neon Bible, were fairly high. Of course, I was never expecting it to be better than Funeral, but there aren't a ton of albums that are. So, is Neon Bible a good successor? Yeah, I'd say it is. This album's pretty good. A lot of what I liked about Funeral is still here, albeit in a slightly weaker state. The singing is nice. The instrumental sound is good. The album is generally a bit darker than Funeral, which works pretty well to differentiate the two albums. The pacing is pretty solid. The songs are cool. I like them. I said that the album was darker, but there's still a sense of wonder to be found in songs like "No Cars Go" and "Keep the Car Running" that I love. Overall, while I do prefer Funeral, Neon Bible is still a strong album that proves that Arcade Fire, at least at one point, was a great band. High 4/5.

Deja Vu

Crosby, Stills, Nash & Young

4/5

Well, I've gotten an album from Crosby, Stills & Nash, and I've gotten plenty of albums from Neil Young, so surely the combining of these talents is bound to make something great, right? Right indeed! This album's great! I really like it. All four band members get their own songs to shine, though between "Teach Your Children" and "Our House," I think Graham Nash is the clear winner of this album. Of course, Stephen Stills, David Crosby, and the then-newly-added Neil Young are also great. The sound is nice. There's a nice mix of acoustic and electric folk rock. The pacing is good. This is just a very strong folk rock album with lots of talent behind it. Amazing album right here. High 4/5.

The Boatman's Call

Nick Cave & The Bad Seeds

4/5

You know, one of the big issues with an artist or band having a ton of albums on this list is that you might worry about the albums feeling a bit samey and, therefore, redundant as inclusions on this list. I mean, what's the point in including 6 albums from Elvis Costello if each of those 6 albums doesn't bring something special to the album? Fortunately, from the two albums I've heard so far, I don't think I have to worry about this for Nick Cave & the Bad Seeds. The Boatman's Call is a very different album from my first Nick Cave album, Abattoir Blues / The Lyre of Orpheus. That album was a very unique double album with many differing styles throughout and quite a bit of energy, especially in the first half. The Boatman's Call, on the other hand, is a much slower album with a heavy emphasis on piano. That's neat! The vibes here are great. The piano and Nick Cave's voice are the main focus, but there's just enough instrumentation outside of that to create an atmosphere that I really like. Speaking of Nick Cave himself, his vocals are pretty good here. I like them. But an album like this doesn't really work if the songwriting doesn't capture the emotions that the music demands. Fortunately, Nick Cave is a pretty good songwriter. There are some common themes here like romance and emotions as a whole, but the songs do a good job at feeling unique as far as the writing is concerned. Overall, while I think I personally like Abattoir Blues a bit more (although The Boatman's Call does have an advantage in not being 82 minutes long), The Boatman's Call is a very respectable project that I think is pretty good. High 4/5.

Gold

Ryan Adams

3/5

Umm... okay then. This is an album. Ryan Adams is an artist that I do not know much about. What I do know is that he's kind of a shithead, but we try our best to separate art from the artist in this house. Anyways, let's talk about his second album, Gold. My thoughts on it are that the album... is fine. It's okay. There are definitely things to like here. The sound is nice. Country isn't really my thing, but I can respect anything country-adjacent that isn't the garbage I have to hear on the modern country hits playlist that I'm forced to listen to every day in my computer class. Ryan's singing is decent. The writing is solid. "When the Stars Go Blue" is a pretty good song. I do have problems with this album. The songs do feel a bit samey at times, and the album is definitely too long. However, I certainly wouldn't call this a bad album. It's good. High 3/5.

Songs Of Leonard Cohen

Leonard Cohen

5/5

Well, it took long enough, but I finally got a Leonard Cohen album for the project! He has quite a few on here, so I've been very curious to hear what his albums are like. Fortunately, I'm starting now with his debut album, which is probably the best place to start. Not only is it a great starting point because of the fact that it's at the beginning of his discography, it's also just an amazing album all throughout. Songs of Leonard Cohen is simply excellent. The fact that this is his debut is astonishing given the masterful artistry at play here. The instrumentation is simple but very effective. It serves as the perfect backdrop for the star of the show... the lyricism. See, before getting started with his music career, Leonard Cohen had experience with poetry and other writings and it shows. This album is filled to the brim with some of the best storytelling I've heard in an album. There's something about songs like "Suzanne" and "So Long, Marianne" that really strikes a chord with me. I love it. Leonard Cohen's singing is very fitting of these songs. It's nice. I like it. There is not a single bad song on here. The tone is very consistent, but it works because the style is so good. This is probably one of the finest debut albums I've ever heard. 5/5.

Nothing's Shocking

Jane's Addiction

4/5

Alright! It's time for my first impression of Jane's Addiction, a band that I've heard of before and that's about it. I mean, I also knew about that on-stage incident from last year, but let's just move past that (for the review). Here's their debut album, Nothing's Shocking. It's good! This is a solid album right here. I'll start the review with the one part of this album that I'm not a big fan of... the singing. I don't hate Perry Farrell's singing, but it isn't really my thing. It works sometimes, but it can also be a bit annoying at others. It's certainly not for everyone. Fortunately, the other stuff here is great! The instrumentals are pretty cool. Whether they're more stripped down on songs like "Jane Says" or are full-energy like on "Mountain Song," there's definitely enough talent here to appreciate. The writing and theming here is quite interesting, but it definitely works and I'd say it's pretty ahead of its time. I mean, this album was released in 1988, yet it feels like it could've come out like 10 years later or something. The pacing is pretty good. I like the songs, especially the two I mentioned earlier. This album's good, and apparently its followup, Ritual de lo Habitual, is even better and is also on this list! Maybe I'll like that one even more myself. Still, Nothing's Shocking is pretty good on its own. Light 4/5.

Talk Talk Talk

The Psychedelic Furs

3/5

Oh wow, another British new wave/post-punk album. I'm really starting to feel the over-abundance of these things. This album's fine. It's whatever. The guy's voice kind of pisses me off sometimes but the instrumentation is pretty solid. The songs feel a bit samey but it could be worse. This album could be a lot worse, but it also just doesn't impress me much at all. The writing is okay. Some songs do it better than others, with "Pretty In Pink" probably being the highlight just for being an interesting song. I don't have much to say. Talk Talk Talk is fine. Low 3/5. 5/10 if it was in that system.

Gorillaz

4/5

You know, Gorillaz is actually a really interesting project if you think about it. You have the frontman of one of the biggest britpop bands of the 90s working with a comic book artist to create a virtual band with actual lore and a universe to it that ends up becoming arguably more popular than said britpop band. That's interesting, right? Anyways, let's talk about their self-titled debut album. It's pretty good! On top of its whole existence, another one of the most interesting things about Gorillaz is the genre blend in their music. I'd say it has rock as the base, but the elements of electronic, hip-hop, funk, and other genres do a lot to create a style that you can't really find in any other bands. One of my favorite things about this album is just how much variety there is in the songs on this album. There's 15 songs here, and none of them blend together. Some songs lean more into an electronic, almost trip-hop-like style like "Tomorrow Comes Today," while other songs like "Rock the House" focus more on the hip-hop elements. You have time-signature experiments on the song "5/4," some funkier songs like "19-2000," and songs that blend everything together in a way that really shows off why Gorillaz is as popular as it is like "Clint Eastwood." Some of the songs don't hit as hard as the ones I mentioned, but the best songs on here are really good. I like Damon Albarn's singing here. Oops. Sorry. I killed the immersion. I like 2-D's singing here. I know this doesn't really affect the content's of the music, but I've always like the general aesthetic of Gorillaz. It's pretty cool. Overall, I'm sure there are better Gorillaz albums out there. I've especially heard great things about Demon Days and Plastic Beach. I would definitely include one of those albums over this one if I made a list like this myself, but this album is still a strong first showing for a pretty cool music thing. Solid 4/5.

The Blueprint

JAY Z

4/5

Isn't it funny how, between Gorillaz yesterday and Jay-Z today, I got two artists in a row with names that end in Z? There can't be that many of those on this list, so it's pretty funny that I got two in a row. Anyways, The Blueprint is an absolute classic. This album's release is definitely one of the better things to happen on September 11, 2001. The production on this thing is absolutely phenomenal and timeless. The work here from people like Bink, Just Blaze, and a then-unknown Kanye West is incredibly polished, but not soulless. The pacing here is strong. I'm not exactly a fan of skits on albums for the most part, so the lack of them on this album appeals to me and aids in the pacing department for me. Jay-Z's rapping and lyricism is very solid. I don't know if I'd call him the GOAT, but I can see why people put him in that conversation. The writing is a bit repetitive at times, but that's really my only specific issue with the album. The one feature that the album has, Eminem on "Renegade" is really good. Other songs like "Izzo (H.O.V.A.)" and "Heart of the City (Ain't No Love" are also highlights. This album's a classic. It's one of the most acclaimed hip-hop albums of the early 2000s and for good reason. It's not my favorite classic East Coast hip-hop album (I do prefer Illmatic), but The Blueprint is absolutely an album that's worth the praise it gets. High 4/5.

The Only Ones

2/5

This has got to be one of the most uninteresting albums I've ever listened to. It is yet another late 70s British rock album. HOW MANY OF THESE FUCKING THINGS ARE THERE ON THIS LIST?? I genuinely don't know what to say here because nothing about it is special to me, yet it also doesn't really piss me off. The sound is decent. The singing is kind of annoying for some songs but not that bad for others. The writing exists. Even this album's one decently popular song "Another Girl, Another Planet" doesn't really interest me that much. Despite the band name, these guys are certainly not the only ones to make an album with this style. This album doesn't need to be here. Objectively speaking, I know that this album isn't bad. I just couldn't give a crap about it myself. High 2/5.

Get Behind Me Satan

The White Stripes

4/5

Welp, I have now gotten one White Stripes album for each of the band's members. Cool. There's still another one on here. I don't know if the White Stripes really need three albums. I'd probably go with one, maybe two. Of course, this brings us to the question of "Which White Stripes album do we cut from the list?" Probably this one. Look, I do like Get Behind Me Satan quite a bit. It's a pretty good album. But in comparison to what White Blood Cells and Elephant represent for their career, Get Behind Me Satan feels like the least necessary inclusion on a list like this. There are definitely things to like here though. I enjoy the variety that this album brings in its songs. The opener, "Blue Orchid" is probably the highlight. The theming of this album is certainly interesting and cool. The style here is definitely a bit different in comparison to the other album of theirs that I've heard, White Blood Cells, but I think it works. I'm not sure which album I like more. The singing and writing are solid. This album's good. 4/5.

Live At The Harlem Square Club

Sam Cooke

5/5

Now THIS is what a live album should be! I've listened to a few live albums for this project so far. Some have been pretty enjoyable listens, and others are Live at the Star Club, Hamburg. Once again, fuck Jerry Lee Lewis. Sam Cooke, though? He's cool. I like him. He's one of the most influential soul artists of all time, so you already know I'm gonna like this. So, does Live at the Harlem Square Club, 1963 live up to my expectations? It absolutely does and then some. This album is excellent. There's not a ton of complexity to the album, but the execution and artistry is so top-notch especially for 1963 that you just have to respect this album for what it is. The energy here is amazing. This is one of those beautiful instances where an album being a live album really enhances the listening experience for a full-album listen. Sam's singing does a great job at playing into the energy of the other musicians. The writing has aged fairly well. It also has the benefit of being mostly written by Sam Cooke himself, so that's great! This album really doesn't have any filler to it. Some live albums are bogged down by downtime between songs that just doesn't usually work. Take that Jerry Lee Lewis one for example. I was constantly being reminded that I was, in fact, listening to music by a man who married his 13 year old cousin. This album? Sam's introduced at the beginning, there's a few little moments of him saying like a single sentence between a few songs, he has an outro at the end, and that's it. Other than that, the whole thing is basically just a non-stop musical event. That's what I want to hear! I don't have a ton of other things to say. This album represents the best of what early 60s soul can be. Energetic, yet still with an emotional core that gives the music some, well, soul! This is one of the best live albums I've ever heard. Light 5/5.

Something/Anything?

Todd Rundgren

4/5

Hmm... Okay. I can get behind this. Todd Rundgren is a name that I didn't really recognize aside from the actual 1001 albums list itself, but as it turns out, he's a somewhat notable figure in music history. Not super notable to the point of him being an "icon" or anything, but he's at least notable to enough to be in the Rock and Roll Hall of Fame. He's also produced some albums I've listened to for this project, with my favorite of his so far being Meat Loaf's Bat Out of Hell. So, for the most part, I was fairly optimistic about this album. There was just one thing that scared me. This thing's like 90 minutes long. Yeah, I'd definitely say that this album is a bit too long. However, it could be worse. After all, the 90 minutes are spent fairly well, and the variety in these songs allows the album to not drag as much. The album is split into 4 distinct sections. They didn't feel that distinct to me, but the thought was there. Todd's voice is good. The instrumentation is impressive considering most of it was done solely by Todd Rundgren himself. Cool! The production is nice. These songs are pretty good. I didn't actively dislike any of them, and the best ones here are quite enjoyable, with "I Saw the Light" and "Hello It's Me" being the obvious highlights. Overall, while this isn't my favorite 90+ minute album (albums like the Beatles White Album, All Things Must Pass, and Mellon Collie and the Infinite Sadness have it beat in that regard), Something/Anything? is pretty good. I like it. Light 4/5.

Low-Life

New Order

4/5

You know, it's always interesting to see what a band does when they lose their lead vocalist. Obviously, it's very sad whenever a band's lead vocalist dies (especially for a case like this), but it serves as a pretty good way to gauge how the other members view things like life, fame, and music. This brings me to the band of focus for this review, New Order, which was formed from the living members of Joy Division after Ian Curtis's untimely passing. This, I think, is one of the better ways to handle unfortunate circumstances. They didn't quit making music, but they also didn't want to continue performing as Joy Division, which I can absolutely respect. Of course, the two bands are kind of inseparable as far as the general discussions surrounding their impacts go, but I'd say that Low-Life is a pretty different album from the Joy Division album that I've heard, Unknown Pleasures. Speaking of which, Low-Life is pretty good! It's not Unknown Pleasures levels of good, but it's still a strong album. The vibe here is definitely a bit different, with New Order taking things in a more synth-pop-oriented direction rather than the straight post-punk of Joy Division. Synth-pop as a genre is one with some hits and misses as far as albums I've listened to go. Fortunately, Low-Life is a hit. The style here is very good. There's enough energy to make the album an entertaining listen for songs like "The Perfect Kiss," but the band is still able to create emotion for songs like the instrumental "Elegia," which serves as a nice tribute to Ian Curtis. Bernard Sumner's vocals are solid. The writing is good. The pacing works well. Overall, this is a great way for me to experience New Order for the first time. I like what I've heard quite a bit. Strong 4/5.

Parklife

Blur

5/5

When it comes to the big 4 of Britpop, Pulp and Suede definitely have their fans, but the real stars of the show were always Blur and Oasis. I have listened to all of the Pulp and Suede albums on this list, but for whatever reason, I'm just now getting my first Blur album nearly 500 days into the project, and I still haven't gotten Oasis yet! Fortunately, I am now able to have an opinion on Blur, specifically their 1994 album, Parklife. What's my opinion? This album's great! I just got the Gorillaz album on the list a little over a week ago, which actually gives me the benefit of being able to compare the two big musical projects attributed to Damon Albarn. The two bands definitely have things in common, as well as some major differences. One of my favorite things that the bands have in common (at least from the albums I've heard) is the variety in songs for a given album. I loved the variety in Gorillaz self-titled and I love the variety in Parklife. There are definitely rock elements here, but Blur really puts the "pop" in Britpop, especially in this album's first half. Look at a song like the opener, "Girls & Boys." First of all, the song's great, but secondly, try to think about what genre you'd call this song. Yeah, you could just say Britpop, and I guess you'd be right. But the blend of rock, pop, disco, and new-wave is really unique. Other songs like the final (actual) song, "This Is a Low" lean closer to a more standard rock affair. That song's also amazing by the way. Damon Albarn's singing is solid throughout the album. The writing is just as varied as the songs themselves, which is a good thing. Parklife is a distinctly British album, but not in an annoying way. There are definitely elements of 90s British culture here, but there's definitely a bit of satire here that's always welcome. I will say that my one problem with this album is that the first half is quite a bit stronger than the second half, with such stand-out songs like the aforementioned "Girls & Boys," "End of a Century," the title track, and "To the End." Of course, the second half isn't devoid of great songs. You still have songs like "To the End" and the also aforementioned "This Is a Low," but the first half is definitely more consistent. Other than that, yeah this is a perfect representation of what Britpop should be. Fun, unique, and distinctly British, yet not juvenile to a point of annoyance. Parklife is great. Light 5/5.

The Real Thing

Faith No More

4/5

Woah. I like this. Faith No More is a band that I'd only somewhat heard of before getting this album. All I really knew was that they were a metal-adjacent band with a guy named Mike Patton on vocals. I really didn't know what to expect going into their third album (and first with Patton), The Real Thing. Fortunately, what I ended up getting was a pretty cool album! The Real Thing is very different from the majority of the albums on this list, but I think that's a good thing. The album stands out in a good way. Patton's vocals are very love-it-or-hate-it. I wasn't huge on them at first, but they've definitely grown on me a bit. They're certainly characteristic. The writing is varied and pretty interesting as well. Like, what do you think a song called "Zombie Eaters" is about? Did you say babies? Probably not, but that's what the song is about! The instrumentation has got to be my favorite thing here. The bass lines, guitar riffs, and drumming are all incredibly strong. I love them. These songs are pretty cool overall. "Falling to Pieces" has an amazing bass part. "From Out of Nowhere" is a cool opener. The album's most popular song, "Epic" is, as the title suggests, pretty epic. There's even a pretty good cover of Black Sabbath's "War Pigs" as a bonus track. Overall, The Real Thing is a pretty good first impression to a band that I probably should've checked out earlier. And apparently, this isn't even their best album, so I may have to check out some of their other albums later. Strong 4/5.

Slippery When Wet

Bon Jovi

4/5

Look. I'm not going to pretend that this album is a masterpiece or anything. Bon Jovi's 1986 album Slippery When Wet is the definition of cheesy 80s hair metal. But it is some damn good cheesy 80s hair metal. This is a good album. Admittedly, my enjoyment of this album could be attributed to some level of nostalgia. "Livin' On A Prayer" was one of the first rock songs I ever fell in love with after I sang it with my fifth grade class for my elementary school's choir festival like 7 years ago. This song is special to me. It's also just a great fun song, as is the album's other huge hit, "You Give Love A Bad Name." The other songs aren't as amazing as those two, but there's some bangers in here. The style is fun and VERY 80s. I would understand if someone told me this album's aged poorly, but I don't care. Besides, the album at least has writing that isn't offensive. The writing's fairly basic all things considered, but it serves its purpose well. Jon Bon Jovi's vocals are strong too. They fit the vibe very well. Admittedly, this isn't a super complex album, but this kind of music has a special place in my heart. Sure, I can absolutely appreciate the "hipster shit" of the world. Some of my favorite albums from the project have been the most unconventional. But I also have to admit that I really like cheesy 80s hair metal, and it's hard to get much better in that regard than Bon Jovi. 4/5.

Maverick A Strike

Finley Quaye

2/5

Well, there goes my great album streak. Why is this here? Did I really need to listen to some scottish reggae album from 1997 before my inevitable death? No. I don't think I did. Would I say that I'm upset that I listened to this album though? Not really. I'm just kind of confused. I guess if I had to compare this to any other album I've listened to for this project, it would be that Billy Bragg album I listened to back in December 2023, which feels like a lifetime ago. I'm mainly saying this because of three things. The instrumental style is fine, the writing has some nice things to say at times, and I don't like this guy's voice. Finley's voice is kind of annoying, but that's just me. The instrumentation isn't bad, but it also isn't my thing. The writing has good points sometimes, but other times just doesn't work for me. The album's pretty long too. I definitely wouldn't call this album's existence a mistake, but I would say that including it on a list like this is a mistake. It exists and does nothing more than that for me. 2/5.

Pelican West

Haircut 100

3/5

Oh wow. Another 80s British new wave album. There is nothing interesting I can say about this album. It's fine. It's not the worst thing I've listened to this week, but it's not great either. The style is pretty interesting... for like 3 songs. Then the album gets repetitive. Still, the style isn't bad, so the album is far from infuriating. The singing is there. It's not bad, but it also doesn't interest me. The writing exists too. It's a bit repetitive, but it could be worse. The songs are decent. None of them really stick out to me much. I wouldn't call this album bad, but I also just don't really feel anything special with this one. Still, it's okay. Low 3/5, bordering on 2.

Microshift

Hookworms

3/5

This album list confuses me sometimes. How the hell did someone on the team making the list discover an album like this and deem it necessary enough for someone to listen to before their death? How could they look at all of the album from the late 2010s and determine that Microshift by Hookworms is more important and/or better than albums from actually iconic artists like Tyler, The Creator, King Gizzard and the Lizard Wizard, and Billie Eilish? I don't get it! Whatever. At least the album is decent. Microshift isn't a bad album. It's just a weird inclusion for a list like this. Is there really anything that this album provides that I can't get from something like an LCD Soundsystem album? I don't think there is. The singing is fine. The writing isn't bad. The songs are okay. Admittedly, the style of this album is good. It's just not original or unique enough to be on this list. I know I should try to rate these albums by how much I actually like them, but I have to admit that justification (or the lack thereof) of an album's inclusion on this list has absolutely played a part in how I listen to some of these albums. I'm sorry Hookworms... is what I would say if your singer wasn't (allegedly) a creep. The album's fine, I just don't particularly care for it. It's not a crime for existing, but I seriously question its inclusion on this list. 3/5.

Vento De Maio

Elis Regina

3/5

Looks like we have a bit of a mysterious album on our hands today. The book claims this to be a late 70s studio album from Brazilian singer Elis Regina. However, Vento de Maio, the album in question, is apparently not that. This is apparently a 1998 compilation album released over 15 years after Regina's death that doesn't even have a wikipedia article. I also thought that it wasn't on Spotify, but after clicking a link on this website, I actually found that it was on Spotify. In my opinion, I think an album without a wikipedia article is automatically not important enough for the 1001 albums list. If Rabbid Peach is considered more significant than your album, the album isn't significant enough for me to have to listen to it before my death. However, unlike other albums from artists like Koffi Olomide and Baaba Maal that also fit this "No Wikipedia Article" problem, I'll give Vento de Maio a bit of a pass for being pretty good. I like this album. The sound is nice. It's got a nice blend of jazz and samba with a few other genres thrown in there for good measure. Elis Regina has a nice singing voice. The writing, from what I can tell, is also good and decently varied. While I think this inclusion is weird, it's still an enjoyable listen that I can appreciate the sentiment of. Maybe they could've just added a studio album of hers or something. I don't know. High 3/5.

Oedipus Schmoedipus

Barry Adamson

3/5

Okay... I'm conflicted on this one. My conflictedness on this Barry Adamson album largely comes from the contents of the album itself. Who would've thought? See, some of this album's "songs" are uncomfortable nonsense that, had the album been entirely comprised of them, totally would be 1/5 material for me. I'm referring to tracks like "It's Business As Usual" and "Dirty Barry" for this one. However, the other tracks on here are actually fairly solid musical compositions, many of which are instrumental. This, I feel, is a good thing, as the vocals on this album really don't sit right with me with a few exceptions. The exceptions are the times Barry Adamson gets a different person to sing, with the clear highlight in that regard being Nick Cave appearing on "The Sweetest Embrace," even if it does remind me of the fact that Nick Cave is overrepresented as fuck on this album list. But honestly, the instrumentals like "Something Wicked This Way Comes" ended up being the album's strongest moments for me. These compositions aren't bad. The lyricism is weird. I'm not a huge fan. The album's also pretty long, but I don't know if it dragged or not. If it did, it wasn't too excruciating. Overall, Oedipus Schmoedipus is an album with some things that I actually like quite a bit, as well as things that I don't exactly like. I can see why David Lynch put one of these songs in a movie of his, but it's not really my thing personally. But hey, it's at least more interesting than most of the other somewhat obscure British picks on the list! Low 3/5.

The Hissing Of Summer Lawns

Joni Mitchell

4/5

You know what? After a string of 5 albums that didn't feel fully justified in being on this list, some Joni Mitchell is kind of what I needed right about now. What am I supposed to do? Complain about listening to Joni Mitchell? I would never. Anyways, The Hissing of Summer Lawns is pretty good. It's not as good as Blue, but there aren't a ton of albums that are. Besides, The Hissing of Summer Lawns is a different enough album from Blue for me to think more about the great elements of this album on its own. Of course, Joni Mitchell's songwriting is still excellent on this album. The storytelling on songs like the opener, "In France They Kiss on Main Street" and the title track is absolutely sublime. Where the album diverts from an album like Blue is with the instrumental style. Blue's style is a fairly standard folky singer-songwriter type deal. It's an outstanding folky singer-songwriter album, but that's definitely what it is. The Hissing of Summer Lawns still has that core, but adds in elements of genres like jazz rock to create a more experimental album. Fortunately, these experiments work in the album's favor. It makes certain songs stand out, namely the two I mentioned earlier. Overall, The Hissing of Summer Lawns is a pretty good album that further cements my belief that Joni Mitchell is a great musician. Strong 4/5.

Leftism

Leftfield

3/5

I mean... it's alright. This is certainly not the worst 90s British electronic album on the list. Lord knows I've listened to too many bad 90s British electronic albums, but Leftism is alright. I'm okay with this one. It definitely reminds me more of an album like The Fat of the Land by the Prodigy (which I reviewed fairly favorably) than one of the ones I hated like Haunted Dancehall. The style here is fairly solid. There are musical moments that actually stick out to me, so that's good. The vocals are fairly minimal, but are nice when they're there. The instrumentals do work on their own though. The album is pretty long at just under 70 minutes, but I wouldn't call it egregiously long. Nothing here really annoyed me. This is a solid album. Of course, it's not really my thing, but I respect the album. 3/5.

Greetings From L.A.

Tim Buckley

3/5

Well... it's not the Buckley I was hoping to get an album from, but here we are, I guess. This might just be the horniest album I've ever listened to. Not the sexiest (That honor still goes to Marvin Gaye's Let's Get It On), but certainly the horniest. This is due to the writing, which is probably my least favorite part of this album. It's not offensive or anything, but it's certainly questionable. At least the style here is solid. There's some funk elements, which is certainly interesting. I think the execution fits the vibe of the album. Tim's singing is also interesting. Sometimes it's fun like, other times it's slightly annoying. "Sweet Surrender" is probably the album's high point. Greeting From L.A. is flawed, but I think it's alright. 3/5.

Playing With Fire

Spacemen 3

2/5

I don't know man. This album's not my thing. Did I have to listen to this? I don't think so. Admittedly, this album isn't garbage. Playing With Fire by Spacemen 3 (dumb band name btw) isn't completely irredeemable. The song "Suicide" is though. 11 minutes of the same droning sound with slight variances over time? No thank you. The other 8 songs on this album range from pretty forgettable to actually somewhat decent, with the clear highlight being the closer, "Lord Can You Hear Me." I have nothing interesting to say about the singing. The writing is kind of repetitive. The style isn't my thing. I don't really vibe with this album. Maybe I'll vibe with Jason Pierce's other project Spiritualized. We'll see when I get there. This album's a high 2/5.

Two Dancers

Wild Beasts

2/5

Oh my god, who the hell cares? Here we have yet another insanely forgettable British indie rock album that has no business being on a list called "1001 Albums You Must Hear Before You Die." Look. I know that, objectively speaking, Two Dancers isn't a bad album. I just couldn't care any less about it. I am going to forget about this album by the end of this next week. The writing isn't bad, but it doesn't speak to me either. The singing is kind of annoying sometimes. The instrumental style is alright. "All the King's Men" is decent. The other songs merely exist. That's really all this album does to me. It exists. I'm sure some people like, but not enough for this album to have the impact necessary for a list like this. High 2/5.

Freak Out!

The Mothers Of Invention

4/5

You know, when I got this album, my first thought was, "Well, I'm not really in a Zappa mood right now, but this album's at least iconic, so I'll take it over the past few albums I've gotten." However, I was wrong. As it turns out, I was absolutely in a Zappa mood! I enjoyed this album quite a bit! Of the two Mothers albums I've gotten, I'd definitely say that I prefer Freak Out! over We're Only In It For The Money. I don't know what it is about this one that makes me prefer it. I just do. Of course, this album isn't for everyone. It still has a lot of that Zappa quirkiness that puts a lot of people off from his music. The style here is certainly of an avant-garde nature. However, I think the execution of this album is strong enough to make that work for me for one big reason: the theming of the album. Freak Out! is somewhat of a thematic concept album pertaining to LA's "freak scene," as well as the general culture of the US in the mid-60s. Many of these songs are quite critical of said US culture, with the obvious examples being the opener, "Hungry Freaks, Daddy" and the album's biggest highlight, "Trouble Every Day." I think the fact that these songs have things to say is what makes them so appealing as actual pieces of art rather than meaningless nonsense. Other songs like "I'm Not Satisfied" and "Any Way the Wind Blows" are more personal to Frank Zappa himself, with the latter being written about his divorce. This creates a bit of a balance between Zappa-specific ideas and general thoughts on culture while still tying into the general idea of tapping into Frank's mind. The writing, by the way, is quite good. The songs are mostly good. The one song on here that kind of feels nonsense-y to me is the closer, "The Return of the Son of Monster Magnet," but given the themes and buildup to the song, I think it works for the most part. Overall, this is a weird album that I like. I get that it's not for everyone, but it is for me. Light 4/5.

Slanted And Enchanted

Pavement

4/5

You know, I feel like it's been a hot while since I got an indie rock album that actually belongs on this list. From my estimate, it's been about a month. Fortunately, Pavement has got my back with their 1992 debut, Slanted and Enchanted. This album's pretty good! I don't really have any major complaints here. The singing isn't spectacular or anything, but it fits the vibe pretty well. The instrumentation is nice. It's got a pretty lo-fi production to it while still being enjoyable to listen to. The album has some pretty good songs on it. "Summer Babe" is a pretty good opener. "Zurich is Stained" is a great representation of this album at large. "Here" is just a really nice song. The pacing is solid, there's some nice variety, and the writing is good. This is a strong debut. Apparently, the other Pavement album on the list, Crooked Rain, Crooked Rain, is better than this one, so I'm pretty excited to hear that eventually. I'll give this one a 4/5.

Veckatimest

Grizzly Bear

4/5

You know, if I had a nickel for every 2009 indie album I got in this past week, I would have two nickels, which isn't a lot, but it's weird that it happened twice. Anyways, between Wild Beasts's Two Dancers and Grizzly Bear's Veckatimest, I strongly prefer Veckatimest. This is a pretty good album! I don't know what it is, but I actually enjoy this album. I think the style is pretty cool. It feels fairly modern while still having some psychedelic elements in there for good measure. The genre-blend is very respectable. The vocals are nice. The album is a bit long, but it's not insanely long or anything. The songs are good. "Two Weeks" is actually a pretty popular song, and deservedly so. It's great. Admittedly, I'm not sure that this album is truly necessary to listen to before death. However, I am not upset in the slightest that I did listen to it before I inevitably die. Low 4/5.

Eliminator

ZZ Top

4/5

Well, it's finally time for me to talk about the last band on the alphabet of bands on the 1001 albums list. That, of course, is ZZ Top. What other bands start with the last letter of the alphabet twice? I'm not sure there are many out there, and I highly doubt any of them are as good as ZZ Top. This album's good! I'll start with the one complaint that I have here. The album's kind of repetitive in the lyrical front and said lyrics haven't aged the best for some songs. This is a fairly standard hard rock affair as far as the songs. ZZ Top likes singing about cars and women. But hey, at least the women they're singing about aren't underage (I think)! Some of the songs didn't age the best (specifically the last 3). However, while the album ends on some of its weaker notes, it comes out swinging with some of its best. In particular, the opener "Gimme All Your Lovin'" and the third song, "Sharp Dressed Man" are absolute bangers. Those songs are amazing. I especially love the riff on the latter. Billy Gibbons is a pretty solid vocalist. Dusty Hill is not only a pretty good bassist, but he's also canonically Hank Hill's cousin. That's funny. Frank Beard's drumming is good too. Overall, while Eliminator has flaws, I find this to be a mostly enjoyable album with a great style to it. Also the band has some legendary beards. Light 4/5.

Casanova

The Divine Comedy

2/5

Oh jeez... these guys again? Was one album not enough for the Divine Comedy? If you ask me, I think one album is too much! Oh well, I'd at least say that this album is probably better than A Short Album about Love, maybe. The positives of this album I'd say are stronger than the positives on that one. The sound is mostly solid. There are some moments I didn't love, but the album's sound didn't make me want to tear my ears off, so I'd call that a pro of the album. The singing is a part of that. I'd say it's good for most of the album, but there are points that it got kind of annoying. There are, of course, plenty of complaints I have. For one, I'd say the one thing that made A Short Album About Love bearable to me is in that album's name. It's short, which is something I can't say about Casanova, which sits at 52 minutes. I didn't love listening to this album. And of course, my biggest complaint here is the same as it was for the other album. I do not like the writing of these songs. Most of them are about sex, which makes me cringe. Writing about sex is a tough task because you want to be able to capture the sensuality of it for people looking for that while also not being offputting to people like me who just want to listen to some music. Casanova does not succeed at that. The writing here is weirdly vague and kind of uncomfortable at various points in the album. Fortunately, I wouldn't say any of the songs here are as bad as "If..." from the other album. The closest one of them gets is on "In & Out of Paris & London" which has one line in particular that seems super rapey. But hey, at least horses aren't mentioned until the last song! I still think this guy wants to have sex with a horse though. Overall, while I will admit that there are good things here and Neil Hannon is clearly a man with some sense of musical talent, The Divine Comedy is simply not a musical act that I respect enough to give any sort of attention to on a list like this. High 2/5.

São Paulo Confessions

Suba

3/5

I mean, it's at least something unique! Here we have a latin-electronic fusion album from an artist who was born in Serbia, produced in Brazil, and died in a fire the same month as this album's release. Huh. Anyways, São Paulo Confessions is a good album. It's not exactly my thing, but I certainly have respect for it. The style is interesting, but not bad! It's mostly electronic, but it has enough taken from other styles to make it not boring! The singing from other artists is nice. I'm not sure what they're saying, but Wikipedia says that the album is Suba's "musical account of life in that humid, foggy, and manic megalopolis." which means something, I guess. There are reasons as to why I'm not huge on this album. Some parts aren't as enjoyable for me, with the album ending on kind of a weird note. It's also a pretty long album, with some songs feeling a bit too long. However, I'd still say that listening to São Paulo Confessions was a mostly positive experience. Light 3/5.

Elephant

The White Stripes

4/5

And so, the first band to give me multiple albums in 2025... is The White Stripes. I've never really kept track of who the first band/artist to give me multiple albums within a specific year was before, which is weird because that seems like the kind of thing I would like tracking. 2023 (my first year) was LCD Soundsystem with the whole two albums in three days moment, and 2024 turned out to be Deep Purple. My feelings on the White Stripes having this milestone for 2025 are kind of like how I felt about Björk being the first artist to give me a third album. I like The White Stripes, but they weren't really the first band I was expecting to get a repeat from within the year. Whatever. Let's move on from that and actually talk about Elephant. It's great! Of the three White Stripes albums I've listened to for the project (which is all of the ones on the list), I think I can safely call this one the best. They're all good, but Elephant I feel is the most well-rounded between it, its predecessor White Blood Cells, and its successor Get Behind Me Satan. The one potential complaint (maybe) I have here is that it could use a bit more Meg White. This definitely feels like Jack's album, but I don't even think that's a bad thing. He's a talented guy. I just like the balance that the two have on the other albums. Still, they both show a considerable amount of talent in this music. It's just that Jack ends up being more at the forefront of the music. The sound is rock-solid. The best elements of the other albums are here together and they're very good. The writing is pretty good. Elephant is definitely a collection of some pretty good songs. The album starts with what is easily the most iconic White Stripes song, "Seven Nation Army." No surprise here, that song is great. It's not very often that you hear a song with an instrumental chorus. I also really like songs like "Ball and Biscuit" and "The Hardest Button to Button." There's even some solid emotional tracks like "You've Got Her In Your Pocket." That's nice. Overall, after listening to three of their albums, with Elephant being the best I've heard, I can say now that I think that the White Stripes are a pretty good band. They're certainly not my favorite, but I have a considerable amount of respect for them and their talent, with this album being a great showing of that. High 4/5.

Modern Kosmology

Jane Weaver

3/5

And so, to celebrate 500 albums (a huge milestone that should be celebrated with an iconic album)... we get an album that doesn't even have a wikipedia article. This album does not belong here. If Rabbid Peach is deemed to be more important to history and culture than your album, the album isn't important enough to listen to before you die. Also, what is it with the obscure picks on the list all being synthy? I don't get it! Anyways, This album's okay. I think it has no reason being here whatsoever, but I also know in my heart that this isn't a bad album. If someone recommended it to me as like a little underground suggestion sort of thing, I'd be fine with that. But to say that this album needs to be listened to before dying would be absurd. There are much worse albums I've heard though. The sound of Modern Kosmology is solid. It's not my thing, but it's alright. Nothing here is annoying. The blend of genres is good. The singing works. The writing doesn't interest me that much, but there's nothing too bad here. The pacing is good. However, I also feel like there are other albums on the list already that do these things better. Ultimately, Modern Kosmology is a fine album, I'll give it that. However, I can't in good conscience give it that high of a rating, or a super low rating either. It's good, but redundant. Light 3/5.

Here Come The Warm Jets

Brian Eno

4/5

You know, Brian Eno is a very interesting figure to me. He's a very influential figure that I feel goes a bit under the radar to many people, myself included for a long while. I mean, you have stuff like his ambient albums, Roxy Music, his production credits for artists like David Bowie and Talking Heads, and even some pretty cool political activism. So it's pretty cool to see where Eno's solo career got its start with Here Come the Warm Jets. This is a very different album from the first of his that I listened to, Ambient 1: Music for Airports. That album is exactly what the name implies. It's ambience. It's some pretty good ambience though. However, I actually prefer this album over it. There's things to like here. The style is very interesting, but good! It's artsy and a bit eccentric, but not to the point of being obnoxious. The writing is also quite unique. The instrumentation is great. There's a lot of variety in each song's vibes. He even got some other important figures to work on this album, including some of his bandmates from Roxy Music. He even got Robert Fripp on this thing! That automatically makes this album worth listening to. You can definitely feel some of the energy from Roxy Music in here, but there's a few moments on the album that kind of make me think of his production and ambient stuff. The songs are good, and the pacing is solid. This is a strong debut. Light 4/5.

Master Of Puppets

Metallica

5/5

Master of Puppets... Where do I even begin? Obviously, Metallica is one of the most influential metal bands of all time. They've gotten a lot of people interested in the genre over the years. But I've definitely seen people call them overrated as well. Their popularity can't be ignored, but some people don't think they deserve to be in the running for "greatest metal band of all time." However, while I have seen people say that, I don't think I've seen a single person hate on Master of Puppets, their third album. And quite frankly, why should they? This album's awesome! A big complaint regarding Metallica that I've seen is largely regarding their later albums, many of which aim for a more "commercial sound," including the Black Album (which I actually really love as well). That is not an issue for Master of Puppets. This album is pure, unadulterated thrash metal at its absolute peak. Everything just works here. From James Hetfield's intense vocals and guitar rhythms, to Kirk Hammett's amazing guitar riffs and solos, to Lars Ulrich's speedy drumming, to THE thing that makes Metallica's first three albums so special in their discography, Cliff Burton's bass playing. It's a bit subdued in this album, but when you hear it, it's fantastic. The writing and theming on this album is also excellent. Themes like corruption, power, and pain permeate the album's songs in a way that really appeals to me. I love it. And of course, the songs themselves are all great. I'll say something positive about all of them right now! "Battery" is a phenomenal opener. The acoustic start followed by just how aggressive and fast everything else is really works for me. I adore this song. "Master of Puppets" is insanely iconic for a good reason. The distinct sections of this song come together to form a truly revolutionary song by 1986 standards, though that's not to say that the song doesn't hold up today. It's still a masterpiece. If I had to describe "The Thing That Should Not Be" in one word, it would be foreboding. The song may be slower, but it's just as intense as the rest of the album. "Welcome Home (Sanitarium)" is simply excellent. This song is a perfect representation of how metal doesn't always have to be super fast and angry to have emotion to it. Of course, they can be super fast and angry if they want to. Case in point, "Disposable Heroes," which is another awesome song about war with some amazing writing. It's great. I love the guitar riffs on "Leper Messiah." This song is super cool. "Orion" is the album's only instrumental track and its inclusion is absolutely warranted. If you want to hear what makes Cliff Burton such a legendary bass player, this song is what you need to listen to. Finally, "Damage, Inc." is a strong closer to the album. I do like "Battery" as an opener more, but this song is still great. I like the solo near the end. I think I've said enough at this point. Master of Puppets is an album that speaks for itself. With its revolutionary style, intense writing, and perfect pacing, Master of Puppets has left a legacy that very few other metal albums have. Not only is this one of the best albums of the metal genre, but it has also become one of my favorite albums of the project. 5/5.

No Other

Gene Clark

4/5

This is a nice album right here. It might feel a bit redundant seeing as The Byrds, the band that Gene Clark is best known for being in, have five album on the list to themselves, but I think if you got rid of a few of those albums and the other solo album Gene Clark has, I think No Other would actually make for a solid inclusion. Sure, it was also somewhat of a failure upon release, but plenty of albums flopped only to later receive a critical appraisal, so I don't see that as an issue. I like this album. Gene's singing and writing are both nice. The style has a nice blend of genres like country, folk, and some other ones too. All of the songs are good, with the title track being a particular highlight. No Other isn't the most exciting album out there, but I like it considerably for what it is. Light 4/5.

The Colour Of Spring

Talk Talk

4/5

I've gotta say... Talk Talk is way better than Talk Talk Talk. I was not a fan of that Psychedelic Furs album I got about a month ago, but I am a fan of Talk Talk's 1986 album The Colour of Spring. This is some good stuff right here! Is it yet another 80s British new wave album? Yes, but it's at least a fairly influential one, so I'll give it that. I'll also give it this; the album's good. I like the songs. The writing is actually somewhat interesting. The singing works. The sound is quite enjoyable. Some moments are more energetic, but there are some slower songs that I also really like. The album's not repetitive. Apparently this isn't even their best album! The two albums released after this, Spirit of Eden and Laughing Stock, are generally considered to be better albums. If those two are better than this, they must be some pretty great albums! Unfortunately, neither of them are on the list, but if I really feel like it, I may check them out eventually. The Colour of Spring is still pretty good though. Light 4/5.

Surf's Up

The Beach Boys

4/5

I'm kind of surprised that it took over 15 months after Pet Sounds to get my second Beach Boys album (unless you count Brian Wilson Presents Smile). I haven't thought a ton about the Beach Boys since that one, at least in comparison to other bands like the Beatles. Still, I was quite excited to listen to their 1971 album, Surf's Up. Is it good? Yeah! It's great! Of course, it's not even close to being better than Pet Sounds, but the number of albums that are better than Pet Sounds is really small, so I wouldn't put that against this album. But Surf's Up isn't just another Beach Boys album. This album has more than enough of its own style to prevent it from standing in the shadow of an album like Pet Sounds. The thing that really makes Surf's Up stick out to me is the writing. This is not only because of how good it is, but also the fact that it actually gets very socially aware and even political at times. The opener "Don't Go Near the Water" is a pro-environment piece, and "Student Demonstration Time" makes explicit references to then-topical events like the Kent State shootings and the Berkeley Free Speech Movement. That's cool! The album's other songs take a more emotional slant, with some of the highlights being "Feel Flows" and the title track at the end. It's ironic because the album's name makes you think that this is just going to be haha fun surfing time, but then it hits you in the feels. The sounds is also pretty varied. The album's 34 minutes are very well-spent. Surf's Up is an excellent album that stands out as being one of the best in the Beach Boys' catalog, even if it doesn't top Pet Sounds. High 4/5.

69 Love Songs

The Magnetic Fields

4/5

For the record, I listened to this album a good couple of months ago because I didn't want to risk having to listen to this whole thing on a weekday. Here's the review I wrote for this album back in August 2024. Haha nice. I’m sorry. I had to. Anyways, let’s actually dive into 69 Love Songs, aka the winner of the “most literal album name” award. Yes, this album does actually contain 69 songs, all of which could be considered love songs. That does mean that this album goes on for nearly 3 hours. Was I tired by the end? Well, I listened to this over three days, so no, not really. However, this was still a daunting task. But did it pay off? Yeah. I’d say it did. I can see why it wouldn't for others, but it did for me. Not every song is good. With this many songs, there’s bound to be some stinkers in there. But the ones that are good are really good. There’s a lot to like here. The variety in this album is truly commendable. This could’ve easily been a repetitive slog, but because each song varies in both sound and lyrics, the album manages to justify its large song count and length. The sound is so varied that many of these songs could be considered completely different genres from each other, while the writing varies in how it deals with love. Love is a complex thing, and Stephin Merritt knows that. I have to give him props for writing 69 love songs that don’t just go over the same few things. Going back to the sound, the fact that there are multiple singers that each do different songs adds to the musical variety that this album brings. Most songs bring you Stephin Merritt’s low bass voice, while others have much higher vocal registers that come from singers like Shirley Simms and Claudia Gonson. Overall, this is an impressive album that is a bit bloated and isn’t always good, but manages to stand out as a widely varied album with some great songs. It’s kind of like the Beatles White Album in that regard. It’s not as good as the Beatles White Album, but it’s still quite good. Light 4/5.

If I Could Only Remember My Name

David Crosby

4/5

Well, I can't say that I expected (or wanted) two solo albums from former members of the Byrds in the same week, but here we are, I guess. Although, I do tend to think of Crosby's work with Stills and Nash (and sometimes Young) before him being part of the Byrds. Speaking of Nash and Young (no Stills, unfortunately), the talent behind this album is absolutely stacked! Obviously, David Crosby is a pretty talented fellow. His music writing is solid. But what really makes this album interesting is how many other legends are involved. I already mentioned Graham Nash and Neil Young, who both appear here, but you also have people like Joni Mitchell and members of bands like the Grateful Dead, Santana, and Jefferson Airplane. That's pretty cool! They all do a great job on this album. The singing is good. The lyrics are somewhat interesting. The instrumentals are nice. This is a solid album. I think I like it slightly more than Gene Clark's No Other. Light 4/5.

Oracular Spectacular

MGMT

4/5

What's this? A post-2005 indie pick from a band that's actually pretty popular? I must be dreaming right now! MGMT is actually a band that I have heard of before, which is a strong sign that they're important enough to be included in a list like this. So, how do I feel about their debut album, Oracular Spectacular? Well, I think the album is quite befitting of its name, because this album is indeed spectacular! It's great! I really really like this album. The vocals aren't my favorite, but they do feel genuine and fit the lyrical themings of the album. Speaking of which, this album's writing is solid! There's songs about things like growing up, war, love, and other things of the sort. The writing itself is fairly respectable. The sound is what really sticks out to me here. There's a mix of synthpop and psychedelic elements that feels very modern and I love it. The album is kind of split into two halves, which is pretty cool. The first half is absolutely stacked, with it including this album's big singles, "Time to Pretend," "Electric Feel," and "Kids." Those songs are all excellent (especially "Kids"), but the backhalf of the album still has some great deep cuts like "Of Moons, Birds, & Monsters." Overall, Oracular Spectacular is an outstanding debut album that I think is deserving of its recognition on a list like this. High 4/5.

This Year's Model

Elvis Costello & The Attractions

5/5

Well, I've reached the third Elvis Costello album of the project. I feel like this would be a pretty good place to leave off for the guy, especially considering that (spoilers for later in the review) this is the best album of his that I've listened to yet. Unfortunately (or fortunately depending on how you feel), I've only listened to half of the albums the guy has on this list. There are still 3 more of these I have to listen to. Look. I've really enjoyed all of the albums I've heard, but 6 albums is insane. Whatever. What I will say is that This Year's Model is not to blame for this. If there's one Costello album that earns its spot on this list entirely, it's This Year's Model. This was his first album with the Attractions, and it's excellent. Speaking of the Attractions, the instrumental sound is probably my favorite part of the album. Stuff like the basslines and general style really appeal to me. This Year's Model is a very tight album. This album doesn't have time to mess around. It has a goal with its music and it achieves that in a blazing fast 35 minutes. Costello's singing is basically the same as it is on the other albums of his around this time, which isn't a bad thing. The songwriting is quite interesting. There's a considerable bite to this album that makes it stand out in comparison to other albums of the time. Some people have criticized this album's lyrics, calling the album misogynistic. However, while there's certainly a level of frustration behind the lyrics, I definitely think there's a level of self-awareness behind this album that makes me feel that this criticism is a bit overblown. Songs like "This Year's Girl" seem to be fairly critical of men who are misogynistic, which is a label that I would not put on Elvis Costello himself. Overall, This Year's Model is an album that, for many reasons, feels like an album that one should definitely listen to before dying. Though it has its roots in classic 60s bands like The Rolling Stones and The Who, the album also feels considerably more modern than 1978. This album has aged considerably well as far as its presentation is concerned. I don't know if I could call it a total masterpiece, but I would say that it is probably Elvis Costello's magnum opus. This is an album with no fluff whatsoever. This Year's Model rocks. Low 5/5.

Rejoicing In The Hands

Devendra Banhart

3/5

Here's an album that I had no expectations for. Rejoicing in the Hands by Devendra Banhart is certainly an album that exists. But you know what? I like it. This is a nice album. It's nothing extravagant, but it does its job well. It may not excel at anything, but it also doesn't fail at anything either. The writing is solid. Devendra Banhart is not Bob Dylan or Leonard Cohen, but does he really have to be? Can he be? Can anyone be? I didn't think so. Still, songs like "A Sight to Behold" do manage to succeed in having an emotional core to them. The same can be said about the album at large. The sound is nice. It's a tad repetitive, but I think this is more of a "tried and true formula" type thing rather than laziness. Besides, the sound is good, so who cares? The singing is also solid. I like it. The album's pacing is respectable. Overall, this is just a solid, relatively recent folk album. High 3/5.

Yeezus

Kanye West

4/5

Okay. How the hell did Kanye get even more irredeemable in the two months it's been since I listened to The College Dropout? I didn't think it was possible for him to get worse, but here we are! Anyways, just check that review for my take on the whole art vs. artist thing. However, there is something different to think about here. This is not The College Dropout we're talking about right now. This is a review for his 2013 album Yeezus. By this point, Kanye was definitely a bit of an ass, but he certainly wasn't evil at this point in time. Still, he was a somewhat controversial figure at this time. However, perhaps even more controversial than Kanye himself in 2013 was the album he released that year, Yeezus. This is a very interesting album. Going from The College Dropout to this probably wasn't the most ideal experience for my Kanye journey, but what am I gonna do about it? Yeezus is (from what it seems) a pretty polarizing album. You have some people claiming that it's Kanye's best album, while other people are out here giving the album a 5/10 or lower. What are my thoughts on the album? Well, it's no College Dropout, but I'd say I liked Yeezus for the most part? I think? It's a flawed record for sure, but the best parts of this album are quite great. Let's start with those best parts, shall we? I cannot stress enough the importance of the fact that this album does not overstay its welcome. Yeezus is a tight 40 minutes, which is perfect. Apparently this album was supposed to be longer, but it was cut down in length thanks to the legend himself, Rick Rubin. I always knew he had good ideas. Speaking of Rubin, the production is my other favorite part of this album. It's quite abrasive at times and is very different from that of an album like The College Dropout, but I still enjoyed it, just in a different way. The beat on "On Sight" makes me feel things that I don't know how to explain. I'm not sure if it's actually good or not, but I still can't help but smile hearing it. I really like the production. Now, let's talk about the big problem with this album for many... the writing. Look. I'm not going to say that this album has no good lines at all. That simply isn't true. Songs like "New Slaves" and "Blood on the Leaves" have plenty of great lines. However, there's also some stinkers on here. "Black Skinhead" is a pretty good song, but I can't help but feel disappointed in Kanye when I hear the line "I keep it 300 like the Romans." I mean, there's lots of things Kanye does that disappoint me, but that's just something I have to point out. Other songs like "I'm In It" just don't work for me. I respect the willingness to exude some of the less desirable parts of his personality, but I can't help but cringe a little with some of these lines. This is an album with some high highs, low lows, and some other things that fall in between. There's plenty of other things I could talk about. The features are okay. Kanye's rapping does the job well. "Bound 2" is cool. The cultural impact is certainly there. I can see why this was considered for a third Kanye album on the list. I don't know if it's the one I'd choose, but I can understand the choice. Overall, Yeezus is a fascinating album that has plenty of things to like and dislike. While I absolutely understand why someone would dislike this album (even including separation of art and artist), I found myself having a pretty good time with this one for the most part. It's not perfect, but it certainly tries something unique and pays off. Light 4/5.

Night Life

Ray Price

3/5

This might just be the honkiest-tonkiest album to ever honk a tonk. Ray Price's 1963 album Night Life is a pretty simple record, but that doesn't mean it's bad. This is a nice album right here. It is a bit repetitive, but it's not particularly bad in this album. Still, it's certainly there. Ray Price's singing is nice. It's quite good for a country album like this. The instrumentation is also pretty good. The writing fits the vibe very well. The album as a whole carries this honky tonk vibe that I kind of like. It's not really my thing personally, but I enjoy it for what it is when I get albums like this. Night Life is good. 3/5.

Bright Flight

Silver Jews

3/5

I can't believe I got a band with Jews in the name in the same week as Kanye. That's kind of hilarious. Anyways, Bright Flight is a good album. It's not a super interesting album to me personally. I've listened to a few too many 90s/2000s indie albums for this one to really speak to me. However, I can absolutely tell that this album is one that was made with a lot of care. The style is nice. It's definitely indie, but it has some country elements that would make it stand out if it weren't for other bands like Wilco that kind of do similar things. I've also seen comparisons to Tom Waits in some of the reviews, which I didn't get much of. I can kind of see it, but as far as artists with 5 albums on this list that I'd compare this album to, I definitely got more of a Nick Cave vibe from this than anything. That's probably because of David Berman's vocals, which I think are good for the songs. The writing is pretty good. I don't think there are really any bad songs on here. It's definitely on the shorter side. I would've been okay with it being a bit longer, but I'm also totally fine with the 35 minutes we have now. This is far from my favorite album of 2001. However, I would still like to give praise to this album, because I think it deserves it. High 3/5.

Golden Hour

Kacey Musgraves

3/5

Okay. Why the hell have I gotten three country/country-adjacent albums in a row now? I don't get it! Anyways, let's talk about Kacey Musgraves's 2018 album Golden Hour. Country music (modern country especially) has never really been my thing. However, I don't think that's the genre's fault. I blame everyone around me for only exposing me to hot garbage. Most of the modern country that I've heard is fucking horrendous. It's just this soulless mishmash of country and all these other genres like rap and pop just filled with buzzwords like whiskey and Chevy and Jesus and all that stuff, you know? It's dishonest and pandering to an audience of rural republicans, and because I live in a (somewhat) rural town with lots of republicans, I have to hear this shit every day and I hate it. However, when I say "this shit," I am not referring to the songs on Golden Hour. I'm merely providing a background for my thoughts on "modern country," which mostly do not apply to this album. While Golden Hour isn't really my thing personally, I can absolutely respect this album for being an honest piece of art. The writing is actually solid and doesn't just mention random car companies and fast-food chains! The closest it gets is mentioning a Silverado at one point, but that feels more like it's creating a mental image rather than a cash grab. The songs are about things like love and stuff and they're nice. Kacey's singing is also quite nice. The sound is definitely that of a modern country album, but at least it's not in a super annoying way with trap beats and stuff like that. I may be slightly biased, but I need to try my best to overcome the modern country bias that I admittedly still kind of have. Golden Hour is a good album. The world would be a better place if more country was like this instead of what it is now. 3/5.

Henry's Dream

Nick Cave & The Bad Seeds

4/5

It's finally time for the earliest Nick Cave and the Bad Seeds album on the list! Like the other two albums of his I've gotten so far, I think Henry's Dream is pretty good! It might be the weakest of the three I've gotten, but that is by super slim margins. It's basically interchangeable with The Boatman's Call. However, that's not to say that those two albums are basically the same. On the contrary, I actually really like how different the two albums are. The Boatman's Call is a slower, more emotional album, while Henry's Dream is significantly more energetic. Fortunately, Nick Cave is talented enough to be able to play in both styles. Still, his songwriting remains as great as ever despite this being earlier in his career. The thing that really sticks out with this album is the storytelling, which is especially great on songs like the opener, "Papa Won't Leave You, Henry" and "John Finn's Wife." Back to the sound, I really like the energy of this album. It's clear that Nick Cave isn't just some mopey guy who only sings about his emotions. He's an artist with tons of different ideas with what kind of music to make. That's what I like about him. Of course, there are more melodic parts of the album, including what is arguably its highlight, "Straight to You." I love that song. The singing is a bit different from the other albums, but I like it just the same. This is a pretty consistent album. It may not be my favorite Nick Cave album, but I still really enjoyed it, and I'd say I'm becoming more and more of a fan the more I listen to these albums. Henry's Dream is a strong album. High 4/5.

If I Should Fall From Grace With God

The Pogues

4/5

You know, I was initially kind of shocked to see The Pogues having two albums on this list. But you know what? I'm not entirely against it. This is for one simple reason. I really liked both of the albums. I enjoyed Rum Sodomy and the Lash when I listened to it back in July 2024, and I think I actually enjoyed If I Should Fall From Grace With God even more. I think that's because this album has a stronger focus on the punk part of their folk punk label, whereas its predecessor is more of a folk album with light punk elements. This album blends the two ideas in a way that really appeals to me. Shane MacGowan's singing fits the vibe perfectly. The songwriting is pretty good too. It's kind of interesting that this album's most popular song, "Fairytale of New York" is somewhat of a Christmas song. I'm not sure I've gotten an album with a Christmas song on it before today (you know, aside from the literal Christmas album). That song's great, and so are the others. This album's just a whole lot of fun. I really like it. High 4/5.

Bone Machine

Tom Waits

4/5

If my first Tom Waits album, Nighthawks at the Diner, was me stepping into the waters of his work, and Rain Dogs was me finally getting the appeal of it, listening to Bone Machine is the point where I can officially say that I like Tom Waits now. This is my third album of his and, while I wouldn't put it above Rain Dogs, I still really enjoyed it. Bone Machine is super cool. The things that I liked about Rain Dogs are still here, though I do prefer the overall package of that album more. Tom's vocals are still very unique and fitting of the music itself. This music that I speak of is considerably darker this time around, which I think works quite well. These songs are definitely more ominous than most of the songs on Rain Dogs, but I think the vibe created by Tom Waits and the various other musicians involved with this album (which happens to include two members of Primus btw) is really unique and executed very well. Just because it's dark doesn't mean it's bad though. Most of these songs are great. Some aren't as special, but they're the shorter ones, so it's okay. The best songs on this album are just excellent though. I especially love "Goin' Out West." The guitar on that track is just superb. Tom's writing is also amazing. The storytelling is very commendable. Bone Machine isn't an album for anyone, but I would definitely call it a must-listen for anyone interested in the work of Tom Waits. I enjoyed it. 4/5.

Aladdin Sane

David Bowie

4/5

I mean, you can't really go wrong with Bowie, can you? I don't think you can. Aladdin Sane is great. I would say it's one of the weaker of the 5 Bowie albums I've listened to, possibly even the weakest, but when the only other ones I've listened to are Ziggy Stardust, Heroes, Station to Station, and Blackstar, can you really put that against me? That doesn't matter though. What matters is that Aladdin Sane is really good. This album definitely feels closest to an album like Ziggy Stardust as far as the ones I've listened to go. That's probably because this is the first album he made after that one. Go figure. In fact, Bowie once described this album as "Ziggy goes to America." Where did the America part come from? Well, many of the albums songs were written while Bowie was in America and were, as such, inspired by the country. That's neat. The songs, by the way, are really good. Some of them are more fun like the opener "Watch That Man" and "The Jean Genie." Others are more emotional like "Time" and the album's closer "Lady Grinning Soul," which I would also call the album's best song. It's not quite as good as other best songs on Bowie albums like "Heroes" or "Starman" but it's still a phenomenal song. The style is strong all throughout. Bowie's singing and songwriting are just as great as ever. This is just another classic album from one of the greatest musicians of all time. Also the cover is legendary. High 4/5.

Psychocandy

The Jesus And Mary Chain

4/5

I can't believe I got 5 albums from repeat artists in a row. Throughout the past 5 days, I've gotten my 3rd Nick Cave album, my 2nd Pogues album, my 3rd Tom Waits album, my 5th David Bowie album, and now, my 2nd (and final) album from The Jesus and Mary Chain. However, I'm not complaining for one simple reason. I've really liked all of these albums, and Psychocandy is no different. This album's pretty good! I think I actually liked Darklands a bit more, but Psychocandy is still great, just in a different way. Psychocandy is a considerably noisier album and is seen by many as a landmark album in the development of what would eventually become shoegaze. However, this album takes the noise and blends it with some classic pop elements to make a very interesting album to listen to. It's a good interesting though. I like the style. Some parts are a bit too noisy for my taste, but I think the album as a whole is mostly good about this. Besides, I can't really complain too much when this album helped revolutionize this sort of music in the first place. The Velvet Underground influence is also pretty strong, which I can't complain about either because I also really like the Velvet Underground. I do feel that this album peaks a bit early, with its best song easily being the opener, "Just Like Honey." The singing fits the vibe well, and the writing is very solid. This is one of those albums that I think I respect more than I actually enjoy. I could definitely see it growing on me a bit in the future though. Good album. 4/5.

Connected

Stereo MC's

3/5

Before I talk about this album, I just need to ask one question. Why does this group's name spell MCs with an apostrophe? I just have to acknowledge grammatical errors in band names when I see them, okay? Anyways, Connected is a solid album. There's things to like here. The vibes are just kind of nice. I actually really like the opening title track. It's great. The other songs are pretty good, just not as good. The lyrics are okay. Nothing super thought-provoking, but nothing embarrassing either. The rapping is kind of bare bones, but it does the job. The album's a bit long. There are certainly things to like and dislike about the album. I'd say I had fun with it, but I can understand why others may not enjoy it as much as I did. Solid 3/5.

L'Eau Rouge

The Young Gods

3/5

You know, I always get a little worried when I get an album that's in the bottom 20 on this website. I thought this was my first of the year, but apparently Sulk by the Associates is also bottom 20? Really? I mean, I didn't care for the album at all, but it's not worse than something like Haunted Dancehall! You know what else isn't worst than Haunted Dancehall and is also quite a bit better than Sulk? This album! I actually kind of liked this one. Industrial as a genre is one that's proven to be very hit or miss for me. Stuff like Throbbing Gristle and Einstürzende Neubauten just don't really make much sense to me, but I can vibe with something like Nine Inch Nails or Ministry from time to time. Fortunately for me, I'd say this album leans closer to the latter than the former. There are some things that I'm not huge on with this album, but nothing that I actively hated. The singing is kind of weird, but it fits the vibe, so I can't be too upset. The writing (that I had to translate from French to English) seems to be somewhat interesting. It's not super complex, but it's kind of weird in a way that's also quite fitting. The style is definitely the most interesting thing about this album to me. It's definitely industrial, but it also has some metal and even symphonic elements to it. The album's on the noisier side, but I can definitely still feel the musical core, which is good. L'eau Rouge isn't a masterpiece or anything, but it's definitely an album that I'd say I enjoyed for the most part. Also it's short, so that's nice. 3/5.

Swordfishtrombones

Tom Waits

4/5

Okay. I feel like Tom Waits has been coming up a lot lately. I just got Bone Machine a few days ago, and some of the other albums I've gotten in the past few weeks have had comparisons to him as well. This is starting to feel like the Bob Dylan thing again where I got three albums of his in the span of a month. Whatever. Fortunately, I'm at the point in my music journey where I actually like Tom Waits now, so I'm okay with listening to his music. Here we have his 1983 album Swordfishtrombones (great album name btw). It's good! I personally enjoyed Bone Machine more, but I can see why others would prefer this one. It really just boils down to personal taste. The things that I now like about Tom Waits are all still here. His songwriting is as great as ever. His voice is really starting to grow on me. The style here is a bit more mellow than an album like Rain Dogs or Bone Machine, which I think has contributed to some people preferring it over those albums. Not me though. I like the funny stuff. The songs are pretty good. I have one final thing to say before I end this review. See, even though this album listen marks my most recent encounter with the music of Tom Waits, it actually brings to mind what is likely the first time I ever listened to any of his music, even if I wasn't aware of it at the time. The first Tom Waits song I ever heard (as far as I'm aware) was this album's opener, "Underground." It's a pretty cool song. I like it. But you might be wondering something. Where and when did I first hear "Underground?" Well, you see, the song appeared in a scene from a movie that I watched all the time as kid. That movie, of course, is the 2005 Blue Sky Studios animated film Robots. If I don't get to acknowledge the existence of Robots (2005) in this review, I won't get to acknowledge it in any review, and I have to acknowledge Robots (2005). You don't know how much this means to me. I mean, that movie had an insane voice cast if you think about it. Ewan McGregor, Robin Williams, Halle Berry, Mel Brooks! Name any other animated movie with a voice cast as excellent as that. I dare you. The movie has its flaws, sure, but there's also so much to love about it. The aforementioned voice cast, the genuinely fantastic worldbuilding, the weirdly progressive theming about capitalism and corruption. It has Bigweld, okay? Robots (2005) is a great movie that more people need to talk about. Oh yeah, Swordfishtrombones is a good album too. Light 4/5.

Beautiful Freak

Eels

3/5

Here's an album from a band I thought I had never heard before. I didn't really know what to expect with Beautiful Freak, the 1996 album debut album from the LA rock band Eels. Fortunately, what I got was pretty good! I like this album. It's nice. It's a fairly modern-sounding album as far as alt-rock is concerned. I enjoy it. The instrumentation is pleasant. The singing and writing courtesy of the band's front man and mastermind Mark Oliver Everett, otherwise known as E, is pretty good as well. Now I'm thinking about that weird "E" meme from like 2018. You know, the one that had that edited image of Markiplier and Lord Farquaad from Shrek fused together. Speaking of Shrek, you know how I said I "thought" I had never heard anything from Eels before. Well, as it turns out, I was wrong. I've heard one of the songs from this album plenty of times, and it's all because the song "My Beloved Monster" was included in Shrek, a movie that I have seen more times than I can count. I had a bit of a Shrek phase around late 2019-2020 or so. It's pretty weird that I got this one right after that Tom Waits album with the song from Robots (2005) in it considering both Robots (2005) and Shrek are movies that dominated my life during different points in my childhood. Well, okay, I don't know if Robots (2005) dominated my life at any point, but Shrek certainly did. I'm well past that phase of my life, but I still thoroughly enjoy that original movie. Oh yeah, the song is pretty good, as is the rest of the album. Good job Eels. High 3/5.

Sister

Sonic Youth

4/5

It's been a while since my last Sonic Youth album, hasn't it? I got Daydream Nation as my third album of theirs back in August and really loved it, with the two albums that came before being varying degrees of good. Now, I've finally gotten my fourth album of theirs, Sister. I forgot how much I liked this band! Sister's great. It's not Daydream Nation levels of great, but I'd say it's pretty close to Goo, maybe slighter lower though. The things that I've liked about their albums up to this point all apply here. The sound is at that perfect level of noise where it's not painful to listen to, but is still just harsh enough to fit the emotions of the album. I really like the vibes of this album. The writing is interesting. The songs are nice, with the album's opener "Schizophrenia" being a particularly strong highlight. What can I say? This is another solid album from a pretty good band. 4/5.

The ArchAndroid

Janelle Monáe

5/5

Wow. I was not expecting to love this as much as I did. I mean, I wasn't expecting to dislike Janelle Monáe's 2010 debut album The ArchAndroid, but I also wasn't expecting this to be one of the best albums I've listened to in 2025 thus far, but that's actually what I ended up getting. This album's amazing! Janelle Monáe is an artist that I've definitely heard of before, but knew practically nothing about in regards to her actual music. I've got to say. This was an excellent introduction. What do I love about this album? Well, there's a few things. Number one is that this is a crazy-ass concept album. And I LOVE crazy-ass concept albums. This might not be as crazy-ass with its concept as an album like The Wall or De-Loused in the Comatorium, but that doesn't mean it isn't crazy-ass in other regards. The concept is still pretty cool though, even if it is more of a thematic theme rather than a full on obvious story. The writing does a good job with this. There's some nice theming about love and identity while still being a very fun album throughout. Speaking of which, let's talk about this album's sound, which is another one of my favorite things about this album. I love the fact that I don't even really know what genre to classify this as. Is it R&B? Soul? Pop? None of those labels really captures the style of this album. Every song feels different from the last and I love it. Janelle's singing is great for the vibes of the album. The features are pretty good too, with the highlight probably being the verse on "Tightrope" from Outkast's Big Boi. This album kind of reminds me of Outkast at times. "Cold War" kind of gives of "B.O.B. (Bombs Over Baghdad)" vibes, and if you're making me think about that song, you're doing something right. I don't know what to say. This album has so many ideas behind it that just work effortlessly together. The fact Janelle Monáe was doing things like this this early in her career is astonishing to me. This is an excellent album with an insane amount of talent behind it. I love it. Light 5/5.

Queen Of Denmark

John Grant

3/5

Isn't it weird that I got two albums in a row from 2010 of all years? I think it is. Anyways, between this and Janelle Monáe's The ArchAndroid, I definitely prefer The ArchAndroid, but these two albums really aren't comparable at all other than sharing a release year, so I'll just talk about Queen of Denmark now. It's good. I am starting to feel that indie has a disproportionately high representation for the 2010s in comparison to how popular it actually was in the decade, but I like indie, so I can't complain too much. There's definitely some good things in John Grant's debut album here. The style is nice. It's generally softer, but it has some more energetic parts occasionally. John's singing does the job. I'm not huge on it, but it's not annoying or anything. The writing is mostly good. This might be one of the gayest album I've gotten so far, and that's saying something since I've already gotten Frankie Goes to Hollywood and Rufus Wainright. That's not an insult though. If anything, it's a compliment. There's songs about things like failed love and stuff that I'm sure resonates with a lot of people. There is one song on the album that is... questionable though. If you've heard the album (which I'm sure most people reading this have), you'd know which one it is. It concerned me at first, but then I found out that John Grant himself is gay, so it's like "oh he gets the pass" you know? Then he says some other slurs near the end that I'm not sure he has the pass for. Ultimately, JHF (as I'm calling it) is one of those songs that I understand the message of, even if the execution was a bit questionable. The song's clearly meant to be from the perspective of an overly-religious father figure, one that appears to be similar to John Grant's own parents. So you know what? I can accept this song. It's also just a good song, dare I say. The album's pretty good, but not my favorite indie album in any metric. High 3/5.

Vauxhall And I

Morrissey

3/5

What are the odds of me getting three LGBTQ+ artists in a row? I mean, Janelle Monáe is pan and non-binary, John Grant is gay, and Morrissey... well, aside from being a racist prick, he also isn't straight. Anyways, Morrissey, am I right? Why does he have four solo albums on this list? I don't get it! I think, in addition to two or three Smiths albums, he deserves one solo album at most. Which one it should be? Well, Vauxhall and I does seem to be one of his most highly praised solo albums, so the argument could be made. But how do I feel about the album itself? It's good. Not great, but good. Quite good actually. Obviously, it's not as good as any of the Smiths albums I've listened to, but it doesn't have to be. Morrissey's singing is mostly solid. There is one song that I didn't really enjoy his performance on though. I think it was "Lifeguard Sleeping, Girl Drowning." His writing is also good. The instrumentation is where the whole "not as good as The Smiths" thing really comes into play. Morrissey's talented, sure. But I think the added presence of people like Johnny Marr in those albums really heighten Morrissey's talents as well. The instrumentation that's here is good, but not excellent. This is a solid album. I'll say that. Some of these songs are pretty good. Songs like "The More You Ignore Me, The Closer I Get" and "Speedway" are particular highlights. However, I just don't think Morrissey's talents (as present as they are) can carry a whole album to greatness. It's a nice album, but not an essential listen in my eyes. Maybe if you like The Smiths it could be, but not everyone likes them. I do though. High 3/5.

One World

John Martyn

3/5

Here's an interesting little album. John Martyn is a name that I've only heard of because I've looked at the 1001 albums list. The impression I'm getting from wikipedia is that he's somewhat influential and fairly critically acclaimed. However, I also didn't have any specific expectations going into his 1977 album One World. How do I feel about it? I like it! I'll start with the one thing that I'm not big on. The singing. It's not my favorite. I was definitely put off a bit with the first song, but it wasn't as bad for the rest of the album. It's still not my favorite. The rest of the album though? Pretty good stuff, I tell you what. The writing is nice. It's not super complex or anything, but it does its job quite well. Apparently John Martyn was pretty close friends with Nick Drake, a favorite of mine as far as discoveries from the album project go. I didn't get the influence on this album that much, but it definitely wasn't "not there" either. Apparently it's a bit more present on the other album he has on the list. I don't know why he has two, but it's more warranted than something like the Beta Band or the Divine Comedy, so I'm not too upset. The thing that really appeals to me with this album is the instrumentation. It's kind of yacht-rock-esque in a way, which I'm not complaining about. I vibe with the instrumentals hard. They're great. Overall, One World is a solid album. I don't have much else to say. High 3/5.

Innervisions

Stevie Wonder

5/5

I've got to say. This is definitely one of the best songs from System of a Down's 2002 album Steal this Album! I'm kidding lol. "Innervision" is one of the best songs on Steal this Album though. This, however, is not that song. This, of course, is Stevie Wonder's 1973 album Innervisions. Honestly? It might be better than the SOAD song. This album's amazing! I liked Talking Book quite a bit, but I definitely felt it could be improved upon. Fortunately, it was improved upon in its followup. Innervisions definitely feels like a more cohesive album experience than Talking Book. Of course, the positives of that album are still here in full force. Stevie's singing is still pleasant, and his immense instrumental talent is insanely respectable. Again, he's blind. It's amazing that he's as talented of a musician as he is. However, while Stevie Wonder may be blind in the literal sense, he is not blind to the world's issues. Case in point, the songwriting! This album has some truly phenomenal songs on it, many of which tackle social issues, which is awesome! Perhaps the most obvious example of this is "Living For The City" which I absolutely love. The closer "He's Misstra Know-It-All" is apparently directed towards Richard Nixon which is pretty cool. You have some songs that are more personal though. There's some spiritual songs in here too, including the album's biggest hit "Higher Ground," which is another masterpiece of a song. Of course, you still have some ballads on here, but comparing the ones from Talking Book to a song like "All in Love is Fair" really goes to show the improvements made on this album. I also love the song transitions. I'm a sucker for albums where the songs all flow into each other. Innervisions is excellent. The fact that this isn't even considered his best album makes me really excited for Songs in the Key of Life. That album's probably even more amazing, but Innervisions is still an incredibly strong showing of musical talent. I love it. 5/5.

Back to Mystery City

Hanoi Rocks

3/5

I'm gonna try to be brief on this one since I don't have a ton to say. I feel like I've been writing longer and longer reviews, so it'll be nice to just say a few sentences for once. Hanoi Rocks is somewhat influential in regards to the development of hard and glam rock, even influencing huge bands like Guns 'N' Roses and Poison! As for the album itself? I think it's good! It's not a complex album or anything, but does it have to be? The writing is definitely a bit basic, but it hasn't aged too poorly or anything. The style is fun. I enjoy it, but I'm a sucker for cheesy 80s hard rock so of course I enjoyed it. What's weird is that some of the songs are incorrect on Spotify, so I had to listen to them on YouTube. I don't know why that is. The singing works. The album's not special, but I enjoy it. Solid 3/5.

Guitar Town

Steve Earle

3/5

Here's another album that I don't have a ton to say about. This is a fairly run-of-the-mill country rock album. It's not my thing, but I'd still call it good. The style is solid. The singing isn't too annoying. The title track is pretty cool. In my opinion, I think the thing that separates good country from bad country for me is the songwriting. One of the things that I hate the most about modern country is how shallow and corporate it feels (Emphasis on corporate: too many brand names). Fortunately, Steve Earle's songwriting isn't shallow and corporate. It's nothing special, but it does its job of fitting a country rock album like this. I've seen some people compare this album to a weaker version of the works of Bruce Springsteen. I wouldn't know if that's accurate though since, despite him having 5 albums on the list and me being over 500 albums into this project, I have yet to get a single one of his albums. Crazy. This album's alright. 3/5.

Reign In Blood

Slayer

5/5

This is what I'm talking about! Look. I can appreciate an emotional album with well-crafted narratives and all that stuff. But there's something so awesome to me about heavy metal that just speaks to me in a completely different way. I love it. I love metal, and Slayer is no exception. This album rules! Slayer, of course, is one of the big 4 thrash metal bands (the last one to give me an album in fact!). Each of these bands has things that make them special, and that thing for Slayer in my eyes is just how extreme and heavy they are. Slayer's heaviness comes in two main ways. One of these is the writing and themes. Other thrash bands definitely write about serious things like religion and politics and stuff, but Slayer mixes that stuff in with brutal descriptions of the thing that Slayer loves mentioning the most, death. Perhaps the most interesting song in this album from a lyrical standpoint is the opener, "Angel of Death" which caught a bit of flack upon release due to its theme of experiments done at Nazi concentration camps in World War II. "Angel of Death" is a brutal song, but I don't think the members of Slayer are Nazi sympathizers or anything. Sometimes a song about something horrific can make someone feel that horror decades after that tragedy has happened. That's kind of the point of the song to me. The second thing that makes Slayer so heavy is their style. Everything from Dave Lombardo's consistently insane drumming, to the awesome guitar riffs and frantic solos from both Jeff Hanneman and Kerry King, to Tom Araya's strong basslines and blood-curdling screams makes Reign in Blood as intense of a listen as it is. Again, I love it. There's a lot of other things to say. I could say something about how all of this stuff is packed into only 29 minutes of music. I could talk about the remarkably clean production from Rick Rubin of all people. I could praise the closer "Raining Blood" as being one of the best metal songs ever made. I could talk about how this album helped lay the groundwork for the Death Metal subgenre. But I think there's really only one more thing that I need to say to justify my score. IT'S FUCKIN' SLAYERRRRRR!!!!! Light 5/5.

What's That Noise?

Coldcut

3/5

Why is the album cover so small on this website? That's weird. You know what else is weird? This album not being on Spotify. There's probably a reason for it though. It's a shame because Coldcut is actually decently influential as far as British electronic music goes. I'm generally not a fan of this style of music, but I can at least respect this album for pioneering music in a way. I mean, I can't even complain about this being 90s British electronica since it released in '89! As far as the album itself goes? It's fine. Again. This style of music isn't really my thing. However, the sampling (as dated as it is) was also kind of revolutionary for its time. The features are interesting. The album (the UK version at least) isn't too long. While I don't personally care about this album that much, I at least respect it enough to say that its inclusion on this list isn't totally unjustified. Low 3/5.

Third

Soft Machine

4/5

This is a strange album right here. Soft Machine's third album, fittingly titled Third, has a lot of things to talk about. Well, except for songs. There's only 4 of those on here. However, this album could definitely be considered prog rock, and as such, each song is about 18 to 20 minutes in length. Hell yeah. I love prog rock, and this is a pretty solid prog rock album. The style is interesting. What's weird is that the first song is a live recording, while the other three are studio recordings. That's neat. In addition to prog stuff, there's also quite a bit of jazz rock elements in here as well, which I really like as well. The vibes here are nice. There's a bit of crazy stuff to appreciate, but you can also chill out a bit. There's only singing on one of the album's songs, but it works pretty well in that one. All of the songs are cool. The album is definitely on the longer side, but I'm actually okay with it for an album like this, though that may just be my prog bias speaking. Overall, Third is a pretty compelling album for someone like me. I enjoy it. 4/5.

Let England Shake

PJ Harvey

4/5

Time for another solid album from PJ Harvey! I feel like, given the three albums of hers I've listened to (all of which were released in different decades by the way!), I can pretty safely say at this point that PJ Harvey is a pretty consistently good artist as far as albums go. I wouldn't call any of the albums I've gotten so far a masterpiece, but they're definitely all within the realm of "some pretty good stuff." Let England Shake is no different. This album's pretty cool. It might actually be my favorite of the three so far, but I haven't heard Stories From The City, Stories From The Sea in well over a year, so I'm not 100% sure about that. Let England Shake is a very interesting album. For one, it was released nearly 20 years after her debut, but is still just as strong, if not stronger. That's always pretty cool to see. The thing that really interests me with this album though is the theming. I would absolutely consider Let England Shake to be a concept album, with its concepts being war and England. Practically every song is about one or both of these things. I'd say the album does a good job at making each song stand out though. PJ Harvey's a fairly solid songwriter all things considered. Her vocals are nice too. They're weirdly Björk-like this time around, which is not something I'm complaining about. The style of this album is quite good as well. Despite the melancholic nature of the album's themes, Let England Shake is a fairly accessible album. You can definitely feel the emotion though, which is great. The songs are all great. The additional musical talent from people like John Parish and Mick Harvey (no relation) adds to the album experience quite nicely. This is a 2010s indie pick I can get behind. I really like this album. Solid 4/5.

Odessey And Oracle

The Zombies

5/5

I feel like it's been way too long since I got a 60s album. Nearly a month as a matter of fact! I know there's a lot of 60s albums on the list, but sometimes you just miss this kind of stuff, especially when some of the albums are this good. This album's amazing! There's a lot to like about this album. The instrumentation and singing is consistently great. I really don't think there are any bad songs on Odessey and Oracle. The songwriting is excellent. The album is full of great stories. The album's opener "Care of Cell 44" is a strong example of this. The best songs on this thing are truly wonderful. "This Will Be Our Year" and "Time of the Season" are probably the best ones here. I love those songs. The style of this album isn't exactly revolutionary or anything. This is definitely still in line with other 60s psychedelic pop acts. However, I'd argue that this album represents the ultimate culmination of everything that this era of culture was building towards. I don't want to say that this is 60s psychedelic pop perfected, but it's pretty darn close. Odessey and Oracle absolutely deserves its reputation as being one of the best albums of the 60s. 5/5.

Devotional Songs

Nusrat Fateh Ali Khan

3/5

I mean, the album's name doesn't lie. These certainly are some devotional songs alright. Honestly, I've become kind of numb to the whole "world music album with no wikipedia article" thing at this point seeing as this is at least the fourth time it's happened. This is a pretty unique album as far as this album list is concerned. This is an album comprised of 6 Islamic hymns from Pakistani artist Nusrat Fateh Ali Khan. More specifically, these are Qawwali songs, which I guess is a specific type of devotional song. Now, I'm not particularly well-versed on the culture this music comes from. However, I am pretty well-versed at this point on what I like in music, and I can definitely say that there are some things to like about the contents of this album. The singing is pretty good. It's perfect for this style of music. The instrumentation is quite engaging. The rhythms and melodies are pretty good. I wasn't able to find good translations of the writings, but I'm sure it's good, albeit heavily focused on the whole Islam thing. The songs are a bit long too, but I'm sure there's a reason for that. I don't know if this specific album needs to be here, but I can't say I'm upset that I listened to this. I never would've listened to an album like this if it weren't for this album project. I think that's pretty cool. The album's good, but not for me personally. 3/5.

Tapestry

Carole King

5/5

I've been needing more albums from women. I mean, March is literally women's history month, and yet I've only gotten 4 of them in the month so far? Crazy. Anyways, of those 4 albums, Tapestry is without a doubt the most influential of the bunch. This is one of the best selling albums of all time, sitting at over 15 million copies! Does Carole King deserve this honor? Yeah. She totally does. This album is just wonderful. I really have no complaints about it. Tapestry is one of the most finely crafted packages of songs to come out of the 70s, if not any decade. All 12 songs on here succeed in having strong songwriting, pleasant singing, and very effective instrumentation, among other things. Even the weakest songs are still pretty good, and the best songs are practically flawless. "It's Too Late" and "You've Got A Friend" are the highlights for me. The lyrics are nice. This is just a very nice album all throughout. Carole King may not have written all of the lyrics, but the ones she did write are strong, as are all of the others. Her singing is also perfect for the vibe of the album. She's also a really good pianist. Of course, Carole King isn't the only talented musician involved in this album. Some other legends of music appear on this thing as well, including James Taylor and even Joni Mitchell. When will this list start to realize that the presence of Joni Mitchell automatically guarantees at least a 4/5. This album's more than that though. Tapestry is one of those albums that's just so lovable. It's beautiful, but also fun at times. The vibes are incredibly pleasant, and the songs all add something good to the album. What's more to say? It's Tapestry. 5/5.

Tom Tom Club

3/5

How many side projects are there on this list? I don't know. All I know now is that it's at least one. Wait, does Gorillaz count as a side project? If so, then it's at least two. Anyways, here's Tom Tom Club. This, of course, is the side project of Tina Weymouth and Chris Frantz who, aside from being married to each other, were also the bassist and drummer respectively for one of my favorite bands that I discovered from this album project, Talking Heads. I love Talking Heads, so my expectations were somewhat high for Tom Tom Club. Were those expectations met? Well, I don't think this album holds a candle to any of the Talking Heads albums I've heard, but it's definitely not bad either. This album's pretty solid. I like it. The sound is neat. It's a nice blend of funk and new wave, not too dissimilar to some of the late 70s/early 80s Talking Heads songs. The instrumentation is pretty good too. I've always really liked Tina Weymouth's basslines. They're not the craziest things out there, but they always provide a strong and fun backbone for the song at hand. Speaking of songs, this album sure does have them. I don't think every song hits as great as I want it to, but there is at least one standout track on here. That, of course, is "Genius of Love." Most people know this song as "that one song that's been sampled a lot." I know it as the song they played in Stop Making Sense to allow David Byrne to switch into his big suit. I'll always appreciate the song for that. I'll also appreciate it for being a great song. The singing isn't my favorite, but it works. Overall, for being a side project, Tom Tom Club has some cool things going on. I wouldn't say I loved this album, but I like it for what it is. Solid 3/5.

The Libertines

3/5

You know, there's only so many 2000s British indie rock albums you can listen to before they stop impressing you. This album's good, but not an essential listen in my eyes. The singing does its job. It's certainly British. The style's good. Maybe a bit repetitive, but it's alright. The writing isn't spectacular or anything, but it's not offensive either. The album peaks at the beginning with "Can't Stand Me Now." I wouldn't call this a bad album, especially as far as debut albums go. However, I just don't see anything special that The Libertines do with this album that bands like The Strokes hadn't done before and that bands like Arctic Monkeys haven't since done better. This is a passable garage rock revival debut album, but nowhere near as good as something like Is This It. Solid 3/5.

There's A Riot Goin' On

Sly & The Family Stone

5/5

I have been needing some more funk in my life. I have not gotten nearly enough albums from this genre, especially in comparison to other genres. But now, it's finally time for me to listen to an album from one of the most highly praised funk groups of all time, Sly & The Family Stone. This is their highly acclaimed 1971 album, There's a Riot Goin' On. Dude. 1971 was such a stacked year for album releases. So many phenomenal albums released that year and—wouldn't you know it?— There's a Riot Goin' On might be one of the best. I love this album. It definitely reminds me of another one of those amazing 1971 albums, Funkadelic's Maggot Brain. This is definitely still a funk album at its core, albeit one with strong psychedelic and soul elements. However, this is definitely darker than something like a James Brown album or even earlier Sly and the Family Stone albums (or so I'm told). Honestly, I think it works really well. The darker atmosphere of this album makes it stand out. The instrumentation is fantastic. Again, it's a bit on the darker side, but there's still great basslines and spectacular rhythms to listen for. The mixing (at least on Spotify) could be a bit better, but the core of the album is still great. I really like Sly Stone's singing, as well as the other singing that appears on the album. The writing is pretty strong too. There's songs about things like personal turmoil and drug use, the latter of which appears to have been a significant factor in the making of this album. All of the songs are great though. Well, the title track doesn't really have much to talk about considering it's 4 seconds of silence, but even that appears to have a purpose in the album's messaging. I don't know what to say. This album makes a very strong first exposure to the music of Sly & The Family Stone. I'm very glad to have listened to this album, and I'm just as excited to listen to its predecessor, Stand!, sometime in the future. 5/5.

Dusty In Memphis

Dusty Springfield

5/5

This is a great album right here! Dusty Springfield is a name that I've definitely heard before, but I didn't really know anything about her until today. I mean, I didn't even know she was English! But now I know a few things about here, with there being one in particular that's really important. She knows how to make a good album. Dusty in Memphis was her fifth album, and it's apparently her best. It's also amazing. I have no real complaints. Dusty's singing is very nice. She brings some solid character to each song to make them feel original, despite her not having written any of the songs herself. Still, many of these are the definitive versions of these songs, and for good reason. The aforementioned singing as well as the excellent instrumentation makes this album a delight to listen to. The songs all work well together to form a complete package. It feels like a cohesive listen. The album's also pretty short, but that's not a bad thing. I think the 34 minutes are spent well, and there really isn't much more I'd ask for from it. I've seen comparisons to Aretha Franklin that aren't completely unwarranted. I think I like Aretha more, but Dusty definitely has a talent for musicianship. Also, I can't believe this was in 1969! Dusty in Memphis is an absolute classic album that has aged very gracefully. I love it. Light 5/5.

Risque

CHIC

4/5

Welp, I had a review for this. I accidentally exited out of the tab though. Guess I have to write a whole new review for Chic's Risqué album. I'll be brief. This is a disco album, which I haven't gotten a ton of. I really like it though. This album's pretty good. The basslines are the stuff dreams are made of. Obviously, "Good Times" is an absolute classic of a song, but Bernard Edwards manages to be a source of consistently great bass playing throughout the entire album. And of course, I have to praise Nile Rodgers for his work too. How could I not? The other members of Chic deserve their recognition too though. So to people like drummer Tony Thompson and vocalists Alfa Anderson and Luci Martin, good job! The album's a little repetitive, but when the songs are as fun as they are, who even cares? I don't. I'm just over here enjoying the music! The writing isn't perfect, but it does the job. The album does peak at the beginning with the aforementioned "Good Times," but the other songs are still good. This album's cool. 4/5.

Emperor Tomato Ketchup

Stereolab

4/5

When I saw the band name and year of release for this album, I got really worried that it would be another incredibly boring 90s British electronica album. Fortunately, wile this is album was released in the 90s from a partially-British band with some electronic elements, Stereolab's album Emperor Tomato Ketchup is very different from what I thought it would be. For one, I actually like this album quite a bit. It's cool! It's kind of hard to pin down what exactly it is. I always like albums like that! I feel like there's a weirdly high amount of French albums on here in comparison to other non-English cultures. I'm not opposed to it though. I don't hate the French, okay? How could I when they're responsible for cool music like this! The style is nice. It's unique enough for me to not feel like Stereolab's inclusion is redundant in any way. The singing is nice too. I translated the writing and it seems pretty good. There's some political themings here too, which I always welcome. I'm kind of surprised Chumbawamba isn't on this list. I mean, between them being a one-hit-wonder, British, punk/alt-rock-adjacent, and political, you'd think Robert Dimery would've loved to include Tubthumping, but no. I'm not saying they should be on the list (though I wouldn't be totally opposed to it), but I'm surprised they aren't. Anyways, this album's songs are good. There's some variety here that I like. There's even songs in 5/4 and 7/4 time signatures! That's awesome! The album is a bit on the longer side, but it didn't really drag much for me. Overall, I'd definitely call this an enjoyable album. Apparently they have better albums though, so I might want to check those out. Also this album has a really funny name. Light 4/5.

American Beauty

Grateful Dead

4/5

Before I start this review, I have to acknowledge one thing about this album project. There are 1089 albums total on this list. Half of that is 544.5. This album, American Beauty by the Grateful Dead, is my 545th album, thereby making this album the halfway point of the album project. I'm halfway done. On one hand, I feel like I've already gone through a lot of albums. At the same time though, I also have that sort of "How am I only halfway done?!" feeling as well. I don't have much else to say about that. I just have to acknowledge that I've now gone through 50% of the days for this project. Anyway, let's talk about this Grateful Dead album. It's good! I liked Live/Dead somewhat, but it definitely wasn't my favorite. Maybe it being a 75 minute live album just didn't work out for me and my taste. American Beauty isn't that though. This is a nice and tight 42 minute studio affair. Now, of course, this does mean that some of the Grateful Dead's appeal is lost for some with American Beauty, as their nature of being a jam band is part of the appeal for Deadheads. However, I am not a Deadhead. I like what I've heard, but I certainly wouldn't say I'm a huge fan. Still, American Beauty has things to appreciate. The style is a lot more refined in this album, which I personally like. The instrumentation is still quite good. I think the writing is mostly solid. I wasn't huge on one of the songs, but the others were pretty nice. If you're wondering, that song was "Candyman." The others are all pretty good though. These guys definitely had a lot of talent. The Grateful Dead is a band that I don't know a ton about, but through my experiencing of both a live album and studio album, I think I get the appeal. They're good, and this album shows that. Light 4/5.

Apocalypse Dudes

Turbonegro

4/5

I am writing this review at nearly 2:00 in the morning on a school bus for a cool trip, so I’d definitely say this album was listened to by me under interesting circumstances. You know what else is cool besides the trip I’m going on? This album! I love this! I don’t think I’d ever really heard of Turbonegro before (Am I even allowed to say that band name?), but I guess I’m a fan of their music based on this album. This album’s just a whole load of fun. It’s considered a glam punk album, which makes sense seeing as I’m definitely getting both glam rock and punk vibes from Apocalypse Dudes. It’s a bit goofy, but there’s also a bit of a punk spirit that I enjoy. Hey, if Jello Biafra says it’s good, it probably is. The style is great! The riffs are strong, and there’s even some cool solos! I wish the bass lines were more interesting though. That’s just a me thing. The writing is fun too. I could definitely see why others might not be into it, but I absolutely am into it. The songs are cool, and the pacing is good. Overall, I really enjoyed this album. I wouldn’t call it a masterpiece or anything, but it’s definitely an album for me. Strong 4/5.

The World is a Ghetto

War

5/5

Dude. This is my kind of album right here. War is another one of those bands where I’d only heard one song prior to one of these albums listens. I like “Low Rider.” It’s a funny song, but it’s definitely a well-made funny song. However, that song is not on this album, which I’m fine with because “The World is a Ghetto” is not a funny album. It is however even more well-made than “Low Rider.” This album’s outstanding. I think this album project is really starting to help me understand my own music taste. It’s albums like this that lock in my appreciation of genre-blending funk/soul/jazz albums. Between stuff like this, Herbie Hancock, Sly and the Family Stone, Funkadelic, and more, it’s kind of hard to deny at this point. The style here is just so cool. There’s still some fun to be had. The album’s opener, “The Cisco Kid” is the most Low Rider-esque song on the album, and it’s great. The rest of the album is a bit more moody, but is still sufficiently soulful and just as excellent. I like the long songs, with the title track being the highlight. The writing is pretty strong, with the title track being the highlight here too. The pacing is weirdly good for an album with songs over 13 minutes and under 4. This album’s one that I can really see growing on me over time. I can’t believe I never knew War (the band) was this good. The World is a Ghetto is just an awesome album that really appeals to my tastes. Light 5/5.

Achtung Baby

U2

5/5

Welp, it’s time for the last U2 album of the list. I’m sure many people would be really happy in my position, while others might crave more U2. I myself am certainly not tired of hearing U2, but I’m also not hankering for another outing with their albums, you know? Fortunately, I ended up finishing with what many consider to be the band’s magnum opus, Achtung Baby from 1991. This and its predecessor, the equally acclaimed The Joshua Tree, are generally seen as the two top dogs of U2 albums. Do I agree? Yes. Yes I do. I’m not even sure which of these albums is better! I think Achtung Baby does a great job of distinguishing itself from The Joshua Tree. When you make an album as hugely successful as that one was, most bands would probably try to recapture that success in a safe way. U2 actually managed to go against that a bit with Achtung Baby by making something a bit different. I love it! The sound kind of harkens a bit back to the earlier days of albums like War, with a bit of foreshadowing for later releases, mixed in with things that make the album itself special. The songs have good balance between more abrasive and polished songs. Of course, I have to specifically call out “One” as being a real gem of a song. The instrumentation is pretty varied, which actually gives this album a bit of an advantage over The Joshua Tree for me since I felt that album was a bit repetitive of on the sound front. I still enjoy the core of U2. Overall, I can definitely see why people call this their best album. I myself am a bit torn, but it’s close enough for me to give this the same score as The Joshua Tree, which happens to be a low 5/5.

Hunting High And Low

a-ha

3/5

Oh boy, we've got another 80s one-hit-wonder on our hands! Well, okay, we don't actually. A-ha was never actually a one-hit-wonder. Even aside from the various other hits they have over in Europe, specifically their native Norway, A-ha did actually have a second single from this album hit the top 20, so that's cool. However, these days, A-ha is really only known for one song, that of course being the opener to their debut album Hunting High and Low, the ever-iconic "Take on Me." I really don't have any original takes on this song. It is a bop of the highest caliber. Unfortunately, none of the other 9 songs on this album are even comparable in quality, with the only one that even gets close being that other single I mentioned earlier, "The Sun Always Shines on T.V." which is pretty good too. None of the other songs are bad. I would call Hunting High and Low a pretty solid album. It's just that this album has that non-exclusive problem of coming out swinging with a true gem of music and then following it up with a bunch of lesser songs. As for Hunting High and Low as an album, it's pretty solid. A-ha's style isn't particularly revolutionary or spectacular, but it is quite enjoyable, and sometimes that's all that matters. The writing does its job. The album's not too long or too short. This is just a nice collection of solid 80s synth-pop songs, with one real stand-out track to start the album. It's not a masterpiece, but I certainly wouldn't call it bad. Solid 3/5.

Viva Hate

Morrissey

4/5

You know, I really want to hate Morrissey. He's just so unlikable, and I know that none of his stuff is anywhere as good as his work with The Smiths. But damnit. He's a talented guy whose made some pretty good albums on his own, and of the three I've listened to so far, I think his debut, Viva Hate, is the one I've liked the most. This is a good album. Of course, it's not a masterpiece. But it doesn't have to be. There's not a ton of special things to say about this album. Morrissey's vocals and writing are as good as ever. The songs haven't aged too poorly, with the one possible exception of "Bengali in Platforms." The instrumentation is nice. I enjoyed most of the songs, with "Everyday is Like Sunday" and "Suedehead" being highlights. The album's paced well. Viva Hate isn't a super interesting album. However, it's a reminder that, as hateable of a person as he is, Morrissey is a pretty talented musician. He's just more talented with Johnny Marr. Light 4/5.

The Hour Of Bewilderbeast

Badly Drawn Boy

3/5

Okay. Here's the thing with all of these early 2000s British indie albums that keep showing up on this list for some reason. This album here is a perfect representation of these sorts of things. Would I say that an album like this is one that you should not ever listen to? No. Not at all. While I feel more negative towards other albums of this nature, The Hour of Bewilderbeast is not what I would consider a bad album. But would I say that this album is one you should listen to before you die? Nah. If you like this sort of music, I guess I might recommend this album, but that's really the only case in which I'd do that. This album is not an essential listen in any capacity. What does this album provide that something like a Radiohead or Elliott Smith album doesn't? But what makes those artists stand out above someone like Badly Drawn Boy? (stupid project name btw) Well, I think it's the songwriting. Sure. This album has some pretty strong instrumentation, and the vocals aren't any more annoying than that of someone like Elliott Smith or Thom Yorke, which is to say that they're not annoying. However, those bands have deep songwriting that really touches the soul. I don't think this album has that. The songwriting does its job, but there really aren't any lines that stick out to me. I would say that this album just goes in one ear and out the other, but the album's too long to allow that to happen. I guess what I'd say is that this is a good album that doesn't do anything particularly poorly, but is not excellent in any capacity, nor does it really touch upon the subtler aspects of music. A real jack of the basics, master of nothing situation. It's fine, but not spectacular. 3/5.

Skylarking

XTC

5/5

I feel like I've been getting repetitive with how I start my reviews. There's only so many times I can just start reviewing a great album with "dude" or "wow" before I have to do something different. What I want to say is that Skylarking is amazing. I really like this album. I'd definitely heard of XTC before today, but I really didn't expect to love Skylarking as much as I do. This album's fairly different from what I've gotten before, yet still somewhat familiar. I feel like most of the 80s albums I've gotten fit under a label like punk, new wave, or post-punk. Skylarking isn't either of those though. It's more of a pop rock album than anything, and I love it. The vibes are nice and they really appeal to me. Andy Partridge's singing isn't my favorite, but I think it fits the vibes well. The production here is great. It came from Todd Rundgren, and seeing as I really enjoyed his album Something/Anything?, I guess it's not that surprising that I like Skylarking too. I do like Skylarking more though. The writing is strong too. Skylarking is apparently a loose concept album about cycles, which is pretty cool. The songs here are great. I think my personal favorite might be the one song that wasn't actually included on the album originally, but was included in reissues after it gained traction despite being cut from the album due to label concerns. That song, of course, is "Dear God," which is a really thought-provoking song about challenging the existence of God. Every song here has things to love. The hooks are catchy, the melodies are fun, and the overall presentation of the album is clean in a way that I really like. Skylarking is just an excellent pop rock affair that I can't get enough of. Light 5/5.

School's Out

Alice Cooper

4/5

Alice Cooper. Now that's a name that screams rock and roll. Alice Cooper's legacy is admittedly a bit complex, but there's no denying that him and his band are legends of rock history. However, this is my first really diving into any of his work. I've heard some of the big hits before I think, but I never really thought about getting into his stuff. Now I've finally listened to his 1972 album School's Out, featuring the iconic title track at the beginning. That song, of course, is great. It's immediately understandable to anyone who's been to school before, but the song itself just exudes this energy that I love. The album as a whole is pretty good too. It's a bit of a concept album, which I always like. The concept's definitely there, but it's not explored a whole ton. That's fine though. Not every concept for an album needs to be in your face. You know what is in your face with this album though? The aforementioned energy. This thing is hard rock at its hardest. However, there's also a decent amount of sonic variety here. This isn't like an AC/DC album where you listen to one song and kind of get the gist of all the others. This is an album that... well I wouldn't say it demands you listen to the whole thing, but it's definitely requesting that of you. It's worth it though. The songs are good. Mr. Cooper's singing is fitting of the style and themes. It's a bit weird that Alice Cooper was singing about school finally being out in his 20s, but I digress. At least he's not singing about sex with children. Although, there is one song that kind of feels like he wants to fuck a corpse? Maybe? I'm not 100% sure what "Blue Turk" is about, but it kind of gave those vibes, albeit in a way that didn't seem like he actually wanted to do it. I have more I could say, but I'll leave it at that for some reason. This album's good. 4/5.

The Trinity Session

Cowboy Junkies

4/5

Well. This was not what I was expecting at all. But you know what? I welcome it. This is some good stuff. With a band name like Cowboy Junkies, I was expecting some silly country with a strong psychedelic influence. I was not expecting to get an album that's as chill as this one was. This is a pretty mellow album all things considered. It's a good mellow though. It provides a bit of a different experience as far as country goes. I don't even know if I'd call this country. This album kind of flips my entire idea of the genre on its head. This could be a good or bad thing depending on various factors, but seeing as I've never really been a fan of country music, I'd say it's a good thing here. I like Margo Timmins's vocals quite a bit. I think the songs are nice. Many of them are covers though, so I can't fully credit the high quality of these songs to the members of Cowboy Junkies specifically. That's not to say that their versions of these songs are bad though. They're quite good. The album's a bit on the long side, but I wouldn't say it dragged. Overall, this is just a pretty pleasant album. Not my favorite, but very few albums are. Low 4/5.

The Rising

Bruce Springsteen

4/5

It's about freakin' time! I can't believe I didn't get a single Springsteen album within my first half of the project, especially considering the man's got 5 of them on this list! That makes it all the funnier that I'm now getting my first album of his as album 555. Ha. Anyway, this album makes a pretty good first impression! I would've liked to start with an earlier album in the Boss's career, but what are you gonna do? The Rising is not an album I see discussed as a real contender for his best album. That discussion tends to lean more towards albums like Born to Run and Darkness on the Edge of Town. However, that's not to say that The Rising doesn't have an important place in Springsteen's career. This album marked a revival of sorts for the guy. For all the Bob Dylan fans out there, this is kind of his Time Out of Mind. But you know what? I think I actually like this album more than Time Out of Mind. This album does have one of the big issues I had with that album though, that being the fact that it just kind of goes on for a bit too long. I don't think this needed to be 72 minutes. Whatever. At least it's 72 minutes of good music. I've said quite a few numbers in this review so far, so how about I say another? 9/11. Yeah, that's the other thing that really makes The Rising stand out. This is Springsteen's 9/11 album. Many of the songs here were written in the aftermath of the attacks and deal with emotions that I'm sure tons of Americans felt around that time. Fortunately, this songs manage to stand out from each other and not feel samey. This isn't an album of 15 variations of the same song. The songwriting is a large part of this. Springsteen's songwriting is pretty good! It's cool to know that, even after 20+ years of making music, the boss still has a talent for the craft. The instrumentation also does wonders for making this album feel fresh. Apparently this was the first album he had made in quite some time featuring his iconic E Street Band. It's good that they managed to get back together again. The sound is great. There's some solid variety here, with songs like "Worlds Apart" and "The Fuse" being pretty experimental for the guy. Of course, you still have some more standard heartland rock affairs, including some of the album's highlights like "Waitin' On A Sunny Day" and the title track. Overall, while I'm sure this isn't Springsteen's best album, it's still a strong showing of some serious talent. Also Springsteen is based as hell. 4/5.

John Prine

4/5

Now this... is what country music should be like. Why isn't more country music like this?! What is it about John Prine's self-titled debut that I love so much? Well, let's talk about it. This album kind of feels like a country take on something like a Bob Dylan album, which is honestly not a bad thing. Part of this comes from the singing, which is kind of Dylan-esque in a way, but is also just kind of what country singing is like a lot of the time. Still, I think it fits the theming of the album. The instrumentation is quite enjoyable. It's definitely on the more mellow end of the genre, which I've always preferred. There aren't really any particular songs that stand out for musical reasons, but I also can't say that these songs all sound the same. The instrumentation of the songs isn't the focus here though. See, there's another reason why I and many others have compared this to a Dylan album. That, of course, is the fact that John Prine's songwriting is just excellent. There's so much to unpack here with these songs and lyrics. The storytelling of songs like "Angel from Montgomery" and "Spanish Pipedream" really shows off some considerable talent for the craft. I said that the songs don't particularly stand out for musical reasons, but the themes of each song really do the heavy lifting in regards to creating stand-out songs. You have some songs that manage to actually be pretty funny and entertaining like the opener, "Illegal Smile" balanced out by melancholic war tunes like "Sam Stone." I love it. The songs have aged remarkably well too. The fact that a song like "Your Flag Decal Won't Get You Into Heaven Anymore" was written in 1971 is stunning to me. This song feels like a perfect embodiment of post-9/11 America, so to hear something like this 30 years prior is crazy. I love it though. It goes to show how ahead of his time John Prine was. Overall, this might just be the best country album I've heard yet. Between the solid musicianship and phenomenal songwriting, this album has stood the test of time as a classic of the country genre. High 4/5.

Punishing Kiss

Ute Lemper

1/5

Oh wow. Nick Cave, Elvis Costello, Tom Waits, and the Divine Comedy? I just know that Robert Dimery came in his pants after reading that "songs by" blurb on this album cover. Here I was thinking that I would never have to hear Neil Hannon's voice ever again. Silly me! I'm fucking dumb. I should've known that Robert Dimery wouldn't be able to keep his hands off of all those men! But hey, this album isn't all men! I mean, you've get the head of this whole album herself, Ute Lemper, to give this album some woman points. So with all of these sources of talent (and also Neil Hannon), how did this album turn out? I don't like it. Why is that? Let me tell you! I'll start with the one thing that I actually can kind of praise to an extent. That's right. There's only one thing. The instrumentation is alright some of the time. It has this cabaret vibe that I haven't heard in many other albums on the list yet. It still sucks sometimes though. The last song wasn't very pleasant on the ears. Alright everybody! Time for complaining! I'm not a fan of Ute Lemper's singing. It's not my thing. It's like she read somewhere that people like Björk for her unique singing and tried her best to do that only for it to just be kind of annoying. I also think the times where Neil Hannon sings here are kind of annoying as well. At least he's only on a few songs. The album's too long. It just is. I don't feel like going into that because I have to save my bitching space in my head for the thing that I hate most from this album. The songwriting fucking sucks! You'd think with people like Tom Waits and Nick Cave involved that this album would be thought-provoking in some ways, right? Well, too bad. The only thought these songs provoke is "Why am I not listening to better music right now?" The sex lines are just as gross as the ones on the Divine Comedy albums. Why are there multiple songs that say breast or breasts? And of FUCKING course, there's a song that mentions a horse. Although, to be fair to that one, Neil Hannon didn't actually write that song, so I can't make fun of him for showing off his horse fetish on this album specifically. Just look to my Divine Comedy reviews for that one. Welp. Guys, gals, non-binary pals. We had a good run. I haven't felt this way since Snivilisation back in November, but I'm upset that I had to listen to this album. The sheer fact that the people behind this list had the balls to include an album like this just because of it having collaborators that already show up way too much on this list just pisses me off. You know what that means? For the first time in 2025, I'm giving this album a solid 1/5.

The Undertones

2/5

OH FUCK OFF. THESE MOTHERFUCKERS HAVE TWO ALBUMS HERE???!! And with this, we have my first repeat album from an artist that previously gave me a 1/5. And of course, I had to get this immediately after my first 1/5 in over 5 months. Suffice it to say, I was not excited in the slightest to listen the the Undertones' 1979 debut album. However, after listening to the album, I can't really say that I actively hate it. In fact, I actually have some praise to give to this album. Don't get me wrong. I still have issues. The lyrical repetition of Hypnotised is still here. I'm still convinced these guys only know how to sing about girls and boys (mostly girls). But hey! At least they didn't say "Boys will be boys" in 20% of the songs! They actually managed to not say it at all here, which I'm very glad to see. I never liked that phrase anyways. Something about it just doesn't resonate with me. So yeah, I still have that major issue with this album. I'm also not huge on the singing. More often than not, punk vocals just aren't really my thing. Where this album really has its successor beat though is in the musical department. My complaints regarding Hypnotised being repetitive weren't just with the lyrics. They also had roots in the songs, which also all sounded the same. I can't say that about their debut though. Some of these songs actually kind of stand out from each other. I know, right?! "Teenage Kicks" is probably the highlight. I'm still not big on that song's lyrics, but sonically speaking, it's a solid song. Overall, I can't say I'm too upset to have listened to this. It doesn't make me want to go back to Hypnotised, and I sure as hell wouldn't call myself an Undertones fan at all. But I can definitely say that they aren't the worst band in the world. Of all the bands to have previously given me a 1, these guys are probably the only one I'd be okay with listening to again. Too bad I still have a second Orbital album to sit through. High 2/5.

Raising Hell

Run-D.M.C.

4/5

You know, after two albums that I can't say I liked, something like this is exactly what I needed? Some good-old-fashioned classic hip-hop. I would say you can't go wrong with this kind of album, but I'm also the person who gave Licensed to Ill a 2/5, so I can't really say that. But don't worry Run-D.M.C. fans. Just because this is also a 1986 album produced by Rick Rubin that helped pioneer rap rock and bring hip-hop into the mainstream doesn't mean I feel the same way about Raising Hell. I actually liked this album quite a bit! There' definitely things to enjoy here. See, in addition to a similarly significant album like Licensed to Ill, I also have Run-D.M.C.'s 1984 self-titled debut as a frame of reference. I think the thing that this album really has over that one is that there are more stand out songs and moments. Self-titled really only had one song that I really loved with "It's Like That." Raising Hell starts off with not one, not two, but 4 instantly memorable tracks with "Peter Piper," "It's Tricky," "My Adidas," and of course, their version of "Walk this Way." That last one is especially notable for marking the point where hip-hop really started to enter the mainstream. None of the other songs are bad, but I do feel that the album starts off with its best outings. I think the rapping is pretty solid. It's not one-note, but it is a bit dated. That's kind of how this whole album is. It may be a bit dated in its feel. Like, there's no denying that this is clearly and 80s hip-hop album. However, it's still a strong showing that helped revolutionize the genre for the better. Are there better hip-hop albums that have released since Raising Hell? Absolutely. However, I would absolutely recommend this album to anyone looking to get into the earlier albums of the genre's history to see how hip-hop got where it is today. Not only does Raising Hell provide that, but it also provides some pretty good songs with solid beats. Light 4/5.

Apple Venus Volume 1

XTC

4/5

XTC again? Already? I feel like I just got Skylarking. Whatever. At least I loved that album. Here we have their 1999 album Apple Venus Volume 1, which is not on streaming for some reason. It’s pretty good! It’s not as good as Skylarking, but I wasn’t expecting it to be, so I can’t say I’m disappointed. One thing that I didn’t do in my Skylarking review that I’ve seen a lot of people do for XTC in general is compare them to the Beatles. I did feel that Skylarking was somewhat comparable to the Beatles, but like, who hasn’t been inspired by the Beatles? I definitely noticed that Apple Venus has more songs that are comparable to the weirder Beatles tracks. You know? Stuff like “I Am the Walrus,” right? The songs are good though. “Easter Theatre” is a particular highlight. I wouldn’t say I loved every single song, but they’re all at least good. The production is pretty different. It’s a bit more sparse, which I wouldn’t call a bad thing. The instrumentation is pretty solid. The writing is good, I think. I’m still not huge on Andy Partridge’s singing, but it fits the vibe. Overall, I’d still say I like XTC. I don’t like this album as much as my first album I heard of theirs, but I still enjoy all of what I’ve heard of them so far. 4/5.

Kimono My House

Sparks

4/5

Now THIS is what "weird music" should be. Sparks are a band that I knew basically nothing about prior to listening to their acclaimed 1974 album Kimono My House. All I really knew was that Weird Al's "Virus Alert" was a style parody of their music. I think this is the first time I've mentioned Weird Al in an album review. I love that man. This Sparks album is pretty cool too, I guess. The music here is good! I'll start with the one thing that I'm conflicted on; the vocals. Russel Mael has a very distinct vocal style. He kind of sounds like a cross-breed between Geddy Lee, David Byrne, and a woman, with a hint of Mark Mothersbaugh. In fact, if there's anything I've heard that I could compare this album to, it would be Devo. Honestly though? I think I prefer this. Oh yeah, I think the vocals fit the music very well. The overall musicianship is solid too. These guys aren't like virtuosos or anything, but they definitely know what they're doing. I mean, just look at Ron Mael's face when performing. That man is locked in. The writing might be my favorite part of the album. It's quirky, but still meaningful in a way, with plenty of variety to boot. It's kind of like Talking Heads in a way, which I am always okay with. Overall, I can see why someone might not like this it. That person is not me though. I happen to really like my first impression of Sparks. I think they're pretty cool! Light 4/5.

Vulgar Display Of Power

Pantera

5/5

Damn. That really was a vulgar display of power, wasn't it? You know what else it was? Pretty frickin' awesome! Pantera is one of the most influential bands within the heavy metal genre. Not quite the most influential, obviously. However, their influence on the groove metal subgenre specifically is not to be understated. For those not in the know, groove metal is a subgenre that's kind of like thrash metal, but a bit slower and filled to the brim with crazy rhythms. Honestly? I love it. This album is full of banger after banger. Let's start by discussing the musicianship at work on Vulgar Display of Power. It's great! All of the band's members provide the intensity that's necessary for a band like this to work. I especially want to highlight the band's guitarist, Dimebag Darrell. His riffs and solos on this album are some of the best I've heard in the genre. Stuff like the riff on the opener, "Mouth for War" and the solo from its most popular song, "Walk" are just legendary. Of course, I also have to discuss the vocals. Phil Anselmo's vocals are just as intense as the instrumentation. I have to respect the ability to scream like he does without completely demolishing his vocal cords. Those two work with bassist Rex Brown and drummer Vinnie Paul Abbott to create a collection of amazing metal songs here. Admittedly, the album is a bit top heavy. That run from "Mouth for War" to "This Love" is just incredible, with the latter of those being the album's best song (in my opinion). The way that that song makes hard jumps from being kind of melancholic to groovy as hell really speaks to me. The latter half does have some great songs though, with "Hollow" being a great closer. Let's talk about the lyrics now! The album seems to have a bit of a common theme dealing with strength. Some songs give off the tough-guy image that Pantera is heavily associated with. "Walk" is the quintessential example of this. I've seen some people call the song overrated, and while I agree that there are better songs on the album, I still really like this song. However, despite the tough guy energy on the album (it's literally called Vulgar Display of Power), there's still some vulnerability on songs like "This Love" and "Hollow" that I can really appreciate as well. The latter half especially has some good messaging, with there being two back-to-back songs that appear to be anti-racist! Of course, it seems as though Phil "White Power" Anselmo has forgotten about his own lyrics, but let's just move past that and close out this review. Is Vulgar Display of Power the greatest metal album of all time? No. I don't think so. But is it like top 10 or 20? Yeah, probably. Between the legendary guitar work, strong lyrical theming, and the sheer influence this album has had on heavy metal, I think Vulgar Display of Power is an album worthy of its reputation. It's pretty great. Low 5/5.

Butterfly

Mariah Carey

3/5

Getting this right after Pantera might be the biggest case of whiplash I've experienced in this whole album project so far. That's kind of what I love about the randomness to be honest. We have arguably one of the most masculine albums on the list immediately followed by one of the most feminine. No offense to femininity, but I prefer the Pantera album. That's just my bias towards the metal genre speaking though. By all accounts, Butterfly is a solid album. Well, apparently not all accounts seeing as this album currently sits at an average of 2.47 on this website. For reference, Marilyn Manson currently has a 2.5. That's messed up. This album's pretty good, okay? It certainly has its influence. Mariah Carey may be overplayed during the Christmas season, but this album's got some songs that are better than that Christmas song that honestly isn't even bad. It's literally just overplayed. The songs on Butterfly are fairly standard modern r&b affairs. But I don't know, I'm kind of nostalgic for this kind of stuff, okay? Mariah is definitely a strong singer. She's always had that going for her. The notes she hits do go kind of crazy though. The writing does its job. None of it is particularly horrendous, but nothing really stuck out much as top-tier either. It's solid. The production's pretty good. I can see why some might call these songs samey, but I wouldn't say they feel exactly the same. I do feel that the album's a bit long. That might just be me though. Overall, Butterfly is a solid showing that I can understand the success of. It's good! High 3/5.

Bluesbreakers

John Mayall & The Bluesbreakers

3/5

Damn. Another 4/20 without getting that Snoop Dogg album. My disappointment is immeasurable and my day is ruined. I'm just kidding! How could my day be ruined by an album that is, by my account, pretty solid? Here we have my third album on the list to feature Eric "Keep Britain White" Clapton, who plays guitar for this album with John Mayall and his Bluesbreakers. I think I've gone through the whole "separating art from artist" spiel enough times by now. Fortunately, it's very doable here since none of the lyrics tie into his issues and he really only plays guitar here, aside from one song that he sings. The lyrics, by the way, do their job. None of them are too problematic. Good on John Mayall for specifying that the titular "Little Girl" was 18. Of course, a lot of these songs are covers. That's kind of how the blues genre goes, isn't it? The singing also just does its job. Where this album stands out in my mind is the instrumentation. Obviously, Clapton's guitar playing is strong, but stuff like the basslines from John McVie (yes, that John McVie) and Hughie Flint's drumming, as well as the additional work that John Mayall himself brings to the table aid in creating a strong bluesy atmosphere that I happen to enjoy quite a bit. Overall, while Blues Breakers may not be the most exciting album for me personally, it's an album that I mostly respect. It's good. High 3/5.

Crocodiles

Echo And The Bunnymen

3/5

Oh wow. Another 80s British post-punk debut album from a band with multiple albums on the list. Never seen that before. Whatever. At least this one's good. Echo & The Bunnymen are definitely a band worthy of being here, but I don't know if they need three albums or even two. Obviously, Ocean Rain is a classic, but Crocodiles just isn't on that album's level in my eyes. It's good, sure. The style is solid. I really like the bass in particular. The singing fits the vibes and the writing is alright. However, I just don't find this album as interesting as something like Ocean Rain. None of the songs on here really speak to me like how something like "The Killing Moon" did on that album. None of the songs here are bad, but none of them are masterpieces. This album is basically just a solid collection of post-punk songs and that's it. It's a good first showing, sure, but there are plenty of albums in the genre before and since this one that I'd rather listen to. Crocodiles is good, but not great. High 3/5.

Sometimes I Wish We Were An Eagle

Bill Callahan

4/5

You know, of all the 2009 indie albums on the list, this might be the best one I've heard. There's a weirdly high amount of those on here. Anyway, this album's pretty good. This is just a solid alternative country album. I feel like I've gotten a weirdly high amount of those too, especially in the past few months or so. But hey, I'd much rather listen to alternative country than mainstream country. Bill Callahan's 2009 album Sometimes I Wish We Were An Eagles is a bit of a peculiar album, but a good one nonetheless. I like a lot of what I hear. The style is nice. It's definitely indie, but I'm not opposed to that. It's albums like this that make me realize that I strongly prefer my country music to be more on the mellow side of things. Callahan's singing is low and somber, but I like it. It creates a unique atmosphere. The writing is pretty solid. I think that's what really makes an album like this work. I think this is a concept album about birds or something? He sure does mention birds a lot, but not in a weird way or anything. Unlike how I feel about Neil Hannon and horses, I'm not worried that Bill Callahan wants to fuck a bird. The lyricism and symbolism is used in interesting ways. Overall, I like this album. It's good. Not much else to say here. Solid 4/5.

Blood, Sweat & Tears

4/5

Ooh... I really like this. This is another one of those interesting albums that's self-titled but not the debut. Is it my favorite of these? No. Albums like the Beatles White Album and Metallica Black Album have it beat. But there's a lot for me to love about the self-titled second album from Blood, Sweat & Tears. The music is just so cool! This sound is amazing. It's clearly still rock, but there's brass and stuff! In some ways, this is almost comparable to prog rock. It's definitely more jazz rock though. I love jazz and I love rock, so I'm always happy to see those combined. The singing is interesting, but I like it. The band may not have written a ton of the songs that they performed in this album, but one of the songs they did write was "Spinning Wheel" so does it even really matter? What a song, man. I love it. The 11 minute blues medley near the end surprisingly doesn't overstay its welcome. So yeah, I really like this album. It's got a fun and cool style that's utilized well throughout a number of strong tunes. What more could you ask of an album? Strong 4/5.

Songs Of Love And Hate

Leonard Cohen

5/5

Leonard Cohen's back! It's been like 3 months since I got my first album of his, Songs of Leonard Cohen, which I feel is a good wait for an artist like him. It gives enough time for me to not feel tired of hearing his music, but it's just close enough for me to have that album still be somewhat in my head for me to compare the two. Comparing the two albums is kind of a Nevermind/In Utero situation for me. I personally don't believe that either of the two Leonard Cohen albums I've heard thus far are objectively better than the other, but I have a personal preference. In this case, I think I actually prefer Songs of Love and Hate. Obviously, many of Songs of Leonard Cohen's best elements are still here 4 years later, but arguably better. The instrumentation is still solid, but I think I actually like it more here. The overall atmosphere of this album is a bit angstier than the melancholy of Songs of Leonard Cohen, with a song like "Dress Rehearsal Rag" showing this off excellently. There's even some energy on a song like "Diamonds in the Mine." Cool! Cohen's singing still does its job quite well. I like it. Of course, as is the case with any Leonard Cohen album, the main focus is the songwriting, which is just as phenomenal as ever. If Songs of Leonard Cohen is the more cohesive album from a musical department, Songs of Love and Hate is the more cohesive album from a lyrical standpoint. A lot of biblical and historical references on this album here. It provides interesting things to think about. The writing here is somewhat vague, but still deep. I love it. If I wanted to, I could try to analyze these lyrics for quite a while. It is poetry after all. Overall, Songs of Love and Hate is another standout release from one of the greatest songwriters of all time. I love it. 5/5.

Songs From A Room

Leonard Cohen

4/5

IT HAPPENED. IT FUCKING HAPPENED. TWO OF THE SAME ARTIST IN A ROW. I always kind of figured this would happen eventually. I just had no idea when it would happen or who it would happen with. Turns out, the answer was "Late April 2025, Leonard Cohen." But you know what? I'm okay with this for one very simple reason. Leonard Cohen made some really good music. With this, I have now listened to the entirety of Leonard Cohen's initial "Songs" trilogy, which also includes his debut, Songs of Leonard Cohen, and my album from yesterday, Songs of Love and Hate. This, of course, is the album that came in between those two, Songs From a Room. Which room? I'm just kidding. This album's great. Not much to say really. Admittedly, I would call this the weakest of the three. This just kind of feels like Songs of Leonard Cohen 2. It takes what worked on that album and does it again. Of course, I love that album, so I love this album as well. I just don't think there's really anything special about this album that the other two I've heard don't do. Songs of Leonard Cohen did a great job establishing Cohen's style, and Songs of Love and Hate expands upon it in ways that make the album stand out to me, but Songs From a Room is just kind of there. It's got some great songs, don't get me wrong. The opener, "Bird on the Wire" is a highlight for me. The style is still very pleasant and Cohen's singing still sounds as nice as ever. I think it's the writing. It's still great, obviously. But there aren't as many standout lines and songs for me. I'm sure many of these would be most other songwriters' best songs, but in comparison to the songs off of Cohen's other albums, Songs From a Room just sits as a strong collection of songs and that's it. It's still excellent, no doubt. I just think this is one of the more cuttable albums from a list like this. It really just depends on how many albums Leonard Cohen should have on this list. If the answer is 4 or so? I could see Songs From a Room staying. If you were to cut it down to three or lower though? Sorry. I think this one would go. At the end of the day, Leonard Cohen is still Leonard Cohen. His music is still amazing. High 4/5.

Tuesday Night Music Club

Sheryl Crow

4/5

Damn. I'm kind of upset that I didn't get to listen to this on a Tuesday night. Whatever. You can't always get what you want. However, I did get something that I wanted from this Sheryl Crow album. I got good music. I like this album! This is some solid stuff right here. I mean, there's a Talking Heads reference on the album's most popular song! That's a sign of peak. That song, "All I Wanna Do" is pretty great tbh. The others aren't quite as good, but I wouldn't really call any of them bad. The overall vibes are nice. This is definitely on the poppier side of albums on the list, but it's not shallow. The writing is alright. Nothing spectacular, but it is good. I like the variety on the album. The songs do a good job at feeling different from one another. I like that. Sheryl's singing is good. Everything about this album is good. Nothing is top-tier, but everything is slightly above-average. Good job Sheryl Crow! Light 4/5.

Talking Heads 77

Talking Heads

4/5

What are the odds that I get Talking Heads immediately after I acknowledged Sheryl Crow referencing Talking Heads in my past album review? That's freakin' crazy! Anyway, I guess I'm gonna have to finish with Remain in Light. Cool. I definitely haven't been anxiously waiting to listen to that album eventually just because of how highly praised it is. Oh well. At least I love Talking Heads. I can't be too upset to listen to their music, can I? This album's great. It's not better than Fear of Music, and I'm sure it's not better than Remain in Light either, but does it have to be? I mean, this is their debut. Not everyone gets things 100% right on their first outing. Sometimes they do, but not in the case of Talking Heads. They still came out swinging with a strong debut though. Talking Heads: 77 makes a good first impression of the band for the general public. The thing that makes this album feel different from later albums is the production, which isn't as refined as the stuff Brian Eno would do on the 3 albums after this. It's still good though. The band's style is also less refined. Later albums really like to go crazy with the funk and world influences. Talking Heads: 77 still has a bit of that, but it's definitely a bit more... well I don't want to say "basic" but it's the closest I've got. Of course, the band still sticks out as being very unique, all things considered. The instrumentation is still very enjoyable to listen to, as is David Byrne's eccentric vocal style. The songs, as always, are the big thing here. I love the opener, "Uh Oh, Love Comes to Town." It is a perfect intro to the band's career. "No Compassion" might be the most autistic song I've ever heard. This title is only rivaled by other Talking Heads songs. I am allowed to say this for two reasons. Reason 1 is that David Byrne, the man who wrote these songs, is autistic. Reason 2 is that I am as well. Great song. And of course, I have to talk about the biggest song from this album and, in some ways, the entire Talking Heads discography, "Psycho Killer." Between its incredibly iconic bassline, off-kilter lyrics presented in David Byrne's humorous style, and generally odd feel, this song has stood the test of time as an absolute classic. There really isn't a bad song in the bunch. Overall, while Talking Heads: 77 may not be Talking Heads at their peak, but it sure was the album they made in 1977. It is a strong debut album from a band that I really love. High 4/5.

Phrenology

The Roots

4/5

Ooh... I can get behind this. I guess I like the Roots now. Who would've known that the band that plays for Jimmy Fallon would make music this good. I'm not really a fan of Jimmy Fallon. He's not the worst late night host. Hell, he's not even the worst late night Jimmy. But compared to someone like Conan O'Brien who is a literal blessing on humanity, Fallon just kind of exists. The Roots are cool though. This is their 2002 album Phrenology. I really like it! The style is pretty cool. The instrumentation from the band itself is pretty nice to see. Sometimes it's a bit overpowering in the mix, but that's not a huge issue. Black Thought's rapping is pretty solid. I like his style. Not only can he rap, but he definitely has enough, well, thought to make these songs feel like they actually mean something. The writing is good, as are the songs themselves. The balance and variety are quite good. The vibes are nice. The album has strong variety, which I always like. The fact that this isn't even considered their best album has me intrigued to possibly check out some of their other stuff. Good album. Strong 4/5. EDIT: I have a newfound respect for Jimmy Kimmel, so Fallon actually is the worst late night Jimmy after all. At least he made the Roots more popular.

The Scream

Siouxsie And The Banshees

3/5

This list sure does make post-punk seem like the most important genre on the planet even though it really isn't, doesn't it? Siouxsie and the Banshees are definitely an important and iconic enough band to be included on this list for sure. But we already have Juju on the list. Adding the band's debut album, The Scream, feels kind of redundant. There's not much that The Scream does that other albums on this list don't already do. Obviously, Juju does the stuff this album does but better seeing as that is generally considered to be the band's best album. But even outside of Siouxsie, there's not much this album does that you can't also find on something from a band like Sonic Youth, Joy Division, or the Cure. Admittedly, this is one of the earlier albums in the genre, so it does help establish things that became common place in the genre. But I still think this album is just pretty good and that's it. This is obviously not a bad album. The instrumentation has a solid vibe. Siouxsie's vocals are interesting in a good way. The writing is kind of vague. The songs are good. There's an interesting Beatles cover in here. The Scream is a good first showing, but I wouldn't really call this an essential listen. It's still good though. High 3/5.

1999

Prince

4/5

Hell yeah! I'm always down for some Prince. Purple Rain is still one of the best albums I've listened to for this album project, so I was excited to listen to its predecessor, 1999. In a recently released video on Michael Jackson by one of my favorite music YouTubers, this album was likened to being Prince's "Off the Wall" in that its the album that put him on the map, but was just before the huge one that everyone knows and loves. Now, I have yet to listen to Off the Wall, but I have now heard both of the Prince albums in question. I don't know where I was going with this tangent. I guess now's a good time to say that this album isn't as good as Purple Rain, but that's kind of a given. Not many albums are. However, 1999 is still an excellent album. There's a ton to love here. The music is just awesome. The blending of funk, synth-pop, R&B, and new wave that made Purple Rain so great is still here in full force with a solid amount of variety between each song. The songs, by the way, are all good, with the best ones being phenomenal. I don't think any of the songs here are better than the best songs on Purple Rain, but songs like the opening title track and "Little Red Corvette" get pretty close. Of course, those are the first two songs, which leads me to a slight complaint regarding the album. It does kind of peak at the beginning. The opening tracks are excellent. Those two I mentioned earlier plus "Delirious" make up an excellent first side. But while the later part of the album does have some great songs, including the closer, "International Lover," it doesn't reach the highs of the first few songs. As for other complaints, the album is definitely on the longer side, largely due to the song lengths. I wouldn't say the album or its songs drag on for too long, but some of them kind of push that line a bit. Still, all of the time spent is spent well with some great music. Additionally, some parts of the lyrics weren't my favorite, but that's just my personal taste. Still, the good things about this album more than outweigh the few minor nitpicks I have. Prince's style is as strong as ever in this absolute classic of an album. With its playfully sexual theming, fantastic musicianship, and the sheer showmanship of Prince himself, 1999 has its place in music history as a bold album that was a sign of great things to come later. High 4/5.

Hot Rats

Frank Zappa

5/5

Holy crap. This is incredible. Here we have my final album on the list to prominently feature Frank Zappa. I've listened to both of the Mothers of Invention albums on the list and liked them both. Freak Out! especially was a highlight. But this solo album of his? Hot Rats? I'm speechless. This album is a genuine masterpiece. Unlike the Mothers albums on the list, which take more of a full-on avant-garde approach to music, Hot Rats shows strong musical sensibilities through its stellar jazz-fusion compositions. The Mothers albums on the list focus more on their lyrical themes, supplementing them with avant-garde compositions that aren't the easiest on the ears. Hot Rats is still a fairly unconventional album, but in a different way that appeals to me even more personally. You see, Hot Rats is mostly instrumental, so there really can't be a focus on satire like the Mothers albums. Instead, Hot Rats shows off compositions that are full of musical talent that is used in crazy ways. The jazz-fusion style is the kind of thing that I just adore. Zappa's guitar solos are stunning in their own right, but they're heightened even more by the additional instrumentation. All 6 songs on the album captivated me entirely. The one song with vocals, "Willie the Pimp" is pretty cool. It features Captain Beefheart on vocals, which is good because I need a primer for the inevitability that is my first time listening to Trout Mask Replica, whenever that ends up being. I don't know what to say. Hot Rats is peak music. It really just speaks for itself. 5/5.

Beach Samba

Astrud Gilberto

4/5

Well that was nice. I don't have a ton to say about this album. I wouldn't say it's better than her ex-husband's work with Stan Getz on the legendary Getz/Gilberto, but Astrud Gilberto's 1967 album Beach Samba serves as a very pleasant and consistent collection of music. This is a very short album, so I'll try to have a shorter review. The style is enjoyable for me to listen to. It's soothing, as is Astrud Gilberto's singing. The writing is simple, but effective. There's really nothing here I dislike. I don't feel too strongly about the album, but I do feel positively about it, which is all that matters. 4/5.

Dookie

Green Day

5/5

If you think about it, 1994 was an amazing year for albums. Sure, you have stinkers in there, but the sheer amount of top-tier albums to come from those 12 months is impressive, and Dookie is absolutely one of those top-tier albums. What can I say? I love Green Day. They've always been the definitive pop-punk band in my eyes, and for good reason. All three band members prove themselves on this album to be immensely talented. Between Billie Joe Armstrong's angsty vocals and infectious guitar riffs, Mike Dirnt's excellent basslines and entertaining backing vocals, and Tré Cool's sharp drumming, Green Day prove themselves to be an absolute power trio in this iconic album. This album is all killer, no filler. It's just 40 minutes of pop-punk at its absolute peak. The album is insanely consistent, but not repetitive. There are many musical moments that stand out here. From the bassline on "Longview," to the lovable vocal harmonies on songs like "Pulling Teeth" and "Basket Case," this album ensures that the music doesn't go in one ear and out the other. The lyricism of the album is a tad juvenile, but that's not really a fault of the album. I think that, given the context of Green Day's career up to that point, the punk ethos at large, and youth culture as a whole, it actually creates an experience that perfectly encapsulates a certain feel that is hard to sing about in a way that feels both authentic and not completely cringe-worthy. It definitely helps that the songs manage to stand out and aren't just 15 different songs about girls, unlike other "punk" albums I know. I really have no complaints about Dookie. The pacing is perfect and the songs are all great. The album has "When I Come Around," okay? It may be called Dookie, but this album is anything but shitty. 5/5.

Bongo Rock

Incredible Bongo Band

4/5

I've got to say. Of the two albums on the list from bands called the "Incredible [instrument] Band," this one is WAY better. Does that mean I prefer bongos to string instruments? Well, seeing as I literally play a string instrument myself, no. However, I do really like Bongo Rock, even if the album's name is only 50% true. This is not a rock album. It's definitely closest to funk, if anything. The bongo thing is true though. Very true, even. Michael Viner gets his Incredible Bongo Band to bongo all over the place with this album, and it's pretty good. It's all instrumental, but the instrumentation itself is quite strong. It's very fun and enjoyable. Somehow, I don't think there are too many bongos in this album. I think that, given the whole Bongo Band thing, the amount of bongos in this album is sufficient. There's also other instruments like horns and stuff that I enjoy just as much as the bongos. Of course, the thing that this album is known for nowadays is just how much it's been sampled over the years. I've reviewed albums before that revolutionized sampling by doing that thing amazingly. Stuff like Paul's Boutique, Endtroducing, and Since I Left You, you know? But I haven't talked about an album that's important to its history by being sampled as much as an album like Bongo Rock has. "Apache" is the clearest example of this. Apparently, this one song has been sampled over 800 times. That is insane. Of course, this isn't because of the album itself, right? Well, it kind of is. Had these musical compositions been utterly boring, I don't think this album would have the legacy it does. The compositions aren't boring though. I think the high quality and energy of these songs is what has intrigued producers for enough decades to put these songs to good use as sample material. Even on its own though, Bongo Rock serves as a solid collection of fun music. Light 4/5.

Yank Crime

Drive Like Jehu

4/5

Really? This is the one and only emo-adjacent album on the list? What gives? Well, apparently, the creators of the 1001 albums book are biased as fuck. There's literally a whole paragraph on the page for Arcade Fire's Funeral calling emo "garbage." That's just unprofessional. So yeah. No My Chemical Romance, no American Football, no Sunny Day Real Estate, but we get Drive Like Jehu? I don't understand this list sometimes. Anyway, the album's good. It's not peak music or anything, but I get the appeal. The sound is cool. It's definitely on the more harsh and aggressive side, which can work, but not always. Fortunately, I think it works on this album. These songs are pretty good and it's largely because of the awesome instrumentation. The singing is basically just screaming, but in like a kind-of cool way. I don't know. It fits the vibe. The writing is interesting. This isn't just "I hate everything and the world and you." It has songs about history and stuff! Neat! Overall, I don't know if this is an essential listen, but I like it nonetheless. Cool album. Light 4/5.

Elvis Presley

3/5

Well, well, well. If it isn't the real Elvis. I'm sorry Costello, but when it comes to musicians of the past 100 years with cultural impact, it's damn near impossible to top Elvis Presley. I'm not saying it hasn't been done. I'd argue the Beatles and Michael Jackson are just as, if not more, significant than Elvis, but it's a close race. Speaking of race, 50s rock and roll, am I right? Yeah, let's get this part out of the way. Elvis Presley did not write any of his own songs. Many of them were taken from black artists. However, in regards to Elvis specifically I'd say this was a net positive overall. Not the whole "not writing his own songs" thing but specifically the part where you look at the history and realize that Elvis was partially responsible for African-American music styles reaching a broader audience, which is good. Of course, this could've been anyone, but I think Elvis specifically was the one who managed to do this because of his respect for African-American culture. This isn't a Jerry Lee Lewis situation. From my research, Elvis had a genuine care to see this kind of music succeed, largely because he grew up with it. So, to sum up my thoughts on the whole "was Elvis good" debate, I think he was, relatively speaking. Oh yeah, the album! I got so caught up talking about Elvis Presley, the guy, that I forgot I was writing a review for Elvis Presley, the album! To be honest, it's hard not to seeing how influential Elvis was on culture at large. The album's good. Generally speaking, I'm not huge on 50s rock and roll, but this is a pretty solid album as far as those are concerned. My big problem with 50s rock and roll is how repetitive it is. Fortunately, while the lyrical themes are a tad repetitive, the sound is not. These songs feel different from one another! You could categorize them into categories like upbeat songs and slow songs, but I don't think that matters much. I'd say it's more so the constrictions of the time and genre rather than Elvis himself lacking the ability to do other music things. Speaking of Elvis, his performance on this album is solid! There's a reason why he became such an icon. I'm not huge on the singing for some songs, but it's mostly good. The instrumentation is nice. None of the songs are particularly offensive. At most, they're vaguely questionable. Overall, this is a solid package of songs. However, this is definitely one of those "I respect it more than I actually like it" albums. The impact of this album is hard to deny, but I also can't say I loved it. It's good though. Solid 3/5.

Bizarre Ride II The Pharcyde

The Pharcyde

3/5

"Oh this album seems cool! Let's look at the first song's lyrics!" I said as I started the album. "Rah," says the transphobia as it transphobes all over the place. *sigh* Same as it ever was, I suppose. Yeah that one kind of gave me a bad first impression for the album. Did the rest of the album manage to be better and make up for it? Well, not quite, but I also wouldn't call this a bad album. There are definitely things to enjoy about Bizarre Ride II the Pharcyde. The big one for me is the production, which I really like. It's nice and jazzy. It definitely gives off some A Tribe Called Quest vibes, which is never a bad thing. The skits are also mostly solid. Some of them are kind of funny, as are some parts of the lyrics. The writing is probably the biggest hit-or-miss aspect of this album for me. You have big problems like the aforementioned transphobia verse on "Oh Shit" and a general sense of questionable attitudes towards women that runs through the whole album, but there are some funny moments to, with some songs being pretty good. "Passin' Me By" is a highlight. The rapping itself isn't my favorite, but it's good. Not everyone can be Pac or Biggie. Overall, Bizarre Ride II the Pharcyde is a flawed album that hasn't aged the best, but has some elements that make the album stick out as a unique one for the time in some good ways. 3/5.

Merriweather Post Pavilion

Animal Collective

4/5

Woah. Cool illusion on the album cover! I've genuinely never seen that before! Anyways, this Animal Collective album is really good. It kind of gives Beach House vibes. I don't like this album quite as much as Teen Dream, but it's still pretty freakin' great. The style here is pretty unique and I like it. It's got some psychedelic elements that I've seen compared to the Beach Boys. I kind of get it, but not a ton. The electronic and indie elements add to that to create an album that feels modern. I enjoy the sound of the album, and the singing is a big part of that. This album's got some nice harmonies. I like that. The writing is also considerably pleasant. A good chunk of these songs relate to romance, as is often the case. These songs focus on the topic in interesting ways though, with songs like "Summertime Clothes" and "Bluish" being strong examples of this. The album even has some songs about having kids and family! That's so sweet! This is just a very pleasant album to listen to. It's a decently varied album with a lot to love. This is the kind of late 2000s indie album that belongs on a list like this. High 4/5.

Selected Ambient Works 85-92

Aphex Twin

5/5

You know, I've complained a lot about 90s British electronic music on this list. Too many of those albums now have just bored me to death. It doesn't help that a lot of them just have no reason to be on this list. But there are some that belong here, and if there's any 90s British electronic album that deserves to be called a must-listen, Aphex Twin's debut album, Selected Ambient Works 85-92, is a strong candidate. Aphex Twin in an interesting figure to me. He's had such a long and acclaimed career and is considered by many to be one of the greatest artists in the whole genre. Do I get it? Believe it or not, I do! This is a great album! I get it. I see the appeal of Aphex Twin. The fact that these songs were made between 1985 and 1992 astounds me. It's fair to call this album ahead of its time in many regards. The songs are actually pretty varied. That's the thing that's really pissed me off with worse albums. They just feel like 70+ minutes of the same thing over and over again. SAW 85-92 doesn't feel like that though. Compare the chill ambient vibes of a song like the opener "Xtal" to the absolute peak comedy that is "Green Calx." I love both of those songs in very different ways. The latter has a boing sound effect! I love it. All throughout, whether the music is a chilling song or a dancing song, the vibes are just excellent. The production is very respectable. The fact that the earliest of these songs were made when Richard D. James was just a teenager is crazy to me. But you wanna know the best part of the album? It actually doesn't drag. This album didn't feel like 74 minutes to me. The length of the album actually feels justified given the nature of the project. I was engaged through the album by its impressive technical qualities, strong vibes, and the boing noise in "Green Calx." I may not be as big on it as others are, and I still wouldn't say I'm a huge electronic fan. But Aphex Twin is an artist I can get behind. I'm very happy to have finally listened to this legendary album. Low 5/5.

A Girl Called Dusty

Dusty Springfield

3/5

Repeat artist time! Dusty Springfield is an artist that probably has an argument for two albums on here, but this album doesn't really stand out to me personally. I loved Dusty in Memphis, but this debut album of hers just isn't as strong. I mean, it doesn't have "Son of a Preacher Man," so obviously it's going to be weaker. However, I think it's best if I try my best to explain why this is. I think it really boils down to A Girl Called Dusty feeling like a product of its time, if not a product of a slightly earlier time. This definitely feels like a 50s/early 60s album. As is often the case with those albums (and also Dusty in Memphis), Dusty didn't write any of these songs. Albums that fit this label can obviously be great. Again. I loved Dusty in Memphis. However, I feel like that album made the songs feel like Dusty's even if they technically weren't. This album's songs feel more like covers though. They're good covers, but they do feel like covers, which isn't a good thing for these sorts of albums in my eyes. Dusty's singing is still good, and I like the instrumentation, but I don't feel as strongly about it as I did for Dusty in Memphis. It just feels a bit dated. Overall, this is a good album, but not one that I really feel the need to go back to. 3/5.

Protection

Massive Attack

4/5

So, this is my first Massive Attack album? I would say I'm probably the first person in the world whose ever listened to Protection before Blue Lines or Mezzanine, but that's definitely not the case because of other people like me doing this project who didn't check out Massive Attack until getting an album of theirs from the project, and Mezzanine isn't even on the list, so we couldn't start with that one! Anyways, people say that this isn't their best album and I can kind of tell. With that said, I do like Protection quite a bit. Massive Attack is one of the biggest names in the trip hop scene, with the only name that even comes close being Portishead, who I have listened to an album from. That album, Dummy, was phenomenal. I love that album. Protection isn't as good, but it did evoke some of what I loved about Dummy, which I can now chalk up to being things that I like about trip hop as a whole. The production is probably the biggest part of this. Protection's production (try saying that five times fast) is great. It's got some good vibes. It's mostly chill, but you've got some slightly heavier parts of the album. The vocals are varied throughout the album, which I think is pretty cool. Some songs have more of a singing thing going on like Portishead, while others take more from hip-hop with the inclusion of fellow trip hop icon Tricky. The writing is somewhat interesting. The album's good. I enjoyed it and I am very intrigued to hear better albums of theirs. 4/5.

Cypress Hill

3/5

Damn. This list really does have just about every notable 80s/early 90s hip-hop group, doesn't it? Oh well. I'm not going to deny Cypress Hill from having an album on here, now am I? This may not be my favorite early 90s group hip-hop album, but it's pretty good, I'll give it that. It's a bit different from something like Run-DMC or Public Enemy, largely in the production front. I like this album's production. It's interesting, especially for the time. I like it. The rapping is also a bit unique, mainly in regards to B-Real's rapping style. I can see why others would be annoyed by it, but I think it works. It's certainly characteristic, I'll give it that. The writing, of course, is the focus of albums like this, I think. The writing on here hasn't aged the best, but it could've aged a lot worse. There's not as much misogyny on here as there is something like that Pharcyde album I got earlier this week. Still, this album does tend to have its writing fall into some general cliches of gangsta rap. Hating cops, loving drugs, killing people, stuff like that! This was 1991 though, so this album did kind of help establish some of the aspects that would become fundamental to West Coast hip-hop especially. Overall, this is a fairly influential album that's also pretty good. It's not my favorite, but I like it and respect it. High 3/5.

Miriam Makeba

3/5

Why are there so many albums on here from Africa but there's like nothing from Asia? You have a few Indian artists and like one guy from Pakistan, but other than that there's nothing from Asia compared to how many albums I've gotten from Africa? Why is there nothing from East Asia? I don't get it! Whatever. This Miriam Makeba album is alright. I don't have a ton to say. It sounds nice. It seems they've got some good instruments in Africa. Miriam's singing is also pleasant. I think it's cool that this album shows off sounds that aren't in the English language, specifically that clicking sound that's highlighted in "The Click Song." That's not really a music thing though. That's more of a language thing. The album's nice and short. I think the writing's good. The album's good, but I'm not too invested in it myself. 3/5.

White Ladder

David Gray

4/5

Now here's an album I'd never really heard of before. But how could that be?! This thing's sold over 7 million copies worldwide! Well, you want to know why I've never heard of it? It's because I'm American. Yeah, this is one of those sorts of albums that's huge in the UK, especially upon release, but is practically unheard of in the US, and because the book this list is from is UK-based, stuff like this is going to make it on. I can't be too mad though. The British public in 1998 didn't have a terrible taste in music. This album's good. I can see why it's successful. I can also see why others aren't really into it, but that's true for a lot of things that I like. Admittedly, this album is kind of in that early Coldplay territory where it's not the most complex thing on Earth, far from it actually. However, I still think it's a nice listen. The writing does its job at having meaning, though it's not going to make you think real hard either. David Gray's singing is alright. It's kind of like a mix of Bob Dylan, Elton John, and Bono in a way. Maybe I'm crazy for thinking that, I don't know. The sound is nice. It feels a bit more modern than '98, or maybe it doesn't. I'm not sure. It sounds good. The songs are solid. "Babylon" was a huge success for a reason. Even the least popular songs on the album are still solid in my eyes. Overall, White Ladder is an album that I, along with a ton of British people in the late 90s and 2000s, like quite a bit. It's good. Low 4/5.

Ogden's Nut Gone Flake

Small Faces

4/5

Man. It has been a weirdly long time since my last 60s psychedelic rock album. There was a time where I felt like I was getting one of these things every other day, but now I'm kind of surprised to get one! The last album I got that's definitively 60s psychedelia was the Zombies' Odessey and Oracle, which was nearly 2 months ago at this point! Wow! Sorry to all the Small Faces fans out there, but this album is not nearly as great as that one. It's still quite good though! I enjoyed this album. It's pretty interesting. Ogdens' Nut Gone Flake is actually a bit of a concept album, largely in the second half, so that's cool. The first half is better though. Side A is a fairly standard psych rock affair. It's a really good psych rock affair, but it's nothing revolutionary. Still, songs like "Afterglow" and "Lazy Sunday" are quite enjoyable, with solid instrumentation, fun vocals, and good writing to back them up. The second half is the more interesting, albeit somewhat weaker half. It's a bit of a fairy tale, complete with narration from a guy named Stanley Unwin. It's unique, I'll give it that. The musical contents here are still quite good, particularly in the instrumentation. I think the narration is kind of goofy, but I think that's the point. It's kind of Monty Python-esque in a way, which is not something I'm complaining about. Overall, this is a neat album right here. It's not my favorite 60s psych rock concept album. I do prefer albums like The Kinks are the Village Green Preservation Society and (if it counts) Sgt. Pepper, but I would still call this album good by just about every stretch of the word. Light 4/5.

The Sun Rises In The East

Jeru The Damaja

3/5

The hip-hop representation on this list confuses me sometimes. Okay. Obviously, you have all the huge names on here, right? Pac, Biggie, Nas, Kanye, Eminem, Kendrick, you get the idea. Then you have some smaller names that are still influential, but aren't as talked about nowadays. Stuff like Grandmaster Flash and N*E*R*D, you know? There's some big misses that should be here. No Lil Wayne? No MF DOOM? Hello? But then you have people that ARE on the list where you see the album and you're like "Literally, who?" That's this album. Who the hell is Jeru the Damaja and why is he standing in front of the twin towers burning up 7 years before 9/11? How did he get here? I'm sorry, but I don't think this album is noteworthy enough for a list like this. It's not a bad album. The production is solid. The writing is a bit basic by hip-hop standards and does fall into some of the pitfalls that plague early hip-hop. I can't say I was surprised to hear a homophobic slur near the end of the album. The rapping itself does its job. Nothing about this album is bad, but nothing here is unique either. What does this album provide that I don't already get from more iconic East Coast hip-hop albums of the time? Hell, even if we limit ourselves to 1994 debut albums, we already have Ready to Die and Illmatic. The album's fine, but not interesting. Still, I can't exactly fault it too much for blending in with other albums of the time. 3/5.

Stardust

Willie Nelson

5/5

You know, when I tell people that I'm not really a country fan, I have to specify that I'm talking about modern "bro-country" that plays on the radio for two main reasons. Reason 1 is that that's what most people nowadays (at least from my experience) are familiar with. I need people to know that I fucking hate Morgan Wallen. The second reason, and the relevant one for this review, is that classic country has some great stuff within it. I am of the belief that there is no such thing as a bad genre, and albums like this prove it. I love this album. Willie Nelson is one of the most legendary names in the country genre. You know what? He deserves it. This album's outstanding. The context behind it is pretty interesting. Willie was largely known as an outlaw country artist, with albums of his like Red Headed Stranger (which also appears on this list) being standouts of the genre. So, of course, he decides to make an album covering a bunch of pop standards of decades past. Why? Why not! It paid off, didn't it? I think it did. After all, the album has sold over 5 million copies. The album's also really good. Willie's singing is nice. Its undeniably country, but it also feels earnest and not like a Southern caricature. The instrumentation is just beautiful. It really is. It's fairly simple, but oh so effective. This is largely thanks to Booker T. Jones's excellent production, which works wonders with Willie's style. The songs themselves, as stated earlier, are pop standards from the likes of Hoagy Carmichael, Irving Berlin, the Gershwins, and a number of others. Let me tell you, these are some excellent renditions of these tunes. I think I read a review of this album that said something about how the covering of these standards was a good decision because it simultaneously appealed to people who grew up with prior version of them and introduced these great songs to a new generation. That's the beauty of a good cover, isn't it? All of these songs are great. I especially love the first three songs on the album, though the 7 after "Blue Skies" are still excellent. Overall, this album is the kind of thing that just sits right with me in so many ways. It's an endlessly pleasing and utterly timeless listen that deserves recognition on a list like this. It also might just be the best country album I've listened to so far. As far as I can remember, I have yet to give a country album 5 stars. Welp, that changes today! Low 5/5.

Berlin

Lou Reed

4/5

I didn't think it was possible at this point in the project, but I think this might be the most depressing album I've ever listened to. It's also amazing. Lou Reed is an artist that I'm pretty familiar with at this point. Between his other solo album on the list, Transformer, the 2 Velvet Underground albums I've listened to so far, and now this, this is the fourth album I've listened to that predominantly features him. I can't say I'm upset though. He's a talented guy. While I wouldn't call Berlin a better album than either of the Velvet Underground albums I've heard, I think I actually prefer Berlin to Transformer. I can explain why that is. Firstly, this is a concept album, and I love concept albums. Obviously, not every concept album is good, but I love the majority of ones I've listened to, and Berlin is no exception. I really like the overarching story that the album tells between the characters of Jim and Caroline. If I had to compare this to a more well-known concept album, I think the closest comparison would be Pink Floyd's The Wall, which is fitting since the two albums actually share a producer in Bob Ezrin. How cool! Another reason why I think I prefer Berlin is that the singing feels more fitting here than it did on Berlin. Lou Reed's singing is an acquired taste. I myself have become accustomed to it. It's really growing on me. I do think it works best on more somber compositions like the ones on Berlin. Admittedly, there are plenty of things that are either roughly equal between the two albums or slightly better on Transformer. The instrumentation is about the same level of great on both albums. I think Transformer does have some more standout songs than Berlin. Berlin's songs are great, don't get me wrong. However, I'm not sure if any of them on their own stand out as much as a song like "Perfect Day" did on Transformer. Berlin is more of a cohesive album experience type deal rather than a collection of some good songs. Ultimately, I do feel that this is a personal preference. I can't confidently call Berlin better than Transformer or vice versa. However, I have a preference. That could change though. It's been a while since I listened to Transformer. Berlin is great. High 4/5.

Bayou Country

Creedence Clearwater Revival

4/5

Man. I am well overdue for a Creedence Clearwater Revival album! It's finally time for me to listen to my first album of theirs, that being their second album, Bayou Country. It's good! I've only ever heard good things about CCR, and it's fair to say that my expectations for a solid album were met. The album's pretty short, sitting at only 7 songs with a 33 minute runtime. That time is spent very well though, as all 7 songs are pretty great. John Fogerty's songwriting is solid. It's fairly simple on this album, but still sufficiently effective in sending a message. I like all of the sounds. The guitar, bass, drums, and vocals all work well together, unlike the people behind them apparently. This album isn't going to blow anybody's mind away or anything like that. However, it is a remarkably strong showing that has stood the test of time and barely aged a day. It's some good stuff. I'm quite excited to hear what came later. 4/5.

Channel Orange

Frank Ocean

4/5

And with just one album, I have already listened to 50% of Frank Ocean's entire studio album discography. It's a shame. Frank Ocean's a talented guy, and Channel Orange is proof of this. I really like this album! There's a lot to say here with this album. I feel like my reviews as of lately haven't dived into specifics about each individual album as much. Maybe I'm just starting to feel the exhaustion of listening to nearly 600 albums at this point, but I feel like a solid chunk of my reviews as of lately could be interchangeable with each other. Let's avoid that issue with Channel Orange by talking about the specifics. I think the album has a pretty neat concept. The lyrical themes of love, sex, and longing are explored in very interesting ways. I think that's what makes this album appeal to me over other 2010s r&b artists. A lot of that stuff lacks substance in my eyes. I am using this as an opportunity to inform you all that I fucking hate Chris Brown. However, the songs on Channel Orange are meaningful and some of them are even stories. Let's get into some songs, shall we? "Thinkin Bout You" is a strong, chill opener that sets up the album pretty well. "Super Rich Kids" has great writing and good production. I mean, that applies to the whole album, but this song is a great example of that. I love long-ass songs, when they're done well of course. I have a whole playlist of them on Spotify. So, of course, I adore "Pyramids." It's probably the album's best song. The allusions to Cleopatra tell a captivating two-part story about a prostitute. The production on this one's amazing as well. I don't really need to address all of the songs. I just wanted to highlight a few specific ones. Frank Ocean's singing is quite good. The features are all great, with André 3000 on "Pink Matter" being the highlight for me. The pacing is excellent. I just really like this album. The fact that its followup, Blonde, is apparently better makes me really excited to listen to it eventually. It's not on the album list, but I'm sure I'll set away some time eventually to listen to it. Still, Channel Orange is an outstanding debut album. Not the best of all time, but quite a strong showing. High 4/5.

2112

Rush

4/5

Generally speaking, I don't want to live that long of a life. I want to die at a reasonable age before I get all decrepit and senile. With that said, I do think it would be really funny if I lived to be 106 just so I could listen to 2112 by Rush in the year 2112. Oh well. I guess I'll settle for listening to it in 2025. I can't be too upset though considering it's Rush. What can I say? I know what I like. Rush is great, and 2112 is a great album. I do like Moving Picture more, but that's just me. 2112 still has some great ideas though. As stated in my previous review for Frank Ocean's Channel Orange, I love long songs when they're done well, so of course the title track is my favorite song on this album. "2112" is a sprawling 20-minute-long epic split into 7 parts and I love it. It has everything that I love about Rush. The other 5 songs are good, but let's be real here. The focus is on "2112" the song. Geddy Lee's vocals definitely feature a bit more screaming here than on an album like Moving Pictures. His vocals are still definitely an acquired taste, but I've become acquired to them. His basslines are phenomenal though, as are Alex Lifeson's guitar parts and Neil Peart's drumming. I must reiterate that Neil Peart is one of the greatest drummers of all time, possibly even THE greatest. His songwriting here is pretty interesting. I don't think it's as good as the writing on Moving Pictures, but it's still good at telling interesting stories with unique vibes. I do, however, feel that I have to acknowledge the objectivist elephant in the room in regards to the title track. Yeah, turns out a lot of Neil Peart's early writing was inspired by the controversial writer and "philosopher" Ayn Rand, whose objectivist movement has garnered considerable criticism for turning countless teenagers into selfish, right-wing assholes. As far as the Randian elements of "2112," I'd like to make a comparison to a song from one of my favorite bands, that being "ATWA" by System of a Down. "ATWA" from the band's second album, Toxicity, was largely inspired by the ecological beliefs of infamous cult leader and Beatles nerd Charles Manson. I don't think either of these songs directly promote the beliefs or actions of their respective people. I think sometimes people are just interested in notable bad people and how their brain's worked. These songs both incorporate the less questionable elements of the beliefs in question, so I don't think it's that big of a deal for either of these situations. I could see how some would be turned off of an album like this for that connection, but I see it as kind of a slightly-questionable, albeit relatively harmless source of inspiration. After all, some of the greatest songs in history were inspired by tragedies and villains of the past. So, in conclusion, "2112" the song and 2112 the album are pretty good. Not quite Rush at their peak, but it's some great stuff nonetheless. High 4/5.

The Specials

3/5

Well, as it turns out, a second go at things does not always make you fall in love with something you didn't originally care for. Case in point, the Specials! I listened to their second album, More Specials, in my very first month of the album project, that being October 2023. In the 19 months it's been since then, I've listened to a ton of albums and my taste in music has changed considerably. I've even enjoyed a number of ska-adjacent albums in this time! It's a small number, but it's a number. However, I think this band just isn't really my thing. Don't get me wrong. I have respect for the Specials. Anyone who shows as much disdain for the National Front as much as they do on this album earns my respect automatically. Combine that with the influence that this band has had on the evolution of ska over time and you have a band that I would say deserves an album on here. AN album. They don't need two. Of the two on the list, I would keep this one. The writing on this album has some good points to it... sometimes. There are some songs near the end of the album that I find to be a tad misogynistic for my taste. Still, the political themes early on do appeal to me. The style is alright as well. What can I say? I like brass instruments. I would never play one myself, but I like hearing them. I'm not huge on the singing, but that's just me. It's a minor footnote, all things considered. Finally, my last complaint is that this album does feel pretty long. It's only 45 minutes, but I feel like an album of this nature doesn't really need to last that long. Cut the misogynistic songs at the end and you've got a better album. As it is now, I think I'll give The Specials (the album) a 3/5.

Tubular Bells

Mike Oldfield

4/5

Now this is the kind of album that I could see someone absolutely adoring or completely despising. Mike Oldfield's 1973 album Tubular Bells is a number of things. It's mostly instrumental. It's comprised of what is effectively one long song split into 2 parts with unique segments within each part. It's mostly the work of one guy. It's fairly proggy. Most importantly of all for this review, it is an album that I like. I enjoyed Tubular Bells. Is it my favorite mostly instrumental album that only has two tracks? No. Miles Davis has it beat with In A Silent Way. However, Tubular Bells is an album that appeals to me. I enjoy cool compositions that last for a long time if they're done well. I've mentioned this a lot lately. Between "Pyramids" on Channel Orange, the title track on 2112, and this, I've now acknowledged my love of long-ass songs in three of the past 4 reviews, which is interesting. I can see why others may not like Tubular Bells as much as I do. It can be seen as a bit repetitive and it's not the most engaging album in existence. However, I could never give an album like this a low score. It's Tubular Bells, man! Good stuff. Low 4/5.

Green River

Creedence Clearwater Revival

5/5

Well, I guess it's only fitting for me to get two CCR albums in the same week given how all of their albums were released in such close proximity with one another. I can't be upset though. Creedence Clearwater Revival is one of those bands whose success just makes sense. These guys knew how to make great music, and Green River is proof of that. I liked Bayou Country quite a bit, but I knew it could be improved upon. Lo and behold, CCR managed to do that just 7 months later. The fact that they released so many albums in such a short time is insane to me given how good they (presumably) all are. Green River is fantastic. It's only 29 minutes long, but it is 29 minutes of great music with no room for filler whatsoever. This may just be the greatest sub-30-minute-long album ever made. Maybe it's not though. I still haven't gotten Pink Moon yet. Come to think of it, Reign in Blood is also under 30 minutes, and I think I like that album more. Forget the other things I said. Let's go back to praising Green River. Everything that worked on Bayou Country is improved upon in this album. John Fogerty's writing is as strong as ever. Songs like the title track provide strong imagery, while "Bad Moon Rising" has such a unique blend of a happy feel and fearful lyrics that I absolutely love. The musicianship here is incredibly consistent. Again, there's no room for filler. All 9 songs are great. CCR proves themselves once again with an album that hasn't aged a day in the 50+ years since its release. It's great. Low 5/5.

Fred Neil

3/5

My reviews have been getting too long. I need to go back to the old days of not writing much about albums, and this is a good candidate to do that with. This album's alright. There's nothing particularly bad about it, but it's not special in any way. Fred Neil's writing is okay. Not outstanding, but not bad. The style is simple but pleasant. The album's not too long. This is an album that doesn't really need to be on the list, but not because of anything bad about the album itself. It's just that there are many albums that do similar things to this one but better. Fred Neil's okay, but not amazing. 3/5.

Will The Circle Be Unbroken

Nitty Gritty Dirt Band

3/5

Holy crap, that was exhausting. I can't say I ever wanted to listen to country music for nearly 2 hours straight. Am I glad I did it? No, but I'm not upset either. Quite frankly, this isn't even the worst experience I've ever had with country music, mostly because this music is actually good. Need I mention again my disdain for modern radio country? Still, the Nitty Gritty Dirt Band (hilarious band name btw) had some good ideas with this album. It's just that making it nearly 2 hours in length isn't one of them. This album is certainly interesting. The album's a collaboration with a pretty substantial number of famous country and bluegrass artists of the time, which is pretty cool! It adds some variety, though the keyword here is "some." This album is kind of repetitive. That might just be the length talking, though. The writing is alright. It definitely gives off country vibes in a way that I don't hate. One thing that I actually like about this album in regards to its cohesion is how some of these songs have audio from the studio at the beginning, which comes as a result of many of these songs being unprocessed takes. That's neat. It makes the album feel more authentic, and authenticity is something that I think a lot of "country" lacks. The instrumentation is quite good as well. Again, it is a tad repetitive. But there's a fiddler throughout the album, okay? I like the sound of the album. Overall, Will the Circle Be Unbroken is a fascinating album that I understand the importance and appeal of, but I don't think I ever want to listen to it again. Still, I enjoyed my time and I would call this a good album. Light 3/5.

Doggystyle

Snoop Dogg

3/5

Man... I wanted this on April 20th... That would've been the funniest coincidence in the history of the 1001 albums project. Damn. Anyways, let's talk about Doggystyle... the album, that is. This is definitely an album with a solid case for inclusion on a list like this. For one, Snoop Dogg is undeniably a legend of hip-hop history. Sure, he may be a bit of a sell-out who will do literally anything for money, but his music still has a solid legacy, with this album has the strongest of any in his discography. Additionally, alongside Dr. Dre's The Chronic one year prior, this album helped pioneer the G-Funk scene of West Coast hip-hop, which has proven to still be influential even in the current days of the genre. I guess one could argue that The Chronic's inclusion makes Doggystyle a bit of a redundant pick, but I wouldn't really say that myself. Alright, let's talk about the album itself now. I think it's good. It's not my favorite, but I see the appeal. I'll start with my big sources of praise. Dr. Dre's production is outstanding. It's just great. I don't have much to say. It just feels cool. Snoop's rapping is solid. He's definitely a unique character within the genre, and his rapping demonstrates that. There's some pretty good songs on here, with the singles like "Gin and Juice" and "Who Am I (What's My Name)?" being strong highlights. However, I have problems with the album, mostly in the writing department. Yeah, not only are this album's lyrics kind of repetitive, but they also haven't aged the best. There's only so many times you can hear the word "biatch" before you question what you're doing with your life. I get that it reflects the culture of the time and it does do a good job of doing that, but it's still kind of problematic. Still, the good elements of this album do make it a worthwhile listen in 2025, mostly as a piece of music history. Also, the skits aren't my favorite, but they're not Ready to Die levels of bad for me. I guess Ready to Die is probably the closest comparison I could make for this album. Not so much in the sound, but in the lyrical issues and cultural impact. So, I'll give this album a similar score, which is, of course, a Thrizzle/Fizzle. I'm sorry. High 3/5.

Wonderful Rainbow

Lightning Bolt

2/5

Oh boy, another album that's in the bottom 20 of this website! And it's noise rock, my favorite! I'm being sarcastic, of course. I wasn't super excited for this album. But you know what? It's not the worst thing I've ever heard. Dare I say, I'm not upset to have listened to this. That doesn't mean I don't have issues. Here's basically my thoughts on the album. I think there are some good elements here. The instrumentation is crazy and unique. I don't love it, but I respect this style. It's noisy, but not too noisy, at least for me. It definitely feels like music, albeit a fairly unconventional style of music. However, while I feel that these songs serve as good starting places for something, I don't think they work super well on their own. Like, a song like "Assassins" could make for a pretty cool beat for something like a Death Grips song. It's crazy and it has an interesting feel to it. However, you listen to the song and you're kind of like "That's it?" These don't really feel like complete songs. They could be really cool as parts of songs, but I don't really vibe with them as they are. I respect this album, sure. However, I don't really vibe with it much myself. Still, this is not the worst inclusion on the list. High 2/5.

Fulfillingness' First Finale

Stevie Wonder

4/5

I mean, it's Stevie Wonder. That practically guarantees at least a 4/5. Of the four Stevie Wonder albums on this list, Fulfillingness' First Finale is definitely the one that's talked about the least. I mean, it's not a near-perfect masterpiece like Innervisions or (I presume since I haven't gotten it yet) Songs in the Key of Life, nor is it the career turning point that is Talking Book. Speaking of SITKOL, I'd normally be upset about that being my final Stevie Wonder album of the project, but seeing as I managed to get them all in order, with me getting them in the order of Talking Book, Innervisions, FFF, and then eventually, SITKOL, I can't say I'm too mad. How could I be when all of these albums are great! Back to FFF, I guess I could compare this to another forgotten third album in a legendary 70s 4-album run, Pink Floyd's Animals, an album that I haven't reviewed because it's not on the album list. I've heard it though, and it's a masterpiece. I'll talk about it on the user list. Anyways, Fulfillingness' First Finale is pretty good too. It's one of the weaker Stevie Wonder albums I've gotten so far, but it's still better than a considerable amount of albums I've listened to. Talent-wise, this is still Stevie at his peak. Everything from his lovely voice to his wonderful songwriting to his outstanding instrumental performances captivate the listener the whole way through. FFF is definitely a more mellow album than something like Innervisions. It still has a groove, don't get me wrong. This is obvious on songs like "Boogie on Reggae Woman" and "You Haven't Done Nothin'" but the album does take a bit of a slower pace at times. It's all good, but the album doesn't really have any masterpieces of songs like Innervisions or even Talking Book. I guess the closest it gets is with "You Haven't Done Nothin'" or maybe "Heaven is 10 Zillion Light Years Away," but I don't think they're as phenomenal as songs like "Superstition" or "Higher Ground." Still, none of them are bad. I feel like this album gets kind of forgotten because it's just a solid album in the middle of masterpieces. This is still a great album, don't get me wrong. However, he has better. Solid 4/5.

With The Beatles

Beatles

3/5

Okay. Why has it been over 13 months since my last Beatles album? I got 4 of them in the first 6 months or so of the project and then, for some reason, I had to wait 13 months for another! Whatever. In the time since then, I've become more passionate about my enjoyment of the Beatles albums I've heard. However, the four I've heard before today are all considered must-listens. Abbey Road, Sgt. Pepper, Rubber Soul, and the White Album are seen as some of the greatest albums of all time. Well, okay, Rubber Soul isn't as big as the other three, but it's still an essential listen! With the Beatles is not an essential listen. You may be wondering? Why was this Beatles album put on the list? Well, I don't think With the Beatles was put on because of the album specifically. This, to me, is effectively the representative of the band's early days, which are still quite important to the development of the band we've all known and loved for the past 60+ years. There's something oddly charming about early Beatles songs. Like, this is nowhere near as good as the stuff they would make later. Let's get that out of the way. Compared to albums like Abbey Road and Sgt. Pepper, With the Beatles is just worse. However, I still enjoyed my time With the Beatles. It's cute seeing some standard rock and roll that seems like child's play today knowing that these guys would go on to write masterpieces like "A Day in the Life" and the whole Abbey Road medley. But for now, we get simple love songs like "All My Loving" and "It Won't Be Long" interspersed with some covers. I don't know what it is, but there's something about an album like this that I like a lot more than something like an early Rolling Stones album. Maybe it's the fact that there's not as much blatant misogyny. Maybe the Beatles are just more charming characters. Maybe I'm just biased. Who knows? With the Beatles is a fun time, but not one that stands toe-to-toe with other albums of the time and albums that would follow. I still enjoyed it though. High 3/5.

Tank Battles

Dagmar Krause

2/5

Oh my god! There's another album on here with a tiny album cover! I thought Coldcut would be the only one, but here we are! This also fits in another category of albums I've heard previously only occupied by 1 album, that being the niche category of German cabaret albums. I got Ute Lemper's Punishing Kiss about a month and a half ago. I hated it. It sucks. It's so bad. My expectations for Tank Battles weren't very high especially seeing as Tank Battles is also the fifth lowest rated album on this website. I thought for sure I would hate this album too. But you know what? I didn't hate it as much as I thought I would. Don't get me wrong. I'm not a fan of this album. I've actually been keeping track of a ranking of every album I've listened to for the project in 2025 so far and this album is the fourth-worst so far. Punishing Kiss is at the bottom. If you want to know the best one, it's currently Master of Puppets by Metallica. I'm probably the only person to ever mention Metallica in a review of this album. Let's actually talk about Tank Battles. It's weird and it doesn't have much info about it. I couldn't even find the lyrics, so I have no idea what they said. However, from what I can tell, this album appears to be an anti-war album of sorts, so I can at least respect that about this album. The writing saves this album from being total garbage like Punishing Kiss. The sound is interesting. It's definitely got a theater vibe to it. I think some songs are kind of annoying, but others are alright. I wouldn't put any of them on my Best of the Albums playlist, but it's not like I could if I wanted to. Like the Coldcut album that also has a tiny icon on this website, Tank Battles isn't on streaming, so I had to listen to it on YouTube. I'm fine with that though. I'm not missing out on much. The singing is kind of odd. I don't hate it but I'm not personally huge on it. That's kind of how I feel about the album. I don't hate this album for existing (though I do question its inclusion on this list), but I myself am not really a fan. It's just not my thing. 2/5.

Buffalo Springfield Again

Buffalo Springfield

3/5

Buffalo Springfield Again? But this is my first time with them! There is no "again" for me! Well, that's not to say that this album is completely unfamiliar to me, as Buffalo Springfield's lineup around this time did include two people involved in a number of albums I've listened to for the project, those being Neil Young and Stephen Stills. Okay! I like the music I've heard from both of them and Buffalo Springfield is no different. However, of all the albums I've listened to with either of their involvement's, this is probably the weakest thus far. I like this album. It's good. There are good songs on here. "Expecting to Fly" stuck out to me in particular. However, this isn't as interesting or cohesive as an album from something like Neil Young's solo career or even CSN/CSNY. This album definitely just kind of fits into the camp of "yet another 60s psychdelic/folk rock album." I like this kind of music, but it gets a bit repetitive, not so much with this album specifically, but in terms of representation on this list. The style here is solid. It's not my favorite, but it's good. The writing is also pretty good. Not spectacular like later albums, but good. That's basically this album. It's good, but I know that the people involved in this album's making went on to make much better albums and songs. So, yeah, this one's good, but not quite great. High 3/5.

Basket of Light

Pentangle

3/5

Pentangle sounds like a cool shape. I just wanted to say that. Let's talk about Basket of Light now. This is a good album. It's not a masterpiece, but very few albums are. This is kind of like Fairport Convention a bit in that it sounds pretty medieval. I like that. It creates a unique vibe that I personally enjoy. I liked the Fairport Convention album more though. Still, Basket of Light is a solid collection of songs, some original and some covers. The addition of a female vocalist ensures that this isn't just a bunch of white guys again. It's interesting that this provides another example of both a band and one of its members having albums on the list, as I already got a solo album from Pentangle's own Bert Jansch. This album's about as good as that one. In fact, it might be better, but I haven't listened to that album in over a year, so I can't say for sure. All I can say is that this album has some good songs that sound nice. High 3/5.

C'est Chic

CHIC

3/5

Chic again? Screw it. I'm down. I don't actually hate disco as much as others do. Quite the contrary, actually. I happen to enjoy it quite a bit, and C'est Chic is no different. However, I actually happen to prefer this album's followup, Risqué, by a considerable degree. I'm not sure why. I think, on a general level, Risqué is just a more balanced album with more standout elements. C'est Chic is a good blueprint for what a strong disco album can be, and Risqué is the album that utilizes it to its higher potential. Of course, C'est Chic is not without its praiseworthy elements. The songs here are all pretty good, with "Le Freak" being the obvious highlight. The writing here is a bit basic. I think that's what's holding this album back from a higher rating for me. I know music doesn't always have to be super thought-provoking, but this album does kind of feel repetitive in this regard and debatably others. Of course, the musical talent here is still respectable. Obviously, Bernard Edwards and Nile Rodgers deserve all the praise they can get, but the others provide good stuff. Shoutouts to Luther Vandross just for being here at all. C'est Chic is good, but it's the kind of album that can be improved upon. I know this because it was. High 3/5.

Spiderland

Slint

5/5

Well then, it's settled. Between Sigur Rós and now this, it's pretty undeniable that post-rock is right up my alley, isn't it? Yeah, Spiderland is phenomenal. I'm not sure whether I like this or the Sigur Rós album more. I'm leaning Sigur Rós, but that could change. Sometimes, you have an album that serves as a complete and perfect capturing of a very specific feeling or emotion. In the case of Spiderland, that feeling is desolation. This is a depressing album, but in a good way. It blends moments of bleak ambience with harsh riffs and I love it. The longer songs are pretty cool. The vocals are interesting. Much of the album takes a spoken-word approach, which isn't something you see a lot of. I think it works well for an album like this. Of course, it's not all spoken word. You have some singing moments on songs like "Washer" and even some good screaming. The final moments of this album on "Good Morning, Captain" might be some of the best final moments of any album. It is the ultimate climax. All 6 songs are important. The writing is perfectly emotional. I don't think my words can do this album justice. It is, dare I say, a masterpiece. 5/5.

The Last Of The True Believers

Nanci Griffith

3/5

There's not a ton to say about this one, really. Nanci Griffith's 1986 album The Last of the True Believers is a fairly standard country affair. It's a respectable country affair, but it's not going to change anyone's mind on the genre. If you like real country music, this'll appeal to you. I myself am not huge on the genre, but I do respect the good parts of it. Fortunately, this album has those good parts. The singing and instrumentation are quite pleasant. Maybe a little repetitive throughout the album, but not too much. The writing is solid. There's some nice vibes here. Nothing in here that made me cringe. That's a good sign. Still, this is another reminder for me to not hate on country as a whole because a lot of it is good actually. Solid 3/5.

The Dreaming

Kate Bush

4/5

If there's any album out there that I can call "Fuckin' Nuts" in the most endearing way possible, it might just be The Dreaming. Kate Bush is an absolute icon in my eyes. Obviously, Hounds of Love is one of the greatest pop albums of all time, but it's worth looking at some of the other albums in her discography to see where else her talents lie. The Dreaming may just be the perfect example to use for this. You'd think that Kate would decide to get freaky like this after a smash success like Hounds of Love, but no. She made this freakshow of an album and THEN decided 3 years later to make one of the greatest albums of all time. How does she do it? The Dreaming may not be my favorite Kate Bush album, but it is absolutely an uncompromised artistic statement that I have nothing but respect for. This is a pretty experimental album all things considered. Because of this, The Dreaming is not going to click with everyone. While I myself am not in love with it in the same way as I am with other albums or as others are with this album, there's still a lot that I love. The writing is just as great as ever. Kate Bush was always something of a storyteller. However, this album's stories actually matter more than those of something like The Ninth Wave from Hounds of Love because many of The Dreaming's stories are more real. Take something like the title track for instance, which is this crazy song about the mistreatment of Aboriginal Australians, complete with a didgeridoo and everything! It's an odd song, but it just works. Other songs aren't as clearly based in history, but there's still a ton of depth to them. The instrumentation is all over the place and I like it. The production on this thing is just incredible. Kate's singing is as whimsical as ever. This is one of those albums that saw a lot of criticism upon release but has since become a fan-favorite of the highest caliber in the decades since its release. While I can understand why some may not vibe with this album as much as some of the albums that followed, I can also see how others might even prefer this album to those albums. I myself don't prefer The Dreaming, but if someone told me their favorite Kate Bush album was The Dreaming, I'd give them a nod of approval. This is what it looks like when an artist makes art just for the sake of making meaningful art. It's great. Strong 4/5.

A Wizard, A True Star

Todd Rundgren

4/5

I'm not sure how to feel about Todd Rundgren having two albums on this list. On one hand, I'm not entirely convinced that he has enough of an impact on his own to warrant two of his own albums being on a list like this. On the other hand, I quite like what I've heard of both albums. Of course, Todd Rundgren definitely deserves at least one album of his in addition to some of his most iconic productions like Bat Out of Hell and Skylarking, but I'm not sure if two is necessary or if it's a bit redundant. I'm leaning redundant, but I'm also not upset that he has two albums here. A Wizard, A True Star is pretty good. Admittedly, I did like Something/Anything? more, but I think that's just a personal preference. Still, there are quite a few things to like about this album. One thing that this album has above the other one is that it's shorter. This is a good thing because my one real complaint with that other album of his was that it was too long. This one's still on the longer side, but it's not 80-something minutes, so it's more reasonable. However, I do happen to like the musical contents of Something/Anything? more. Of course, there are plenty of shared positive qualities between the two albums. The style is quite unique and I like it. Songs like "International Feel" and "Zen Archer" feel very original and they're great. The album has a few little oddball tracks that make more sense in a full-album listen than anything else, but none of them are painful to listen to. Well, except for maybe "Dogfight Giggle." This is kind of a weird album. I'm not as big on the production as I thought I would be. Maybe it's just the specific master that I listened to, but it didn't feel as balanced as I expected it to. I'm not an expert on this stuff at all though, so take that criticism with a grain of salt. A Wizard, A True Star is a solid album. If you like it more than Something/Anything?, good for you. I disagree, but I get it. Still, this album's alright. Low 4/5.

Pictures At An Exhibition

Emerson, Lake & Palmer

4/5

PROG ROCK! PROG ROCK! PROG ROCK! Emerson, Lake, & Palmer are one of the most legendary groups in prog rock history. As a supergroup, the band was sure to produce some great works of art, right? Well, I'm sure they did at some point. Pictures at an Exhibition is close to this, but I can't say that this gripped me as much as I'd hoped it would. This is still a good listen though. This is a pretty unique album as far as this list is concerned. It's a live album rendition of a Mussorgsky piano suite. How cool! That's such a unique concept and I kind of love it. Apparently the classical influence is a big part of ELP's core identity. I can respect that. Given the exclusion of classical music from this list, it's nice to get something adjacent to it as part of an album like this. As this is a rendition of a full suite, Pictures at an Exhibition is definitely one of those albums that's greater than the sum of its parts. The songs are good on their own, yes, but the whole album experience is definitely where most of my appreciation lies. ELP's style is cool. I mean, they're prog rock. What else did I expect? The bass and keyboards especially stand out to me. The writing has that sort of fantasy-type thing that I like about bands like Yes. The interpretation of the suite is fun. This is far from my favorite prog rock album of all time. However, I still enjoyed. Even the weaker prog rock albums of the project are still good times for me! Low 4/5. Maybe Tarkus will be better.

Very

Pet Shop Boys

3/5

YASSS I GOT A GAY ALBUM IN JUNE!!! Happy Pride Month, y'all! I am genuinely so happy to have gotten an album like this in June, because (I know I've said this a number of times for other albums), this is a solid contender for gayest album of this whole list. Why is that? Well, two reasons. Reason 1 is that this album was released around the same time that Pet Shop Boys vocalist Neil Tennant publicly came out as gay! I know it's been like 30 years, but good for him! Secondly, as a result of this, the lyrical themes of this album are much more openly gay-coded. Prior albums did touch on these sorts of themes, but in more subtle ways. For instance, on the Pet Shop Boys' prior album in both the band's chronology and in terms of which albums I've listened to, Behaviour, the opener "Being Boring" was written about a friend who'd died of AIDS, but in a pretty subtle way. As for its followup, Very? Well, not only are these themes more clear here, they're also more frequent. I mean, the penultimate track literally contains the phrase "One in a million men could change the way you feel" repeated a number of times. If that's not gay, I don't know what is. I need to make this very clear that all of the gay comments are fully appreciative. I'm an ally, okay? Honestly, I might be more than that, but that's a whole other thing that I'm not talking about in a Pet Shop Boys album review. Anyways, let's talk about the music now. It's alright! I will say that the sound is kind of dated, even for the time. This was made in 1993? Really? Feels very 80s to me. The style's good, but it feels like an 80s album a bit too much. Neil Tennant's singing is okay. I'm not huge on it, but I don't hate it either. The album's a bit repetitive, but it's still mostly good so I'm not too upset. The writing is nice. Admittedly, this is probably the least essential of the three Pet Shop Boys albums on the list, and I'd probably cut it because I don't think there needs to be three Pet Shop Boys albums on the list, but Very is still a good album. High 3/5.

Peter Gabriel 3

Peter Gabriel

4/5

You know, with this being my second Peter Gabriel album and with me having liked my first album of his, So, I did have positive expectations going into his self-titled third album, also called Melt. However, what I was not expecting was to get an album that I might actually like more than So. Honestly, Peter Gabriel 3 might just be that. Granted, it's been a while since my last listen of So, but I know what I liked about both albums and I think this album appeals to me more. Of course, there are things about both albums that I really like. They both have good songs, they both have cool world-music influences, they both have Kate Bush. You get the idea. However, Peter Gabriel 3 is a noticeably darker album than So, with it having less upbeat instrumentation and more overt political themes. I... actually really like that. This album personally appeals to me more. So is certainly the catchier album, and I do find "Sledgehammer" to be better than any of the songs on Melt. However, an album being catchier doesn't necessarily make it better and "Games Without Frontiers" gets pretty close to "Sledgehammer" levels of quality. There's other things that make Melt stand out to me as well. The album's generally more experimental, which is done tastefully here. Robert Fripp plays guitar on a few songs. That might be the reason I like it more than So. It also has Phil Collins on a few songs. It's cool that Peter Gabriel and Phil Collins did some things together after Genesis. Overall, Peter Gabriel's third album is great. He's definitely a man that's deserved his musical success. Strong 4/5.

NEU! 75

Neu!

4/5

Germany is one of those countries with such an interesting musical history that it's kind of hard to represent everything. As far as the Krautrock scene is concerned, Neu! is definitely a top name in the game. These guys may not have been huge in their time, but their influence can be seen in a number of legendary bands and artists throughout the world, so they probably belong here. This album also probably belongs here because it's good. I like Neu! 75. It's cool. Notably, the album is split into two halves that are not super clear if you listen blind but are pretty clear once you learn that they're separated by each of the two main members' goals. That's neat. It's kind of like a more cohesive Speakerboxxx/The Love Below in that way and in literally no other. Either way, whether the song is focused on Michael Rother's ambient ambitions or the more rock-focused ideals of Klaus Dinger, the music is sure to be good. I like the album. The singing that's sometimes present is definitely German. It works pretty well for the latter half of the album. I do really like the more chill vibes of the first half though, with "ISI" being the highlight there. I'd say "Hero" is probably where the second half reaches its peak. The few bits of lyrics in the album make sense to me. The vibes are cool and varied. This is just an interesting album. I enjoyed it quite a bit. Solid 4/5.

The Beach Boys Today!

The Beach Boys

4/5

Well, I would say that this is the CRAZIEST coincidence in all of the album project, but I checked the 1001 Albums subreddit and everyone else got either a Beach Boys album or Brian Wilson Presents Smile, so forget that. I guess we're doing an intentional tribute. I can't blame the website runner though. Brian Wilson will undoubtedly go down in history as one of the most innovative minds in all of music. His production, lyricism, and musical visions have produced some of the greatest songs and albums in music history. I mean, the man was largely responsible for Pet Sounds. If that's not legacy, I don't know what is. And you know what? Many of the things that have led the Beach Boys to go down in history as one of the greatest bands of all time have their beginnings rooted in the band's 8th studio album, The Beach Boys Today! These guys weren't just singing about surfing and girls and surfing girls anymore. Well, they were still kind of singing about girls for some songs, but in a more refined way. I will say that this one of those albums with a noticeably better second half than the first half. The first half has good songs, sure, but the second half has "Please Let Me Wonder" so it wins. Amazing song. Maybe not as much of a masterpiece as something like "God Only Knows" or "Good Vibrations," but not many songs are, so a song as good as this will suffice. Of course, the things that make the Beach Boys so unique are still here. The vocals harmonies are as wonderful as ever. The instrumentation here is rich and I love it. One thing that really makes the best Beach Boys songs stick out is that they simultaneously feel melancholic and optimistic. I don't know how it's possible, but it is. Let's finish this review, shall we? Admittedly, by just about every metric possible, The Beach Boys Today! is the weakest of the three Beach Boys albums on the list. However, when the other two on the list are Pet Sounds and Surf's Up, that doesn't really say much, does it? The Beach Boys Today! is still a strong showing that doesn't overstay its welcome at all and shows off the talents that will soon go on to become the stuff of legends. I don't think I need to say much more. With their endlessly pleasing vocal harmonies, fleshed-out songwriting, and Brian Wilson's insane musical prowess, it's no wonder that the Beach Boys are considered one of the greatest bands of all time and that Brian's legacy has endured as strongly as it has. Light 4/5. R.I.P. Brian Wilson.

21

Adele

4/5

Now this is what you call a modern classic! This is the kind of 2010s pick you see on the list and think "Yeah. That makes sense. Good pick." Why is that? Oh, I don't know. This album's only the best-selling album of the 21st century and the 17th-best-selling album of all time at a reported 31 million sales. Combine that with its legendary singles and Adele's fairly strong legacy and you've got an album that feels like a shoe-in for a list of must-listen albums. But does the quality of 21 back up its inclusion? Yeah! It does! The 21 hype was warranted. This album's pretty great. I wouldn't call it my favorite album of the 2010s. It's pretty hard to top something like TPAB after all. But 21 is still an album that's worth the listen. It's pretty clear to me know why Adele managed to be a huge success at this time. It's powerful yet sophisticated. Adele is not a flashy or over-the-top character. She feels like a person and not a product of the music industry. It helps that the album focuses on relatable themes pertaining to love and heartbreak, making this work well as a breakup album. The sound of 21 also plays a part here. Think back to the music of the late 2000s and early 2010s. "Recession Pop" if you will. Everything was all upbeat and flashy and, well, poppy. 21 was different. It's got soul to it. You listen to a ballad on here like the closer, "Someone Like You" and feel the emotions that a song like this demands. It's some good stuff. And to think that she made this at only 21 years old. Crazy. Of course, the album doesn't work if the songs are bad. Fortunately, they're all good. Of course, you have the big hits like the aforementioned "Someone Like You" and the endlessly iconic "Rolling in the Deep," but the "deep" cuts here are still good too. Shoutouts to the cover of the Cure's "Lovesong." Not as good as the original, but I respect the idea of covering a song like this on an album like this. The production's not the best, but it's mostly good. The lyrics are nice. Maybe a little repetitive but it does make the album feel cohesive. The songs themselves have good variety though. Is it fair to call this album timeless? I think so. It's not quite "peak music" but to say that 21 is a bad album would just be insane. High 4/5.

My Beautiful Dark Twisted Fantasy

Kanye West

5/5

Alright, you know the drill by now. Fuck Kanye and everything that he's become, but this album is genuinely fantastic. This, of course, is Kanye West's legendary 2010 album, My Beautiful Dark Twisted Fantasy. This is one of those albums that just feels like a big deal. Of course, it was a big deal when it released. This was Kanye's first release after the whole VMAs fiasco, so all eyes were on him to see what kind of thing he makes. What did he end up putting out? Well, let's put it this way. This is an album all about fame and the life of a celebrity. This album reportedly cost over $3 million dollars to make. This album should seem incredibly out-of-touch and over-the-top and even embarrassing. And yet, despite all of that, this album has managed to strike a chord in millions of listeners and is one of the most acclaimed hip-hop albums of all time. This album shouldn't work, but it does. MBDTF is a lot of things, many of which I have just acknowledged. But I think the most important thing that it is (for the sake of this review) is really really good. Yeah, the album's good. I think I get why people were so mad when Fantano gave it a 6. To be fair, I don't know if I'd give it a 10/10, but it's closer than I'd like to admit. Let's praise the album, shall we? The production is just insane and I love it. That's the thing that's really connected the three Kanye albums I've listened to so far in terms of quality for me. Whether it's The College Dropout's chipmunk-soul vibes to the sheer maximalist excess of MBDTF to whatever the fuck was going on in Yeezus, there's something that's undeniably cool about Kanye's production. And the samples? Name any other album that samples Aphex Twin, Smokey Robinson, and King Crimson, I dare you. Good stuff. The writing is pretty complex. Is it accurate to call this a concept album? I think so. The album really likes to tackle the subject of fame. As stated earlier, this is the kind of thing that could go really poorly but ends up working really well to create an interesting vibe for the album. It's just introspective enough to feel like a person made it yet also arrogant enough to remind you that this is Kanye we're talking about. The album sees him diving a bit into his issues back when the biggest things he had to worry about were liking sex too much and not liking Hitler too much. It also helps that there aren't too many lines on here that are super questionable like there were on Yeezus. The themes are explored in interesting ways and you get insight into a pretty interesting character. The rapping is solid all throughout. Kanye's flow is good, as is that of all of the features on this album. The features make this album for me. There is not a bad one in the bunch. The songs as a whole? Great. There really isn't a bad one in the bunch. You know me. I love me some long-ass songs, so it's no surprise that I love "Runaway." The piano, the unique chorus, Pusha T. Everything about it works. "POWER" is super cool too. Again. This song samples King motherfucking Crimson. Of course I love it. Even the less-popular songs are good. The fact that "So Appalled" is one of the least-popular songs on the album goes to show how good this thing is. I hate to say it, but Kanye West was super talented at one point. I must reiterate once again that I hate Kanye as a person. He sucks. But his music? It may not be good now, but to say that he never deserved fame in the first place would just be ignorant of how good albums like MBDTF are. I do think I slightly prefer The College Dropout, but My Beautiful Dark Twisted Fantasy deserves the praise it's gotten over the past 15 years. It's great. 5/5.

Arthur (Or the Decline and Fall of the British Empire)

The Kinks

5/5

Wow. The Kinks having an amazing and innovative concept album wasn't exactly surprising when I first listened to The Kinks Are The Village Green Preservation Society way back in January 2024. But to listen to its followup, Arthur (Or the Decline and Fall of the British Empire), and find out that they actually have AT LEAST two of them? Crazy. It's a good kind of crazy though. I'm very happy. This album's great. This is my third album from the Kinks. Obviously, Village Green is a classic and is still probably my favorite of theirs. Face to Face was good but nowhere near the levels of Village Green. Arthur though? This one gets close. I do still think I like Village Green more, but it's a closer call than you might think. Arthur is just a very interesting album to me. As stated earlier, this one's also a concept album about the titular Arthur. Apparently his full name is Arthur Morgan, which is really funny to me because it makes me think of the funny cowboy game. This is now the second review in which I have acknowledged Red Dead Redemption 2 despite having never played the game myself. How neat. The story's pretty loose in terms of how it's told, but it seems like a nice story from what I can tell. The songs do a good job at feeling connected with one another without feeling repetitive or redundant. The songs are great, by the way. This album has the perfect blend of quirkiness and sophistication. I like it. Songs like "Victoria," "Australia," and especially "Shangri-La" make the album as great as it is. The songwriting is strong. As far as songwriting goes, this is definitely one of the best concept albums of the 60s. You know, if I had a nickel for every iconic concept album released in a year ending in 9 that mentioned Vera Lynn in its lyrics, I'd have two nickels, which isn't a lot, but it's weird that it happened twice. So yeah, this album's fire. The Kinks have done it again! Good job Ray Davies. You made peak music again. Well, not quite peak, but it's close. Low 5/5.

Here's Little Richard

Little Richard

3/5

Richard may be Little, but his impact on popular music is about as big as it can get! Here's Little Richard! Yep. There he is. What I have to say about this album is not to dissimilar to what I've had to say about other 50s rock and roll albums. Here's the thing. I understand the importance of 50s rock and roll. Without artists like Elvis Presley, Chuck Berry, and of course, Little Richard, music as we know it today would not be the same. I get that and I respect this era and style of music for that purpose. I understand why albums like this are on the list. However, I just can not get into 50s rock and roll myself. I don't vibe with it for some reason, for one big reason. These songs all kind of feel the same. Yeah, that's the crutch of this musical movement. Of course, I'm not saying that all artists of the time sound the same as each other. Comparing Little Richard to Fats Domino or Buddy Holly wouldn't be fully accurate. But comparing each song on this album to each other song on the album? Yeah, it's fair to call this album repetitive. However, there are three things that make this tolerable for me in the case of Here's Little Richard. Firstly, this album helped lay the foundations of rock music, so it's kind of got that Ramones self-titled effect going on where you can't help but respect the album at least a little. Secondly, the album's only about half an hour long, so it doesn't drag in the slightest. And finally, the style of music here is good. I like the energy. Songs like "Tutti Frutti" are classics for a reason. The energy that Little Richard displays on this album captured the 50s youth for good reason. The instrumentation is solid too. It's clearly rock and roll, but the influence from jazz and blues is very clear. It really makes you think about the genre's black origins, which is good because history is valuable. Additionally, I have to respect Little Richard at least a bit for writing some of his own songs. The writing may not be super complex and these songs do kind of feel like they're all about girls, but at least he wrote some of them himself. Good job! Overall, this is definitely an album I'd keep on a list like this, but not one that I personally am super invested in. Still, I respect it as an essential listen. Solid 3/5.

Music For The Jilted Generation

The Prodigy

3/5

And to follow up a 50s rock and roll album, which is something that I personally just can't really get into, we have a 90s British electronic album, which is also something that I've never been able to get into. Cool. It's also a repeat artist. Cool. Oh well. Of all the 90s british electronic artists with multiple albums on the list, The Prodigy is the one that I'm probably the most okay with revisiting considering the fact that I did enjoy The Fat of the Land a decent amount. Compare this to something like the inevitability of me listening to a second Orbital album, which is something that I'm not excited for in the slightest. Still, we're not talking about those guys. We're talking about the Prodigy, which I kind of vibe with. Music for the Jilted Generation is solid. It's not really my thing, but I like the style here. There's more energy here, which makes this great for a rave type thing. Now, I am by no means a raver. I have basically no social life. You ever wonder how I'm able to listen to all of these albums and have time to write these big reviews? Yeah. I think that's why these albums usually don't appeal to me. However, I do respect this album quite a bit. There's some cool sounds and stuff here. I mean, "Voodoo People" has a Nirvana sample! And it's actually the real Nirvana instead of that 60s British group that was sampled on Endtroducing...! That's just cool. "Voodoo People" is a cool song btw. The sample usage is commendable. The album has its flaws. For instance, it kind of drags a bit. It could be a lot worse, don't get me wrong. This isn't Haunted Dancehall we're talking about here. I know that this isn't Haunted Dancehall because I actually like this album. However, I don't like it enough to give it too high of a score. It's a respectable collection of some cool techno songs that I'm sure are great in certain contexts, but when it comes to what I look for in music, this album isn't quite what I'm looking for. Good stuff though. 3/5.

The Renaissance

Q-Tip

4/5

A Q-Tip solo album, huh? I'm down. I do love A Tribe Called Quest after all. How bad can Q-Tip's 2008 solo album The Renaissance really be? Well, as it turns out, not bad at all! This album's pretty cool! Not quite as good as something like The Low End Theory, but very few hip-hop albums are, so I'm fine with getting something that I consider pretty solid. This album does feel different from the Tribe albums I've heard for a few reasons. The first one that I noticed was that Tip sounds a bit different here. What happened? Uh... he aged. That's it. Of course his voice is going to have changed 17 years after The Low End Theory. It feels natural though. I think his voice aged pretty well, and his flow is still great. He's a strong rapper. He worked well as the de-facto leader of Tribe and he works well on his own. He's also a respectable producer. It's not all great on the production side. I think the first song had a beat that was way too loud in comparison to the vocals, but the instrumentation was generally good. The writing's solid as well. There's definitely some overlap in vibes between this and Tribe, with neither really going for the "gangsta rap" angle in the slightest. This album has songs about things like love and such. That's nice. The features are good. Anything with D'Angelo on it is bound to at least be solid. It's good to know that Q-Tip kept doing his own thing even while Tribe was on hiatus. He deserves it. The man is a legend and rightfully so. Good stuff. 4/5.

En-Tact

The Shamen

2/5

"Hooooonk mi mi mi mi mi..." I don't care that this is meant to be a rave album, this puts me to sleep. All of these 90s British electronic albums do. Well, except for you Aphex Twin. Keep doing your thing, Richard. But The Shamen? WHO CARES?! I certainly don't. I'm not even going to say that much more. The album's so repetitive that there are literally songs on here with two separate versions on the album. If that's not a padded runtime, I don't know what is. The vocals aren't my favorite. The lyrics are kind of shallow, but I can at least appreciate that they're there. I just can't do this rave stuff for this long. That's my big problem with these sorts of albums. They're SOOOOO long. It gets tiring. Each song on their own could work for a party situation. Hell, you could play multiple songs in a row and have it work. But playing this type of music for 70 minutes straight? I can't do it! It gets tiring! Whatever. I'm never going to think about this album again. 2/5.

White Light / White Heat

The Velvet Underground

4/5

Welp, between this, the other two Velvet Underground albums, the two Lou Reed solo albums, the John Cale solo album, and the Nico solo album if you want to count that, I have finally listened to every album on this list that is either from or closely associated with The Velvet Underground. Am I going to miss thinking about these guys? Well, not really, but only because I'm not going to stop thinking about these guys. It sounds like there are a lot of albums on here in the Velvet Underground family. That's because there are quite a few of them, but I think that's mostly warranted. I think all of the albums in question here are varying degrees of good. Admittedly, I do think that White Light / White Heat is my least favorite of the bunch, and it's certainly my least favorite of the actual Velvet Underground albums, but when this is the weakest album I've heard, that's how you know you've got a pretty good band on your hands. Even then, I don't think I could objectively call this the weakest of the three albums. It's just the one that appeals to me personally the least. Why is that? Well, this album's definitely the most experimental of the three they have on the list. It's also the noisiest. I'm not the hugest noise music fan, but I do think it works in moderation. Fortunately, I think this album's moderated pretty well. This still feels like music, and good music at that. Still, I have to admit that I prefer the style of the albums that proceeded and succeeded this one. There are experiments that I feel more positively about though. Take the album's closer, "Sister Ray," for example. There's two big things that make this song stick out to me. The first of these is the subject matter. That's really what has made the Velvet Underground and Lou Reed specifically stand out to me in the place they have in music history. These guys were willing to sing about drug abuse and sexual deviancy in a much more explicit way than their contemporaries. It kind of makes the writing of these songs feel ahead of their time in some ways. I mean, name any other song from around this time that was saying things like "She's been sucking on my ding-dong." That's not something people were casually saying in 1968! That sort of thing is where my respect for the Velvet Underground as musical pioneers really lies. "Lady Godiva's Operation" is a similarly unsettling song that exemplifies the unique traits of the Velvet Underground. Back to "Sister Ray," the second thing that makes that song stick out is that it's 17 and a half minutes long. You know me. I love long-ass-songs. This stuff appeals to me! There are, of course, other things I could say about White Light / White Heat. Take the influence this thing had on punk and noise rock as an example. I'm definitely noticing some of the roots being laid down for later bands like Sonic Youth in particular here. That's cool! This album's cool. It's not my favorite thing in the world, but it's more proof of the legacy of the Velvet Underground, who will undoubtedly go down in music history as legends. Low 4/5.

Don't Come Home A Drinkin' (With Lovin' On Your Mind)

Loretta Lynn

3/5

More country. Yippee. I've been through the country spiel enough times. I respect anything that isn't the modern garbage, but I still don't really vibe with the genre at large, save for some exceptional artists like Willie Nelson. Loretta Lynn is not one of those exceptional artists. To me, she's basically just a less interesting Dolly Parton. Even then, while I love Dolly as a person, I don't absolutely adore her music. Loretta does have influence in the genre though, so an album inclusion from her has an argument going for it. As far as this specific album goes, it's fine. These songs all kind of feel the same to me. They don't sound bad, but by the time you reach the halfway point of the album, you kind of already get what it's going for. It's not like it drags though. The album lasts for about 28 minutes, so it really can't do that. The writing certainly gives off a country vibe. While the title track certainly has emotion to it and it does sound nice, I can't help but feel that it's pretty dated lyrically? Like, girl, just leave him! Leave the bottle or me behind? Don't leave those kinds of decisions up to men! You know they're going to make the wrong choice. This definitely feels like a song written in a time that treated its women worse than now. I don't know. This album's basically just 12 decent country songs. There's nothing specifically bad about it, but I don't really vibe with it myself. I guess it has a legacy though. Low 3/5.

A Grand Don't Come For Free

The Streets

1/5

Why? Why do I have to listen to this? I DON'T LIKE THIS ALBUM! I really don't! This album pisses me off! Okay. I can't keep yelling through text like this. I should probably explain why A Grand Don't Come For Free annoys me so much. To put it as bluntly as possible, this album is so aggressively British that it physically hurts to listen to. I'm serious. Now, don't get me wrong. I don't hate British people nor do I hate their music. Some of the greatest bands and artists of all time are from the UK. The Beatles, David Bowie, Pink Floyd, Elton John. You get the idea. Hell, there are even albums that are distinctly British that I actually really love! Blur's Parklife is a great example of this. However, I still feel like those albums put music first in regards to what they want to be. This album? It's basically just some British lad speaking in rhymes about how he lost money or something. Mike Skinner's voice annoys me. He's barely even rapping. I wouldn't even call it that! This is basically just speaking in an over-the-top British accent. I hate it. There's no flow here at all! To be fair though, if there was an album as aggressively American as this one is aggressively British, I'd probably hate that album too, so it's not a bias against one culture or country. Let's talk about the writing. This is a concept album, which is something that I can usually get behind. Usually. Admittedly, I can see the vision with this story. I feel like it could work decently well as a story in some other medium. Perhaps a short film of some kind. But an album? An album like this? Doesn't work for me. Once again, the writing has no flow to it. As far as vocals are concerned, this barely even feels like music to me. It's just some guy talking about his story in loose rhymes. But what about the other aspects? Well, I'll admit. The production does feel musical. That doesn't mean I like it though. There are some parts that kind of work for me, but other times just don't sound good to my ears. There was one song in particular that just felt a bit too "loud." I think it might have even been the album's biggest hit, "Fit But You Know It." Not a fan. So, what do I like about the album? Well, I don't know! There are a few moments that work, particularly near the very end of the album. However, I don't think the experience was worth slogging through. Why is this album even on the list?! The Streets did apparently have some level of cultural impact in Britain when they started, but there are so many problems that I have with this album's inclusion that I need to acknowledge, with two in particular that really grind my gears. Firstly, this isn't even the most acclaimed album these guys have! This is another case where they chose the wrong album! Apparently, the Streets' debut album, Original Pirate Material, is considerably better! Why didn't they choose that one?! I wouldn't really want to listen to anything from these guys myself, but I'd at least be more understanding of that album's inclusion! But there's this one comment I found from a magazine mentioned on this album's Wikipedia article that just makes no goddamn sense to me. Apparently, an article from The Austin Chronicle called this "the first hip-hop classic of the new millennium." WHAT (and I can not stress this enough) THE FUCK DO YOU MEAN?? HELLO?? Stankonia? The Marshall Mathers LP? The Blueprint? Hell, even if we JUST include 2004, this album's release year. Maybe someone could reasonably call this the first great hip-hop album of 2004. This album released in May, which is pretty early in the year. Problem is: The College Dropout released in February and Madvillainy (WHICH ISN'T EVEN ON THIS SHITTY-ASS LIST FOR SOME FUCKING REASON) released in March! There's no reason to make that claim! I'm upset that I had to listen to this. You know what that means? 1/5. I hope I never have to listen to anything from The Streets ever again.

The Age Of The Understatement

The Last Shadow Puppets

4/5

Side project time! There aren't a ton of side projects on this list, but I guess The Last Shadow Puppets is one of them. This is a supergroup of sorts, with a few notable musicians forming it. The two most notable people involved here are Miles Kane of... some bands I've never heard of before, and Alex Turner of Arctic Monkeys. Now, I happened to thoroughly enjoy the Arctic Monkeys album on the list, so I at least had it in my head that this album here would have some good qualities to it. I wasn't excited to listen to this per se. I don't really think this album or group has enough of an impact to warrant inclusion on this list. However, I was certainly not dreading this listen. I mean, it can't get much worse than that album from the Streets that I just got! Fortunately, I got pretty much exactly what I wanted: a solid album with things to praise that somewhat appeals to me. That's basically all I wanted from this. There's not a ton of Arctic Monkeys overlap that I noticed in terms of sound, at least not in comparison to what I've heard. That's okay. As much as I loved their debut album, I'm not in a desperate need for more of that style or anything. This album's style is pretty cool, albeit in a different way. Sometimes it sounds like something from a James Bond movie, other times it kind of sounds like a cowboy movie, other times it just sounds cool. I am definitely noticing a feel to this album that is pretty theatrical overall. I like it. The writing's alright. Nothing that's crazy good, but nothing bad either. It does the job. The vocals are pretty alright. Alex Turner's voice was the thing that appealed the least to me in WPSIATWIN, but I think it's grown on me over time. It sounded good there and sounds good here. Miles Kane's voice is similarly good. There's nothing particularly special about this album, and I probably wouldn't include it in my own 1001 albums list, but it's a perfectly harmless inclusion that doesn't exactly upset me or even baffle me. It's not going to rock anybody's socks off, but it won't hurt anyone either. Solid album. Light 4/5.

Mermaid Avenue

Billy Bragg

3/5

Oh boy, two artists that I don't really care for that much, together at last! This is neither my first Billy Bragg experience nor is it my first Wilco experience. Starting with Billy, I remember being conflicted with his album on the list. I liked the messaging and instrumentation at points, but I really wasn't vibing with Bragg's singing. In hindsight, his vocals really aren't as goofy as I had once claimed them to be. Do I need to revisit Talking with the Taxman About Poetry? It has been like a year and a half. I haven't revisited it though, but now I'm considering it. You know what I did revisit? Yankee Hotel Foxtrot. Yeah, me giving that album a 3 was kind of dumb considering I really didn't have any specific complaints. Do I still think the album's overrated? Yes. It is not the 10/10 masterpiece others have called it. But it's pretty good! Being There is okay. As a whole though, I never found myself super invested in either of these artists. I wasn't really expecting to be super invested in a collab album between them either. Was I right in this assumption? Kind of. I do think Mermaid Avenue is a good album. It's just not really my thing. I do have praise to give it though. The balance between the two features artists is good. They have lead vocals split roughly even which is nice. As stated earlier, I was way too harsh on Billy Bragg's vocals in the past. They're fine here. I don't love them, but I don't find them as goofy as I once had. Jeff Tweedy's still kind of just doing his thing. You know what? Good for him. The instrumentation here is solid. Kind of folky. The writing is pretty good, but it belongs to neither Billy Bragg nor Wilco. This ties into perhaps the most interesting thing about this album, that being the story behind it. These songs were actually written by folk legend and hater of fascists Woody Guthrie. So, is this just a cover album? Well, kind of. You see, none of these songs had been released or even recorded during Guthrie's life. All there were was words left to his family. So, for some reason, Guthrie's daughter Nora decided to get Billy Bragg and Wilco involved in an album to bring some of these lost words to life. That's kind of cool! I respect this album. It's good. Admittedly, there are plenty of other albums that I like more, but there's no denying that Mermaid Avenue's got things to like. Solid 3/5.

Born To Run

Bruce Springsteen

5/5

NOW THIS IS AN ALBUM! I haven't really been excited for an album in some time. It's been like a week and a half or something, but that lack of excitement ended when I saw Born to Run pop up on this website. I mean, this is THE most acclaimed album from one of the most beloved musicians alive! Of course I was looking forward to this. Additionally, with this only being my second Springsteen album, I have yet to become burnt out on his music, so that's good. To be honest, I'm not sure I ever will. I liked The Rising well enough, but Born to Run is a masterpiece. Is anyone really surprised to hear me say that? Why would you be? There really isn't anything wrong with this album. Springsteen's singing and the album's vibes at large are extravagant yet down-to-earth. It's amazing. The songwriting? Excellent. The Boss is a storyteller through and through and it shows here. The album has no bad songs. From the endlessly enticing "Thunder Road" at the start to the outstanding title track near the middle to the final 10-minute tour de force that is "Jungleland," Born to Run serves as a showing of a true musical genius at the top of his game. And of course, I could never forget about the E Street Band! Those guys killed it on this album! I mean, you've got multiple saxophone solos that all work wonders in the album. That's just awesome! I can't say I'm surprised to love this album. Oh yeah, I forgot to add. Bruce Springsteen is just a great guy. It kind of feels like an obligation in some ways, but I also know deep down in my heart that this is the right call. What am I talking about? Well, it's the 5/5 that I'm giving this album of course! Fantastic stuff here.

Eagles

4/5

You know, it's always interesting to try and look at why people hate bands like Eagles so much. Why do people hate Eagles? Is it because they're bad? I don't think so. I like this album. I'll get into that in a bit though. Is it because they're overplayed? I'm sure it is for some, but I don't know if that explains everything. Is it because of The Big Lebowski? It's probably played a part in things. Well, I don't think that really matters for this review. What matters is how I feel, and I feel good about this album. I do happen to like Hotel California quite a bit more, but this debut of theirs isn't too bad. Admittedly, I can kind of see why some people have called the Eagles bland or boring. I disagree, but it makes more sense to me than the blandness claims for a band like Steely Dan. This album has good things though. The writing isn't too complex, but it's also not so shallow to the point of outrage. The style here is what really makes me like Eagles. It's definitely on the softer side of "soft rock" but I don't think that's exactly a bad thing. Sometimes you just want an album that you can put on to bring a nice vibe to like a chore session or something. I think this album is great for that. And of course, the songs are good. With classics like "Take it Easy" and "Peaceful Easy Feeling," (I am just now noticing that they both have "easy" in the name) it would be kind of hard to deny the ability of the Eagles to make some all-time classics. This is a nice album. Not quite peak music, but it appeals to me. Light 4/5.

Remain In Light

Talking Heads

5/5

Hooooly shiiiit... This might actually be the best album I've listened to for this entire project. Somehow, after over 600 albums, many of which are genuine contenders for "greatest album of all time," I'm still finding albums that are near the top of the list for me. I always knew that I would end up loving Remain in Light. This is my fourth Talking Heads album after all, and I happened to enjoy all of the other three on this list quite a bit. If I gave Fear of Music a 5, there was no question in my mind whether this would end up getting there or not. And yet, I still managed to have my mind completely blown by this album. Remain in Light is nothing short of a masterpiece. There are so many things I have to say here. Let's start general before getting to the songs themselves. Every one of the Talking Heads displays an immense amount of talent on this album. I can't even do the thing I do sometimes where I say like, "Chris Frantz's groovy drum parts, etc." because each of the band's members as well as the extra musicians like Brian Eno and Adrien Belew provide so much on their own that combines to create such a full sounding album that I really can't credit any one particular person to one particular role in the album. Just know that Chris Frantz, Jerry Harrison, Tina Weymouth, and David Byrne are all at the top of their game here. This album's whole style is just so crazy and awesome and I love it. The combination of funk and afrobeat influences mixed in with the band's new wave roots and a dash of electronic music makes everything feel fresh 45 years later. But it's not just the instrumentation that's amazing. Brian Eno's production is practically perfect for this album. Remain in Light's songs feel like they have so much going on. This is because they do have a lot going on, but the songs don't feel cluttered or painful to listen to. It feels very natural, which I love. The songwriting as a whole is very unique and great. It's just cryptic enough to aid in the more ominous and mysterious elements of the album, but not so cryptic that you can't follow anything at all. I love it. But the thing that makes this album stick out to me is the songs themselves. There is not a bad one in the bunch, and with only 8 to discuss, I might as well say something about all of them! "Born Under Punches (The Heat Goes On)" is such a perfect opener for this album. The opening "dun dun dun... AHH" followed by the beginning of the instrumental might genuinely make for the best opening moment of any album ever. The funkiness of this song is unforgettable. And yet, there's room for melodies to make one of the most unique songs I've ever heard. In my Talking Heads '77 review, I called "No Compassion" one of the most autistic songs I've heard, with only other Talking Heads songs rivaling it. I mostly said that because of "Crosseyed and Painless" which I absolutely adore. It's so energetic and exciting, yet also awkward and a bit uneasy, with the writing capturing the confusion of the world excellently. "The Great Curve" is, like the curve it's named after, great. Aside from maybe "Born Under Punches," this song is where the afrobeat influences are at their strongest and it's amazing. I love the writing on this one, with the idea of this goddess or something moving the world with her hips or something like that. It's so cool. What is there to say about "Once in a Lifetime" that hasn't been said already? This song is legendary and for good reason. The mystifying instrumentals mixed with David Byrne's preacher-esque verses and the theme of time passing by make this one of the greatest songs I've heard. This is my palette-cleanser song whenever I hear a song that I hate. And that's just the first half! Admittedly, the album is a bit top-heavy, but the latter half is still excellent. How could it be weak when it has "Houses in Motion" on it? I love that song. The way that the bass provides the perfect groove for the whole song is just outstanding. And the horns? Great stuff. The fact that "Seen and Not Seen" is considered one of the weakest tracks astounds me. Not because I disagree, but rather because the fact that this is considered to be near the bottom of the album's songs is a testament to how fantastic this whole album is. This song is cool. Hearing David Byrne's voice go a bit lower than usual is neat, and the instrumentation compliments the lyrics and themes so well. "Listening Wind" is kind of fascinating to me. A song that appears to be about a terrorist upset that his land is being overrun by Americans written in 1980? Crazy. The whole feel of this song fits the theme very well. Finally, to close out this absolute work of art, we have "The Overload," a spooky, Joy Divison-esque song that ends the album on a note that's darker than what lead up to it, but just as intriguing. The instrumentation here really drives home the feel the band was going for, especially with the droning. I think I've said enough. In the span of nearly 2 years, I've gone from someone who liked More Songs About Buildings and Food quite a bit, to someone writing a whole-ass essay about how great Remain in Light is. Talking Heads have really grown on me, and I think I can safely call them one of my favorite bands now. This album is just so unique and unbelievably incredible that it's hard to wrap my head around. Amazing... 5/5.

White Light

Gene Clark

3/5

Okay. Why have I now gotten 5 albums in a row from repeat artists? I didn't think about it much with earlier albums, but it's now hitting me that I've gotten 5 in a row. Can I get new things please? Now, fortunately, I have enjoyed all of these albums to an extent. Mermaid Avenue was alright, but I don't particularly care for Billy Bragg or Wilco personally. Born to Run is a classic from a legend. The Eagles debut albums is a nice reminder of the fact that I don't hate the fuckin' Eagles, man. Remain in Light is genuinely one of my favorite albums of all time. And then there's this. Why is this here? I'm not going to say that Gene Clark isn't talented. Far from it, actually. I think he's actually got a knack for both songwriting and musicality. But, like, not only does he have a better solo album on the list already, but the Byrds, a band he was in, have 5 albums! Granted, he wasn't involved with all of them, but that's still a lot. Combine that with some other albums from artists like David Crosby and The Flying Burrito Brothers and you get like 11 albums at least involving the Byrds or a member of the Byrds. That's too much. The Byrds do not have enough of a cultural impact to warrant that. A few albums across the band and its members? Sure. Makes sense to me. But this many? Get out of here! Whatever. At least the albums are good. White Light doesn't have much to stand out though. It's basically just a solid country/folk rock album. It does that style well, but it doesn't do it interestingly. The songwriting is alright. I like the songs and the instrumentation. I don't have much to say. This is far from the most interesting album on this list. Still, it's also far from the worst, and I did enjoy the album throughout, so I can't score it too low. High 3/5.

Something Else By The Kinks

The Kinks

4/5

I mean, I'm not upset that this album's on the list or anything, but why did I have to get this now? I've gotten 6 repeat artists in a row now and it's literally only been like 2 weeks since my last Kinks album! I want different things, not my 4th album from one band. Whatever. At least this album's pretty good. I do happen to like the Kinks quite a bit. They've grown on me over time. Is this their best album? No. I liked Village Green and Arthur more. But I did like this more than Face to Face, so it has that going for it. Something Else by the Kinks is pretty great though. This may not be a concept album like the ones that followed it, but it still has the things that make the Kinks at their peak a great band. Ray Davies shows some strong songwriting chops on these songs, with "Waterloo Sunset" being the obvious highlight. The instrumentation is still great. The Kinks have this sound that's kind of hard to explain, but you know it when you hear it. Maybe it has to do with the mixing. I don't know. It's quite nice though. There really aren't any bad songs here, and the best ones are among the band's best songs in general. I really like this album. It serves as a nice reinforcement of my positive opinions regarding the Kinks. Strong 4/5. Now please give me an album from an artist or band that I haven't already gotten albums from.

Throwing Muses

3/5

Well, at least it's not another repeat artist. Here we have an album that's not on Spotify. Why is that? I don't know. It's also yet another post-punk album. Cool. We definitely don't have enough of those on this list. But, there is something that makes this album stand out. You see, most post-punk albums on this list have lyrics sung by some British man, where as the songs from Throwing Muses here are sung by an American woman! Wow! Yeah, this really doesn't change much for me. The album still kind of blends in with other bands of the time, with Siouxsie and the Banshees being the clearest comparison to make. That means that this album is good but not special. The instrumentation sure does sound like post-punk instrumentation. Kind of spooky/gothy in a way. The writing is alright. Nothing crazy here. The singing fits the style pretty well. Again, Kristin Hersh being a female lead vocalist makes this album somewhat unique in comparison to what it's up against. Overall, this album doesn't do anything particularly wrong, but it's also kind of just there. Throwing Muses are somewhat influential in regards to later rock bands in and out of post-punk. Apparently they even influenced the Pixies, which is pretty cool. Still, I'm not huge on the album, but I also don't have any major gripes. It's alright. 3/5.

Fuzzy

Grant Lee Buffalo

4/5

MORE alternative country? Really? I'm starting to notice a bit of repetition here. I mean, I'd rather have albums like this than mainstream country, but is Grant Lee Buffalo really more noteworthy than some other 90s country act like Garth Brooks? I don't think so. But are they better? I don't know, because I haven't really dived deep into either artist. What I do know is that Fuzzy is a solid album. I like a number of things here. Admittedly, this album isn't very interesting. There's not really anything I can think of that's done here that hasn't been done before by other artists on this list. But there's also nothing done here that I really dislike. The singing's alright. Is it just me, or does Grant Lee Phillips kind of sound like Bono at some points on this album? The instrumentation is pretty good. It's a little repetitive, but not very. The writing is good overall, but has some standout moments. I think the standout for me in terms of writing is "America Snoring" which has a message that hasn't aged a day in the 32 years since this song's release. From mentions of the national guard to policing of wombs, the theming here is scarily reminiscent of the ongoing heinous actions of the Trump administration. Shit's scary, y'all. The song's good though. This album's not a masterpiece or anything and I probably wouldn't include it on my 1001 albums list, but I enjoy it for what it is. While I question how Michael Stipe thought this was the best album of 1993 due to the existence of better albums like In Utero, I can definitely see the appeal of this one on its own. Low 4/5.

System Of A Down

5/5

Strap in, folks. This one's going to be looooong. Not the album, no. This album's a respectable 40 minutes. No, my review of System of a Down's 1998 self-titled debut is very likely going to be my longest yet. Yes, even longer than the 986-word-long Remain in Light review from earlier this past week. I've got a whole essay to write here for one simple reason. I've said it in a few reviews before, but System of a Down is and has been for some time my absolute favorite band. That's why this review is so long. This review is effectively just going to be me gushing about how much I love System of a Down, both the band and album. Now sure, System of a Down may have been one of the first bands I ever truly fell in love with, so them being my favorite could potentially be the result of bias and memories or something like that. I don't care though. I still think that they are one of the most creative and awesome bands in all of metal and possibly beyond that. All 5 of their albums are great, and self-titled is among their best, though I might as well address the 6x platinum elephant in the room right now. Yeah, Toxicity is better and should've absolutely been included over this album. Between its higher sales figures, more iconic singles, and generally better quality, Toxicity is clearly the better pick for a list like this, but I'll get to gushing about that album once I get to the user list. It is my favorite album of all time after all. For now, we get to go back to where it all started. I'll begin the praise with some more general things, as I tend to do. These are things that make me love the band at large. For one, I think all 4 members of SOAD are incredibly talented. Like, none of them are in the running for top 5 of what they do, even in the metal genre (with one exception), but I still think they all could be considered virtuosos in some capacity. As shitty as his politics are, I think John Dolmayan is severely underappreciated as a drummer. His playing is so tight and groovy that it really helps lay the perfect base for these songs. If you're looking for the band's perfect bass instead of their perfect base, look no further than Shavo Odadjian! In addition to having one of the greatest beards in all of metal, Shavo's basslines manage to be subdued and relatively simple, but they do wonders in this album especially to lay down the low-end of the music. I've always really loved Daron Malakian's guitar parts. He never plays too much, nor too little. It all comes down to the song in question. Whether he's shredding hard or playing a silly little note every so often, his unmistakable guitar tone allows the band to feel as heavy and thought-provoking yet also entertaining as it is. He also does good with backing vocals here. I've seen some people complain that his vocals are bad and too present in later albums, Mezmerize and Hypnotize in particular. I disagree, but I also kind of get it. Fortunately for those people, his backing vocals here are minimal, but always welcome. But if you want to talk vocals, we have to discuss the band's most iconic member and the one member that I think is genuinely in the running for "greatest metal _____ of all time," Serj Tankian. I love this man's vocals so much. I can hardly put into words just how impressive his vocal range is, especially during the time that System was actually making albums. Everything from the low guttural screams to the high-pitched screeches to the melodic singing just feels right here. He may genuinely be my favorite vocalist for any band ever. You put all 4 of these guys into the same band and you get an overall talent level that is immensely respectable. The instrumentation and vocals work so effortlessly together to produce some phenomenal songs. Oh yeah, and the actual songs are composed well. System of a Down has a very unique style to their music. I know it sounds kind of crazy to say this, but I genuinely don't think there is another band out there that sounds like them. The blending of the alternative metal core with influences from things like thrash metal, art rock, and Armenian folk music creates this eclectic sound that I absolutely adore. Of course, the sound doesn't work if the production sucks. Fortunately, Rick Rubin's production on this album is one of his better works. It is loud, sure, but it's also raw in a way that isn't really replicated on later albums. While I think I prefer the higher polish of albums like Toxicity, there's something undeniably cool about this album's production style. Like, I still think Toxicity's better myself, but if someone told me that self-titled was their personal favorite SOAD album, I'd get it. Good production. Before I talk about the individual songs, I want to discuss the writing for a bit. That's one of the things that makes SOAD such a special band for me. Some people complain about music and art being "too political" but I actually love when art gets political. SOAD is no exception. While not every song is political, many of the band's songs tackle hard-hitting topics like religion, drugs, and the mind, while also having more overtly political songs about things like the government, mass media, war, and genocide, the latter of which is obviously important due to the band's Armenian heritage. The lyricism is often ambiguous, but frequently meaningful and always interesting. I love it. Alright, it's finally time for the part where I say something that I like about every song on this album! The first song of the album and, by extension, System of a Down's entire discography, is "Suite-Pee." This song is such a great opener. The moment you hear that opening riff, you know you're in for something unlike anything you've ever heard before. I have this opening as my ringtone and it's awesome. The song really does a great job of capturing what makes SOAD so unique for a first-time listener. I love the drumming on "Know." The groove here is unreal. It's great. The album's most popular song is up next with "Sugar." I love this song so much. The writing doesn't make any sense, but it's still hype as hell. The ending especially just pumps me up like nothing else. This song is also what I mean by Daron's backing vocals always being welcome. Hearing him drop the song title is always great. "Suggestions" might have Serj's best vocal performance on the entire album. The highs he hits during the screams and that one funny part like 2 minutes into the song are so impressive. The song is cool as well. "Spiders" is such a mesmerizing song (oops, wrong album) and it absolutely deserves the popularity it has. Shavo's bass is the standout here. It's cool to know that SOAD can do slower more melodic songs like this, though I do think I actually prefer songs from later albums of this variety like Toxicity's "Aerials" and Mezmerize's "Lost in Hollywood." "Spiders" is still great though. Although I'd probably call it the album's weakest song, I still love "DDevil." SOAD albums tend to have a few silly short songs that are usually among the album's weaker tracks, but are still very welcome and enjoyable. This is one of them and I like it. The rhythms here are pretty fun and cool. "Soil" is probably the song with the clearest message and theme, but it's just as great as the more oblique songs. It's a captivating song about suicide and it captures those emotions so well. That scream near the end? Oh my god. Visceral is the best word I could use to describe it. Amazing. As great as the singles are, I think "War?" might actually be my favorite song on the album. The riffs, the themes, the vocals, the pacing. Fantastic. I especially love the buildup to the final chorus with those rising tones and vocal things in the background. It's spectacular. Admittedly, I wasn't the biggest fan of "Mind" early on in my time as a SOAD fan, but this song has really grown on me over time. The bass is so good here, and the atmosphere is pretty spooky. When it gets heavy though? That's when the song goes from good to great. The vocals are crazy here too. Sometimes I'll just be doing something and my mind will just think of the way Serj says "Free thinkers are dangerous" and I smile a bit. It's the longest song on the album and the length is warranted. "Peephole," or "System of a Clown" as I lovingly call it, is really fun. The song appears to be about drugs, and this song kind of feels like it. Also, you know me. I love hearing time signatures that aren't 4/4, so a 6/8 song is very welcome here. "CUBErt" is another one of the short silly songs but it's still pretty good. Serj does funny things with his voice and I love it. It's faster songs like this that make you really appreciate how tight Daron, Shavo, and John are with their playing. "Darts" is a quirky song with an even funnier vocal performance than the last song! I love the way he says "lovers." I just do. This song is pretty complex and I respect it for that. Again, the fact that this is one of the weaker songs is a sign of greatness for this band. Finally, we have "P.L.U.C.K." This song is about the Armenian Genocide and it's very good. The song, not the genocide. The drums here are just amazing. It's not my favorite song of theirs about the Armenian Genocide. I actually really love "Holy Mountains" from Hypnotize and think that it's the best song off of that album. "P.L.U.C.K." is still an outstanding closer for this wonderful album. Well, that's System of a Down self-titled! As stated earlier, this isn't even their best album! I actually like Toxicity and even Mezmerize more than this. However, this is still one of my favorite debut albums of all time. From the get-go, System of a Down had something special. They had writing that made you laugh and think seriously about the world at the same time. They had a producer willing to take a risk and make this band become a big deal despite being so "out-there." Most of all, they had really good music. I genuinely don't believe SOAD ever made a truly bad song, and their worst album is still like an 8/10 or something. I love System of a Down so much. I could say something about wanting them to make another album, but I think the discography they have now is pretty much perfect as is, and this was a great starting point. To nobody's surprise, I'm giving this album a 5/5.

Roger the Engineer

The Yardbirds

3/5

Well, after reaching what is likely my upper-most limit of words to write for an album with System of a Down yesterday, I think it'd be nice to go a bit lighter for today's album. This is a good one to do it with, since I don't really have that much to say about Roger the Engineer. This is another solid 60s rock album. Not much more than that. The Yardbirds are perhaps most famous for being an early point of success for three of the most acclaimed guitarists of all time, with Eric Clapton being in the band early on and Led Zeppelin's Jimmy Page being the guitarist later on in the band's career. But in between those two is perhaps the most underappreciated of the three and the guitarist for this album in particular, Jeff Beck. I've listened to an album of his before, and between that and this, I can see why he's a beloved guitarist. He had a considerable amount of talent with the instrument and his guitar work on this album simultaneously feels right at home in the 60s and also ahead of its time. Great stuff. Of course, the rest of the Yardbirds aren't to be slept on, but none of them really stand out as much as Beck. Wouldn't it be funny if I got an album from Beck tomorrow? The other Beck, not Jeff. We'll see! The songs here are good. They're pretty standard blues rock affairs, but not bad ones at all. This is just a good album. Solid 3/5.

At Newport 1960

Muddy Waters

3/5

I'm so brainrotted, you guys. All I can think of when I hear the name Muddy Waters is that Family Guy cutaway where he's having a kidney stone. Why is my brain like this? Anyways, this album's alright! I think I actually prefer this to the Muddy Waters studio album I got a while back. This is like, what, the second time that's happened after Motorhead? Interesting. But yeah, I feel like this album just has more variety and spice to it than Hard Again. The live feel of this album doesn't feel intrusive at all. Muddy just kind of says "thank you" after each song and moves on to the next. That's nice. The energy here is good. Definitely bluesy. The writing's not too bad. I think the album's a little repetitive, but given the fact that it's a live album from 1960, that's not too surprising. It's not too bad here though. The songs are good, as is the instrumentation. This is just a nice listen. It helps get a good picture for the influence of blues on music in later decades. Good listen. Solid 3/5.

Hail To the Thief

Radiohead

4/5

This feels... scarily relevant for what's happening in America right now. This, of course, is Radiohead's 2003 album Hail to the Thief. This is definitely one of the lesser-discussed albums in their discography. As such, I don't really think this album needs to be on this list. I think just keeping The Bends, OK Computer, Kid A, and In Rainbows is the perfect representation for Radiohead on a list like this. That's not to say that Hail to the Thief is bad though, quite the contrary. The fact that this is considered one of the band's weaker albums astonishes me. You're telling me THIS is one of the worst Radiohead albums? Well, god damn! They must have a phenomenal discography then! And they do! This is my third album of theirs that I've listened to, and while I obviously didn't enjoy it as much as OK Computer or Kid A, Hail to the Thief is still an excellent album. It kind of feels like a combination of those other two albums in a way. There's clearly still some electronics left over from Kid A and its followup Amnesiac, but there's definitely more rock than on those two albums, which calls to mind the earlier Radiohead style. That's cool! I like that the band decided to move on to doing different things musically while still carrying some things over that worked on prior albums. Of course, the instrumentation is great, as is Thom Yorke's singing, but the writing is where this album really has me hooked. This is, according to many, Radiohead's most political album. Cool! I've said it a few times, but I love when music gets political. Art as a whole is inherently political, so to see musicians embrace that to actually spread a message of sorts is very respectable to me, especially with albums like this. Boy, did Thom Yorke seem to have a disdain for George Bush. Can't blame him. That guy sucked! But alas, over 2 decades later, Bush seems like a good president compared to the current guy. He's not. They both suck. Why am I trying to get political now? I'm supposed to be talking about Radiohead! Oh yeah, the point I was trying to make is that the writing rings true to this day, just with a different guy that you can apply the lyrics to. The added influences from things like 1984 on "2 + 2 = 5" and the Rwandan Genocide on "Sit Down, Stand Up" make the album even more interesting. Good writing. I've seen some people call this album bloated. I kind of get it, but I also like all of the music here so I don't really care that much. Hail to the Thief is pretty cool. It's my least favorite of the three Radiohead albums I've heard so far, but when the other two are OK Computer and Kid A, that means basically nothing. Strong 4/5.

From Elvis In Memphis

Elvis Presley

3/5

Okay, I'm starting to get a ton of repeat artists again. I got 6 in a row, then a 4 day break of repeats, and now I'm getting 3 in a row! What's happening? Anyways, let's talk about Elvis again! Obviously, I don't need to introduce Elvis Presley, but I already talked a bit about him and his cultural impact in my review for his self-titled debut. To sum it up, I don't think it's 100% fair to criticize him for not writing his own songs since he helped promote black music styles to a wider, whiter audience out of love and respect for the music and culture. Now, let's talk about the album! From Elvis in Memphis was released in 1969, long after Elvis had reigned as the King of Rock and Roll in the 50s. This was, in some ways, a comeback album for him. It's pretty good! This album takes a much more soulful approach to music, which I kind of like. Elvis's voice puts on some good emotion for these sorts of songs. The songs are good, by the way. Again, he didn't write them, but I commend the man for even deciding to sing this songs at all. You listen to a song like "In the Ghetto" and you're like, "Damn. That's an emotional story." It's stuff like that that really demonstrates the respect the Elvis clearly had for African-American music and culture. Other than songs like that though, the lyrics are a tad repetitive. Speaking of music, the instrumentation is great. This album's overall feel is still that of an older album, but in a way that's more nostalgic than dated. The backing instrumentals are pretty great. Overall, I'd say that this album is a bit better than Elvis's first album. I think that this sort of album was worth making for an artist like him. Good job! Solid 3/5.

Street Life

The Crusaders

4/5

I need to write smaller reviews. These things are taking up too much time in terms of thinking and writing. I like this album. It's quite enjoyable to my ears. The Crusaders have this nice jazz fusion style that I like a lot. I'm starting to learn that jazz fusion is something that I really love. This is probably one of the weaker jazz fusion albums I've heard, but I still like it. Of course, the opening title track is the album's highlight, but the songs that follow aren't bad. The instrumentation gets a little repetitive, but I enjoy how it sounds so I don't care. The top word on this album's page on the website is "smooth" which seems about right. This album is smooth and good. Light 4/5.

Peace Sells...But Who's Buying

Megadeth

4/5

Well, after a few years of loving Rust in Peace, it's finally time for me to listen to a second Megadeth album! Yeah, I'd never heard any of their other albums until today, which is kind of surprising given how much I love Rust in Peace. I must reiterate that that album is genuinely one of my favorite albums of all time. But how good was Megadeth's music 4 years prior with their second album, Peace Sells... but Who's Buying? Pretty good! Not as good, obviously. The number of albums I like more than Rust in Peace is small, but Peace Sells is a solid thrash metal album. It's not my favorite 1986 thrash metal album from 1986 with 8 songs and a red album cover from a band that starts with the letter "Me," but it's still a great album within the subgenre. Of course, it's not perfect. Dave Mustaine's vocals could be better. While I do actually really like his performance on Rust in Peace, I think the production makes the vocals here sound a bit off. Not horrible though. The riffs and solos are pretty great, though the solos especially don't reach the highs of something like "Tornado of Souls" from Rust in Peace. Can you tell I like Rust in Peace more than this album? Peace Sells doesn't really have any bad songs, which is good! "Peace Sells" the song is probably my favorite. That bass intro is spectacular, and the whole song is just a banger of the highest caliber. There's other cool songs like "The Conjuring" and "Good Mourning / Black Friday" that take a darker tone overall. I like that. Also, I didn't say this for Rust in Peace, but Megadeth's album covers around this time are super cool. Their mascot, Vic Rattlehead, is pretty sick. Overall, I do still enjoy Megadeth quite a bit. Peace Sells... but Who's Buying is warranted in being an iconic album within the thrash metal subgenre. There's a reason why Megadeth was able to succeed to become one of the biggest names in metal. Between the mystic songwriting, killer guitar work, and generally cool atmosphere, Megadeth manages to stick out as an all-time great metal band. While this may not be my favorite album of theirs, it's still a great listen that's worth any metalhead's time. High 4/5.

Destroyer

KISS

3/5

The cultural legacy of Kiss fascinates me. They're one of the best-selling bands of all time, influential to an unquantifiable number of other musicians, and revolutionized practices like concert tours and merchandise sales to become a commercial behemoth of a recognizable brand with die-hard fans and collectors around the world, and yet their actual music doesn't seem to be that iconic. Like, I'd probably only heard two Kiss songs I could name before this album. That's not usually the case with bands like this. I feel that, in recent years, people have started to think more critically about... well, music in general, but bands like Kiss especially and have started being more negative with them. I kind of get it, but I can also see the other side of the coin. On one hand, Kiss was doing things that no other band dared to do at the time. While I never went to one of their shows, I've heard that they were apparently a great live band, especially for the time. I have to give some respect to this band and their influence. But on the other hand, Gene Simmons is an asshat, consumerism is bad, and the music of Kiss is just kind of okay. Destroyer is not a bad album, but it's not exactly great either. The songs are somewhat catchy and have solid riffs. "Detroit Rock City" is probably the highlight. The actual music talent is certainly there, but not mind-blowing. The writing doesn't do it for me. I'm sure it's fun to hear songs that are basically just "let's party, guys!" at a live show, but it doesn't do much for me right now. Feels kind of shallow, you know? But who am I to judge? Not every album needs to be Pet Sounds. Sometimes albums can just be a fun collection of songs that you can enjoy. That's what Destroyer is. While I'm not huge on it myself, I feel it would be wrong for me to say that Kiss sucked and always did suck and never deserved any success. Gene Simmons can suck a dick though. The album's a 3/5.

The Visitors

ABBA

4/5

My feelings towards music have changed quite a bit over the course of the project. I started out just kind of acknowledging that I like what I like, then I started thinking more critically and thinking about how others feel about the music, and now I'm back to kind of just liking what I like. I've become a lot more... unapologetic with my taste in music. With that said, ABBA goes kind of crazy. I know that they're not the biggest critical darlings or whatever, but they've got some bops and this album is pretty cool! I listened to Arrival all the way back in my first 10 days of the album project. I think this is the longest gap I've had thus far between two albums of the same artist. How neat! Anyways, I kind of had more of a mentality of "This is just some silly pop music that's got good elements to it, but isn't complex enough for a high score." Too bad, past me! I happen to really enjoy ABBA after all! The Visitors is a good album. It might even be better than Arrival. I'm definitely giving it a higher score, but I also might need to revisit Arrival to possibly give IT a higher score than it does now. We'll see! But yeah, I like The Visitors. The album is a bit more complex from a lyrical standpoint. There's themes of things like regret and the end of a relationship, which is fitting given what was happening with the band's members at the time. I like that! Though I am more open to just having fun with music, I do still feel that complexity and maturity are valuable and underused in pop music, so to hear that come from this album is great. The singing is solid. The instrumentation is pretty great. The style here is a bit different from Arrival, which is good. The title track sets the stage excellently. I don't think any of the songs on The Visitors are better than Arrival's best song, that being the gem of music that is "Dancing Queen," but the overall album may very well be better. Who would've thought that ABBA would go all in on making a strong album experience rather than being just a singles band? So yeah, ABBA is cool. Light 4/5.

Chicago Transit Authority

Chicago

4/5

Kind of weird that a band formed in Chicago would just call themselves Chicago. It's like if I formed a band called... I'm not telling you were I live! Anyway, this album's cool! I love this! This kind of reminds me of that Blood, Sweat, and Tears album I got earlier this year. I think I liked that album more, but this album's got a lot of the same things that I loved, mainly the horns. More rock bands should just have horns in their music! Admittedly, I didn't love everything about this album. It's a bit too long for my liking, and the song "Free Form Guitar" wasn't very enjoyable for me. But those are really my biggest gripes with the album. Everything else ranges from decent to great. The sound, as mentioned earlier, is filled with horns and I love it. It blends those instruments with rock well. The writing isn't bad. It's not magnificent or anything, but I enjoy it for what it is. The singing is good. I can't believe this was released in 1969! Of course, this isn't my favorite album of that year. Kind of hard to beat masterpieces like Abbey Road and In The Court of the Crimson King, but I digress. Chicago's pretty cool. 4/5.

Logical Progression

LTJ Bukem

2/5

Once again, we have a 2+ hour long album that I listened to ahead of time for my Mega Album Mini Project. Here's my review from September 2024: Why are drum and bass albums so unbelievably long? Seriously! Between this and a few others on the list, I’m pretty sure every drum and bass album is nearly or over two hours long each. That’s insane. Anyways, this album’s okay, I guess. It’s not very interesting to me. It literally isn’t even a cohesive album experience. It’s literally a compilation album. There’s value in compilation albums, sure. I just don’t think they should really be on a list like this because it kind of feels like cheating. The sound of Logical Progression is fine. It works well enough as background music. If you have a 2 hour long task to do and you really like electronic music, this could be for you. It’s not for me though. I don’t really care much about this one. Despite many songs being made by different people, this album felt kind of repetitive. Nothing really stuck out in my mind as being particularly good. Also, this album literally isn’t even on streaming. There’s an album called “Logical Progression” by LTJ Bukem on Spotify and Apple Music, but it’s not the original version of the album. It’s completely different and is much shorter. Quite frankly, I wish I had listened to that instead. Maybe I would feel better about listening to an hour of this kind of music than two hours. As it stands though, I just don’t really think this should be on the list. It’s fine for what it is, but I just feel like there’s better inclusions, even in regards to the drum and bass genre. According to the website, there’s three drum and bass albums on the list: This one, New Forms by Roni Size and Reprazent, and Timeless by Goldie. Timeless was the earliest of the three and can be considered the most essential in forming the foundations of the genre, and New Forms, which I have listened to in my goal to listen to the longest albums on the list ahead of time, felt more original to me and seems to be more of a fan-favorite. I’m not upset I listened to this, but I do question this album’s inclusion. Still, it’s certainly not the worst thing I’ve heard. High 2/5.

Appetite For Destruction

Guns N' Roses

5/5

I don't care how much of a basic old-person take this is. I need to start being more unapologetic and just like what I like! This album fucking rules! Guns N' Roses are a band that have seen a considerably large amount of success over the years, but they're definitely lumped in with bands like AC/DC and Aerosmith these days in regards to being seen as basic overplayed hard rock that only old people like. I call BS on that! Well, okay, this album is definitely hard rock and I can kind of see why someone would consider this album's bigger songs to be overplayed. There's only so many times you can hear "Sweet Child O' Mine" before it starts to lose its luster, right? I don't know. I've heard this song plenty of times and I still love it! Easily the highlight of the album for me. Of course, the other classics like "Welcome to the Jungle" and "Paradise City" are in the same boat. Could definitely wear on someone with enough listens, but I still really like them. The deep cuts on here aren't bad. I especially like "Out Ta Get Me." That song's cool. Generally speaking, I think this album has a few key elements for me. For one, the sound is great. The thing that really puts this above something like an AC/DC album specifically is that, unlike AC/DC, Guns N' Roses don't really have the "every song sounds the same" problem. There are stand-out moments for me here. Most of these moments are pretty great, though there are questionable exceptions like the (REAL) orgasmic female moaning during that one part of the closer "Rocket Queen." Great song, but what were they thinking with that move? As far as talent goes, GNR definitely have it. Slash especially is an all-time great guitarist. The man's solos, riffs, and even his general imagery are all great. Of course, not every member is undeniably great. Take Axl Rose for example! He's not my favorite vocalist, sure, but I don't think he's as bad as others call him. He's kind of in that Dave Mustaine territory for me. I think they work decently well for the songs in question, BUT I can definitely see why others aren't fans of the vocal styles in question. Lyrically speaking, this album really takes the whole "Sex, drugs, and rock n' roll" thing to heart. But you know what? I wasn't too annoyed by this. Not only is the instrumentation excellent as described earlier, but the writing itself isn't too cringe-worthy. The energy here is just cool, okay? So, yeah, I think Appetite For Destruction is an all-time-classic. It's one of the best-selling albums of all time, and I think that's entirely warranted. The fact that this was the band's debut astonishes me. What can I say? This shit bangs. Low 5/5.

Good Old Boys

Randy Newman

3/5

Alright, let's address the elephant in the room to start the review. Yes, Randy Newman drops multiple hard-Rs in "Rednecks," the opening track on the album Good Old Boys. It is very jarring to hear the Toy Story man sing a racial slur. However, that song, as well as many of the other songs, is written as a heavy satirical piece from the perspective of an ignorant Southern man. The album's kind of a concept album in that regard, what with there being a general source of inspiration for most the album's songs. While I'm not defending the use of the word per se, I can understand the motivation and purpose behind it. It's like that John Lennon song, you know? Anyway, the album's pretty good. I'd go as far as to call it better than the other Randy Newman album on the list, Sail Away. The lyrical themes are interesting. Again, it is jarring at times, but I think the messages come across well. I do love me some good satire, and this album has that. Randy Newman's voice is kind of silly, but it's honest, which is good. The instrumentation here is pretty strong as well. I like the vibes. It doesn't feel as much like Toy Story music as the prior album, which works to make the themes hit harder. I've gotta say. Randy Newman is a pretty respectable artist. Good stuff. High 3/5.

If You're Feeling Sinister

Belle & Sebastian

5/5

You know what they say; sometimes it takes a second go at something to really get it. Case in point, Belle and Sebastian! I liked Tigermilk well enough when I listened to it in June 2024. Certainly not bad in the slightest, but it didn't really speak to me that much personally. It was a solid debut album and not much more than that. I don't really think it needs to be on the list, but that's not because of its own quality. Rather, I think Tigermilk's inclusion is unnecessary because of it being outclassed by its followup, If You're Feeling Sinister. This album is fantastic. I love this so much. It has the things that worked on Tigermilk, but there's something here that just feels more special. Maybe it's just that the songs are better. I don't know. The songs here are all great. There's not a weak one in the bunch. "The Stars of Track and Field" is a great opener. I really like the vibes of "Like Dylan in the Movies." It's got the soft acoustic feel of the whole album, but it's got this quicker movement to it that I think is pretty cool. The album's highlight for me is "Get Me Away From Here, I'm Dying," which is one of those songs that just feels like it's been around forever even though I'd never heard it before and it was only written in 1996. Amazing song. The singing is pleasant. Stuart Murdoch is proof that Scottish accents can sound great in singing. The instrumentation is great. It's soft, but it has a bit of energy to it. The album definitely gives off Nick Drake vibes, which is great because I love Nick Drake's music a lot. I've got to say, I'm impressed. I might even go back to Tigermilk to see if it appeals to me more now! Light 5/5.

Tanto Tempo

Bebel Gilberto

3/5

There's a third Gilberto on the list? Well, I can't say I expected that, but I'm not entirely opposed to it. Yes, between the genre's pioneer, João Gilberto, his temporary wife, Astrud, and his daughter, Bebel, it appears that the Brazilian bossa nova genre has itself a bit of a dynasty with the Gilberto family. Interesting. Here we have Bebel Gilberto's 2000 album Tanto Tempo. It's good! It's probably my least favorite of the three album I've heard from a member of the Gilberto family, but I still enjoyed it quite a bit. It's got a more modern feel to it with the production, which is neat. The producer, Suba, is someone who I've also listened to an album from for this project. Apparently his death was caused by smoke inhalation from him saving this album's material from a fire. Holy shit. I don't even know how to continue the review after that. Well, I guess I can keep praising the album. The vibes are nice. It's pleasing, I guess. I translated the lyrics and they seem decent enough. This isn't really the kind of album I see myself going back to much in the future, but I'd say it's a pretty decent little project. Not really my personal thing, but I respect it, you know? High 3/5.

Whatever

Aimee Mann

3/5

Whatever? Yeah, that seems about right. This album's fine. It doesn't really speak to me, but I also know that there's nothing particularly bad about it. It's a fairly standard 90s pop rock album. It has good elements, but I don't think the whole package does much to stand out. Why is this on the list anyways? I'm not saying that to be dismissive, I'm genuinely curious as to the justification for this specific album's inclusion. What does Wikipedia say about the album? Well, Elvis Costello liked it. Of course. It all comes back to Elvis fucking Costello, doesn't it? He's talented, yes, but he does NOT need to have this much of a grip-hold on this album list. Apparently Aimee Mann's songwriting has also been compared to that of ol' Declan. I can kind of see it, I guess. The writing on this album isn't bad, I'll give it that. The music itself isn't bad either. It sounds good. But that's just about it. It's not bad. I can't criticize this album too much, but there's not much high praise to give either. It's a real jack of all trades, master of none situation. Everything on this album works, but nothing excels. It's also a bit long for my liking. I will say that Aimee Mann has talent. However, I personally don't vibe much with this album personally. It's decent. Light 3/5.

Tellin’ Stories

The Charlatans

2/5

charlatan (n.), sense 2: A person who falsely claims or pretends to have knowledge or skill in some area, usually for personal gain; a person who pretends to be something he or she is not; an impostor, a pretender, a fraud; a quack. That is the Oxford Dictionary's second definition of the word "charlatan." Not exactly something you want to call yourself, right? Well, from my perception, it wouldn't be exactly wrong for these guys to call themselves the Charlatans seeing as they're clearly pretending to be a better band than they really are. That better band, by the way, happens to exist. It's Oasis. These guys are just Diet Oasis. That's not just my take. This website's top key word in the reviews for Tellin' Stories by the Charlatans is "oasis." It's not just me! So, when you already have 2 Oasis albums on the list, which is absolutely warranted, why should anyone care to bother with the Charlatans? They do nothing special. The instrumentation? Decent. Not outstanding, but not objectively bad. The singing? Not a fan. The fact that I saw a review for this album say that "Area 51," an instrumental track, is the album's best song says a lot. The writing? Fine. I guess these guys had a bit of a tragedy happen during recording regarding their keyboardist dying in a car crash while drunk. I guess it's a tragedy then... a tragedy that this band had a member who was dumb enough to drive drunk and not wear a seatbelt. You want to know something else that I don't like? You know, other than drunk drivers? This album's production. It's too murky. I didn't enjoy it. Admittedly, this album isn't terrible. Nothing hurts to listen to and everything works well enough to produce music that could be enjoyable to someone. That someone's not me though. I just think that an album as unoriginal as this isn't totally justified as an inclusion on a list called "1001 Albums You Must Hear Before You Die." Really showing that 90s/2000s UK bias there, eh Robert? I don't hate this album, but I don't think I could care less if I tried. This review was weirdly negative. I don't even feel that negative about the album. I just don't care about it. It's generic. Not awful, but not inspiring in any form of the word. High 2/5.

Astral Weeks

Van Morrison

4/5

Kind of hard to believe it's been 18 months since my last Van Morrison album. Crazy. Well, a year and a half after listening to Moondance, it's finally time for me to visit Van Morrison's other highly acclaimed album, Astral Weeks. It's great! Obviously, it has been a while since I listened to Moondance, but everything that I remember enjoying in that album is present here too. It might even be better. I will say that it's a closer call than I'd like to admit. Astral Weeks is pretty cool. I enjoy Van Morrison's vocals for the most part. They fit the folkiness of the instrumentals while also adding a bit of a bluesy feel to the music. Pretty unique and admirable. Van's songwriting is pretty strong here. There's nice themes on songs like "Sweet Thing" and even some light storytelling on "Madame George." Pretty good stuff. The songs are all good. The pacing is respectable, unlike Van Morrison's thoughts on COVID, am I right? Still, that sort of thing isn't very relevant to an album like this. There are other artists that I like more, sure, but Van Morrison has proven himself to me as an artist who, at one point in time, made some pretty great music. Strong 4/5.

Unhalfbricking

Fairport Convention

4/5

Does this list need two Fairport Convention albums? Probably not. Am I upset that they do? Not at all. I thought Liege and Lief was pretty good and I feel the same way about Unhalfbricking. I'm not sure which one I like more. They're both at the same level of being pretty good to me. The sound is basically the same. It's got that almost-medieval folk vibe that I liked on the other album. I still really like Sandy Denny's vocals. The writing here is pretty good. 3 of the album's 8 songs were written by Bob Dylan, so that explains some of it, but none of those are the album's standout song. That honor belongs to Sandy Denny's own "Who Knows Where the Time Goes?" Great song. Fairport Convention is nice. I think they're pretty good, and this album affirms that. Light 4/5.

The Healer

John Lee Hooker

3/5

Here's something neat about this album project. The fact that each genre is represented a number of times has allowed me to form opinions about genres at large. Of course, these are still generalizations to an extent, but I've started to learn more and more about what genres I do and don't care for. Blues is a genre that I'm not super big on myself, but it's certainly one that I respect. John Lee Hooker's 1989 album The Healer is no different. This isn't like my favorite thing in the world, but it's got some good things to it that I enjoy. John Lee Hooker is one of the more influential artists in the blues genre. As far as influence, he's up there with someone like Muddy Waters for sure. However, while he got his start all the way back in the 1930s, this album is a release from 1989. Interesting. It's also a collaborative album with a number of artists, including some that also appear on this list like Carlos Santana and Bonnie Raitt. Interesting collaborator list if I do say so myself. The style here definitely has its roots in blues, but takes some semi-modern influences as well. This is most obvious on the title track, which sounds pretty smooth to me (I wonder if this has anything to do with the fact that it literally has guitar from the guy who played on "Smooth"). John Lee Hooker's got some nice bluesy vocals. Definitely getting those Muddy Waters vibes. Maybe I don't understand blues. I don't know. What I do understand is that this album's good. The instrumentation is pretty nice as well. Overall, this is a neat listen that I wouldn't call a favorite of mine, but is one that I'm not upset to have listened to. 3/5.

Bubble And Scrape

Sebadoh

3/5

Never heard of Sebadoh before, but that just means that I get to go into this album without any preconceived notions about the band. After listening, I think it's good. It definitely reminds me of Guided By Voices, what with the lo-fi production and such. I liked it well enough there and I like it well enough here. The singing is interesting, but mostly good. The writing is definitely that of an indie album that's for sure. Apparently the work for this album was split pretty evenly between the band's 3 members at the time, which is cool. I do think that the album peaks with its opener, that being the stellar "Soul And Fire." Not every song bangs as much as I'd like, but the album's got some good songs to it. I think this album's alright. I'm glad that I listened to it. I don't know if it needs to be here, but I'm not upset that it is. High 3/5.

Central Reservation

Beth Orton

4/5

I wasn't expecting much going into this album, but I was pleasantly surprised at how much I enjoyed this. This is pretty good! It's not spectacular, but I'd call this an album that was worthy of my time. I wasn't super interested upon generating the album. I thought "Folktronica? Were the TWO Goldfrapp albums not enough?" Turns out, I actually like this album more than the Goldfrapp albums! I actually didn't really think of her that much with this album. The outside artist I thought about most while listening to this was actually Joni Mitchell, which is not a bad thing seeing as I love what I've heard of Joni's music. This kind of reminds me of a blend of her stuff with a bit of Portishead thrown in on songs like "Stars All Seem to Weep." I like it. The instrumentation blends the softer acoustic stuff with electronic influences well. Beth Orton's singing is nice. Not my favorite singer named Beth. After all, I did already acknowledge Portishead in this review, so I might as well mention that I like Beth Gibbons more. However, I feel like comparisons to other artists aren't what I need to do for a review like this. I will say that I do have one specific problem with the album. It's a little long for my liking. Other than that, I feel somewhat positive about everything. The writing's alright, the vibes are nice, and the music's good. Nothing's phenomenal, but nearly everything in this album brings me some level of positive feelings. I like it. Light 4/5.

Lazer Guided Melodies

Spiritualized

4/5

Jason Pierce... we meet again. Back in February of this year, I listened to an album called Playing With Fire by a group called Spacemen 3. I didn't like it. Most of it was just whatever, but one song on it sucked and dragged it down to a 2/5. However, I knew that one of the guys behind that group, Jason Pierce, was also behind another project that happens to have 2 albums on this list, that being Spiritualized. I said at the end of the Spacemen 3 review, "Maybe I'll vibe with Jason Pierce's other project Spiritualized. We'll see when I get there." Well, I've finally gotten there. After listening to Spiritualized's debut album, Lazer Guided Melodies, I can now say that I do in fact vibe with Jason's Pierce's other project Spiritualized. This album's good! This album definitely takes more of the ambient spacey elements of the other group into focus while minimizing that noisiness. That's not to say that there's not noise here. This could reasonably be considered shoegaze after all, but it's also got some dream pop and space rock elements that I really like. This album does make me feel somewhat like I'm floating in space, which I like. The instrumentation is a lot more gentle than the Spacemen 3 album, which appeals to me more. The writing is kind of vague but also somewhat intriguing. The vocals match the hazy dreamscapes of the instrumentals quite well. The album's a bit long, but it's not too egregious, especially since the time is spent well due to the album's good pacing and solid music. It also helps that, while the tone is consistent, the album doesn't all blend together into a mush. Standout moments and songs do exist. So, yeah, Spiritualized is cool. Apparently this isn't even their best album. I guess I have something to look forward to with the other album of theirs on the list! Light 4/5.

In Rainbows

Radiohead

5/5

You ever think you've heard the best that a band or artist has to offer and then you're stunned to find out you might have been wrong? I wasn't sure if I'd experience that in the way I have just now, but we all get proven wrong sometimes, don't we? With that said, I think In Rainbows might be my new favorite Radiohead album. I'm serious. I already listened to OK Computer and Kid A and adored them. Well, I also listened to Hail to the Thief, but as good as that album is, it was never in the running for best. However, while I fully expected to love In Rainbows, I'm shocked at how much of a masterpiece this truly is. What is it about In Rainbows that speaks to me after all this time? Is it the revolutionary release strategy that the band employed using the internet? Well, that doesn't affect the music at all, but it's still pretty cool! No, it's all about the music. The things that make Radiohead one of my all-time favorite bands still apply here and are just as great as ever. Thom Yorke's singing is unmistakable and it works well with this music. The songwriting is deeply emotional yet also somewhat cryptic. The instrumentation here is stellar. The guitars and drums and bass and synths and everything are so cool. This brings me to the standout element of In Rainbows. This album takes just about everything that made prior albums great and blends it together with more to make an album that sounds like no other. You have guitar stuff from the band's earliest albums, albeit with more of an acoustic focus on songs like the magnificent "Weird Fishes / Arpeggi." You have some synthy songs like the outstanding opener "15 Step" that hearken back to the Kid A days. But you want to know the new thing here that makes me love this album (probably) more than the others? It's the strings. The strings make these songs go from pleasant to downright gorgeous. That's the magic of In Rainbows. It's still got some somberness left over from the band's angstier days, but the strings bring a sense of maturity and beauty that left me with an open jaw throughout the whole album. I could go on like this forever. I could talk about more of the songs. "Jigsaw Falling Into Place" might be the perfect microcosm of this album's best elements. "All I Need" is somewhat haunting and yet still as mystifying as the rest of the album. Every song here is wonderful. I can't believe it. This has got to be, without a doubt, one of the best albums I've ever heard. 5/5.

Steve McQueen

Prefab Sprout

4/5

With an album/artist name combo like Steve McQueen by Prefab Sprout, I wasn't expecting anything outstanding from this album. I went into this thinking I'd get a somewhat forgettable 3/5 that I would just move on from after my next album. However, I was pleasantly surprised by how good this album is. I really like this! As dumb as their name is, I think Prefab Sprout actually have something pretty good going on here! It's not the greatest thing ever, but there's a lot to enjoy with this album. The writing is pretty good. It's got some depth and uniquely inspired origins for the songs. Nothing stuck out to me as being cheesy, which is surprising given the fact that this is 80s pop we're talking about. Speaking of 80s pop, the sound of this album is definitely that of an 80s pop album, but like, a pretty good 80s pop album... cause that's what this is. It's got synths and stuff, but they're used well in combination with a solid drum groove and even some nice guitar work. I like the singing. It sounds good and has some cool moments. I've seen some people say that the album's a bit top-heavy. While I agree that the album's best songs are earlier in the album, with "Bonny" and "When Love Breaks Down" being highlights for me, my enjoyment of the album didn't dwindle with each passing minute. It kept me engaged, which is always a good thing. This album's nice. Good job, Prefab Sprout. You've impressed me more than I expected. Light 4/5.

The Black Saint And The Sinner Lady

Charles Mingus

5/5

Dude... This is one of the coolest albums I've ever listened to. This, of course, is Charles Mingus's legendary 1963 album, The Black Saint and the Sinner Lady. This is one of the most acclaimed jazz albums ever released, and with me loving similarly beloved albums like Miles Davis's Kind of Blue and John Coltrane's A Love Supreme, I had quite the expectation for a good album, and oh boy did I get that. This is so crazy and awesome and I love it. The compositions here are so full of emotion and talent that I am left speechless by just about every moment. From the speedups and slowdowns on track B to the beautiful guitar part on track C, this album really does represent the best that this wonderful genre has to offer. Despite the energy and chaos of the album, you can still get a sense of emotion and a bit of a story if you think hard enough. There's a sense of beauty in the chaos, and I really love that. I don't know what to say. Would I call this my favorite jazz album ever? Not confidently. It does have the aforementioned competition from Coltrane and Davis. It's up there though. This is a stunning achievement that should absolutely be listened to by everyone, even if you don't click with it initially. I clicked with it though, and I adore this album. 5/5.

461 Ocean Boulevard

Eric Clapton

3/5

Well, we've been through this spiel enough times. Say it with me now: Fuck You Eric Clapton! For real, the "separating art from artist" discussions have been done to death. If you've been keeping track of my reviews, you'll know I'm not the type of person to just skip and album and immediately dismiss it just because the person behind it is a scummy human being. You'll also know by now that my opinions of the past 3 albums I've gotten involving Eric Clapton have all been positive. My opinion of the one album that is actually to his name is no different. 461 Ocean Boulevard is solid. It's not without its flaws, but it's solid. Of course, Clapton's musical talent largely lies in his skills as a guitarist, which are certainly there. He's one of the most acclaimed guitarists out there and I can see why. The dude knew how to play that thing well. There are other things that he's not as good at though, namely singing and songwriting. His singing is whatever. It's not bad, but not great either. He "can" sing, but it's not one of his strengths. Songwriting is also something he "can" do, but he doesn't do it a ton on this album. Much of the album is covers, including the album's most famous song, "I Shot The Sheriff." That cover is good, but I think I might like the original Bob Marley version more. The lyrics Clapton did write here are fine. Not bad either, but not too impressive. The album's weirdly quick, but that's not the worst thing in the world. Overall, Eric Clapton may be a racist anti-vax asshole, but he's a talented racist anti-vax asshole. However, his talents are not absolute, and are mostly focused on his admittedly very strong guitar skills. Still, 461 Ocean Boulevard is a good listen if you can separate art from artist, which I can for an album like this. High 3/5.

Dance Mania

Tito Puente

3/5

That was fun. It's not every day that you see a 50s album on this list, so my curiosity was somewhat piqued by this album's generation. After listening to it, I can now say that this album's good! There's not much to say here. The album's called Dance Mania and it's from a guy called Tito Puente. The album is exactly what you'd expect from that; a fun samba album that you can dance to. It does that and it does it pretty well. It's not super complex or anything, but does it have to be? The writing seems simple but effective. The sound is good. It definitely does its job at being dance music. It's a little repetitive, but given the album's relatively short length, it serves its time and purpose well. It's not like those 70+ minute rave albums at least. Not huge on this personally, but I respect it a lot. Solid 3/5.

My Life In The Bush Of Ghosts

Brian Eno

4/5

I mean, it's Brian Eno and David Byrne. In what world would I not love this? On one hand, you've got Brian Eno, one of the most acclaimed music producers of all time. He is an undeniable legend of the music world. On the other hand, you've got David Byrne, the frontman for one of the greatest bands to ever exist. He'd probably be my favorite autistic person if it weren't for myself existing. Of course, this is not the first time that these two eccentric musical powerhouses joined forces. Eno had already been producing for Talking Heads for a few years by the time My Life in the Bush of Ghosts entered production, with this album being recorded just before the masterpiece that is Remain in Light. Eno and Byrne were on a bit of a hot streak at this time, so how did this project of theirs turn out? Pretty great if you ask me! This is a fascinating album! Musically speaking, this album focuses on two things; funky instrumentals and weird vocal samples. The instrumentation here definitely reminds me of Remain in Light, and you're doing something right if I'm positively comparing your work to Remain in Light. It does have some things that make it different though. The synths are excellent here. I especially love the song "Regiment." It's got so much going for it. An awesome bass groove, a cool vocal sample, Robert Fripp. Great stuff for sure. Speaking of which, the samples are what really make this album interesting. Between the wordless vocals taken from a number of cultures and the found sounds of radio shows and speeches of sorts, the album has a very unique identity in regards to the things on here that come from human mouths. I really like the multicultural elements of this album. Unfortunately, it seems as if some people disagreed, including the Islamic Council of Great Britain, who forced the song "Qu'ran" to be removed from the album. Damn. It's a shame since that song is pretty cool in my opinion. Whatever. Overall, I really liked this album. It's obviously not as good as Remain in Light, but the number of albums that are is incredibly slim, so I'll still appreciate this for what it is, that being a number of things. It's a fun side project from musical legends. It's an innovator in the sampling world. Most importantly of all, it's a light 4/5.

Myths Of The Near Future

Klaxons

3/5

Here we have my 666th album of the album project! Man... I really wanted that Iron Maiden album today. That would've been so funny. But like the idea of Snoop Dogg as album 420, it was never meant to be. Hell, I probably would've been somewhat okay with something laughably terrible today just for the irony of it being album 666. But no. Instead I have to get the 300th fucking British indie album on this list, because I guess there wasn't enough already! This Klaxons album is the definition of a 3/5. It has good elements, sure. Musically speaking, this album is certainly respectable. Songs like "Golden Skans" do have good ideas in their melodies and such to the point where I'd call most of the album good in that regard. You have some things that aren't bad or great. They just kind of do the job. This is where the singing and writing go. Those two elements are fine here. Not excellent, but not awful. The mixing is probably my least favorite part. It felt a bit loud at times. I'm not an expert at all, so take that with a grain of salt. Ultimately, this is one of those albums that I would say are good, but I wouldn't go as far as to say that I loved it or that it's a must-listen album at all. I'd understand if others liked this more than I did and I'd also understand if someone was seriously annoyed by this. As for me, I listened to it, had some fun, and now I'm going to move on with my life. 3/5.

Walking Wounded

Everything But The Girl

4/5

Well, that was nice. I wasn't super excited for this considering it's a 90s British electronic indie album that I got immediately after a 2000s British electronic indie album, but I actually enjoyed this a lot more than that Klaxons album from yesterday. Why is that? Well, let's talk about this album from Everything but the Girl. The group's name is kind of dumb since its vocalist is, in fact, a girl, but I digress. This album does land in that electronic indie camp, but it definitely reminded me more of something like Massive Attack or Portishead than anything else, which is good because I like Massive Attack and Portishead. The album here was definitely more on the chill side, which I'm generally a fan enough. However, there is still room on songs like "Wrong" for some welcomed energy. The instrumentation here is interesting. However, I feel like it's the vocals and writing that allow the music to work for me. If it was just the instrumentals, I'd be able to appreciate them, sure, but I don't think I'd vibe with the album as much as I do. With Tracey Thorn's pleasant vocals and the solid writing from both her and Ben Watt, this album goes from respectable electronic productions to genuinely strong songs. Songs like the aforementioned "Wrong" and the opener "Before Today" stand out to me. The album didn't even feel that long despite being nearly an hour! Sure, the end is padded out a bit by remixes of prior songs from the album, but they're at the very end so they don't really hurt the album for me. It's kind of like the Flaming Lips' The Soft Bulletin in a way. So, yeah. Walking Wounded is a good album. I don't think Everything but the Girl needs two albums on this list, but I'm not dreading the other one, so that's good. 4/5.

Call of the Valley

Shivkumar Sharma

3/5

With this, we return to the musical stylings of India. Cool! While this is not my first album to come from the country, it is potentially the most influential, with this album being an earlier player in the introduction of Indian music to the Western world. Of course, earlier albums like Ravi Shankar's The Sounds of India had done the same thing, but this album is just as good if not better. We can have multiple albums from a country, okay? Besides, India's traditional music style is pretty cool! I've always liked the sound of it. The difference in how scales work is quite fascinating. I like the flutes. It makes the album stand out more. The compositions here are quite elegant and I really like that. This feels like a cohesive musical experience... probably because it was designed as such. How neat. The instrumentation does get a little repetitive, but that could be the fault of my ears that have grown used to the Western music styles over my years of experience. Still, I have a ton of respect for this album and I'm glad I listened to it. If only it was available on streaming. High 3/5.

Solid Air

John Martyn

4/5

You know, whenever I get an album from an artist I've gotten albums from before (a "repeat artist" as I've taken to calling them), I always find myself thinking about whether this album count of theirs on the list is deserved. A second Depeche Mode album? Hell yeah! A second Undertones album? Ew, no. Sometimes it's obvious like that. But then you get interesting cases like John Martyn. This is my second album of his, after getting One World in March of this year. I'm not exactly sure that John Martyn needs two albums on this list, but I can't say that I'm upset that he has them. They've both been good, haven't they? However, I'd still probably remove one of them. Which one? Well, after listening to both of them, it's definitely not Solid Air, that's for sure. One World was good and all, but Solid Air is great. Why do I like this album as much as I do? Well, and I may be biased here, but the Nick Drake influence is noticeably stronger here. Despite the fact that I have yet to listen to his beloved swansong Pink Moon, Nick Drake has been one of my favorite discoveries of the 1001 Albums project even through his first 2 albums alone. So, to hear that this guy was influenced by him due to their friendship is pretty nice. Clearly the two had things in common, as they're both pretty talented. The instrumentation on this album is wonderful. It's fairly soft, but also full and even a little rich at times. I like it. Some of the album's songs take a more elegant approach, including the excellent title track, while others like "Dreams By The Sea" are a bit jazzy and I like that too. The songwriting is fairly strong. It's got some good emotion to it while also being engaging. I will say that I'm still not huge on John Martyn's singing. It's not bad, especially on this album, but it's also not my favorite thing in the world. I definitely prefer Nick Drake's style of singing. Overall, Solid Air is definitely fitting of its name, because it is a very solid album, if not stronger than that. I can definitely see why this is on the list. Solid Air get a solid 4/5.

Cafe Bleu

The Style Council

3/5

I feel like I'm losing my goddamn mind. 2 weeks ago, I didn't even know that "sophisti-pop" was a thing. I'd never heard of the term. But for some reason, this album project website decided that it would be the funniest thing ever if I got THREE albums from prominent sophisti-pop bands in the span of just 10 days. What the fuck? Prefab Sprout, Everything but the Girl, and now the Style Council! Why? To be fair, I have 2 points to make. Point 1 is that the ETBG album in question, Walking Wounded, was later in their career and not very sophisti-pop-esque, so I can't exactly say that all 3 albums sounded the same. The second point is that all 3 albums I've gotten have been varying degrees of good. However, Café Bleu is the worst of the three. Sound-wise, this album's not bad at all. It does remind me of Prefab Sprout quite a bit, and I liked that album so that's okay. This is definitely an 80s album alright. The vocals and writing aren't bad. Paul Weller seems like a talented guy. Maybe I'll enjoy the other 3 albums on the list that he's prominently featured in more. The songs are the most interesting thing here. Café Bleu's best songs are very good. "My Ever Changing Moods" and "You're the Best Thing" are stellar. I love the bass on the latter. It reminds me of the Sega Genesis. I like that. There's a few instrumental tracks in here that are solid. Not every song is made equal though. There's two songs in particular that appear back-to-back at the beginning of side 2 that don't work for me. I'll start with the latter. "Strength of Your Nature" is a pretty repetitive dance song. This one's definitely better, but it feels kind of out-of-place on this album and it's not my favorite. But it's not my least favorite either! What where they thinking with "A Gospel"? Why is Paul Weller rapping on this song? Hello? I guess I can kind of respect the willingness to try new things, but the rapping also sucks so there's only so much kindness I can give towards that song. This album's weird. It's got some pretty high highs and embarrassing lows. It's a product of its time but also slightly ahead of the curve. It is Café Bleu by the Style Council. High 3/5.

Play

Moby

3/5

See guys, this list isn't just 90s British electronica! We've got 90s American electronica too! Here we have Moby's 1999 album Play. It's definitely one of the more iconic electronic albums on this list if I do say so myself. I'd definitely keep it on my 1001 albums list. You want to know a big part of that? It's got the quality to back it up. This album is quite good. Of course, I'm still not huge on electronic music myself, but I can tell that this is a solid work of the genre. Let's start by addressing one of my common complaints with the genre, that being repetition. This album's a little repetitive, but not too much. It's more so in the songs themselves rather than the album at large. The album's songs have variety and I like that. Compare the opener "Honey" to the closer "My Weakness" and you get two different sides of this album. I like that. Good job. The songs themselves are good. The samples are neat. "Porcelain" is a classic for a reason. There's some good energy and some good vibes. You like to see it. The album's a bit long, but not to an egregious level unlike some other albums I know. This isn't my favorite thing, I'll admit it. If I liked electronic music more than I do, I could see myself giving this a much higher score. As is, I respect this album quite a bit and could see myself revisiting a bit more in the future, but I'm also not in love with it or anything. Still, a classic of the genre that I'm glad I listened to. High 3/5.

Scissor Sisters

3/5

Okay. I know I've said this a number of times by now with other albums, but I have a strong feeling that this will be the FINAL time that I say this. This is, without a single doubt in my mind, the gayest album I have ever listened to. I may have said this in the past about Frankie Goes to Hollywood and Pet Shop Boys and whatever else I said, but those have been eclipsed. I mean, the band is literally called Scissor Sisters! Once again, I must stress that I am saying this endearingly. This is a compliment in my eyes. Let's get serious about this now. There is a serious basis for this title I've given the album that is rooted in good places. For one, the lyrical themes of the album call to mind the gay nightclub scene of New York City. This is most obvious on the song "Take Your Mama" which I happened to enjoy quite a bit. The writing, by the way, is solid. It has the exact vibe I was looking for, that being fun and a little campy, but also engaging. The musical elements of the album are also quite good. It's kind of hard to pinpoint exactly which genre this album fits in, which is respectable. I'm also noticing a bit of influence from other notable queer musicians, including Elton John and George Michael. The vocal style gave me those Elton John vibes and the aforementioned "Take Your Mama" kind of reminds me of George Michael's "Freedom! '90." But there is one other famous musical act that I need to acknowledge in regards to this review. That, of course, is Pink Floyd. I have to talk about this "Comfortably Numb" cover, okay? Though, to be honest, I don't know what to say. As soon as I started the album, I anxiously waited for the cover to start because I knew that, regardless of quality, it would be something special. This is definitely one of the more interesting song covers I've heard in my life. It's very funny. I don't know if I can call it good or bad. I can see why people would hate this, but apparently David Gilmour liked it, so it's got that going for it. Overall, this is definitely a unique album within the project. It's got a unique feel to it that makes it a standout on the list. It's got some very fun elements for sure, but I also can't say that I myself 100% vibe with the album. It's good, but not entirely for me. It's not the kind of thing I could listen to forever, but I'm also glad that I listened to it once. Solid 3/5.

Birth Of The Cool

Miles Davis

4/5

Man. That title is right. This is cool as hell! Of course, I expected that going into it. This is Miles Davis we're talking about. He's only one of the greatest jazz artists to ever live. This is the earliest album of his on the list, 1957's Birth of the Cool. Well, "album," that is. You see, Birth of the Cool is actually a compilation album, containing 11 3-minute-ish recordings from 1949 and 1950. Does that make these recordings the oldest of the 1001 albums list? I don't know. There's probably a sample from like a movie from the 1930s or something in a different album. Despite their age, these recordings are great. This is perfect dinner party music and I mean that as a compliment. That's the neat thing about jazz. It's subtle enough to work as background music, but complex enough to be analyzed as a work of art. I love it. The short length of each song give this album a different vibe from the other Miles Davis albums on the list. There's definitely a difference between the shorter, more bebop-esque songs on Birth of the Cool and the longer, more experimental tunes of an album like In A Silent Way that make this album feel different enough from the others to potentially warrant the inclusion on this list. This is definitely my least favorite of the 3 albums of his that I've heard, but I can't deny the incredible talent that Miles Davis and his band show off in these recordings. Great stuff. High 4/5.

Locust Abortion Technician

Butthole Surfers

2/5

Alright, let's get the obvious out of the way. This album may have the worst album/band name combo on the entire list. I can't tell people that I liked an album called Locust Abortion Technician by a band called Butthole Surfers! Fortunately, I don't have to! I don't vibe with this album very much. Admittedly, I can see the vision and I'd mostly chalk this up to just being something that's not up my alley. This definitely fits in that noise rock territory, with the emphasis on noise. A lot of this album does just feel like harsh noise to me, which I've never liked. It brings back memories of Einstürzende Neubauten and I don't like that. However, there are other moments and songs that I think are solid. I think the opener "Sweet Loaf" sounds cool, but that might be because the main riff is heavily based on Black Sabbath's "Sweet Leaf," leading to me thinking of a better band. I'd also go as far as to call "Human Cannonball" a good song. It's not my favorite thing ever, but I could see someone listening to this song legitimately and having a good time with it. However, I don't feel super positive about the album at large. The singing is kind of weird at best and nearly unlistenable at worst, the writing is off-putting and not always in a good way, though I'd argue it occasionally is, and the sound isn't usually good. Still, I can see why others might enjoy this and even a since of influence that this has had on music since its release in 1987. I mean, Kurt Cobain liked it, so clearly it's not horrible, right? Still, I can't say I'm a fan, but I'm also not upset that I listened to this. High 2/5.

Vespertine

Björk

5/5

Oh, Björk. It has been too long! This is my last Björk album of the album project. I got the other 3 pretty early on, with Björk even being the first artist to give me a third album back in March... of last year. I've waited about 16 months or so for this final album and have gotten 4 artists up to 5 albums in the time since. So, is Vespertine a good album to get as my final Björk album of the 1001 albums project? Well, it might just be the best. This is, without a doubt, my favorite album of hers that I've listened to thus far. I enjoyed all of the other Björk albums well enough, but Vespertine is a straight up masterpiece. The thing that really makes this album work so well for me is the instrumentation and production. Vespertine has this very unique style to it that's deeply intimate and captivating to the senses. The wonderful opener "Hidden Place" sets this up perfectly. The electronic sounds are equal parts pleasing and chilling. I love it. The writing is also a key part of Vespertine's appeal. If I had to describe the album in one word, it would be "intimate." This is partially due to the sound, but also due to the sensual nature of the lyrics. Lyrics that focus on sex don't always work for me (I'm looking at you Neil Hannon), but the writing on Vespertine is great. They're clearly sensual, but also vague enough to feel more emotional rather than animistic. It helps that the songs are great. "Pagan Poetry" is easily the highlight for me. God I love this song. I'm going to be relistening to this song frequently. The rest are all great. There's not a bad song on the album. Of course, Björk's singing is as Björk-y as it's ever been, with her unconventional nature making the songs feel as unique as always. I could go on and on if I wanted to. I've always liked what I've heard of Björk, but this is probably the first time that I've felt a sense of adoration for one of her albums. An album like Debut is great and all, but Vespertine is on a whole other level. This might just be one of the most enchanting, beautiful, and engaging albums I've ever heard. I love it. 5/5.

Honky Tonk Masquerade

Joe Ely

3/5

I'm glad that this project exists to remind me that there is such a thing as "good country artists." Case in point, Joe Ely! I didn't know who this guy was before but now I vaguely know that he's a fairly talented guy who worked with the Clash at one point. Neat! This album of his is pretty good. It's not the best country album I've heard, but it's a solid time. The instrumentation is enjoyable. I do generally enjoy my country to be more on the mellow side of things, but I can appreciate some strong country rock like this every so often. This thing has a Moog synthesizer on it, okay? It's good. Joe's singing does the job. Definitely country singing alright. The writing's respectable. He's no John Prine or anything, but at least these songs have more soul to them than the manufactured crap you hear on the radio these days. This isn't a super exciting album, but it's one that I can get behind. I like other country albums more, but I'd be a fool to call this album bad. High 3/5.

Pieces Of The Sky

Emmylou Harris

3/5

Two 70s country albums in a row? Eh. Whatever. At least they're both good. This is my first exposure to the work of Emmylou Harris, who apparently has three albums on this list, one of which being a collab with Linda Ronstadt and Dolly Parton. Speaking of Dolly Parton, boy does this album remind me of her. It's not just me, okay? There are too many connections and similarities for it to just be my lack of country expertise. I mean, this album literally has a cover of the title track from the Dolly Parton album on the list! It is a pretty good cover though, as are most of the songs on this album. This kind of occupies that same space of "classic reminders as to why country music isn't a complete and utter joke if you look in the right places." Emmylou's singing is nice. Again, considerably Dolly-esque. Pleasant for sure, as is the instrumentation. The album is mostly covers, so the writing ranges from decent to literally the Beatles. Although, Emmylou Harris did help write one of this album's songs, that being "Boulder to Birmingham." Great song! She should write more songs. Overall, this probably isn't the kind of album to change someone's mind of country as a genre, but if you already like the good parts of the genre, it'll definitely provide you with some pleasant songs that'll fit right in with your music taste. High 3/5.

Elephant Mountain

The Youngbloods

3/5

You know what? I'm going to be brief on a review for once. This album's good. It's not outstanding in any way, but it's also not underwhelming. Elephant Mountain is a fairly standard late 60s psychedelic folk rock affair. It kind of reminds me of Neil Young a bit, which is not a bad thing. The opener "Darkness, Darkness" is pretty cool. None of the songs are bad, but that's really the only stand-out. The style is cool. The singing is solid. Elephant Mountain isn't a super interesting album and it's probably not a must-listen, but I also don't have any reason to dislike it. Good stuff. High 3/5.

Devil Without A Cause

Kid Rock

1/5

Fuuuuuuuckkkkkk.... I knew this day was coming and I still was scared to hit play. Why did I have to listen to an entire fucking Kid Rock album before my death? THIS IS FUCKING GARBAGE!! Okay, let's start by playing a bit of devil's advocate. Kid Rock is a fairly influential artist... to all of the wrong people. His music helped pioneer country rap, which gave us the shit that plagues the country genre in the present day that I loathe. Anything that reminds of that shit loses points immediately. So, it's not like there's no justification at all for this album's inclusion... is what I would say if the album had any redeeming qualities. The problem is that it doesn't! This may genuinely be the worst album I've listened to for the entire album project. Why is that? Let me fucking tell you! Let's start with instrumentals. They're whatever. A lot of it hinges on samples. Even the fairly popular opener "Bawitdaba" has its non-verses taken from other songs. I'm not against sampling or interpolation in music, but nothing interesting is done with it here. It's like "Wow. You have a Fleetwood Mac sample. Cool, I guess. Why though?" Still, the instrumentals are probably the least bad thing about the album. Everything else? Where do I begin? Kid Rock's vocals are atrocious here. The loudness of it hurts to listen to. The production doesn't do him any favors. Who did the production anyway? Oh, it was Kid Rock himself. Of course. But yeah, I don't like his voice. His rapping is very rudimentary. It kind of reminds me of cheesy 80s hip-hop but more angry. Not a fan. And don't even get me started on the fucking autotune in "Only God Knows Why." That song could be okay. It sounds decent and the writing isn't nearly as bad as the rest of the album. But they just HAD to ruin it with the autotuned vocals. I'm not against autotune when it's used well, but it is not used well here. Bad song. Speaking of writing, it fucking sucks! It's the worst part! Why is he introducing himself so much? What's with the blatant misogyny? Why the FUCK does he say the N word on the last song? This album just feels wrong for me to listen to. Is it because I know that this man goes on to dick-ride a fascist? Maybe. Is it because I hate anything resembling Florida Georgia Line? Maybe. I don't think it's those though. I think the album just sucks. Somehow, I don't think I've made it clear enough how much I hate this album. Listening to this makes me feel like a wife-beating drunkard who watches Fox News. I hate it. Fuck Kid Rock and fuck you if you like this album. I don't trust people who unironically enjoy this man's music. I probably shouldn't be saying that, but Kid Rock probably shouldn't be saying half the things he says, am I right? This is the fucking worst thing I've heard in my life. 1/5. I'd give it a 0 if I could.

Dirty

Sonic Youth

4/5

Oh thank goodness. This is exactly what I needed after that shitty Kid Rock album: a good album from a band that I already feel positively about. With this being my fifth and final Sonic Youth album of the 1001 albums project, I think it's safe to say that I've built up an opinion on the band that's grown more specific over time as I've listened to more of their albums. Dirty here is not only the last album of theirs I'll be listening to, at least for the album project, but it's also the last of the list's albums to be released, releasing in 1992. This is actually somewhat notable in regards to the album because this was released right as grunge was hitting the big time. Sonic Youth, of course, was a pretty big influence on many grunge bands, Nirvana especially, so it's cool that they were able to see success along with those that they influenced. But how good is Dirty as an album? Pretty good! My thoughts on it aren't much different from other Sonic Youth albums, but they're just as positive. This album's cool. I think this one's got a nice balance between Thurston Moore and Kim Gordon. I do feel like Thurston has many of the album's highlights like the groovy opener "100%" and the excellent "Sugar Kane," but Kim Gordon definitely gets her time to shine as well with songs like "Swimsuit Issue" and "Drunken Butterfly" which are great as well. The style here is still as good as ever. The noise is still here and has its moments of focus, but I think the grunge influence leads to the album at large being a bit more accessible than something like EVOL or Sister. The writing has a good amount of emotion to it. It manages to show off anger and frustration with songs like "Swimsuit Issue" and "Youth Against Fascism" without making you cringe! Kid Rock could learn a thing or two from these guys. I'm still pissed I had to listen to that album. I'm not upset about this though! Sonic Youth has become a band that I've come to respect a lot over the course of the five albums of theirs I've heard. I wouldn't call Dirty their best. I would still choose Daydream Nation over this, but Dirty is a strong album within the band's discography. I enjoyed this quite a bit. 4/5.

Rid Of Me

PJ Harvey

4/5

Similarly to yesterday's Sonic Youth, PJ Harvey is another artist that I've gotten to form my opinion on more and more over the numerous albums she has on the list. She has 4, which is a little high in my opinion. I'd cut it down to like 2 or something. She's good and I think it's important to represent women in regards to the development of 90s indie/alt-rock, but I also feel like 4 albums is a lot for an artist like her. How do I feel about her at large? Well, I've enjoyed everything I've heard of hers, but I can't call any of it a masterpiece. I mean, even Sonic Youth had Daydream Nation. PJ Harvey is just solid and not much more in my eyes. This rings true for my last album of hers, Rid of Me. This is her most acclaimed album in many ways. Really? I don't know, I feel like she's made better. I'm not as big on this one as I thought I'd be. Rid of Me is good, quite good actually. The songwriting is certainly emotive. The instrumentation has some cool moments. There's some good songs. However, I'm not huge on everything here. For one, this album shows off Steve Albini's production at its absolute Albiniest. It's honestly a little hard to listen to at times. Even within his production discography, the production of Rid of Me makes In Utero seem clean by comparison. I can see someone really vibing with the production, but I wouldn't say that that person is me. I said some songs were good, with the title track, "Missed," and "50ft Queenie" being highlights, but others aren't for me. I really didn't care for "Man-Size Sextet." Maybe this was her best album at release. It might be better than Dry, but I haven't heard that album in a while so I can't really confirm. I think she's done better since this though. I definitely preferred Stories From the City, Stories From the Sea and even Let England Shake. Do I just prefer her later work? I don't know. All I know is that I like but don't love PJ Harvey in general. This album's good, but I think it's a little overrated. It's kind of in that Yankee Hotel Foxtrot territory for me where I get the appeal and enjoy the album, but I strongly prefer other albums over it. I think at this point I prefer YHF, but Rid of Me is still a good album. Light 4/5.

Diamond Life

Sade

5/5

Dude. I kind of knew I would enjoy Sade to some extent, but this is freakin' amazing. Diamond Life is such a great album! Sade is another one of those musical acts that's been on my radar for some time but that I've never touched myself. I wish I had sooner. This is some of the smoothest most pleasing music I've ever heard. I love this. Let's talk about it. It's kind of hard to pinpoint exactly what genre this is. Is it jazz? Soul? Pop? A combination of the three perhaps? Whatever it is, it's spectacular. I'm always accepting of saxophones being used well in music, so this appeals to me. There aren't a ton of bands I can think of named after the lead person in the band, so it's interesting to see a case like this with a singer like Sade. I happen to enjoy her singing on this album quite a bit. She really helps the vibes and words come across more authentically. Good singer. The writing is pretty solid. It's not the most important aspect of the album, but it's good when you notice it. This thing has some fantastic songs. "Smooth Operator" is such a great opener. It sets the stage perfectly and I love it. "Your Love is King" is an outstanding love song. Much of the album fits that title as well, which is nice to see. "Hang On To Your Love" is excellent as well. The grooves on these songs are just so immaculate and I love them. I don't know what to say. I'm more impressed than I expected. I genuinely love this album to a solid degree. Somehow, this isn't even considered the best Sade album by many! Love Deluxe seems to be more of the fan favorite from my perception, so if that's actually the case, then that thing must be a freakin' masterpiece! Is Diamond Life also a masterpiece? Arguably! This is such a cool album and I'm very happy to have listened to it. Light 5/5.

Coles Corner

Richard Hawley

3/5

This is another one of those albums I wasn't expecting much from with what information I had prior to listening. The artist was apparently a touring guitarist for Pulp at one point. That's pretty cool. The comparisons I saw for this album ranged from "Ooh, Sinatra vibes?" to "Oh dear god, I'm seeing comparisons to the Divine Comedy." I wasn't expecting to dislike this, but I also wasn't expecting to love it. I basically got that, but I would say that I feel more positively than not. This is definitely a good album alright. It's got some nice things going for it. The general style is considerably suave in its execution. It works decently well here. I feel like the productions and instruments at play do a good job of making the music feel pleasant to listen to. Richard Hawley is the star of the show here, and he's not bad. His vocals are solid. Definitely on the deeper side which works for songs like these. The songs themselves aren't bad. I especially enjoyed the title track and "The Ocean." The writing is where albums like this can either become all-time classics or hunks of garbage. Fortunately, it appears that those Divine Comedy comparisons weren't totally accurate since I don't hate Richard Hawley's lyrics. The words here aren't groundbreaking, but they're pretty solid in regards to the whole crooner thing. I don't feel super uncomfortable listening to this, which is good. The only song on here that seems a bit questionable is the last one with lyrics, "Who's Going to Shoe Your Pretty Feet?" Apparently that's a traditional song though, so it's not a knock against Hawley's songwriting. This is unlike Neil Hannon's songwriting, which I hate. Overall, Coles Corner is good. I don't love it and I probably won't revisit it a ton, but I got a good listen out of this. Solid 3/5.

Every Picture Tells A Story

Rod Stewart

3/5

Rod Stewart... we meet again. I haven't been the most positive towards Rod in the past, but I've been open to seeing if he's got the goods for a solid album for some time. Sure I didn't really enjoy Gasoline Alley much, but that's just one album. Besides, this is one of his most iconic albums! I mentioned in the Gasoline Alley review that Rod Stewart had 10 number-one albums in the UK, with Gasoline Alley not being one of them. Fortunately, Every Picture Tells A Story actually happens to be the first of them! Cool! Anyways, I can see why that was. This album's quite good. I'm still not huge on Rod Stewart's singing. It's just not my thing. Raspy singing can work, but I feel like Rod Stewart is like the extreme of raspy singing. The songs here are good though. I enjoy how the songs sound, so I can somewhat ignore the weird singing. I mean, the album has "Maggie May" on it. That's his biggest hit, and for good reason. It's pretty great. The others aren't bad, but I don't think they hit the high of "Maggie May." Still, the album is mostly consistent. I'm liking the sounds I'm hearing. You've got this bluesy vibe that works well. I can't exactly call myself a Rod Stewart fan, but I guess I can see the appeal now. This album's good. High 3/5.

Ten

Pearl Jam

5/5

And with this, I have finally talked about an album from every band in the big 4 of grunge! Soundgarden, Nirvana, and Alice in Chains have all gotten their time to shine (though Nirvana does still have 1 more with the Unplugged album), and now it's Pearl Jam's time. No surprise here, I love this album just as much as the others. It's excellent. Somehow, this was the band's debut album! Unfortunately, that does kind of put Pearl Jam in the same camp as other artists and bands like Nas and Boston where the rest of their discography kind of lives in the shadow of the debut, but I digress. Ten is fantastic. Everything is put together so well to create an outstanding debut album. Pearl Jam's sound is top-notch here. The double guitar work from Stone Gossard and Mike McCready does a lot to enrich the sound of the music, with Dave Krusen's drumming and Jeff Ament's basslines supplementing the guitars excellently. You've got strong riffs and solos spread throughout this album and it's great. Of course, a band like this thrives on a great singer. Fortunately, Eddie Vedder puts his soul into these songs and I love it. Of all the big grunge vocalists, Eddie Vedder is definitely the most polarizing of the bunch, but I love his style. But there's another thing that Eddie Vedder brings to this album I think I love even more. You see, we've got to talk about what makes Pearl Jam stand out in comparison to their contemporaries. Each band of the Big 4 has their own masterful elements that come together to form 4 very different bands that help form a singular label of sorts. Nirvana has its aesthetic and angst that captivated the youth so effortlessly, Soundgarden has arguably one of the greatest singers to ever live, Alice in Chains masters melancholy through its more metal-esque sound and harmonized vocals, and I think Pearl Jam's stand-out element is their remarkably mature songwriting. Other bands of the time have a sense of youthful angst to them that works very well in the cases of bands like Nirvana, but Eddie Vedder's lyrics paint him more as a storyteller than anything. Take a song like "Even Flow" for instance. First of all, amazing song. It's never failed to get me hyped up. It's another one of my palette cleanser songs I use whenever I involuntarily hear garbage music. Secondly, though the song may just seem like a fun romp at first, there comes a time when you analyze the lyrics and you're like, "Damn. This song's about homelessness." It kind of makes you appreciate the band even more for writing these sorts of songs. Many of the album's other stand-out tracks do the same thing to similar results. "Jeremy" is probably the most comparable to "Even Flow" in execution. I've always loved that bass intro, and the writing does a great job of blending a haunting story and an energetic instrumental. Then you have some of the songs that put more of those emotions into the instrumentals as well. "Alive" is great. I think this song does a great job of showing off Eddie Vedder's vocals at its best. But if you want to talk about songs that pull at your heart-strings, you can't do better than the masterpiece that is "Black." Oh my goodness. This song. This might just be the best breakup song I've ever heard. That ending really hammers it home and I love it. Of course, those songs have all stood the test of time and become iconic over the decades, but even the deep cuts help to flesh the album out without feeling like filler. Shout-outs to "Oceans." That one's great. So yeah, Pearl Jam really hit it out of the park with their first album. Maybe I should use a basketball metaphor instead since they originally named themselves after a basketball player. Pearl Jam really hit a slam dunk with their first album. That's better! 5/5. Or, perhaps, you could say that this is a Ten out of Ten? I'd say so.

New Wave

The Auteurs

3/5

It's funny. The album's called New Wave, which is also a genre that's very over-represented on this list, but it's not actually a new wave album. It's britpop, which is also very over-represented on this list. Who would've thought? Anyway, the album's okay. Not as good as the big dogs of the scene, but not horrible either. I mostly like the way the album sounds. There's some chord progressions I enjoy, particularly on the opener "Show Girl," which is a cool song. The sound is a bit repetitive, but it's not bad so it's not a big deal. The vocals aren't my favorite. The best way I can describe the way Luke Haines's voice sounds on this album is "Femboy John Lennon." I know that doesn't make any sense, but if you have that image in your mind when listening to the album, it makes way more sense. The writing is okay. The album's okay. Nothing is done poorly, but nothing is done spectacularly either. The album sure does exist. Admittedly it is earlier in the britpop scene, so this isn't like a pale imitation or anything like that, but it still feels a little redundant. 3/5.

Gentlemen

The Afghan Whigs

3/5

I feel conflicted about this album. Gentlemen by the Afghan Whigs (I thought it was Afghan Wings for the longest time) definitely has a case for inclusion on this list. It's seen a fair amount of praise over the decades and it's not the most redundant inclusion on the list, but that's the general consensus. My thoughts don't always align with general consensus though. How do I feel about Gentlemen. Well, I'll start with the positives. I actually really like this album's sound. The guitars and such are actually really cool and the production is solid. I thoroughly enjoy the instrumental sounds that I'm hearing. "Debonair" especially is a banger of a track. However, while the instrumental elements of the album speak to me, the actual vocal parts do not. This pertains to two fundamental elements of the album; the singing and the lyrics. I'm not huge on Greg Dulli's singing. It's hard to explain why I'm not a fan of it, but I feel like most people could kind of see why that is. It isn't particularly enjoyable for me, but it's not the worst thing I've heard. The writing is my other big issue. This album isn't the most comfortable listen in the lyrical department. This is a breakup album, which is obviously not a bad thing. It's valuable to have music that fits this serious life experience. However, I have the feeling that the relationship that must've ended to inspire these songs wasn't exactly the healthiest. The writing here does not paint a flattering picture of our narrator. Songs like "Be Sweet" just don't feel good to listen to aside from the great instrumentals. I don't want to say that the vocals and lyrics ruin the album. I'm sure this album appeals to certain kinds of people who may have gone through rough relationships. However, they just don't appeal to me very much. The songwriting isn't bad, but I'm not a fan myself. Overall, Gentlemen has some elements going for it that I really like, but the overall vibe of the album leaves a taste in my mouth that I don't look for very often. Good album, but not for me. 3/5.

Enter The Wu-Tang (36 Chambers)

Wu-Tang Clan

5/5

What are the odds that I get a Wu-Tang album on the same day that Ghostface Killah released his new album? Pretty crazy coincidence there if you ask me. Anyways, this has got to be one of the most iconic hip-hop albums ever released. I mean, it's Enter the Wu-Tang. This album marked the beginning of one of the greatest collectives in hip-hop history, and the album itself has stood the test of time as a stone-cold classic of the genre. How do I feel about it? Well, I'd say that the hype is warranted. This thing's great! It's especially great for the time. This was released in 1993! While this wasn't the first great album to come from a hip-hop group, it was one of the first to really change the game, and it's an easy inclusion for a list like this. Hell, even if it was 101 albums instead of 1001, Enter the Wu-Tang would probably make the cut. It's that iconic. Of course, this isn't just a symbol. It's an actual album, and a pretty great one at that. I'll start with RZA's production, which is really cool. The samples are used excellently and the beats all fit their songs very well. Speaking of songs, there aren't any bad ones. They're all good. "Bring Da Ruckus" is an effective opener. I want to bring up "Shame On a N****" mostly because System of a Down did a version of the song with RZA and it's pretty funny to hear Serj Tankian both say the N-Word and rap verses that were originally done by a guy called Ol' Dirty Bastard. Just had to acknowledge that cover. It's pretty good, as is the original. I think the latter half is where the album really picks up though. The entire run from "Da Mystery of Chessboxin'" onward might be one of the greatest strings of songs in hip-hop history. "C.R.E.A.M." has got to be the album's masterpiece. This might be one of the best hip-hop songs of all time. The beat especially is stellar. "Protect Ya Neck" is awesome. "Wu-Tang Clan Ain't Nuthing ta F' Wit" is great. The whole album is great. The rapping is very good. I enjoy hearing every member of the Clan do their work. Might as well shout all of them out. RZA, GZA, Method Man, Raekwon, Ghostface Killah, Ol' Dirty Bastard, U-God, Inspectah Deck, and Masta Killa, I salute you. Great job. The skits work in the context of the album. They're not particularly annoying, and the old movie samples are actually a pretty cool part of the Wu-Tang vibe. I don't think I need to say anything else. Do I really need to convince anyone reading this of the value of Enter the Wu-Tang? It's one of "those albums," you know? It's not my favorite hip-hop album, but if you said it was your favorite, I'd get it. This thing's great. 5/5.

Honky Tonk Heroes

Waylon Jennings

4/5

Why do I actually really like this? I've always stated that I don't believe in the existence of bad music genres, but country is one that rarely gets that high of a score from me. I'm usually like "This isn't bad, but I can't say I love this. I do respect it though." But this? It's not my favorite country album I've done this year, but it's one of the better ones for sure. I had no idea I would enjoy an album called Honky Tonk Heroes as much as I do. I guess outlaw country appeals to me or something. This album's got a lot to love. I think Waylon Jennings has a voice that just feels right for country. He's clearly southern, but not to the point of feeling like a caricature. I like it. The writing is solid. Most of it comes from a guy named Billy Joe Shaver, who seems to be pretty talented in the lyrical field. Good songs. I also really like how this album sounds. The opening title track shows this off excellently. It starts out all light and such before getting faster and more fun on a moment's notice and I love it. This album's weirdly short though. It's just under half an hour, but it only kind of feels like it. I think this thing could've been a bit longer, but I also find myself appreciating the fact that it doesn't overstay its welcome. I've got to say, this is some good stuff. It's nice to be reminded of the fact that I've enjoyed music from just about every genre out there. Light 4/5.

Sound Affects

The Jam

4/5

This is another good album. I enjoyed it. The Jam are a band that I didn't know much about at all until today. I really only knew that they were Paul Weller's band. Paul Weller is a man that I've only heard one album from for this project thus far, that being the Style Council album I got a few weeks back. While I did have a few problems with that album, the best parts of it were actually really great, so I kind of knew that I would like the Jam to some degree. Fortunately, I was right! The style here is quite different though, but in a good way. This definitely takes more of a post-punk-esque direction than the sophisti-pop of the Style Council, which I'm okay with. It's done well here. Unlike the Style Council album, which had a few weak experimental tracks, I don't think there are any super weak tracks on Sound Affects. I don't think any of the songs here are as good as Cafe Bleu's best songs (though "That's Entertainment" comes close), but nothing here's as bad as "A Gospel" so that's good. Weller's singing is alright. The instruments sound nice. The lyrics are interesting. This is just a solid early-80s UK rock album. I like it. Light 4/5.

Southern Rock Opera

Drive-By Truckers

3/5

I'm going to demonstrate my sublime music analysis skills right now. I think the members of Drive-By Truckers... might like Lynyrd Skynyrd. I know, right? Anyways, this is definitely an album that I listened to. Let's start with the obvious things people might complain about. This thing's looooong. Over 90 minutes in fact. Yeah, it kind of dragged a bit. I was definitely tired by the end. This definitely could've been shortened and the point still would've come across well. Speaking of the point, let's talk about the themes of this album! It's called Southern Rock Opera for a reason. It is definitely southern rock and it could be classified as a rock opera in a loose sense. The themes are explored decently well. I appreciate the fact that they're making it clear that they're not racist. They're just Southern. You've got to remember that those two things are not mutually inclusive. The themes do get a bit repetitive. Like, there's only so many times you can sing about Lynyrd Skynyrd before it gets a bit redundant. But still, there's some good songs on here in the thematic sense. The instrumentation is very clearly southern rock. It's good, but a little repetitive as well. The vocals are a bit hit-or-miss. I can tell that there are two main vocalists. I like the deeper guy's voice well enough, but the other guy kind of annoys me a little. Southern Rock Opera is definitely an interesting album. It's got some good elements like the characteristic sound and interesting concept that are executed fairly well. It's also got some things that I don't feel as positively about, but that I still don't feel too negatively about. This is an interesting look into Southern culture in music form, but I'm not a fan of the south so I don't see myself going back to it because of that and the album's sheer length. It's not bad, but not my thing. Still, I can't give this too low of a score. I think I'll settle for a light 3/5.

Treasure

Cocteau Twins

4/5

Why are they called Cocteau Twins if there are three of them? Bad band name. 0/5. I'm kidding. Cocteau Twins is not a bad band name and Treasure is a really good album. This is the kind of alternative thing I'm looking for! I've started to learn that I really enjoy music that feels ethereal or dreamy. Sigur Rós, Beach House, and now Cocteau Twins help paint this picture. I don't know why it is, but I love it. So, what makes Treasure stick out? Well, let's start with something that could definitely be complained about by some. I can't understand a word they're saying. Yeah, that's the one thing that I knew about Cocteau Twins before listening to this album. Elizabeth Fraser's vocals have frequently been described as incomprehensible and that's not an exaggeration. I'm not even sure she's singing actual words! It doesn't help that genius doesn't have lyrics for these songs at all. I don't hate this though. I think it makes the dreaminess of the music hit a bit harder. The singing style is certainly unique, but not in a bad way. It's mostly pleasant. But of course, the actual music is the focus and I love it so much. These compositions are just wonderful. The atmosphere is really something to behold. It's got elements of shoegaze, post-punk, and other genres, but it's kind of its own thing entirely. I like that. The songs feel different enough from each other to make the whole album feel warranted in its existence, with songs like "Lorelei" and "Pandora (For Cindy) sticking out to me in how spectacular they are. I've got to say, this is really cool. Apparently this isn't even the best album they have on this list. Heaven or Las Vegas is the album that I most frequently see mentioned as their masterpiece, so I'm pretty excited for that. We'll see if that gets a 5 eventually, but I think I'll have to give Treasure a high 4/5.

Young Americans

David Bowie

4/5

With this, David Bowie has become the first artist to give me a 6th album on this generator. I mean, it makes sense if you look at the numbers. David Bowie has more albums on this list than any other artist with a whopping NINE entries. You know what? I'm mostly okay with this. 9 albums is a little high, but like 7 or 8? That's good. David Bowie's discography is filled with stellar albums (mostly from the 70s) with a good amount of stylistic change-ups to warrant numerous entries on a list like this. However, of all the albums he has on this list, Young Americans may just be the most cuttable. It's either that or The Next Day. Despite that, this is still 70s Bowie we're talking about here, so you know what that means? I love Young Americans. This album's great. It is one of the weaker albums of his I've heard, but I still love it. The big thing here is the influences on this album in particular, with two that seem to be the biggest focuses; the soul genre at large and John Lennon. I'll start with Lennon since his influence is more in the making of the album rather than its actual music. John Lennon has a few notable places of importance on this album. He played guitar and backing vocals on a few songs. That's nice. One of the songs on the album is a cover of the Beatles' "Across the Universe." That's nice. It's a good cover. And of course, Lennon helped co-write this album's biggest hit, that being the excellent closer "Fame." Amazing song. I love that guitar. It's funky. Speaking of funk, this album sure was influenced by it and soul. This has led to the album being dubbed "plastic soul" or "blue-eyed soul" over the decades. I like it. I think it's good that Bowie was trying new things with these albums. However, that does kind of tie into one of the reasons as to why this album could be cut and not the other Bowie albums on the list. While this album does have some phenomenal songs, including the aforementioned "Fame" and the amazing opening title track, the "soul-influenced Bowie" era definitely reached its overall creative peak with this album's coke-fueled followup, Station to Station, an album that I strongly prefer. That's not to say that Young Americans is bad. I've had nothing but good things to say. However, its inclusion could be seen as a little redundant. Still, Young Americans is another classic album from a musical legend. It's got some cool influences that are respected in the music and I really like the album's songs. High 4/5.

Superfuzz Bigmuff

Mudhoney

4/5

Woah! Pre-Nirvana grunge! I love this! Everyone always talks about the "Big Four of Grunge," myself included. Of course, those bands are all amazing. Some of their albums are among my favorites of all time. But there's a valuable place in the grunge conversation for some of the earlier bands in the genre that helped pioneer the sound that bands like Nirvana would polish and make popular. One such band is the focus of this review, Mudhoney. Mudhoney is one of a number of Seattle grunge bands to have come from the demise of what many consider to be one of the first grunge bands, Green River, along with other pioneers like Mother Love Bone, Temple of the Dog, and, eventually, Pearl Jam. This EP of theirs, Superfuzz Bigmuff, is seen by many as their defining release. And yes, it is an EP, so this kind of breaks the rules of this list a little, but I digress. This is super cool! Despite this releasing in the same month as the first debut album of the big 4, that being Soundgarden's debut, Ultramega OK, as well as being multiple years before the genre took off with Nevermind, this definitely has all of the elements that make grunge "a thing." Distorted guitars, lyrics that have emotion but are also a little vague, the presence of punk and metal influences, it's all here. The album's less polished than something like Nevermind or Ten, but that just makes it feel all the more innovative. Songs like "Need" and "If I Think" fit right in with their eventual contemporaries. Mark Arm's vocals have the angst you'd look for in an album like this. Steve Turner's guitar lines are awesome. And you know what? I might as well give compliments to Matt Lukin and Dan Peters just to say something about every member. Good job guys! I will say that I only listened to the 6 original EP tracks, but I kind of want to check these guys out more! Fortunately, they have another album on here, so I'll be looking forward to that! This isn't quite as good as albums that would followup, but Superfuzz Bigmuff is a great look into the foundations of what would become grunge. I think it's really cool. 4/5.

Songs The Lord Taught Us

The Cramps

3/5

The Cramps? That's definitely a band name alright. This album's alright. It's not really my thing, but I'd go so far as to say that I have a fair amount of respect for it. This album does have justification for being on the list after all. What is that justification? Well, this album, Songs the Lord Taught Us, is seen as a pioneering release in a subgenre known as psychobilly, which I guess is a fusion of punk and oldschool rockabilly. Interesting. This is my first impression of psychobilly and I can see the appeal. There's a solid amount of energy here that could definitely get someone hyped. These songs have some of the compositional elements of rockabilly mixed with a general punk-ish attitude, which ends up creating a solid album. There's even some bluesiness on songs like "I Was A Teenage Werewolf," which I thought was pretty cool. The vocals fit the style well. The writing doesn't make much sense, but it weirdly works. I'm not huge on this myself, but I can definitely see the appeal and if you liked this album more than I did, I'd get it. I think I'll give it a 3/5. Definitely not a bad album, that 's for sure.

Groovin'

The Young Rascals

3/5

This is an album. Yep. It sure is. Yeah, this one's kind of uninteresting. It's a fairly standard 60s pop rock affair. Nothing crazy, but nothing bad. Compared to legends like the Beatles and Beach Boys, the Young Rascals just kind of exist. The sound doesn't really do anything new, but it doesn't do anything bad either. Well, unless you listen to the stereo version. I had to switch to mono during the second song because of how off-putting the panning was. The songs are alright. Nothing too bad here. The title track is nice. It's not exactly a song I'd groove to, but a nice listen nonetheless. The singing is very much that of a 60s pop rock album. This album isn't bad by any stretch of the word, but it also doesn't do much to stick out of the crowd. Also the album cover's weird. Light 3/5.

I Do Not Want What I Haven't Got

Sinead O'Connor

4/5

There are a number of artists with albums on this list that could be considered "tortured artists." Kurt Cobain, Amy Winehouse, Nick Drake, you get the idea. Among the most interesting of these artists has got to be Sinéad O'Connor. It's fair to say that her life and career were tragic, but more often than not, she used that as an opportunity to do something meaningful. Of course, this extends to her music, which, as I now know through this album, is quite good. This album's great! O'Connor's voice is captivating and emotional. The production and instrumentation definitely have some left-over elements from the 80s, but they sound nice, so that's all I care about. There are some elements that feel less like 80s music though. "I Am Stretched On Your Grave" weirdly reminded me of Portishead. The writing is the highlight for me though. Of course, not all of it is Sinéad O'Connor's writing. You do have the excellent Prince cover that is "Nothing Compares 2 U." Amazing cover. But there's a lot of variety on this album in the lyrical department. You have love songs and such, which makes sense. Some songs are remarkably tragic, like "Three Babies" which appears to be about miscarriages. Damn. Sinéad even gets political with the song "Black Boys on Mopeds." I would say I'm surprised to hear Sinéad O'Connor openly criticize a figure as influential as Margaret Thatcher... if it weren't for the whole "tearing up a picture of the Pope on national television" thing that many people know her for. She was done so dirty after that. I really respect her for that move. I also respect her for this wonderful album she's got here. Great stuff. Strong 4/5.

Let Love Rule

Lenny Kravitz

3/5

I'm going to say something that might not make any sense to you. I normally try to explain my scores in clear ways, but I find it kind of hard with this Lenny Kravitz album. I feel like I should love this, but I can't help but think that it's missing something to make that the case. Like, Lenny Kravitz is a talented guy, for sure. He plays most of the instruments on this album and does a good job with it. His singing's alright. He kind of sounds like Prince at some points, especially on the first song. The songs aren't bad. The musical style is generally one that I enjoy. On paper, Let Love Rule should be a slam dunk, but I can't help but feel slightly underwhelmed by this. Maybe it's the songwriting? It's a little repetitive and it could be better overall. It's not bad, but not special. I think that's the overall explanation. Maybe it's something with this particular album. It is his debut, so it's not too unreasonable to assume that Mr. Kravitz wasn't quite at the top of his game in 1989. I don't know. I really don't know. This is good, yes, but I can't say that I loved this. Still, I'm not upset by its inclusion at all, and would still call this a good album, just not a great one. Solid 3/5.

Songs For Swingin' Lovers!

Frank Sinatra

4/5

You know, there's something so cozy and nostalgic about Frank Sinatra's music that I don't really find in other artists from the 50s and early 60s. I don't know what it is. The fact of the matter is that I really like Songs For Swingin' Lovers! This album's great. This and the other Sinatra album I've gotten, In The Wee Small Hours, paint two different pictures of his music. ITWSH is more somber and bittersweet, while SFSL! really leans into the the whole swingin' thing. Honestly, they're both great. It turns out that it's possible for one man to sing different styles of songs, and oh boy does he sing these songs. I think it's his singing that gives me the nostalgia. His voice is just wonderful. I love it. Of course, none of these songs were written by Frank himself, but I think he does a great job of picking the right songs to sing. Too many songs from this time just feel degrading towards women, so it's nice to hear Frank Sinatra sing nice love songs. Nothing in here has aged too poorly, which is great to see. The jazz instrumentation here is excellent. The swing style is done effortlessly and I love it. This is just a nice album in many ways. Frank Sinatra is just cool, okay? 4/5.

Heartattack And Vine

Tom Waits

3/5

Why is it that I am unable to get special albums to celebrate 100-album milestones? Nothing I've gotten as a 100-album milestone has been above a 4/5, my 500th album didn't even have a Wikipedia article, and now my 700th album is from an artist that I've already gotten 4 times in the past! I don't get it! You know what I do get though? Tom Waits. I didn't understand the appeal the first time, but over the course of the other 4 albums he has on the list, I've become somewhat of a fan. Not a huge fan, but a fan. However, I don't really think he needs 5 albums on the list, and Heartattack and Vine might just be the most cuttable of the 5. It's either that or Nighthawks at the Diner, though I do like Heartattack and Vine quite a bit more. It's not bad at all, but compared to something like Rain Dogs or Bone Machine, it's nothing special. It's a good Tom Waits album and that's about it. Of course, if you're like me and you like Tom Waits, then that's not a bad thing. The things that make him stand out as an artist are still here. His voice is as... unique as ever. His songwriting is still strong. I will say that this album is a bit of a transitional album between the earlier jazz-focused days of the 70s and the more experimental albums that he makes starting in the 80s. This is definitely still the guy who will go on to make Rain Dogs, but he's not quite at that point yet. I also feel that none of these songs get quite as good as the best songs on the later albums. "Jersey Girl" gets pretty close, but there's nothing on the level of "Goin' Out West" or "Jockey Full of Bourbon," so that kind of brings the album down a bit at large. Still, there's nothing particularly wrong with Heartattack and Vine, but it's not Tom Waits at his peak. High 3/5.

Suicide

2/5

I know this is silly, but part of me kind of wanted to hate this album just so I could make a joke along the lines of "Suicide? Yeah, that's what I want to commit after having to listen to this album." However, while I absolutely have problems with this album, I also didn't hate it and I don't think it's fair to make that joke. This album has some things to really appreciate about it and also some very bad parts. I'll start with the praise. This album is very ahead of its time. It's kind of remarkable that an album like this was released in 1977. This, of course, has led to Suicide influencing a number of popular artists, including Bruce Springsteen of all people! I have to respect that and I will admit that this album would probably stay on my 1001 albums list. However, this is another one of those albums that I respect more than I actually like, because I didn't really enjoy listening to this that much. It started out as being fine. The synths are solid. I thought the opener "Ghost Rider" was good. As the album went on, I started to feel a bit more negatively. The tone of "Girl" made me quite uncomfortable. The style was respectable but not my thing. However, I was still willing to give this album something like a light 3. That changed with "Frankie Teardrop." I was a bit concerned by the existence of a 10 minute song on an album like this, but I still went in with an open mind. It started out decently. Definitely on the spookier side of music with the lyrics and all, but not in a bad way. Then the screaming happens. Dear god, the screaming. That might have been the most physically painful moment of any album I've heard on this whole list. I'm serious. I actually had to stop listening for a bit because of it. You might be thinking "Oh, come on, that can't be enough to drop the album's score down, right?" Yeah, well I'm a petty bitch, so I'm dropping the score down. I have some respect for this album and I'm not upset at all that I listened to it, but I also didn't enjoy listening to it for a substantial part of its runtime. High 2/5.

Cosmo's Factory

Creedence Clearwater Revival

5/5

I mean, it's Creedence. I think it's genuinely impossible to flat-out hate Creedence Clearwater Revival. I know I don't hate them. Cosmo's Factory is my third album of theirs, and you know what? It's also my favorite of theirs. This thing is amazing. This is CCR at its absolute peak, and I'm not alone in thinking that. This is, from my perception, the most critically acclaimed CCR album. After listening to it, I can see why. At first glance, there's not much that makes this much different from an album like Green River or Bayou Country. That's fair, but I also think that it's not entirely accurate. I do think that Cosmo's Factory has a bit more experimentation to it. Like, Green River might be the best encapsulation of CCR's greatness at its core, but Cosmo's Factory is probably the band's creative peak. I really like the variety on the album. That's kind of what makes this one stick out to me personally. Comparing a song like "Travelin' Band" to "Who'll Stop the Rain" helps you realize that CCR isn't some one-trick pony. They can do different things while still retaining the timeless core of their music. Speaking of timeless, that's kind of what CCR really means to me. Their music feels like it's been around forever, and I love it. It has that universality that makes them appeal to all sorts of people without having the more poorly-aged aspects of earlier rock and roll. It's great. Of course, the songwriting is a big part of this. John Fogerty's really got a knack for musical talent. The aforementioned "Who'll Stop The Rain" shows this off very well. There are some covers on the album though, and they're great. The 11-minute-long cover of "I Heard It Through The Grapevine" is a highlight for me. I can't comfortably call it the definitive version of the song, but it's a great rendition regardless. I don't think I need to say much more. CCR is just one of "those bands," you know? With its exceptional creativity and remarkable consistency, Cosmo's Factory proves itself as a stone-cold classic album that represents the best of what this excellent band has to offer. 5/5.

Penthouse And Pavement

Heaven 17

3/5

This might be one of the weirdest albums I've heard for this project, but not in the way that other albums have been weird. Something like the Residents is obviously weird in a way that was clearly intentional. That's the usual "weird album" for me, but this Heaven 17 album is weird in a way that's hard to explain. I really don't know how to put it into words. It all starts with the opening track, "(We Don't Need This) Fascist Groove Thang." This song is outwardly anti-fascism and anti-Reagan. As a fellow hater of fascists, I love that. Songs like these are awesome for existing, and the fact that this song has been covered a number of times to be more befitting of the Trump administration is great considering how terrible both Reagan and Trump are. Fuck both of them. Anyways, let's keep talking about this album. While I love the politics of the opening track, it's kind of weird to hear it paired with the musical style. Yeah, this is a straight-up 80s synth-pop album. It's a little cheesy in the sound department and it's definitely dated. There's something about the sound throughout the album that just feels a little... off? I can't explain it. I like things like the bass, but the overall tone of the album doesn't really vibe with me. Additionally, while some songs are political in a respectable way like the aforementioned opener and "Let's All Make A Bomb," but other songs feel kind of meaningless, like the title track. I don't really know why this album's even on the list. It's not like it's super important or even a cult classic. It has good elements, but when you already have other 80s synth-pop acts like the Human League on here, I kind of get this feeling of redundancy from this specific inclusion. Speaking of the Human League, I guess this is kind of a side project of theirs, which makes this inclusion seem even more redundant. This album isn't bad, but it's kind of weird and I can see why others might be put off by it. Still, it has some things that I really like mixed in, so I can't give this too low of a score. 3/5.

Midnight Ride

Paul Revere & The Raiders

3/5

Of all the 60s rock and roll albums in existence, Midnight Ride is definitely one of them. Yep. That's about it. This is certainly the 60s rock album of all time. There's something interesting about this album pertaining to this website. You see, there's a controversial stats page for albums that widely vary in what scores people give them on average. That page also has the least controversial albums mentioned. This is one of those, but unlike other albums high on that list like Rumours and Abbey Road, this one just seems to be stuck in the middle, and I'm going to be adding to that. This album is just kind of okay. The sound is pretty good, but not as spectacular as that of an album like Odessey and Oracle. The writing is quite basic. There's an anti-drug song at the beginning, but, other than that, it's basically just 11 tracks of "Oh, I Love You, Girl." It's more of a cultural thing than anything. The singing is alright. One of the more interesting things about Paul Revere and the Raiders is that they're American, so while it kind of sounds like it, this is not a British Invasion album. Speaking of Paul Revere, why are these guys called that? Why is the album called Midnight Ride? I was expecting some level of colonial shenanigans, but got nothing. I'm mildly disappointed by this. The album's not bad, but it's also not interesting in any way, shape, or form. 3/5.

Idlewild

Everything But The Girl

3/5

Man, the people were right. Idlewild is the worst Outkast album! Why are there two Everything But The Girl albums on this list? Why?! They're not bad, but in no world do they have two albums important enough to be on a list like this. Walking Wounded? Sure. We can keep that one. It's pretty good and I don't mind the band being present with one album. It also gives trip-hop more representation, which I welcome. Idlewild? It's another fucking sophisti-pop album! I've gotten like 5 of these in the past month and a half! Nothing about this album is bad, but nothing is interesting or unique either. The sound is pleasant, almost a little too pleasant. I wouldn't quite say that myself, but people have said that about this album for a reason. Tracey Thorn's singing is nice, but I also feel like it fits the other album more. The writing just kind of does its job. None of the songs are bad, but they kind of blend in together a bit. I like this album, sure. However, I don't really see what's special about it specifically. Like, what does this album provide that I don't get out of better albums that I've gotten in the past month and a half like Diamond Life or, hell, even Steve McQueen? And of course, I have to bring up the fact that Walking Wounded is the better Everything But The Girl album on the list. Idlewild isn't a bad listen, but it's also not an interesting one. Maybe I'd like it more if it was the only album they had on the list. High 3/5.

Bandwagonesque

Teenage Fanclub

4/5

And this is why you keep an open mind when going into an album. You see, I wasn't super excited going into this Teenage Fanclub album. I just kind of expected another average alt-rock album and that's it. I mean, this one even falls victim to the whole "baffling take from a music magazine" thing that so many weak picks on this list fall into due to the fact that Spin Magazine called this the album of the year for 1991 over albums like Nirvana's Nevermind! Is this better than Nevermind? No. Of course not. But is it a good album? Absolutely. I really liked Bandwagonesque! This album's pretty cool! I'll start with the one thing that just kind of exists. The songwriting isn't bad, but it's not spectacular. It does the job, but it doesn't have that wow factor, you know? You know what does? The sound. This album sounds so cool! It has just the right amount of feedback and I love it. It's got a bit of a Sonic Youth thing going on with a bit of the Cure and even some power-pop adjacent elements. It's great. I said that the songwriting could be better, but that was more for the lyrics. The actual compositions are great. "The Concept" is such a great opener. "What You Do To Me" is pretty nice. I really like that one. In fact, I like all of the songs. Even the weakest one, "Satan," picks up near the end. The singing is kind of hazy, but it fits the vibe well. The album's length is solid. I've got to say. This album's pretty cool. I'm glad I listened to this. Light 4/5.

Slipknot

4/5

Time for Slipknot again! I feel like it's been a pretty good gap between this and the last Slipknot album I got. Not too long to the point where I feel like I had to wait forever, but not short enough to feel like I'm being overexposed to the band. Anyways, this debut album of theirs is pretty good. I think I like it around the same level as All Hope is Gone, maybe a little more. The instrumental sound here has got to be my favorite part. This definitely sounds like a band with 9 members alright. I have to shout the percussion section out especially. I think the guitars and bass are more engaging here too. The downtuning creates this awesome heavy atmosphere that fits the aggression of the lyrics. Speaking of lyrics, they definitely capture a sense of negativity. It does a great job of doing that. It's not for everyone, but if you're in a bit of a self-loathing mood but you don't want to actually hurt yourself, put this album on. By the end of the album, you do kind of get a sense of "Alright, we get it," but I think it's important for music like this to exist, you know? These words are aided by Corey Taylor's impressive screaming, which is definitely more present here than the more fluid singing on the other album. He's still a good vocalist though. I have to respect his ability to do what he does without frying his vocal cords. The best songs on here are really cool. I've always really liked "Wait and Bleed." It's one of the band's defining songs for a good reason. It has everything that makes the band appealing to some. "Eyeless" is cool. It kind of reminds me a bit of System of a Down in a way, especially with how Corey says "You can't see California without Marlon Brando's eyes." "(sic)," "Spit It Out," "Purity," this album's a classic for a reason, okay? The variety is commendable. Overall, while I'm not the biggest Slipknot fan in the world, they're still a band that has earned my respect. Definitely one of the better things to come out of Iowa. Light 4/5.

Brothers

The Black Keys

4/5

The cover doesn't lie. This is in fact an album by the Black Keys. The album is named Brothers. Those are both true statements. You know what else is a true statement? "I liked this album." Yeah, this is pretty good. It's definitely one of the more well-known rock albums of the past 15 years or so to be included on this list. I feel like this list gets a lot wrong with that sort of field, but this inclusion is absolutely justified. There's quite a bit to like here. The production is excellent. It's bluesy but also fairly modern. I really like it. It does a lot to make the instrumentation hit harder. Speaking of which, it's pretty cool that all this music comes from two guys. Good stuff. The album's hits are hits for a reason, because they're pretty great. "Tighten Up" especially is such an engaging listen, but also relatively radio-friendly. That sort of balance is nice to see. Brothers isn't perfect though. It's a little long, the lyrics aren't generally my favorite, and the "White Stripes knockoff" allegations aren't completely unjustifiable, but Brothers is what it needs to be. A collection of strong songs. I like this. 4/5.

Siamese Dream

The Smashing Pumpkins

5/5

Siamese Dream is great. I don't need to build up to saying that. I can just say it and it'll all make sense immediately. What's there to say? Of course, this is not my first encounter with the Smashing Pumpkins. I did get Mellon Collie and the Infinite Sadness a little over a year ago and loved it. However, that album had a bit of a problem holding it back. It's long. Very long, as a matter of fact. Don't get me wrong, those 2 hours are utilized well. However, it can still be a bit draining to listen to 2 hours of the Smashing Pumpkins. Fortunately, with only 1 hour to its length, Siamese Dream is an album that I have no problem calling a masterpiece. This album is all killer, no filler. This thing is incredibly consistent. From the disgruntled energy of the opener "Cherub Rock," to the hazy somberness of "Today," to the franticness of "Geek U.S.A.," this album impresses the ears over and over. I love the way the album sounds. It's just so cool. Whether the guitars are intense and crunchy or soft and elegant, the emotions are always captured in a memorable song. Speaking of emotions, boy does this album have them. Billy Corgan may be a bit of an asshole with a weird voice, but he knows how to write a song. Songs like the aforementioned "Today" and "Mayonaise" really work wonders to make the album feel special. For the record, I don't have a problem with Billy Corgan's voice on this album. It works well for the songs in question. There's not much more to say. Though it is possible to find some, I find it hard to find many 90s alt-rock albums better than Siamese Dream. This thing is excellent. 5/5.

Fear and Whiskey

Mekons

3/5

Short review time! This Mekons album is okay. It's fine. It's a decent 80s post-punk album with some country elements. The country elements aren't super present, but they do enough to make this not feel exactly like every other 80s post-punk. It instead feels mostly like every other 80s post-punk album, with an emphasis on 80s. This just sounds like an 80s album. Is this a compliment? An insult? It's not really either, but I'd say it's closer to the latter. The vocals are just kind of there. The sound is kind of dated. I will say that, because some earlier parts of the album were kind of weak, I did consider giving this a high 2, but it kind of picked up a bit near the end with songs like "Last Dance" that were good, so I changed it. Still, this album isn't exactly a must-listen. Not bad, but I didn't care for it much. Low 3/5.

Nowhere

Ride

4/5

It's always neat to see what the songs and albums of a genre prior to the album that everyone loves are like. Grunge before Nevermind, metal before Black Sabbath, Prog rock before King Crimson, you get the idea. So, of course, seeing an album labeled as shoegaze released a year before Loveless intrigued me. However, not every instance of these sorts of things have aged the best. I mean, let's face it. The earliest hip-hop songs and albums are kind of cheesy. Fortunately, this does not apply to Ride's 1990 album Nowhere. This thing is pretty good! It's not better than Loveless, but it's still a great listen nonetheless. This definitely has a number of the elements that will go on to define shoegaze. The haziness of the guitars is the most obvious indicator here. The general vibe and sound do have shoegaze elements, though I'm also noticing more of a post-punk influence than I did on later albums of the genre. In addition to that, this album differentiates itself from My Bloody Valentine by actually having coherent lyrics. They're not bad. The songs here are cool, with the opener,"Seagull," and closer, "Vapour Trail," being highlights. The vocals are solid. The influence is notable. I'm pretty happy that I listened to this. Nowhere is a very good album. 4/5.

Peter Gabriel

4/5

Okay, I guess I got all 3 Peter Gabriel albums before getting a single Genesis album. Cool. This one's good. All of them are good, but this is the one I feel the least passionately about. It doesn't have the remarkable consistency of So or the cool experimentation of Melt. It's the debut, and you can't really expect peak music for every artist's debut. This is a strong debut though. It has the things that make later Peter Gabriel albums good. His singing works. The instrumentation is actually pretty great, with Robert Fripp's guitar work being the obvious highlight of the album for me. Though the album at large isn't as consistent as later albums, this album does still have some stellar songs on the level of the other albums' best songs, with "Solsbury Hill" standing nice and tall as one of Peter's best songs. "Here Comes the Flood" is also a great closer. Some songs are kind of silly though, like "Excuse Me," which starts as a barbershop quartet before turning a Randy Newman song. "Slowburn" kind of reminds me of Queen for some reason, but that's not a bad thing because I love Queen. Overall, while this may not be my favorite Peter Gabriel album, it's still a very good listen. Light 4/5.

Fear Of A Black Planet

Public Enemy

4/5

The time has arrived for the final Public Enemy album of the project. Have I ended on their best effort? Well, I think I prefer its predecessor, It Takes a Nation of Millions to Hold Us Back, but this is a close second. Fear of Black Planet is great. This encapsulates just about everything that makes Public Enemy a big deal in hip-hop history. You've got lyrics and production that could both be considered revolutionary in multiple senses of the word. Both Chuck D and Flavor Flav bring their A-game in spreading their messages. Speaking of messages, boy does this album have them. This album really makes you want to fight the power. Yeah, this album closes on its best song with the all-time classic, "Fight the Power." Nothing new to add here, that song is amazing. Others like "Welcome to the Terrordrome" and "911 is a Joke" show off the Bomb Squad's stellar production. I think the album's a little long and it has some skippable tracks, but there's no denying that this album's a classic. Public Enemy isn't quite my favorite hip-hop act, but they've definitely earned a place in hip-hop history that I have to respect. High 4/5.

Elastica

3/5

Oh, of course... another 90s British alt-rock album. Who could've seen that coming? And would you look at that? It's a combination of post-punk and britpop. How surprising. Yeah, I'm being sarcastic. This is a good album, but it's certainly not the most original album on the list. In fact, it might be one of the least original albums seeing as some of this album's songs got Elastica sued for alleged plagiarism. Here's the thing. I can see why that is. Take this album's biggest song as an example. The main riff of "Connection" is literally the exact same riff as Wire's "Three Girl Rhumba." That's not even an exaggeration. It's the same riff. However, Elastica here do manage to change things up with the riffs enough to feel like different songs. While the riff may be an exact copy, the song in its entirety is not. Things are done to make "Connection" feel like a different song that some have even called better. They're kind of like Led Zeppelin in that regard and in literally no other. Anyways, I'm talking about this album like it's boring, but that's not really true. I actually like this album quite a bit. I wouldn't say I love it, but I had a good time. The instrumentation is strong, the writing does the job, and the fact that most of this band is women makes Elastica stand out from their mostly-male contemporaries. I've got to give respects their. Still, the moments of unoriginality do kind of hold this album back from a higher score. This album's alright in my eyes though. Good stuff. High 3/5.

Chore of Enchantment

Giant Sand

2/5

I'm going to be honest with you all. I'm starting to get kind of upset with this album list. Time after time, day after day, I generate an album only to find that it's completely irrelevant and has no business being on a list like this. But hey, I've got to keep an open mind, right? Well, sometimes that doesn't matter because the album ends up being boring as shit. This album does nothing for me. This thing is aggressively mid. Even the album cover is boring! I guess I can praise some of the instrumentation, which I liked. The instrumentation on songs like "Shiver" is solid. Other songs like "Wolfy" don't do it for me. It's a mixed bag. I don't like the vocals. Others have compared Howe Gelb's vocals to a mix of Leonard Cohen and Tom Waits, two artists who already have a crap-ton of albums on this list. I agree in all of the worst ways. I don't like Howe Gelb's voice. It's grating. The writing just exists. I guess I can commend this album for not being 16 versions of the same song, but when the songs aren't great, that doesn't really mean much. Also this thing just goes on for too long. I guess the "chore" part of the album title was accurate. The "enchantment" part? Not so much. This thing is going to leave my brain as soon as I finish this review. This thing has no reason to be on this list and I find it boring. High 2/5.

Kings Of The Wild Frontier

Adam & The Ants

2/5

Oh boy, just what I needed... more 80s new-wave. This album list is starting to get on my nerves. I feel like I'm starting to run out of genuinely great albums because I keep getting stuff like this. What's this? It's kind of annoying, that's what it is. I don't hate new-wave, but when you give me an album that's just Adam Ant moaning about whatever the fuck these songs are about, you lose me. The singing is kind of obnoxious. I'm not a fan. The instrumentation is pretty repetitive. It's not bad, but it loses its luster rather quickly. The writing doesn't make much sense. Take this line on "Don't Be Square (Be There)." The line is "Ant music for sex people, sex music for ant people." I have so many questions. What's ant music? Well, that's the name of an earlier song, so we have that answer. Also, I just need to point out that this guy really likes singing about ants, I guess? Whatever. What are sex people? People who like sex, I assume. What's sex music? That one feels self-explanatory. But then what the fuck is an ant person? I don't know! I don't really like this album that much! I don't find much enjoyment out of it myself. It's not super danceable, but it's not thought-provoking either. Who is this for? Ant people, I guess. High 2/5.

The Good, The Bad & The Queen

3/5

Look. Damon Albarn is a talented guy. I happen to really love both Blur and Gorillaz. Both projects are wonderful and are absolutely iconic enough to have at least 1 album each on this list. But did you know Damon Albarn had another project that wasn't Blur or Gorillaz? Yep. It's this supergroup here with the most British-sounding band name of all time. With him are the Clash's bassist, the Verve's guitarist, and Fela Kuti's drummer. That's definitely a collection of musicians alright. They all have talent, but when they're all on the list multiple times already, this inclusion just feels unnecessary, especially because the music of this album is firmly in the realm of "good and nothing more." This isn't a bad album at all, but it's not an exciting. The instrumentation is certainly nice, but a little underwhelming compared to the works of each of these other artists on other projects. Damon's singing is as Albarn-y as usual, but it's definitely more subdued here. It's not bad. The writing is okay. Nothing bad but nothing mind-blowing. The songs are alright. Everything about this album is around a 6/10 in quality (that's slightly above-average to me), and the album itself is in that range as a result. 3/5.

Atomizer

Big Black

4/5

Now this is an influential album. I feel like I've been lacking in actual "must-listen" albums, so to see this greeting me last night was very welcome. But how do I feel about Big Black's Atomizer as an album? It's pretty good. I'll admit that I'm generally not a fan of noise rock, but this album's generally solid. Of course, this is not an album for everyone. This thing is harsh, abrasive, and arguably even offensive. But here's the thing. This was released in 1986. This thing is revolutionary, okay? Other bands just weren't doing things like this at the time. Steve Albini was definitely an interesting artist, all things considered. While I don't think I enjoy this as much as some of the albums he's produced, I still think his willingness to make the kinds of music most people didn't want to hear was somewhat commendable. However, this album only works because the music itself is actually music, and good music at that. I don't think every song works. Like, I know this album's supposed to be bleak and harsh, but I think the opener, "Jordan, Minnesota" is just a little... much, you know? But the good songs? Bangers. "Passing Complexion" is cool. I love the bass on it especially. And of course, we have "Kerosene," which I love. This album's full of weird noises that sometimes are a little annoying, but other times are really cool. The writing is certainly interesting, and the actual compositions are very well-made. These actually feel like they have melodies and such, to an extent. So, between the influence, the musical quality, and the experimentation, I have to give Atomizer my respect. While I prefer other albums of the time, I can't deny that Atomizer is a strong album that deserves its recognition on a list like this. Low 4/5.

Lady Soul

Aretha Franklin

5/5

Who is the greatest singer of all time? I'm talking about singing ability here. Whose voice shook the world the most? Well, and I'm just one person, so I can't really say this for sure, but I think Aretha Franklin might be that person. I know it's been said so many times, but Aretha Franklin's singing was truly one of a kind. It's just so perfect. Of course, good singing doesn't matter much if the songs suck. Fortunately, the songs on Lady Soul are great. This album's stellar. I don't think I could 100% call it better than the other Aretha album on the list, but it's a close call. The thing that really appeals to me with her songs is the natural sense of female empowerment. It doesn't sound like she's trying too hard. She's literally just being the girlboss she clearly was. Look at a song like "Chain of Fools." First off, this is an incredible opener. Secondly, look at the lyrics. It's basically Aretha telling off an unfaithful partner and I love it. This is the kind of music society needed at the time! It's excellent. Other songs take a more sensual approach, like the all-time classic "(You Make Me Feel Like) A Natural Woman." While I love Carole King's version of the song off of her album Tapestry, this is another one of those cases where the song has basically become Aretha's. I mean, this album did release before Tapestry, so Aretha literally sang it before Carole, even if Carole wrote it. The musicians who play instruments here are great too. Did you know that Eric Clapton played guitar on one of these songs? I didn't, but it was a fun surprise. It's hard to believe that this album is under half an hour! I want more of it. This is an excellent album all throughout. Light 5/5.

The Modern Dance

Pere Ubu

2/5

Fuuuuuccckkkk... I have to listen to Pere Ubu again? I hate Pere Ubu! I was dreading this when I saw it pop up on screen. I gave Dub Housing a 1/5, but do I feel the same way about its predecessor, The Modern Dance? Well, I still don't like it, but I can't say that I'm as angry about this. Maybe I would just feel bad for giving Pere Ubu two 1s. I don't know. I do know that I like this more than Dub Housing, even if I still don't like it. The instrumentation is better. The instrumentals on Dub Housing had some horrendous moments. The Modern Dance also does, but the I feel that good moments are better here. There are some instrumentals here that are actually quite good. Songs like "Non-Alignment Pact" and "Street Waves" would actually sound pretty cool... if it weren't for those god-awful vocals. Yeah, I still hate David Thomas's voice. To go from Aretha Franklin yesterday to this today might be the biggest case of whiplash I've experienced in this entire album project. I don't have any issues with him as a person, and it sucks that he died earlier this year, but I still don't like hearing his voice! It just pisses me off to hear it. I don't have an issue with weird-voiced frontmen named David. Talking Heads are one of my favorite bands ever. It's just this one vocalist that I can't like the voice of. It honestly kills the album for me. I get that this is important to the development of post-punk, but it's just not for me at all. Am I upset I listened to this? Maybe a little, but not really enough for me to give this a 1 like the other one. Low 2/5.

Cross

Justice

4/5

You know, it's stuff like this that really makes my disliking of certain other albums even more apparent. How can there be so many electronic albums that have no energy, lack memorable songs and moments, and go on for way too long when you can have albums like this that are the complete opposite? This album's great! Maybe the French are just better at making electronic music than the British. Then again, the British have Aphex Twin. Whatever. Justice made a great debut album here. The production is excellent. The music here just feels more... sonically full? Does that make sense? Other albums kind of feel empty in comparison. The songs here are cool. I could maybe how someone could call the album a little repetitive, but I did find a number of songs that stand out, like the opening "Genesis," the spectacular "D.A.N.C.E," and the endlessly fun "DVNO." But do you want to know what this album really has going for it that too many EDM albums just get so wrong? Cross is only 48 minutes long. That's... a normal album a length. Not too short, not too long. It's perfect. I can't do the rave shit for 70+ minutes, which causes other albums to fail. This? It plays out for the perfect length without dragging at all. It's great. This is definitely an essential listen for anyone looking to get into electronic music. If I liked it as much as I did, I'm sure you'll enjoy it too. High 4/5.

Happy Sad

Tim Buckley

4/5

Woah. I did not realize until looking at this album cover just how much Tim Buckley and Jeff Buckley look like each other. I know they're supposed to look like each other since they're father and son, but it's kind of crazy just how strong Tim's genes must've been. You know what else is strong? This album. I happened to really like this one! Greetings From L.A. was fine, but Happy Sad is significantly better. Turns out having an album that focuses on emotions other than horniness pays off. I really like the sound of this one. The lighter, more jazz-influenced instrumentals just appeal to me more than the funk influence of the other album. Tim's vocals are alright here. They fit the vibe. The writing is a lot better here. Songs like "Buzzin' Fly" give off more genuine emotions and I really like that. I wouldn't say that every song is a win. One of the songs kind of has those questionable elements from Greetings, including the prominent use of a word that is increasingly becoming considered a slur, but that's just the one song. It doesn't hurt the album too much. This is a solid showing. I like this. Good job Tim. Light 4/5.

Green Onions

Booker T. & The MG's

3/5

You see, there are two kinds of situations with title tracks on albums. Sometimes the song feels like it was made for the album, like on Pink Floyd's Wish You Were Here. But then you have situations where the album feels like it was made for the song. Typically, the song in question was released before the album and the album then capitalized in some way off of the success of said single. That situation is the perfect descriptor for Green Onions by Booker T. and the M.G.'s. I've seen some describe this as "'Green Onions' and 11 weaker versions of 'Green Onions.'" I kind of agree, but I still enjoy the rest of the songs. Obviously, "Green Onions" the song is fantastic. Everything from the organ part to the song's whole groove is the perfect recipe for a great piece of music. The rest of the songs? They're all good, sure, but none of them reach the high of the title track. "Mo' Onions" is notable to me not just because of its clear parallels to the title track, but also because the guitar line at one part reminds me of Pink Floyd's "Hey You." Like, you know the part where the guitar has the motif of "Another Brick in the Wall?" It sounds like that. The album goes by quick and the songs go by quicker. I don't think this'll stick in my head for too long, but the overall sound is very pleasant. It's got a good vibe. High 3/5.

Post Orgasmic Chill

Skunk Anansie

3/5

90s British rock again. Who could've guessed. This one's alright. I'll give it this. This is not a redundant inclusion. It's not like this list is swimming in female-fronted alternative-metal albums as it is for something like male-only post-punk albums. However, Skunk Anansie are still one of those acts that really show off this album list's strong UK bias. I guess you had to be there in late 90s Britain to even have a clue who these guys are. Are they good? Kinda? They're not bad. They've got some undeniably good elements. I think lead vocalist Skin has a good voice. Plus, it's always nice to hear a woman singing in a rock band for a change, women of color especially. The instrumental talent is also there. It's not outstanding, but there are musical moments to appreciate. However, I feel like they don't mix together the best. Maybe? Something about the balancing on songs like "Charlie Big Potato" just feels a bit... off? I don't know. I'm also not huge on the writing. Songs like "On My Hotel TV" just don't do it for me in this regard. There are good songs, I swear. "Secretly" is nice. It's one of the songs where the balance between the vocals, writing, and music actually works pretty well. I can tell that there's talent behind this band, but I can't help but feel that Post Orgasmic Chill is a bit lacking in overall cohesion. It's a respectable endeavor, but not one that I see myself revisiting much. 3/5.

Moss Side Story

Barry Adamson

3/5

Barry Adamson again? Really? Whatever. At least this is the better of the two albums he has on the list. You know, in my opinion, at least. Here's the thing with Moss Side Story here. This album's concept is that it's a soundtrack to a fake movie. Okay. That's a neat concept. And you know what? This does kind of feel like the soundtrack to a movie, perhaps even a good movie. I can catch glimpses of a story of sorts and the ideas in my head are good. However, this is not the kind of movie soundtrack that I'd want to listen to on its own. In the context of the hypothetical film, these songs might work really well. But in the context of an album that actually just exists by itself? It's not the most ideal listening experience. There are definitely cool moments, sure. There's this organ part in the latter half of "Sounds From the Big House" that kind of reminds me of that one part of Pink Floyd's "Echoes." That's cool. There's some neat atmospheric moments spread throughout the album. Barry Adamson is kind of like the anti-Charlie Puth to me. They're both clearly talented, but whereas Charlie makes music that's too commercial for my taste, Barry makes music that's a bit too avant-garde for my taste. This album has moments like on the opener "On The Wrong Side of Relaxation" that just don't really hit the musical itch for me. I respect this album, but I don't see myself going back to it much and I don't think I'd call it a must-listen. Light 3/5.

Back In Black

AC/DC

4/5

Is this a bit of a safe pick? Sure. Do I care? Not at all. I'm fully willing to admit that I have quite the soft spot for "basic dad rock," and AC/DC might be the epitome of "basic dad rock." Back in Black is basically just 10 straight songs of rock and roll and that's really all it needs to be. Of course, there are interesting things to discuss regarding this album. For one, there's the history. The last AC/DC album I discussed, Highway to Hell, was their last album with their original vocalist, Bon Scott. Well, after his death, the band recruited Brian Johnson to sing from that point on, starting with this album here, Back in Black. I liked Bon Scott's vocals well enough on Highway, but I do prefer Brian as a vocalist myself. Yeah it's kind of funny to imagine these songs as Toad from the Mario games instead, but I think Brian's voice fits the vibe this band needs. The band may effectively have one style of song, but they play that style really well. Something something "one kick 10000 times." You get the idea. The riffs on display here are strong. I mean, there's a reason why songs like the title track and "You Shook Me All Night Long" are as iconic as they are. It's because they're good songs. The energy here is strong, and that's commendable. The album is a little repetitive, but there are stand out moments. Obviously, the two songs I mentioned earlier are classics, and "Hells Bells" is actually a really cool opener that serves as a fitting tribute to Bon Scott. That's neat. The writing could've aged better, but it could've aged a lot worse. The pacing is perfect for the album. This album knows what it wants to be, lives the life it needs to, and sells 50 million copies doing it. Back in Black is really good at being the album it needs to be. 4/5. I'm 2/3s of the way done now!

A Nod Is As Good As A Wink To A Blind Horse

Faces

3/5

This album's good. I'm tired right now, so I'll be brief with this one. This is my final album of the list to have Rod Stewart on vocals. Cool. His voice has kind of grown on me over time, and it feels especially fitting on this album's songs to the point where I prefer his vocals over Ronnie Lane's vocals, but I'm still not huge on him at large. This album's got some good energy. Songs like "Stay With Me" do feel a bit dated, but are still fun listens. I do really love that song. "Debris" is cool too. It's definitely Ronnie Lane's best song on here. The writing is a bit "of its time" but isn't too egregious. The sounds are cool. Very good instrumentation. This is a somewhat flawed album that's definitely aged, but is also fun, short, and a good time. High 3/5.

...The Dandy Warhols Come Down

The Dandy Warhols

3/5

At first glance, this may seem like yet another obscure 90s British alt-rock album meant to pad out this list with NME's favorite albums of the decade. However, that's not actually the case. These guys are actually from Portland, Oregon! Hell yeah! I love Portland. This album's alright. It drags out a bit and it's not the most interesting listen, but it's a respectable affair. The musical style isn't completely unoriginal. I can definitely hear the britpop comparisons that others have made, with a bit of a shoegaze thing going on as well. That's neat. The singing is alright. The writing isn't anything to write home about, but it's not bad either. The songs are solid. You've got some good singles in there like "Not If You Were The Last Junkie On Earth." This album's not perfect and it's basically the definition of "Good, but not great," but I can see the value here and I definitely liked the album. Solid 3/5.

New Forms

Roni Size

3/5

I listened to and reviewed this album in August 2024. Here is that review: Here’s an album that I was not expecting to like. It’s a mid-90s British electronic album. I haven’t had the best experiences with those. The fact that this is over 2 hours in length scared me. At least I got to decide when I listened to this album as I did it for the “Mega Album Mini Project” that I referenced in my Mellon Collie and the Infinite Sadness review. But you know what? I kind of liked this album. There’s something about this that makes it more enjoyable for me than something like a Fatboy Slim album, but I can’t put my finger on it. Maybe it’s the higher energy and the breakbeats that increase my levels of enjoyment. Maybe it’s the nature of this being a Drum and Bass album that differentiates it from the various Big Beat albums I’ve gotten from artists like Basement Jaxx, the Prodigy, and the aforementioned Fatboy Slim. I really can’t put it into words. Of course, this is still a very long album and it could certainly just be called a collection of random beats. But hey, at least they’re some great beats! This serves as some pretty good background music. It’s not amazing or anything and I would totally understand if someone felt the list was better without this. But I enjoyed it for what it is. And what it is is a 3/5.

Headquarters

The Monkees

3/5

Yeah, this is pretty much what I'd expect from band that was manufactured for TV in the 60s to capitalize on the success of the Beatles. This album's fine. It's not complex at all, but it's not the most shallow thing I've listened to. I will say that the fact that the Monkees fought for creative control over their own music is immensely respectable. Good on them for actually trying instead of just cashing in their checks without caring about art. Of course, this is still basic 60s pop rock. There's nothing mind-blowing in this album. There are some pseudo-experimental tracks on here, but they don't really work for me. Like, why is "Zilch" here? What does this do for the album? I don't know. Some songs are good here. "Randy Scouse Git" is pretty alright. However, that doesn't change the fact that this album doesn't do much for me personally. Maybe you just had to be there. Light 3/5.

The Number Of The Beast

Iron Maiden

5/5

Today is a special day, at least for my 1001 Albums project. For one, today marks the point where I have been doing this thing for 2 whole years. I started on October 5, 2023. Today is October 4, 2025. This album marks the end of my second year of the project. That's a big deal, but there's another, more obvious reason as to why today is special for the project. The reason? It's Iron freakin' Maiden! That alone is enough for me to call this day special. There's a reason why Iron Maiden are widely considered to be among the greatest metal bands of all time. It's because they are. This is my second album of theirs after their self-titled debut. That album was great and all, but The Number of the Beast is on a whole other level. This thing is fantastic. It's among the best metal albums I've ever listened to. This album's actually very important for Iron Maiden as a band, and I consider this to be the point where they became "the Iron Maiden you know and love." The core was still there on the first album, but there are a number of factors that lead to this being a turning point in the band's career. Take the lineup change for instance. Paul Di'Anno was great and all, but there's a reason why Bruce Dickinson is Iron Maiden's most beloved vocalist. His voice is big and operatic and I love it. The sheer power that gets added to these songs through his voice is just a spectacle. Of course, the instrumentalists are just as excellent. Dave Murray and Adrian Smith exchange their guitar parts so effortlessly to create such exciting riffs and solos, Steve Harris has got to be one of the greatest metal bassists of all time, and Clive Burr's drumming is on-point here, even though this was his last album with the band. Very tight performances all throughout and I love it. You know what I love even more? The songs. This album's got some fantastic tracks on it. The first half is pretty cool. "Invaders" is a strong opener. "Children of the Damned" is easily the first half's highlight. It's got some great emotion to it. "The Prisoner" and "22 Acacia Avenue" are pretty good, but then the second half hits you with 3 of the greatest metal songs of the 80s and also "Gangland." Okay, "Gangland" is good and pretty underrated, but with that said I do prefer the b-side that could've replaced it, "Total Eclipse." Those other 3 songs though? Fantastic. The title track just encapsulates everything great about this band. The opening riff, epic vocals and writing, and general pacing is just so cool. I love it. "Run to the Hills" is this album's most popular song. It's great. Maybe a little overrated, but still deserving of its popularity. It's probably the best metal song about the mistreatment of Native Americans, though Anthrax's "Indians" is a pretty close second. And then, we get the album's closer, "Hallowed Be Thy Name." This fucking song. It's the fan-favorite and for good reason. It's the album's best song and a perfect closer. The enticing opening section, the epic riff, Bruce's amazing vocals. Everything comes together perfectly. The same could be said about this album. While there are other albums that contend for the title of "Best Iron Maiden Album," there's no denying that The Number of the Beast has an important place in the history of both Iron Maiden and heavy metal at large. This album's excellent. 5/5.

Isn't Anything

My Bloody Valentine

4/5

Well, it took about 2 years or so, but I finally got the last My Bloody Valentine album on the list. Why is there whole discography here? Like, Loveless obviously belongs here, but Isn't Anything and especially m b v? I don't know. The band's whole discography is good, but I think you really only need Loveless for a list like this. Though, of the two other albums, I do feel that Isn't Anything's inclusion is more justifiable as it was a pioneering album in shoegaze. However, this isn't like a Black Sabbath situation where the second is the masterpiece but the first gave birth to the genre. Isn't Anything is important for shoegaze's development, don't get me wrong. However, when albums like Psychocandy exist, it's hard to definitively call this the first shoegaze album, even if it is a candidate. Still, I think it's time to move past that and discuss the album itself. It's good. Not a masterpiece like Loveless, but still a respectable debut. The elements are still here. The guitar tone is still quite hazy and befitting of the shoegaze scene. The writing is still vaguely sensual. The singing is still mostly unclear. However, the overall quality is less refined. There are some good songs here, sure. "Lose My Breath" is a highlight for sure, but nothing really reaches the heights of Loveless. I know I shouldn't compare albums to each other too much, but I can't help but think "It's not Loveless." But you know what? It doesn't need to be. All it needs to be is a good debut album, which it is. Isn't Anything is a landmark release in shoegaze that has aged well, but has also been seriously outclassed. Still, a neat listen for any shoegaze fan. Light 4/5.

Mr. Tambourine Man

The Byrds

3/5

I can't believe it took this long for me to get a second Byrds album. I got Fifth Dimension nearly 2 years ago in October 2023 and, despite them having 5 albums on this list for some reason, I am just now getting a second album from them in October 2025. Crazy. Anyways, this is a solid debut album right here. It's got the things that the Byrds are known for. Jangly guitars, Bob Dylan covers, you get the idea. You could criticize this album for over-relying on Bob Dylan songs seeing as they make up a third of the album, but there's something about Bob Dylan's songs that are just so coverable. I mean, when the one thing that turns people off from a man's music is his weird-ass voice, there's going to be a market for people who want to hear those beautiful words come out of someone else's mouth. Although, I will say that the Byrds do a decent job of making their covers different enough from the original to warrant both having a place in the world of music. Take the title track for example. I do prefer Dylan's original version of "Mr. Tambourine Man," but I do enjoy the version that this album is named after and respect it on its own. The rest of the songs are solid. Most of them are covers, but you do have some originals here, including the classic "I'll Feel A Whole Lot Better." The sound here is consistently good. I do feel marginally more positive about this than I did for Fifth Dimension, but I still don't think I'm huge on the Byrds in general. They're good, I think there's something missing (at least on the albums I've heard) that prevent them from being considered "great" in my head. Still, this is a respectable debut from a fairly important band all things considered. High 3/5.

Reggatta De Blanc

The Police

4/5

Okay. I don't know if this is going to make sense to any of you, but I'll say it anyways. I've seen a lot of people on internet music spaces talk about the band Queen in a very specific way. I've seen the general sentiment of "Yeah, the singles are awesome, but they have some weak deep cuts and their albums aren't particularly great," echoed plenty of times. You see, I disagree with that sentiment regarding Queen. However, I feel like that's kind of how I feel about this album from the Police. Like, there are some fantastic things with this album. For as much as I may say that I don't like the police, that has never been in reference to the band, as I have no issues with Sting and the gang. They're all incredibly talented. Sting himself is a solid frontman with decent bass skills, Andy Summers writes some excellent guitar riffs, and Stewart Copeland has got to be somewhere in the top 10 or even top 5 best rock drummers of all time in my eyes. As for their overall sound, it's pretty good. The instrumentation is tight and the "white reggae" sound that this album's translated name is a reference to is pretty fun. There's a reason why the Police are as iconic as they are. However, when it comes to songs, this album has some duds. I'll start with the good. Obviously, "Message in a Bottle" is great. That song is actually really cool and I love it. It's easily this album's best song. I also like the other big hit, "Walking On The Moon" quite a bit. But those aren't deep cuts. What about those? Well, some are good. I think "Deathwish, "Contact," and the closer, "No Time This Time" are pretty solid. But not every one hits the same, with the worst one easily being "On Any Other Day." The instrumentation is still quite good on this song, but the singing and writing just kind of put me off. Oh yeah, it's also kinda homophobic. Just gotta point that one out. Still, I'd say the album has more good songs than weak ones, and the best ones are outstanding. Reggatta de Blanc is a solid album. It's not my favorite, but it's still pretty good. Maybe I'll like Synchronicity more. That one's apparently "the classic" in their discography. For now, I'll give Reggatta de Blanc a light 4/5.

Le Tigre

3/5

I want to start this review with some background info and then a question. So, the band behind this album, Le Tigre, was very much so a feminist band. Obviously, none of the band's members are men, so you're not really getting pro-man songs here. This is made more obvious when you know the woman behind the whole operation, Kathleen Hanna, who had already made a name for herself in the music world through her prior band, Bikini Kill. This brings me to my question. Why is there not a Bikini Kill album on this list? They were THE defining riot grrrl band! How are they not here? Whatever. At least Le Tigre is good. I liked this album. It's not great or anything, but it's certainly enjoyable. The style is fierce and fun but not super repetitive. The singing isn't my favorite, but not bad either. The songs are solid. "Deceptacon" is probably the highlight, but others make for good listens. The writing is mostly good, with a solid amount of politics included for good measure. How am I supposed to dislike an album that calls Rudy Giulani a fucking jerk? They're right! I don't really see myself going back to this very much in the future, but I'd say I'm glad I listened to it. It's kind of around DEVO territory for me, so I'll give it the same score that I gave to them, that being a high 3/5.

Let It Be

The Replacements

4/5

You know, when I find myself in times of trouble, good music is what often calls to me, except for when it doesn't. Fortunately, today is one of those days where it does. This may not be the Beatles album most think of when "Let It Be" comes to mind, but I'd argue it's just as good and important as that one. The Replacements are not the Beatles, but they don't need to be. I mean, there's a reason why this album's on this list but not the Beatles album. This Replacements album is actually really good. It's remarkably ahead of its time in many ways. The musical style and general tone of the album fit right in line with the alt-rock and indie rock bands that would follow. To hear this in 1984 must've been mind-blowing. Of course, it's not exactly mind-blowing nowadays given what's followed, but that's not to say that the album's aged poorly. Quite the contrary, in fact. The passing of time has been very kind to this album. The lyrics are part of this. You've got some angst on songs like "Unsatisfied," some more comedic elements on songs like "Tommy Gets His Tonsils Out," and you even have a gender-non-conforming love song of sorts with "Androgynous." Again, the fact that this released in 1984 is remarkable. Plus, you've got some solid instrumental variety that makes this album stand out from song to song. Let it Be isn't quite a masterpiece, but it's still a strong album that makes perfect sense for a list like this. High 4/5.

The Atomic Mr Basie

Count Basie & His Orchestra

4/5

Jazz is cool. It's albums like this that remind me of that belief that I have. This album's very good. It's not a masterpiece or anything, but it's just a lot of fun. It's got this swinging big-band style that I really enjoy. The opening track just hits you with awesome, fast-paced horns right off the bat and I love that. The album lasts for a respectable amount of time. It's not the most gripping jazz album ever, but I enjoyed it all throughout. I've got to give props to both Count Basie's orchestra and Neal Hefti's arrangements. Good job! Great jazz album. Light 4/5.

A Hard Day's Night

Beatles

4/5

Of all the bands in the history of music, the Beatles are among the hardest for me to say anything negative about. There might be other bands I personally like more, but I can't think of a better band to have the title of "greatest band of all time" than the Beatles. From the beginning, they had something special, and while their later albums would go down in history as some of the greatest albums ever made, you can still go to earlier albums of theirs and find plenty to speak positively about. Case in point, A Hard Day's Night! This is a pretty important album in the band's discography for 2 main reasons. Reason 1 is that this was their first movie soundtrack. I don't think we'll ever see a band get a movie deal as early into their discography ever again, so to see something like this is pretty cool and a reminder of just how big Beatlemania was. The second reason, and the more important one in the context of the album itself, is that this was the band's first album to be solely comprised of original material. That's neat! No more covers here, folks. These are all Lennon-McCartney originals, and they're pretty great. You've got some stone-cold classics in here. The opening title track is great. It's a great distillation of the feel-good energy of early Beatles songs. "Can't Buy Me Love" is also quite fun. Great rhythms there. Of course, you have some more emotional songs here too, and they're very nice. "And I Love Her" especially is just wonderful. Not every song is great, but this is a strong collection of songs all things considered. Obviously, there are better Beatles albums, and I can't call this better than something Like Abbey Road or even Rubber Soul. But I still got a lot out of A Hard Day's Night and would have a hard time calling this bad. It's the Beatles, okay? 4/5.

Moon Safari

Air

5/5

Welp, I've finally accepted a belief of mine that I had already considered before but now believe to be fact. The French are way better at making electronic music than the British. Sure, the British have Aphex Twin and Massive Attack and whatnot, but in regards to albums, the French give me what I want more so than the British. From my experience, most British electronic albums feel more like "collections of beats" than anything. Even great albums like Selected Ambient Works 85-92 literally are collected and put together. Does it work in the favor of that album specifically? Yes, and I'm glad that that album doesn't pretend to be something that it's not. But you look at like Fatboy Slim or the Chemical Brothers or whatever and their albums are just collections of beats that go on for way too long. But the French? They make complete artistic statements. Moon Safari is a complete artistic statement. It's cohesive yet varied. It's pleasant yet introspective. It's amazing. The sounds and songs of Moon Safari are just wonderful, both on their own and as an album. The pacing actually feels rewarding, mostly because the album doesn't go on for 70-something minutes. There's, like, actual emotions and stuff here? It's great. Of course, this is just one album, but when other albums like Discovery and, to a lesser extent, Cross exist, you have a strong catalog that most other country's could only dream of creating. This review is weird. I guess what I'm trying to say is that this album is special. It has a song called "Sexy Boy" that isn't cringe in the slightest. That's an accomplishment, okay? But yeah, Moon Safari is kind of beautiful. The Virgin Suicides was good and all, but Air never surpassed this masterpiece right here. Light 5/5.

Car Wheels On A Gravel Road

Lucinda Williams

3/5

I've said this a number of times now, but I'm not really big on country music at large. It's not a bad genre by any means. None of them are. Bad music genres simply don't exist in my eyes. However, country is one of the genres that I personally gravitate towards the least. With that said, this album's good. It's a solid country album. It's not my favorite, but it's not bad. Lucinda's voice does the job. The writing's good. Anything that isn't "whisky chevy jesus" or whatever gets played on the radio these days is good enough for me. There are some solid songs. The title track is pretty good. "Right in Time" is a nice opener. I'm not huge on every song though. "Joy" doesn't really work for me. I don't know why. The guitars are good. The album's a normal length. I respect this album, but I don't see myself going back to it much in the future. 3/5.

What's Going On

Marvin Gaye

5/5

Do I even have to say anything about this one? Very few albums in the world of music have a reputation like that of What's Going On. Critically speaking, this is easily one of the most highly praised albums of all time. It's a shoe-in for a list such as this. It's easy to see why all of this is the case. What's Going On is a crowning achievement in popular music. What's Going On does things that had been done in music before. This wasn't the first album to tackle Vietnam. It wasn't the first concept album. It wasn't the first soul masterpiece. But never before had these elements been blended together in such a smooth, soulful way from such a mainstream artist as Marvin Gaye. It's albums like this that show us as a collective people what music can and should be; an artform. Music is, ultimately, a creative expression of the individual or group behind it. It allows people to express their complex thoughts in ways that will hopefully resonate with others. This is where What's Going On stands above much of its competition, especially of the time. The song cycle that forms the album acts as a complete artistic statement while also comprising some fantastic songs in their own right. The title track, "Mercy Mercy Me (The Ecology)," "Inner City Blues (Make Me Wanna Holler)," and the other 6 songs work together to paint a picture of sorts. It also helps that the sounds and instruments at play are just gorgeous, while also having a sense of soul and slight funk-influences to aid in enjoyment. Despite not being much higher than the instruments in the mixing, Marvin Gaye's voice sticks out through its beauty. The lyrical themes of the album speak to the listener, while still remaining deeply personal to Gaye himself. I really don't have any issues with the album. While I myself wouldn't go as far as to call this the greatest album of all time, I can absolutely see why so many others have. It's a true work of art that only ages better and better with each passing year. It's What's Going On. 5/5.

The Rise & Fall

Madness

3/5

Those guys behind this list just keep making it more and more obvious that they're British, don't they? Here we have The Rise & Fall by the British ska band Madness. Here in the US, this band is really only known for one of this album's singles, "Our House." I do happen to enjoy that song quite a bit, though I can't help but think about the game grumps edit where it just says "Our house in the middle of our house" over and over again. Peak youtube right there. The other songs are good too. This album does have a bit of a different vibe from the other ska and ska-adjacent albums on the list. I think this songs are in like different musical keys or something. They've got a vibe that's... not ominous but, like, not as poppy as the Specials or something. This is still poppy, don't get me wrong. "Our House" was a big pop hit for a reason. But the energy here is different in a way that's hard to put into words. I do like it, but I can't say I love it. The production certainly feels like an early 80s affair. The writing is on the more relatable side, at least to the UK audience. I certainly can't call this boring, but it's not really for me. Still, I do have some level of appreciation for this album, and I can't exactly call it "obscure british nonsense only included for the sake of padding out the list" like I can for other albums. I get why others like it, because I like it. I just don't like it as much as other do. Good stuff. 3/5.

Deserter's Songs

Mercury Rev

3/5

I guess I'll start this review by talking about the whole Flaming Lips thing. So, this album, Deserter's Songs by Mercury Rev, has been frequently compared to the works of the Flaming Lips, specifically their 1999 album The Soft Bulletin. Now, the two albums do have legitimate factual connections, mainly on the production side of things, so there is reason for the two to be associated with each other from a historical standpoint. But what about a musical standpoint? We are here to talk about the music after all. Well, the musical comparisons aren't unwarranted. There are sonic similarities between the two albums. Fortunately, they're not overwhelming. Deserter's Songs stands on its own just fine and avoids the whole "standing in the shadow of a better album" thing. I do prefer The Soft Bulletin myself, but Deserter's Songs is still a good album. It's not "1998 Album of the Year" good like what NME said (because of course it's NME), but still a solid showing. The sounds are neat and varied. You've got what sounds like a whistly type instrument. It might be a bowed saw, but it might be something else. The album sounds good. The writing's solid. The singing's not my favorite, but I don't dislike it. I don't care for every one of this album's songs, but the best ones are pretty damn good. "Holes," "Tonite It Shows," and "Goddess on a Hiway" especially are great. I do like this album quite a bit. I might not go back to it a ton, and I can't call it a must-listen, but I'm glad I did hear. It's nice. High 3/5.

Shadowland

k.d. lang

3/5

This one's alright. Apparently k.d. lang has two albums on here, which seems a bit high, but I think one can stay. This list is pretty low on the representation of women and even lower on that of lesbians, so I can't be too eager to remove an album like this. Apparently Shadowland is the weaker of the two. If so, then that means I'll like Ingénue to some degree seeing as I think Shadowland is good. It's not really for me. This style of country isn't usually my thing barring a few exceptions, but this album has good elements. The singing is one of them. I do enjoy hearing k.d. lang's voice on these songs. She's a good singer that does these songs well. The song choices make sense. These are pretty standard country pop affairs, which is fine. This album doesn't need to be mindblowing or anything. It'd be cool if it was, but that's not necessary. I don't see myself going back to this much, but I certainly can't call this bad. 3/5.

American IV: The Man Comes Around

Johnny Cash

5/5

Is Johnny Cash the greatest country artist of all time? I don't know. I'm not an expert on the genre, but I know he's up there. He is easily in the uppermost echelon of country artists in terms of acclaim, and it's only fitting that he got to go out in such a beautiful way. This, of course, is the final album released in his lifetime, American IV: The Man Comes Around. The fact that Johnny was even able to succeed at the very end of his life in a way like this is immensely respectable. Think about it. By 1994, Johnny Cash had effectively "fallen off." He was a washed-up has-been in the people's eyes. But then, Rick Rubin shows up and starts helping Johnny do cover albums. They go pretty well, but it's with this final one in 2002 where the fruits of their labors are finally enjoyed by everyone. This has got to be one of the best musical swan songs of all time. I can't call it the best. It's not better than Blackstar, I'll say that. But I have got to give huge props to Johnny Cash, Rick Rubin, and everyone else involved for making this. Most of the songs here are covers, but Johnny does an excellent job with them and kind of makes some of them feel like his own song. "Hurt" is the obvious example here. I can't definitively call it better than the original Nine Inch Nails version. I think both versions are perfect for the artists in question. However, I think I do prefer Johnny's version myself. The others are quite good as well. "Personal Jesus" and "In My Life" are especially great to me, but that could just be because of how much I adore the original songs as well. I do prefer the originals in those cases, but when you make a Beatles cover that's almost as good as the original, you know you've got talent. There's even a few Johnny Cash originals that are nice to hear, like the title track. I think Johnny Cash's voice aged pretty well. It sounds nice here and it fits the themes. Speaking of themes, boy can this album be sad. There's a reason why many talk about death in regards to this album. It's mostly because this was Cash's last album before passing away in 2003, but the songs chosen here fit that as well. This feels like a soundtrack to Johnny Cash's life. Everything from his family, to his faith, to his death feel represented here. Some have compared this album to Johnny Cash singing at his own funeral, which I feel is a really good comparison. It's that idea behind the album that makes American IV such a special listen. The emotions in Johnny's voice and the music at large work together to express the life of a man in just 50 minutes or so. It's kind of beautiful. The collaborations help bridge Johnny Cash's life to the history of music, with help from people like Fiona Apple, Don Henley, and Nick Cave in some wonderful duets. I don't think I could call this album perfect, but for what it's trying to be, it's pretty close. Even the production is great! This has got to be one of Rick Rubin's better production jobs. American IV is wonderful. Low 5/5.

Killing Joke

4/5

As soon as I saw this album cover, I thought "Oh, this is fucking post-punk again, isn't it?" I swear, this list has way too much fucking new wave and post-punk. I'm tired of it. But you know what? Even when you get too much of one thing, you can still be surprised every so often. I've listened to a few too many mediocre post-punk albums for my liking, but I'm happy to report that Killing Joke's 1980 self-titled debut album is not one of them! I actually really liked this album! It's kind of hard to believe that this was released in 1980. Obviously this is a post-punk album, but I'm also noticing a bit of an industrial rock thing going on here, with a faint hint of metal as well! Fortunately, the industrial stylings remind me a lot more of later industrial metal bands like Ministry rather than the noisy full-on industrial "music" of bands like Throbbing Gristle. I really enjoy this. It's got some great energy. The vocals aren't my favorite, but I wouldn't call them annoying, which by 80s post-punk standards is practically a godsend. The writing gets a bit political, which is usually nice to see, though it's generally on the more basic stuff like "war is bad." As stated earlier, the album sounds great. The bass on songs like "Requiem" is just magnificent. "The Wait" is where you can really hear this thing's influence on industrial metal. Those two songs are just amazing, with the other 6 all being good. I'm impressed. I really didn't think I'd like Killing Joke this much, but I'm very happy to learn of this album's greatness. 4/5.

Speakerboxxx/The Love Below

OutKast

4/5

Another long album. I wrote this one back in August 2024. Here you go: Of all the double albums I’ve listened to, this one easily has the most disparity between the two sides of them all. Of course, the explanation for this is quite simple. Speakerboxxx and The Love Below are two separate albums. Outkast’s two members, Big Boi and André 3000, originally wanted to make solo albums, but their label advised them to make a new Outkast album. So, because these are effectively two albums, I will review them separately. First up is Big Boi’s Speakerboxxx, a more traditional hip-hop album in the vein of Outkast’s works before this. Honestly, I really like it. It’s a very consistent record. The writing is fun and the sound is even more fun. Big Boi’s rapping is thoroughly entertaining. Despite the fun, there’s still important things to be said here. For example, the back-to-back songs “War” and “Church” tackle politics and religion respectively. And yet somehow the balance between these and songs like “The Way You Move” just works! This one’s great. High 4/5. Now André 3000’s The Love Below is a bit more mixed in my opinion. This one shows André's desire to move beyond hip-hop and utilize influences from genres like jazz, pop, and soul. It’s also a bit of a concept album about love. I really like the ideas of this album, but I think the execution could’ve been a bit better. It’s still good though, don’t get me wrong. There are some amazing songs on here. Obviously, the highlight is Outkast’s most popular song, “Hey Ya!” That song is amazing. I do find it weird that it’s their most popular song, but it deserves the praise. Songs like “Prototype” and “Roses” are quite good as well. However, it goes on for a bit too long and kind of gets weak near the end. I just didn’t feel as passionate about it. I highly respect it and I sincerely hope that André is able to explore more musical styles throughout his career. However, I do like Speakerboxxx a bit more. I’d probably give The Love Below a high 3 or a low 4. Overall, as a combined package, Speakerboxxx/The Love Below is pretty bloated and all over the place, but it’s a fun album that actually makes the disparity in sides work somehow. 4/5.

Technique

New Order

4/5

You know, for as much as Joy Division and New Order are discussed in the same conversations, the two bands sure do sound different from one another. I mean, one is pretty heavily in post-punk territory, while the other goes more into synth-pop than anything. The connections? Uhh... a few band members and the fact that both of those genres are extremely over-represented on this list. Well, I guess I should talk about Technique then. It's great! I do think that Low-Life is probably the better album, but Technique isn't much weaker. This is a great synth-pop album right here. The album is very danceable as any synth-pop album should be. However, the album isn't vapid or uninspired. The writing here has an emotional core to it beyond "haha beep boop dance time." There's songs about relationship struggles and such, which I really respect. I guess that's another thing the two bands have in common; good songwriting. The songs here are really good. "Round & Round," "Vanishing Point," and "Dream Attack" are just excellent. This album's pretty cool. I also really like the album cover's color scheme, but that's not really a music thing. 4/5.

After The Gold Rush

Neil Young

5/5

Neil Young. It has been too long! This is my 5th album of his, but I don't feel burnt out on him because I haven't gotten an album of his since May of last year! It's been 17 months. That's a while, but it's finally time for me to get what is arguably his most acclaimed album, After The Gold Rush. Yeah, this thing is great. That certainly wasn't a surprise to me and it shouldn't be a surprise to you either. It's kind of remarkable that this was released so early in Neil Young's career, what with this being his third album and all. Everything feels so refined here, yet also kind of rough-around-the-edges in a really appealing way. It's the kind of roughness that adds value to the album, you know? Of course, Neil's songwriting is as strong as ever. You've got your love songs and stories and such, but there's also room for a bit of political commentary! Well, there's not much of it, but it is on the album's best song. "Southern Man" is such a cool song. It's one of the few electric songs on here and it's excellent. I do also enjoy the more acoustic tracks that make up the majority of the tracklist. "Tell Me Why" is a really nice opener. The title track is a fantastic piano-led song. This album's first half is just classic after classic. The latter half isn't quite as good, but it's still Neil Young at his best. I'm not sure I could definitively call this my favorite Neil Young album. It's either this or Harvest, but the decision between the two is tough. Still, After The Gold Rush is full of things to appreciate. It's a very honest album, which I love. 5/5.

In It For The Money

Supergrass

3/5

Okay. Why does every major Britpop band have multiple albums on this list? Like, it's one thing for Pulp, Suede, The Verve, and this review's focus, Supergrass, to have an album each on this list. That's fine. Blur and Oasis can have multiple because they're the big dogs, but everyone else having an album would be fine. Why do they all have two albums each? I don't get it! It's so unnecessary to have all of these bands show up multiple times when you kind of get their value through just 1 album. Supergrass is good and all, but I don't think I needed to hear two albums of theirs before my death. Am I upset that I did? No, probably not. Both this album, In It For The Money, and its predecessor that I'd already heard, I Should Coco, are good albums. I do prefer I Should Coco by a notable amount, but In It For The Money is not a bad followup. Still, if I had to cut one, which I would, it'd probably be this one. I don't know. Something about this one doesn't do it as much for me. I think it's the vocals. The vocal performance on this album reminds me of a mix between Billy Corgan and Bono. Could you imagine Billy Corgan and Bono in the same room together? That sounds like a nightmare. The vocals aren't bad, but I do get kind of annoyed every so often. There's a fair bit of musical variety here, but I do feel like the end starts to get a bit repetitive. The songs and sound are solid, but not mindblowing. Even the best songs like "Richard III" and "Sun Hits The Sky" are just above "pretty good" territory for me. In It For The Money is solid, but I don't see myself going back to it much and I do feel that this is a pretty redundant inclusion all things considered. Still, a respectable effort from a good band. High 3/5.

Sign 'O' The Times

Prince

5/5

Double albums are kinda fascinating, right? There are a ton of things that apply to most double albums throughout music history. They're obviously on the longer side, they tend to be among the more experimental albums in the artist's discography, and they often represent the point where the artist feels that they can do whatever they want musically because of the success they've achieved up to that point. However, they also tend to be a bit sloppy. You'd have to be an artist or band who really knows what you're doing to make a double album work in your favor, and if there's any artist whose ego is already high enough to make a crazy-ass double album work in their favor, it may just be Prince. Of course, Sign O' The Times was not Prince's first double album. 1999 had released even before Prince achieved legend status with Purple Rain, but Sign O' The Times is not only a better representation of what double albums often are, but is also just a better album, at least in my opinion. Sign O' The Times is such a cool album. There are so many interesting things happening with this album and I love it. This is one of those rare instances where I don't think the double album has a single bad song. Even the most acclaimed double albums of all time have a weak song or 2. Somehow, Sign O' The Times doesn't have a "Revolution 9" or a "Jamaica Jerk-Off." This thing is all killer, no filler. Despite being 10 minutes longer, I feel like this album's pacing is actually better than that of 1999. To me, 1999 started out on its best songs before fizzling out a bit by the end. Additionally, there were multiple songs on that album that just kind of went on for too long. Sign O' The Times? The great songs are spread throughout the album and the vast majority of songs hover around the 4 to 5 minute mark, which is much more doable. Speaking of songs, boy does this album have some great ones! The title track is such a good opener. It's a very different opener from the more energetic openers of past Prince albums. I really love the production on "The Ballad of Dorothy Parker," which is funny because the song sounds how it does by complete accident! "I Could Never Take The Place of Your Man" is super fun. "Adore" is a very nice closer that feels more like a 90s pop song than an 80s pop song. I could go on and on about these songs. Prince's musicianship is especially impressive on this album since he doesn't have the Revolution backing him up anymore. Most of this album is his own work, which is incredible. Prince's songwriting is at the top of its game here as well. You've got some solid variety while still keeping a sense of cohesion. In fact, the cohesion of this album is incredible by double album standards. Is Sign O' The Times better than Purple Rain? No. There's a reason why Purple Rain is the album that's hailed as Prince's masterpiece. But there's also a reason why Sign O' The Times is often put in second place. While I can't call this Prince's best album myself, I can see why many people do. This album is full of so many cool ideas that, for the most part, all work in the album's favor. It's an incredible showing of the insane talent that Prince showed at his creative peak and is, dare I say, a masterpiece in its own right. 5/5.

Modern Life Is Rubbish

Blur

4/5

I'm tired of all these britpop albums. Nearly every britpop band just has too many albums on this list. But you know what, if there's any britpop band that I'm okay with having 3 albums on this list, it's probably Blur. Don't get me wrong. I don't think Blur should have 3 albums on this list. I think they should be at 2 albums to put them on the same level as Oasis since they have 2 albums that kind of have to be on this list. But yeah, this is my second Blur album of this project and it's easily the most cuttable one. I mean, Parklife is Parklife, that one kinda has to be here, and self-titled is the one with the funny woo-hoo song! But back to what I was saying before, Blur is the britpop band that I'm most okay with having a high album count because I really like this band. Damon Albarn is such a talented guy. I've probably heard his voice too many times for this album project, but it's not a voice that I'm upset to hear. I will say that this album definitely feels like its earlier in Blur's discography in that it's not as experimental as an album like Parklife. Parklife felt like each song was switching between styles and even genres to an extent. It had a ton of variety. Modern Life is Rubbish is certainly not a monotonous album, but it definitely feels less experimental and less remarkable. This is a good album, don't get me wrong. Unlike modern life, this album is not rubbish. However, I don't love this one nearly as much as Parklife. There are some very good elements here, obviously. The general Blur style is still fun here. The songwriting is solid. "For Tomorrow" is great. However, I'm less impressed by this album than I was for Parklife and I definitely can't give it the 5 that I gave it. Still, I do enjoy Modern Life is Rubbish quite a bit and would still call Blur a band that I enjoy. Light 4/5.

Underwater Moonlight

The Soft Boys

3/5

Heh. Soft Boys. That's hilarious. Imagine calling yourself a soft boy. At first glance, this album may seem dumb and silly. The album cover looks weird and, again, these guys are called the Soft Boys. However, Underwater Moonlight is apparently a bit of a cult classic that's influenced bands like R.E.M., so there is justification for this being on the list. There's another thing that potentially justifies this as an inclusion on this list. The album's good. It's fairly ahead of its time, what with the jangle-pop thing going on here, but there's also a bit of clear influences from the 60s on here. I mean, one of the songs is called "Positive Vibrations." I see what you're trying to do, Robyn Hitchcock. Speaking of Robyn Hitchcock, he's a decent songwriter. There are some good songs on here, like the opener "I Wanna Destroy You" and the closing title track. I don't always love this album's writing though. I don't know. There's something about a pretty cool instrumental being used on a song called "Old Pervert" that doesn't do it for me. Oh yeah, the instrumentals! They're quite good. I do think that this album sounds quite nice, at least for the most part. I feel like there was a part that I didn't enjoy much, but I'm not sure where it was in the album. Overall, I can see why people really like this album. I don't love it myself, but I do like it quite a bit. High 3/5.

Music From The Penguin Cafe

Penguin Cafe Orchestra

4/5

Well, I may not have gotten a 5 like the past 2 years, but this might be the funniest album I could've gotten on my birthday. I got Violator in 2023 and Loveless in 2024. 2025? I'm celebrating my birthday with the Penguin Cafe Orchestra! That's hilarious. But you know what? I was pleasantly surprised by this. I went in expecting some of the silliest music I've heard from any album of the whole list, but ended up getting something a lot more pleasant than that. Don't get me wrong. I probably would've been okay with something silly, but I'll gladly take this instead. It's mostly instrumental, which is quite nice. The compositions are good and varied. They're mostly soothing in a way, but leave room for some oddball moments. I think the best song here has to be "The Sound Of Someone You Love Who's Going Away And It Doesn't Matter." It's 11-minutes long and I love it. It's got everything that makes this album a good listen. The "Zopf" pieces are certainly interesting. A bit on the quirky side, which makes sense given that this is still the Penguin Cafe Orchestra we're talking about. I want to go to a penguin cafe. That sounds adorable. Anyways, this album is just nice. It's one of those albums that seems unassuming but actually hits you with something that is quite great. I enjoyed this. Light 4/5.

Electric Prunes

The Electric Prunes

1/5

Yikes... That was bad. This album is so dated that it makes early Rolling Stones albums sound like late-era Beatles albums in comparison. This is Everly Brothers levels of aging poorly. I don't like this album very much. The sound is meh. It's fine on songs like the opening track "I Had Too Much To Dream (Last Night)," but other songs like "Sold to the Highest Bidder" just annoy me. The vocals aren't very good. Songs like "Try Me On For Size" show this off. The writing is very bad. This album effectively has two types of songs; dated love songs and annoying weird tracks. The dated love songs are just disappointing. "Are You Lovin' Me More" especially came across as kinda rapey. Not a fan of that. The annoying weird songs aren't good either. "The Toonerville Trolley" is probably this album's worst song. It fucking sucks. I'd say that I'm upset that I had to listen to this album, but not in the sense of anger that I have been for most of the really bad albums on this list. It's more like... apathy? Annoyance. I'm annoyed that I had to listen to this. I mean, there are so many better 60s psych rock albums that are already on this list and had already released by this point. This was 1967! Pet Sounds had already released. Revolver had already released. The Doors released their first album a month before this one and that album still sounds pretty fresh to this day! This? It's short, sure, but I still somehow feel like I wasted my time with this album. I'm not nearly as upset about this as some of the other albums on this list, but I can't call this album good and I would still say that I'm upset to an extent. I thought about giving it a 2, but that trolley song really pissed me off. High 1/5.

Legalize It

Peter Tosh

3/5

Haha... weed album. If only I could've gotten this on April 20th. Or perhaps as album 420. Oh well. This album's good. Reggae isn't a genre that I go to very frequently, but I don't think I've ever hated a reggae album that I've gotten from this project. Legalize It (great album name btw) is no different. I don't see myself listening to this or its songs a ton in the future, but I did enjoy the time that I had with this album today. The reggae sound is here in full force. You can definitely tell that this guy was a former Wailer. I've seen some people say that this album is repetitive, but I didn't really get that. There's enough variety here. The writing is quite interesting. You'd think the weed thing would be more prominent on the album, but it's really only focused on in the first song. I do like that first song quite a bit, and I do agree with what he's saying. They really should legalize it at this point. It's literally less dangerous than alcohol. Anyways, the writing is mostly good. Legalize It is a good album. Not the best reggae album on the list, but still a solid experience nonetheless. High 3/5.

Kenya

Machito

3/5

It's albums like this that prove the fact that not all jazz sounds the same. Well, that is in relation to other jazz albums. If you just played this album for someone who thinks all jazz sounds the same, they'd probably complain that every song on Machito's Kenya sounds the same. That wouldn't be 100% inaccurate. This album is on the more repetitive side on its own. However, compare this to something lighter like Miles Davis's Kind of Blue or something more in the jazz fusion sphere and you get multiple different pictures painted in regards to what jazz can be. That's pretty cool. This album's nice. It's not super exciting, but it's still good. Even the weaker jazz albums on this list have things for me to enjoy about them. The compositions are good, though I wish the mixing was a bit better. The horns felt a bit too sharp at times. Still, this is a nice and short jazz affair. Not the genre at its peak, but my streak of having never heard a bad jazz album in my life has continued. 3/5.

Lost Souls

Doves

3/5

Aaaaand the UK bias strikes again! This is one of those inclusions that really puts a date and location on when this list was formed. Lost Souls is not a bad album. Dare I say, it's a good album. However, it's not a great one, and it has flaws. I will say that this album does sound good. As far as I can tell, the mixing is alright, and the instruments sound nice. They work well in the songs, which are just as decent. The vocals are okay. Not bad, but not special. The writing is pretty basic. There's a reason why people are comparing this to early Coldplay, except I do happen to like early Coldplay more. The album's a bit too long for my liking. I feel like this could've been better if it was cut down to 40 minutes or so instead of lasting nearly an hour, especially seeing as this album happens to be a bit repetitive for my taste. This is pretty much the definition of "average uk indie rock from the early 2000s." It's good, but not great. Solid 3/5.

Sunshine Hit Me

The Bees

3/5

Jesus Fucking Christ. There's more 2000s British indie on here? Why is this here? I swear this whole album list is just one big British circle jerk of the same types of artists and bands over and over and over again. This is yet another instance of bunch of quirky british white guys trying to be "eclectic" or whatever and having it all blend into each other anyway. This reminds me a lot of a different band on this list whose name starts with B, the Beta Band. I don't like the Beta Band very much, and I don't particularly care for the Bees either. I do think that I liked this more than Hot Shots II, but it's by a pretty slim margin. The album sounds alright. It's got some nice moments musically. The vocals are whatever. The writing exists. The album doesn't go on for too long, I'll give it that. Too many of these albums go on for an hour+, so a 40 minute album is nice to see. I just don't care about this one. It's not bad, but there is no reason for me having to listen to this before my death. Also, the Os Mutantes cover is just okay. Worse than the original, but not bad in and of itself. Low 3/5.

Countdown To Ecstasy

Steely Dan

4/5

Steely Dan... it's been a while. Steely Dan is one of those "love 'em or hate 'em" bands in music discourse. Me? I love them. Obviously Aja and Can't Buy a Thrill are classics, but Countdown to Ecstasy turned out to be quite enjoyable as well! I really liked this one! Between the two aforementioned classics, it's definitely more comparable to Can't Buy a Thrill, which makes sense seeing as this was released just a year after it. I can't say it's as good as Thrill, but it's actually a somewhat close. Fagen and Becker were still going quite strong at this point. You've got some all-time great songs on here. "Bodhisattva" is a fun opener that has a fun trivia piece to it regarding its appearance in the Rock Band 2 video game. Because of how it was charted, the song was thought to be impossible to FC (hit every note) in other games like Clone Hero for the longest time, before finally being FCed by Acai in 2022. That probably doesn't make sense to anyone other than me, but it's an interesting thing to know. "My Old School" is awesome. It's one of those songs that encapsulates early Steely Dan in such a way that paints a really good picture. The lyrical themes are interesting, the instrumentation and production are as spectacular as ever, and the pacing is quite good. Countdown to Ecstasy is another strong Steely Dan album. What can I say? I like this band. 4/5.

The Seldom Seen Kid

Elbow

4/5

I feel like I don't have a ton to say about this album. Though it is one of the better ones that I've heard in recent memory and I'm not immediately inclined to say that it shouldn't be on this list, Elbow's album The Seldom Seen Kid is, at the end of the day, yet another 2000s British indie album. I'm fucking tired of these. Whatever. At least this one's pretty good. I think it's the writing that puts it above something like the Doves album from a few days ago. Songs like "Grounds For Divorce" have interesting lyrical themes that make the album stand out a bit. The singing is alright. Guy Garvey's kinda feel like if Chris Martin from Coldplay had a deeper voice with a stronger accent. It's nice. There's some varied production here. The album itself finds a good balance between being varied and cohesive. I feel like too many albums on this list either try too hard to be eclectic and end up feeling half-baked or just blend into one big repetitive mush, so to hear this album get the pacing right is good to hear. "One Day Like This" is a very nice song. This album's good. Light 4/5.

Every Good Boy Deserves Fudge

Mudhoney

3/5

Woah! More pre-Nevermind grunge! I liked the other Mudhoney album. Oh, right, the EP. Yeah, despite technically being an EP, I feel like Superfuzz Bigmuff was not only a better "album" than Every Good Boy Deserves Fudge, but I feel like it's also a better representation of grunge's early days. I feel like this inclusion should've probably been scrapped in favor of a different early grunge pioneer like Temple of the Dog or even a later band like Stone Temple Pilots. Doubling down on Mudhoney just feels a tad redundant. Oh well. At least this album's still good. But what is it about this one that makes me enjoy it less? Is it the length? Well, despite being about twice as long as Superfuzz Bigmuff, it's still a respectable 43 minutes, so it's not that. The writing? Maybe. There's not much here that stands out as being fantastic, but nothing bad either. The same applies to the musical compositions and vocals. It's all good, but I think it's been seriously outdone. It also loses a bit of the appeal for being only 2 months before Nevermind instead of 3 years before it. It also feels a bit repetitive. Maybe Superfuzz Bigmuff being only 6 songs long made it feel more novel and interesting. I still enjoyed this album, don't get me wrong. However, it's just not as interesting to me. It's got some good songs, sure. "Good Enough" is certainly good enough for me as a song. The instrumentals are nice. This is good, but I've heard better. High 3/5.

The Köln Concert

Keith Jarrett

4/5

Now THIS is interesting! This might actually be the most interesting album I've gotten from this list all year. This is a recording of a live solo piano performance that was entirely improvised by Keith Jarrett. The context behind this one is super interesting. Apparently the piano that he had to play on kinda sucked, which makes the high quality of this performance all the more impressive. Yeah, I really enjoyed listening to this. I will say that it's probably more suited for background music than a full-focus album, but that doesn't mean there aren't things to appreciate here. You can tell that Keith Jarrett was really good at piano. Like, this might be some of the best piano playing I've ever heard. His fingers must be pretty fast. The chord progressions and such are sonically captivating and demonstrate a number of cool musical ideas that I'm not enough of a music theory nerd to understand. And he gets into it too! You can hear him reacting to what he's playing and it does a great job of making the performance feel special. I will say that it is pretty long and isn't the most exciting thing to listen to, but I still think that this was a worthwhile way to spend an hour of my time. You know, in addition to the Balatro run that I had going while I listened to this. Light 4/5.

Picture Book

Simply Red

3/5

Simply Red? More like Simply Meh. This one's fine. It's a pretty generic 80s British pop album. I feel like I've gotten a few too many of those in the past few months. This one's kind of around Heaven 17 territory for me. It's got some weird things that don't work for me. Some slightly awkward instrumental moments, a vocal style that isn't my favorite, and a slight discordance in the album at large make this a listen that could've been better. Even the album's most popular song "Holding Back The Years" managed to slip past me a bit on my listen of the album. The song's good, but I genuinely wasn't sure if I'd heard it before today because it sounds like every other 80s sophisti-pop song ever. Uhh... there's a Talking Heads cover. I love Talking Heads. "Heaven" is one of my favorite songs of theirs. I didn't care for this cover. The sound of "Money's Too Tight (To Mention)" kind of annoyed me, but the lyrics being anti-Reagan made me appreciate the song a bit more. I don't see myself going back to this much, but it could've been a lot worse. Light 3/5.

Jack Takes the Floor

Ramblin' Jack Elliott

3/5

I mean, the name is accurate. Jack Elliott sure does ramble a bit in this album. I didn't hate this, but I certainly don't plan on going back to it much. It's not like I really could since the album's streaming presence is pretty low. This is an okay 50s folk album. The guitar tone is alright. The recording quality is, of course, not the best, but it fits the time pretty well. The writing is okay. It's not super exciting or anything. Given the comparisons and connections to Woody Guthrie, I would've hoped that Jack Elliott's writing would be more political than it is on this album. Oh well. I guess we get bug songs or whatever. This album's pretty short and insignificant in the grand scheme of things. I can't be upset at this album, but I also don't feel much from it in general. It's okay. Low 3/5.

Live At The Regal

B.B. King

4/5

Now, I won't be the first person to admit that there are genres more "interesting" than blues. Blues might be one of my least-thought-about genres for me personally. That doesn't mean I think negatively about it, it just means that I don't think about it very often. However, I know that blues can be really cool. You just have to listen to the work of a master... or perhaps, a King? Yeah, there's a reason why B.B. King is often called the King of Blues, and it's not just because of his name. This live performance at the Regal paints a very positive picture of this man and his music. because this is some good stuff right here. The name of the game here is balance. There is not a single thing in this album that's focused on "too much." The live setting doesn't distract from the music too much and actually adds quite a bit of atmosphere. Like, damn. These girls are really excited to see B.B. King do his thing. King does talk to the audience a good deal, but he does it pretty well. He's funny at times and, as far as I can tell, pretty charismatic. He even tells the men in the audience NOT to hit women! Now that's "king shit" if I've heard it. This album's actually aged quite well overall. Although most of these are love songs, particularly those pertaining to relationship struggles, but I didn't get any semblance of misogyny or predatory behavior from these songs, which by 60s standards is pretty good. The album also sounds great for a live album from the 60s. And of course, I have to praise the musicianship. B.B. King's guitar isn't always the focus of the album, but when you hear it, it's quite great. His guitar style is super cool. The horns and other backing instruments are quite enjoyable to listen to as well, as is King's singing. I'm impressed. This is probably the best full-on blues album I've gotten from this whole project. It's still not my favorite thing in the world, but I had a good time with this. Light 4/5.

Straight Outta Compton

N.W.A.

4/5

Well, of course. If we're talking about albums that are the most important to the development of hip-hop as a prevalent genre in music, N.W.A.'s Straight Outta Compton has got to be near the top of that list, right? I mean, this album practically created gangsta rap! At the very least, they were the ones to popularize it. And you know what? The album could've aged worse! Of course, this album is another case where an early hip-hop album looks bad now because of its focus on the whole "I'm killing bitches" thing, but those other guys wouldn't have done that if N.W.A. did it first! That might not be the flex that some think it is, but whatever. Yeah, the writing has some potentially offensive moments in its writing, but that sorta thing was practically unheard of in 1989. This album was a real trailblazer in that sense. It might seem tame now, but hearing a song called "Fuck Tha Police" in such mainstream music was unfathomable at the time, and the messages pertaining to police conflict in African-American communities ring true to this day. That's one of the things about this album that's actually aged well. The sense of anger regarding the difficulties of "the street life" is one that evokes strong emotions in combination with the beats and it's great. Speaking of beats, this album's produced quite well. You can still kind of tell that this was coming off of 80s acts like Public Enemy, but this is another one of those things that this album made progress in. The title track especially still feels fresh to this day. I also really liked songs such as the aforementioned "Fuck Tha Police," "Gangsta Gangsta," "Parental Discretion Iz Advised," and "Express Yourself." Great songs. The rapping itself is solid. I like the varying personalities across the group. The things that Ice Cube, Dr. Dre, and especially Eazy-E bring to the game here are still enjoyable to this day. Overall, while it has been surpassed in quality since its release, I can't think of very many hip-hop albums that are more important than Straight Outta Compton. Despite its lyrical faults, the production, performances, and high-quality of the songs allow the album to serve as a historical piece that will be remembered for many years to come. Low 4/5.

Scum

Napalm Death

3/5

Awww shit. It's Napalm Death time. First up, let's acknowledge the Dresden review. Easily one of the funniest reviews on this whole website. After getting that out of the way, it's time to admit that I actually liked this album a good deal. Look, it's not the greatest thing in the world, but there are things that I get out of this album that appeal to me. For one, I think the riffs are actually quite good. Songs like "Instinct of Survival," the title track, and "Siege of Power" are actually really cool. I also like this album's general anti-establishment attitude. Between the album cover, the unconventionality of the music itself, and the "lyrics," you can tell that these guys were pissed off at the establishment, and I can't blame them. However, there's a reason why "lyrics" is in quotes. I can't understand a damn word they're saying. It all kinda sounds like a mix of cookie monster and a rabid dog. It's funny. You know what else is funny? Just how short these songs are. Seriously. This album manages to fit 28 songs into just 33 minutes and it does that by having most songs hover around the 1-minute mark. I mean, at least none of the songs get old! This is taken to the absolute extreme in what is arguably this album's most infamous song, "You Suffer," which lasts for all of 1 second, making it the Guiness World Record holder for the shortest song. That's hilarious and I kinda love it. Good song. Uhh, I guess another interesting thing is that the 2 sides of this album have completely different lineups! That's neat. I strongly prefer the first half, which has all of the songs I've mentioned so far. The second half is okay, but it's the first half that really appeals to me. Well, I wouldn't say it appeals to me a ton, but I had some good fun with it. I certainly wouldn't call it the 5th worst album on this entire list. Come on guys, it's not that bad. Dare I say, Scum is actually a solid album, and a pioneering record in extreme metal. Light 3/5.

Me Against The World

2Pac

4/5

Sorry Biggie, but as far as albums on this list go, I have to give the "better album" point to 2Pac. Maybe you shouldn't have included sex skits on your album. Anyway, Me Against The World is a pretty great album. 2Pac is obviously one of the most highly acclaimed rappers of all time, and for good reason. He's got the craft down to a tee. He may not be the most technically impressive rapper to live, but the combination of his solid rapping style, musical versatility, conscious lyricism, and general personality make him among the most multifaceted and artistically respectable rappers of his time, if not of all time. Combine all of those with tragic story and it's not hard to see why he's considered such a legend, with Me Against The World being widely considered to be one of his best albums. As for the album itself, I really liked it. The production was really cool. It's got that west-coast smoothness to it that I happen to enjoy. Pac's writing and rapping are strong. Again, there are more impressive rappers in these regards, but I really don't have any major issues with 2Pac's style. There's a good blend of gangsta rap braggadocio and conscious rap storytelling that I really love. You have songs like "If I Die 2Nite" and "Death Around The Corner" that demonstrate the toughness that appeals to the "thug life" crowd, balanced well by more conscious tracks like "So Many Tears" and the ever-iconic "Dear Mama" that show a more relatable side of Mr. Shakur. This is the kind of thing that I like to hear! Both of these things could work well on their own, but being together appeals to me and my desire for versatility. Overall, Me Against The World is quite the album. It's pretty consistent and quality and everything is done quite well. It's not quite a masterpiece per se, but it's still a great representation of why Tupac has the reputation that he has. Great stuff. Solid 4/5.

Da Capo

Love

3/5

Do I love Love? Well, as far as this album is concerned, no. I don't particularly love Love's album Da Capo. Do I hate it? No. Of course not. I'm not huge on it though. I think it's mainly the vocals. They kind of annoy me a little. Not the worst vocals I've heard, but songs like "Stephanie Knows Who" and "Seven and Seven Is" are hampered a bit by the vocal delivery for me. The instrumentation is pretty good though. I like the varied sounds of the music. It's pretty firmly psychedelia, but there are some other influences that make an album that's at least somewhat interesting. The writing could've aged better, but it could've been worse. I think this is most obvious on the closer "Revelation." I was actually quite excited for this song given its 19-minute length promising some cool experimental track, but the writing gives off some real Jimmy Page vibes, and not really in the good way. The song itself doesn't really warrant the runtime for me. I will say one hopeful thing though. Well, it does kind of put this album down in the process, but it has to be done. This album doesn't need to be on this list. Why? Well, it's simple. There's a better Love album already on it. Apparently, this album's followup, Forever Changes, is actually quite good. It's seen a fairly high amount of praise. Not quite to the level of an album like Pet Sounds, but more akin to something like Odessey and Oracle. That album probably belongs here. I can't confirm it since I haven't heard the album, but I trust that it's a worthwhile experience. For now, I have to say that Da Capo leaves things to be desired. It's not bad, but, ironically speaking, I don't love it. Light 3/5.

Space Ritual

Hawkwind

3/5

I mean, it certainly sounds like a space ritual. They got that part of this album right. Space Ritual is pretty cool. I think it has some faults, but also some cool elements. I think Hawkwind's style is quite good. It leans pretty heavily into the space-rock archetype, which I don't think I've seen enough of on this list. The band's instruments are nice as well. They even have Lemmy playing on bass! Hell yeah! Apparently he also has some vocals on here, but I couldn't really recognize them definitively. This must've been before he shapeshifted into the living embodiment of whiskey and cigars. His work here is a highlight for me. However, there are some faults with Space Ritual for me personally. For one, this thing is just too long. I'm fine with long songs and albums, but I feel like this one goes a bit overboard with it. I checked how much was left and one point and was stunned to see that there were still 5 songs remaining. So yeah, a bit too long for my taste. Of course, long-ass live albums can be really cool, but I don't think Space Ritual has enough variety for it to feel warranted. It's not the least varied thing I've heard, don't get me wrong. I'd say this has more variety than any of Motörhead albums I've heard. However, it starts to lose its luster by the end. I think the spoken-word stuff adds to these issues as well. They do a pretty good job of world-building and making you feel like you're hearing an actual space ritual, but they do also kinda pad out the runtime. Overall, Space Ritual is an album that's got some really cool things going on in it, but is also not something that I plan on going back to much at all. High 3/5.

Ctrl

SZA

4/5

When's the last time I got an album from the late 2010s? Oh, jeez... March 1st of this year with Golden Hour? Wow. There are not many albums on this last from the 2010s onward. What's even worse is that a good number of them just have no business being on this list at all. Fortunately for me today, this isn't one of them. I mean, SZA is a pretty huge name in music these days. I think it's only fair to give her an album on this list, and Ctrl is the only one that could've been included when this book was last updated, so I guess it's the choice. I've gotta say. It's a pretty good choice. I get it! I get why SZA is as popular as she is! This album's good. Quite good, in fact. I really liked it. It's a very modern album. This is the kind of album that just screams late 2010s. But like, in a good way. The production is nice. Certainly of its time, but it's not "overproduced trash" as some may call it. There are actually some songs that feel kind of sparse in a way. The opener "Supermodel" is pretty cool because of this. SZA's vocals are certainly interesting. I'd say she's got a good voice. There's a reason why she's the go-to "female singer feature" on recent hip-hop songs. Speaking of features, this album's got some good ones. You know me. You've got a Kendrick feature on your album? I'm sold. Quite notably, "Love Galore" is the only appearance of Travis Scott on this entire album list. Say what you will about him as a person or even a rapper, but I feel like his influence should probably warrant having an album on this list. I haven't heard any of his albums for myself, but I've heard that Rodeo is apparently really good, so maybe that could've been on here instead of Hookworms or whatever. Back to Ctrl, the writing seems to be a fairly off-putting aspect for a number of people based on this website's reviews. I don't have a problem with it myself. I think the things that this album has to say are absolutely worth saying. I like the fact that this album displays a good deal of emotional vulnerability that makes the album relatable. Songs like "Normal Girl" and "Drew Barrymore" excel in this regard, and they're great because of it. The album's a normal length. There aren't any annoying skits or interludes (emphasis on annoying). This is a nice album. I hope SZA continues to see a fruitful career. It sure seems like that'll be the case. Light 4/5.

The Contino Sessions

Death In Vegas

2/5

I don't really care much for this album. In fact, my lack of interest in this album is so prevalent that I'm not going to say much in this review. You know, relative to my other reviews, that is. The production is alright, I guess. Some decent elements. Certainly one of this album's more respectable parts. I don't particularly enjoy the vocals. "Soul Auctioneer" kind of annoyed me for this reason, in addition to that song's production being a bit weaker than the others. It's neat that they got Iggy Pop for "Aisha" but I don't care for his spoken-word performance on the song. Some of the songs are too long. The writing doesn't make much sense. It seems I'm not huge on British electronic indie bands, barring a few exceptions of course. This is not one of them. Not horrible, but I don't see a reason for this being a must-listen. High 2/5.

Music Has The Right To Children

Boards of Canada

5/5

Why are they called Boards of Canada if they're Scottish? Are they stupid? No, I'm just kidding. How could they be stupid when they're out here making an album that's this good? Music Has The Right To Children is such a great album. There's a ton that I could talk about here. The production is stellar. The whole album has this vibe that's atmospheric and chill, but also a little unsettling at times, I think? It's certainly not dance music, that's for sure. I'm okay with that though. Some of these songs are just the best. "Roygbiv" is wonderful. I listened to this song when I generated the album to see if I'd like it and it did not disappoint at all. "Aquarius" makes me feel so many different emotions all at once. There's a good groove, but the song itself is one of those almost-unsettling ones, what with the weird vocal samples and whatnot. Also, the song says "6 7" at one point. I can't believe they predicted brainrot in 1998. But here's the thing with this album that I appreciate the most. You see, I have this problem with British electronic music that comes up quite a bit. I believe that most albums can be put into one of two categories; collections of songs and complete artistic statements. Collections of songs are albums where they just put a bunch of songs onto one disc and send it out for people to listen to without much consideration into pacing and such. These can be fine, especially when the songs in question are really good. However, I generally find complete artistic statements to be more appealing to me personally. The problem is that most British electronic albums that I've heard sit firmly into the collections of songs category, or rather the collections of beats category. This isn't inherently a bad thing. I mean, you've got Aphex Twin making an album called Selected Ambient Works and having it be one of the best electronic albums of all time, so clearly they're not all bad. However, I find albums from artists like Fatboy Slim to be kinda uninteresting because they just feel like decent-ish beats slapped together into one package. This is why I've gone on record saying that I generally prefer French electronic albums over British electronic albums. However, Music Has the Right to Children is an exception. The pacing of this album is the real star of the show here. The balancing of short songs like "Kaini Instructions" and "Triangles and Rhombuses" with songs that are longer but still not too long like "Telephasic Workshop" and "Rue The Whirl" puts a stronger emphasis on the full album experience rather than one beat after another. The song transitions aid in this as well, as they often do. This makes the album feel more like a complete artistic statement, which I love. That's not to say that I always hate "collections of beats." If anything, I do think that I actually prefer Selected Ambient Works 85-92 over this album. However, it makes the album stand out as one of the best that its scene has to offer. Amazing album. Light 5/5.

Eli And The Thirteenth Confession

Laura Nyro

4/5

Here's an album I'd never heard of before. I don't know who Laura Nyro is, but I'm always happy to see more women on the list, so I couldn't be too upset to get this. After listening to it, I think this album's good! Laura's singing is enjoyable. There's some good energy and I can hear how her vocal style could've influenced later artists like Kate Bush. I definitely got Carole King vibes from this, which is not a bad thing at all. I didn't like this album as much as Tapestry, but I can say that about a lot of albums. The fact that Laura's a songwriter as well aids in the comparisons. Is she a good songwriter? I'd say so. This is the kind of album that feels a little ahead of its time but also reflects well on when it was made. Although, I don't know who Eli is and why he's coming. "Eli's Comin'" is a pretty good song though. This isn't the most exciting album ever, but it's the kind of thing that could reasonably be called a hidden gem of sorts. I like it. Low 4/5.

Oxygène

Jean-Michel Jarre

4/5

I don't know why, but I've been feeling less motivated to write reviews. It's not that I'm getting bad albums. I mean, this album's actually really good. I just keep getting distracted by wanting to do other things before the review. I don't know what's happening. Let's review this album. As stated earlier, I think it's great. Oxygène is a pretty interesting album all things considered. For one, this thing has a considerable influence on electronic music. Jean-Michel Jarre was apparently one of the first mainstream French electronic artists, which is cool to see considering my general preference for French electronic music over that of other countries that I have mentioned a few times by now. So, I do think that this album belongs on this list. You wanna know why else it belongs here besides its significance in music history? The album's good. The production still sounds great to this day. It doesn't feel dated in the slightest. I also like how cohesive the whole thing is. It really makes the album feel like a complete experience. I would say something about how this is something that the French like doing more than the British, but I just got Boards of Canada 2 days ago, so I have no reason to complain about that. Despite each track being 1 part of the total Oxygène piece, the parts do have things that make them stand out while still feeling like part of one big piece. I like that. The general atmosphere is nice. It fits the album cover. While there are other albums I like more, Oxygène is still an album that I'm quite glad that I listened to. It's very good. 4/5.

Lady In Satin

Billie Holiday

4/5

I've got a bit of a fun personal anecdote regarding this album. So, a few months ago as of writing this, I went to a senior residential area that was having a garage sale of sorts. I've actually been building up a CD collection that's mostly albums from this list and I wanted to see if I could find any favorites from the project. I kind of figured it would lean older in terms of what music was there, but it leaned even further than that. It was mostly old jazz and classical recordings. My main goal was to get as many albums from the 1001 albums list as possible, with at least one of them hopefully being one of my 5/5s. I was able to find 7 total albums from the list. 2 of which were ones I'd already given a 5, those being Miles Davis's Kind of Blue and Charles Mingus's The Black Saint and the Sinner Lady. I found 4 other albums in there that I'd generated but had given scores lower than a 5. None that I disliked, but not on the level of the 5s. But then there was Lady in Satin. The one album I'd gotten that I knew was one the list but had not yet generated. I've had a CD of this album in my house for a few months now and today was finally the day that I busted it out and listened to the album. As it turns out, the album's pretty good! It's a very interesting album for reasons beyond that personal story. Apparently this album's kind of tragic in a way. This was the last album released in Billie Holiday's lifetime that she'd recorded, and you can kind of tell that she's nearing the end of her life somehow. Her voice performance here is... not quite shot, but kind of raspy, I guess? I think it mostly fits the vibe though. These aren't the happiest songs she's singing. I'm not the biggest fan of how it sounds, but I can respect her for going on like she did. I've got to give props to Ray Ellis's orchestra for their performances as well. The album does sound a little samey, but it sounds nice so I don't care. I guess that's kind of the one semi-major complaint I could levy against this album. It's definitely a 50s release, that's for sure. One of the better 50s releases of the list, but still a 50s release. There really aren't a ton of huge stand-out tracks, but nothing bad here either. It's a very consistent record, which is respectable. Overall, Lady in Satin is an album that one could look at in many ways. One could focus on the music and just say that it's okay. One could think more about the album's story and call it a tragic masterpiece. I'm kind of in the middle. I think it's great, but not quite in that masterpiece territory. 4/5.

Mama Said Knock You Out

LL Cool J

3/5

This might be the only hip-hop album I've ever listened to that doesn't have the n-word in its lyrics once. I'm not saying that's good or bad. I'm just pointing it out. Anyways, let's talk about this album. Despite his influence on hip-hop as a genre, I feel like LL Cool J isn't discussed as much as his peers when it comes it classic hip-hop discussion in online music circles. I don't see him or his albums talked about like how I see people talk about albums from artists like Public Enemy or even Beastie Boys. Despite that, I think this album here is actually pretty interesting from a historical standpoint. This album, to me, represents the transitional period from 80s hip-hop to 90s hip-hop, which makes sense seeing as this was released in 1990. I'm not saying that this album ushered in the sound of the 90s or whatever. Acts like N.W.A. beat them to that. However, Mama Said Knock You Out is almost like two albums in one, in a way. Some of these songs show off more of the hardcore side of LL Cool J, like the ever-iconic title track. Great song there. However, some have a stronger funk or even soul influence at times, like "Around the Way Girl" which I also really liked. The production on this album is somewhat varied, but is good all through out. LL's rapping is alright. It's definitely one of those aspects that carries over more from 80s rap, but it's not bad. The writing could be better overall. There are some pretty good lines in here, don't get me wrong. I'll always appreciate a line like "Don't call it a comeback, I been here for years," but other songs are kinda corny. "Milky Cereal" especially just didn't do it for me. The album's a little long as well, but it's not too bad in that regard. Overall, this album's kinda neat. It's flawed, sure, and I get why LL Cool J isn't discussed as much as, say, Public Enemy, but this album shows that he's not bad by any means. Good album. High 3/5.

Penance Soiree

The Icarus Line

2/5

Why is this here? Like, genuinely. I'm not trying to dismiss this as irrelevant garbage or anything, even if I don't care for this album myself. I just want to know how this entered the radar of the people who made the book and why they felt this was a must-listen. Wikipedia says it was one of 2004's most critically acclaimed albums, but I know that that's a load of BS since I can name at least 10 albums from that year that are more acclaimed off the top of my head. Man, 2004 was a good year for music. It's a shame that only like half of the albums included on this list from that year even matter at all. Too much obscure noisy indie albums, not enough MF DOOM. Both Madvillainy and Mm..Food should've been included over... this. Whatever. This album's not horrible, I guess. However, I don't really see a reason to enjoy it that much. It's a bit too noisy for my taste. Don't get me wrong. It could be worse. I mean, this isn't even the worst noise album of 2004 on this list! That Liars album was WAY worse! However, this album still has moments on songs like "Meatmaker" that I did not enjoy at all. Some parts were alright. I thought "Up Against The Wall Motherfuckers" was a solid opener. The vocals could've been more annoying. They kinda reminded me of a more compressed version of Cedric Bixler-Zavala from The Mars Volta. In fact, this whole thing kinda feels like a noisier, worse version of his other band, At the Drive-In. The writing is certainly fitting of the album's sound. It's a bit too long. This isn't horrible, but I can't say that I enjoyed it much. 2/5.

Chirping Crickets

Buddy Holly & The Crickets

3/5

Well, we may not have the Weezer Blue Album on here, but at least we have the namesake of one of its most popular songs! Okay, to be fair, having Buddy Holly on this list is actually more necessary than having Weezer on here, even if the Blue Album absolutely belongs here. His influence on rock and roll is damn near unmatchable. Seriously, the only artists I can think of who are "up there" as far as influence would be the Beatles, Elvis Presley, and Chuck Berry, the latter-most of which is somehow not on this list either! The dude influenced everyone from the aforementioned Beatles, to Bob Dylan, to even Robert Dimery's beloved Elvis Costello! Makes you wonder why Buddy Holly doesn't have 6 albums on this list before immediately remembering that his untimely death is so infamous that it's often referred to as "The Day the Music Died." Of course, cultural influence doesn't automatically make an album good. Fortunately, this album's good. It's not a masterpiece or anything. I still haven't really heard a 50s rock and roll album that I would call a masterpiece. However, there are things to appreciate here. This is quite a bit more laid-back than something like a Little Richard album. I think both styles are good, but I do have a fondness for Buddy Holly's style. I think it's got a good blend of dorky charm and rockin' energy. I can definitely hear the influence on Elvis Costello. The songwriting is, as it often is with these sorts of albums, rather repetitive. These are all songs about love and girls and such. However, the writing isn't bad. Yes, these songs are all about the same thing, but they're not written poorly, nor would I particularly call them dated. This isn't an Everly Brothers situation we're dealing with. Buddy Holly was actually a solid songwriter for his time. Songs like "This'll Be The Day" and "Oh Boy!" are good listens because of their wide appeal. Of course, I have to give props to the Crickets as well. Their backing vocals are nice, and the instrumentation here is good. Overall, I still can't say that 50s rock and roll is something I want to go to frequently, and I get why people would call the album dated. However, while it does feel like it couldn't have been made any later than 1963, it mostly reflects well on the time. I do prefer the Weezer Blue Album though. Solid 3/5.

Songs From The Big Chair

Tears For Fears

5/5

For as tiring as it can sometimes be to get yet another 80s new-wave or synth-pop album from this generator, there are certain albums within that descriptor that just make perfect sense for being on this list. These are albums that you can't be upset to listen to because of how iconic and excellent they are, and I can't imagine arguing that this isn't one of them. Yeah, this album's excellent. Tears For Fears have got to be one of the most iconic pop acts of the 80s, right? Maybe not the most iconic, obviously, but when it comes to new-wave bands, they're near the top of the list. Songs From The Big Chair is widely regarded as their best album, and for good reason. This is a remarkably consistent album. This thing is all killer, no filler. Of course, there are obvious stand-out songs that arguably eclipse the rest of the album, but that's not to call those other songs bad. I actually really loved songs like "The Working Hour" and "I Believe." But there's a reason why "those songs" are as iconic as they are. "Shout" makes for a potent opener in the best ways possible. "Head Over Heels" is just lovely. It would easily be the best song on many other albums of this time. It's that good. But I can't say that for Songs From The Big Chair, because we have to talk about "Everybody Wants to Rule the World." This fucking song. It is, dare I say, a perfect song. The balance between the repetitions of the opening riff with the complexities of the song's musical structure work so well to create a memorable tune. The lyrical themes of power and corruption are both perfect for the 80s and also timeless. Oh yeah, the album at large has pretty great songwriting all throughout, but it's at its peak on this song. Honestly, this one song is enough for me justify giving this album as high of a score as I am, but the fact that the other songs are still quite great just confirms for me that I'm making the right call. This thing is fantastic. Light 5/5.

Larks' Tongues In Aspic

King Crimson

4/5

Aww... my no-repeat-artist streak ended. I managed to go 19 days without an album from a band or artist I've gotten albums from in the past, which is the most I've gotten in a LOONG time, and it's over now. Oh well. I can't be too upset considering that the band to end that streak is a band as great as King Crimson! King Crimson is so cool. They're honestly unlike any other band that I can think of in terms of history and stylistic change-ups. This is their 1973 album Larks' Tongues In Aspic. This is a pretty interesting choice for the obligatory "King Crimson album that isn't In The Court Of The Crimson King" pick of the list. From what I've gathered, it seems to be considered among the band's best albums, but not quite at the tippy top. Of course, I haven't heard every King Crimson album, but that seems about right. This one's great, but not my favorite of theirs. Obviously, In The Court is better, but I've also listened to their album Red and prefer it over this as well. But this review isn't about those albums! I have to talk about Larks' Tongues! The lineup here is almost completely different from the ITCOTCK lineup, with the only overlapping member being Mr. King Crimson himself, Robert Fripp. You can definitely tell, but I think that's a big part of what makes King Crimson so interesting as a band. As far as what makes an album like this stand out, LTIA is the first King Crimson album to incorporate metal influences! Hell yeah! That's awesome. Imagine being a King Crimson fan and having no idea that this would happen. Like, you start listening to the album and it's all ambient and stuff, and then 3 minutes into the opening track that heavy-ass guitar riff starts and you're shitting your pants. Crazy stuff. The rest of the album has a solid balance between these heavier elements and the lighter stuff, with "Exiles" being almost ballad-esque in a way, and "Easy Money" having this pretty cool groove to it. It's a very interesting album in that regard. The writing is also neat. Robert Fripp's guitar work is stellar, and I also think that the other members here do a great job, with Bill Bruford's drumming being a highlight. However, I can't say that I enjoyed this as much as the other King Crimson albums I've heard. I think it's because it doesn't quite reach the highs of the others. Like, this album has good songs, obviously. For me though, I can't say that any of them reach the highs of a song like "21st Century Schizoid Man" from ITCOTCK or "Starless" from Red. I can't really see myself revisiting this as much as those other albums. But like, this is still King Crimson we're talking about. I still love this album. It's got so many cool ideas at play and it appeals to the part of me that love prog-rock as much as it does. Besides, maybe this'll actually grow on me more over time and become a favorite of mine. Only time will tell. For now, I'll give it a high 4/5.

Millions Now Living Will Never Die

Tortoise

4/5

Post-rock is so cool. It's not for everyone, but it's absolutely for me, which is all that matters. Admittedly this isn't my favorite post-rock album, but it's not bad at all. Millions Now Living Will Never Die is a pretty cool album. It's a fully instrumental album, but the textures of the music and the high quality of the compositions make for an engaging album. I think the bass work especially is perfect for the music. The songs are interesting. "Djed" is the mandatory "long-ass-song" of the post-rock album, and it's great. It really does feel like a musical journey of sorts. "Glass Museum" is also super cool. The lack of vocals is something that I'm fine with. It allows the atmospheric nature of the music to really shine. Here's the thing with the post-rock representation on this list. I don't think any of the post-rock albums included on the list are bad. The Sigur Rós album, Spiderland, and this are all excellent, though I do find this to be my least favorite of the three. However, I feel like there are some glaring omissions from the scene that probably should've been included over this album. That's not to say that I want this to be removed. This is among the more influential post-rock albums in general. However, if you give me the choice between this and an album like Lift Your Skinny Fists Like Antennas To Heaven by Godspeed You! Black Emperor, I'm picking Godspeed over this just about every time. Both bands can coexist, obviously, but I'm just saying that if I had to pick one over the other (which I wouldn't), I wouldn't choose this one. Still, while I can't call this the best post-rock album of all time, it's still a great album that proves that I really am a big fan of the genre, aren't I? High 4/5.

The Pleasure Principle

Gary Numan

4/5

What does the red pyramid on the album cover do? Why is the man that I assume is Gary Numan staring at it? I'm very curious now. Anyway, this album's pretty good. I'd say that I enjoyed it more than I thought I would. The genres are listed as new-wave and synth-pop, but The Pleasure Principle is pretty different from the other bajillion new-wave and synth-pop albums on this list. It kinda reminds me of Kraftwerk at times, which is not an insult in any sense. In fact, I'd argue that this album is more of an electronic album than anything else. I like it. The style is pretty fun. The album has interesting sounds that work together to form good music. Gary Numan's vocals are a bit different from how I thought they'd be, but they're not bad either. The writing is where this album really gets interesting. This album has a lot of songs about machines, and its messages still ring true to this day. The album's kind of ahead of its time in that sense. All of these things come together to make an album that I found to be pretty enjoyable and not particularly redundant for the list. I liked it quite a bit. 4/5.

Mama's Gun

Erykah Badu

5/5

Oh wow. This is good. Like, really good actually. This is genuinely amazing. I really love this album. I mean, it's not the biggest surprise in the world. I already gave Lauryn Hill a 5 (arguably 2 if you count the Fugees album), so is it really that surprising that I gave Erykah Badu a 5 as well? Maybe! Let's talk about Mama's Gun. There's a lot that I could talk about with this album. It is 70 minutes long after. Despite that, the album's pacing doesn't have any noticeable slowdown. It managed to keep my attention the whole way through, which is impressive for an album of this length. How does this happen? It's simple. The music is really really good. These songs are so good. "Penitentiary Philosophy" is such an awesome opener. Part of me kinda wishes there were more songs like it on the album, but the other songs are still incredible so I can't complain that much. "Don't Cha Know" is great. It's probably the album's most iconic song and for good reason. The album even makes room for longer songs like "Orange Moon" and "Green Eyes" which are both wonderful. "Bag Lady" is pretty nice. It's one of the songs where Erykah Badu's songwriting gets to shine. Speaking of which, the songwriting is quite good. There's a solid balance between the sorta love songs that helps define contemporary r&b and the social consciousness that helps define neo-soul specifically. I really appreciate that about this style of music. Speaking of music, the musical elements of the album are quite enjoyable as well. The influences from soul, funk, hip-hop, and more help to create an engaging album that captures the time and culture it was made in very well. I also like Badu's singing quite a bit. Maybe not as much as other neo-soul singers like Lauryn Hill or D'Angelo, but she puts more than enough soul into the songs to get the emotional beats across properly. I've got to say. I'm impressed. I figured I'd like this, but the extent to which I do enjoy it is quite a bit higher than one might have expected. Mama's Gun is excellent. 5/5.

American Pie

Don McLean

4/5

What are the odds that I got this in the same week as Buddy Holly? Crazy odds right there. Anyway, this album's good. It's nice, okay? I guess I'll start with the rather iconic title track. Pretty good song right there. Good balance of moods, strong storytelling, memorable tune. It's a great song, though I can't help but think about Weird Al singing about The Phantom Menace whenever I hear it. As for the rest of the album, it's pretty good too. "Vincent" is the album's other big song and it's a nice song as well. I find it interesting that this album's two most well-known songs are the two tributes to famous figures, with the title track being about Buddy Holly and the other victims of that 1959 plane crash, and "Vincent" being a tribute to Vincent van Gogh of all people. I mean, fair enough, he's one of the greatest painters to ever live, but I'm more of a music expert than a visual art expert so I'll just keep talking about Don McLean. His voice is nice. It fits the songs well. The writing and storytelling are actually pretty good. You have the tributes, obviously, but you also have more personal songs like "Empty Chairs" and even a bit of political/historical satire of sorts on "Everybody Loves Me, Baby." Good stuff. The songs sound good. This is one of those albums where everything's done well, but nothing is really at the peak of creativity. Still, American Pie is an enjoyable album with things to appreciate. I'd make a joke about the movie here, but I haven't seen it. Decent 4/5.

Screamadelica

Primal Scream

4/5

That was nice. Didn't really give off the power of a primal scream, but still a nice album. Screamadelica is a pretty interesting album. It's got a pretty wide range of influences. It does sit in the indie rock camp pretty firmly, but it also has a persistent influence from house music, which is pretty neat to hear. This results in an album that feels pretty unique all things considered. Certainly more unique than most of the 90s British indie picks on this list. As such, the album gives a decent variety of songs. "Movin' on Up" is a pretty good opener. I've seen people compare this song and some of the album's other songs to the Rolling Stones, maybe to a bit of a detriment even. Fortunately, the song is a lot more reminiscent of the Stones' best songs like "You Can't Always Get What You Want" or "Sympathy for the Devil" and not the offensive ones like "Stupid Girl" or "Stray Cat Blues." No misogyny here, folks! The more electronic songs are where the album really gets interesting. Songs like "Don't Fight It, Feel It" feel like they belong in clubs, while both versions of "Higher Than the Sun" have a more ambient vibe. The album's consistently good, but not monotonous, which I appreciate. The album's a bit on the longer side, but it's not really to a detriment for this specific album. The writing has a focus on drugs, I guess. It's solid. Overall, Screamadelica is an album that represents the good parts of the UK's music culture of the 90s without all of the stupid boring parts. Good album. Decent 4/5.

Catch A Fire

Bob Marley & The Wailers

4/5

Alright, it's time for my final album of this project from Bob Marley and the Wailers! I'm not 100% sure if they need three albums on this list, but, like, if any reggae artist or band is going to have three albums on this list, it would be Bob Marley and the Wailers. There's no doubt about that. Catch a Fire is a pretty good album. It's not my favorite album of theirs. Kinda hard to beat an album as excellent as Exodus, isn't it? I do still have things to appreciate about Catch a Fire though. In terms of tone, this album feels a bit darker than other Wailers albums, specifically in the musical department. It's not as lively as an album like Natty Dread, but this actually makes the album stand out in a way that I think is pretty neat. It creates an interesting and unique atmosphere. I like it. Lyrically, this album has what you'd expect from a reggae album. A few pleasant love songs, a couple of political pieces. Good stuff. "Stir It Up" and "Concrete Jungle" respectively excel in being one of those two categories. The instrumental talent here is as good as ever. The sound is a bit repetitive, but when the songs sound as good as they, it's hard to complain. I've always kind of wondered why Bob Marley specifically has become the worldwide symbol of reggae. Is it the timing of his career? Is it that his music is more accessible? Is he really just that good? I don't think there is one answer. I think there are a lot of factors, including the ones I just posited, that played into this. Whatever it is, I'm glad that he and the Wailers were able to allow reggae to become a recognizable and important part of the musical landscape. Good album. 4/5.

Dig Me Out

Sleater-Kinney

4/5

Hell yeah! This is some good music right here! Sleater-Kinney is certainly a band that's worthy of being on this list. Their riot grrrl roots and influence on modern-day punk rock and indie rock scenes are more than enough to justify them having an album on this list. Dig Me Out is apparently one of their best albums, and it's pretty good. The energy here is infectious. I really love the dual guitar riffs and the guitar tone of the album as a whole. It's very fun and engaging. I'm not huge on Carrie Brownstein and Corin Tucker's vocals on the album, but they fit the vibe that the music is going for and I can't complain about it that much. I don't even really feel like complaining about it. I just prefer other vocal styles. The writing is good. It's quite honest and it does a great job of showing off the punk spirit behind the band. Feminism is cool, y'all. The album's consistent but not monotonous. It knows when to end. Dig Me Out is pretty good. Decent 4/5.

Frampton Comes Alive

Peter Frampton

4/5

Isn't it interesting whenever an artist's most popular album happens to be a live album? What does it say about that artist or band? I don't know. I'm not an expert on this sort of thing, largely because I don't know a ton of examples of this happening. Let's see. There's Johnny Cash, Cheap Trick, The Allman Brothers Band, arguably Kiss, some other ones probably, and Peter Frampton! Frampton Comes Alive is an interesting album. This album feels kind of singular in a way. Like, it's pretty much the only thing that Frampton is known for, but the extent to which it is known is pretty big. It's fair to call this an iconic album. But is it any good? Yeah! I think so! This one's pretty solid. I will start though with the one pseudo-complaint that I have. The album's pretty long. But, like, this is a live album. Live albums are kinda supposed to be on the longer side. I personally feel like a live album being longer than average is more excusable than it would be for a studio album, especially for something like 70s arena rock, but that's just me. The pacing could be a lot worse, but the album could've been shorter as well. Not every song is top-tier, but the best ones are quite great. It's kinda hard to argue that an album is bad when it has songs like "Show Me The Way," "Baby, I Love Your Way," and "Do You Feel Like We Do" on it. Great songs. The album sounds great for a live album. If it weren't for the cheering, I'd honestly confuse this for a studio recording. The cheering is sometimes a little too present in the mixing, but that's really only an issue for the time between songs, so the music isn't affected much. The performance is quite impressive. I especially love Frampton's guitar work. I mean, this thing has a talkbox on it! How can you hate this? Of course, this isn't perfect. The writing doesn't really stand out and some songs blend into each other a bit, but I still really like what I'm hearing throughout the vast majority of this album. I get the appeal. Low 4/5.

Kilimanjaro

The Teardrop Explodes

3/5

I'm going to keep things brief on this one. Quite frankly, I don't have much to remark for this album considering just how unremarkable this is. Kilimanjaro is yet another 80s British new-wave album on a list that is not lacking in 80s British new-wave albums by any metrics. This album's kinda mid. It's not bad or anything, but I just don't care about it. The sound is fine at times. I thought "Treason" was a pretty alright song. Other parts of the album were somewhat annoying. The horns were a bit much. I'm not huge on Julian Cope's singing. It sure is a good thing then that I get a chance to reevaluate his vocals when I get to the solo album that he also has on the list because of fucking course he does! This album list has a real redundancy problem. This album also has that, but to a much lesser extent. The album's a bit repetitive, but considering that the album's under 40 minutes I can't fault it too much in that regard. Overall, The Teardrop Explodes is a band that I have no strong feelings towards in either direction. Low 3/5.

Bitches Brew

Miles Davis

5/5

First off, amazing album cover. Bitches Brew may genuinely have one of the best album covers I've ever seen. Everything from the color scheme to the imagery is alluring. Secondly, the album itself fucking rules! I've made it no secret that I enjoy the works of Miles Davis. This is my fourth and final album of his that I've received through the 1001 Albums project. Is it the best one? I don't think I could say that myself, but the fact that it's widely considered to be among his best is something that I absolutely can see given just how great the album is. Of the four Miles albums on this list, Bitches Brew is by far the most experimental. Its predecessor, In A Silent Way, started to play around with what would become known as jazz fusion, but Bitches Brew embraces it. The added influences from genres like funk and rock create a style to the album that still sounds fresh and exciting to this day. I really appreciate that the album doesn't pull any punches. Let's face it; this thing is weird. Bitches Brew is batshit bonkers and I love it. More so than any other album of his on the list, it is not for everyone. Even people who like jazz seem to struggle a bit with this one. Not me though! I live for this stuff. Literally. The sheer amount of good music that exists in the world is genuinely one of the biggest reasons as to why I haven't killed myself amidst the political and personal turmoil that I've felt over the past few years of my life. This album project has saved my life in a way. I'm getting way too deep right now. Let's go back to the funny trumpet album. The compositions here are captivating. "Pharoah's Dance" is an enticing opener. The title track is just magnificent. "Spanish Key" nails the groove and energy that an album like this demands. I could go on. You know what else goes on? The album. Yeah, this thing is pretty long. 94 minutes of runtime for an album like this is not something that a lot of people can handle. But again, I'm not one of those people. I mean, this is far from the worst 90+ minute album out there. This is one of those double albums that warrants its length. Bitches Brew is an uncompromising artistic vision, the likes of which only come every so often. Not everyone will vibe with it, and that's okay. But for the people who can get behind it, Bitches Brew will provide an experience unlike any other. It is truly stellar. 5/5.

Get Rich Or Die Tryin'

50 Cent

3/5

Well, that's some funny timing. What are the odds that I get 50 Cent's album within a week of the release of the highly publicized Diddy documentary that he's involved in? This is still a current discussion! It's fresh off the plate! How hilarious is that? Anyways, the album itself is alright. It certainly belongs on this list given how iconic it and 50 Cent are in general for the 2000s. I mean, this album was HUGE back in the day. However, it's not perfect. For one, I think 50 Cent's rapping is good, but not much more. He doesn't falter in any way. He's not a bad rapper by any metrics. It's just that there isn't really anything that he excels at, you know? That's okay though. Not everyone is going to be the GOAT. The production here is pretty good. It's very 2000s, but in a way that reflects on the time well. It creates an alluring idea of the era. Songs like "In Da Club" and "P.I.M.P." are classics for a reason, okay? The writing could be better. It's a tad repetitive and hasn't aged the best. Still, there are solid lyrical moments. The braggadocio does make the album stand out, but not always in good ways. The features are solid. You can't really go wrong with a prime-era Eminem feature, can you? The album also feels a bit long. The pacing isn't horrible, especially giving the low skit count, but the album's songs do kinda blend into each other a bit. Overall, while it's fair to call Get Rich or Die Tryin' a classic of its time given the album's popularity and its better elements, I do find the album to be somewhat flawed from a present-day viewpoint. It's iconic, but there are better albums out there. Solid 3/5.

Dr. Octagonecologyst

Dr. Octagon

3/5

Alright, I want to start this review by acknowledging something that I find very funny. So, Dr. Octagon here is actually one of many aliases for a guy that's most commonly known as Kool Keith. He's had a decently prolific career and is considered to be one of the more... surreal rappers out there. This is some solid context for this debut album of his, Dr. Octagonecologyst. However, it also allows me to acknowledge one of his other albums. That album is called First Come, First Served; released under the name Dr. Dooom. Why do I bring this album up? Simple. It has one of the funniest and most bizarre album covers I've ever seen. Just search it up online. It's worth it. Anyways, I didn't really like this album as much as I hoped I would. It is by far the weirdest hip-hop album I've ever listened to. Of course, this isn't inherently a bad thing. Plenty of great hip-hop albums are weird. I like Death Grips, okay? I'm not against the idea of weird hip-hop, I swear. However, I just don't really vibe that much with this album personally. I will say that I do vibe with the production quite a bit. It's got this almost psychedelic feel to it and it's sonically interesting. I think Dan the Automater deserves praise for his work on this. The writing is where the album kinda loses me. The album is abstract and absurd, but it's also rather juvenile. The album's got these sorta uncomfortable skit-like tracks like "A Visit to the Gynecologist" that I just don't really align with personally. I get the appeal of it, and I could see someone else really vibing with it. It's just that that person isn't me. I'm also not huge on Kool Keith's rapping. Oh, sorry, Dr. Octagon's rapping. Sometimes he sells the vibe, but other parts feel kinda aimless and almost flowless. I don't know. I will say that the concept is also kinda neat. It hasn't really aged the best, but I could see the concept being executed in an early 2000s comedy film "This could never be made today, but god is it funny" type way, you know? Overall, I wish I liked this more. The ideas are interesting, but I don't really enjoy the execution that much. It's not bad, but it's not really for me. Low 3/5.

Heartbreaker

Ryan Adams

3/5

Why the fuck is Ryan Adams on here twice? Like, even excluding the fact that he's the human equivalent of a hemorrhoid-induced anal bleed, he's just not important enough to music history to warrant me having to listen to 2 full hours of his music across the 2 albums before I die. Half of his legacy is that people confuse him with a different guy who's not even on this list for some reason! Whatever. At least his music isn't bad. Heartbreaker is a solid album. It's not great, but I wouldn't call it bad. It's probably better than Gold on account of not being 70 minutes long, but I think I actually prefer the musical style of Gold, so they kind of even out in a way. Don't get me wrong. I'd rather listen to this again due to its normal length, but the amount of care that I have for the two albums is roughly the same. Ryan's voice isn't my favorite on this album. Maybe I'm biased because I know he's such an asshole in real life, but he sounds kind of annoyed. I don't know. The album sounds good. The production's not my favorite, but the musical sounds are alright. The writing is okay. There are some good moments. "To Be Young (Is To Be Sad, Is To Be High" is pretty good. However, I feel like there are other albums that do this sort of thing but better. I mean, if you want to talk about early 2000s indie American type albums, I could be the millionth person to tell you that Yankee Hotel Foxtrot is good. Heartbreaker is a solid debut, and if you are to have a Ryan Adams album on here, it would be this one, but I don't really think I'm that much of a Ryan Adams fan, and I'm not apologizing for that one because he doesn't deserve it. Solid 3/5.

Joan Baez

4/5

That was nice. I like this album. Joan Baez is probably a notable enough name to have an album on a list like this, and I'm not just saying that because she dated Bob Dylan. She's widely considered to be a folk icon, and that seems warranted to me. However, this album doesn't actually feature any of her songwriting. Apparently Baez is more well-known for interpreting others songs rather than writing her own. That's fine though. As long as you do something good with it, I can't be upset with covers like this, especially given that this debut album of hers is largely comprised of traditional folk songs. As far as the performances go, they're pretty good! I like Joan's voice. It pleases my ears. Her guitar work is also rather enjoyable to listen to. Songs like the opener "Silver Dagger" balance these two very well to create an engaging listen. It helps that the songs in question were chosen well. While I can't claim some of her versions to be the definitive ones, I do think that every single track on the album is worth its place on the album. I mean, it's kind of hard to beat the Animals in the competition of "who can play 'House of the Rising Sun' better?" isn't it? Still, it's the voice that makes the album work as well as it does. There really isn't anything that this album does poorly. It's a very well-balanced album, and I appreciate that. It's got a pleasant vibe that I'm never not in the mood for. Good stuff. Light 4/5.

Billion Dollar Babies

Alice Cooper

4/5

Well, it looks as though I'm back to getting albums from repeat artists semi-frequently again. That's fine. I mean, when said repeat artists are as good as Alice Cooper, it's hard to be mad. Compared to getting a second Ryan Adams album a few days ago, having 2 Alice Cooper albums on here is a lot more justifiable. For one, Alice Cooper was on the Muppet Show and Ryan Adams was not, so Alice Cooper is better by default. I kid... or do I? For real, I do think that Alice Cooper having 2 albums on this list is somewhat justifiable, though I can't say for sure whether it's truly necessary or not. If I had to cut one of the two though, it wouldn't be Billion Dollar Babies, as I think this is a little bit better than School's Out. Pretty much all of the praise that I gave that album applies here too. The energy is strong. The band does a great job with the music. Between the two that I've heard now, Alice Cooper's albums have shown themselves to be a lot more versatile than one would expect. There's some fun experiments on here and I love it. The writing is pretty interesting. There's a reason as to why Alice Cooper is considered a pioneer of shock rock. Songs like "I Love the Dead" and "Sick Things" are playfully sinister in a way that you didn't really hear in music at the time. By this point, Cooper had already made a name for himself, which shows through the showmanship on a track like the ever-iconic "No More Mr. Nice Guy." Great song. Overall, Billion Dollar Babies is an enjoyable album. It's engaging, fun, a little spooky, and generally quite good. It's probably the better of the two Alice Cooper albums on the list, but it's a fairly close call. Great stuff. 4/5.

Ghosteen

Nick Cave & The Bad Seeds

4/5

And so, we return to Nick Cave & The Bad Seeds. It's been a while, hasn't it? this is my fourth album of his, with one remaining. Honestly? I'm not tired of them. I'm not tired of hearing this man's albums. Now, there are a number of reasons for this, but there's really only two that matter. The albums that I've heard so far have all been pretty different from one another and they've all been really really good. It's that simple. Ghosteen is excellent. The fact that these guys are making albums that are this good nearly 40 years into their career is astonishing. This is definitely one of the more somber albums of theirs that I've heard. It's kind of like The Boatman's Call in that regard, but more depressing because of personal reasons. A lot of these songs appear to be about the death of Nick Cave's son. Damn. That's genuinely extremely sad, and I give my condolences to Mr. Cave despite it being over 10 years since that happened. Regardless, the album is great. Nick's voice aged pretty well. He sounds like the same guy, but older, which isn't as much of a given as you'd think it is. The writing is just as deep as ever, though I'm noticing a stronger focus on emotions over stories and characters, which makes the album stand out a bit. The album's a bit long, but it makes sense in the context of the album. I will say that I have seen more praise directed at this album's predecessor, Skeleton Tree, for a lot of the same reasons as Ghosteen, so if I had to put a 2010s Nick Cave & The Bad Seeds album on this list, I'd probably go with that one, but Ghosteen is still an album that I'm very glad that I listened to. High 4/5.

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