657
Albums Rated
3.12
Average Rating
60%
Complete
432 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
2010s
Favorite Decade
Soul
Favorite Genre
US
Top Origin
Wordsmith
Rater Style ?
35
5-Star Albums
16
1-Star Albums
Breakdown
By Genre
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
| American Gothic | 5 | 2.48 | +2.52 |
| Want Two | 5 | 2.84 | +2.16 |
| Paris 1919 | 5 | 2.95 | +2.05 |
| Ambient 1/Music For Airports | 5 | 3.07 | +1.93 |
| Heartattack And Vine | 5 | 3.07 | +1.93 |
| Another Green World | 5 | 3.12 | +1.88 |
| Selected Ambient Works 85-92 | 5 | 3.21 | +1.79 |
| John Prine | 5 | 3.22 | +1.78 |
| Winter In America | 5 | 3.25 | +1.75 |
| Channel Orange | 5 | 3.31 | +1.69 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
| Siamese Dream | 1 | 3.83 | -2.83 |
| Murmur | 1 | 3.42 | -2.42 |
| Ragged Glory | 1 | 3.15 | -2.15 |
| Led Zeppelin II | 2 | 4.12 | -2.12 |
| Teenage Head | 1 | 3.03 | -2.03 |
| The Man Who | 1 | 3.01 | -2.01 |
| Fuzzy | 1 | 3.01 | -2.01 |
| Aha Shake Heartbreak | 1 | 2.97 | -1.97 |
| A Hard Day's Night | 2 | 3.9 | -1.9 |
| Harvest | 2 | 3.83 | -1.83 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Brian Eno | 3 | 4.33 |
| Pink Floyd | 3 | 4.33 |
| Simon & Garfunkel | 3 | 4.33 |
| Stevie Wonder | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Public Image Ltd. | 2 | 1 |
| R.E.M. | 4 | 1.75 |
| Kings of Leon | 3 | 1.67 |
| The Smashing Pumpkins | 2 | 1.5 |
| Neil Young & Crazy Horse | 2 | 1.5 |
| The Byrds | 4 | 2.25 |
Controversial
| Artist | Ratings |
|---|---|
| Tom Waits | 5, 2, 3 |
| Arcade Fire | 2, 3, 5 |
5-Star Albums (35)
View Album Wall
Popular Reviews
David Ackles
5/5
Last week, I listened to Joni Mitchell’s “The Hissing Of Summer Lawns” where I said something to the effect of she and Billy Joel and Elton John may be in their own company when it comes to storytelling and lyrics that place you IN the song.
I would like to add David Ackles, or at least this album, to that elite company.
I was FLOORED listening to some of these songs. How have I never head of this guy, or this album? On here are some of the most beautiful songs I’ve ever heard, sung with a lot of conviction, and wrapped up in really pretty instrumental arrangements.
Right off the bat, “American Gothic” is such a fun parlor-style story of a messy couple. I didn’t realize I was in for such a theatrical listen!
Then “Love’s Enough” straightens things out with a Nick Drake type of love ballad. This song is so honest and heartfelt.
One of the most pure fun songs is “Oh California!” which switches into this swanky showtune style and ends with what seems to be a full string/horn chorus arrangement??? How many tricks does David Ackles have up his sleeve???
The last song that really stood out to me was “Waiting For the Moving Van” which just about brings you to your knees. What a sobering, sentimental little song.
In addition to these highlights, there’s bits of country, folk, and gospel peppered into things! Plus a very nice long story in the last song.
These are the albums that make this list so worthwhile. I can slog through 50 two-star albums in a row if it means the 51st album is this diamond in the rough. Total hidden gem that shines so bright if you give it a dusting.
Reading further on his life and legacy, it is a crime that David didn’t get the commercial success he deserved, even with Elton John constantly singing his praises. No popular interviews of him on youtube, very little info to dig into anywhere. This is insane!
9 likes
Mylo
4/5
Alright why has the world conspired to keep "Valley of the Dolls" hidden from me. In fact, why has the world conspired to keep this whole album from me? You all know I cant resist sample-based music thats made more colorful by the use of a phaser/flanger. That blissful Daft Punk phaser texture hits the dopamine receptors just right. I didnt realize it, but "Drop the Pressure is responsible for a very often-used vocal sample in house music! This song specifically has that early Calvin Harris vibe, you can hear the beginnings of blog house sprouting up. But my highlight on here (and it isnt even close) is the blissed-out "In My Arms". This one is special. I know that there will be very few times that this list produces a song that so perfectly aligns with my exact hopes for what any song can be, while also doing so utilizing my very favorite production methods. A house tempo song with a super happy, super fuzzy, phased vocal loop in a major key. A repetitive, simple bassline. A nice little bridge/chopped up middle section that ramps back up to an even more outright happy and shiny second half, with just a little extra glittery synth at the end to bring it home. I replayed it twice before I could move on through the album! The only comp I have for this song is Pete Heller's Big Love, which wouldnt surprise me to hear it was a reference track for "In My Arms". Genuinely, this song couldve been surrounded by ten layers of shit, and this album wouldve still been worth it for that euphoric little nugget. Luckily, this album isnt layers of shit at all! Now, it's no opus of dance music. But it's good! A tasteful (i hate using that adjective) amount of sampling and chopping, like on "Rikki". Some more easy listening cuts that venture into almost trip-hop territory like "Sunworshipper" or "Need You Tonight". I'm gonna guess the common gripe about this album is that theres not much substance to grab and hang onto, not much in the way of hooks or sticky musical motifs - and that's fair. To that, I'd say that maybe those things aren't always needed. Maybe this album could find its place while doing chores on a lazy sunday or on a nice walk, or just for laying around in the sun. A nice, happy, hazy little musical companion. Soft 4/5.
4 likes
Tears For Fears
5/5
Saw a tweet one time that was just this picture, captioned “these honkeys were COOKING” and it’s so true.
‘Shout’ is just one of those few 80’s gems that will never be replicated. It’s got AURA. It’s got ATTITUDE. This can be said for the entire album actually. Tight, direct song structure that knows when to slip in and out of instrumental atmospheres. A massive generational pop hit. One iconic vocal melody after another. A mystical album ender. Socially conscious messaging. This album has it all and doesn’t overstay it’s welcome at all. Perfect!
It’s incredible that we got this less than a year after Purple Rain. It’s worth noting that they’ve done the impossible recently - they made a song that’s unique and new sounding, unlike every other legacy band from the 80’s or earlier pumping out nothing-burgers to cash in on yet another world tour. Check out ‘No Small Thing’ it’s worth a listen
3 likes
Sly & The Family Stone
4/5
Incredibly charged-up, diverse performances with social messaging abound.
The second track is just bounding with creativity, is that a talk box, an electric guitar, or just a man’s voice filtered through a bunch of saturation??
Or the emphatic delivery of the “do-re-mi-fa-so-la-ti-do” female vocal in “Sing a Simple Song”.
Such beautiful, lively expressions with some much random inflection in the first few songs, all for that to come together in a tight pop hit in “Everyday People”. It feels like they made this song and placed it halfway through the track list just to show that they could also do a mass-appealing hit.
“Sex Machine” is all I need to hear to declare that this album follows no rules other than pure expressionism. I’m just really impressed at the long drawn out ideas or what seems to be a lack thereof sometimes, just playing like crazy on the fly.
2 likes
1-Star Albums (16)
All Ratings
Miles Davis
4/5
Makes me wanna mull over a glass of whiskey in a black&white downtown diner while figuring out cold case crimes. Flames
Nina Simone
3/5
Did I hear some crooning vibrato vocal runs? Damn Post Malone kinda stole her flow.
Very heartfelt very personal very nice
Queen
3/5
“Mamaaaaa, uwu” - Freddie Mercury
Green Day
3/5
What a fun goofy band!
I wonder how they feel about the war in Iraq.
The Strokes
3/5
the stronks 🗣️
Elbow
4/5
Genesis/Phil Collins/Peter Gabriel but for British millennials 🔥🔥🔥
The Specials
3/5
🔥🔥🔥🔥SKA MUSIC🔥🔥🔥🔥
Bob Dylan
4/5
What in the WORLD is this hippie going on about???
Talking Heads
3/5
https://youtu.be/zLk6bUvS6Ic?si=M_uO2c8Ata2fpNoW
Deep Purple
4/5
Millennials know that Deep Purple rocks they were the first song in Guitar Hero 3 AND the intro to Rockband
Neil Young
2/5
One liberating thing about turning 26 is being able to say “Neil Young just doesn’t do it for me” without the fear of being disowned by my parents and dropped from the family healthcare plan. Too old for that now
The Prodigy
5/5
Fucking AMPED for this one. Wildly ahead of it’s time. The prodigy did the dubstep/riddim/bass music aesthetic 20 years before it became a thing. Producers like G Jones and Nitepunk are just now making Prodigy-style sounds popular in edm. The first two tracks on here are widely considered to be classics, but Mindfields is such a slept on banger.
The Noisia remix of Smack My Bitch Up & the Glitch Mob remix of Breathe are modernized versions of these bangers, worth checking out
Sarah Vaughan
4/5
Points for going full Jack Black there at the end
Drive Like Jehu
3/5
I’m more of a blink-182 guy
a very soft 3/5 on this one
Joan Baez
4/5
I’m convinced she dated bob dylan just to show everyone how she clears him in many categories (multi-lingual, sane)
Beatles
4/5
Such a good way to end the earlier traditional Beatles sound. Very polished. Nowhere Man gotta be the highlight here.
But the real treat of this album is Ringo Starr doing a lead vocal (What Goes On) where he’s NOT singing about an imaginary creature or some drug-induced situation he finds himself in
Aretha Franklin
4/5
She sings the hell outta this album. Generational vocal talent.
Adele, Karen Carpenter, Aretha Franklin. Can't think of many other singers who stick the landing on EVERY single note like this.
Unless that new Ringo Starr album HITS XD
Kings of Leon
2/5
Front half of the album is good, back half is a snoozer. And what does Kings of Leon do that The Killers, The Strokes, Muse, U2, or Black Keys didn’t already do better? Album is fine in a vacuum but on a 1000 albums you must listen to list? I don’t knoooow about that
Orbital
3/5
• Blissed out and hypnotic. Like I’m in a UK warehouse on acid
• Lush 3-1 gets played at a rave happening inside Donkey Kong Country 2
• This album is what old excision is gonna sound like in 30 years
• The la la la vocal from Halcyon And On And On is a famous sample. Most recently used in a Skrillex & Boys Noize BANGER called “Fine Day Anthem”
• There’s some more important/better electronic albums I’d rather see on this list
• If Parker blind-rates this above a 2 then I will give myself $20
Sabu
3/5
I downed a red sour patch ghost energy drink and put this on to start work at 5:30AM and I got real productive real fast.
Hijacking the arena sport aux to play this during soccer games 🔥
Adele
3/5
Aretha-tier vocalist doing some ice cream + red wine jams
LCD Soundsystem
3/5
Please please please go listen to their next album “This Is Happening”
It’s iconic it should be on this list so I can give it 5 stars
Why is this album on here instead?
>:(
The Lemonheads
2/5
One of the albums of the 90’s
Nine Inch Nails
3/5
Take a journey inside the mind of the average league of legends player
Jimi Hendrix
4/5
While I don’t go back to this album often, you gotta respect the creativity and raw talent here.
"Calm down folks, now just tell me what did the Jimster do?" - Hugh Neutron
Nick Drake
4/5
Simple but effective. Some sadder British Jim Croce/James Taylor vibes. My one tiny criticism with this album is that there isn’t enough tight chorus/catchy parts, my monkey peanut brain needs a little more to remember and sing along to. But this is great imma listen to more of the better Drake here. He was 21 when he made this??? Damn
Dire Straits
2/5
Sultans of swing great song to do cocaine too everything else is meh
Bruce Springsteen
3/5
First time listeners do NOT let this be your final impression of him, go listen to Born to Run or Darkness on the Edge of Town to get that classic anthemic Bruce sound. He was going through some dark times when he made this album & would immediately turn around to write his “pop album” Born In The USA.
Firm 3.5 out of 5. Depressed minimalist Bruce Springsteen still clears many artists in the story telling department
Pearl Jam
4/5
Eddie Vedder drank wine from the bottle when I saw him at the mariners stadium then belted out Black just as it sounds on this album
Alice In Chains
3/5
Wake up honey, it’s time for your daily seattle grunge album ⏰
Not as solid as Ten but Layne Staley has some pipes on him. Must be something about fellas born in the Bellevue/Kirkland area that makes them destined to make it big 🤔 you and me Layne, equal levels of greatness
Bob Dylan
2/5
After two albums, I can list the ingredients needed for your typical Bobby song:
1. Play a loopy acoustic guitar melody. Keep playing the melody the entire time.
2. Bob proceeds to word-vomit about the latest adventures of his imaginary friends during a drug-induced psychosis.
3. Harmonica outro.
New Order
4/5
*refined* new wave. The most refined
The Monkees
3/5
Solid for what it is. “Zilch” went crazy
Donovan
3/5
George Harrison - ass album. Very impressive that he made this at 19 though, serious musicality. Hard working 3 out of 5 from me
Kings of Leon
2/5
The Stone Roses
2/5
Emma as my witness I fell asleep for this one
Yeah Yeah Yeahs
4/5
Very solid 2000’s indie sleaze!
Now let’s all listen to “Heads Will Roll (Atrak remix)” - Yeah Yeah Yeahs
Guns N' Roses
3/5
A lot more cowbell on this than I remember. Pretty one dimensional album but the highs are so high, some of the greatest arena rock songs of all time on here
Fela Kuti
3/5
Very fun very lively I would’ve never found something like this if it weren’t for this list 🙏
Bob Marley & The Wailers
3/5
He knew we were going to someday be reviewing this album when he titled that song “midnight ravers”
Jeff Buckley
3/5
Imma call this genre “the opposite of edm.”
Better album than I remember, wears out its welcome towards the end. Great songwriting and composition, just kinda wish it was performed in more unique ways? The 90’s singer-songwriter sound doesn’t always hit for me
Lou Reed
4/5
master storytelling ability and succinct songwriting
Crowded House
3/5
*deferring my right to comment on this one so our native Kiwi can have a moment of Oceania pride*
Pet Shop Boys
2/5
2 stars, doesn’t have West End Girls on it
Roxy Music
3/5
Was a little skeptical about this but then learned that Brian Eno was in the band so of course this album was very musically sound and in some ways ahead of it’s time. You can really hear the Eno on the last track it’s almost like a transition song to his solo masterpiece that dropped two years later “Another Green World”
Joni Mitchell
4/5
Strong writing strong voice. Doing some research into what she had going on in life makes many of these songs even more impactful
Aerosmith
2/5
God, if you’re listening, please give me something from the 21st century man. This should be a Lady Gaga album
Brian Eno
5/5
An album that gets better the older (and sleepier) i get. I didn’t understand the point of this album when I first listened maybe a decade ago but now I have more patience and willingness to listen to this beauty. Kinda invented ambient music as we know it
Creedence Clearwater Revival
2/5
I can’t handle much CCR beyond their greatest hits. Do I love their greatest hits? Yes. Do I strongly affiliate them with early childhood memories of music? Yes. Am I tired of rolling the boomer rock albums? YES.
LL Cool J
3/5
He oscillates between being a total cornball to having some really clever bars. Pretty good for 1990! A hard-working 3/5 for me
Ella Fitzgerald
3/5
Peak 50’s crooning
The Velvet Underground
4/5
Really enjoyed some of the more mellow and experimental songs on here. Lou Reed has unlimited singer/songwriter rizz.
I would just like to point out how the song “Murder Mystery” on here is eerily similar to “Chop Suey” by System of a Down
The Who
2/5
Alright I’m officially tilted at how many boomer rock albums we’ve pulled.
I would like to use this album to bring to light the 2010 remix of My Generation featuring Slash and Will.i.am., in which he sings about the war in Iraq and the recession
Dion
2/5
...I’m hate-listening now. Smite me down, God, end my boomer-rock-induced suffering
The Mars Volta
4/5
It’s kinda like if My Chemical Romance got inspired by Muse then just went crazy with it. Very thoughtful very technical i just need to listen to it more
Beach House
4/5
Really liked this one, I feel like tumblr probably liked it even more though
Various Artists
3/5
The most disingenuous thing I can do is adjust my rating just because it’s Christmas and this is a Christmas album. Imagine if i just ripped a 1/5 though.
Also he invented the 2014 Forest Hills Drive album closer style with this one, just doing a spoken narrative thank you
Spiritualized
4/5
Pulling two heavy tumblr-core albums in a row is huge after all the boomer rock. The highlight of this album for me isnt the atmospheric pads and melodies that everyone knows it for - to me its the way the bass player chooses to play in a more sparse and often repetitive manner. Long repeated one-note hits with quick fill melodies at the end of a verse. Induces the same feeling of the best house music songs of this albums time - hypnotic and blissful
Fishbone
3/5
This album is a TRIP.
Was cruising along thinking “huh nice a little Rush meets ska revivalism ok ok” then the song ‘Deep Inside’ comes on.
Then it’s just Music To Ride Your Harley To.
And then socially conscious protest music???
James Brown
3/5
High intensity soul
Sex Pistols
3/5
This would’ve gotten me torqued if I was a British teen in the 70’s. Not just the messages but the playing is really tight and it has a huge, booming sound for its time
Wu-Tang Clan
4/5
amazing posse rap dynamic and incredibly menacing for the early 90's
Funkadelic
4/5
They’re all so on the same page it’s insane
Iron Butterfly
2/5
Personal results of this daily listening list:
- developing a genuine aversion for classic rock
- coming to the conclusion that the drugs in the 60’s must’ve HIT to make this type of music culturally enjoyable
Talking Heads
4/5
They scared a lot of people back in the day, but hindsight let’s this album stand it’s ground. Layered instrumentation & memorable grooves.
I’m addicted to the opening song on this record there’s like 3 separate perfect melodies going at once towards the end of it
Nick Drake
3/5
Despite this album only being a few years older than the Five Leaves Left album we pulled a month or two ago, he definitely sounds a bit older/more rough around the edges. Becoming a fan of his delivery
Fugees
4/5
This is so close to a full 5/5 stars for me. I think the most impressive thing about this album is how many songs have absolutely killer hooks, all done by the trio, all sung by people who consider themselves rappers/mc’s before singers. Intstrumentals are so pleasing and easy on the ears
5/5
I was so torn on what to give this album, until I asked myself “what’s holding this album back from being a 5/5?”
and I couldn’t come up with anything. So ladies and gentlemen we got my third ever 5/5 here.
It’s just so full of life, addresses very universal human emotion/struggle.
I’m beginning to create a scale for boomer music: on one end is the “songs to ride your Harley to” and on the other end is “songs to do a line to” and this one is more on the latter side
Traffic
3/5
More “music to do lines to.”
A very solid 3 for me.
I’m learning a lot about popular musicians pre or post famous bands they were in. Steve Winwood in this one
John Barleycorn is an opp 🖕🗣️
Japan
2/5
Was this really so uniquely essential that it needed to be in the list? A bit of a nothing burger tbh
Dr. Dre
3/5
This is the quintessential sound of any GTA game based in the west coast. Highlight for me is the clean sampling in the production, the beats were clearly made to blow out the low-end of boomboxes and car radios. This sound is totally made for cruising in a convertible
Cyndi Lauper
4/5
What a fun way to say “im not like the other girls”
Pop songwriting perfection and all-out performance
Bob Marley & The Wailers
3/5
Solid. A little better than the first wailers album we pulled. This is like the 4th duplicate artist in 60ish days of this list
Earth, Wind & Fire
4/5
Loving the amount of “YEOOW” they’re dropping on these songs.
Never has a band been more synergized the EW&F and this album is proof
New York Dolls
3/5
I enjoyed this more than most rock from its time. They seemed to be on the cutting edge of punk. Probably had a lot of people up in arms back then
Keith Jarrett
4/5
Ten minutes in and I was already amazed by his ability to weave in and out of melodic ideas and different motifs. The audible woo’s and noises he makes confirms that he is but a vehicle for these beautiful motifs to manifest on the keys. I needed a new type of calming background music and this is it
3/5
Listening to U2 confused me a lot as a kid because some of their music is so sonically timeless. Like, this is from 1987, but With Or Without you sounds exactly like a mid 2000’s moody radio hit. No aged synth leads, no annoying programmed electronic percussion. All that being said, this album is just fine. Revolutionary and timeless for something from the 80’s, but nothing more than solid
Can
3/5
This was kind of a fun vibe! When I hear the term krautrock, I don’t really have much of a frame of reference so I assume it’s just very on the nose guitar based stuff. But this was much more nuanced and chill. Great background music that enhances whatever you’re doing at the time
Baaba Maal
3/5
This is what the list is best for - I would’ve never listened to this otherwise. Opening song was crazy
Shuggie Otis
3/5
Very good music to start your work day to at 5am. Bill Withers type beat
Deep Purple
3/5
Not quite the right rock opus that Machine Head is, but still solid. A little more sprawling and all over the place. I can see how these guys inspired a lot of early metal. I have gained knowledge and respect for them beyond the Guitar Hero 3 smoke on the water band
Crosby, Stills, Nash & Young
3/5
Second greatest vocal harmonics in rock behind the eagles. Forgot our house is on here. More dynamic songwriting than I remember.
Last album:
Deep Purple. If you hang out around Emma’s dad enough you’ll hear Deep Purple.
Today’s album: CSN&Y. If you hang out around my dad enough you’ll hear CSN&Y.
The Velvet Underground
3/5
Was going through this album thinking of how badly it needed a remaster. I couldn’t hear shit and it was just meh. At least in the context of Lou Reed’s full career.
Then “Sister Ray” came on at the end.
She was too busy doing HUH to WHAT????
Incubus
3/5
Incubus, Soundgarden for pop punk heads. This aged a little better than I expected! Drive was a good shot of nostalgia
808 State
2/5
I have a soft spot for a lot of these sounds. People like Aphex Twin would take this and iterate on it. So I see this album as important, but not necessary amazing. Probably very cool if you were into this when it came out tho
The Temptations
3/5
Damn what a cohesive vocal unit. A nice newer iteration of the temptations that isn’t just “oooohh ahhh I like this girl.”
Also the deep bassy baritone guy popping in every once in a while cracked me up. Sounded like a cartoon charecter
Crosby, Stills & Nash
3/5
TWO CSN ALBUMS WITHIN A WEEK? 🤔🤔🤔🤔 this time without Young, and these guys sound more cohesive without him tbh. Neil Young’s incredible but his voice was its own thing that stuck out a bit in the other record.
That being said, these honkeys were COOKING with a few songs on here - Helplessly Hoping (S+ tier song), Teach Your Children, Judy Blue Eyes. If I could sum up this album, I’d say it’s like Simon & Garfunkel for people who grew up near the appalachians. Graham Nash isn’t even American too, that’s insane
Tom Waits
5/5
Picture a scuzzy cartoon alligator in a rocking chair on the porch of a house in the swamp. Bottle of bourbon in hand, belting out these songs while his tattered fedora falls over his eyes.
The first song had me a little unsure of how this would go, some interesting lyrics, and his singing voice made me wonder if I was supposed to take him seriously or not. But Tom manages to execute both sides of an interesting coin here: Half the songs are gritty, southeastern honkeytonk blues with some sort of loose storyline. Then the other half are somehow the most beautiful piano-and-string love ballads I’ve maybe ever heard, where genuine sincerity shines through his weathered voice. I can’t believe I’m giving this album a five outta five but I have to. Masterful songwriting. Insane vocal commitment. Clear sonic theme.
Rob Dougans “Drinking Song” is a clear homage to this style of ballad too, and I highly recommend the album it’s on, “Furious Angels”
Tom Waits
2/5
Ok there’s no way this thing is random. I give Tom Waits a 5 yesterday on my first time listening to him then I pull this?????? No way.
This wasn’t as memorable as Heartattack and Vine. I likened him to a scuzzy cartoon alligator on that last album. He sounds more like a slimy river eel on this one. A little more devilish and doomer-pilled, dropping the sense of sincerity from Heartattack in favor of more lofi experimentation
Paul McCartney
3/5
Very safe solo debut. Just some mostly stripped back songs with basic but interesting stories, until Maybe Im Amazed comes on and blows everything else out of the water
Muddy Waters
3/5
It seems like he kinda has creative control as one of the figureheads of this bluesy sound
Janelle Monáe
3/5
She’s had an interesting musical arc and I’ve liked Dirty Computer since it came out about 5 years ago. Much like her other stuff, this is a very nice easy listen that falls just short of absolutely great. Solid and unique but not wildly amazing.
This is one of many musical works to be largely inspired by the movie metropolis from like 100 years ago. Another musical trilogy that shares the name and inspiration is the metropolis EP series by the M Machine. A must listen
Oasis
3/5
Man. A whole can of worms with Oasis. It helps being a gen z American, to view this band outside of the social context they existed with in the UK in the 90’s.
So there is some positives to this album and oasis in general. I think this was probably the baby boomers last time they ‘got’ the sound of pop radio music. Because this album definitely has some Beatles, classic rocknroll structure to it.
And the songwriting at its core is really solid - it’s fleshed out pop and rock.
But maaaaan. Did this really push pop music forward in any significant way? Does oasis even function as a gateway to anything else besides a look back at the rock that influenced them? Is that important? The sonic choices are so plain and polished to the extent that it washes away a lot of the impressive songwriting aspects about it. It makes you appreciate the Billie Eilish’s or Lady Gaga’s of the world that pushed their way into pop radio with great songwriting AND unique, forward thinking artistic/musical aesthetics (at least for pop standards).
Really torn on oasis, always. Hard to separate how huge they were from a social standpoint, with how down the middle their music was
Destiny's Child
4/5
This shit slapped front to back. This is tight, colorful, memorable pop + r&b. Stellar.
The ultimate compliment i can give an album is the honor of going to its Wikipedia page to see who has production credits on it. They produced the hell out of this album. It’s obviously a Y2K pop album (rimshot snare, the use of a triangle/bell shake, synthetic strings everywhere). But the lead on Perfect Man? That intro to Independant Woman II? Cmoooon this is masterful.
The Electric Prunes
2/5
Look at their past members list on wikipedia. Maybe slightly better than most surf/psych rock if it’s time. It nothing crazy
Supergrass
3/5
Was ho-humming this album as another quirky alt British rock joint but then Caught By The Fuzz played and I remembered the Oasis album from a few days ago, which was made around the same time. I would’ve killed for Oasis to make anything this explosive and raw. This album seems like a precursor to the blog rock and tumblr rock sound that lasted for a good 20 years after. Solid stuff I may give this a relisten
Beatles
3/5
We’ve said goodbye to the beatles of old, say hello to the influence of fame and drugs kids! Paul is starting to test out all sorts of genres, John is starting to get a little pretentious, George is finding his sense of self in India, Ringo is letting the psychedelics manifest in yet another whimsical song about being underwater.
After having not listened for a while, I notice how Eleanor Rigby and Got to Get You Into My Life are a precursor to some of Paul’s most ambitious Wings stuff, namely Band on the Run. But honestly this album has a lot of snoozers at least by late Beatles standards.
Also is Tomorrow Never Knows the first DnB/breaks song ever??? :eyes:
Tortoise
2/5
I knew we were in for a long one when they busted out the keys and started noodling on the first song. And much like this album, I have nothing else to say
k.d. lang
4/5
So good. A beautiful blend of country, lounge, ballads, & singer-songwriter stuff. She’s so good at expressing love & longing. Engaging and personal, lots of textured instrumentals, unique compositions. One minute it sounds like I’m in the hills of rural Italy, the next it sounds like I’m in the dustbowls of Nebraska, the next it sounds like a pacific island beach. Close to a 5, will get many relistens outta me. Enough listens over time could turn this into a real 5, actually.
Highlights are: Miss Chatelaine, Wash Me Clean, and DEFINITELY Season of Hollow Soul
Les Rythmes Digitales
2/5
Ok so I was like “who tf is this guy I should know him” and it turns out yeah I do but not for this project. He has some really good stuff later on as the Thin White Duke (Four To The Floor Remix) and then as Jacques Lu Cont (remixed tons of pop songs). And he produced Madonna’s best album imo. So this guy has chops, no doubt about it.
BUT,
I consider myself someone who has his ear to the ground for all things dance music from the mid-90’s onward, and I cannot in good faith figure out why this record is on here, and Daft Punks Discovery is not (and a whole list of other edm records tbh). Discovery is one of the most influential, perfect dance records, and this one from just a few years earlier…is kinda not even noteable? This album has not held its own in the past two decades, nobody talks about this album. In fact, this album is a spineless nothing-burger in the context of this list and in the context of its respective genre. This album can’t make up its mind if it wants to be something for your headphones or something for the dance floor. It uses a lot of dated sounds even for its time of release. The grooves and loops are sometimes grading on the ears. What are we doing here? This album feels like such a disconnected music nerd’s token pick of what they think good electronic music maybe could sound like.
Do yourself a favor - instead of listening to this album, listen to Chicane’s “Far From The Maddening Crowds”.
It came out at a similar time and actually commits to its melodies and ideas. It scratches the same itch that this album SHOULD be scratching. It is actually danceable AND more sonically layered.
I’m so mad this took up a spot on the list.
Gorillaz
4/5
Great 100th album to have for this list. Shout out to Emma, this is one of her favorite Gorillaz records and we’ve gone back and forth on this vs. Plastic Beach for a while.
I think the best thing about this album is how it sets a good listening atmosphere. Some of the lyrics aren’t immediately intelligible, there’s a lot of lofi sounds, classic drumloop samples (like to a DJ Shadow extent), and there’s a bit of a punk/postpunk influence (literally the song Punk on here).
This isn’t nearly as clean or tight as almost every mainline Gorillaz album after it, but that doesn’t detract from it! It’s a good easy listen with some HITS sprinkled in
OutKast
4/5
This is a sprawling masterpiece that’s surprisingly mostly about genuine affection. There’s a ton of clear-eyed love ballads and entertaining skits especially on the Love Below. The DNA for Kendrick’s to Pimp a Butterfly can be found all over this record. Much like Kendrick, Andre3000 has more unique thoughts on this album than I feel like Ive had in my whole life. And this is SO ahead of its time. The intro alone could have been released today, it’s so modern. Most of the first album is this way!
Lastly, while I know this is a double album made by two different people with two different visions, I think it flows together very well. Nearly a 5
Mekons
3/5
For what this is, it’s solid. There’s another ‘fear of the bomb’ 80’s song in here and it made me notice an interesting split in music and how it represents different perspectives on life. I don’t think too many black artists were making songs about fearing the bomb during the Cold War, and instead were making songs about the struggles of day to day life. Interesting to see how that split has evolved over the years
The Avalanches
4/5
OOOooooh baby OOOH! On a hot streak right now of like four albums in a row from the mid-80’s or later. A lot of people with my listening habits give this one an instant 5 and point out the similarities to Daft Punk’s Discovery (which again, is better than this album and not on this list somehow).
I think this album’s shining moments are the dreamy, blissful waves of samples that come together to create a sound collage. Extra points to this record for creating one of my favorite feelings you can get from music: sample-based ecstasy. Very much worth listening to their most recent album, We Will Always Love You. It tightens up the song structure, and has a handful of INCREDIBLE additive guest features on it. & specifically an 11/10 song built entirely around a Carpenters sample.
This record is a little shy of a 5 for me, with the only detractor being sometimes it gets a little too lost in a fugue state with the sampling starting to all blend together a little toooo much. Everything else though? Beautiful.
The Specials
3/5
A whole week+ with no albums from before 1980 let’s go.
This was alright. If you’re into ska I could see this going crazy. Some nice moments, some that blended all together. Another song about fearing the bomb in 1980’s, just a few days after another 80’s album with a fear of the bomb song on it
Michael Jackson
2/5
Yeah it’s Bad alright.
Ok so it’s Off The Wall > Thriller > this album. And I think each album has more hype and cultural buzz around it, while each album also has less substance in it (yes Off The Wall has more substance than Thriller).
To further go on about comparisons, Purple Rain just kinda does everything on here but better?
As far as this album goes on its own…I wish for so much more edge. So much more soul. It seems like Michael is being pulled between the desire to be his own unique voice and the need for this album to have a universal commercial appeal. Smooth Criminal is a beautiful Thriller holdover that CLEARS everything else on this album. What a fun song. I don’t get much enjoyment out of the rest of this album
Curtis Mayfield
3/5
Was this the first instance of money being referred to as long?
The Killers
3/5
Soft 3 for me.
Some albums are greater than the sum of their parts. This album is the opposite. The bangers BANG, everything else gets a bit annoying in the ears. It’s funny how Mr. Brightside isn’t even the best song in this album, it’s All These Things That I’ve Done. Still a karaoke banger though. I wonder how future generations will take to The Killers. Hopefully well. Now the REAL actually good Killers album is Pressure Machine. Earnest portraits of the struggles of inland America without being preachy or ideological
Yeah Yeah Yeahs
3/5
Love a good indietronic throwback. As with most records in the genre, this is very good at being whistful. Slows down a little too much for me towards the end of the album. Heads Will Roll is a classic, Atrack is a genius for what he did in the remix too. Probably won’t go back to this album as much as Fever To Tell from a few months ago
The Saints
3/5
Can’t find the quote but I’m pretty sure one time George Carlin said something along the lines of “if you work in advertising, kill yourself.”
and that basically sums up the ethos of this album!
Otis Redding
3/5
I was BOOOOOOOORN by the river!
The Rolling Stones
3/5
The crazy tonal shift from Stupid Girl (spiteful, misogynistic) to Lady Jane (respectful, regal) is crazy. Why tf would I listen to the UK version that doesn’t have Paint It Black on there??? Whack suggestion. Most everything else here stays within the lines of the stones stuff for this time - a little honkytonk, a little bluesy stuff, rock, slight instrumental experimentation. Solid
Emmylou Harris
4/5
Does “Tragedy” have the same drum loop as “Clint Eastwood” ????
I respect this album a lot, I think Brandy Carlisle owes a ton to this album in particular.
Best compliment I can give this albums authenticity is that my grandmother born and raised in West by god Virginia wouldve enjoyed this
The Boo Radleys
2/5
First off, this album cover goes so insanely hard.
This record really confused me. Some songs on here are the most drab 90’s britpop. At other times though, they’re pushing very interesting experiments. Songs that sound like a leftover Spiritualized cut. Very washed out melodic passages, like the end of Butterfly McQueen, which sound like an early Hum song. So while there are some highlights on here, I have a hard time grasping and what this albums concept or vision is.
The Dave Brubeck Quartet
4/5
Opening track is among the all time greatest openers. Smooth, fluid ideas that flow from one song to the next. Who knew more classical instruments could be so emotive?
Eminem
3/5
Hindsight has made this album the slightly more acceptable version of insane clown posse. My absolute favorite part about D12 era eminem is easily the courage the cowardly dog type of sounds in the instrumentals. A whirling theramin, the circus-style bouncy keys. It’s like a dumb carnival/haunted mansion. I don’t have anything to add to the shitty lyrics discourse that hasn’t already been said. I will have to say that once you hear a few songs on here you kinda hear them all.
I wonder if people see earlier Eminem like I do too, as a tandem project with Dr. Dre just as important to the whole project. Not taking anything away from mr. Venommmm himself, but Dre was in the right to put himself in the picture as much as he did.
Kendrick Lamar
5/5
We all knew this was a 5 outta 5.
There’s so much that’s been said on so many levels about this album, so I’d just like to say that what I appreciate most about Kendrick, on this album and in general, is that he gives his ALL in these performances. No one can ever question Kendrick’s dedication to his craft, his consideration in his lyricism, or his effort in his performances. I’m glad I’m around at the same time Kendrick is around, I’m glad he makes it cool to push oneself in dedication to one’s craft. This album is a crowning achievement and a brilliant ode to specifically the black experience and the human experience in general.
Robert Wyatt
3/5
This is Brian Eno-core 110%. I appreciated much of this album in all of its whimsy. Highlights was Blues In Bob Minor, which is a better (and more cogent) Bob Dylan song than half the Bob Dylan songs.
Kanye West
4/5
There’s something so intoxicating about an early Kanye beat. He had it figured out. Had such a good persona and a good ability to communicate like he was talking to you while rapping. What happened man
Songhoy Blues
3/5
If the black keys knew how to hold a groove and let it simmer
The White Stripes
3/5
Charming, slightly kitschy. Meg Whites drumming is killer, it embodies the spirit of the project as a whole. Interesting if you’re into post 2000’s rock, but doesn’t necessarily reinvent the wheel. “I Think I Smell a Rat” sounds strangely like an MCR demo
Harry Nilsson
3/5
Jump Into The Fire was on the Shaun White Snowboarding soundtrack and maybe it was just the context of the game but I always thought it was like a 2000’s rock/funk/alt jam. Even though this album didn’t totally click for me on first listen, I recognize good songwriting when I hear it
Johnny Cash
4/5
Such a fascinating album to me.
Cash’s cover of Hurt is a perfect statement on age. There are few songs from the perspective of a man his age, even fewer that are bound with such complicated emotions as he looks back on a life lived to the fullest.
While I consider the Eagles original version of Desperado to be one of the greatest songs of all time, I’m glad Cash put his elderly spin on it here too. Don Henly comes in to harmonize the post-chorus and it could bring a tear to the eye.
He knew how to pick ‘em for this record, because he picks a third song I’d consider to be one of the greatest written pieces of music of all time - with Danny Boy.
Think we are done with good covers of the greatest songs of all time? WRONG! How about Bridge Over Troubled Water too!
I’d seriously consider all four songs talks about above to be put on a record to introduce aliens to music, if we ever encounter them (although most of them as originals).
That being said, I’ve always felt like Personal Jesus is overhyped and this cover doesn’t redeem it any more
The Damned
4/5
These guys go crazy what a fun listen front to back. A lot of punk for me suffers from the same repetitive structure and sound but these guys have tons of unique passages in each song. A swing drum line, actual rock guitar solos. Wonderful!
Ramones
4/5
The punk aesthetics were alienating to me as a child but listening to this again you realize this is just charged up pop music slammed into very efficient punk aesthetics and it works so well
Supertramp
3/5
Solid rock opera. I think the only thing supertramp sometimes suffers from is star power. everything about the music is there, there just isnt a sense of personality in here all the time maybe? hard to grasp. Either way, super impressive arrangements
Electric Light Orchestra
3/5
ELO’s greatest hits is up there with any rock band’s. Seriously, go listen to it. However, with this album, once you’ve heard a few songs you’ve kinda heard em all
Country Joe & The Fish
2/5
Hard for me to grasp that this was someone’s G Jones. I appreciate it for what it was at its time, but I’m so far removed from music like this now
Pink Floyd
3/5
I should be giving this a 2 stars just on the principle of this list containing over three Pink Floyd albums. Putting that aside.
Today we get to learn about artistic foreshadowing! Syd Barrett sings about whimsical gnomes and leads the band into wild vocal/instrumental passages, surely foreshadowing is imminent mental spiral! Fun!
Public Image Ltd.
1/5
This is my first 1/5 stars (a little over 100 albums in).
There is nothing redeemable or functionable about this record. I tried SO hard to justify a 2/5. But I can’t. The instruments are often atonal, the composition is so forgettable, the recordings/mixing is ?????.
https://imgflip.com/memegenerator/260817778/Guy-taking-off-headphones
Judas Priest
3/5
Tough week for me, this ends a full week of albums from 1969-1980.
Most metal is a bit hard for me to really dig into, since modern dubstep festival kinda fills a similar role for me.
But I super respect this regardless. A little samey all the way through but that’s expected. Super tight arrangements. A neat feature for me was all the drum fills peppered in throughout the album
Louis Prima
4/5
Life could be dream type beat.
Actually really entertaining, it’s clear that this guy was an entertainer as much as he was a musician. Most joyful listen I’ve had in a bit
Beyoncé
3/5
This album is such a 2014 time capsule. It’s features, the themes of self-love and new-wave feminism. The trappy production choices. I think it’s aged pretty well though, the composition and writing stands on its own especially in the most memorable songs to have come from this album.
A 1.5 hour album is such a slap in the face to the listener, she just did it again with the Cowboy Carter record. I am one of the few people that has the time and attention to listen to albums at that length, most people don’t! Streaming has ruined the succinct album experience.
Very solid 3 for me almost a 4.
FKA twigs
3/5
Strange and extravagant. Went to the grimes school of music. Sometimes gets a bit lost in the crazy atmosphere of the album. I’m glad she’s since done more pop-focused projects, she’s got the chops for it! I think she deserves more mainstream recognition for the space she’s carved out for herself in contemporary music.
John Lee Hooker
3/5
This set a nice ambiance for me to get ruthlessly ledge-camped by a marth named “TheNik” on slipping during my paid day off. TheNik, no amount of bluesy lamenting on this album can replicate the misery of your play style.
Van Morrison
2/5
Do we really need to prove that Van Morrison sounds good in a live setting on the 1001 albums you should listen to before you die list?
No problem with the album in a vacuum, he’s super talented. More a problem with the album in the context of this list
The Beach Boys
4/5
Oh baby this has long been in many peoples top albums of all time list.
On that note Sloop John B -> God Only Knows is incredible, two generational songs back to back. I think God Only Knows is a top 5 song of all time.
This album has such a specific sound and formula, not only unique for it’s time but unique for almost anytime.
Julian Cope
2/5
Peggy NOOOOO 😳
I dunno, I see the appeal to this, and if I actively listened enough times I could find the enjoyment in it. But I don’t think I should have to do that much legwork to meet this album where it is, especially when there are more albums of it’s time that execute its sound better. Respect, but not enjoyment
Tears For Fears
5/5
Saw a tweet one time that was just this picture, captioned “these honkeys were COOKING” and it’s so true.
‘Shout’ is just one of those few 80’s gems that will never be replicated. It’s got AURA. It’s got ATTITUDE. This can be said for the entire album actually. Tight, direct song structure that knows when to slip in and out of instrumental atmospheres. A massive generational pop hit. One iconic vocal melody after another. A mystical album ender. Socially conscious messaging. This album has it all and doesn’t overstay it’s welcome at all. Perfect!
It’s incredible that we got this less than a year after Purple Rain. It’s worth noting that they’ve done the impossible recently - they made a song that’s unique and new sounding, unlike every other legacy band from the 80’s or earlier pumping out nothing-burgers to cash in on yet another world tour. Check out ‘No Small Thing’ it’s worth a listen
Lenny Kravitz
3/5
Quick, someone who was alive back then tell me how bad and persistant the comparisons to Prince were.
This is solid, I think it’s survived it’s time and aged maybe better than most mainstream rock albums of it’s time. A hard-working 3 from me.
The Go-Go's
4/5
Cause ALLLLLLL I neeeeeed, is a beauty and a beeeaaaaaat
This album is sweet, tight, punchy, and fun. I can see this having inspired all sorts of projects and genres that came after it, everything from Sleater-Kinney to No Doubt.
Count Basie & His Orchestra
3/5
Not much to say here fun listen
Bill Evans Trio
3/5
Really makes you feel like you’re in a snooty jazz bar
Simon & Garfunkel
4/5
It’s a damn shame these two hate each other now. Because together they were such a force of songwriting and harmony. This album displays some of their most creative and whimsical ideas alongside some of their most sincere lyrics and instrumentals. And this isn’t even their best album. Incredible!
Maybe it’s just the constant harmonization but there’s something so natural about a good Simon & Garfunkel song
Steve Winwood
4/5
This album was the ultimate “falling into your dad’s music taste check” and it checked me HARD. I used to think Valarie as a song as so mild when I’d listen to it compared to the sampled version from Eric Prydz/Thomas Bangalter. Then I listen to this album and maaaaan Steve’s in the POCKET on these songs. Not overdoing it, just groovin
Deep Purple
3/5
There are way too many live albums on here that aren’t Alive 2007 by Daft Punk. There are too many live albums on this list in general.
Is it good? Yes. Very good. Incredible noodling and drum soloing throughout. Is it necessary to the list?
………..
Cream
2/5
While impressive for it’s time, is this album really that unique when you strip it of it’s psychedelic presentation? Clapton doesn’t even carry it
The Sonics
3/5
Radical for its time, but a time we are so far removed from that it doesn’t shake any modern musical conventions
Maxwell
4/5
Elite r&b. The Wurlitzer-rhodsy chords just glide through this whole album creating a masterclass in atmosphere. Perfect amount of crooning. Punchy yet subtle basslines. Wonderful
Herbie Hancock
4/5
Fun musical ideas turned into whole journeys. Well ahead of its time and aside from everything else that was coming out around then, with the exception of maybe Brian Eno. Great way to start my morning with this album
The Allman Brothers Band
2/5
For better or worse, this is one of the most American albums I’ve heard. Honkeytonk and blues as far as the eye can see. But this shouldn’t be on here. I don’t care that ABB is tight in a live setting. It just isn’t pertinent enough to be anywhere near this list - we as millennials/genz must overthrow the makers of it.
You wanna actually learn something from ABB? Whatever you do, don’t ride your motorcycle in Macon, Georgia. There. That’s more interesting than the umpteenth classic rock live album on here
The Smiths
3/5
I don’t hate this album as much as I used to, even if morissey is still way too whiney. This probably hit super hard if you were a British teen back then. The instrumental composition is really good. The fact that this got a 3 out of me is saying a lot. It just makes me want to listen to Brand New. Similar amounts of whiney crooning
Einstürzende Neubauten
2/5
What the Cold War does to a mf 💀💀💀
I’m assuming they’re repeating Germanic phrases that center around social issues? Truly the Death Grips of their time, except this made a bit more sense than death grips do tbh. Never listening to this again, but I get it and respect it
Dexys Midnight Runners
2/5
I love me a good horn section but this can be a bit excessive at times. Fun, easy listening, but it always sounds like they’re falling a little short of a pop hit they’re aiming for. Meanders around a lot
Doves
3/5
I’m calling this “One Tree Hill Core”.
First half of the album or so is easy on the ears, with a slight influence of post rock. A little melodramatic at times, like this is so clearly made for 2000’s dramas. There is a weird point in the album, from “Catch The Sun” onward there’s a consistant need to sound like a British foo fighters ripoff?
A hilarious shot of nostalgia for turn of the century tv series enjoyers.
Blondie
3/5
It’s like if No Doubt was a new wave band!
-wildly strong, unique female lead vocalist (who is just a little quirky)
-mostly faceless male instrumentalists who keep it tight in the backing tracks
-a dynamic that produced some of the most spunky pop tracks of its respective time
B.B. King
4/5
He was cookin
The band was cookin
Even the crowd was cookin
They made a sizzlin dish 🤌
Creedence Clearwater Revival
4/5
Haven’t and won’t do a deep dive on CCR’s discography, but I’m willing to bet this is their best album. It feels the most directed and concise, not just one folksy honkeytonk song after another. When I was like 5-6, I used to LOVE the song Traveling Band. I’d scream the screaming part and everything
3/5
It is STRIKING how powerful the tom drums and other floor drums just PUNCH through your headphones. Especially since they’re being banged on so constantly. I would love to know how one ends up liking this music as casual listening, how many holes you have to go through. Very interesting, very frenetic
Ryan Adams
2/5
Milquetoast at best. Forgettable delivery of almost every song
Red Hot Chili Peppers
3/5
You shouldn’t be allowed to be this horny and this weird
Beck
3/5
It’s American Gorillaz! Same sort of lofi drum loop sampling with some twangy vocal noodling at its best, waffles out a little too long at its worst towards the end. Might hit a lot harder smoking weed on a porch in the middle of nowhere
The Who
3/5
What I wish for from more rock albums of its time. Ambitious and focused, some generational singles to come out of this one. The British had rockestra down, I can point to this and all of ELO’s greatest hits as evidence
Buck Owens
4/5
Pulling the CCR album last week with Looking Out My Backdoor, which mentions Buck Owens, was a summoning ritual for him to appear this week.
There’s nothing like a good ol steel guitar. Which made me realize that people our age might like the steel guitar because of…SpongeBob. Of all things. Anyways this was surprisingly enjoyable front to back. Simple, compact, easy country listening
Antony and the Johnsons
4/5
Hope There’s Someone was lifted/covered by Avicii and it’s just as beautiful as it is here. I was so excited to hear the original here opening the album. And it’s consistently as raw and emotional throughout. Lots of great messaging about identity and self-discovery in the singers journey of finding a true self
Beastie Boys
3/5
I listened to this literally the day before this for the first time because it was on apples top 100 💀
Surely the frat boys at the time ATE this up
Iron Maiden
3/5
Running Free is absolutely the highlight here. The rhythm and drum fills tickle my brain. I wonder how much variance there will be in Iron Maiden albums, considering this was their first, and their output was pretty prolific
The Young Rascals
3/5
Grooving’ but at what cost
This was passable and relaxing but further proves how ahead of their time the Beatles were
Jimi Hendrix
4/5
Electric and emotive and most of all innovative. I’m guessing the reversing of the tape technique was pretty mind-boggling back then. Hendrix is what every frontman should desire to be.
Elis Regina
3/5
Not sure what she’s saying but it sounds fun
Prince
4/5
He understood and performed music so well that he super rested the 80’s sound fonts so frequently used in this amazing album. Strong 4/5
Van Halen
4/5
They’re the best bits of AC/DC + Aerosmith. The ultimate Dudes Rock arena album. Surprisingly good, energetic from front to back. Surprisingly thorough
Scritti Politti
2/5
I do understand this, I really do. I even respect it. But it’s not for me. Especially after having just done Princes’ 1999 a couple days ago. Nothing in this album stands out from its 80’s pastiche
The Cure
2/5
Fine at best, not unique enough to be deserving of a 1000 albums list at worst. Probably helped the onset of shoegaze as a genre but who cares
The Band
3/5
The Band. The Album. The Songs. The Music. The mid.
Boston
5/5
Anyone with parents my age knows this has a handful of generational hits on it. Specifically the first three songs, that’s an all-time track list. it’s insane how the first like 5-6 songs are all played on classic rock radio as hit singles. They figured out how to write a killer pop chorus, how to harmonize on it, and ran with that formula. As with most hit albums, my only criticism is that it’s a bit front-loaded. Last 2-3 songs are a bit lackluster. But holy shit. I acknowledge the nostalgia clouding my vision on this one, but I also think it’s fair to say this is one of the best, most succinct American classic rock albums
Common
3/5
Thoughtful lyrical oldheads unite 💯
This is solid, it’s a good, summation of what Common is all about. Except there’s so much Kanye on here. Constantly.
Hard working 3
Massive Attack
4/5
I used to always just be right on the edge of grasping the appeal of Massive Attack, and in some ways I still am. But I think it helped that I listened to this at 5:30 am while I buttered the forklift around the warehouse at the beginning of a quiet work day.
Massive Attack isn’t meant to be grasped super hard, and this album helped me realize that. Great background music, great weed smoking music
Taylor Swift
4/5
Candy sweet and squeaky clean. Like, almost too clean. I think a big part of most pop music today is that it doesn’t have to adhere to such tight production and mass-appeal standards (harry styles and a few others are exceptions though).
Pulls from what was working in 2014 but doesn’t lean into it too hard. Hooks for days, but as with every pop album, it’s front-loaded.
Stephen Stills
3/5
Unlike most albums of its time, the last two tracks in particular brought it home for me. A surprisingly solid finish. If there’s one thing I’m learning, it’s that old heads love CSN&Y, and that includes all of their careers individually. Understandable, this was a respectable effort with a tasteful amount of shredding. Hard working 3
Talking Heads
3/5
Talking heads more like clicking heads am I right gamers?
Probably the quintessential talking heads album, I’m just more of a remain in light guy myself
Arcade Fire
2/5
There isn’t a single thing this album does better than its predecessor, Funeral. Therefore, outside of being a little recession time capsule, I don’t think this album will age with grace. It doesn’t have edges, it’s so soft.
My real gripe with this album is once again within the context of this list.
There is no reason for this to be on here, taking up a spot when I’m sure funeral already is on here. It’s milquetoast Grammy fodder for 30+ year olds who want to look back on their privileged suburban life fondly. Twinkly, sweet moments that are otherwise washed over by drab blehhhhh
DJ Shadow
5/5
It’s been a long time coming for this one. I hold this album close to my heart, it was a big revelation for me as a listener/consumer who was growing in and out of certain music tastes about 8ish years ago when I finally heard it.
This album helped me realize that a record can be greater than just the sum of its parts. On their own, many of these tracks are just fuzzy, hypnotic trip-hop, with strange samples going in and out of phase.
But as a whole, this album sounds just like the title of one of its best tracks: Midnight In A Perfect World.
This record manages to establish an atmosphere thats both liminal, AND blissful. So many odds and ends have been stitched together perfectly here. A haunting organ soloist sample. A vintage scifi movie clip. Or those lush, beautiful organ chords at the beginning of the aforementioned Midnight In A Perfect World!
I can’t completely put proper words together to describe the aura of Endtroducing. I’m convinced this album was conceived in its entirety under a full moon summer night.
So please do yourself a favor and save Endtroducing for those long summer months coming up (June 2024 as of writing this). Bring your headphones and go for a walk on that next full moon night. Listen to this front to back, your human experience will be enhanced for doing so!
The Magnetic Fields
2/5
What am I supposed to say here “oh it really comes alive halfway through the second album oh the third disc really has some hidden gems in it.”
Get tf outta here with a nearly 3 hour long album comprised mostly of male manipulator music. This album was a huge test of strength for me to meet a piece of art where it’s at, and I tried my hardest. But after a while, these songs did what I’m guessing a lot of deadmau5 songs do for his first time listeners: blended all together.
This was a Spotify streaming bloat album well before it’s time though, I’ll give it that
10cc
3/5
They’re all self-aware jesters doing their best to make us giggle and I really appreciate that. Finally something from the 70’s that stands out a bit! Still not some generational record, but at least this had lots of character. Almost a 4 star from me
Bob Marley & The Wailers
3/5
Maybe a bit more meditative than the 2 other wailers albums we’ve had so far, but otherwise pretty similar
Radiohead
3/5
Shocked that we are 186 albums into this list and this is the first Radiohead album we’ve had so far. Like so many albums in the early/mid 2000’s, there’s lots of despair and grappling with the world post-9/11. I’m pretty sure Radiohead has better offerings than this though
The Rolling Stones
3/5
The Beatles have broken up and now it’s the stones time to shine.
And they stick to their honkeytonk guns. It’s impressive how many British rock bands at this time wanted the American sound.
Please check out Susan Boyles version of Wild Horses from this album. She actually made a better song out of it
CHIC
4/5
Man I love Chic. They laid out the blueprint for house music 20 years before it became popular. Simply make an irresistible musical idea, loop it, and iterate on it throughout the course of 5+ minutes. Shout out to Nile Rodgers who has to be one of the most important musicians of the 20th century. Chics greatest hits go head to head with any greatest hits album.
Def Leppard
2/5
It did not transcend the time it was made in, unfortunately. There’s more unique and identifiable arena rock out there, if you ask me. Photograph on here even kinda just passes by as it’s hit song
The Clash
5/5
The advent of all things punk, the best to ever do it. Everyone else has already said everything else, I’d just like to point out two songs I particularly like on this record.
1. The Card Cheat - it’s practically a Bruce Springsteen song
2. Revolution Rock - is this early ska?
Snoop Dogg
4/5
Never had there been an album cover more accurately depicting the contents and aesthetics of a record.
The song Gz And Hustlas has an unreal sample of a Bernard Wright song. Seriously this is such a find, it sounds like it could be on a Justice record just as easily
Tom Waits
3/5
It’s no Heart Attack and Vine (the GOAT) but it’s at its best still leaning even further into the scuzzy fictional characters that reek of old-timey New Orleans folklore
It’s unexplainable U2 to release this album on January 1, 2000, and have the opener be “Beautiful Day.”
I fear that the times are beginning to catch up to U2 on this album. They stuck to their guns, which are running out of ammo. This sound was so clean and cutting-edge on something like Joshua Tree in the late 80’s. But the Radioheads of the world have since taken the blueprint that U2 laid and expanded upon/experimented with it. So is this album bad? No. Is it unique, worth being your first U2 album listen, or a stand-out in the field of its early 2000’s contemporaries? Nope.
One more unrelated note, today is July 3rd, and I know this list has kicked out holiday themed albums in the past. I’m calling a Born In The USA pull for tomorrow.
Kings of Leon
1/5
I’d say this album aged poorly, but there’s just no way people didn’t see a ton of red flags with this album on release, both lyrically and sonically. When I can’t understand the lyrics, I just hear grating babble. When I can understand the lyrics, most of the time I end up wishing I didn’t. Multiple kings of Leon albums on this list are an affront to the dedicated listeners time
Arctic Monkeys
4/5
Spunky very fun full of attitude, probably one of the last good unique rock albums that had some wider appeal. I will be going back to this!
Sister Sledge
3/5
I just knew that was Nile Rodgers the moment I heard the guitar. These ladies can sing and harmonize like crazy. While I think Chic came out with more bangers, this album follows the same enjoyable template that laid the ground for house music with its grip Iness and repetitive nature
Manic Street Preachers
3/5
I appreciate this a bit more than most Brit pop of it’s time. It felt like there was some serious thought given to the composition and instrumentation, especially on the title track. I got a sense of weight and movement that id normally hear in a Zedd song 🤌
Hard-earned 3, could come back to it and bump it up to a 4
John Cale
5/5
Wow! Wow wow wow. I love it when baroque/art pop sticks the landing. I can’t believe this is from 1973. It’s just as unique as Eno’s Another Green World which came a few years later. The title track is one of the best chorus medleys and executions I’ve ever heard. Like, even when the next song started playing, the “you’re a ghost lalalalalalalalala” just kept on going in my head. It’s the end of the day, I listened to this album 3 times today at work, and still, I have that chorus stuck in my head.
Great concept, incredibly catchy from start to finish, succinct enough. Perfect.
This might be a softer 5/5 than some of my true longtime favorites, but I cannot deny this album what it truly deserves
Steely Dan
3/5
I know I’m getting old when the Steely Dan singles start sounding like harmonic gold to my ears. The lack of bombast can be forgiven and replaced with an appreciation for the unique composition and tight production. Which is all ironic this time around, because this album doesn’t contain any of those yacht rock classics I used to hear on my parents radio in my youth.
All that being said, should this album be on this list? Not if there’s two or more other steely Dan albums on it, which I’m sure is the case.
Begrudging 3/5.
Anyways happy 200 albums :)
Leonard Cohen
3/5
Alright I must admit I was blown away on the first song, his voice is so aged and sinister. I do think that effect overstays it’s welcome. But I appreciate an album from someone who isn’t in the prime years of their life, even if there should be many albums from the mid-2010’s on this list instead
John Lennon
2/5
A perfect summation of John Lennon’s persona; equal parts iconic and pretentious. How can you lead the album with the messaging on Imagine but then also have a diss track about your former bandmate on the same album? This record fluctuates from fantastic to grating on the ears far too often
Goldfrapp
3/5
Refreshing sound in the greater context of this list. Suspenseful, unique, but not anything mind-blowing imo.
What are we calling this, dramatic lunge music? Chat is this dubstep?
Laura Nyro
4/5
Just wanna start off by saying there are pictures of her in which she looks hauntingly like Clairo???
Anyways, I respect this record a lot, her performances are full of life. Sweet Blindness probably the favorite for me. Will I go back to this album often? Probably not, but I still respect it. I wonder why Laura never got the mass legacy appeal someone like Carol King did. These songs have a pretty similar standard quality
Soft Machine
2/5
Not for me, anyone younger than genX, or anyone else who can count on one hand the number of times they’ve smoked weed. With that in mind, I will give props to these guys for being this musically fluid while surely being cooked out of their brains
Queen
5/5
I was so sure tenement funster was done by The Who frontman. But I was wrong.
Maaaan so few bands were put together as well as Queen. Ironically, this might be the closest thing we ever got to an ELO record that isn’t actually ELO. Maybe classic rock was just starved for pianos not done in the honkeytonk style. This album is great, the transition from the theatrical melodrama of In The Lap Of The Gods right into the proto-metal, Deep-Purple-esque Stone Cold Crazy. So wonderful. What a performance. And then Leroy Brown?!? That pretty much did a better job every Panic At The Disco song tried to do.
Perhaps the coolest thing about this album is how it consistently escalates the theatrics and fun of everything with each new song.
Beck
2/5
Maybe real Beckheads can get excited about this one, because I cannot. Does he always sing like this, or is this just really Chris Cornell inspired?
The Rolling Stones
3/5
Seems like every Stones record is just
-honkeytonk admiration
-classic late 60’s rock doowop
-that one song everyone on planet earth knows
-more honkeytonk
-Mick having a moment of actual humane introspection
-oooohbabeyyy you’re a honkeytonk giiiirl from upper Virginia god I wish I grew up in Appalachia
Now I will give this album some credit for diverting from that method a slight bit and leaping away from the 60’s classic rock sound into something often more subtle and nuanced. And the story telling is pretty vivid too.
Megadeth
3/5
For when it's dude's oclock and the fellas want to drink beers, try this album!
This sounds like a disciple of the iron maiden format, and it mostly works.
Big Star
3/5
fun and simple, an ode to basic songwriting and simple themes. not many highlights, but not many lowlights either. Soft 3
David Bowie
4/5
Finally, 211 albums in and we get some Bowie going. Outside of the individual album ranking, David Bowie is one of a few true solo artists who should be given 5 stars for his career, not just any one album. While Hunky Dory is an artsy, boundry-pushing, expressive rock (kinda) album, he truly went crazy with it over the years. For example, in 1997 he did an electronic BREAKCORE ALBUM that honestly holds up pretty well for what it is.
Anyways Fill Your Heart on Hunky Dory is my sleeper highlight here. STRONG 4 stars here. Truly an honor to have walked the earth at the same time as David Bowie
Pixies
4/5
so that's where modest mouse got that voice
Public Enemy
3/5
Perhaps the best use of a live vocal sample is Mat Zo sampling Chuck D. in Caught, Can We Get A Witness off this album.
This is carried insanely hard by the larger-than-life presence both Chuck D and Flava Flav have. Because I'm sorry, as fun as some of these beats aree, they are still clunky at the end of the day. I respect it either way
King Crimson
2/5
I would like to cite the ending of one of the most popular reviews on this website (a 5 star review of Lorde's Melodrama) that ended by saying "Sorry it's not King Crimson or whatever."
And that feels fairly accurate. If I was born in 1954 and spent my 20's doing LSD, being sure that these guys + Pink Floyd had just figured out music, then I too would go bananas over this. So I respect it for how progressive it was for it's time. Additionally, there are passages in this album that are still placid and beautiful, like the ending of Exiles. But I don't see myself ever enjoying this an the every-day setting. Nor do I see myself remembering too much of it either
Deerhunter
3/5
indie darlings? yes.
Kinda snoozy? Also yes
R.E.M.
2/5
REM probably hit a little harder if you were alive and tuned into american current events when this album came out.
Like...these songs are well-written (at least mostly), but are performed in a pretty bland way (outside of the obvious hit singles).
REM on the whole, not just this album, feels like a settled agreement or compromise by the radio listeners at large. Nothing is done outright BADLY, but nothing is that good to my ears.
Ray Charles
3/5
A bit pretentious to call it that but when you listen all the way through and consider the man and the time period, you’ll allow it
Boards of Canada
4/5
My personal name for this album is “Context has the right to change my opinion”
When I first heard this album years ago I thought it (and all other Boards of Canada music) was a snooze fest that didn’t deserve any of the hype it got. Most of the songs just kinda came and went, there wasn’t much to grasp.
But maybe it’s not about grasping a song. Maybe it’s more about sinking into the vibe. Minecraft’s soundtrack led me to a deeper appreciation of Aphex Twin, who made a lot of music very similar to what’s on this album here. With that in mind, and the proper time to sit on it all, I’ve realized that this album is about embracing the liminal soundscapes that come and go, just like a nice dream. While this album does overstay it’s welcome a touch, it’s not nearly as challenging as it once was. Listen to it right before bed or right as you get out of bed.
Gang Of Four
2/5
We’re (I’m) around 215 albums into this list and the realization is coming over me that I’ll be getting real tired of the inclusion of albums like this - it’s the new random psychedelic rock album inclusion. I don’t care if these guys influenced bigger bands, the album just passes right by
The Fall
2/5
The earnest nature of the first song gave me hope, but alas, that hope was ill-placed. This is not in the top 1001 albums you should listen to, surely it’s not
Portishead
3/5
It’s is two separate things to “get” an album vs. to “like” an album.
I get this album. I really do. There’s no more needing to beat me over the head with it.
But I still don’t like it in the way everyone else does. There are other albums that go for this same aura and do it better
Billy Joel
5/5
An album that you give a 5/5 stars to without much thought. Not to say that it’s overrated at all though!
Most songs on here are household names for a reason. Billy Joel sticks the landing over and over again. A masterclass in storytelling done perfectly through the lens of piano-pop ballads
Donald Fagen
2/5
Boomers bring anything Steely-Dan-related to this list like Sheen brings Ultralord to class in Jimmy Neutron
It would be something if this album was unique, but it was just more of the exact same steely Dan sound too
>:(
Franz Ferdinand
3/5
Essential early millennial listening that set the trend for tumblr pop in the years to come. The pop hits are hits for a reason, sometimes the performances and deliveries towards the end get a bit lethargic, and not in the cool way. Still, almost anything post-2000 is refreshing for this list
Pulp
4/5
A rare, RARE case where a pop-adjacent album ends with its best two songs. This album has me conflicted, there are moments of Bowie-inspired greatness, and most of the compositions, specifically the instrumentals, are great. Sometimes the vocals are a little all over the place though.
I could see this being the greatest thing that ever happened to you if you were an impressionable teen at the time of its release, it has that sort of dramatic energy.
This is a soft 4 for me for now. But I’m coming back to it, I’m interested in this albums replayability
Queen
3/5
There should be a 2 album per band limit and I don’t think Queen II cracks the top 2 for Queen
Red Hot Chili Peppers
4/5
RHCP are such an interesting listen to me and this album is a microcosm of that experience. The hits are anthemic, timeless, and undeniable, and within an hour I’m really tired of hearing the band.
My non-hit-song highlight from here would be “Road Trippin” as it’s a good break from the slappy funk-rock that starts to otherwise blend together as the album lengthens out
SZA
4/5
Her ability to inject genuine personality and character into each song is so astounding that the instrumentals don’t have to do that much work. I can think of few others over the past few decades who have that capability - maybe Frank Ocean, earlier Kanye, and Kendrick. Elite storytelling abilities puts her in elite company.
Side note, anytime I pull an album from 2000ish or beyond, I’m filled with excitement for something new, but also filled with dread - knowing there’s only more 60’s psychedelia and 80’s british post-punk to slog through
Culture Club
3/5
Was it good?
Arguably - it was at least well-executed with tight production and a clear vision for what it wanted to be as an album.
Was it ageless/timeless?
…please refer to the cover art.
Björk
4/5
If early Skrillex was a signal from the transformers, then this was an eloquent message from aliens outside our solar system.
Otherworldly, gracious, delicate, tactful. Maybe not totally ‘music’ as it’s known, but most definitely inimitable art
Prince
5/5
Few albums will ever touch the complete artistic vision this album embodies. The songwriting is SO good that it completely escapes the time capsule many of its 80’s sound fonts have locked themselves in.
Everything good has already been said about this album, it’s performer, and it’s concept. I will just say that if the aliens do want us to send them a “NOW! That’s What I Call Humanity’s Greatest Hits” — the song Purple Rain absolutely makes it on that record
Depeche Mode
3/5
Personal Jesus - ahead of it’s time in the sound department, never that good in the lyrics/writing department
Enjoy The Silence - timeless, beautiful, that little plucked guitar melody with the chords they run under it is precious.
Good album, worth your time, great sense of aesthetics and presentation. Strong 3, maybe a 4 if you catch me on the right day
Roxy Music
2/5
The inclusion of two (at least, I’m only 230ish albums in) Roxy Music records has me irritable, when I know how many good post 2000’s records have been left off this list.
This album wasn’t as good as the RM album that came after it, not was it unique enough to justify its place on this list
Beastie Boys
4/5
We’ve already pulled Paul’s Boutique, and to me this album gaps that one. PB was interesting and vivacious, but the thoughtfulness and experimentation pays off in spades for Ill Communication; Bodhisattva Vow is a good example of that willingness to experiment yielding a wonderful change in dynamics. No longer is everything shouted loudly and over pronounced.
This album feels like watching a former frat boy, now in his late 20’s, start to shed his old ways, reaching for a more meaningful lifestyle
Cypress Hill
4/5
ACAB: The Album!
We now know where Danny Brown got his flow, and with how catchy this album is, we don’t blame him
Black Sabbath
3/5
The more classic rock concept albums I listen to from this time period, the more I realize the peak male fantasy was some alignment of heavy rock n roll combined with mystical lyricism. The fellas just wanted to live in a Tolkien-inspired world. Pepper in some honkeytonk, add a smidge of rebellion. And boom. That’s it.
Soft 3.
Bob Dylan
4/5
Gotta be one of the most accessible and lyrically logical Bobby albums
Along with some great, simple guitar playing
Some actually pleasant storytelling that you only need a surface-level grasp of social contexts to get what he’s often talking about
Strong 4
The Who
4/5
The Who delivers a poignant concept about living in a “modern” world that advertises you into submission, with a surprisingly timeless display of irony.
While the mediums have changed (tv -> social media), the inward cacophony that’s induced by yet another car sales jingle has remained all the while - this album will tug at that cacophony for years to come.
Their rendition of In The Hall Of The Mountain King leans into the cool unease so well.
Strong 4.
Jimmy Smith
3/5
A wonderful, rich instrumental pallet cleanse from most other sounds of 1963
Little Richard
3/5
It’s sometimes hard to listen to these super old albums in a comparitive context that this list forces. Like, this doesn’t sound anything like Lorde’s Melodrama.
But there are some cool things to be heard, like how the black social struggle was represented by Little Richard, and how it shares some base similarities with how it’s presented in music now.
Anyway, he’s very energetic, it’s fun to think that this was the cutting edge of pop performance back in its day
R.E.M.
2/5
It’s still hard to believe, even after the second REM album on this list, that this band was one of the most popular in the world. It’s just passable pastiche
Elliott Smith
3/5
The Superbowl for depressed people who spend lots of time on the internet.
It’s alright, there’s instances of good storytelling, a clear ability to inject his personality into the songs. I think this is sadly a case of the albums aura being heightened by the context of its artist. Soft 3
Hookworms
3/5
While I think this is a very left field pick for something out of the late 2010’s, it deserves to be here. I just wish there were more albums from its time.
I hear a lot of Spiritualized in these guys. They do the same exercise of taking a musical idea and letting it grow its own atmosphere over a few minutes. The abrupt ending of the song Boxing Day was really cool, caught me off guard. And Reunion will be used in the ambient playlist going forward too. Hard working 3 almost a 4
Elton John
4/5
It is so cool that the first few minutes of this album could be the beginning of a Tyler, The Creator album. There are moments of timeless composition, timeless performance on here. Impressive storytelling throughout. The one ding on this album is that it’s a bit long and played out, for how many songs sound so similar.
Still, a classic.
Suede
3/5
When it’s going well, it’s dramatic, airy, theatrical.
When it’s not going well it’s a bit over-performative
Leonard Cohen
4/5
Outright incredible storytelling. Leonard Cohen, one of the few exceptions to the rule I want to impose on this list of only 2 albums per artist.
This album proves that this guy should’ve got the spot the Bob Dylan took in the pop culture lexicon
Fats Domino
3/5
Indeed it is.
Dr. Octagon
3/5
I really wanted to like this more than I ended up liking it.
There is some good to be had in here, for example, this is definitely a progenitor of the yung lean/lil b ethos - where it doesn’t matter how atonal you are, it only matters that you’re rapping with personality.
But yeah, I wish this album stuck its landing a bit more. The shock value samples/lyrics aren’t that zany, the sick & twisted aesthetics are just passable. Feels like the same 3-4 things are being brought up over and over again. Interesting guy, but this just doesn’t do it for me like I hoped it would
AC/DC
4/5
My first childhood band obsession was AC/DC, former expert checking in here.
New lead singer Brian Johnson is here and he brought some of the most momentous arena rock of all time with him. It’s hard to think of another band that had a lead singer pass away, and have a graceful replacement take the band (so quickly) and elevate its sound like Brian does here. I really respect their decision to take heavy rock aesthetics, package them into a pop box, and not be gentle in introducing you to their new identity. Kinda ballsy to make the first song after Bon Scott’s passing (RIP) “Hell’s Bells”, but they practically HAD to - that song is meant to be an album opener.
The only glaring reduction of this albums greatness is what any post-1980 AC/DC record can be criticized for - each song sticks to a tried & true formula; that formula can get a bit mundane, especially to the ears of a younger generation. Additionally, some lyrics and innuendos are very corny and aged, but that’s sadly par for the course for this genre.
Man. What a total “dudes rock” album. Such a stellar tone-setter. One of the best album openers ever. And such a great closer to the record as well! I feel like it’s sound is a bit of an homage to Bon Scott, blending the new cutting-edge heavy sound with something slightly bluesy/twangy/lazy — a sound they had perfected by the end of the 70’s.
Pink Floyd
5/5
There is nothing that hasn’t been said about this masterpiece so I will just add in a personal anecdote — i’ll add that I cherish the rides over to the cabin or night hike drives where this was a new, exciting, fascinating album. The vast expanse of Shine On juxtaposed with the stripped rawness of Wish You Were here captivated our attention and soundtracked our good times.
For that, I am forever thankful.
Run-D.M.C.
3/5
Funky and full of ground zero for the term “gangster rap”
Creedence Clearwater Revival
3/5
Is this the first or second best CCR record? Because if not, there shouldn’t be more than two on this list!!
All is as it should be with this album. Songs about the backcountry, about rambling, about being a rolling stone that grows no moss - even in the swamp.
Simple Minds
2/5
Really, really struggling to see how this album earned a spot on this list. I will remember nothing from this album other than it being new wave. Is it outright bad? No. Is it at all unique or memorable? No.
LCD Soundsystem
2/5
HOW the HELL does THIS make the cut, but “This Is Happening”, one of the greatest indie dance albums of all time, DOESNT?????
Kelela
4/5
Considering her output in the years to follow after this album, this is a refreshingly progressive pick to be on this list. Highlights for me are “SOS” and “Onanon”.
David Bowie
3/5
Not his most outstanding work by any means, but only because Bowie set himself such an astronomically high standard throughout his career. One of the few artists who deserve to have more than two albums on this list. We were lucky to walk the earth at the same time as David Bowie
Black Sabbath
4/5
Some generational hits packaged in an album that’s largely about the toll of war (in Vietnam or otherwise) - that’s nothing new for rock of this albums time.
However, what is new is a sort of looming dread Paranoid carries with it. Manic mental states, confronting death in its face, grappling with the modern technology of war.
These guys may have a legacy of mindlessly rocking and rolling, but behind that lies a lot of existential questions about the horrors we can barely comprehend
Skepta
4/5
I really wonder what this album will sound like in 20+ years. It’s still young enough that it’s cool, but also starting to get old enough to be considered for the seminal work it is.
Pharrell kills it on Numbers, and of course Shutdown is quintessential UK grime listening - this whole album is, really.
David Bowie
4/5
Witness a man staring death in its face!
This album is transcendental, given the context that Bowie knows he’s terminally ill. Complete existentialism at the end of life for one of the world’s greatest artists. Makes for a powerful listen
The Teardrop Explodes
4/5
These guys were a hit song away on this album from stardom forever, I truly believe that. Great album opener, very fun album closer. What is it about these guys? Is it spunk? Panache? Rhythm? Whatever it is, they’ve got it. A refreshing hidden gem. Sneaky good
R.E.M.
1/5
I’m sorry there’s no way I’ve had 3+ REM albums a quarter of the way through this list. Not happening. Wish I could veto but I’m in too deep at this point.
Even more unfortunately, the music itself does nothing to prove its placement on this list. Outside of the rare almost catchy hook, this album offers nothing. Not memorable, not descriptive, not unique. I’m so sad about this. Have to give it a 1.
Talking Heads
2/5
Yeah I’m really not too sure this needed to be on here, outside of Take Me To The River there are no iconic or unique moments worthwhile. Love Talking Heads but this one isn’t it
The Kinks
3/5
I actually kinda mess with this one, or at least some songs on this one. Session Man is a very fun meta song without getting too lost in its own joke. I think I’ve heard Sunny Afternoon a few times before as well. Some highlights, some songs shouldn’t have made the cut, but at least there are some memorable, very Beatles-inspired moments.
Led Zeppelin
3/5
I was never clear which song came first, Babe I’m Gonna Leave You on this album, or 25 Or 6 To 4 by Chicago. But I’m convinced someone copied someone.
The good about this album is its slightly saturated, gritty, natural rock sound. Early signs of that Tolkien-inspired-folk here and there. And hey look! Black Mountain Slide is the obligatory Indian-style jam, as every rock band had around this time.
The bad is the insane amount of whining about women/his woman. It was par for the course during this time, but Robert Plant just doesn’t stop. Additionally, even though it’s their first LP, you can already hear the imitating of black vocalists from time to time.
Suede
2/5
If you’re like me and wanted a record to engage in your confirmation bias that 90’s britpop was largely overrated and melodramatic, boy do I have the album for you.
Much like beans on toast, you can only hope this is a product of a bygone, more troubling time
Lynyrd Skynyrd
5/5
It goes from a solid 4/5 to Free Bird bringing it home to an undeniable 5/5. Anthem after anthem, from songs about classism to songs about cocaine. This is the southern rock classic
Jurassic 5
3/5
Some good lyrical miracle posse rapping.
Highlights are One Of Them, which is more vicious than most tracks on here, followed immediately by Hey, which just has an incredibly pleasing instrumental.
Metallica
4/5
About 250 albums or so in and I’m experiencing the first instance of real memory issues with this list - I swore we (i) already pulled this one.
Anyhow this is a markedly incredible record. Outside of some obvious “Metallica” sounds, you can barely tell it’s from the 80’s, or any certain time period. It’s all energy, all perfect execution. Even as i listen to this at 5:30am to start work, I can only be super impressed with how tight the production & performance is.
It’s missing some softer dynamics/ maybe one melodic interlude away from being a true 5/5 for me, but i recognize this as the holy grail for metal heads and respect you if you give it 5 stars
The Fall
3/5
It’s a bit long to listen to one man constantly talking like that, but at least there’s some personality and character to it all
4/5
It is with great regret that (even with this being the second Kinks album this week) i say i like and appreciate this album. While there are too many like this record on the 1001 list, this one at least knows what it’s doing. There’s plenty of character, fun storytelling, catchy melodies. These guys really hate the idea of war, as did most rock bands in the late 60’s.
Highlights on here for me are Yes Sir, No Sir as well as Shangri-La
Fleetwood Mac
3/5
Creates a good vibe that maintains a specific pleasant atmosphere for bunches of 10 minutes or so, mostly when it’s Stevie knicks singing. I’m always impressed at how Fleetwood Mac found the sweet spot for letting instruments and vocals breathe, giving everything its proper room in the mix/recording. Still, nothing on here makes me jump out of my seat
Nick Drake
3/5
Alright I’m pretty sure that’s all 3 major Nick Drake albums checked off, what are we (i), 271 albums into this?
I remember the first one being the most impressive to me, even through the background noise of a giant airplane taking me to NZ. He had a very grounded vocal presence that seemingly held out a hand to take you along through whatever story he was telling. Then we pulled Pink Moon, which was a bit more experimental and definitely more in lala land mentally (apparently representing the decline of his mental state a bit), and now we are here in the middle. So how does it go?
More like the first record, thankfully. Drakes delivery is very arresting. There’s strangely a lot of tasteful, easy waiting room style music in this too. Maybe not everyone’s thing, but I’m a fan. 3 for now, but I want to go back to this one I think there’s more here.
Poor Boy is my highlight of the record
The White Stripes
3/5
The stark cut from the first track into The Nurse, which is by far the best song on here, is the highlight for me. I had to check to make sure it wasn’t my phone going off. Everything else is par for the White Stripes course. After enough time with this list I can offer my respect to the Whites as musicians. Not often my mood, but they’re both stellar
Fun Lovin' Criminals
3/5
Fun loving? Yes, absolutely. These guys are very fun and at times pure of heart. It’s infectious at best. However, it often comes at a cost of subpar lyricism and delivery. It’s interesting, they’re at an intersection of rock and rap, but not at all in the nu-metal linkin park way.
“All the Time In The World” is the highlight for me here. Good instrumental, good vibe. And a light 3 for those good vibes
Eurythmics
2/5
Chat am I a jaded hater?
I’m just getting this feeling that I won’t remember anything off this record other than the title track - which does deserve its props. Sweet Dreams (the song) seems like the type of song you write/record and instantly know you’ve got something big on your hands. I must also recognize it’s staying power, zedd just recently played it at his show. It’s still recognizable and sleek.
But outside of that…there’s nothing new to grasp onto. It’s just 80’s music with nothing more than a slightly dark facade to it all. Carried by the title track, if there even is anything to carry here
The Stooges
2/5
Simply put - not my jam
Buddy Holly & The Crickets
2/5
So this is what they sang about before the cold war!
Very tight & well performed as a band, but hard to judge
Grateful Dead
3/5
So this is Grateful Dead. Not as eclectic as their reputation would lead you to believe, but I know that most of that reputation is from their “jam band” style live shows. This was just very Crosby-Stills-Nash-esque. Truckin is a classic, my favorite on here is Ripple though. Not too shabby
The Rolling Stones
4/5
Yeah this is a bit more solid than most stones albums / any rock album of its time. I think the biggest standout on here is the moments of restraint mick and the band use on some arrangements - they know when to go crazy and Gimme Shelter it, but they know when to pull it back and You Can’t Always Get What You Want it
U2
4/5
the lightest 4 stars from me. Good protest music, some iconic songs are frontloaded onto here, tapers off a bit in the back.
The Black Keys
3/5
Like every album made by The Black Keys or Kings of Leon, I wish they would just shut up. Such nice pop-rock compositions almost always ruined by the singers voice. I can’t quite pin it down, but there’s something in both the tonality of the singers voice and the lyrics that is so grating on the ears.
On the plus side, this is recorded excellently. The fidelity and textures of all the instruments, how they all come together, it’s all fantastic.
Softest 3 possible.
Nirvana
4/5
Showcases the incredible quality of Kurt’s voice in its unique tonality and his ability to so personally tell a story in each song. An iconic album in the eyes of many
Dusty Springfield
4/5
I don’t know if the 5am ghost was just hitting right this morning, but this was a surprisingly good album. I wasn’t expecting much at all. The highlight for sure is I Wish I’d Never Loved You, it’s soaring and dramatic and sung to perfection. Also, is Live It Up sounding really close to The Loco-Motion to anyone else? I know it’s not an uncommon chord progression, but it sounded pretty similar.
Anyways, really enjoyed this album.
Pantera
4/5
I can’t really poke a hole in this album. Maybe that’s partly due to how out of my depth I am with anything metal. But this was fantastic. Obviously, Hollow is the clear highlight of the record. More melodic and refrained than most songs, which I think all metal/loud albums need a bit of. A stark, interesting contrast from Master Of Puppets that was recently the album of the day, in that VDOP here was often more introspective and lyrically based in reality. Really well done.
k.d. lang
3/5
Not as impactful as the previous kd lang record we’ve pulled from this list. A bit more outwardly country & folksy, maybe a tad too much so. Not bad by any means, just not the best offering
The Smashing Pumpkins
2/5
The instrumental backing is lovely
The singing is unbearable
Pulp
2/5
Telling myself that English britpop/rock isn’t derivative and mundane for the millionth time while wearing a clinically insane smile on my face and manically clawing at the walls that surround me
Queen Latifah
4/5
I apologize Queen Latifah, I wasn’t familiar with your game.
Thoughtful, well-produced, full of charecter.
“Come Into My House” is the highlight for me
Iggy Pop
3/5
Sister Midnight and Nightclubbing are both incredible songs, then it slowly devolves into more hazy, hard to grasp stuff. Glad to know that China Girl by Bowie is a pseudo cover/redo
Queens of the Stone Age
3/5
Queens of the Stone Age are really good at Just The Right Amount.
Just the right amount of melodic variation, of emotion, of sounds vs. silence.
Where they really excel is in producing an atmosphere (songs for the deaf will go on to further prove this). Really good rock music that isn’t bogged down by an awful singer
4/5
A lot of people think of this record when they think of the word "album"
The strange thing is that the first two songs sound like an album closer.
Within You Without You into When Im 64 is a personal favorite beatles moment for me both songs are so fun.
Now is this a 5 outta 5? No. But its making the case for it. a couple of tracks with a little less punch than the rest. Still, it deserves much of the generational hype.
King Crimson
4/5
While it had its moments of getting way too noodly, I get the hype for this one. Very much ahead of it’s time for progressive/experimental rock
Astor Piazzolla
4/5
I had such a good listening experience with this album that I just let Spotify suggested take the reins for like two hours after. Great music to work to. I’d hoped there’d be more albums of this unique variety when I first got into this list
Isaac Hayes
4/5
This was so well done, especially for a movie score. I feel like, too often, film scores fall too far into doing way too much or way too little in terms of their presence and listenability outside of the movie. But this is perfect, enjoyable, and tight. Cafe Regios is a highlight on here (outside of the crazy Do Your Thing which should just be listened to, not talked about), one of the best songs I’ve picked up so far from this daily albums list. Tasteful bossa nova that paces itself so well, when that hi hat ride kicks in around halfway through and the drum pattern slightly alters - OOH!
Rahul Dev Burman
3/5
there's so much personality in this, especially in the first track. Thankful for the rare instances of true variety this list can provide, so glad its a break from classic rock or new wave. Very very fun mixup
Joan Armatrading
3/5
Some personal chronicles about the dynamics of relationships. Nothing overtly amazing, but nothing skippable either. Very accurate cover art, the focus here is a girl and her guitar. For this being made almost 50 years ago, it holds up surprisingly well. Feels like it coulda been on the radio with Lenny Kravitz in the 90's. An even 3 stars
Simon & Garfunkel
5/5
Simply one of the greatest albums of all time. There are a handful of EP’s and just a few albums that I can playback in my head from start to finish - this is one of them. Every song is uniquely memorable, no skips at all. It’s a damn shame these two had a falling out, because this record is at the top of the evidence pile for a case to be made the S&G were the greatest duo ever.
T. Rex
3/5
I enjoyed this slightly more than I thought I would! I would say it’s well above average for an early 70’s rock record. This list has helped illuminate little nuggets of albums like these, that teach me that there was a lot of good music more grounded in reality thats been hiding behind the wall of select classic rock hits that get played to death
Beatles
2/5
This is a protest 2 star. We don’t need this many rock albums from the 60’s! This is simply insane! I don’t care if it’s the Beatles or a one-hit-wonder! It must be stopped, even this record is not that essential!
Motörhead
3/5
This one’s a bit of a rollercoaster. I was beginning to think that live Motörhead was wearing out it’s welcome quite early, but something about the persistence of their energy and great chemistry/playing live was noticed around the time they get to We Are The Road Crew. A nice little sentiment for a yeehaw metal song. But then it kinda goes back into a wall of noise towards the end of the album. Still, engaging enough to hold my attention for an hour
Green Day
5/5
A scathing indictment of suburban America and its culture/belief system under the Bush administration. Also at times a beautiful display of the different ways those suburban kids/families struggle to reckon with personal tragedy. A great juxtaposition of power chords and sad but catchy melodies. It’s undeniably a 5, a good snapshot in time for a subset of Americans
Lorde
4/5
Let’s go NZ this is one of the most justified white woman crashouts of all time.
Pop artist should use this record as a reference, it’s that good across the board.
And is that some Kate Bush influence I hear in Writer In The Dark?
3/5
I’m semi-convinced that Limp Bizkit (and specifically this album) exists as a way to show us how lucky we were to have Linkin Park, and specifically the dynamic between Chester Bennington and Mike Shinoda. A sort of Wario to LP’s Mario. Because nothing about this album is charismatic, but everything about this album is enigmatic. The instrumentals and compositions are so cutting-edge and clean for their time, then Fred Durst just takes the mic to spew verbal diarrhea everywhere. And at points there’s some self-awareness to it all? It feels strange giving such a polarizing album/band a 3, but here we are.
The clever chorus on Full Nelson is the highlight for me
Steely Dan
4/5
Man they seem like they’re having so much fun while performing with such ease. Call me aging, but Do It Again grows on me more and more as the years go by. I went into a convenience store yesterday and it was playing over the speaker, and my mood just got better instantly.
Soft 4 here, great week for albums so far it’s been a 5, 4, and today a 4. We’re (I’m) 300 albums in and I don’t know if that’s happened much or at all!
Booker T. & The MG's
2/5
I’ve got no qualms with the quality of music, thank you Green Onions for the iconic Sandlot lick. But none of this sticks. It’s like how some people feel about house music, it’s all just kinda in the background, kinda not impactful or wanting to make its presence known - but at the same time it’s clearly not trying to do the ambient music angle where it’s intentionally out of the way/in the background too.
Cool guys, important that they were racially integrated as early as this was, but just not doing anything for me musically
Tracy Chapman
3/5
Heartfelt and delicate, but has the same issue as many other albums of it’s time in that it’s almost too mellow at points
Fleet Foxes
2/5
You can frolic about in the echoey indie sounds of this album, but most of them will be forgotten to the whimsical sands of time.
CHVRCHES
4/5
I’m so glad I was an impressionable age when this album came out. I think these days I would’ve more easily written it off as 80’s revivalist pop pastiche. But no, this was peak tumblr, Porter-Robinson-adjacent, on the drive to my first job, good from front to back. Wistful lead vocals packed with a nice balance of angst and catharsis, often dancey, AMAZING hooks. If you are new to liking this, I suggest The Naked And Famous as a similar listen.
“Tether” is my highlight and it has a great house remix from Junior Sanchez that should be listened to as well
Elvis Costello & The Attractions
2/5
I have not had harder lyrical whiplash than my listening experience with “Oliver’s Army” on this album. And upon further digging it looks like Mr. Costello has a big issue with his views and choice of words - but that he’s also very actively pro-Palestine???
Anyways, nothing on here is bad, but nothing is very new or unique. “Party Girl” is probably my highlight. I’m sure I’m the last person on earth to hear Elvis and think that Prince was doing it better.
I wish this album wasn’t given a spot on here, considering there are other more deserving ones not dropping hard R’s!
PJ Harvey
4/5
I saw her in concert about two months ago! I went into it with very few preconceptions or specific expectations and I left very impressed. She’s a performer through and through, it was dramatic from start to finish, very few words were said until a break towards the last few songs. I greatly appreciated it.
Anyways, as for this album here, it is a great balance of delicate and guttural. I suppose you can say that about all of her best stuff. Uninhibited vocals and raw instrumentals to back it up. A very very strong 4 outta 5.
Al Green
4/5
Good RnB/soul music is where the vent diagram of honest lyricism/singing crosses with bits of the pop format. I really respect Al Greens ability to do that with such ease on this record. Just little treats of authenticity coming at you left and right every single song. Like someone handing you assorted homemade baked goods for an hour straight
Marvin Gaye
4/5
Al Green yesterday Marvin Gaye today. Gaye's falsetto crooning is perhaps the defining sound of this album - backed by grooves that weave between heavy pockets and lighter passages with ease. It seemed like this album was a big leap for him thematically, moving away from the overtly clean suit and tie doowop love songs, to something more existential, open-ended, and funky all the same. Not the most surprising pick, but Mercy Mercy Me is my highlight here -- What's Going on is so culturally significant that I'm sure most everyone already knows it.
Radiohead
4/5
Is this the best radiohead album? probably. The masses may say OK Computer, I'm not so sure I agree with that.
Is this album fantastic? In many ways, yes. Almost every song creates an amazing sense of space and atmosphere by demonstrating restraint on when to let the blend of electronics + real instruments go crazy vs. when to keep things nice and quiet. All I Need is my sleeper highlight on this one, using an updated version of that late 90's breakbeat percussion rhythm so well.
Is/was this album also the bible for people who are beginning to think their music taste can cure cancer? maybe a little, yeah. My little mini-theory on that is this album came out during a time where personal music blogs were widely accessible and in-fashion, and many people were creating their own blogs, heightening the sense of personal pride on what music taste meant to oneself.
The Who
2/5
Not to be a Scrooge on this Christmas 2024 but this is a near-inexcusable placement on this 1001 albums list thats only barely redeemed by the energized live instrumentation. Because, respectfully, the vocals aren’t there. At all.
Pixies
3/5
If your goal is to travel from 80’s rick to 90’s grunge/rock, this album makes it clear that you must last the Pixies checkpoint. You might even take a long detour or have yourself a long stay. This album is full of sweet hooks covered in hazy instrumental melodies, often singing whistfully about some unattainable girl or situation. Definitely not bossanova though.
Miles Davis
4/5
swanky and fun. the musical pop definition of "cool" would soon evolve very rapidly huh.
This was especially good to practice melee to
Soundgarden
2/5
2024 ends in a day, and something I want to do in 2025 is listen to music with no preconceptions or sense of jadedness.
This album is really testing those personal goals. I hear Chris Cornell’s one in a million singing voice here, I hear a very well-recorded band, I hear songs that mean a lot to a lot of people…
this album just doesn’t do it for me. I ran it back too! I listened to it twice! I think this album, much like Nirvanas nevermind, is a bit front-loaded. I also think that this is just a rock album as much as it is a grunge album. I really want more for my enjoyment of Superunknown, it just isn’t hitting for me
Lou Reed
4/5
Just because i said Lou Reed is one of the few artists so great he can exceed my theoretical 2 album per artist limit doesn’t mean you get to go crazy with it and add any project Lou Reed touches.
That was my knee jerk reaction.
Then I listened to the album! Lou Reed, man. Great album intro as always. A simple concept album done beautifully. Men Of Good Fortune showcasing his amazing, personable storytelling ability. Some great horn arrangements on How Do You Think It Feels.
Then one of the best album closers I’ve ever heard - one of the best songs to come from this list so far - Sad Song. I immediately ran it back on this one. What a fantastic, charming, soaring melody executed to perfection. The middle of this album began to lull just a tiny bit, but Sad Song brought it all home with such a firm finish.
As a little context, reading about this album reveals that rolling stone initially said it was a disaster, but 50-some-odd years later it’s a top 500 album of all time. Very funny. If you like something that much, never listen to critics about how it should be perceived
The Smiths
3/5
2025 is here and I am being tested. I wish to be less immediately-cynical about artists I have relative knowledge of, but haven’t listened to a majority of their discography’s.
I believe I accomplished that by stumbling into the correct circumstances to appreciate what this album has to offer.
It’s been a cold, grey day so I went to the gym to run on the treadmill. I think this was a great backing track to that setting. It also made me realize that the smiths/morrisey are functionally similar to Lana Del Rey but for gen X white male teens/20 somethings. Both are very whistful and often sing with a sense of yearning for something ephemeral.
As for this album specifically, it was still what I would expect from a Smiths project. Maybe a bit more based in reality, which I could appreciate, considering the albums topics about war, unnecessary human suffering, vegetarianism, and ethical consumption. My favorite track is probably Well I Wonder, I liked that slightly surfer guitar riff. The final track, the title track, is interesting to me. It had the best instrumentation, cutting edge production, but felt a little on the nose and melodramatic, lyrically.
All in all, I honor the in-depth experience I had with this album, one I could’ve very easily half-assed and passed over easily. Soft 3/5.
The Pretty Things
2/5
Im always so interested when its an album form the 60's that has like 1 million plays per song or less. Like, did this just get added, or is it really a deep pick? Anyways, I had to wait until the weekend to listen to this, because in true 60's fashion the vocals and some instruments were panned completely to one ear. Can't one-ear listen at work.
As for the album itself, it sadly fades into 60's pastiche around song 8ish.
There's even an indian-psych-inspired track! Truly the complete late 60's rock package. For this, I must reluctantly give it a 2 out of 5, there isnt much that's very distinct about this album that isnt already done many times over or many times better by many other groups.
My highlight is probably "Bracelets of Fingers"
The Mamas & The Papas
4/5
Never has a band been so sweet and perfect in the recording booth, and so toxic off the mic. So rarely do you get a group that checks off boxes for drug addiction, alcohol abuse, sexual abuse, a love quadrangle, and various misdemeanor arrests. The love quadrangle and cheating in particular makes the juxtaposition of smooth harmonies and the lyrics of a song like “Got a Feelin” seem almost agonizing. This album has challenged my preconception that The Eagles were the greatest vocal harmonizers of all time.
Now, the record does take a bit of a dip after California Dreamin, where it starts feeling a bit repetitive, but I can’t sing it too much - because the final song “The In Crowd” was a nice pickup in energy and confidence.
I can totally see this being a pop music revolution for its time, it even stands up to the impossible gold standard that is the Beatles/Beach Boys in the early 60’s (speaking of the beach boys, this version of Do You Wanna Dance is arguably better than the beach boys for me, its more intimate). Candy-sweet anthems that took the yearning of teenybopper music and elevated it to something slightly more mature with spectacular, tight vocal arrangements. Soft 4/5 stars!
Frank Ocean
5/5
Potentially the closest an album from the early 2010’s will come to being “timeless.”
Everyone, quick, remember what pop music sounded like in 2012. There was almost always some gimmick (a mandolin) or angle or hyper-emphasized genre (pop going EDM) about each hit song.
Channel Orange, on the other hand, has songs that could’ve come out in the year 2001, 2012, or 2025, and I genuinely wouldn’t know which decade to pin it down to. This record is both generational, and generation-defying!
On the whole, something I appreciate most about Channel Orange is how it’s kinda like the GTA V of albums (aside from the fact that they both came out within a year or so of each other). Both the album and the game are fantastical portraits/caricatures of aimless, impulsive, glitzy west coast life. Both explore the false promises, hard realities, and various methods of escapism used to deal with it all. And, holy shit, both the game and the album are masterclasses in world-building and defining an atmosphere. I can hear the pastel sunsets in the warmth of Franks crooning.
A small nitpick I have with this album is the song Pyramids, whose first half is maybe the only time it sounds a little like it’s for sure from 2012. That synth line is cool, just a bit dated now. The second half of Pyramids switches into the simplest, coolest beat you could hope for though!
Catching John Mayer in the midst of his best musical era and just throwing him in there for a little smooth guitar interlude, pulling a clever-as-ever Andre3000 feature, and getting a rising Earl Sweatshirt as the only named collabs on here too??? Incredible.
I have to give this album all 5 stars. Frank Ocean doesn’t just present you with a great album, he pulls you into it’s decadent, hazy, hedonistic world.
Justin Timberlake
2/5
(written like an angry Facebook post) Album title very misleading!
We let this guy get away with too much, and the passage of time lets me say that with certainty. I think the biggest gripe I have with this album is that some fantastic Pharrell and Timbaland production is wasted on some just ok JT falsetto singing.
My second biggest gripe with this album is that I’m not sure how seriously JT wants us to take him. Making a song like “Cry Me A River” and then proceeding to cry himself a river on the closing “Never Again”, all the while peppering the track list with various “hey girl I like your body” type of tracks. Mixed messaging, which I suppose I could look past if I was a JT stan…but I am not. And I think that’s where the barrier of entry lies with this Justified - if you are invested in the man then this is an album do substance for you. Otherwise, all this album is good for is a poorly-aged single about a Britney Spears breakup. And some solid pop production. Both Timbaland and Pharrell are so good at making sounds that sparkle and add flavor to a track. I have lots of good to say about the production, not much to say about the man behind the microphone. Sadly, “Cry Me a River” is my only worthwhile highlight, the album takes a noticeable nosedive from “Right For Me” and beyond.
More mature than his boyband days? Sure, but not by much.
Gillian Welch
3/5
How rare and exciting it is to get an album past the year 2000 that I know nothing about! What’s more exciting is how *not* post-2000 it sounds. This music is honest and simple in structure, allowing the listener to pay more attention to when Gillian Welch accentuates a word or repeats a phrase. The songs are good at either painting a character, or ask you to think back on a different time in one’s life.
My highlight on here is “Everything Is Free” for it’s straightforward but super effective guitar melody
Joni Mitchell
3/5
This album makes me wonder who else from her generation was just as good at lyrically placing you right in the midst of a story or setting. Maybe Billy Joel, Elton John, and…? Surely the list is short. Vintage easy listening that doesn’t tug on the heartstrings as much as it instead functions like a personal favorite fiction novel. Also with a bit of subtle electronic production here and there? I noticed it on “The Jungle Line” song. Loved the horns on “Harry’s House/Centerpiece.” My favorite is probably the closer “Shadows and Light.”
Pleasant music to listen to while lounging around
Marvin Gaye
4/5
Yay! Our last Marvin Gaye album was just a week or so ago, so we get to think comparatively! My favorite way to form thoughts around music!!!
This does share many similarities on sonics with What's Going On, but where it differs is that most songs here are really in the pocket - theres just a bit more groove to provide some backbone to the songs. That's not true for everything though, which allows me to talk about my favorite song on here. "If I should die tonight" is just so beautiful in it's sentiment and execution. The swelling strings and horns, the light, plucky guitars fading in and out, and Marvin putting his whole heart and soul into the vocal performance. Wow, such a pretty pretty pretty song! Another highlight, "You sure love to ball" gets back into the more groovy (and almost bossanova) territory - and I think its a nice microcosm of the other change this album sees in comparison to Whats Going On; there's no social outcrying here. It's just one smooth love song after another. Love proclamations and grapplings with ones feelings surrounding a lover, these are what we get treated to on this record.
Thelonious Monk
3/5
I don’t have a ton to say about the details of this album, as it’s so far out of my depth. But I really enjoyed it and wish we had more unique instrumental genres to listen to. What I do know is that there seems to be some artistic liberty in the solos of different instruments peppered throughout this record (it’s jazz, so duh I shouldn’t be surprised by that. By 1957, was this a radical composition and performance? Surely to jazz heads at least, it must’ve been.
My highlight here is probably the most notable mood switch on the album, Pannonica.
Alternative name for this group:
THEL and the MONKey homosapiens
fIREHOSE
3/5
Sounds like it’s just some white boys having fun. Strangely, the stuff I liked the most on this record were the stripped back, simple songs. The Going To California type of guitar melody on “Vastopol” was a very good interlude. Then “Liberty For Our Friend” was very fun and made its way into my head with its simplicity.
I’ve never heard about these guys before and don’t know how often I’ll hear about them after this. I can hear the foundations for some of the midwestern rock and emo to come after this album, like one of my favorites “You’d Prefer An Astronaut” by Hum.
While there is a great amount of charm to be heard throughout, I don’t think I’ll be going back to this one much. I’m happy I got to learn about a new band and had a bit of fun doing so
David Ackles
5/5
Last week, I listened to Joni Mitchell’s “The Hissing Of Summer Lawns” where I said something to the effect of she and Billy Joel and Elton John may be in their own company when it comes to storytelling and lyrics that place you IN the song.
I would like to add David Ackles, or at least this album, to that elite company.
I was FLOORED listening to some of these songs. How have I never head of this guy, or this album? On here are some of the most beautiful songs I’ve ever heard, sung with a lot of conviction, and wrapped up in really pretty instrumental arrangements.
Right off the bat, “American Gothic” is such a fun parlor-style story of a messy couple. I didn’t realize I was in for such a theatrical listen!
Then “Love’s Enough” straightens things out with a Nick Drake type of love ballad. This song is so honest and heartfelt.
One of the most pure fun songs is “Oh California!” which switches into this swanky showtune style and ends with what seems to be a full string/horn chorus arrangement??? How many tricks does David Ackles have up his sleeve???
The last song that really stood out to me was “Waiting For the Moving Van” which just about brings you to your knees. What a sobering, sentimental little song.
In addition to these highlights, there’s bits of country, folk, and gospel peppered into things! Plus a very nice long story in the last song.
These are the albums that make this list so worthwhile. I can slog through 50 two-star albums in a row if it means the 51st album is this diamond in the rough. Total hidden gem that shines so bright if you give it a dusting.
Reading further on his life and legacy, it is a crime that David didn’t get the commercial success he deserved, even with Elton John constantly singing his praises. No popular interviews of him on youtube, very little info to dig into anywhere. This is insane!
The Mothers Of Invention
4/5
Yeah so unfortunately the wiggling worm and dancing monkey in my brain ate this up like a steak dinner.
It’s so cool to me that last week I can be prompted to listen to some wildly over-produced Justin Timberlake debut solo album with every little note and production element perfectly placed, then yesterday listen to one of the most heartfelt and undervalued albums I’ve ever heard in American Gothic by David Ackles, then get this craziness today.
I can unfortunately see so many people responding to this with something along the lines of “ummmmm yeah not for me no thanks” and being very close-minded to it. I understand that perspective! But this is underniable a memorable listen. Furthermore, it’s both of its time, and ahead of its time! Social issues and late 60’s characters are portrayed well throughout the albums few structured moments. I hear some scathing and clever observations of societal injustices that remind me of System of a Down. I hear the frenetic sounds effects that remind me of Aphex Twin. I hear some beautiful instrumental bending amongst the chaos, like Miracle Musical. I hear LOTS of 100 Gecs in the pitched up vocals. I can even see the line between this and a very modern group like Deaths Dynamic Shroud and their off-the-wall sound.
“Flower Punk” and “What’s The Ugliest Part of Your Body” are my highlights, if you can pick out such things from this musical quilt.
The wiggling worn and the dancing monkey are telling me to give this 4 stars
Paul Simon
4/5
Man Ive always loved “You Can Call Me Al” so much. Maybe too much. Perhaps it’s because it kept playing in an ad for a while last July, perhaps I’m just chronically white. But that song is just a super ear worm and is complete fun.
I wasn’t aware that most all of this albums would be just as fun.
It seriously impresses me that Paul Simon was in the midst of a failing marriage, lost partnership with Art, and off the heels of a solo album that apparently flopped. I’d love to be 40 and find this much fun and inspiration from the world in the midst of such personal turmoil. I think he does the South African sound well and weaves in its native collaborators really nicely. The title track is such a good rambling road trip song with a memorable set of chords under its pre-chorus.
I was a little unsure about how this album would score for me as a whole, or if it would take a thematic turn, but when the first minute or so of “Diamonds On The Soles Of Her Shoes” finished up, I was just smiling ear to ear. How incredibly fun. I shouldn’t be shocked, but this little hymn was just gliding around in my head for hours after. At this point, I knew that the vibrancy and easy fun of this record was here to stay. I love art thats this kind to the senses, it’s like a little musical vacation. Paul Simon was in his bag for this one
Nick Cave & The Bad Seeds
3/5
Nick Cave always has a lot of vivid stories to tell. I often wonder how he comes up with all these images in his head. This album is a good example of just that - from stories of family and relationships, to tales from high fantasy worlds - he has it all in his head.
At points during this record though, it felt like too much for one sitting. Not to take away from the incredible vocal conviction and great narrative-based lyricism. But towards the end I got a bit burnt out on it all.
“Hiding All Away” is a great anthemic rock song. And “Messiah Ward” has some really cool guitar harmonies that make it my favorite listen here. Soft 3/5
Billy Bragg
3/5
There are moments, particularly early on, where we rise above the looming britpop slog that this record predates. Growing pains and angst can be felt throughout the first few tracks, whether it’s the jealous tone of the opening track, or the coming-of-age realizations in “The Marriage.” I personally love the surfer blues guitar riff and vocal melody on “Levi Stubbs Tears.” And that horn solo at the end? OOH! Love it. “Wishing The Days Away” is an equally wishful but gloomy singalong that I really enjoyed. “Deportees” is a highlight of disc 2, which is making a conscious effort to highlight social immigration and humanity issues at Americas southern border - it’s practically a protest song done in the Eagles lonesome western style.
Then, “The Clashing Of Ideaoligies” is making me wonder if someone isn’t pulling the switches on what albums we get on specific days for this list. The song is a scathing set of jabs about corruption in parliament and government in general. One day after our own inauguration? Hmmm.
Anyways. The good is really good, but this could probably be consolidated into one album to make it great. Instead, you’ve gotta take the good with the meh. Strong 3/5.
The Undertones
2/5
I honestly really don’t have much for this record, since it didn’t give me much to chew on. Or at least there wasn’t much that I haven’t already hear before that was done better by other punk bands. I’m sure this could’ve been massive if you were a British teen in 1979, but I couldn’t connect the dots. 2/5.
Goldfrapp
3/5
Did I already listen to one Goldfrapp record on this list? Or was that on my own time? I look forward to more of this confusion as the daily album list goes on. Anyways, super pretty opening song. Mystical and peaceful guitar ballad. Turns out most of the record is like that! There’s a right amount of whimsy and vulnerability in here. “Eat Yourself” is probably my highlight, but if you need to skip to something more energetic then try “Caravan Girl.” Something so nice about this time/style of music - this, Florence + The Machine, Temper Trap, Yeah Yeah Yeahs, etc. - it was all very cathartic pop/alternative music.
ZZ Top
4/5
At the opening song, I thought to myself “was ZZ Top going for that sweet sweet MTV spot??”
Then by the second song, specifically when that little electric guitar lick came in at the end of the chorus, I thought “damn were they secretly good at it too?”
It kept going too! Everybody knows “Sharp Dressed Man” but my highlight of the record for me is the song after, “I Need You Tonight.” A really cool night crawler style track.
I have a problem with how horribly legs is sung, but somehow ZZ Top is saved with their general scuzzy aesthetic not setting the bar too high in the first place. As is the case with all pop-leaning records, it tapers off in the second half in a noticeable way. This is briefly saved by a whole song giving tribute to TV Dinners. But then we are right back to the objectifying women and attempting to make more arena rock hits.
I’m a bit torn on what to give this. Ive gotta remember what this album was trying to achieve - I must remind myself that this band made a huge sonic transition for this record. But I don’t think they totally sold out, their ethos and lyrics kinda stayed the same. For marrying their dusty, oily hearts to the new-school sound of the 80’s in a successful fashion, I give this a light 4 outta 5 stars
The Smashing Pumpkins
1/5
I have nothing good to say about this record, or Smashing Pumpkins, outside of that i appreciate the grand instrumental compositions on occasion here.
I came into this record with hopes of having a better experience than I did with Mellon Collie (having two of these albums make this 1001 is overkill), but what I got was much of the same. I cannot stand Billy Corgans voice, I hear no appeal in it other than it being instantly recognizable, if that matters to you. His singing is genuinely grating on the ears when it’s at its lowest points on this record. “Disarm” is a fine song I suppose, but only if you could have the magic powers to mute the audio channel that plays back Billy Corgan’s vocals. I understand the appeal of Death Grips more than I understand the appeal of Smashing Pumpkins. I have nothing else good to say about this record, so I will not say anything else at all.
Stevie Wonder
4/5
Ahhhh this is such a breath of fresh air. I think that can be said for all the Stevie wonder classics during this time period. Even the downtrodden songs on here are still somehow so joyous. Everything is sung with a pure heart. I do think Songs In The Key Of Life kinda sets the bar even impossibly higher and somehow this album doesn’t quite live up to that same bar. But this is still such a pleasant, refreshing, affirming listen. My highlights are the obvious ones, “Superstition” reminds me of watching I-Robot as a kid. And the opener “You Are The Sunshine Of My Life” is an elite-tier love song.
Soft 4/5 stars
The Verve
2/5
It’s 5am, Wednesday morning at work. It’s cold as hell, our heater stopped working. I’m tired, another 9th place at UW melee last night. But the vibes are all good. So maybe the tired is getting to me, but I feel like this album couldn’t give me a break. Sonically, it was just so constantly full of noise. I want to understand this trend, I want to know what led to this being somewhat commonplace in the genre of british pop / post rock / y2k rock. Did Radiohead just blow the doors down for this sound and then everyone tried to follow suit? I could barely grasp onto any melody or lyrical hook because it felt so buried in the brigade of guitar reverb but also prolonged vocal performances but also loud percussion but also full looping bass lines. “Brainstorm Interlude” is perhaps the worst offender of this noise blitzkrieg. My highlight is probably the more mellow reprieve from all the noise, “On Your Own.”
I wanted to like this more than I did, and think I would like the songs if they were composed and performed with less of a deluge of reverb and echo and noise coming at me from all angles
Pet Shop Boys
4/5
Damn I kinda enjoyed this album. But I understand if the enjoyment is more personal than universal. I think it was 70% surprisingly good production, 30% occasional good vocal hook. “Liberation” has that super pretty 90’s two-step beat with some beachy keyboards and synths behind it. “Yesterday When I Was Mad” is what I like to call a SEGA Sound Team Sonic Riders type beat, which furthers my point that the production here is very forward-thinking! “The Theatre” had a really dramatic pre-chorus/chorus. Then “Go West” had to be my highlight. The 90’s version of Canon In D, but also with those distinctly Eastern European backing vocals? Really cool touch. As I’m writing this review, I’m realizing how much this one snuck up on me. There are still some painfully 90’s sounds on here, “One and One Make Five” had an intro that soured the rest of the track for me. But overall, I’m impressed. Tight, thumping drum programming, non-offensive synth/keys choices, memorable enough top lines. Soft 4/5 stars, who would’ve thought!
Jorge Ben Jor
3/5
I don’t really have much to say here other than that I love just how much is constantly going on, instrumentally speaking. Whereas The Verve album a few days ago felt like a relentless maelstrom of sound that you just wanted a break from, this album fills your ears with so many fun textures and sounds. All the syncopated percussion going on at once. And just when you think you’ve started to nail down it’s happy formula, the record hits you with something like the 1:45 mark in “A Historia De Jorge” when that starry synth sweeps in out of nowhere. Super cool, super infectious stuff. Hard not to get caught in the good vibes here. My personal favorite is “Cavaleiro Do Cavalo Imaculado” for its tempo and energy
Bee Gees
3/5
The Bee Gees! Finally, The Bee Gees! I credit my parents playing their BeeGees records when I was young for shaping my inclination for vibrant, melodic dance music today. So it was a breakneck shock to hear these guys before the soaring strings and harmonized disco choruses. Like, this is genuinely just an early 70’s record full of rock/pop/singer-songwriter ballads.
All that being said, it doesn’t take long to hear the blueprints for their transitional success, as “Israel” has some of those string sections towards its second half while Barry Gibb goes on a little crooning tangent with his signature wobbly vibrato thingy he does so well. A few tracks later, “It’s Just the Way” sounds a bit too much like an easy -listening Beatles song. Similar guitar tone and you can practically hear Paul and John harmonizing together here. It’s also at this point that the BeeGees would like to get it through your head that this album is all about wishing and yearning. Some of its hopeful, most of it is hopeless; “Remembering” makes me sure that one of these guys just got a divorce or is character acting as a divorced man.
A high point in the record for me is the beat switch on “Somebody Stop the Music” to something more fun and swanky, even if it still has Beatles fingerprints all over it, which STILL continues onto the title track.
I’m left wishing for a bit more variety, like the grand sense of a silver lining on “Dont Wanna Live Inside Myself” which should have been the closing song. Good I’m moments, does a lot of the same sulking for the majority of the time.
Arcade Fire
3/5
All I’m saying is that it’s very fitting that we get these guys on the day of the Grammys. Arcade Fire again huh. Unfortunately I don’t think this will be the last time we see them, I’m still waiting for “Funeral” which is their big record thats really worth its weight in gold. Early on, the formula is still clear here: anthemic ho-hey’ing that juxtaposes bits of suburban utopia with all sorts of existential unease.
“Intervention” is a sign of the times song about the war in Iraq, and I’m honestly surprised it took four tracks to get to protesting that time of American imperialism - three years earlier, American Idiot blew the doors down for any band to throw its hat in the protest ring.
This makes sense as a follow-up record: you just won album of the year, why charge it up?
Go ahead and use this album as you would the aforementioned Funeral - put it on and ride your bike through a town like Mill Creek WA on a nice summer evening. Welcome the nice breeze in your face as you guide on the empty, smooth neighborhood roads. Notice the strangeness of a gated community or all the American flags on the excessively nice, eerily quiet houses.
Metallica
2/5
“It’s no Master of Puppets” - me, and probably most other people. While this album is no slouch, I just don’t think it holds a torch to its predecessor. There are some moments worth listening for here, like the really chunky, slower “Harvester or Sorrow” which slows down its powerchord formula to a pace that makes you feel the thump of the drums and guitars. Then the obvious highlight on here is “One” which is truly among the best metal songs you’ll ever hear, if not the singular best. Metal will never be my in my powerhouse, but I can still appreciate this album in the same way I appreciated MoP: incredibly clean production and composition that stands the test of time, an instantly recognizable sound, and solid storytelling/imagery. Sadly, a point down for this being too similar to MoP
Barry Adamson
3/5
Almost pissed off that we got some niche indie film soundtrack until I read about the concept of this album not actually having a real movie to go with it. I needed the concept to understand this record, then it instantly became cooler. Perfect? No, not at all. But really cool. I’m reminded of a few other musicians I really like when I listen to this. First, the concept reminds me of the M Machine Metropolis EP series, where there was some loose conceptual lore written down to build up the world of the music. Second, in MSS’s haziest, craziest moments, like “The Swinging Detective” I’m reminded of DJ Shadow’s “Endtroducing” with how music like this can be greater than the sum of its parts when you give it the time and space to develop. Lastly, I feel like I can draw a direct line between this album and some of the stuff Onehotrix Point Never was doing in his best years. “The Most Beautiful Girl In the World” is my highlight on here and super reminds me of OPN soundfonts with that touch of surrealism.
Neat stuff, worth a listen, won’t go back to it, but can be appreciated in a vacuum anytime.
The Cure
4/5
Melodramatic, grand, and full of emotion. There is a sense of scale and fullness (for lack of a better term) that I haven’t heard on previous Cure albums, or many 80’s albums in general for that matter. The low end on “Prayers for Rain” that comes in at about 40 seconds is absolutely insane, it adds so much sonic mass and depth to the song. Then Robert Smith comes in with those echoey, delayed, reverb vocals. Wow! Fantastic production there. Then the vocal crescendos near the end of “Disintigration” really stuck with me too. So full of drama and longing. While it isn’t up my alley, I can’t deny that the cure stuck the landing with this one. Soft 4/5!
Jane Weaver
4/5
Oooh somebody new that I know nothing about! This is a really cool album opener, reminds me a bit of Radiohead meets Dan Deacon in terms of some progressive, energetic production thats a bit atmospheric, a bit off-the-wall. Indie meets electronica, that’s what this is! “Loops in the Secret Society” was a really cool listen, she has such a clear idea about how to build up a song and be additive at just the right times. Another highlight was the little bleepy synth refrain in the next song “The Architect.”
But my song of the album award absolutely goes to “The Lightning Back” for its infectious, quaint indietronica perfection. I hear lots of The Postal Service in this one, which is about the highest compliment I can give a song. Whirling, nasaly synths that are easy on the ears, a bit-crushed beat meant to induce a little head-nodding. Airy singing about a lovers impact on the singer. Beautiful stuff, so good that it got a replay out of me before I could finish the album!
Another shoutout to the cool vocal intro and outro on “Ravenspoint” that helped elevate the tension a bit.
This album is a great deviation from the manly rock&roll or grand concept albums. Sometimes all you need is some easy, well-made indietronica to get you through the day
Willie Nelson
5/5
As soon as that easy organ/wurlitzer? keyboard hit on the opener "Stardust" I knew I was in for a soft, sweet treat. Willie has that Leonard Cohen ease to his delivery, it's so simplistic and surehanded. Like a nice warm hug.
I got a lot out of "All of Me" for the square-dance-meets-lounge-music combination. Probably my highlight of the record.
I was ready to turn my nose up at a pretty simple cover of "Unchained Melody" and there is fair reason for that - I dont think Willie's voice is cut out for those few high notes he reaches for. But man, all the same, the soft beating heart finds it's way to shine through in Willie's gentle delivery. An earnest cover. It's at this point in which all listener's have realized that they've been lulled a first half full of pleasant love songs.
Another moment worth holding on for is when Willie adds a little muscle to his voice when counting of the months on "September", to then have it followed by a romantic plucky acoustic guitar solo.
A true sign of a generational musical talent is an artist who can make the transition from their breakout sound to something more poppy, while still preserving what made them identifiable in the first place. Willie Nelson puts on a masterclass on how to do just that. We are lucky to hear it done with such ease on Stardust. Good Sunday listening that will put a smile on your face and help you breath a little easier. I was gonna go with a strong 4/5 stars, but this is undeniable - a total pleasure from beginning to end.
Tim Buckley
2/5
A bit unsure how to feel about the opener - good storytelling, but the topic is certainly interesting. After a few more songs of feeling this way, I went to the full Wikipedia article to see if Tim Buckley was just playing a wretched character or if these songs were more biographical. Lo and behold, this is Jeff Buckley’s dad. Something clicked then, having already heard Jeff’s “Grace” album & gotten familiar with the story of his life. Father and son both lived careers of vices, doubt, and inner-turmoil. Both troubadours to some extent, using their music as a means of processing the lives they lived, both dying before their full audience could be realized.
I think “Nighthawkin” is a fair microcosm of this whole record. Engaging story, a performance clearly empowered by cocaine, and then *boom* a couple of words you wish he didn’t use/ideas he didn’t convey. A record encapsulated in its time and place. It’s like you listen to this album unfold and wish for Tim to use his powers for good instead of evil. You can’t deny his vocal chops and heart for performing…but then you hear song after song about a vice, misfortune, or misbehavior.
Perhaps the final song “Make It Right” is even more representative of the album as a whole, more than “Nighthawkin.” It’s a ‘mask off’ moment where Tim doubles down on the instrumental composition and production to elevate the energy to something really groovy and exciting. Then proceeds to dream and plead for a sex worker (?) to do all these things to him to “make it right” again. He takes the ending of the song to a pretty impressive peak where he goes on a crazy vocal run. It’s as if he’s accepting how lost he is in his vices.
Will I go back to this album? No. Did I learn something? Sure - maybe Steely Dan & Van Morrison had a good thing going, in comparison to the more evil sides of this record.
Mylo
4/5
Alright why has the world conspired to keep "Valley of the Dolls" hidden from me. In fact, why has the world conspired to keep this whole album from me? You all know I cant resist sample-based music thats made more colorful by the use of a phaser/flanger. That blissful Daft Punk phaser texture hits the dopamine receptors just right. I didnt realize it, but "Drop the Pressure is responsible for a very often-used vocal sample in house music! This song specifically has that early Calvin Harris vibe, you can hear the beginnings of blog house sprouting up. But my highlight on here (and it isnt even close) is the blissed-out "In My Arms". This one is special. I know that there will be very few times that this list produces a song that so perfectly aligns with my exact hopes for what any song can be, while also doing so utilizing my very favorite production methods. A house tempo song with a super happy, super fuzzy, phased vocal loop in a major key. A repetitive, simple bassline. A nice little bridge/chopped up middle section that ramps back up to an even more outright happy and shiny second half, with just a little extra glittery synth at the end to bring it home. I replayed it twice before I could move on through the album! The only comp I have for this song is Pete Heller's Big Love, which wouldnt surprise me to hear it was a reference track for "In My Arms". Genuinely, this song couldve been surrounded by ten layers of shit, and this album wouldve still been worth it for that euphoric little nugget. Luckily, this album isnt layers of shit at all! Now, it's no opus of dance music. But it's good! A tasteful (i hate using that adjective) amount of sampling and chopping, like on "Rikki". Some more easy listening cuts that venture into almost trip-hop territory like "Sunworshipper" or "Need You Tonight". I'm gonna guess the common gripe about this album is that theres not much substance to grab and hang onto, not much in the way of hooks or sticky musical motifs - and that's fair. To that, I'd say that maybe those things aren't always needed. Maybe this album could find its place while doing chores on a lazy sunday or on a nice walk, or just for laying around in the sun. A nice, happy, hazy little musical companion. Soft 4/5.
Isaac Hayes
3/5
I think I’ve come out of this record still a bigger fan of the Shaft score. But also with an appreciation for the conviction Issac Hayes brought to each song here. “Walk On By” builds upon itself really well up to the 7 minute mark - it’s probably my highlight. “By The Time I Get To Phoenix” actually did a really good job of keeping my attention, despite it being 18 minutes. Great 3rd person narration. Not my absolute favorite, but a good listen with a unique album format
The Divine Comedy
2/5
My hopes were high for this one after reading its description, but I’m afraid it didn’t live up to those hopes. I just had a hard time finding many musical ideas or hooks to hang onto here. There are some exceptions, the ending of “Everybody Knows (Except You)” with those ‘ba-ba-baaaa’ backing vocals was really fun. The album was so short that I listened to the disc 2 remaster, and enjoyed “Bath - live” a good bit too. But outside of that, I don’t think I’ll remember much from this one, nothing made a lasting impact on me. Not bad, just not exceptional.
The Beach Boys
4/5
I have so much to say! Guys it happened! I finally liked an album mainly for its lyrics! For LYRICS! This never happens!
Also, have The Beach Boys GONE WOKE?!?!??? WOKE BEACH BOYS???
In all seriousness, I loved this albums messaging. It’s so strange to hear self-awareness in such an old album. I’m reminded of one of my favorite albums, “Plastic Beach” by the Gorillaz - much like Surf’s Up, it’s vibrant, colorful, and ear-wormy, with lyrics about a failing environment and other ethical issues.
“Long Promised Road” has such a nice sentiment about positive determinism in the face of a great challenge - more music needs to be like that (like Nurture by Porter Robinson).
“Take a Load Off Your Feet” spoke to me specifically as I am feeling more and more physical ailments after each work day/workout.
Lastly, “Student Demonstration Time” is awesome for how blunt it is, just listen and learn.
Loved everything I heard and learned, loved the messaging a lot here!
Thats 4 BOOMS from me
Jack White
3/5
I always look like this >:( when I see Jack White/most any rock on this list past 2010. So much had been going on that was so far outside the realm of anything guitar-based. Luckily for me, this isn’t as ‘rock’ as it seemed at fave value. Furthermore, almost anytime I’ve listened to a Jack White record, I’ve come away thinking “this guy really has a lot of fun performing”, and I once again feel the same way with Blunderbuss!
It did take a little while to settle into, though. Then “Love Interruption” played and I started really enjoying things - it’s probably my highlight of the album. The title track is pretty cool as well, especially if you’re into Zeppelin-sounding songs. The most pure fun you can have with this record is easily with the song “I’m Shakin” which is kinda like if the Black Keys actually made something with actual character that wasn’t incredibly derivative, he sells the hell outta this song. Fun, thorough rock that isn’t afraid to explore a new idea or sound for a bit.
Black Sabbath
2/5
I’m beginning to learn that the tried & true Sabbath formula was some galavanting guitar licks paired with the most agonizing cry for help lyrics you can think of.
“Changes” got its flowers with how it’s been covered over the years and I’m glad it did, the song is worth the attention. “FX” might be the musical marker for when the drugs started to kick in for Ozzy. The more this record progresses, the stranger it gets! “Supernaut” has such an interesting little percussion passage midway through. Then there’s “Laguna Sunrise” which just mellows everything out with am acousting guitar and some accompanying soaring strings. Then BOOM it’s back to some dudes rock guitar licks on “st. Vitus Dance”. It’s all a little flip-floppy and hectic, one of the more irritating instances of song sequencing/ track listing.
Even with its peculiar moments or fun production choices, this album doesn’t really warrant a spot on here IMO, especially considering there’s at least one other Sabbath record on the list.
The Jon Spencer Blues Explosion
3/5
I am a sucker for two types of album openers. The first of which, I like to call the EDM Headliner Opener, where there’s a long drawn out buildup starting from practical silence and slowly easing you into some epic opening melody. The second method, after listening to this album, will from here on out be known as the “Skunk” method. 0.00 seconds wasted, your attention has been commanded by way of screaming. You don’t get much of a break until “Wail”, where noise rock meets some Elvis jiving. We continue our dive into the odd trip with the psychedelic “Fuck Shit Up” where you realize that the only rules this album follows is that there are no rules! I think this album retains its fun factor until “Love All Of Me”. Something about the more twee intro of the song made me want something more.
The blueprint is set from this point on. Rocknroll tangents, baritone crooning that jumps to distorted yelling. High-energy in-your-face performances. I appreciate this album for how uncompromising it is, and how I haven’t heard much else like it on this list so far.
Manic Street Preachers
3/5
A few years ago I would’ve been potentially territorial about non-Americans being so critical of America, but at this point it’s totally fair and warranted. Not that this album is strictly critical, it is at times scathing, and at times painting a caricature of people here. And that’s understood! The highlight here is the insanely named “ IFWHITEAMERICATOLDTHETIUTHFORONEDAYIT'SWORLDWOULDFALLAPART” for obvious reasons. There’s a handful of good hooks here that are indicators of a pop-punky (NOT pop punk, pop-punky) formula that would be commonplace years later. My criticism of this record comes in the form of how it stays at the same level of energy and noise until “This Is Yesterday” which gets a little bit more quiet, then the rest of the album resumes that same level of noise once more. Some variation would be nice.
Solid social-awareness/protest album
Cat Stevens
3/5
Much like Bill Clinton, Cat Stevens’ appeal comes in the form of his ‘folksy charm’. Stevens is direct and simplistic in his lyrical approach. Don’t expect him to even raise his voice very often. A lot of these songs seem to be about finding oneself and contemplating ones place in the modern society or universe at large. “Miles From Nowhere” holds a message about the idea of self being something beyond just the physical body. It makes me wonder if Cat Stevens was a nice comedown artists for the hippies that were coming down from some heavier trips in the 60’s. “Longer Boats” might be my sleeper pick on the album for its infectious harmonized chorus - it’s a fantastic hook that knows its power, which is why it gets repeated plenty of times over the course of 3ish minutes. “On The Road To Find Out” is probably the only noticeable moment where Stevens ramps up the intensity a bit.
Then there’s the very famous “Father And Son”, which is just so arresting in the best way possible.
All of these wonderful moments out of the way, I am left wishing for more “Father and Son”, and less of everything else. A bit more commitment to a song or idea, and a bit less meandering. But meandering is a big focal point of this record. Cat Stevens has a very recognizable style and voice, which is also worth a lot in the pop world. Soft 3/5 for me.
Badly Drawn Boy
2/5
An unfortunate indictment of this albums lack of impact is the songs that Spotify played in the queue after the album ended. All of those songs were similar, but packed more of a punch than most of what can be heard here. Now, Hour of Bewilderbeast isn’t bad! Just…too hazy. I’d be more prone to enjoy this album outside the context of 1000 albums I should listen to.
A few good moments on here are the opening track, “Once Around the Block”, and my pick from the whole record, “Blistered Heart”, which is full of vulnerable moments and a nice guitar melody.
I don’t fault this album for anything, and could hear it accompanying a Gilmore girls style show, but I am left wishing for more substance and impact. Strong 2 stars.
Neil Young & Crazy Horse
1/5
I don’t want to have to come down on this album hard. I have a high tolerance for country-rock, I was raised in a home where a lot of it was played. Even if I don’t like it, I can see the appeal in its best offerings. But this is not the genre’s best offering. In fact, the genre isn’t even the big problem here. The problem, unfortunately, is Neil Young’s voice.
Neil is HURTING to hit those higher notes. It’s not lovably aged like the later Johnny Cash recordings. It’s not charmingly personable like Leonard Cohen or Yung Lean. It’s just screechy and rough. Neil Young is an incredible musician, but nothing here warrants him attempting to sing his way out of things.
From “Over and Over” up through “Love and Only Love”, it is a slog to sift through the singing, only to find some very safe, typical country-rock guitars and drums. It’s not all horrible though! The conviction on “White Line” is fairly compelling and memorable. “Mother Earth (Natural Anthem)” is almost like this cruel teaser at the end of the album, showing that Neil and the band are capable of unique song arrangements and quality performances. But the rest of this album, from tracks 3-9…a slog. I’d go listen to earlier, more iconic Neil Young, if that’s what you’re searching for. And if you want good country rock from the 90’s, just do Garth Brooks. Nothing to see or hear on Ragged Glory here.
AC/DC
4/5
A really good way for Bon Scott to go out. You can tell that this band had been doing this for a while, and that there are two brothers in the band. Everyone’s very in sync, not that this is super complex rock or anything like that. As per usual, AC/DC knows what their hits are worth, and open yet another album with a classic. “Highway to Hell” is so anthemic and indicative of the bands whole brand up to that point. “Touch Too Much” is another memorable rocker for its repeatable chorus. “If You Want Blood” is basically the same sort of song too. Which is a fair criticism levied against the band, for this album and in general. They don’t really stray from the formula at all. Which is a shame because some of their most memorable songs have those artistic liberties (with Bon Scott or Brian Johnson) like the “oy oy oy” chorus on TNT or the canons on For Those About To Rock.
This record lulls into scuzzy rock monotony at points, but otherwise is a fantastic, wired-up crescendo to Bon Scott’s career and life. Soft 4/5
Peter Gabriel
4/5
This album is “So” 80’s. It’s so 80’s that it has an Africana inspired art pop duet with Kate Bush that sounds a bit like their version of “Bridge Over Troubled Water”. What was it in the 80’s? Paul Simon was also on this africana-inspired pop wave. Anyways, huge highlight here is “Mercy Street” for the stellar double vocals it’s got going on, the dual-octave effect makes it sound otherworldly and leans into the dreaming effect the lyrics go on about. Really really great song.
“Big Time” sounds like it should be a modern day Djo song, with its tongue-in-cheek lyrics painting a goofy narrator.
Another fantastic song is “We Do What We’re Told” which once again is very airy, dreamy, and strays away from the pop side of things. No offense to the Sledgehammers of this album (banger song), but the coolest passages on here are the more experimental bits. I suppose this is a great litmus test for diving into Peter Gabriels work - if the stranger stuff on this record interests you, then get into his stuff - I know I will!
I’m feeling the lightest 4 stars here, mostly for the memorable, unique songs.
While there are some flops peppered in here, Peter makes a strong case for his ability to perform thorough pop music. Especially when he ends the album “So” strongly.
I’ll see myself out.
Bobby Womack
4/5
Just a spectacular hook to open up with on “So Many Sides Of You”!! A groove thats super in-the-pocket, a really memorable phrase and energy thats hard not to latch onto. “Lay Your Lovin’ On Me” takes a little longer to get to the point, but the pay off is there in the chorus all the same - that chorus of vocalists are majestic, floating over the bouncy funk arrangement until it fades out.
“Secrets” follows next and is a bit less impactful, doing mostly what’s the first two songs do with a bit less oomph. A special shout-out to the bendy circus keyboard effect on “Just My Imagination”, which pairs so well with the contemplative, chuckling nature of Womack on this one. What comes after are a few songs which are a pleasant but quick mix of dance floor heaters and romantic jams.
Then comes “If You Think You’re Lonely Now” which very well may be the best funk song past the 70’s, if not if all time. This song is perfection and the world is better for this song existing in it.
A longer closing track concludes an offering from Bobby Womack that is so fun and thorough on all fronts. Really loved this one
50 Cent
4/5
For better or worse, nothing offers more street cred than surviving being shot multiple times. With that as a leading narrative (emphasized as early as “What Up Gangsta”), 50 comes into the booth with a fire under his ass and a recognizable, 1-of-1 delivery. The beats on this record are sinister, bouncy, and state-of-the-art for their time. “Many Men” has basically become synonymous with surviving a situation you shouldn’t have, whether it’s as big as a shooting or as small as a car cutting you off in rush hour traffic.
50’s team knew what they had going, following up with “In Da Club”, an iconic single that enshrined him in the cultural lexicon thanks to a simple set of steel-drum hits syncopated to some crunchy club drums.
What’s beyond this is more leaning into drive-by’s, pimped-out cars exhibitions of grit, and some signature 50 Cent hooks, proving that rappers can at least pass as singers every once in a while.
Dr. Dre leads a team of producers in a memorable effort - all of these instrumentals are aged, but almost none of them aged *badly*.
Shoutout to the VERY east-coast “Back Down” for its creeping, evil, repetitive beat.
If you waved the flag for new school gangsta rap back in the day, you could point to “PIMP” to make a strong case for the shifting subgenre.
This isn’t perfect front to back, “Poor Lil Rich” is a bit nasaly and repetitive.
That repetition gets a pleasant break on “21 Questions” which is about as earnest and romantic as this record gets.
50 rides the album out from there, constantly aiming for crossover success, toeing the line between accessible radio cuts (even keeping the slurs and dated language to a relative minimum for it’s time) and ill-willed posturing for his G Unit. Tight flows wrap the bow on Curtis Jackson’s presentation of 50 Cent to the world.
This is also the fourth 4 stars I’ll give in a row! That has to be a record for this list. Making up for the 1 star record from just before that.
The Smiths
3/5
It’s a bittersweet end to The Smith’s run of albums, as they were just starting to piece together ways to not be so whidbey and one-note all of the time. “I Started Something I Couldn’t Finish” highlights a strong few opening tracks on this album. “Stop Me If You Think You Heard This One Before” has a super catchy “I never, I never” refrain.
Another bit of relief is Morrisey not taking himself as seriously, signaled by points on the record where he gets very weird with his vocal intonation / delivery.
If this is the last Smiths album on this list, I won’t be mad about it. But I’m thankful and happy to say I’ve dropped my blind bias against them, thanks to this daily list
The Byrds
2/5
Technical boundaries were pushed, but u fortunately, so was my patience
The Byrds
3/5
There’s just no way. No way that yesterday’s album was the Byrds previous album, which wasn’t my favorite. There’s just no way. The ONLY benefit to these albums being back to back is that I still have the Notorious Byrds stuck in my head, which I would’ve otherwise forgotten in a few days time. So, comparatively, this album is a little better. Going from psychedelic rock into country probably turned some heads and turned away some fans.
“I Am A Pilgrim” has gotta be a blatant rip-off of “Will The Circle Be Unbroken”, no? Like, clear as day.
My highlight of the album is probably “Nothing Was Delivered”, which was a memorable tune on an otherwise forgettable back end of the record. A Bon Dylan cover, which I appreciate, as it shows that they weren’t trying to hide their inspiration for this new artistic direction. Soft 3
Richard Thompson
3/5
Ok my knee-jerk reaction to the first few seconds of the first song was to think that he sounds a bit like Jimmy Fallons impression of Barry Gibb LOL.
Looking beyond that, there’s some substance here. Lots, actually. “Down Where The Drunkards Roll” paints a really vivid picture, and is probably my highlight of the record. “Has He Got A Friend For Me” is one of a few examples of this album having some actually unique things to say, some songs about stuff you probably didn’t hear much about at the time. The closing live track, “The Calvary Cross” is a pretty exceptional live jam.
I think this one just comes down to personal preference, I won’t be going back to it. There’s a lot of substance here like I said, maybe just not a lot of impact or memorable delivery of it all. And that’s ok, I can see there being a time and place for this album!
Simon & Garfunkel
4/5
Yesterday I was listening to System Of A Down, thinking to myself how one-in-a-million their sound is. I wondered what other musicians I could bring to mind that were known for such a unique, instantly-recognizable sound. Simon & Garfunkel’s harmonies came to mind. “Scarborough Fair / Canticle” took all of 20 seconds to open up this album and confirm that exact thought I had. While simple harmonies over some folksy instrumentals were commonplace in the mid/late 60’s, a song like “Cloudy” is a good example of how S&G just did it with so much more character and spunk. I think “Homeward Bound” is the popular song from this record, but honestly it fits right into the track listing, it doesn’t stick out like a sore thumb.
“59th Street Bridge Song” might be the most pleasant Sunday morning go for a walk song ever - it’s very homely and peaceful. Then comes “The Dangling Conversation” which is one of the most arresting and pretty songs I’ve heard in a long time. I cannot believe that these two were operating on such a perfect level even in the 60’s, that song is incredible. There’s a bit of Bob Dylan influence on here, as is the case for most 60’s white dudes, I’m learning. “A Simply Desultory Philippic” however, isn’t just a little artistic influence, it’s an outright parody of Bobby. Does it take me out of the immersion of the record? Maybe a little, but it’s still strikingly accurate. “A Poem On The Underground Wall” is a forceful, colorful rambler that continues to keep the quality of the record super high. The closing “7 O’clock News/Silent Night” was a strangely calming experience for me. It helped me realize that the craziness we are experiencing in the country today gave a similar feeling of unease that is conveyed in the news monologue on this song. Really cool way to end the album.
One of my biggest takeaways from this entire list so far (about 370 album in) is that Simon & Garfunkel are worth all the hype and more. I thought about how this list could get annoying to someone who doesn’t have a taste for S&G, but then I thought how that could even be possible! The duo is undeniable. My only giant ding on this album is that some of the songs were so good I wish they went longer and had more time to evolve and develop. Strong 4/5 stars
Bebel Gilberto
4/5
Sometimes it’s about set and setting. While it’s the first day of March, it’s been really nice out this weekend. It’s 60 degrees, we’ve been sitting out in the sun. I get to listen to this album on a lazy Saturday. It’s been perfect. “August Day Song” has hit its mark while I work on my gamecube controller maintenance in the sun. A huge contributor to this albums vibe it’s the really pretty blend of bossa nova with a bit of electronica production elements sprinkled in. A nod to the producer Suba, who apparently died saving this album from a studio fire. Another favorite of mine is “Algueno” for its slowed breakbeat-style rhythm, it sounds like it’s come out of a Miami sunrise circa 2000. If you wanna cut to the bossanova chase, listen to “So Nice (Summer Samba)”.
The last few tracks of the album pick up the energy a bit if the pace of this album isn’t for you. But, especially in the context of this list, I don’t know how you can’t appreciate this album. Something as unique as a Brazilian bossa album helps create a listening experience, not just an album to get through. Loved this!
Siouxsie And The Banshees
4/5
Music brings people together, and sometimes people bring music together. I’ve learned that many times over, and this album is no exception to that rule. With that in mind, I’m so thankful for my lovely wife Emma and her strong conviction to bringing my ears to women-led hands like this, and to the catharsis Siouxse and the Banshees provided her and so many others. Not only is there a great deal of catharsis to be experienced in the topics this record covers, but it’s performed so well - especially for the late 70’s.
The last minute or so of “Carcass” has a super catchy clap rhythm section that must’ve been especially fun to hear in concert.
Immediately after is one of the coolest covers of all time, “Helter Skelter” with an eerie, silence-ridden intro. It’s a cover that has so many cool tricks and production elements in it, I don’t want to spoil any more by further talking about it.
The high-pitcher vocal intonations towards the end of “Metal Postcard” and the beginning of “Nicotine Stain” give everything all the more character.
Please forgive my ignorance, but whatever that now famous punk/postpunk drum pattern is that’s done on “Switch” here is maybe the best example of it ever performed.
The only crime here is not one to do with the music or the band, but on American audiences not giving this album aa much widespread love aa it deserves.
Garbage
3/5
I don’t know if I’ll remember many songs from this record, but I will remember how great it sounded and how well it was produced for 1995 (remaster aside).
“Only Happy When It Rains” is probably my highlight for its anthemic chorus.
“As Heaven Is Wide” has a nice mellow breakbeat and chunky guitar loop/bassline.
“Stupid Girl” has a really sticky little piano refrain on loop that stuck with me through the album.
“Milk” is a personal pick for me for its downtempo breaks, synth strings, and general dramatic rock-meets-electronica mood.
Is this rock? Is this electronica? Who’s to say, but it’s worth a listen.
Actually solid / 5.
Eric Clapton
2/5
Ok is this among the best that Clapton has to offer for his solo stuff? I genuinely am unfamiliar. Because if so…meh. Not only am I left underwhelmed, but I feel like there’s a lot of lifting from black culture/music here. “Willie and the Hand Jive” is an eyebrow raiser, but the cover of “I Shot The Sheriff” is Drake levels of lingual and cultural appropriation. This is how not to it, whereas an album like Paul Simon’s “Graceland” is a much better example of honoring black culture and highlighting black voices without just ripping it off.
I wish more songs were like “Please Be With Me” or “Let It Grow”. You can see the soft beating heart poking through, no gimmicks, no code-switching.
Buzzcocks
3/5
Despite hating fast cars, the opening track is kinda the energetic equivalent of driving a really fast car. The drum patterns and fills specifically are really impressive for punk music, whoever the drummer is, he’s shredding!
“Get On Our Own” has a really funny vocal holler on the chorus that was a highlight for me.
The lyrics of “Sixteen” give me an uneasy feeling, which sucks because the composition is so cool and unique.
There’s a handful of moments peppered throughout the record that make sure you’re paying attention.
Worth your time / 5.
Ash
2/5
Almost positive the opening sound effect on this album is a Star Wars tie fighter. Could that be related to the album title? The year Star Wars came out??
Is there a lot of substance to this album? Not really, honestly. But I need to check myself, because I feel like the me of 8-10 years ago would’ve been more into this one. Lots of angst and raw energy, lots of songs about girls and the highs and lows of being young.
My highlight on here is easily “Kung Fu”, as it’s the most pure fun on the record.
Still, I am left questioning if this deserves a spot on a list of 1001 albums you need to listen to.
U2
2/5
After an off-putting opener, U2 settles into their sound nicely on “Even Better Than The Real Thing”.
“One” is a very simple, timeless hit that can still be appreciated to this day.
“Mysterious Ways”, on the other hand, to me is largely overrated and shes not as well.
Everything in between is kinda just ho-hum. This whole album is a blueprint for bands like Radiohead to take and experiment with / iterate on.
Scott Walker
3/5
If you asked Scott Walker what to do when life gives you lemons, I’d bet he’d answer something along the lines of “make the most elaborate, decadent, flavorful, bright, sugary lemon cake.”
There’s so much character and rapid fire imagery here within the first minute of the first song that you kinda gotta meet the album where it’s at. I’d love to ask him to slow down but that’s apart of the fun of it all.
“Jackie” sets the tone for the whole record, and depending on how you receive it, you could be in for a great, vivid trip, or a tiresome, theatrical display.
You know who I’d like to draw a modern comparison to? Orville Peck. Especially on the song “Black Sheep Boy”. Everything is so galavanting and turned up to 11, even on the softer cuts.
“Next” is both incredible and kinda harrowing/sad. It’s so specific that I wonder if this was a lived experience.
“The Girls From The Streets” continues some fantastic story-telling, but locks you in your listening seat and doesn’t let you move.
This album on the whole is full of songs that seem just a beat off from achieving massive pop success. The colorful instrumental arrangements are there (“Wait Until Dark” was one of my favorites), the even more colorful vocal performances are there. It’s just that Scott never turned it down a notch. I really respect it, I think he has a great intuition for songwriting and showmanship. It’s just a lot to take in. Still, I had a lot of active listening moments throughout Scott 2, and for that, I appreciate this album a lot!
The Byrds
2/5
There is no FUCKING WAY this is the third Byrds album I pull in two weeks. Unacceptable!!! To the maker of this list, I hope you suffer the listening of 1001 bloated, nothing-burger pop albums this year. What’s worse is this comes on my Sunday run day. This is not music to run to!!!!
“5D” is a respectable opener that is both placid and transcendental, which momentarily quelled my rage for having to listen to this album. Aa I make my way through this track list, I’m realizing this is the easiest on the ears of the three Byrds albums I’ve had so far.
No matter the performance or message, like the anti-war “I Come and Stand at Every Door”, I’m having a hard time reckoning with this. “Eight Miles High” doesn’t have the star power needed to justify anything either.
No, no “Hey Joe” variation will do oy for me either.
No, the endearing “John Riley” won’t stop me from being mad.
The Byrds are not among the handful of artists that deserve 3, let alone 2, spots on this list.
Michael Kiwanuka
4/5
This is a massive success full of measured vocal performances layered on top of exquisite instrumental jams.
Right off the bat, “You Ain’t The Problem” is an ear worm that sets a great tone for the album. “I’ve Been Dazed” is another great song just a few tracks later that goes on a nice little psychedelic exploration.
The jams continue on “Piano Joint” which has this suspense-laden, Bond movie string section with a fantastic vocal performance. What follows is one of my favorite things in a good album, the use of relative silence to heighten the atmosphere. It’s at this point that I knew I was in for something special!
I think that use of silence and creation of ‘space’ is what I’d most like to highlight about this album. It seems like Michael Kiwanuka is always hitting the right spot in terms of energy and emphasis - everything comes off so effortless.
What sealed the deal for me was the transition between “Interlude” and “Solid Ground”. WOW. Just perfect.
I’m treating this album as a gift for having gotten through my 3rd Byrds album in a few weeks.
A STRONG 4/5 stars!
Nick Cave & The Bad Seeds
4/5
If you can stomach some of the craziness and make it through the occasional song that gets a bit lost in its story, you’re in for a narrative treat on this one.
“Stagger Lee” is a shocking, wildly vivid story that makes you wish it wasn’t true.
“Lovely Creature” is good for its haunting sonic atmosphere with those airy backing female vocals and that constant snare roll.
“The Curse Of Millhaven” is an outstanding song, story, and my highlight on this record. Not only does it captivate you with its narrative, but the “la la la la” melody it keeps reciprocating just adds even more to the tension. Nick Cave sells out with the energy he gives this performance!
“O’Malleys Bar” probably has the best character portrait of all the murderers on here (crazy sentence to say, I know).
Last, “Death Is Not The End” puts a unique bow on the whole thing, but its message is fitting considering the albums concept of innocent people being killed.
This album is a rarity to me in that it gets better as you get further into the track list. You sink into these vivid, terrifying stories with ease thanks to thoughtful vocal performances and some helpful backing tracks.
The Kinks
3/5
I know I just got done listening to the new Panda Bear album, but wow does he sound like a new version of the title track on here. So thats saying I enjoyed the start of this album. It’s all got a pleasant, trying to be utopia feel about it.
“Do You Remember Walter” sounds a lot like the blueprint for Mr Bluesky too!
Unfortunately, around “Johnny Thunder”, this album succumbs to a bit of the tired sounds of it’s time, I feel myself resisting the urge to think comparatively about the Beatles, etc.
“Starstruck” is a standout for me for the “babababa” chorus.
“All My Friends Were There” is so goofy and circus-ish that I replayed it a couple times.
This is overall a respectable effort, I’m guessing this was a diversion from some of the earlier mid-60’s stuff The Kinks and others were doing.
Easy on the ears / 5.
The Libertines
3/5
The first 45 seconds I’m like ahhh what a nice instrumental this will be fun then BOOM AHHHHH HE SOUNDS LIKE MORRISEY AHHHHHH!!! I’m only partially kidding.
I don’t wanna say I had high hopes for this album, but anytime I see something post-2000 I’m hopefully for a breath of fresh air. I didn’t necessarily get that here. I heard a bit of what was contemporary for this albums time, but nothing that Arctic Monkeys didn’t do better at a similar/slightly later time.
“What Katie Did” was a fun little stroll of a song.
“Road To Ruin” had a very The Clash sort of marching vibe to it.
As the album begins, so it ends with a Morrisey/Smiths style song in “What Became of the Likely Lads”.
I think this album is good for its aesthetics, isn’t a bad listen by any means, but doesn’t leave a lasting impression or differentiate itself from the crown of British rock at the time.
Some vibes but nothing more / 5.
Moby
3/5
Moby might be one of THE toughest challenges facing both my actual music preferences, and my admitted biases. When I was younger, I didn’t understand Aphex Twin. I thought it was just bleepy noise, that dubstep and electro house was where it’s at.
Not too long ago, this list even broke through my preconceptions about how whiny the smiths were (to an extent, at least). But Moby…Moby was and has been a tough nut for me to crack. All I ever heard was wallpaper music that sat in the boring middle ground between music for ambience and actually palpable electronic music you could move to. ‘Electronica’ has been a tough moniker in general for me that I’m only really getting over my dispositions for in the past year or so.
All of this to say, I have been waiting for this one, for better or for worse. Did Moby deserve the success this album brought on? Have I aged enough to ‘understand’ Moby? Does age = broader taste? Is it a ‘me’ problem?
Well, it's complicated. The music on here is very fundamental. I wouldn't be mad at you if you just called them beats. And the beats take a downturn once "Southside" hits in the tracklisting. The classic 90's slowed breakbeat doesnt change, but the singing on this track isnt it. I liked the new age, surreal moments on "Porcelain" and "Why Does My Heart Feel So Bad?" well enough, but this just wasnt it. A song like "Machete" is a good example of what I feel this album lacks: impact. There's just no punch in most of these songs. They're more vibes than songs, or somewhere stranded in the middle between a vibe and a song.
"Down Slow" works better as an interlude, becuase it's jsut that - an interlude. A short, hazy beat that knows when to leave after a minute and a half. I think DJ Shadow's Endtroducing... does everything this record fails to do. Endtroducing is additive and wandering, sometimes randomly frenetic, always engaging and/or mysterious. Play is just a bit too wallpaperish, too frequently. Maybe good for a kickback, that's about all.
I can't say my opinions totally changed on this album, and on Moby so far. While I understand the appeal a tiny bit more, and recognize this music has its place, I still dont know that we all lifted the right guy to such great heights during his peak. Nothing sticks.
Slipknot
4/5
This might be quintessential music made to conjure a mosh pit. Malicious messaging, volatile vocal performances, violent instrumentals. It’s done well! For what it is. The drumloop weaving in and out of “Eyeless” then going back to the ‘can’t see California’ vocal line was really cool. I didn’t expect any song from this album to be as sticky and memorable as that one. For sure my highlight of the project.
“Surfacing” might be a nice little summation of this record - within the wild defiance and chaos lies a still-beating heart thats one bad day away from dropping the scary facade to give way to tears and all the trauma head on.
Call this numetal or anything else you wanna call it, it’s not galavanting and it’s not typically machismo like some metal is (though “Tattered & Torn” would like you to think otherwise). I found a lot more nuance and substance here than I expected to. I think it just took a lot of trauma and a lot of artistic vision to realize the trauma in the way this album sounds.
It’s crazy to read that they took their sound in a ‘darker’ direction after this. Seems hard to do!
I wouldn’t listen to this again but am surprised by how much I got out of it / 5
The Notorious B.I.G.
4/5
What a fascinating ‘passage of time’ skit to open an album. Telling a story without rapping about what’s happening.
Then “Things Done Changed” drops with one of the coolest, snazziest instrumentals under Biggies iconic flow and it’s just chills! The string section coming in and out on loop, it’s all so lavish.
Track after track here, it’s all about hitting licks, kicking back, and living in the afterglow of everything BIG did to come upon these riches.
I’m so impressed with the sweet spot these beats find - full of character and texture, but never getting in the way of the rapping. Around “The What”, things start to get a little one-note, which is what makes “Juicy” even more refreshing. What a purely happy song.
My problem with this album is just that it’s a little bloated, in a vacuum. Add to the context that biggie never got to put much more out after this, and I can give some lenience, but only some.
Still, in so many ways this album is chalk-full of iconography. It forged an immediate legacy, I respect it for that
Duran Duran
2/5
Not a lot of heart, soul, or variation to be found here - and I don’t think they intended for that in a cool way. You know it’s tough when the singles that I remember from my childhood dont really invoke a sense of nostalgia. “Save A Prayer” is a slight stand out, but it, as well as “The Chauffer” show up too little too late. Maybe there was a visual component I’m missing out on since this was around MTV times, but other artists dug so much more out of this sound and took it in so many more interesting directions.
Just skip this album / 5
Grizzly Bear
3/5
I’d like to know the bands ethos and intent with making this album. Because I think it’s great background indie music, meant to sit out of focus or accompany another activity. Nothing offensive, few moments where they break into a sound thats more loud or focused. Those moments are my highlights!
“Two Weeks” is an Arcade-Fire-style classic.
The last minute of “I Live With You” gets exciting.
And “Foreground” is very aptly named, as it’s more captivating of the listeners attention than most songs on here.
Put this on as you go for a long PNW drive / 5
The Triffids
3/5
A lot to say and dig into here!
I think the way this album addresses tragedy and loss is really beautiful. On the other side of the coin, I think the way this album addresses love and romance is often shallow and dull. Even with that in mind, the opener “Bury Me Deep In Love” is still memorable, and establishes the singers super powerful vocal presence. That vocal presence impressed me throughout, he has a very full, grand voice.
“Hometown Farewell Kiss” is completely an Aussie take on something Bruce Springsteen & the E Street Band we’re doing a while before, but it’s still super fun and punchy. Also, it’s so sad! I wonder if this pulls from the same inspiration/tragic events “Beds Are Burning” pulls from.
“Jerdacuttup Man” was so cool that it led me down the rabbit hole of this songs inspiration coming from a museum visit. Also that chorus! So good. Sooooo so so good. This is probably my highlight on the record. The way it transitions into the gothic piano interlude on the next song is fantastic.
This album isn’t perfect though.
“Baby Can I Walk You Home” is a good example of the cheesy, more boring parts of this record.
So happy I get to listen to albums like these because of this list. Would never have known about them otherwise.
Hidden gems, almost a 4, strong 3 / 5 stars!
Bruce Springsteen
4/5
While this isn’t even close to his best record, I still had an instant popoff seeing this one generated for me this morning.
You ever just say fuck it we’re making a goddamn pop album? Because the advent of MTV pushed Bruce Springsteen to do so. It seems a little hollow-hearted, given his previous album was this super stripped back, depressing set of portraits that reflected the bad mental state he’d been in for a bit. All of this can be heard in the music on this album.
The opener / title track is likely the best protest song of the 80’s and maybe top 10 pop songs of that decade too. Iconic melody front-loads the track, anthemic choruses throughout, all to potentially divert your attention from Bruce lamenting about the domestic and foreign tragedies of the Vietnam war.
The next 3 songs are kinda just reskins of each other, which is my major gripe for this record, it’s just song after song trying to be a pop hit with various amounts of success. Most of the topics and even the language he uses stays the same (I don’t like how much he uses the term ‘little girl’ to talk about a girl he likes). Stuff about working union jobs and traveling through county lines.
But “Downbound Train” is a little bit stickier and more self-serious, it kinda feels like a holdover from Nebraska, that aforementioned dim last album. I’m pretty sure Born In The USA is too!
“Bobby Jean” has an instrumental that takes it back a few years to prime Springsteen days, but the lyrics on this one are painfully rigid honestly - same with “I’m Goin Down”. I also feel like this one specifically has the super typical pop chord structure, I could be wrong on that?
That’s ok, because this is a pop album and “Dancing in the Dark” is such a stellar reminder of that! Maybe the most electronic and dancey Springsteen will ever get, and it’s soooooooo good. Just such an ear worm of a melodic progression. A pop song thats about struggling to write a pop song. Fun!
Much like Dark Side Of The Moon, I think iconography plays a big part in this albums long-term success. Simple album cover, simple pop hits help you get through some of the pop misses on this one. Bruce takes his great showmanship and ability to paint a picture to the arena rock stage and TV screen all once.
A soft but anthemic 4 / 5 stars
Led Zeppelin
5/5
Culturally ubiquitous. Likely the best pure, succinct classic rock record. If you got rid of “Four Sticks” or swapped it out for something a bit more experimental, this is the perfect album. I have no more to say because there is no more to say
Sufjan Stevens
4/5
Just a very fun, colorful, clear-eyed record.
It really started to come to life with “Come Om Feel The Illinois! Pt. 1”.
Evo with a sing as grim as “John Wayne Gacy Jr”, this whole album feels like floating through a twee, shimmery dream state. Like if “Eleanor Rigby” was more spread out and happy.
Son 7 & 8 give you that indie mandolin/banjo fix (the titles are just too long to type out).
The intro on song 12 almost shook the belief I was starting to form that this album is perfect to put on and just daydream to. That’s the highest compliment I can pay here, it’s just perfect daydream music.
Song 15 might be my personal pick for Illinois, not just for how good it is, but for how it kicks off a string run of back half tracks.
A twinkly, dreamy record that functions well as one cohesive listening experience!
The Sugarcubes
3/5
Let’s get the obvious out of the way: Björk is a generational talent whose vocal presence completely demands your attention so much that you forget there’s a band performing with her.
The music is solid here though!
Love the horn section on “Motocrash”, love the guitar and drum groove on the following “Birthday”. It all lies somewhere between influence of the Police/Sting, the success of Siouxsie and the Banshees, the vocal dynamics of the B52’s, and just a hint of the advent of whichever wave of ska-rock was happening then.
I think my personal favorite in here is “Sucj for Toys”, it’s really fun and I love when a guy who’s second language is English sings/speaks in English on songs (see: all of the white MC’s on 90’s and early 2000’s Eurodance songs).
It stays really fun and gets more strange on “F***ing in Rhythm & Sorrow” with that Ballroom Blitz snare drum pattern and crazy story.
Come for the Björk & Icelandic band, stay for the cooky fun of it all / 5
David Bowie
3/5
Any Bowie day is a good day! And this one has its good qualities. David Bowie, as always, was ahead of the curve - this time digging into funk/soul influences well before more other non-black musicians would do so.
“Young Americans” is awesome, but my highlight here has to be “Fascination” for how much it stuck in my head and how forward-thinking it was. Bowie shows the Beatles a lot of love on this album as well, the cover of “Across the Universe” is super solid, and yet another shining example of how much he sells out on his vocal performances.
At the same time, I had a hard time grasping some of the melodies and ideas in this record. All the pieces are there, excellent performances left and right. Just not the most memorable/sticky Bowie albums. I hold him to a very very high standard.
Great by any other artists standard, good by Bowie standards
Big Star
1/5
I have taken everything into account, including this albums background/inspiration, as well as how well I’ve been actively listening & engaging with albums this year — and I just want to say:
They named the band after the rating this album gets.
Linkin Park
4/5
Another instance of me being so happy to be born when I was, I don’t think I would be as open or receptive to how beautiful this album is if I were much older.
The amount of sonic textures and different things happening on each song is amazing. BT-style stutter edits of Chester Bennington & Mike Shinodas voices. The heavy guitar powerchords. All sorts of bitcrush, lowpass and highpass filters. It’s all perfectly busy and full.
Both “Crawling” & “In The End” are generational anthems with iconic choruses and lead melodies.
“Forgotten” is my deep cut pick on the record.
“Cure For The Itch” is incredible because it sounds like it for sure was made for the matrix movie, in a very earnest, cool way.
“High Voltage” is a sweet bonus track, notable both for how it talks about what the numetal wave was experiencing in its newness at the time, and also admittedly being a bit campy. And that brings me to my only pitfall of this record - how campy, angsty, and slightly cringy it can be. I totally get it! Those things haven’t deterred me from enjoying the hell out of it, but I get it if that puts up a wall for you.
Chester Bennington had such a one-of-a-kind voice, and he had it from the very start. Say what you will about Mike Shinoda’s whiteboy style of rapping, but the two for each other like a glove, such a perfect dynamic.
A most respectful 4/5 stars
The Doors
4/5
Maybe about as good as it gets in terms of classic rock before the total takeover of electric guitars propelled the genre into its new age. Jim Morrison has a huge vocal presence, his performances here kinda convince the listener that he was born to be a frontman.
As always, there’s so much black cultural/musical influence on a rock records of this time, and it gets really hard to overlook as soon as “Been Down So Long” in the track listing here.
It goes without saying but the title track has such a cool tempo pickup in its second half and probably could’ve only been done so well thanks to the treasure trove of drugs available to the Doors at the time.
I really like the hypnotic keyboard playing on “L’America”!
Then I really really liked the lead vocal melody right after on “Hyacinth House”.
I will say, you better like Jim Morrisons tone and vocal delivery, because he kinda stays within a certain range the whole time - I could see it being hard to get through if you don’t dig his voice. “The WASP” may be your only bit of changeup for his voice, and thats also mostly due to how it was recorded and processed differently. In fact, this cut might be my non-obvious pick for the record! Great storytelling.
L.A. Woman sticks the landing by ending with “Riders On The Storm”, tying the bow on an album full of character, keyboard, and just the right amount of psychedelia.
Kanye West
4/5
Few albums are accompanied with more baggage than this one. This is not the best Kanye record, though it makes its case for one right out of the gate, “Dark Fantasy” has such a sweet refrain from Alicia Keys.
A few songs later, “Power” insists that Kanye is a corrupted, greedy, highly flawed narrator for this whole project. This songs little vocal chant lead was so pervasive that it dominated everything from radio stations to edm festivals. Just as much can be said about the following “All Of The Lights” with its simple horn lead.
“Monster” and “So Appalled” have the most 2010 instrumentals of all time, they’re beats that could’ve belonged to Lana Del Rey as much as anyone.
“Devil In A New Dress” is the old Kanye in a new album, backed by a slow, string-laden soul sample.
Then comes “Runaway”, when Kanye pulls back the curtain to let a rare sense of true self guide him to making this opus. It’s the type of rambling honesty that makes you want to take your 2025 Time Machine and go back to have an intervention with THIS Kanye.
“Hell of a Life” follows as a lowlight, with a clunky interpolation of the Iton Man melody.
“Blame Game” goes on to sample one of my favorite songs of all time, with mixed results. The bit with John Legend singing right along with the melody is catchy, but I think everything else going on here kinda muddies the serenity of the piano melody. It also sort of weaponizes the same honesty on “Runaway” for evil instead of good.
“Lost In The World” is such a peculiar collaboration that managed to happen well before rappers openly admitted they listened to alternative artists like Tame Impala or Mac Demarco. This is the best slice of production work in my eyes, even if it’s just a bit different with those more upbeat drum break samples and colorful bits of chorus vocal processing.
It ends off with a vocal sample that leads to the last track which is all a bit hard to take seriously as a message Kanye really meant from the heart, all things considered now. It now comes across as shallow and tokenistic, ruining an otherwise powerful speech and important message.
But I suppose morally ‘shallow’ is apart of the Kanye experience from this record onward. I always felt a sizable tonal shift after “Graduation, when his mom passed. Not attempting to humanize someone who’s gone off the inhumane end, just tracking the events that presented this albums sense of grand tragedy. Soft 4 stars.
4/5
Fun, straightforward, upbeat punk (if ever that was a thing), with a little west coast surf influence at times? Like, I really hear it on “Adult Books”, with those guitar chords and strum patterns.
“Universal Corner” highlights the man and woman sharing lead vocal duties super well, they have an excellent vocal dynamic. In fact, everything this band does on the album comes off with such ease, it’s really impressive.
“Some Other Time” is my highlight for how distilled and catchy the whole vocal is!
But the guitar melody on “White Girl” is a close second highlight too.
This one really snuck up on me! There’s just no misses here. Fun jam after fun jam. Really had a great time with Wild Gift!
Malcolm McLaren
4/5
Malcom McLaren doesn’t make music here as much has he orchestrated a surreal collage that demands you just have an open mind (and hope you like South African & tropical & Caribbean music).
Didn’t really go into this expecting anything specific, and was quickly hit with one of the nicest, sweetest, most calming song openers I’ve ever heard - right up my alley in how calming and almost ambient it is.
Then “Buffalo Gals” comes on and the placid state Ive been lulled into is quickly shattered and I’m now expecting the unexpected.
It’s the type of surreal sampling technique that really sends the listener into a feverish dream state.
If you like this album but have never heard anything else like it, I IMPLORE you to listen to some newer surrealist stuff. Deaths Dynamic Shroud, Nmesh, or even some Oneohtrix Point Never kinda took this surreal formula and ran with it. I am also reminded of Apex Twin in the way this album also goes from the most frenetic mess of sounds to something twinkly and beautiful in the span of a few minutes.
I’m such a sucker for albums with radio interludes and radio dj’s as pseudo narrators - especially here where it provides a little through-line in the otherwise nonsensical sound collage craziness.
This is an incredibly demanding listen, and probably was even more hard to stomach for it’s time, before the advent of internet media overload made something so surreal kinda normal. If this wasn’t/isn’t for you, I completely understand.
But a song like “Punk It Up” mashed into everything going on here, especially given the context of its creator? So, so cool.
“Song For Chango” is another highlight for me, if there even a way to sort and organize my thoughts on the track sequencing.
This album ending with some sort of reverb screaming sound is so perfect. I really thought about giving this a 5/5 stars. I can’t and won’t, it just isn’t quite there, but it’s damn close. I had SUCH a good time listening to this album, and probably won’t listen to it many more times. So frenetic and fun. The dancing monkey in my brain is activated and satisfied.
Everybody should listen to this album just once. You can hate it, but you have to experience it!
Johnny Cash
3/5
The appeal of this album comes almost completely in the form of what Johnny Cash is saying between the songs, not singing. He was clearly very engaging and had a super attentive crowd.
My highlight is the midway point through “A Boy Named Sue” where he gets super riled up about the part where Sue meets his dad.
Not much else to say for this short live album. If there’s the Folsom county live performance on the list, then I don’t really see a need for this record to be here.
4/5
What a good day. 400 album checked off, this album was a pleasant surprise, AND we got the Skrillex album/mixtape full of unreleased music. Can you believe I took the time to listen to AVV1 before the Skrillex project? I did, and I loved it!
By the time “Id Like That” came around in the track list, I had an inkling that I’d like the whole project. Then “Easter Theater” came on and I KNEW I’ll be loving this whole project. Nothing gets me locked tf in like some baroque/art pop done well. Such a fantastic song, by far my highlight of the record and will be replayed many times over.
“Frivolous Tonight” continues the theme of fun, silly, unique art pop that keeps the spirits high.
Big fan of the quirky, arabesque instrumental on “Greenman”, which kinda feels like when a sonic game sends you into the ‘desert level’.
Even the misses on here like “Your Dictionary” are very harmless and campy at worst.
I love the portrait of a man “Fruit Nut” paints, how he’s so happy to just go about his hobbies. Big big fan of that.
My goal of being more attentive since the beginning of 2025 paid off big on this album. Having to go to YouTube for this one was no big deal. Am I giving more 4’s as a result of this, or are we just on a hot streak? Time will tell, but this album earned its 4 with some timeless production elements, art pop, and fun vibes.
Bonnie "Prince" Billy
3/5
I wish I could say I got more out of this personally, but for me it was just a bit too downtrodden/mellow, even at its high points. Not that this record is bad, I’m grateful this list included it, as it’s sooo outside of my realm of music. Just not my taste.
My favorite is probably “Death To Everyone” for its measured perspective on life.
Really hard to listen to something this smooth/tame when that new Skrillex album is lighting up my world rn.
A respectful, I’ll never listen to it again 3/5 stars.
Beastie Boys
4/5
Is this the third Beastie Boys album already? Is it justified?
I have very split feelings on this album.
On one hand, the production & sampling work is UNREAL here. Every beat is so well put together while still sounding so loud and reckless. Tons of little bits of samples and sound effects, fantastic drums and low-ends. The opening “Rhymin & Stealin” sets the tone with the Led Zep sample and caveman rhyme schemes (or screams).
The guys have excellent chemistry too! I don’t know if this was around the time of the “jock jam” but this has to be up there in terms of quintessential jock jam albums no? It’s like if LMFAO were 3 white boys in the 80’s, it’s just all about partying and fun and being up to no good.
Which brings me to the part that split my feelings on this record. The lyrics. Over and over and over again I’m jamming out and having a great time then *BOOM* an awful word then another song goes by then *BOOM* a problematic sentence. I get it, it was a different time and we are all better now, but it was really bringing an otherwise fun time down a lot. Like, near the two minute mark of “New Style” about being Jimmy Page and liking underage girls…I don’t know if that’s a self-aware lyric or not but cmon. Just cmon.
I have a theory that “Fight For Your Right” isn’t just popular because it’s an incredible party anthem to easily scream, but because it’s the song that has potentially some of the least problematic stuff in the lyrics.
I’m gonna say my favorite is “Girls” for how silly it is, but I do cringe in admitting it, because the lyrics aren’t good.
It’s really nice to know that these guys got a bit more heady and a lot more experimental as time went on, I remember really liking “Bodhisattva Vow” from Ill Communication.
If youre looking for anything that isn’t mindless, loud, reckless, sometimes problematic party music - you aren’t gonna find it here. But if you are looking for that? I’m not sure you’ll find a better album for it.
The softest 4/5 stars I can give
The Young Gods
4/5
When I was a kid, I had this PlayStation game called “Sled Storm” which was a hyper-stylized snowmobile racing game. On of the races was this multi-level track that would wind through a demented, slightly surreal, nighttime circus world. Lots of misfiring pyrotechnics, evil clown obstacles, and some sort of race announcer yelling through speakers suspended around the track.
This album reminds me of that experience.
Much like I do for baroque pop, I locked the fuck in when the opening song started out with a demented circus style loop and a raspy, belty lead singer. Total personal bias, these things just always grab my attention. But I think if you’re willing to wait out the slow first half of the opening song, almost any listener will be super engaged with how the track transforms into a crazy, noisy collage.
I think my highlight on here is “Longue Route” for how much is sells out with the loudness and noise, a couple cool airy sound effects, and a very good loop at the first half of the song.
But honestly it’s hard to pick out one favorite, as this one of this albums best qualities is how well all of its pieces work together - songs different enough to stand out from the others, but all very cohesive in creating a very specific ambiance.
I’d love to see what the production and recording process was like for this record. There’s such a unique mix of looped instrumentation and samples, almost all with some reverb or post-processing effects added to make it all sound like it came from the same centralized recording location.
Lastly, this album leaves me wondering about a few things. Would I have enjoyed this as much as I do now if this were one of the first albums we had on this list, or if I listened to this at a much younger age? Maybe, but probably not as much. This does require some active listening ears.
Did the language barrier help or hurt here? I don’t think it hurt, but I’m not sure it helped either.
Am I giving out too many 4’s lately? Also maybe, probably. I don’t intend on listening to this record ever again, at least for leisure. But I really did get a lot out of this album. I have a tremendous amount of respect for this album, for using instrumentation we are all familiar with in a completely unique way. The Young Gods interpretation of how to make music, and their composition/production process, all deserves a 4/5.
X-Ray Spex
3/5
The speed and energy at which this album operates is spectacular. The lead singer stays at an 11 out of 10 energy level that gets at the essence of what English punk was all about.
“Obsessed With You” is such a great example of this constant energy.
What’s really cool is that this album doesn’t sacrifice instrumental variety or melodic ideas for that high level of energy. “Warrior in Woolworths” and “Let’s Submerge” introduce a really nice saxophone, as an example of this variety.
How cool it must’ve been to be young in the British punk scene to hear albums like this on their release. So much emotion fueling these performances.
“Identity” for sure is my favorite off this project. It’s got such a cool start, the lead singer totally sells out with some super infectious screaming/singing. And the crazy, spectacular horn section!!! So fucking good. The little electric guitar refrains that pop in and out super quickly are a little cherry on top of this song which is genuinely one of the better songs I’ve been able to discover this far in 400+ albums on this whole list! Can’t say enough good things about “Identity”. Whatever platform this song did or didn’t have in its time, it deserved tenfold.
“Plastic Bag” specifically is such a cool concept because it goes from something that sounds like a Black Country, New Roads sax jam (for all the 20-something’s out there) immediately into an explosive, speedy punk song.
The only real change-up on this album is the title track, and it’s really nice! Cool processing/playing on the rhythm guitar/synth? It’s hard to tell if it’s one, or the other, or both.
STRONG 3/5, but I could totally see if this was/is your punk opus. Lots of fun listening to this one!
Jean-Michel Jarre
3/5
I have no doubt that this album was way ahead of its time. It sounds like something that came from 1986, not 1976. For that alone, Oxygene deserves its props. Beyond just being an innovative synth album, there are moments throughout the project that still sound massive and impactful by today’s standards - I think that can be attributed to a tasteful balance of quiet passages or near-silent moments.
I also have no doubt that there are moments on this record that have locked its sonic aesthetics in a time capsule.
“Part 2” was a song I liked a lot, cool synth arp at the beginning. Then some laser sfx throughout that reminded me of the ones on “Superheroes” by Daft Punk.
I loved the phased out chords on “Oart 4”. Pretty indistinguishable from an Air track, really impressive.
The first 3 minutes of “Part 5” soften things up with those delicate, twinkly suspended chords. Feels like the very stereotypical introduction of the love interest in a sci-fi movie song. But it kinda breaks away from that into something more progressive with some white noise hits that sound kinda chiptuney.
This album is SO French-electronica, and “Part 6” probably did a whole lot to lay the groundwork for the region and subgenre as a whole. It’s got a beachy, waiting-room drum machine loop. It’s got swells of white noise and synth pads heavily rinsed in a phaser/flanger effect again. I may not have been around for the advent of the cassette player or the giant laser disk, but I know the quintessential synth wave / electronica sounds when I hear them. This was a really good way to end the album.
Good music to put on in the background at night while doing something mellow. 3/5.
Small Faces
2/5
The redeeming quality of this album is how whimsical and silly it gets in its second half. As memorable as the narrated sequences were, it’s still something of a gimmick that only took the record so far.
“Rene” was an early peak into how goofy everything would eventually get.
Shoutout to the drum full at 1:08 in “Rollin Over” I feel like I’ve heard that as a sample a lot of times.
The closing “HappyDaysToyTown” is the best song on here, for how it goes for the full-on parlor chant anthem.
Even though I had a lot of fun sitting with this project, I don’t think it deserves a spot on here, nothing about the music itself is unique or exceptional
Lauryn Hill
5/5
The completionists album. There are no misses in the track listing here. An exploration of love and identity through the gentle concept of a predominantly black classroom discussion.
Many things are impressive about Miseducation. One of which is how every beat is great, and no beat gets in the way of Ms. Lauren Hill. But I suppose it’s hard to do that, because another impressive thing is how Lauren Hill can sing and croon AND rap all in one song, or switch it up completely from one song to the next.
I hear some Stevie Wonder inspiration sprinkled throughout this album. I hear it specifically on the vocal runs in “To Zion” with Carlos Santana, which is such a sweet pairing. I also hear the influence in “Every Ghetto, Every City” with those Stevie Wonder “Superstitious” keys. Beyond the sonic influence, I hear how she can speak from the heart about matters both personal and social, both she and he could cut through lots of tropes to get to the core of what they wanted to speak on.
“Doo Wop (That Thing)” is a classic that doesn’t need to be talked about, just listened to.
“Ex-factor” is crazy because it’s one of her best songs for the first four minutes or so, then has a Prince-esque guitar solo at the end that makes it even better.
“Final Hour” is just bars after bars after bars, it’s dizzying and so full of phrases to think on.
Miseducation is a project of the heart, from the heart.
Marvin Gaye
2/5
It doesn’t take a deep Wikipedia dive to know that this is an album made by a man who is bitter about a divorce he’s gone through. And honestly, I wish it weren’t so, because the result is not Marvin’s best work. This is the third album of his that this list has produced, this one comes from the most hateful and personally downtrodden perspective of the three. While R&B roots itself in such emotions, I don’t think Mr. Gaye produces any unique or memorable perspectives with such emotions. At best, it’s moody, at worst, it’s meandering, aimless, and petty.
My pick to listen to from this record is “Anger” which is sort of a third person view of Marvin, where he extricates himself from the divorce emotions he’s feeling to give a more measured view on what anger does to him and others in general.
None of the music is ‘bad’ here, but none of it stands out or merits a spot on this list.
Public Image Ltd.
1/5
I don’t wanna hear about how this album was a pioneering bastion for post-punk as a whole. If that’s the case, then the best thing I can say about First Issue is the quote from moneyball, “the first one through the wall always gets bloody”. Because this is a bloody mess at times.
While the songs “Religion 1 & 2” are true to the spirit of punk music, it’s about as shallow of a criticism of organized religion as I can think of. So many songs have made more tactful, interesting criticisms than these ones. Even the rhyme scheme and delivery is clunky.
The shouting toward the end of “Annalisa” isn’t raw or cool, it’s grading and doesn’t reward the listener for getting through a very humdrum track thats mostly comprised of one melodic loop.
Is “Fodderstompf” a parody of more popular music of its time? I genuinely couldn’t tell or come up with another reason why the album ended that way.
Hard to find anything good to say about this album other than I’m glad that post-punk developed into much more than the sounds of this project
Bee Gees
3/5
This is the second BeeGees concept album on this list to loosely use historic maritime activities and locations in its concept 💀 haven’t even heard the disco albums yet.
Much like Trafalgar, the most dazzling thing about this record is the soaring string arrangements.
“You’ll Never See My Face Again” and “Whisper Whisper” confronts the listener with the idea that maybe every white band in 68-70 wanted to sound a bit like the Beatles. But fret not! You can hear the Gibb signature sound more on the next track, “Black Diamond”.
“Marley Purt Drive” might be one of my favorites to pick, just for how simple and easy on the ears it is.
I would’ve been happy if they trimmed this album down 15-20 minutes. It’s easy to sink into inactive listening about halfway through the album, it lulls you into melancholy without meaning to.
“Seven Seas Symphony would’ve been a grand closing track.
Pretty mellow 3/5
Ryan Adams
3/5
If you can invest into the melodrama he’s found himself in, you might get some mileage out of this one. Or, the melodrama he portrays. Unsure how much of this is autobiographical, and how much of this is a practice in character portraits. Which I suppose is a sign of good songwriting!
Wouldn’t say this is country, but it sure associated itself with the places and folks that helped shape the albums identity. Toes the line of country, folk, singer-songwriter, Americana, etc.
“Oh My Sweet Carolina” may as well have laid the groundwork for what Chris Stapleton and other acoustic folksy guys would build upon. Probably my favorite on the album.
“Dam Sam” was a personal confrontation experience for me, forcing me to realize that Bob Dylan’s influence knows no bounds.
From here on there’s a bit too much harmonica if you ask me. That and all the eulogizing or hyperbole about lost lovers and other familiar tropes, like “Dont Ask For The Water”.
A good change of pace for this list, this record is at its best when it’s sonically spacious/minimal, and lyrically wearing its heart on its sleeve. A respectable 3/5
Led Zeppelin
3/5
Good, not great imo. Hard to compete with Zeppelin 4 which would follow. Definitely more fleshed out than Zeppelin 1 though, which we’ve also listened to already. To this albums credit, it’s very textured, with just the right amount of unique instrumentation - if there’s anything it has over Zep 4, it’s that.
Also to this albums credit, it doesn’t concern itself with trying to sound like the Beatles. We had a BeeGees album from around the same time Zep 3 came out and it was sooo similar to a late Beatles record at points. Zep 3 is its own thing, going for its own sound.
“Since I Been Loving You” is my not obvious pick to listen to from this record.
Nothing here is bad, nothing here amazed me though
Bert Jansch
3/5
Some cool moments here from Bert Jansch. Very folksy and easy to get into for a quick listen. Completely cooked me that he’s Scottish, this sounds like any other American folk record of it’s time to my novice ears.
It’s so interesting to me that yesterdays record was Zeppelin 3, a project (or group of projects) that often employed the same rolling, plucky folk guitars that get played all the same on this Bert Jansch album - “The Casbah” is a good example of these similarities.
“Needle Of Death” is the obvious pick to listen to, this is a super harrowing story and it’s told with such blunt sorrow. Really, really good song. Listening to that one over and over again.
3/5 straight up
Peter Gabriel
3/5
I think this is how you should evolve your sound without biting too deeply into whatever sonic trends are cool & current. Peter Gabriel leans into electronics and synths in a mostly understated, utilitarian way that hasn’t aged so terribly badly, unlike some of the 80’s experiments other artists took on.
“Games Without Frontiers” is a good example of this - just a few synths and a drum machine, nothing overdone. This is really a great song, super great for Kate Bush to come on, she adds a lot to it (I also though this was an Eno collaboration with those guitars and that drum machine, but I was wrong).
“Lead a Normal Life” is probably my pick from the album. I love the bell synth loop at the beginning (same with the bellish sounds in “No Self Control”). It’s super interesting, this bell sound has kinda been used into the 90’s and then repurposed to be used in some more modern IDM stuff (hate that genre moniker).
Not his best work, but still a respectable listen with moments that’ll make this album at least slightly worth your time
Bob Dylan
4/5
Snuck this one in by 5am before Spotify went down today - all the while I was rejoicing to myself “Bobby finally locked in!”
It only took him an affair in which he ruined his marriage to drop the rambly “leopard skin pillbox hat” style jingles. The contents of Blood On The Tracks are relatively more streamlined, accessible, and most of all, grounded. Not only did I enjoy the grounded nature of these songs much more than his previous works, I even found some of them to be very forthcoming and blunt.
It seems like Dylan’s focus for this album rotates around three people: himself, his wife at the time, and the lady he is having an affair with. There’s a handful of reframings and fantastical stories, but all of those tales are clearly about this pod of three people.
“Simple Twist Of Fate” is probably the first example of that forthcoming nature of this album (it’s so funny that he’s denied these songs being autobiographical in the past).
“You’re Gonna Make Me Lonesome When You Go” is another favorite of mine and maybe the most catchy of this bunch.
“Lily, Rosemary and the Jack Of Hearts” is the most fun song for sure.
Lastly, “Buckets Of Rain” has is a great closer, with a little acoustic riff that sounds like a melancholy version of that “In The Summertime” song and Reddit confirms that I’m not alone in hearing it.
Thank you Bob for planting your two feet back down on earth and singing from the heart
Laibach
3/5
The further along we dove into this list, the more you begin to look at albums like MLB front offices evaluate relief pitchers: weird is good, deviating from the norm is of significant value. Everyone can get through a 2-3 star rock album like every hitter can hit a 6’1 righty with a three-quarters arm angle who tops out at 92 mph on his fastball.
This album is the Chad Bradford of the list. A completely unique delivery thats good for a few innings. The novelty of it in the context of this mostly British and American list is hard to ignore. That novelty does ware down a bit towards the end of the record.
The opening few songs sound so firm, militaristic, and almost nationalistic in a sense. Chanting choruses, march-able drumloops, jaggedly cold melodies.
What captivated my attention the most, though, was the more intimate moments on “Koza (Skin)” with its whispery vocal recordings and echoey, dissonant chamber sounds. It shows to me how the group was in touch with the track sequencing aspect of this project, as the novelty of the loud choruses was starting to lose its welcome a bit.
I won’t go back to this album for a casual listen anytime soon, but am appreciative of its inclusion. Music completely unique to a region, culture, and period of time
The Doors
4/5
The first song, “Roadhouse Blues” had me confirming my expectations and preconceptions that I had coming into this album: The Doors were hard at work making an album that leaned into a classic bluesy, parlor rock sound. But what lies beyond the opener proves to be a bit more nuanced and well-performed.
"Waiting For The Sun" has a surprisingly timeless instrumental, with a nice little crunchy keyboard texture, some saturated guitar licks paired with with punchy drums that all sound like something out of a prime yeezy-era sound pallet?? That's genuinely what it reminded me of.
"Blue Sunday" is has an airy, mirage-like, stumbling nature to it that's a great change of pace.
Lastly, "Indian Summer" is a very endearing love song that's mellow and does nothing more than it needs to. It's the embodiment of being in love and the emotional foundation that love can provide a person - simplicity and assuredness. One of the best songs I've had the pleasure of listening to from this list so far.
I know I gushed about this not too long ago on the L.A. Woman record, but Jim Morrison had an insane vocal presence. It's not like he could hit every note low to high with perfection, it's more that he had such a fullness and ability to inject character into how he sang about things. I feel like he could've been one of those singers-turned-actors with some real success, you can hear his sense of showmanship and knack for vocal delivery that just cant be taught.
Not perfect, but once again The Doors proved that they were operating in an echelon above the rest of their classic rock peers
Dr. John
2/5
I have no context for what it's like to be in LA state, New Orleans, or anywhere close for that matter, so to my untrained ear this sounds like an honest attempt to captivate the sounds and vibe of the area/time. What this album succeeds at is capturing the listener and sending them on a boat ride through a mystical bayou swamp, full of olde-timey, grizzled characters.
What this album doesnt do...is much else beyond that honestly. I really appreciate the record on the whole, but it didnt have any standout songs to me. A good, quick listen, nothing more, nothing less.
If I had to pick a song to listen to, I suppose I liked the instrumental "Croker Courtbullion" the most
2/5 cool but not much else
Germs
1/5
I understand the need to feel like you should include an album like this on the list - I don’t know if I’ve heard much American punk yet. But this wasn’t a good listen. I’m sure it was probably super entertaining and engaging live! Like, the strange sound they make 1:40 into “Manimal”? Probably pretty fun to hear at a show. I can imagine how lively the crowd could be.
And that’s all I can muster up to say for this record!!!
Nirvana
3/5
From one Pat Smear associated group to the next!
This album kinda flew right by me. And I’m not sure that’s a good thing. There’s some things worth celebrating on In Utero; I think Kurt Cobain sings about things in a very measured mature manner. I think the cello on “Dumb” and “All Apologies” is AMAZING.
I also believe the MTV Unplugged record gives me the best parts of In Utero and leaves out all the rest. I couldn’t grasp a lot of the deep cuts on this project, unfortunately.
Penguin Cafe Orchestra
3/5
Variety like this has been much needed! It’s the spice of life! I love their take on an album, and of course this has Brian Zeno’s fingerprints on it. There’s no frills and no adhesion to genre or hopes to land a radio hit, just a thorough front-to-back listen.
The way the opening track slows to an end is so smooth and so pleasant!
I have a bit of personal bias in liking “Surface Tension”, the rhodesy keyboards sound just like something off zedd’s Clarity album, both in their sound and chord structure. Probably my favorite off the album for that little nugget alone.
Lastly, "The Sound of Someone You Love Who's Going Away and It Doesn't Matter" has such a sensible little guitar riff, it’s so placid and perfect.
While this album may not blow your socks off, it might help you ease into a morning or ease into bed. Give this one your time :)
Blur
2/5
I’m an American whos been exposed to ten times more Gorillaz music than Blur music. I’ll happily admit that and all biases that come with it. But maaaaan it’s so clear that Gorillaz was a freeing, more fulfilling channel of creation for Damon Albarn. You can even hear the Gorillaz creativity wanting to claw out of its early stages, “Theme From Retro” shares some sonic qualities with “Glitter Freeze” from the Plastic Beach album.
Albarn is said to have wanted to take a more serious angle to his songs with Blur, so naturally the first two songs on here are “Beetlebum”, then a song that goes WOOHOO! LOL.
I liked the ending minute of “On Your Own” as a nice singalong anthem. Maybe that’s my pick from this project.
Also, “Essex Dogs” has a super cool intro, but doesn’t really feel apart of this album. I thought Spotify auto-played some sort of Massive Attack song after the album just ended.
Can’t say I got a ton to take with me on this musical list journey. This record *blurred* right by HAHAAAAAA. 2/5.
Girls Against Boys
2/5
Very conflicted about this one. The instrumentals are SO cool. Each one sits at a nice intersection of melodic substance, compositional variation, vibrant guitar textures, and general sonic fullness. There’s this driving, heavy beat on “Let Me Come Back”, for example, thats so visceral and energetic!
At the same time, the lead singers vocals are just about a deal breaker. It’s nearly tragic thinking about these instrumentals under the vocals of the Sleater-Kinney girls — listen to the background vocal refrain on “Learned It”, it’s made for them, or for any riot grrrl group worth their stuff.
Where is this guys voice even sitting in “Satin Down” or “Get Down”? thats not a charming inside voice, it’s grading and creepy.
The record’s apparent hit, “Bulletproof Cupid” is the best example of how close this music comes to something huge, only to be muddied by some poor vocal work. I don’t even think this is a matter of me desiring for something more poppy, I just don’t like this vocalists performances.
Mourning the possibilities this album was poking at. Could’ve been 4/5 stars.
Curtis Mayfield
4/5
I think that on the whole, we have not celebrated this album enough. Is it because it’s a movie score? You could’ve fooled me. This record is full of harrowing lamentations of the black experience, coupled with some of the most vibrant, beautiful, dramatic instrumental arrangements.
Hearing this album with ears trained by 2020’s pop/hiphop/rap makes me think about how ripe for sampling and referencing these songs are.
The string ending of “Little Child Runnin Wild” sounds like it inspired Kanye Wests “Flashing Lights” a good bit.
And my goodness how many times has “Pusherman” been interpolated or referenced throughout the lexicon of rap and hiphop culture - I’m looking at you, Pusha T.
No record of its time is complete without a bossa-nova-leaning love song, and “Give Me Your Love” does it well.
I think the passage in “Freddie’s Dead” sums up Superfly’s messaging best:
“We're all built up with progress
But sometimes I must confess
We can deal with rockets and dreams
But reality
What does it mean?
Ain't nothing said
'Cause freddies dead”
Powerful, colorful, substantial, soulful, and groovy all at once!
Eminem
2/5
Eminem uses one beautiful instance of storytelling in “Stan” to show you how to craft a thoughtful, memorable, substantive response to stardom — then nosedives the rest of the project into a hateful, vitriolic mess of how NOT to respond to newfound fame/infamy. The doubling down on slim shadys whataboutism is full of dates references that doesn’t clear his name or meaningfully divert the attention to the systemic failures that led to so many kids (namely white teenage boys) relating to some sentiments on this record; “Who Knew” is the best example of these misdirections. Dr. Dre’s production doesn’t hit as hard on most of this project imo, the best beat on the album to my ears is “Drug Ballad”, which Dre doesn’t even have his hands on.
There are moments of introspection that almost make you sympathetic for Marshall Mathers the person, but it seems like each time he comes up for air, he quickly devolves back into some mixture of slurs and hatred.
Did this album shed a light on the awful underbelly of middle America, white men, and cycles of poverty? Yes, in many ways. Did it have to do so with nasty, awful language and aesthetics? Nooooooo no no no no no no noooooo.
My two stars all go to Stan.
John Martyn
4/5
Nick Drake was an artist so enigmatic that he has a song ABOUT him. And what a good friend in John Martyn, to make such a thoughtful single about his friend.
This is kinda like what a lively lounge album should aim to be. A bit of acoustica, a bit of free-form percussion. Airy, soulful vocals. The occasional musical tangent, like the midway point of "I'd Rather Be The Devil", which get pleasantly trippy and experimental all at once. I really enjoyed the journey that song took me on. It hit me, during this song, that this all sounds surprisingly timeless for something from 1973 (outside of those Shaft-style guitar grooves on "Dreams By The Sea"). Same thing applies for the album cover though! Not that it matters, but I do think it's worth noting when a piece of art defies or removes itself from the tropes of it's time of creation. To stay on the same point in the track listing of the album, I think the transition from "I'd Rather Be The Devil" to "Go Down Easy" locked my attention in a bit more. Something about how smooth the transition was, the use of space and quiet ambiance, it was all really impactful. It's a shame this sequencing shows the least amount of plays on spotify for this record, it's some amazing work.
On the note of spotify plays, the masses got it all wrong the whole way through this album. "The Man In The Station" deserves more than the 5th most popular song from Solid Air. The mumbly, buttery-smooth delivery of that step-down melody in the verses is stellar. If I could come up with some sort of signature award to give out for my listening experiences on this list, it's my "instant replay" award - where I stop the tracklisting from playing out like normal to replay a song immediately - "The Man In The Station" gets my instant replay award. Bossa nova inspired brilliance!
My rating on this is hard to pin down. I think most of the easily accesible acoustic guitar ballads on this are just kinda ho-hum, especially the closer. But when John Martyn let's his creative inclinations run off into different directions, this album elevates to something special. Tracks 3-5 and track 8 really did it for me. Soft 4/5 stars. Nice hidden gem here!
A Tribe Called Quest
4/5
All rappers should hope to have a tenth of the personality that ATCQ inject into each song on this album. All rappers should also be hopeless when they hear how easily the bars are delivered on this album. "Luck Of Lucien" was such a fun, linear story that was so easy to go along the ride for. It is in this track that I can practically hear MF DOOM taking notes - he strikes me as one of the few rappers to ever honorably iterate on the blueprint that ATCQ laid down here.
My song of the record is probably "Rhythym (Devoted To The Art of Moving Butts)" for that beautiful, futuristic beat under some fun rhyme schemes.
Solomon Burke
3/5
I feel like a 3/5 stars is always a cop out for anything this old. But Ive said this before and I’ll say it again - it’s hard to judge records like these and feel like I have anything meaningful to contribute. So I try to treat these as opportunities to be thankful for how much variety is at my fingertips - I listened to some very cool 90’s dub techno right after this.
The best song on here, to my ears, is “Beautiful Brown Eyes”. It felt the most complete and varied from start to finish. 3/5.
Love
2/5
I was soooo excited, so happy, so hopeful that this record could finish the tightrope walk that it set out on. The first few songs were unique and defied a lot of the 60’s rock tropes of the time. Thoughtful lyrics about how one death leads to another life, etc. I was particularly a fan of “Orange Skies” for how simple and happy it was - the flute was a nice touch.
But it all had to come crashing down eventually. “Revelation” closes the album in such a needless manner. No, this isn’t a noteworthy opus just because it’s over ten minutes and features a bunch of instrumental solos. It’s a bit boring, the looped melody it lulls into is a bit derivative. Who felt the need to do this? I’m having a hard time getting the hype for this record.
Saint Etienne
3/5
I read the description for this album which gave me such a sense of hope for my listening experience. That was a mistake, I should know by now that it is often the album I don’t expect anything of which end up surprising me the most. There were a pleasant few times where Foxbase Alpha lived up to the hopes I had for it, but what came between those moments left me wanting more.
There’s also an interesting dichotomy going on with this project. Is it impressive and well-produced for its time? Yes. Did I find it largely toothless and safe? Also yes.
The opening tracks sampling technique had me hoping for some four-on-the-floor beats and colorful loops to come, but it wasn’t until “Spring” that I really settled into enjoying this album for what it is.
Then it once again took me a while to be pleased with anything I was hearing.
“Like The Swallow” toward the end of the track listing is by far the best song on here, it actually commits itself to a unique song idea that takes its proper time to develop. Some much needed variety!
I’m a bit sad this one didn’t pack as much punch as I’d hoped for. It’s not bad, but it’s not crazy. It’s the opposite of crazy.
Not my cup of tea for electronic music, although it checks off some of those boxes to get close
Aphex Twin
5/5
One of the prettiest listening experiences a person can have, anywhere, anytime. Much like other boundry-pushing electronic works of the 90's (DJ Shadow's Endtroducing comes to mind), Selected Ambient Works is greater than just the sum of it's parts.
The album starts with one of the greatest, most arresting, transcendent songs anyone's ever made. "Xtal" has a perfectly muted kick pattern, a shiny female vocal loop, a melancholy set of chords, and a PERFECT additive/subtractive progression. These all come together to make something so ethereal, calming, and other-worldly. Sometimes, I think this is what a journey to the afterlife could sound like. Sometimes, it feels more like a rave in some crystalized palace - like the round room where the organization 13 meets in Kingdom Hearts. Wherever this song takes you, there seems to be a collective understanding of how incomparable it is. No drug can ever take me where this song does.
"Tha" is next, and gets overlooked due to it being preceded by a contender for greatest track of all time. This track buries itself further into the liminal, repetitive, muted space. I've just recently come across early dub techno, specifically the "Radiance" tracks made by Basic Channel. Those songs are the only fair comp i could give to "Tha". It's like listening to a rave going on above ground while you're 15 feet under shimmering ocean water - echoey, glistening, but very much muted.
I was listening to this album on a sunny, warm run, and the world almost felt too alive for these first few songs. Luckily, the album methodically ramps things up for a bit. Then "I" comes on and its just over a minute of completely placid, slighlty somber ambient chords. This project couldve been an EP that stops here and it wouldve already been generational.
What follows is some acid!! "Green Calx" sounds more like what an early 90's uk warehouse was probably like, after the advent of the strobelight, but well before the american usage of an LCD screen, or even a culture of facing the dj, at raves.
"Heliospan" is fairly notable for being one of the more compositionally active tracks. None of this music gets anywhere near pop radio, but I could see this one being the closest - if you put a vocal on top of it maybe?
"Ptolemy" is for sure adjacent to the "rave stab" trope. Usually done with pianos, those little windy, slightly atonal whistle synth hits are so 90's dance music.
"Hedphelym" is the last song that really stands out to me for it's apocalyptic sound pallet. Those dissonant horn/synth notes come together to make things seem like you're hiding out in a cave waiting for emergency sirens to stop, waiting out some alien cataclysm with that thumping kick and those noise hits/SFX. If you like this song, u-Ziq's "Hasty Boom Alert" is a wonderful iteration of this sound -- very similar but with some faster, more frenetic jungle-adjacent drum sampling.
All the words I know and using them to attempt to describe the feelings of this album are like having a wardrobe of clothes that dont fit right. In it's best moments, I am sent to places in my mind that dont exist in real life. Places that are liminal, empyrean, unearthly, beautiful, and perfect. I haven't even touched on how I think this album created a subculture of gen Z's eventual fascination with "liminal spaces". And I WON'T mention the stupid genre moniker "IDM" for this review, even though it did kinda birth the genre. I understand if Selected Ambient Works isnt for you - there was a time where I didnt understand the appeal of Aphex Twin at all! I wanted music that hit me in the face and matched my energy. But if you can be patient and spacious, and meet this album in the mysterious places it takes you, then you'll be rewarded with a sonic journey to places that go beyond description
Ministry
3/5
Things I liked about this album:
- the vocal processing
- most of the post-recording effects
- “Corrosion” is the best song easily for it’s surrealist feeling
- the message of “Hero”
- “Jesus Built My Hotrod” is goofy
- metal albums often sound like they’re adhering to some impossibly high standards of masculinity, this one doesn’t seem to care as much!
Things I disliked about this album:
- it’s adherence to some basic metal tropes on “Hero”
- songs are too long at times, repeating the same loops without really achieving anything (I’m looking at you, “Scare Crow”)
- a little too atheist, occasionally cheesy
Maybe the most interesting, engaging pre-2000’s metal album I’ve heard so far! Almost a 4/5 stars, I loved that it leaned more towards the crazy experimental sounds towards the end. Appreciate it!
Missy Elliott
4/5
Well aren’t we just on a roll through our 90’s albums lately. Supa Dupa Fly is a smooth, forward-thinking project that sets itself out from its contemporaries.
The introduction by Busta Rhymes is so effective in making it seem like he’s rolling out the red carpet for Missy Elliot.
I can’t think of many songs that are as nocturnal and as chill as “The Rain”. The stoner anthems dont stop there; “Pass da Blunt” isn’t as easy on the ears, but has a just as anthemic chorus. I’d also like to highlight this song as it sounds like a grand coming out party for Timbaland. Most people who are millennial-aged or younger are all too familiar with that pseudo-beat-boxing mouthy production style at the end of this song.
“Best Friends” maybe meanders a bit too much for my ears, but thats about the worst thing that happens at any point on this record, which is so impressive given its hour run time. I feel like anyone that has a lot to pick apart about Supa Dupa Fly probably has some biases to get over.
Missy Elliot facilitates an atmosphere that made me feel like she was pulling punches — not shorting the listener, just letting the stories she tells or bars she delivers all ride out over incredible production.
Peter Gabriel
2/5
Not even halfway through this list and this is the third Peter Gabriel album to pull. “So” was incredible and makes a third PG album feel justified, but “Melt” was a little lackluster and makes a third PG album seem redundant.
Unfortunately, this was a bit of a redundant addition as well. Peter Gabriel’s lowlights (in the context of this list, at least) are still fairly admirable. My biggest takeaway here is that PG was sooooo happy to express himself outside of the limitations of a band. What comes of this freedom is something that’s almost too sprawling, too grand and too all over the place at times.
I didn’t realize “Solsbury Hill” was Peter Gabriel - it always sounded like some sort of “Cecilia” Simon & Garfunkel copy.
“Excuse Me” is a very fun barber-quartet-style song, my favorite and pick to listen to from this album. It’s one of the musical ideas that hits its mark.
There are many that dont hit their mark, or dont really add any cohesion to this project. “Down The Dolce Vida” is a fun, massive song, but after so many different musings and explorations of different styles, I was ready to pack it up after this one.
Peter Gabriel is exercising his freedom, and sometimes I can’t keep up with his pace. Maybe a 3/5 in a vacuum, but I have to give it a strong 2/5, he doesn’t need 3+ albums on this list
Can
2/5
Moments of good, moments of shit. Such is the life of an “experimental, trail-blazing album”.
All I can really do is break this project up into moments, as its format & songs evolve in such abnormal ways.
Good moments:
- the first minute or so of “Oh Yeah” with those reversed vocals
- the first half of “Aumgn” is incredible. Eerie and atmospheric, love the guttural chamber vocals at the 7+ minute mark. Like something out of Dune!
- the beachy, wavy drum machine pattern 3 minutes into “Peking O”
The bad:
- most of the first half of the album just feels like it’s figuring itself out and going nowhere in doing so
- the second half of “Peking O”. Eminem is shaking in his boots! The rambling nonsense took me out of the listening experience a bit.
- even for an intense, attentive headphone listener, it’s hard to grab on to many sonic ideas. Kinda like a really strange, hazy dream that you don’t remember
Somewhere between 2 to 3 stars
3/5
I enjoyed this, but I do not revere it. There is so much fun to be had, so much energy packed into every corner of this album. I also had the realization that this is basically David Byrne all amped up and fast-paced.
The opening “Uncontrollable Urge” is recognized by all people my age as the Ridiculousness theme song.
“I Can’t Get No Satisfaction” is an interesting cover that’s unique and separated enough from the original that it’s worth a listen.
I appreciated “Too Much Paranoias”, as it leaned into the spirit of this record - high energy, high chaos (for pop standards).
The same can be said for the passages of hollering towards the end of “Gut Feeling / Slap Your Mammy”. I’d pick that song as my highlight of the album.
Maybe it’s not to my taste, maybe it’s a matter of time and place, but I wasn’t jumping for joy after this one was finished. I think many people hold this album in high praise, and I can sorta see that. I respect it but dont love it
The Youngbloods
3/5
I dreaded the idea of listening to this album upon reading its Wikipedia article. But it wasn’t that bad! There were little nuggets of quality songs here and there.
A nice opener in “Darkness Darkness”, folksy and probably inspirational to Led Zep’s work on the IV album.
I’m a particularly big fan of the easy “Sunlight” with those double acoustic guitars, and the “thats the way she feels about you” refrain.
Another thing I liked were the strings on “Quicksand”, then how it ended with that little saxophone lick.
But the one that takes the cake for me is “Ride The Wind”. That’s a Wii shop channel bear right there, they just (didn’t know it yet) embellished it. Love love love this song.
Nothing felt particularly out of place, and almost everything was performed with ease. While I think this general genre and time has compressed ceiling in terms of how GREAT an album could be, this album just about scrapes that ceiling. Good stuff, worth a listen
American Music Club
1/5
Unfortunately, this sounds a bit like the music that was performed by the fictional character Rufus and his band Lincoln Hawk from the hit show Gossip Girl. 90’s pastiche that falls under the Smiths umbrellas of influence, with an R.E.M sound pallet. “Lonely” in particular was a lowlight for me. The singing was the opposite of charismatic, and so was the content of its lyrics. Hard for me to say this, but at least my other infamous 1 star band PiL takes some sort of convicted angle with their sound and style.
Having to go to YouTube for this one when I was at the gym early in the morning was the dagger
Devendra Banhart
3/5
I enjoyed this a little more than I thought I would! The first song has me thinking here we go again another milquetoast post 2000’s album that doesn’t commit to any one sound or idea. But I was wrong!
I laugh as I say this, but in a way, once again, Bob Dylan’s influence shows its impressive reach. Armed with mostly just a guitar, Devendra Banhart tells some cool stories and paints some fun pictures, occasionally getting a bit abstract with his choice of paint or technique in which he brushes.
Maybe it’s just present in my mind, but “A Sight To Behold” could fit very well into the new season of Last Of Us, with its solemn, rolling acoustic guitar.
“Poughkeepsie” has this little one second nugget at the beginning which sounds like an Aphex Twin vocal stab. It’s nothing significant, but it was fun for me. The real highlight of this song is the prolonged stutter at around 1:40 - it’s one of many examples of how he packs a lot of flavor into songs with just some minimal instrumentation.
I loved the messaging and vivid imagery of “This Beard Is For Siobhan”.
More excellent, eclectic vocal performances in the repetition and pronunciation of “you’re here to get this baby dancing” on “See Saw”.
“When The Sun Shone On Vetiver” might be my favorite of all these though, the way the vocal melody rises upward with some accompanying strings and vocalists.
This is about as strong of a 3/5 stars I can give. I’m left wanting more, wanting the songs to evolve a bunch. But all in all, with lots of conviction in his deliveries, Devendra shows that he was born to be a performer.
Sebadoh
1/5
I am displeased to say the least. You mean to tell me this no-man’s-land earbomb of an album deserves its day in the sun? This isn’t charming diy indie, this isn’t a challenge to the listener. Songs 2-4 specifically are just messy.
“Happily Divided” is at least something, even though it lives under Nirvanas shadow, both for sounding a lot like it’s making an attempt to sound like Kurt Cobain, and for this being a sub pop release. That gives me a solid reason to be a homer and give this album SOME sort of bias. I found no such reason to do so.
This album has an idea of what it wants to be, and has moments of completeness. Lots of intros, like on “Emma Get Wild” give me a vague sense of hope, just for some sloppy vocals and quick-to-stale melodies nosedive it all.
I can’t really pick a whole song as a highlight for me. Maybe the halfway point of “Homemade”, having some success actually sounding like proper indie/grunge for a moment.
Is this a snapshot of a musical time & place? Sure. Is it worthy of taking a spot on this list over [literally insert your missed album of choice here]? Cmooooon.
Wire
4/5
I will repeat it ad nauseam: the guitar tones and melodic presence on this project are spectacular!
There’s a pretty big difference in track one and track two/three here. The opener is heavy, melodic, and almost hypnotic. It was hard to pin a genre to it (not that it matters), but I was intrigued. What followed after sounds much more typically punk.
Typical doesn’t equal bad though! “Ex Lion Tamer” is a fairly standard melodic punk jammer with a really memorable four-chord singalong loop.
“Lowdown” has a lot of swagger with its rhythm-guitar-based composition.
It was around this point that I picked up on how they wanted to sequence this album, bunching a few fully-fleshed-out songs with a quick interlude after a while.
The title track once again strikes gold with an excellent guitar section, the tone in particular of the guitar on this one is awesome. The way this song evolves and elevates really impressed me.
Something about how the instrumentation was recorded and processed gives this whole album an above-average melodic quality that I can only compare to Hum’s “You’d Prefer An Astronaut” album.
Unfortunately, the last few songs on the album dont do much, and fade into forgettable territory.
Really well-done project, it deserved more attention than it seemingly got. Lots of fun songs to choose from, maybe “Strange” is my favorite.
This is a super light 4/5 for me. I thought about going 3 stars, but there’s one too many standout moments on here
Neil Young
2/5
I think Neil Young is a twitter yapper born 50 years too early. There seems to be a lot of vague jabs at critics, lots of lyrics coming from a bitter place.
I’m not too sure this deserves a spot on the list. Unless you’re involved in the career drama of Neil Young, a lot of this might pass right through your ears - it did for me.
I liked the twangy guitar and the baseball reference on “For The Turnstiles”. I also appreciated the melancholy, low-lying mood of “Motion Pictures”.
That’s about it though. I don’t have much to say for this one, nothing stuck with me.
Scott Walker
2/5
This is such a dealers choice pick, knowing Scott 2 is already on this list like come on. Additions like this make me not wanna play ball - not because of this albums quality in a vacuum, but I yearn for variety and newer albums.
“Boy Child” is very wondrous and tender all at once, it’s pretty good.
“The Old Man’s Back Again” is my highlight of the record, as it encapsulates the clear direction Scott wanted to take this particular project in - it’s a bit of a western/classic/talltale ballad.
Scott is still in galavanting, grandiose, slightly campy form; like he was for Scott 2, like I’m sure he was for Scott’s 1 and 3 as well. Take any of those albums for a spin, you’ll kinda get the point of all of them after you listen to just one of them
Supergrass
3/5
I don’t know if the review "more fun than watching a wombat in a washing machine" is totally warranted, but this album has its moments!
Got a little bit of that muse/u2/coldplay vibe going on in parts - heard as soon as the 2:30 mark in “Richard 3”.
Got a little bit of that Jack White vibe going on in “G-Song”.
I liked the whirling synth in “Sun Hit The Sky” and how suspenseful the whole song is, I think it’s my personal favorite from the album. The eastern hand-drum line toward the end is so cool too!
“Sometimes I Make You Sad” is quite the fun way to end this project. My quip with this project is that the lead singer is super hard to understand most of the time. I’m not sure if I’m supposed to be paying attention to him or not.
Overall pretty fun, very high energy! Solid 3.
Neil Young
3/5
Only on this bitch of an earth do we get 2 Neil Young albums in a week. How many is it now in total? How many of his albums are on this list?? Not including CSN&Y, I like their stuff a lot more in general.
I'm done airing my grievances, how's the album? It's marginally better.
The best songs are sadly the ones that utilize the CSN&Y harmonization, heard on the closer "Cripple Creek Ferry".
"Tell Me Why" is a well written song with a vocal melody that just makes sense, I like the way it moves up and down.
There's a slight bit more variety on here too, like the Springsteenish piano on the title track.
But that's about where the good ends. There's still a bit too much pathetic woe-is-me going on here, and I swear his voice is even more shrill on this project.
JUST barely does enough to get 3 stars
Missy Elliott
3/5
In comparison to the previous Supa Dupa Fly that we got to listen to, I'm more casually familiar with THIS version of Missy Elliot - very sharp and full of energy. I think she frontloaded this album with songs she figured would play on the dancefloor or radio; "Bring The Pain" has a hypnotic sample loop, "Gossip Folks" has Ludacris on it, then "Work It' is obviously wildly iconic for its innovative vocal and quirky delivery.
I could see how hardcore early Missy fans coulda been mad at this release - its a departure for the more airy, mellow early stuff produced by Timbaland. This album has a selective, star-studded features list and everything. I can't say I get a lot more out of this presentation of Missy Elliot. I don't think it's way worse or anything, it's just after some of the best first few songs, you kinda get the message loud and clear.
The good: Missy Elliot's vocal presence and confidence, some great samples in the production, and a few hit-worthy bops. And that insanely punchy beat on "Slide".
The bad: an album made seemingly to appeal to a wider range of people
Alright, 3/5!
Death In Vegas
3/5
A progressive blend of saturated rock instrumentation thats given time to stretch itself out and develop as slowly as it likes. If you told me this was the score to some trendy 90’s movie I’d totally believe you!
The first song started out like an early Gorillaz song and developed into a Spiritualized song very naturally.
The second song “Soul Actioneer” continues to show that this may have been an influence for some early Gorillaz work, with its fuzzy synth melody and galumphing, downtempo beat.
Beyond this point you understand what you’re in for. The only big switch up are the few songs with lyrics. Everything else is great to zone out to OR zone into. Not unlike the function of a house music dj set, you should just be along for the ride and slow development of this project; let the pacing help you appreciate the atmospheric sounds and occasional surprises - I’m looking at you, “Aisha”.
No individual favorite song, just let this one simmer. Strong 3/5
Amy Winehouse
4/5
I totally get the hype. Strong vocal presence, unique song subjects, and an unreal propensity to convey raw, bitter emotions.
“Rehab” is the classic we all know and love, but “Just Friends” is probably my pick of the lot on this record - the reggae / rocksteady influence goes off without a hitch. Also can’t sleep on the following track, “Some Unholy War”.
Listening to this makes me feel like Amy Winehouse paved a path for strong female vocalists to come, namely Lana Del Rey & Adele. I went in with high expectations and still came away impressed in many ways
Kate Bush
3/5
As whimsical and dreamy as ever, Kate Bush shows that her voice is an emotive, tonal instrument as much as it is the vehicle for singing lyrics.
“There Goes a Tenner” has a fun jumpy piano melody while Kate Bush surely lays out the vocal blueprint not just for this album, but surely for Björk as well.
The 3:45 mark of “Pull Out The Pin” continues that super impressive vocal work in the way Bush dramatically screams “I love life!” over and over.
The title track has the most compelling story on here, about the forced assimilation and destruction of Aboriginal life in Australia. The instrumental passage at the end of this track is stunning! It’s easily my favorite on the record and totally worth a few listens.
Strong 3 on this one, if I go back and listen to it more I could see myself converting to a 4/5!
Depeche Mode
3/5
Depeche Mode sits in such an interesting spot in time. What they’re successful at on this album (and in general) is capturing a style/aesthetic and putting it in album form. I can imagine being a teen at the time of this album coming out, it could’ve been a huge gateway into more gothic stuff, more underground electronic music, more industrial stuff. For putting all those genres together in a fairly digestible package, I applaud “Music For The Masses”.
“The Things You Said” is my favorite vocal track, with that “I never tried to hide them” call and answer in the chorus.
“Pimpf” is my favorite instrumental track, it really leans into the haunted, grand, dramatic direction this album sometimes goes in. I think I like the instrumental tracks the most overall on this project.
“Music For The Masses” isn’t totally for me, I think artists in the future iterated in this sound and took it in more intense, interesting directions. I also think this album occasionally lacks hooks, but maybe that’s just me wanting more accessible choruses in general.
All that being said, I get the appeal of this album, this band, and the time period they did it all in. Soft 3/5.
Ananda Shankar
4/5
Outside of a couple skips, this album gave me some genuine 'wow' moments, and generally felt like water in the midst of a year-long drought.
Let's get the big ones out of the way, there are two classic rock covers on here. "Light My Fire" isnt all that appealing to me, it doesnt heighten or altar the song in any remarkable way. But the "Jumpin Jack Flash" cover to open the album was spectacular, setting the tone for the album as a whole. The colorful, textured, slightly psycadelic sound of his sitar playing lead on here, combined with that whirly synth arp in the background - it's a hit (and makes the album cover seem so fitting).
"Mamata (Affection)" was a very fun time, the bossanova guitar under a wandering sitar sounded like relaxing on a beach in India.
But the best song here is easily "Sagar (The Ocean)". This song is masterful. A little while ago, I voiced my frustrations over a lengthy song on a dulldrum album (which I cant even remember currently). I said that just because you can do a long jammer doesn't mean you SHOULD do a long jammer. "Sagar" feels like a song so powerful that it was meant to happen, Ananda Shankar was just the messenger. The way this opus starts out in slow disarray and methodically brings together a long-winding sitar solo with those three acoustic chords under it -- chefs kiss! Despite the 13 minute length, I happily listened to this song again before doing this review. Those aforementioned 'wow' moments were frequent during this song.
"Dance Indra" had the impossible task of following that up, but it was a cool song in its own right for how mysterious, upright, and regal it sounded.
Lastly, I liked the messaging of "Raghupati" a lot.
I dont know how culturally relevant this was in the states back when it released, or if it is even considered honest-to-goodness Indian music from listeners in India - I'd love to hear what they have to say about it. But to me, this was a great time. I wish so badly for more diversity like this, I could go without a few post-punk, 90's slow rock, or even 60's psych-rock albums and replace them with music from all over the world. Earned a big 4/5 stars
Korn
2/5
Dry. It’s dry. The lead singers underwhelming capability to deliver memorable vocals (outside of the beastly adlibs on “Freak On A Leash”) and the bands just passable compositions left me wanting more.
“Children Of The Corn” has a fun Ice Cube feature in concept, but wow it was clunky. And the Fred Durst feature?? That was a phoned in stinker with verses that sounded like a bad imitation of Beck’s “Loser”. There’s some recurring sound/recording technique here, I’m not sure if it’s the zipping of the guitar strings, some sort of wood/rim hits, or both, but they wayyy overdid it in the mix for most of these songs. I don’t think I’ll remember a single hook in this project, which is sad. I was ready to be captivated like I was for the Slipknot album we had not too long ago. Instead, Follow The Leader just blended altogether. 2/5.
Anyways, using this time to remember that Korn made a full dubstep album at the advent of the genre’s blowing up in America with a crazy producer features list. Additionally, the Korn lead singer was apart of Killbot, which had some real early 2010’s dubstep bangers of its own. The guy knew ball.
David Crosby
2/5
It’s a bit of a shame this album takes up a spot on this list. I’ve had two Neil Young albums in the last few weeks, and I think the universe could sense my complaining and threw me an album with Neil featured at the end of its first song.
In the spirit of all that, just copy and paste my reviews for those Neil Young albums - anything that sounds like the harmonizing of CSN&Y is worth your time, leave out all the rest. “Tamaplais High” was a good group jam. “Laughing” achieved a similar sound. Most everything else was a bit bland and forgettable. Put it on in the background of doing something else to get at least something out of it. 2/5 much too similar to all other classic folk rock without doing anything unique, memorable, or something that CSNY didn’t do better
SAULT
3/5
Some thoughtful media rations on the black experience and worthwhile lamentations about racial injustice. I liked the recontextual nature of the monologue about the color black. Instead of offering a solution for every systemic problem black peoples face, this album tends to focus more on the exercising one’s frustration or grappling with the extreme wrongs that have been done to black people on small and large scales.
“Hard Life” is worth a listen for that gritty bassline. Michael Kiwanuka makes an appearance on this albums most infectious track, “Bow”.
While this album doesn’t offer some ground-shaking depictions or intricate stories (if you were looking for TPAB just go listen to it), there’s plenty of meditative and at times cathartic songs to make up this project. 3/5.
The xx
3/5
I really wonder about this list past the year 2000. This album is great in many ways, but does it also need to be included when The xx takes up another spot with their debut album? Both of those over Jamie xx's In Colour? Hmmmm. Anyways, landing somewhere between indie pop and light club music, this album is very easy on the ears. Romy has an incredible voice and seems to constantly be singing about matters close to the heart. On that note, this album is total grammy fodder - very clean, often mellow, and undeniably safe. At no point in this album did my jaw drop or head turn, but to be fair I didnt hear anything worth skipping.
"Say Something Loving" has a lyric that goes "before it slips awayyyy" that's sung in a way that makes it sound sooo much like "The Less I Know The Better" by Tame Impala.
"A Violent Noise" has some echoey, wobbly synthwork a la Rival Consoles who put out an album about a year later than this one.
"On Hold" is my obvious highlight for its production being a little more dancey and bubbly.
My prediction for this album is that it may be remembered fondly by those who listened to it in it's heyday, but it will fade into the background as time crystalizes the musical landscape of the late 2010's. It all just feels like music meant for episodes of a netflix romance/slice of life show. Excellent singing by Romy, super clean and harmonic production, but very safe. As mentioned before, I'd rather see this spot on the list go to Jamie xx's In Colour, go listen to that instead
Nanci Griffith
3/5
A well-put-together album that knows it’s sound and doesn’t overstay it’s welcome. Some thoughtful and colorful telling of stories you’ve probably heard before, but maybe not by Nanci.
“Goin Gone” is probably my favorite track, it’s got the best slide guitar backing track and a fantastic folksy chorus.
“The Wing and The Wheel” is a very good bit of songwriting worth the listen about dreams, love, and how they alter over the generations as families form and settle.
Just some good whistful country/folk/americana/singersongwriter 3/5 stars
Rufus Wainwright
5/5
An incredible album that I have no choice but to give a 5/5. I might go back and listen some more, hear its flaws and feel like it’s more deserving of 4/5. But this left a huge impression on me. Baroque music done well, very cinematic, great storytelling.
The opening instrumental has so much leverage and gravitas, my attention was immediately captivated.
A few tracks later, “Peach Trees” gave me the realization that everyone has when listening to this album - there’s a fair comparison to Thom Yorke here. I don’t mind how similar they are, it neither helped nor hurt my listening experience.
“Little Sister” has the most ‘period piece’ feel about it with its fluttering string section - it sends the listener into a Victorian ball.
“The Art Teacher” has the most memorable story to me, just such a great exhibition of painting a picture with lyrics.
I will say that around the “Memphis Skyline” mark in the album, it gets a little too croon-heavy for me, but even this section is still emotionally meaningful.
“Old Whores Diet” is such a perfect way to stick the landing with a super textured, vivid song and a memorable chorus.
There’s no way to tell this album is from 2004 and that’s a beautiful thing. There are reviews of this album that get into how performative, campy, or dramatic it is. I feel like that’s a listener issue, I’m having a hard time imagining a time where I listen to this album and don’t appreciate both its scale and its vulnerability.
Circle Jerks
3/5
The musical equivalent of a demolition derby! I would like to use this album to show that the short form, hyper aggressive, “low attention span” art has been around long before the advent of tiktok.
I’m gonna say that “Wasted” is the quintessential song to go listen to on this one, as it encapsulates the ethos of it all, and is also self-reflective. But if you can’t stomach a 15 minute album, you’ve got bigger issues.
Some problematic language lowers the listening experience a bit, it’s otherwise a vicious and sometimes fun listen! 3/5
Run-D.M.C.
3/5
Contextually, this album is a force to be reckoned with. No one was rapping like this, in multiple ways. A duo that raps to finish each others sentences, rappers that actively speak about themselves as better than all the other sucker MC's. I'm willing to bet their tone really set a standard for rap culture in the following years. The airy, basic drum instrumentals did a lot to define how east coast hiphop should sound.
How is this albums contents, though? Incredibly frontloaded imo. "Hard Times" gets your attention right away and keeps it. Shoutout to Shaun White Snowboarding for getting "Rock Box" stuck in my head essentially forever. So many memorable bars, such a cool crossover hit with that 80's rock electric guitar jamming under the rhymes. Justifies it's 5+ minute length.
From here, things get less and less impactful. Two songs about the dj Jay is at least one too many. "It's Like That" is a fair addition to the tracklisting as a socially conscious track. But by "30 Days" I was a bit clocked out, nothing new happens for the last few songs and the 80's instrumental pastiche starts to wear on the ears.
Some pioneering work worth celebrating on this album, just dont expect perfection or much variation on a front-to-back listen. Mixed feelings 3/5
LTJ Bukem
4/5
My jaw dropped when I saw this pop up on my screen! For some reason, I didn't know this was on the list. LTJ Bukem has seen some newish success thanks to the advent of jungle officially being cool again, and the stellar album covers of his two "Producer" projects. Im so happy an album with a continuous mix gets a feature - I really hope people enjoy that format as much as I do. I'm also so glad that the jungle side of DnB tempo music gets some love.
I have no specific song highlights for this comp. It's just excellent music to coerce you into a zone, or be a backing track for any activity that requires focus. The repetitive breaks are so hypnotic when paired with the atmospheric synth pads that just fade in and out so easily. I especially love when a sub bass kicks in just for a little bit, it pairs so well with the frenetic drum patterns. Any other little sounds are vocal treats, like the occasional vocal loop in "Reflections".
I love this music - it speaks to my soul and encapsulates so many feelings/experiences that go beyond words. Whether its the liminal early parts of "Above & Beyond" with its classic Amen break sample, or the more fluttery, layered "Senses"; this project brings to light such a cool sonic niche in the context of this overall list. If any of this music raised your eyebrow, then I think jungle and early DnB culture is such a worthwhile wikipedia deep dive. Learning about break sampling, the advent of the MC and the DnB jargon is super fun.
I'd be lying if I gave Logical Progression a perfect 5, though part of me wants too. There's a bit of variation missing, even if that isn't the point. There's a few dinky cuts that go too long without being additive or subtractive in their sampling/instrumentation. But outside of those few nitpicks? Beautiful stuff. Soothing, hypnotic, and cutting-edge. Big ups selecta a STRONG 4/5 from me rudeboy
Arrested Development
3/5
Absolutely fascinating album concept and ethos for this group. I think you have to take the bad with the good here in terms of it's message. It's a bit like the 12 step AA process - effective messaging up until the parts about god, which is where it gets divisive.
"People Everyday" is the first example of some surprisingly good production on this album. Especially for the early 90's, the production choices and beats are surprisingly timeless and mostly unobtrusive!
"Fishin' 4 Religion" is my favorite here purely for it's beat. It's got a great pocket, great groove, and whether thats a sample or just a looped vocal in the background, it's fantastic. I think it's a fair critique of organized religion too? It's kinda hard to parse through it all, so much is said here. But I like the idea that he feels comfortable enough to recognize some good things about general religion whilst pointing out the many flaws large churches tend to have. Any which way about it, it's a nodder.
"Give A Man A Fish" got a bit existential for me as a listener. To realize this album was made over 35 years ago, and many of the societal questions and injustices this song brings up havent been anymore solved today - it was a lot to take in. Especially the lyric "raise your fist but also raise your children so when you die the movement moves on / cuz with the revolution aint no future in front of yall / direct your anger love nothings ever built on hate instead love your life tackle the government the spooks that break down the door are heaven sent". Wow! That's a lot to swallow in a few bars. So many thoughts come up about the movements of today that weren't around then, but this still could be directed at. That was when this album was at it's best.
It's not all interesting conscious bars though. This group kinda hammers it into your head over and over again that family and faith are the answer to everything. Also the song "Natural" gets strangely horny and im not even sure if it's trying to be a commentary on lust or if he's just actually supeer horny, there wasnt enough nuance for me to tell?
This certainly shouldnt be a rappers rap album either, my ears arent great for this but I know that it's not super varied or intricate in it's delivery, which makes the length of the album a bit hard to slog through at times.
All in all, I commend this album for the amount of prolems it takes on in the world, whether I agree with all it's solutions or not. There's something to be said for any art that attempts to take the route of grounded peace and doesnt come off completely corny - at least not the whole time. Interesting 3/5
Kanye West
3/5
I am left wondering what many of these songs would be like with something other than Kanye West with minimal vocal effects on them. The production on this album is sooooo cool - everyone was going EDM at this point, but no one was going for a gritty, dark, sometimes minimal electronic sound. Yeezus has a dream list of production support.
The lyrical content and man in focus, on the other hand, is a different story. It feels like Kanye begins to lean too far into the anti-hero narrative with this project. I've always thought that after his mom passed, you could hear a marked tone shift in his music.
"I Am A God" is the first good example of how lofty the production is, and how starkly different the dry, sometimes goofy vocals are. I dont need all the lines to be serious, but it feels like there are points where Kanye is just exercising verbal free-will more than actually saying anything.
"New Slaves" has a total dancefloor synth hit, it was just decontextualized to something a bit more 'deconstructed' for lack of a better genre term. I LOVE the sample at the end - what a find! A Hungarian rockestra song! That's insane work.
Shoutout to the trap beat that is so clearly Hudson Mohawke from the horn sound. I cant namedrop anymore producers or this would become a small book.
"Bound 2" is by far the best song on here, one of the only times the hard cut production style succeeds. Something about this song is just soooo fun. Maybe part of it is the "Runaway" effect, where it's the closest you get to Kanye talking about something in his personal life that has substance and matters to him.
Mixed feelings, it's always complicated with Kanye. A lineup of hall of fame producers creating some compelling, cutting-edge art. And Kanye kinda just...being Kanye on top of it all. Another step down the tragic spiral that guy took. 3/5
Elastica
3/5
Not a ton to say about this one. I’m glad there’s a female-fronted rock group.
The shape of the vocal melody in “Smile” might be my favorite part of the record, very catchy, very memorable.
“Waking Up” is really well-performed, I could see this being a lot of people’s pick from the album.
“Stutter” as a closer is perfect, I love when albums end on a fun, explosive note.
Another record that I could see being huge and impactful if you were an impressionable age upon its release. Tight performances, good vocals, and the right amount of (post)punk to (brit)pop. 3/5
Hawkwind
4/5
I am writing this first but before listening to the album - SURELY 2+ hours is a bit long. And for it to be a live album too?? I have my doubts.
Conclusion: this is an old-head ball-knowers favorite live album, I’d imagine. Like Alive 2007 for white men in their late 60’s. The target audience is any old dudes now who were probably fried on some amalgamation of substances back when this came out, and record store owners.
As far as live albums go, especially for something so old, this is really good. I’ll eat my words in that regard. A lot of cosmic, fantasy influence. Great spoken word parts. This album is still way too damn long though, at least without a visual element or just experiencing it in person. If it stopped at “You Shouldn’t Do That” I’d say we have a masterpiece in our hands. But it nosedives hard as that song plays out.
There are so many good loops and chunky bass lines through this live project. The 1:10 mark of “Down Through the Night” is the first example of those loops and bass lines picking up gradually and building some insane energy.
Following that, “The Awakening” hit me right in the face - thats a fantastic delivery of a spoken word interlude. The same is true on “The Black Corridor”.
“Orgone Accumulator” could be accused of sounding a bit too much like the Doors, but it has the best vocal melody of the album to me so I give it a pass.
I wish so badly that this album was cut off a few songs shorter. The whirling synths and looped instruments got a bit too repetitive, all the good ideas felt ran through towards the end. But outside of that, really cool album. Tons of energy, performances that were very in-sync, crazy imagery. Probably tons of drugs. Light 4/5 I won’t listen very often but I enjoyed the journey.
Michael Jackson
4/5
I’m sure I have nothing to say about the music or context of this album that hasn’t already been said - so that means I can speak about it from a wholly personal perspective!
To me, this is a pop album 5/5, and just a general album 4/5. I think it’s soooo hard to write an engaging pop album that has multiple angles and moods and still keeps my interest. Very few dance/pop artists also exhibit such a perfect sense of how to be additive/subtractive as a means to perfectly craft a good song to dance to. Chic did it well, Daft Punk’s “Around The World” is probably the perfect example of it - and obviously “Billie Jean” is up there too. Man Quincy Jones was otherworldly.
I do think the first few songs on here are the most skippable, if you had to do so. “The Girl Is Mine” is probably my favorite non-mega-hit of the bunch. Paul McCartney was also in his bag for a good 15 years after the end of the Beatles, and he doesn’t disappoint here. It’s clear they’re both smiling and having fun during the recording of the song!
Lovely pop album known for its iconography and ways in which it was culturally significant as much as it’s known for its music at this point - which helps to forget that you’ve got a first couple songs to get through before you get to the meat of why this record broke all records.
The Dandy Warhols
3/5
Man that’s a POWERFUL album opener on “Be-In”. Great looping chorus, punchy bassline, memorable vocal harmonies. Had me very hopeful for the whole album! Sadly, I didn’t really find the rest of the project to match the Be-In energy. It wasn’t horrible, but oh how things could’ve been different.
A few songs later, I’m having a hard time believing “Minnesoter” ISNT a playful impression of REM? Tell me that isn’t just my ears.
Not sure I was a fan of the downward turn the energy took on the songs “Orange” & “I Love You”, where’s the “Be-In” type songs?
“Good Morning” gave me the perspective that the lead singer is a bit of chameleon - changing all sorts of vocal deliveries and ranges to fit each song.
“Hard On For Jesus” might be a bit of a return to form that I was hoping for in terms of punch and energy levels, but it was too little, too late imo. I’m also always a bit wary of songs that are THIS on the nose with criticisms of modern religion - I yearn for something with a tad bit of nuance/originality please!
The album ends with a groovy, teasing closer in “The Creep Out”.
I’m beating a dead horse by this point, but “Be-In” was almost impressionable enough to make the rest of the album worth the time. Nothing is performed poorly, but nothing else stands out either. Does its best to escape the y2k rock tropes with some success, not much else goin on. Won’t listen again but not bad either. Soft 3/5.
UB40
4/5
“Tyler” is a commanding opening song and a worthy cause to make it the debut song of a debut album. I think that’s a fantastic way for UB40 to use their voices. As far as their sound goes, what you hear on “Tyler” is why you get for the whole thing, I don’t think anyone was expecting a lot of surprises or massive sonic switch-ups (“Burden Of Shame” did have a nice tempo increase though halfway through).
Some great sax work on “I Think It’s Going To Rain Today”.
“Madam Medusa” is the big, lengthy exception to all these songs - a different vocalist and delivery was super welcomed towards the end of the album.
A lot of these songs are just instrumental vibes, and my personal favorite was “25%”. More good saxophone, fun sub-bass line. Aquatic-sounding reverb/delay effects.
I also loved the vocal inflection when they sing ‘Ivory Madonna!’ In “Food For Thought”. I think I can sum my listening experience up with that in mind - a handful of nice vibes with some little gems here and there. Some worthy causes to sing about that I hope opened up lots of listeners like myself to learn about whatever the song subject may be.
I don’t have enough context to say much about white men in a raggae band. It seems like at least early on the band was very multi-cultural and so I hope it informed their consistent authenticity and hope it helped the casual listener to get into the history of Jamaican & African American music of this sound. This was a fun and thorough listen! Soft 4
Elvis Presley
3/5
You can tell this is later end of his career Elvis because the drum break style drumming pattern on the opening song practically hadn’t been invented or adapted by non-black musicians just yet. Then you can hear the late-stage Elvis in the grandiose, sparkly, belty, sweaty delivery of “Only The Strong Survive”.
His voice has seen some miles, as evidenced by the breathy, hefty sound of “I’ll Hold You In My Heart”.
I could go on and on about how past-his-peak Elvis sounds on each song. I’m just not sure all of it is a bad thing.
“Gentle On My Mind” gave me a psychosis of WHO WROTE THIS SONG FIRST - and who did it best? This version is good, not the best, but good.
“In the Ghetto” is the obvious highlight here, a serious tone shift with a nice instrumental. If you haven’t heard “Suspicious Minds” by now I don’t know what you’re doing.
The highs are high and the lows are pretty dull. 3/5
Sly & The Family Stone
4/5
Incredibly charged-up, diverse performances with social messaging abound.
The second track is just bounding with creativity, is that a talk box, an electric guitar, or just a man’s voice filtered through a bunch of saturation??
Or the emphatic delivery of the “do-re-mi-fa-so-la-ti-do” female vocal in “Sing a Simple Song”.
Such beautiful, lively expressions with some much random inflection in the first few songs, all for that to come together in a tight pop hit in “Everyday People”. It feels like they made this song and placed it halfway through the track list just to show that they could also do a mass-appealing hit.
“Sex Machine” is all I need to hear to declare that this album follows no rules other than pure expressionism. I’m just really impressed at the long drawn out ideas or what seems to be a lack thereof sometimes, just playing like crazy on the fly.
Willie Nelson
3/5
I don’t know if there are many comparisons made between Willie Nelson and Neil Young. To me, their voices both come through in the same register, both are all-American storytellers. But man, Willie Nelson is to me what Neil Young is to seemingly everyone else. There’s more conviction in Willie’s stories, more firm deliveries. A very recognizable voice that isn’t shrill half the time.
The “Medley: Blue Rock Montana” song is one of the many songs that feel like restful pit stops on a long highway journey. This album didn’t give me the same WOW factor that stardust did, but I don’t think that’s the point. These songs seem to be more like short, quick portraits or companion stories. If that was the goal here, “Redheaded Stranger” is a success.
Dirty Projectors
2/5
A bit too twee and clunky for me, even though it actually pulls itself together a bit in the second half. Favorite song is “Stillness Is The Move”, specifically featuring the girl on the left of the album cover, Amber Coffman. I knew I recognized that voice from somewhere, shes featured on Rusko’s “Hold On” and Major Lazers “Get Free”. If you haven’t heard the latter, you should listen to it - one of the better, more meaningful, left-of-field songs to ever come from and edm group.
Brian Wilson
3/5
This album has the energy of a dj set! It’s just nonstop one song after another. It’s stated that Brian Wilson had a hard time going back to this stuff because of the conditions surrounding it as well as his deteriorating mental state at the time. I hope he overcame that in some capacity through the realization that he still had it upon recording this album.
It was more of a marionette circus up in that head of his than I realized, at least based on the music I heard here. I heard that a lot on “Roll Plymouth Rock”, one of my favorites on the project.
But “In Blue Hawaii” into “Good Vibrations takes the cake. Must’ve been nice for Brian to reach back and still find the fastball.
While this album isn’t perfect, it’s a wonderful, joyous example of how music can alter one’s sense of time - this came straight out of the late 60’s and stuck the landing, with Brian Wilson as the pilot. RIP
Teenage Fanclub
2/5
Sounds like it was at the early end of the Britpop wave.
I really like the pop writing of the opening song "The Concept" but didnt love the performance of it. But then again a lot of people were saying the same thing about grunge at the time, so I had to be patient and open-minded with this listen. This song also reminded me of Guns n Roses "Patience" towards it's tail end, a slow jam where the band just let it ride out.
The next few songs were a bit of a blend to my ears. Nothing stood out and the singing actually got a bit worse. They do manage to achieve the "shoegaze effect" though, where all the music sort of sits in this harmonic/melodic range that creates a good listening vibe.
"Star Sign" had a very 90's, Friends TV show type of chord pattern and rhythm guitar section. Probably one of my favorites along with the opener.
"Alcoholiday" had some particularly bad singing. Bad enough to make me reconsider my rating on this one.
Oscilated between a 2 and a 3 for this project. Points for a few highlights and for being one of the first of its genre, but that's about it. STRONG 2, if ever there was a thing
Orbital
3/5
Really big fan of the sounds on the opener, as they sound like a precursor to the sounds of the Xbox 360 menu. For that to be done in the mid 90’s is impressive. Fantastic transition into the second song as well, early on I had high hopes for this record.
“Cash & Carry” has the markings of an early techno track with its 5 to the floor kick and repetitive, echoey synth loops.
“Science Fiction” was an awesome instrumental, nothing more to say than it was a good beat.
I’m a big fan of the piano layering and melody of “Kein Trink Wasser”. This song had such a sweet sense of forward momentum, especially when the strings kicked in subtly.
“Quality Seconds” was the obvious lowlight that stuck out like a sore thumb - too noisy for no reason.
But that’s ok, “Are We Here?” Was a great return to form, nice little breakbeat, continues to explore the idea of human population and purpose through some simple samples. The second half of this song is my favorite on the album, they go back to using some vocal vowel sampling and blissful synth sounds a la “Halcyon & On & On” to great effect. Whatever divine powers go through Orbital to make such serene songs, they found it again on this track.
I think Snivilisation is functionally good if you want to throw something electronic on from the 90’s that is calm, easy on the ears, but sometimes dancey. Not trailblazing or monumental, but holds up on its own. I’d personally rate it a bit higher, I like this stuff a lot, but recognize that none of this is super duper amazingly groundbreaking, especially as it follows up an album that did pretty much everything this one does in a better, heavier-hitting way. STRONG 3, I’ll listen again!
The Zutons
3/5
More like who are the Zutons??
“You Will You Won’t” was the first song to grab my attention after a few snoozers. The album picked up from this point on. The lead singer had a bit more personality from this point on, the band peppered in some cool things like the horn/woodwind on “Confusion”.
“Havana Gang Brawl” had a cool progression and some playing that reminded me a bit of the y2k trend of blending surf rock, ska punk influence, and pop-rock influences into one thing.
“Nightmare Part 2” was spunky, fun, vivid, and had a great pocket. I pick this as my highlight of the project, easily. Right after, “Not A Lot To Do” also impressed me with that slide guitar at the end.
The last few songs aren’t as impactful, ending the album on a bit more of a hazy note.
Not sure if I loved this project. I loved moments of it in the middle, which is strange, usually more pop-leaning albums are front loaded with the good stuff.
Some JAMS, some snoozers, maybe not quite unique enough for me to remember in the long run - soft 3/5.
The Velvet Underground
3/5
An admittedly very mellow experience on first listen - which is reflective of the criticism this album got upon its release. At the same time, there isn’t a bad song on the track list, which puts this album in such a strange light for me. Is it good? Absolutely. Is it ahead of its time? Lou Reed always was. Does it hold up today? Depends on who you talk to.
“Femme Fatale” is my pick from this debut. I think the music is just a jumping off platform to the crazy context and historical significance TVU&N carries with it. I don’t feel qualified to elaborate any more, therefore I won’t!
Belle & Sebastian
2/5
A very interesting vocal delivery that I can only compare to Sufjan Stevens, I have no other reference for this group.
Nothing was really grabbing my attention until “Electronic Renaissance”. Thats an amazing song and I wish there was more on this album that sounded like it.
I also enjoyed the vocal melody of “We Rule The School”.
Outside of that, there wasn’t much for me here. Didn’t hate it, just wasn’t for me
Sisters Of Mercy
2/5
Grand in its sonic scake which is what I appreciate most. I feel like some of the earlier post-punk / gothic stuff didn’t sound as massive - which isn’t a knock on the albums that came before this one, they just weren’t working with the technology to make their stuff sound as cinematic as this album does at times.
Great opening track in “Dominion / Mother Russia” thats clearly meant to get stuck in your head.
Also a fan of the dramatic piano ballad “1959”.
All this being said, nothing about this project had me head over heels. I feel like we’ve been on a run of these albums lately - all good, nothing amazing.
Could be a 3, I’m feeling a 2 today
PJ Harvey
4/5
I think I mentioned something similar before when we had her “Dry” debut album, but goddamn PJ Harvey has such a strong connection between her heart and her singing voice. She is once again masterfully expressive on this album, it’s so hard to believe this was performed in front of a recording microphone - it feels much more ‘real’ than that!
“Man-Size Sextet” is for sure my standout pick for this album. The arrangement is so haunting and on-edge. I felt forced to be just as tense as the song was!
“50ft Queenie” was fantastic, much more of a traditional, chaotic, clangy rocker. The many ways she uses her voice in different registers and intensities on this song alone astounds me. Outside of Björk, I’ve never heard anyone do all that in the span of a few minutes and still put it into a song that jams.
The end of “Me-Jane” was very catchy with the way she sang “dont LOOOAD it on me”.
It’s just crazy to me that this can all exist in a persons head and heart, and even crazier that she vocally can perform it in such an emotive, yet intricate manner. Just an awesome listen, STRONG 4/5, could absolutely be a 5/5 if it’s your jam
Parliament
5/5
I felt the funk.
"P-Funk" sets a great tone for just how zany the lyrics could be all while the music does some incredible, forward-thinking things.
The title track kinda feels like one big party with amazing one liners like "If you hear any noise it's just me and the boys" or "doing it in 3D".
"Give Up The Funk" is so memorable and timeless that I cant imagine too many people have lived their lives without hearing this track.
"Night Of The Thumpasorus Peoples" is so goofy that you have to meet it where it's at and just have fun with it.
Kinda sneaks up on you considering Maggot Brain has potentially even more historical cult praise but this is a 5/5. Innovative, extremely fun, with songs that are memorable, songs that are a bit experimental, and a perfect run time!
The Chemical Brothers
2/5
Please save yourself the time and go listen to something of more substance & innovation from a similar time period - try Chicane's "Far From The Maddening Crowds" a much better debut electronica album that's elysian and full of dramatic melodies, bright textures, better breakbeats, and REALLY good buildups/breakdowns.
Much like the grammys, it seems like the chem bros have made an album therefore it should be celebrated. All other electronic music can go out the window!!
Only partially kidding.
This albums inclusion on here induced a lot of thoughts about this lists relationship to what it calls 'electronica'; The genre wouldnt be one of the lowest rated if the list had some electronic albums with actual teeth or innovation to them. Instead, albums like this sit in an uncomfortable sonic no-mans-land, stuck between the vitality of something like The Prodigy's "Fat Of The Land" and the monotony of Moby's "Play". Are there quality moments of life on "Exit Planet Dust"? Sure, the looped roland saw synth on "Three Little Birdies Down Beats" is solid. The thumping, saturated low end kick on "Fuck Up Beats" is especially impressive for it's time. This album features many instances of buildup into beat drop techniques that wouldnt become popular until later. "One Too Many Mornings" even gives a great downbeat moment to breathe.
But nothing truly unique lasts long on this album. I feel like everybody loved or loves the Chemical Bros for how clean and accessible their production is. Its gets too squeaky clean for me, there's often no edge, angle, or teeth to this project. I am left in a melodic fugue state, remembering almost nothing from this record. I feel lulled out. I dont feel lulled into a blissful 4-to-the-floor trance, I dont feel lulled into a bass-induced euphoria, I dont feel lulled into a scifi universe, I dont feel lulled into a warehouse rave even. Just lulled out.
Lupe Fiasco
3/5
Such a wonderful, thoughtful album that showcases just how musically diverse hiphop was getting at this time. Of the many forks in the rap world, Lupe took the lyrical, often-story-based, picture-painting route. Outside of occasionally being heavy-handed with the 'spiritual lyrical miracle' angle (which all backpack rap was) this album is a great debut.
All those sound effects in "Just Might Be OK" and "Daydreamin" give the illusion that Lupe is the puppet master of this whole seen.
"Kick, Push" is a classic so catchy it makes me wish i was younger and into skating when this came out - I love an honest ode to a hobby that consumes ones youth.
"I Gotcha" is the most Chicago backpack rap thing to not come from Kanye and its as fun as anything!
I think a lot of people needed to hear a song like "He Say She Say" and this era of rap was famous for breaking stereotypes and emotional barriers like stories about excelling in school or absent fathers.
"Hurts Me Soul" shows that Lupe has an ear for a catchy melody too (which we'd hear more in future albums).
Lupe establishes his unique voice with a colorful book of lyrics, varied-enough rhyme schemes, and some really fun beats. His Tetsuo & Youth album and his House EP are very worth listens, all coming at different points in his career
The Jesus And Mary Chain
3/5
While it’s not something I’ll go back to, I feel accomplished in having understood this albums appeal on first listen. Industrial and noisy but still melodic and meaningful. I can see how this could’ve captivated some subset of young people with its relatively new sound and aesthetics.
“Cut Dead” was my obvious favorite, it seems like when they want to tone things down they go back to the same tried-and-true songs structure and performance style of this song specifically.
I can see how this album filled a niche and blazed the trail for shoegaze to come. I also hear a strange amount of yung lean’s side project, Jonatan Leandoer96, in this group. 3/5
Jazmine Sullivan
3/5
I believe this is the last album on the most recent edition of this list!!
Her honesty and sense of self-awareness is cathartic. We get that self-awareness right away on the opening track, the dive into a very autobiographical set of songs ranging from hyper-sexual fantasies to personable life stories.
I’m not as huge on Anderson.Paak as every Grammy voter seems to be, but he did great additive work with Jazmine on “Price Tags”. Fantastic storytelling!
“Lost One” is a heartbreaking tale of coming to terms with one’s bad decisions.
Lastly, there are many spoken word moments on here, and “Amanda’s Tale” was one of the most striking. Jazmine once again approaches the topics of her songs with a really balanced perspective that I think we can all hope to have.
Though nothing dropped my jaw, this is a very thorough album worth your time. Somewhere between a 3 and 4 stars for me. I wish to see more albums from this year added in, but this one deserves its spot. And the many people saying it doesn’t probably can’t handle the fact that good music can be made by women that use vivid lyricism to talk about themselves and their experiences
Kate Bush
4/5
I love when a well-established artists goes for a specific, unusual sound or concept on their album. When it’s done well, it pays off in being a memorable, thoughtful album. Kate Bush has it in spades here. She takes her always-theatrical style and filters it through sometimes middle-eastern / sometimes African soundscapes.
What a killer opener and title track! She knew what she had here and how effective this song would be.
I really enjoyed the string section specifically on “The Fog” about 1:40 in.
“Heads Were Dancing” is a more poppy, beat-driven song with those huge 80’s echoey drums.
“Deeper Understanding” is a slightly more mellow, late 80’s slow jam if ever Ive heard one.
Lastly, the female vocal chorus on the beginning of “Rockets Tail” is incredible. So dramatic that it’s nearly haunting. Really like this one.
What’s most impressive to me about Sensual World is how Bush pairs the at-times grand scope of the instrumentation with some very tender, sensual (for lack of a better word) moments. She eases in and out of these mood changes with such fluidity. 4/5
R.E.M.
2/5
In a conversation separate to any awareness that I was listening to this album, my coworkers today mentioned how much they loved this album. My problem is, a lot of people have felt or do feel about Coldplay (derogatory) the way I do about R.E.M.
Every R.E.M. album has nearly been a nonstarter for me, especially given the peaks of popularity they reached.
But the opening song “Drive” gave me some sense of hope that there’d be some acute substance to this record. The song had a memorable melody and unique sound for once.
I was shot back down to doldrums and disappointment soon after. What in the world is going on with “Sidewinder Sleeps Tonight”? People just tolerated him singing like that on the intro, with nothing of significance to follow for the rest of the song? Man.
I don’t think I’d remember “Everybody Hurts” if it wasn’t beaten over my head by radio stations as a kid - the song doesn’t have any stickiness to it.
If I had to pick a song I liked, maybe the aforementioned intro song, or maybe “Nightswimming”. I enjoyed the string arrangement, which upon looking, isn’t even the work of the band - it’s arranged by John Paul Jones. Unsurprising.
Iterative improvements but I cannot get over the hump with this band and how popular they became off the back of records like this. 2/5
Paul Simon
4/5
Paul Simon has been given a gift of making everything he creates sound so effortless. It's crazy how I think this is one of his weaker efforts that we've heard on this list so far (fourth or fifth album of his/S&G by now?), and I still got SO much out of many moments throughout the 55 minutes of runtime here.
The title track is so placid and serene which is CRAZY considering it's clearly about his failed relationship with Carrie Fisher and also possibly about the fallout with Art Garfunkel? That'll be a big theme on this whole album. Those little tropical mallet hits at 4:10? Such a beautiful touch.
Not too be too much of a downer, songs like "When Numbers Get Serious" or "Cars Are Cars" are moments of reprieve, covering still-serious matters of the heart, just with some fun jingles and one-liners.
"Renee and Georgette Magritte with Their Dog After the War" is so touching, so vivid, and just so sweet. It gets at the heart of love going beyond time and location, how it endures through the hard times to find beautiful moments like them finding the cabinet with all their personally significant trinkets and moments.
"The Late Great Johnny Ace" is an endearing tribute to both Johnny Ace and John Lennon. Simon weaves these impactful moments together and sticks the landing with the decision to end the song with an "Eleanor Rigby" style string section.
The only thing this album has wowrking against it is that I'm not sure how the track sequencing feels to my ears. All the acoustic versions are fine, but some of the 'full' song versions are already sonically mellow and dont differentiate themselves a ton from alternate versions. I also think this project meanders a bit for moments.
I was gonna give this album a strong 3/5 but damnit I just can't go that low. Paul Simon is an incredible singer/songwriter who once again masters the art of injecting his personality into these songs while also telling colorful stories. There are songs about partnerships completely falling apart on here, songs about one's brain not being able to shutup - and he makes all of these sound so easy on the ears, sometimes fun even! It is perhaps my biggest positive discovery to find how much I like everything I've heard from him thus far. 4/5
Genesis
2/5
A cool concept that may supersede its actual execution on the album.
“Broadway Melody” into “Cuckoo Cocoon” have some interesting bits of Zeppelin IV influence with the rolling melody guitars and flute playing.
“In the Cage” was a cool rockestra thriller and used that whirly synth really well for it’s time, but even then I’ve heard Genesis and other bands do songs like this in a way that stuck with me more than this track did.
“Back In NYC” was the mail in the coffin for me. There’s plenty of bombast and dramatic composition, in fact, there’s too much - I had a hard time grasping what was going on lyrically. The fact that this was only maybe a thiiiird of the way through the albums 1.5 hour runtime was daunting. The rest was a slog.
Maybe a close reading or a visual companion would’ve got this one over the line, I just wasn’t able to get as lost in this world as I wanted.
I know Genesis was capable of more than the sum of this projects parts, and I think the shortcomings can be largely attributed to the bands internal troubles with Peter Gabriel at the time.
The Icarus Line
2/5
Can’t really put my finger on a single thing this album has going for it. I’m not sure I’ll remember much of anything at all about this record. Maybe it’s good to put on in the background, but it certainly wasn’t easy to follow along with what the guy was singing about. It seemed like the band was into their general aesthetics as much as they were into the substance of the music they made on this project.
“On The Lash” was alright? This just wasn’t hitting for me. The constant saturation wasn’t an additive feature to give the music more texture or character, it just made it all blend into a gritty wall of sound.
The closest Ive come to liking anything like this was enjoying U2’s “Vertigo” passively as a kid. James Addiction, this album, and anything else that sound like it have never done it for me. If you couldn’t give up a rigid allegiance to rock n roll in 2004, maybe you got something out of this. 2/5
Big Brother & The Holding Company
3/5
My biggest takeaway is that it makes so much sense how successful Janis Joplin would become as a solo artist. Her voice is just unreal on this record. She was one-of-one.
Cheap Thrills mostly escapes some of the pitfalls and annoying tropes of its time/genre. I never got lulled to sleep by a fuzzy 12 minute psych rock trip. The opening song would be my pick from this album. If you haven’t heard “Piece Of My Heart” by now I don’t know what you’re doing.
Not my favorite type of album, but good for its time. Direct enough for pop listeners ears, but also unique enough for those that were transcending various states of mind or planes of existence at the time. Soft 3/5 very cool fake live crowd
Funkadelic
4/5
Ahhhh yea the other big Parliament Funkadelic album, the last one was a few weeks ago. Mothership Connection. Both albums are great for different reasons, and to argue over which is better might be splitting hairs.
This project is much heavier on the ideas and its willingness to push the envelope. Some craaaazy cool stuff going on here.
An atmospheric opener into “Can You Get to That” which is just teeming with life in its vocal execution.
“Super Stupid” stood out to me as a total jammer, the energy really started to pick up with this cut. A bit of Jimi Hendrix in the vocals if you ask me. And I suppose in the INCREDIBLE guitar solo at the end too!
The opus is obviously “Wars Of Armageddon”, an imaginative, surely-drug-induced heater. The insane drum work, the riffing, the OUT THERE sound effects. This has it all.
What a great blend of rock and funk and imagination and originality. While Mothership Connection hit me harder on first listen, I must give this album its flowers for boldly going where no one had gone before - and doing so with such pizazz! Great memories associated with this album. Strong 4/5, could be a 5/5 on some more listens
Coldcut
3/5
The music was alright. I think this album since in an awkward no man’s land between the fun textures of something The Avalanches would make and the more dancy/ravey stuff that Orbital would go on to make. I’d rather hear something on this list with one of those two characteristics, instead of this.
The intro track was pretty sticky and had me hopeful that I could get some memorable bops out of this album. The memorable bops were around, but rare. The biggest bop was easily "Stop This Crazy Thing" with that iconic In The Hall of the Mountain King melody reimagination - really really cool.
"Smoke Dis One" was memorable if only for the reminder that Queen Latifa was really good back in her day on the mic - I learned that with one of her albums on this list earlier. A few fun sound sampling moments were the rest of what I took from "What's That Noise?", everything else felt like it couldn't make up its mind on what it wanted to achieve musically. Soft 3/5
Elvis Costello & The Attractions
2/5
It was just ok, and considering the amount of Elvis Costello on this list, that might not be ok. He is technically competent and has some stories to tell, but always feels like he’s slightly off the mark for landing a hit song.
“The Long Honeymoon” was an interesting story with some suspenseful ambiance, I liked that.
My favorite was “Human Hands” but only because the vocal refrain of ‘whenever I put my foot in my mouth’ sounded melodically and verbally a lot like Meatloaf’s “You Took The Words Right Out Of My Mouth”.
Instead of my usual plea for this list to erase an unnecessary album with literally anything dance music or 2010’s pop, it would’ve been nice to had an album from somewhere that isn’t predominantly white/English speaking. Not enough of those.
Strong 2/5 for this one
Leonard Cohen
3/5
Leonard Cohen seems pretty down and out on this one, but in a good way
Something tells me I've heard "Avalanche" at least a few times in shows or movies - it's so sure and dark. Pretty much a aperfect opening song - it drops you right into the mind of Cohen.
The next few songs were abit of the same - solemn storytelling, downtrodden and minimal but pretty instrumentals.
"Famous Blue Raincoat" is deserving of all the praise it gets - it's an extra bit haunting and sorrowful.
Won't listen to this oneagain as its too sad and minimal for me, but I get it. 3/5
The Zombies
2/5
The complete track panning fad that plagued rock from the late 60's onward is the bane of my existence - so naturally this list loads you up on psych rock album after psych rock album.
And that's what this album is to my ears - just another psych rock record. I know there's a lot of praise for it, and I can see a few reasons it deserves a bit of love; this album is very sonically clean for something out of 1968. I also think there are nuggets of good melodies and ideas like the chorus of "Maybe After He's Gone". But so few songs left me feeling satisfied from start to finish.
"Beechwood Park" very much sounds like something a you'd hear on a good soundsystem as you walk into a record store - which has to count for something.
I couldve gone without the middle part of the album from tracks 5-8 tbh. Just the usual stuff youd hear in a British psych rock album.
"This Will Be Our Year" is a pretty neat, hopeful track that warrants the many ways it's lived on into modern times.
So interesting that they chose to end the album with the clear hit in "Time of the Season" - I suppose they figured that with the way vinyl records were are listened to that it would nudge people to sit through the whole record with patience. I think the song is much better than erything else on the album because of the tone shift - it's much spookier, sporting a bit of edge in it's composition.
Just not enough good to get over all the mid 2/5
Aimee Mann
4/5
Ok so I got a lot of this album and appreciated how it made the most of its 90's sound pallet. I have a lot of little nuggets and moments to go over, so let's get into it (I ran my first marathon today and this album got the buff of being listened to while running so i was extra attentive).
First of all, " Fifty Years After The Fair" doesnt have Tom Petty on it, but holy shit is that not a one-to-one impression of Tom Petty on backing vocals during the chorus??? It bugged me so much trying to figure that one out. Interesting song, just really threw me for a loop.
"4th Of July" is when I'd say this record really perked my ears up and started to play itself out of my dread that this would be just another 90's rock/acoustica album. This is the first instance of some of the more serious, forlorn songwriting taking effect.
"Stupid Thing" is probably the microcosm of this albums message as a whole - going through some breakup/bad shit and just being so done with it all. Also sonically picking up on how this could be a starting point of a line you could eventually draw to todays tastemakers like the Boygenius girls.
"Jacob Marley's Chain" had an excellent, simple guitar into and a memorable topic that got a little more existential than the songs so far. I LOVED the grand percussion line that made everything sound a bit like a circus show march.
"Way Back When" had a great ending, including the secret ending after some silence.
But I have to go back to "Mr. Harris". What was this. WHAT was this??? In the midst of songs about personal strife, relationship failure, and general disappointment, Aimee Mann hands us a song about...wanting to marry a much much older man??? Who she really loves?? And that's maybe not even the craziest part. The wild thing is that this song is really, REALLY good! That woodwind section over the piano melody at 2:20 into the song is beautiful. This whole song is shockingly beautiful. I got shades of "Desperado" by The Eagles, which is like the highest praise I can give a piano ballad. It was just such a neckbreaker to hear a song was earnest and gushy as "Mr. Harris" buried behind 8 prior songs the opposite of hopeful about love. I will forever be equally puzzled and happy that she kept this one in the back pocket.
I think I have to give this one a soft 4/5. "Mr. Harris" really pushed it over the line. I wouldve liked a bit of variation both in tempo and song topics, but that's about all I can nitpick. Good hidden gem!
Janis Joplin
3/5
Much like the Big Brother album we got a week ago, this project is carried by Janis’ vocal presence & amazing singing voice.
While “Me & Bobby McGee” gets all the attention, I really liked “Cry Baby” myself.
Not much more to say, I’m feeling a light 3/5
Madonna
2/5
I suppose the album title is apt because there isn’t much more to be very descriptive about. I won’t go as far as to say Madonna phoned it in on this one, but her lyricism and vocal performances were pretty vague. The production choices were waaaay better than the vocals/lyrics.
A decent opening track with some chunky drums/bassline had me hopeful, and the vocal chopping on “Impressive Instant” kept my hopes high.
But it wasn’t until “What It Feels Like For A Girl” that I found anything worth while - I liked the synth pad textures and harmonies, it sounds like an instrumental that could’ve played on Postal Service’s “Give Up”.
We know that shes give this sound more life and thump on “Confessions On A Dancefloor” 5 years later, which just adds to this albums meandering quality. It’s a shame, there’s some influences from house, trance, and even downtempo/goa lounge all on this album. But the songs dont really do anything within those genres. Wanted and hoped for more, strong 2/5
Was her cover of “American Pie” a bonus track on this album? If so, go listen to that mess just for fun
Miles Davis
4/5
HAPPY ALBUM 500!!!!!
Both album #1 and album #500 are Miles Davis!
I don’t have much to say about this album in a song to song basis, as it defies typical song/album structure. But on the whole it’s spectacular. Functions both as a good background listen and a project that you can really focus in on from moment to moment.
Halfway through “Pharoahs Dance” is when I knew I’d be enjoying this album. The first two minutes of the title track also stand out with how jagged all the instrumentation is, it really perks your ears up. The last two minutes of it also dive into some really interesting bits of silence and more muted instrumentation.
My pick from this album is “Miles Runs The Voodoo Down” for its guitar work and rhythms.
Worth the full album run time 4/5 stars also has the exact color scheme as Porter Robinson’s Spitfire EP.
Big Black
2/5
A lot of grit and teeth-gnashing with just a little bit of the still, soft-beating heart behind it. Not that I was over the moon about this one (I wasn’t), but I feel accomplished in understanding its appeal at the very least.
“Passing Conplexion” was definitely my favorite for the interesting guitar tones and looped melody. But I also liked how funny the intro of “Bazooka Joe” was.
Strong 2/5 it’s not for me but I get the appeal and understand people who may sing this albums praises if they’re into this lane of music
Stevie Wonder
4/5
It's very admirable to have a discography both prolific enough and of high enough quality to have what everyone considers a "classics era". What an artistic run to go on. This album isnt even the best of the bunch and it's still gonna get a mild 4/5 stars from me.
"Smile Please" the epitome of one of Stevie Wonder's best traits: he always sounds like he's having genuine fun in the recording booth.
"Boogie On Reggae Woman" is a lively cut with that really interesting synth/keyboard lead.
"You Heavent Dont Nothin" is just Stevie dipping his hand back in the Superstition" pool - are the two songs even in the same key as well? Very similar, very very similar. But I can't complain.
Lastly, "Bird Of Beauty" has my favorite rhythm section, it's pretty close to bossanova with a great message about just taking a vacation and having a more relaxed mentality leading to appreciating everything around you a bit more.
So hard to judge this one fairly when it's sandwiched in between a few other albums of his that are also completely excellent. As I mentioned before, a mellow 4/5 for this one. Much like Paul Simon, Stevie Wonder suffers from success - he's just amazing at both playing the keys and singing from the heart
Brian Eno
5/5
There's maybe a dozen albums that I've kept in the forefront of my mind when going through this list on a week to week basis. Just a handful of albums that, upon refreshing each night, illicit an immediate positive reaction when they pop up on my screen. I pumped my fist and smiled immediately when this album turned up. I love this endeavor with my whole heart. There's a special few albums that I'll have the joy of not just writing about, but writing about how they imprinted upon me; 'Another Green World' is one of those select few.
An what an anomalous little beauty of a record this thing is. It's still hard to believe this was done in the mid 70's. AGW is both ahead of it's time and completely left of the flow of time. The confluence of electronics and instrumentation is still unlike anything I've ever heard. Much like it's artwork, the music on here is a bit liminal, a bit evocative, a bit uncanny, and a bit idyllic.
"Sky Saw" as the intro is always a bit of a front for me - it sounds more sharp and edgy than the material that follows it. But it's a very effective attention-grabber. "Over Fire Island" takes things in the opposite direction with a mumbly bassline and some meandering synths/sfx that really just set up the next track: "St. Elmo's Fire". I dont know what genre SEF is, artpop? Is there even a genre to describe it?? Much like that new Oklou project, this song has no kickdrum, but is still wildly catchy! How is that possible!! The keys melodies and descriptive lyrics are just so fun.
"In Dark Trees" then gives us another shorter, synth driven cut. The reverb/hall effects give this song a slightly eerie, inconspicuous feeling. Next comes everyones favorite "The Big Ship". The simple, sweet synth chords on this track are a warm hug when it's needed most.
"I'll Come Running" is Eno's stranger, more surreal "Bridge Over Troubled Water". He sings with conviction but paints a picture that's too silly to consider this a love song. The title track is next, and it's maybe the closest you'll get to hearing a song that actually sounds a bit like the mid 70's - just some electric guitars and a moog synth in passing. After this is "Sombre Reptiles" which is the best waiting room song you'll ever hear. A dive into the ambient and strange happens as we fade into the very short "Little Fishes", which is the stuff of abstract cubist dreams.
One of the most incredible tracks I'll ever hear in all my days is "Golden Hours". I am stricken by this songs stillness, it's ability to stop you in your tracks and sit you down. So few songs are as existential and confounding as Golden Hours. Eno may have lyrically come as close as possible to manifesting the feeling of time passing, of aging, and the oddity of the human experience. Under Eno's musings is a looping synth that never really resolves itself, furthering the uncontrollable but kind of warming feeling this song emanates. "Oh me oh my" says Eno with a resolute stoicism. A fun nugget at the end of this song is hearing a drum track aaaalmost fade in under everything, only to immediately stop, and have the whole song fade out.
"Beclamed" is a warm synth lullaby that always reminded me of Daft Punk's "Nightvision". Then Zainul/Lava" comes and goes as maybe my only semi-forgettable track on the project, to give way to "Everything Merges With The Night". This is the last time you'll hear Eno's vocals, singing with more of that upright but gentle delivery about memory and the estranged feeling of the thoughts that run through his mind at night.
"Spirits Drifting" closes things out and makes sure you are left with little feelings of tacit unease. The wobbly synths truly do hover around like spirits drifting.
What I love most about this album is that it portrays feelings and states of being that words don't quite reach. Moments of full beauty and restfulness can be linked together with bizarre, minimalist passages - all within a matter of minutes. Chambered, spooky synth loops will give way to the fullness of a vibrant vocal ballad.
This album was one of the first I discovered in my early adult life with no context to hold it to. I knew nothing about Brian Eno and he blew the doors off my perceptions of how music should be linked to the time it came from with this album. I couldnt believe I found something that soundtracked an acceptance of all the oddities in life, with sounds instead of just words. I remember listening to this album in the early A.M. on the 14 hour roadtrip to Oakland for Genesis 7, sharing in the experience of being captivated by the strange & twinkly essence pouring out of it all. I love Another Green World
Blue Cheer
3/5
Chunky, blaring blues/psych/proto-metal rock. Nothing crazy amazing, but not too shabby.
The guitars are seriously intentionally super loud and saturated, I think that’s a quality that would snowball into the metal that would come years after this project. The end of “Doctor Please” is the best example of how it’s just loud guitar city.
Zero variance in the structure and delivery of these songs (other than the break in “Parchment Farm”), not that it was something Blue Cheer was concerned about at the time. “Rock Me Baby” is probably my pick from the album.
Personally a 2/5, but I recognize the good things this album has going for it, so maybe a soft 3/5
2Pac
3/5
It’s a a it crazy how much Tupac talks about his own death on this album. It’s a bit prophetic and a bit tragic. “So Many Tears” is one of the first prominent examples of that on this album. “Lord Knows” is another time that caught me thinking ‘damn he really knew he was gonna die young’.
The title track is the most ‘west coast’ rap of everything on here.
“Dear Mama” is a point of vulnerability that probably wasn’t a prominent topic to cover at this time of gangsta rap.
But of all the songs, I liked “Old School” the most, where Shakur gets wide-eyed about his influences in the rap game. He seems very happy to talk about all the artists and cultural influences that got him into the game.
Strong 3/5, great vocal presence and a few thoughtful moments
ABBA
4/5
Pretty good effort from Abba, all the flair and theatrical pop with an 80’s edge at times.
On of the best opening songs on any recent album we’ve had, masterful elevation of tension and energy for a good 4 minutes.
I’m a big fan of “I Let The Music Speak”, it reminds me of “Alejandro” by Lady Gaga, just so over-the-top dramatic that it goes beyond campy and just is its own thing (both really good songs too).
Also worth mentioning is “Two For The Price Of One” for the full big circus band instrumental it’s got going on.
Yeah it’s hard to see how you could hate Abba after an album like this. Even “Slipping Through My Fingers” which is pretty poppy for this project, is super well-written and thoughtfully performed. Let yourself have fun with this one (and all Abba albums). 4/5
Stereolab
3/5
A case of my personal rating being lower than the rating I’ll give it. I recognize the appeal and I really want to like it more than I do, but it doesn’t hit AS hard as I know Stereolab hits for some. I do love their messaging and hear how well everything’s performed. Just a little bit in a middle ground sonically, not quite total lounge music, not quite pop, a little bit electronica. I’m SOOOO happy there’s some non-English on here though, we need more of that.
I liked the horns in “Percolator” towards the end of its runtime.
I really liked the message of “The Noise Of Carpet”, it’s a rallying cry to not be so cynical going through life.
The best bit of lyricism though is in “Motoroller Scalatron”, for that call and response of ‘what’s society built on?’ lyric.
Soft soft soft 3 for me
Caetano Veloso
3/5
Fear set into me when I saw the year and album cover art - I was worried this would be another psychedelia project. I'm so happy to be wrong - its not even an english-speaking album! Much needed.
An opening track that's a bit of a facade, as it's all grand and energetic, while the next few songs are more loungey and mild.
"Alergria, Alegria" is a really interesting crossroads of the sounds of it's time and the sounds of it's place of origin. Brazilian psych rock? I've never heard anything like it before.
Caetano Veloso has a super unique, super recognizable voice. The way he glides over the waiting-room bossanova on "Anunciacao" is easy on the ears.
The way he pronounces 'copacabana' on "Superbacana" is by far my highlight of the record - this song is so short and sweet and fun. 3/5 I feel like im on aa beach in Brazil
Morrissey
3/5
The guy in these global reviews that called Morrisey a British Neil Young is more clever than I'll ever be. It is just as perplexing that I can tolerate Morriseys artistry and voice with more ease than Neil Youngs.
After a pretty fantastic opener, track 3 "We'll Let You Know" is a very pretty, melancholy little song. The downtrodden acoustic guitar with the snare roll coming in halafway through the song and those echoey guitar (?) sounds all make for a really good listening experience. Reminds me of a more downtrodden version of Alex Turners “Hiding Tonight”.
Worse yet, the instrumentation on this is really well done. The rhythym guitar tones on "The National Front Disco" are so pleasant. The easy, square-dance beat on "Certain People I Know" is really simplistically fun.
"I Know It's Gonna Happen Someday" is a total snoozer, most of the back half of this record is.
I hear so much of Jesse Lacey/Brand New taking inspiration from Morrisey, which makes sense on multiple levels. Excellent artistry wrapped up in a nasty guy 3/5
The Flaming Lips
5/5
Incredibly charming opening song. That synth lead/bassline walks down in a way that reminds me not of the Cat Stevens song it often gets compared to, but of “Our House” by CSN&Y. Knew I was in for something special when this songs was done.
Parts 1 & 2 of the title track are a great bit of storytelling. Part 1 in particular was pretty striking. I think I wasn’t expecting a fictional story like that to be accompanied by the arrangement/sounds that The Flaming Lips go for. It’s a bit melancholy and grounded in pretty, acoustic instrumentation. Then part 2 is just a masterclass in NOT using words to let the story play out.
The next bit that struck me was in the following song, “In The Morning Of The Magicians”. There’s this fantastic programmed kick drum that just sounds really really good for something that came from 2002. The production on songs like this or “One More Robot / Sympthy 3000 is selective, shimmery, and holds up REALLY well.
Parts of “Ego Tripping At The Gates Of Hell” and “Are You A Hypnotist” halfway through the record were the only time this project almost fell of its 5/5 star pace - a bit of meandering without really achieving nearly as much as the first third of the record did.
“Do You Realize??” deserves all the flowers it gets. Surely the band knew what they had with this song - I’m always impressed when a key change doesn’t completely ruin a song for me.
Very few times to I get to listen to an album for the first time and just kick back, knowing it’s gonna be a 5/5. Loved this from start to finish. No snoozers, fantastic concept that exists in its own world, and some production work that holds up wildly well to this day. Some pop influence sprinkled into the arrangement choices. Sticks the landing
Gary Numan
2/5
A very deliberate dive into what would turn out to be the sounds of the 80's. Feels like a less experimental sonic relative of an album we had not too long ago, Another Green World by Brian Eno (one of my favorites of all time). Just as much, it feels like a progenitor for all things Rush; Gary Numan and Geddy Lee sing in a similar register.
Most all of these songs are very straightforward in their compositions/arrangements. I do wonder if it wasn't so simple at the time though, no genre had been completely washed in electronics or given the "synth-____" prefix yet.
Many tracks here just do the bare minimum by todays standards. "M.E." is cool but damn does it go on for too long. I imagine it was pretty neat to hear a synth lead go crazy like that towards the end of the song at the time of it's release, but I just hear a song that overstays it's welcome. Most every other song is passable at best, painfully simple at worst. I got no problem with little albums that have no real message or monumental achievement attached to them, but this one doesnt seem to set out to do much of anything. "Conversation" at 7:36 minutes long? come onnnnn.
The hit "Cars" is unfortunately representative of this aalbum as a whole - the song doesn't have anything inherently wrong going for it, but man it feels like an 8th seed playoff team hat snuck into the postseason due to a weak division.
"Random" is my pick from this project, I did appreciate the gated synth on loop.
Just because an album constructed foundations for a genre doesn't make it's music any more gilded with age. Not mad about the music at all, mad about it's inclusion on this list. 2/5
Soft Cell
2/5
This feels like coming out the other side of the 80’s sounds that were started by yesterday’s album, “The Pleasure Principle” by Gary Numan. Which is funny because that album only preceded this one by a few years, but Soft Cell seem to be living in a world of already established techniques and cliches.
“Sex Dwarf” doesn’t hold back, it’s a bit dizzying towards the end.
“Memorabilia” sounds like it definitely inspired the hell out of LCD Soundsystem. On that note, “Fun City” also has that late 2000’s synth bassline that goes up and down and up and down and up and down.
I can’t say this is the type of new wave that gets me going. And if I wanted to listen to some sweaty sex songs from this time, I think I’d just be better off with all the stuff Prince put out around then. 2/5
Ms. Dynamite
3/5
A light 3/5 for me. Mostly good messaging and some really clean production.
“Dy-na-mi-te” is easily the catchiest of all songs on this project. Great hook, very infectious.
“It Takes More” has the best production work, I love the chopped up intro sample.
The first half of the closing track is a standout as well, the acoustic guitar is so easy on the ears.
Solid vocal presence and bars, nothing I was head over heels about, but M’s. Dynamite holds her own on the mic for sure
Kacey Musgraves
4/5
For every good pop country album, there are 100 bad ones. Luckily this one is a good one. Remembering back on its release cycle, I think it got a little too much love from the Grammy’s, Spotify, etc etc. Dont get me wrong, this album is good and achieves what it sets out to do, but stops short at being a transcendent work of art imo.
“Love Is A Wild Thing” might be the lyrical summation for the themes of this project, especially the ‘flowers in the concrete’ line.
The memorable tracks are at the end of this albums nice little 45 minute runtime. “Wonder Woman” has a clever bit of lyrical imagery for such a simple pop song. “High Horse” is one of the best lyrical hooks paired with one of the best pop grooves of its time. “Golden Hour” gave everyone an instagram caption for the two years that followed its release. Then “Rainbow” is just one of those piano ballads that will hold up for decades to come.
Great pop album that doesn’t overstay its welcome, perhaps slightly overheralded and responsible for the continued pervasion of cowboy hats as fashion statements and country crossovers that didn’t go nearly as well. Soft 4/5
Peter Tosh
3/5
A really powerful call for systemic change long before a lot of this albums lyrical content was socially acceptable in the states at least.
“Watcha Gonna Do” is probably the catchiest track to my ears, but I do think that focusing on how catchy these songs is kinda like missing the trees for the woods.
“Why Must I Cry” is my favorite off this project. Tosh spills out such agonizing emotions with ease, one of the best things to come out of all reggae music.
3/5, powerful messaging
Arcade Fire
5/5
Lamenting the fabric of suburbia pulling apart at the seams, this album is the fraternal twin of Green Day’s “American Idiot”, both of which hit me right in the childhood. I have had transcendental and existential experiences listening to this record while biking through the Mill Creek neighborhoods on still summer nights.
I’m especially enamored with “Neighborhoods #4 (7 kettles)” as a more meditative, placid moment in the middle of Funeral. The song juxtaposes the surface level serenity of suburban life, with all the underlying reasons people never end up feeling actually happy with the way their suburban lives are turning out. In a microcosm, that’s what this album is about to me: grasping at a perfect life in acquiring a docile “American dream” life (even though the band is canadian) and realizing through the passage of time that not all of life can be controlled or painted to perfection.
Brilliant album because it’s a meditation on a loved experience Ive more or less been through, 5/5
Led Zeppelin
2/5
Zeppelin 2 proves that the band is always good for a few memorable riffs, a few great choruses, some nice chunky guitars, and all too many creepy lyrics given the bands nefarious history. Too many uses of “baby” or “child”, which was nothing new for classic rock, but doesn’t make it any more excusable.
“Ramble On” is easily my pick for this project. It’s a basic choice but man were they firing on all cylinders with this song. Explosive chorus with some instrumental/arrangement choices that would be a precursor for the direction they took their sound on the perfect Zep 4 album.
Too meandering and lyrically too yucky for me. Could’ve gone without this one on the list since they have so many others included, 2/5
Super Furry Animals
2/5
This was a swing and a miss. I wont remember a single lyrical or melodic hook. Somewhere along the way there's a horrible attempt at a psuedo-screamo section, which somehow didnt break the monotony of everything else.
I have No Sympathy for the song "No Sympathy", which is a bit of lazy failure to capture the essence of Pink Floyd on the frontside, then a sudden transition to a half-baked Aphex Twin impression on the back half.
At least we have Jacob Collier now who can pull off the novelty of genre-bending with some sense of style, substance, and bring on decent collaborators.
This album is a nothing burger 2/5
Radiohead
3/5
I’d stop just short of calling this greatness. There’s some good things going for this album though! I’d imagine in 1997 this sounded like the fucking future. There’s a lot of tactful instrumentation choices, as well as a very clear atmosphere this album sonically exists in. It just lacks a bit of punch and/or ability to hold my attention, personally.
That Apple automated talking voice is such a cool choice on “Fitter Happier”.
On the other hand, songs like “Climbing Up The Walls” weren’t as easy on the ears as I’d hoped. I don’t take issue with Thom Yorkes voice being overtly whiny or impossible to listen to, but it wasn’t great on this song.
“In Rainbows” was the Radiohead album that clicked for me, I had no such click with this one. 3/5
Sonic Youth
2/5
I don’t know if this is the case for all Sonic Youth records, but Kim Gordon’s voice steals the show here imo - I wish there was more of it.
Most of this was just passable post-punk that went in and out the ears. I could hear this being played over a record store soundsystem, which I’m still trying to figure out why it’s a compliment to say that.
My pick from the record is “Beauty Lies In The Eye” or maybe “Master-Dik”. A decent subset of Gen X probably loved this one. Probably better Sonic Youth albums to be listened to so it’s a 2/5
Christine and the Queens
2/5
So there I was, weeks and months ago, pounding the desk for more non-English albums. So here I am now, realizing I can’t have my cake and eat it too.
It’s not that I didn’t like this album outright, but it just sounds very much like 2018. Maybe that’s of more value to some, but I lived through that time and listened to plenty of pop then - this project doesn’t do a lot to distance itself from the sounds of that time.
My picks from this album are the French version of “Doesn’t Matter” for having a great pop chorus, and the English version of “Goya Soda” for sounding like the blueprint for Caroline Polacheks “Desire, I Want To Turn Into You” album (which you should probably just listen to instead of Chris). Not sure if this is a 2 or a 3 stars
The Pogues
4/5
Finally some good fucking food.
“Turkish Song Of The Damned” really set the pace for this album being intentional, colorful, energetic, and often about hardship.
But “Fairytale Of New York” was really when I locked in, I’m a sucker for a sappy piano ballad. This albums take on that type of song is really cool, taking the soft piano part into a more galavanting Irish jingle.
“Metropolis” has my favorite instrumental, it’s very tense and suspended right from the get go.
“Fiesta” was fun because it almost veers into ska-punk territory!
“Sketches Of Spain” shows the breadth of styles the band is willing to cover and infuse with their signature Irish-folk sound. This is such a cool fusion of two distinct sounds.
Loved this project for how intentional it is, how much all the members sold out to deliver energetic performances across the track listing. Emphatic 4/5 from me!
Yes
3/5
All progressive rock roads lead to Rush, and I can see this album’s sound laying the groundwork for Rush’s immense success.
Such an interesting choice to put a live (albeit very good) guitar solo in the second slot of a track listing otherwise full of studio recordings. I think that leads into the double-edged sword dilemma this record (and probably most prog records) has going for it: they seemingly throw in any old idea/melody/motif without restraint. Like, the first half of “Ive Seen All Good People” being a folkish song with the chorus ‘dont surround yourself with yourself’? Awesome. The second half suddenly becoming a yacht rock rambling jam? Probably coulda saved that for a bonus track. Or split them into two songs maybe? Which they kinda ended up doing! In a very weird roundabout way later on the album.
I’m asking for structure/things that are ultimately unnecessary and arbitrary, but around the point of “Perpetual Change” I kinda needed it. The constant turn of one musical passage into another, the hard track panning. This was when the album was at its worst - seemingly begging you for your acknowledgment that this is a record that follows its own rules.
At its best though, I feel like I’m locked into an avatar state where the record store dwellers before me (mostly gen x white guys) look down the line at me, and I too recognize the immensely impressive instrumentation, excellent chemistry, and powerful performances.
3/5, I have whiplash and am left in a daze with nothing to hang onto but I’m kinda impressed
Air
2/5
It takes a LOT to bore me but I can confidently say I was bored at many points on this record. Seriously that's really hard to do - how do you bore a guy that's a few years into an ambient music deep dive?! Clearly a soundtrack so im sure it hits way different with the movie accompaniment but that sure as hell isnt the point of this list.
Nothing on here was outright bad, but nothing was memorable, especially with the consideration that Air holds at least one other spot on this list with a much more substantive album.
Maybe this is a soft recommendation to watch the movie, but I won't. 2/5
Ghostface Killah
3/5
"Shakey Dog" is Ghostface Killah swinging on the first pitch of the game. It's aggressive, bombastic, and high-energy. He doesnt cut corners on forming a narrative on this song either; usually it's either super heady and moody OR screaming-in-the-booth hype rap - this song is both!
"The Champ" a little later is kinda just the same song but less effective, unfortunately.
It mustve been so cool to hear WTC in a completely different era on "9 Milli Bros". The novelty carries the song a little ways but not far enough for my ears.
"Heart Street Direction" is so stupid that it almost loops around to being funny again - and was surely inspired by Eminem right? A bunch of sex innuendos formed into one skit/joke? Sounds like Eminem to me.
"Whip You With a Strap" is such a beautiful reminder of J Dilla's sensibilities for making a beat and not overcomplicating it. He had an ear for samples like no one else.
I'm a big fan of "Clipse of Doom" for how relentless the beat is with Ghostface keeping up too - more of those vibes that "Shakey Dog" had, I feel left wishing for more of this.
What goes on in the last half of the album makes me wish the tracklist was put together with a bit more of a selective eye. Starts to all blend together. "Big Girl" into "Underwater" were super unique and almost reeled me all the way back in.
Strong 3/5. Some great energy, fantastic personality and presence in the booth. Just wish for a bit more restraint on what got put on this album. the 10ish best tracks on here and nothing more wouldve been perfect.
Deee-Lite
3/5
This has got to be one of the worst album covers on this entire list. Luckily, that doesn’t matter.
This is dance pop music that mostly hits its mark. I think everyone needs to understand just how far electronic dance music and pop have gone to fuse together in the past 20 years (particularly the late 2000’s/early 2010’s), and how this wasn’t so normal in 1990. The crisp quality of most of the vocals in particular really impressed me, everything is very distinct and easy to hear.
“Good Beat” is as advertised, a good beat. Maybe one of the more memorable songs on this album.
“What Is Love” is NOT the Haddaway song, but perhaps the most ‘experimental’ of the bunch.
“Groove Is In The Heart” stands out not for being a disco-inspired one hit wonder, but for being significantly louder than the rest of the songs on this album - an indicator that it’s clearly a single.
Hard to get mad at any of these songs or at the album as a whole. Did its part to push for 4 on the floor music to make its way into pop, but I’d stop short of saying this was anything monumental. 3/5 down the middle
Screaming Trees
2/5
Shoutout Ellensburg Washington where this band is from, one of the biggest drive thru cities on WA roadtrips.
I was so hopeful after hearing the opening song. It reminded me a bit more of the Midwest grunge/emo of Hum more than anything out of the PNW.
But I can’t say this album blew me away, or anything close to that. “Sworn and Broken” was a super interesting listen though, as the singer starts out sounding strikingly like Kurt Cobain, then the song develops to the point where it’s played out with a keyboard sine wave solo! Very unique for this genre.
Then the closing “Gospel Plow” was pretty cool for how ambitious its composition choices are. Memorable intro and outro.
Everything else kinda blurred by in a flannel, torn jeans blur. Those standout songs were really good though. Soft 3? Strong 2?
Joy Division
3/5
This album is carried by its aesthetics and stylistic choices, even down to the album cover. What I often forget is how existential and dreadful some of the lyrics are!
“A Means To An End” might be the most memorable and accessible of the songs for that simple looped guitar/bass melody.
But “The Eternal” is my favorite off this record for just how ethereal and ghastly it sounds. Surely this album gets the Halloween boost every autumn.
So very forward thinking drum patterns and tiny composition choices, but also forgettable at points. Soft 3/5
Haircut 100
4/5
*HIDDEN GEM ALERT*
The new wave genre classification was a bit misleading and led me to be pleasantly surprised by this album! Front to back, the band seemed like they were having lots of fun in their performances.
“Love Plus One” is a JAM! I knew by this song I’d be smiling while listening to this project. There’s so many little 10 second motifs and musical ideas that are all so catchy just on this song alone.
“Lemon Firebrigade” was like adding a little spice into the track list. The strutty guitars, the bongos, that bassline groove!!! Oooh!
“King size” gave me many of the same lively, energetic feelings. I just really like the way this song plays out with that horn section.
“Snow Girl” almost has a bit more of a classic rock construction with that E. Street Band horn hook and the cowbell going off in the chorus. A nice little mixup.
“Surprise Me Again” is kinda like this albums “Here Comes The Sun” it’s super bright and cheery and lovey, I found it endearing.
Man this album was just good. Front to back. Really impressed. Falls just short of a 5, just missing a little something special, not quite my idea of perfect. But really, really fun. Huge 4 stars
Finley Quaye
3/5
All my points go to how this record holds some very unique takes on the sounds of roots in dub/raggae and blends it with all sorts of sounds in a nuanced way!
“It’s Great When We’re Together” is a wonderful song with a soulful, more expansive lifting of the typical dub/raggae sound into something more soulful and mass-appealing. Excellent chorus on this one. And for some reason I can’t quite put my finger on, this sounds like a drum less Jamiroquai song?? Does anyone else hear that or am I going insane after 520ish albums.
The next song “Sunday Shining” starts out much more rough and I admittedly didn’t like the beginning of it, but it actually develops into a nice big band rocker towards the end.
“Ride On And Turn The People On” is incredible and a blend of genres right up my alley. Still using that dub/raggae foundation, but this time taking on some new age and even jungle production aesthetics! And also a stream of consciousness/personal slice of life subject matter I think? This song is so cool and I’ve never heard another song like it, which is impressive because dub/jungle/raggae/breakbeats/new age we’re all getting their moments in the sun around the turn of the century.
“Supreme I Preme” is another interesting sound, it kinda throws in some early trip hop into the mix. I really like how fuzzy it all sounds.
On this list I often hear albums that dip drastically in quality on their second leg; that isn’t necessarily true for Maverick A Strike, but it does get decidedly more mellow. Not a complaint, just more of a listener beware.
Firm 3/5, Ive been wishing for a 10 star system again lately because this probably sits more at a light 7/10 on a good day for me
Dagmar Krause
2/5
This album made me feel like a hypocrite because here i've been, banging my fist to the desk for more diversity! Less rock/pop! And then this shows up and it just doesnt land. So happy it's something that isn't American or British, and she certainly has a STELLAR voice - but it's a bit too showtunesy and theatrical for me. A lot of the instrumentation, while diverse and impressive, sometimes sounds a bit thin? Maybe part of that is that it's an album from 1988 compressed into a youtube upload, but yeah.
My pick is "The Ballad of the Sackslingers" for it's constant tempo changes and vivd storytelling.
Just not my jam at all. It's not at all bad! Just not for me
Ray Charles
4/5
The fact that these are covers of country songs is insane!!!
“You Dont Know Me” is the first standout song on here, the soaring strings and backing vocal accompaniment are so charming. Add these to Charles’ heartfelt crooning, and it all comes together to make a really special, wondrous but still sad song.
The one that really got my attention was “Careless Love” when he hums the ‘well if I could hmmmm’ part. So much soul comes through in little choices like that. It’s hard to even call it a choice, these sentiments seem to be destined to spill through Ray Charles artistry. He’s at his best on this album with songs like these, when everything sounds super floaty, when Ray is hopefully pining for someone.
I knew that “Hey Good Lookin” was too good to be an original by Jimmy Buffet/Clint Black (no disrespect to Jimmy I love him).
Speaking of covers, “You Are My Sunshine” is a neat lift of a classic so different that it was hard to recognize.
“Leave Me Alone” was a nice change of pace; it speeds things up in contrast to what can be my only criticism of this record, that a few too many songs are functionally the same. In my perfect world, Charles picks the best dozen of the bunch and tinkers with them or lets them run for a while.
But that’s a nitpick at best! Ray Charles was in his bag. Such a rich voice. 4/5 all day on this one
The Stooges
2/5
While this album has a very raw, punkish ethos that's undoubtedly infectious, I can't say I got much more out of it than noticing those things.
Unfortunately a non-starter for me, listened to it all the way through, and still feel the same. Not horrible, but with having access to music that iterated on this in a much more appealing way, I won’t remember much from this one.
Dusty Springfield
3/5
Im no expert, im actually the opposite of an expert, but this is probably on the better sided of blue-eyed-soul. That being said, I'm about to contradict myself with my song recommendations for this project.
"Son of a Preacher Man" is fine but I don't think it stands out THAT much to me.
"Breakfast In Bed" was much more memorable purely for how fun of a listen it was.
Now, "The Windmills Of Your Mind", THAT'S a track. So dramatic and vivid. That song, and "In The Land Of Make Believe" with its bossanova switchup, are standouts to my ears. Everything else gets a bit predictable.
Soft 3/5 those standout tracks saved it
Liz Phair
3/5
A pretty fun listen. Liz Phair has a very engaging ability to tell a story or just let her emotions out. Apparently this is a song-for-song response to a Rolling Stones album?? Anyways
I’m not sure what I like more, the very heartfelt ballads or the more humorous, edgy songs. You can kinda split them evenly into the two buckets.
I think “Canary” is my favorite of the more serious songs, especially for its piano instrumental.
“Flower” is my favorite of the more boisterous songs, I think Liz is leaning into the male fantasy projected onto her and singing these lyrics with some level of cynicism.
Most of all, this whole project sounds like it was made in the early 2020’s and could land on any number of Spotify indie alt girl playlists. That’s the really impressive part! 3/5
Neil Young & Crazy Horse
2/5
More like Everybody Knows This Album Goes Nowhere.
What is the deal with this much Neil Young on this list? There are so many other American singer/songwriters that did what he did but without sounding so whiney and one-note. So little varies from album to album with this guy.
The “la la la la” singing about 35 seconds into the title track is particularly laughable. Seriously, it’s not charmingly human, it’s grating my ears.
At least “Round & Round” follows that song up, which reaches redeemable levels of listenability.
We gotta remove most of these NY albums PLEASE. Soft 2/5 dont make me give this man another 1/5
Richard Hawley
4/5
LOVED this.
Incredibly captivating opening song. Moody, dramatic instrumental. I didn’t totally fall for Hawley’s voice as a perfect fit for the song, but he makes it work.
“Just Like The Rain” swayed me though. His delivery gets more effortless over this very catchy road-trip type song.
The first half of “The Ocean” didn’t go over as well, but this became an exception to the rule for the quality of Cole’s Corner.
The chorus of “Born Under A Bad Sign” is great work. So simple, so catchy, and a pre-chorus attached to it that makes you want it even more!
“Last Orders” is a heavenly closer. Seriously a great use of that chamber sounding piano.
Cynicists will tell you this album is just full of wedding and heartbreak songs, but my ears hear more than that. Hawley puts a great album together thats entrenched in the various facets of love, adoration, or desperation. But he does so with such a measured, pleasant delivery. Kinda like an alternate, not-experimental Nick Cave.
The heights of this album made me feel like it was a genuine 5 stars, and someday I might feel that way. For now, a very earnest 4/5. Enjoyed this all the way around.
Iggy Pop
2/5
His acclaimed stage presence does not transfer over to the recording booth if you ask me.
A song like "Sweet Sixteen" shouldnt be permissible on this list. This album is good for one song and it's the obvious "The Passenger". The masses got it right in uplifting this song to frequent radio play.
I'm pretty sure I heard Bowie's backing vocals on "Tonight" as well - I was hoping for more from this album knowing he was involved.
Just had a Stooges album shortly before this and from what I've heard so far, Iggy Pop and his projects just don't do it for me
Pere Ubu
2/5
I got NOTHING out of this, and I really wish i had more to say. Just lots of experimental rock, but nothing to latch onto. Lots of interesting noises sprinkled in, but nothing to tickle my brain. A lot seems to be said about how this album reaches into spaces beyond just direct lyrical expression of discontent or protest, and I suppose I could see it, but I’m not stricken with awe by its avant-garde methods.
Sounds a bit like a foundation for Protomartyr. 2/5
David Gray
3/5
First two songs (the first song in particular) had me so hopeful and captivated. But what followed was a slow dive into easy-listening monotony. Wasn’t horrible, but there wasn’t much going on otherwise.
“Please Forgive Me” is a proto-postal service beat thats serene and idyllic. The song is so sweet and loving! Such a nice opener.
“Babylon” was a song I didn’t realize I knew. It got played soooo much on the radio when I was little.
Also, the voice sounded a little too much like Bob Dylan at points, like on “Say Hello, Wave Goodbye”.
3/5, soft - like the music
2/5
As mentioned in my first Yes album review, it’s hard to imagine the band said ‘no’ to any idea for a song, not just for their namesake, but because they seem to follow any musical whim that came to mind. But here we are, with an album of some ideas that had apparently been put on hold previously. So how does it work out?
Yeah this still isn’t totally hitting for me. Much like the last Yes album, there are moments. But only moments.
The 13 minute mark of “Close To The Edge” is nice (crazy thing to say), when things get softer and more atmospheric.
The “America” cover is interesting, but nothing more than just interesting. My pick from this album is probably “And You And I” for its most memorable motifs and lyrics.
Strong 2/5, I can be done with Yes.
Marianne Faithfull
2/5
Marianne’s ability to come back and make a solid album after years of crazy life experiences is impressive, but only carries the music so far. There’s a few gems in this otherwise meh album though!
“The Ballad Of Lucy Jordan” is a fun story with an instrumental that very much sounds like it’s out of the New Order playbook. Like, this is very “Your Silent Face”.
“Working Class Hero” has a scathing view on class struggle and societal structures/stereotypes.
The closing “Why’d Ya Do It” is just crazy especially given it’s time, just listen to it is all I can say.
Everything else was very fugue and forgettable. Not bad, but not notable to my ears. I feel like it’s been a while since I’ve had a universal slam dunk album, or much lately thats beyond the year 2000.
Firm 2/5 on this one. Just wish there was more substance to latch on to
Calexico
2/5
Just a total nothingburger of an album. You shouldn’t listen to this album, this shouldn’t be on the list. The singing isn’t above average, the instrumentals could be lent to any other singer/songwriter to do a better job with, and nothing sticks. I will not remember one thing from this record.
“Close Behind” is my pick, if I had to give one to listen to.
I’m astounded by the number of rave reviews this thing has. The blending of genres isn’t impactful, it’s hazy and dull. It doesn’t do any one thing well, it tries to do many things and they all turn out meh at best. Just way too bland.
Soft 2/5
William Orbit
4/5
It’s so hard to listen to this album with unbiased ears when you’ve been learning how deep of a subconscious impact growing up with ps1/ps2 games impacted your music taste. I’ve been digging into all things downtempo, dub, psy & early acid techno for most of this year, so this album is right up my alley.
At its best, this album illuminates how well some of its genres can oscillate from dense moments drama to minutes of total catharsis, all in the span of a song or two.
At its cheesiest, this album is basically a soundtrack to a late 90’s Miami crime thriller (said lovingly).
At its lowest, this album plays it very safe for far too long and doesn’t set out to achieve much for frames of 10+ minutes, in bunches.
“Water From A Vine Leaf” is a pretty, ethereal opener with a fantastic arpeggiator, serene piano, and good vocal samples floating over a typical 90’s breakbeat.
“Harry Flowers” slows things down and finds itself in downtempo/dub territory with that sub bass anchoring the track.
I’d grown a little irritable about how the record was seeming to get more & more complacent until the beginning of “Gringatcho Demento”, which is a big turning point in the track list to me. Super intriguing intro on this one, with a bit more teeth to it. Finally something a little suspenseful.
The following “A Hazy Shade Of Random” is unabashedly new age bliss with a bit of ambient-era-Eno for good measure.
The last leg of the album delves into sounds that are harder and harder to grasp onto - not in a bad way, just that it all focuses more on ambient noises than grooves and melody. “The Monkey King” is a good example of these choices.
Hard to give this one a fair score. Yesterday, I punched my ticket on the “you all don’t understand” train, where I really wasn’t happy with the albums general warm reception. Today, I complete the round trip on that train, coming back today to say that I think this album (and other albums like it) get knocked around too much for being a product of it’s time. Too dinky, too gimmicky, an album only good for background listening at its best. Maybe those things are true at points, but I’d like to say that on the whole Strange Cargo 3 achieves its escapist, ethereal ambitions. The lightest, admittedly slightly biased 4/5 stars from me.
John Prine
5/5
Calling this a masterclass in lyricism would be a little inaccurate, as I’m not sure anyone can absorb and then accurately recreate John Prine’s authenticity. What a captivating listen. I’m a hard sell on lyric-based music too!
The opening song had me hopeful but I didn’t want to get my hopes up TOO high - these things often fall in quality after the first song. But the next “Spanish Pipedream” reassured me that I’d be clinging to every clever, personable line on this record. Outside of singing a little bit too much like Bob Dylan (a comp I make at least every other week at this point), I couldn’t possibly see a problem with this self-titled effort. The chorus on the aforementioned “Spanish Pipedream” is so money.
“Hello In There” while still clever, is a much more sobering picture of domestic aging and the casual hardships people face as the years go by.
“Sam Stone” basically lays out the blueprint for Born In The USA lyrically; a protest song in the form of a story about a vet coming home - except WAY more tragic and vivid.
I will say, “Pretty Good” left me scratching my head a bit. Maybe this one is more Dylanesque than the rest, as I’m not too sure what the point was, or what went into some of the strange lyrical choices. But that’s ok, because “Your Flag Won’t Get You Into Heaven” picks things right back up. While it’s a Vietnam protest song, I found this one to have an evergreen message that could be handed down to many Americans in present day. I definitely had a facetious little smile on my face by the time this one ended.
“Angel From Montgomery” is much like every other song of general hardship, but somehow again Prine has a thoughtful little lyrical spin on the whole thing.
“Quiet Man” really seemed to be the only song without a real direction of any sort - maybe that was the whole point.
An actual note on something that isn’t the lyricism, I LOVE the way “Donald and Lydia” was played out with that shiney guitar melody. A bright way to end a bright song.
I think I have to give this album a 5/5. I was hooked from the start and wasn’t let down even through some of the more stereotypical songs. Prine is just self-aware enough to ensure the listener won’t be let down by repetition or cliche, while still remaining wildly personable and authentic in his storytelling. Really well-built project — I beg you to listen to at least the first half of it. Earned it’s way into the rarified air of 5 star albums I previously never knew anything about
Kate Bush
4/5
Tragically it was far too experimental for American ears in the way it takes some pop sounds of it’s time and twirls them all up into a fantastical, transcendental world.
Stranger Things really got it right in spotlighting the opener on this record.
“Cloudbusting” kinda double dips on that drum pattern from the first song too but I’m not complaining.
“Under Ice” has some crazy vocoder work for its time and place.
“Waking the Witch” may be my favorite for its insane musical theater work.
This album feels deeply effeminate, so instead of grandstanding about it I feel like I wanna offer something more unique - my modern comp to the sound Kate Bush pioneered. Oklou’s Choke Enough had a similar airy, ethereal, often drumless quality to it.
4/5
Heaven 17
2/5
A band that had all the best intentions, but failed to deliver anything remotely impactful.
The music is pretty upright and dull, which sucks because the band clearly has a heart and a good message to get across.
John Prine’s song “Your Flag Decal Won’t Get You Into Heaven” came on this list a few days ago, and it’s a great example of something with more of a nuanced, interesting delivery. All the songs on Penthouse and Pavement read more like observations of current events with mild calls to action, and that’s all.
“The Height Of Fighting” is my pick from this album. I wish for more, 2/5
The Gun Club
4/5
Sexually and racially charged, as many good punk records are. I might be outing myself as an ignorant American but I really liked this album!
Very punchy, memorable opening song, then the next moment I liked was the energy on the first minute of “For The Love Of Ivy”.
The call & response at the end of “Jack On Fire” was really well done imo.
I also loved the way he sand ‘gasoliiiine’ in “Cool Drink Of Water Blues”.
I realize that much of this is fairly heady for how loud and punkish it is. There’s some amount of narrative in songs, but I wish he wouldn’t have used some of the language he did - even if it was to play a character he’s portraying.
Pretty good stuff here, I don’t hear an insane amount of yeehaw punk like everyone else says they do but I still really liked this regardless. Light 4/5 surprise!
Sparks
3/5
Extremely fun at first, and certainly well-composed throughout, but the maximal, enthusiastic performances wear out their welcome towards the end. An interlude or change of pace was needed to provide this album with some depth.
“Amateur Hour” is my pick from this record. Twinkly, fun, and energetic. Strong 3, the first half of the album is pretty damn great in particular.
Public Enemy
3/5
The positive is that it’s less ‘clunky’ (for lack of a better term) than their previous efforts. Production and flows are smoothed over and done very well. The negative is that most songs on here dont leave as much of an impression on me.
“911 is a Joke” has gotta be the most unique song subject I’ve heard in a really long time.
But “Burn Hollywood Burn” is the most impactful, scathing record for sure. Weaves media portrayals of black people into their long history of being oppressed. Really well done.
Soft 3/5. No one does it like Public Enemy, not their best but still leaves you with a few things
David Bowie
4/5
I have so many little conclusions I took away from this album (most of which you can get from other 70’s Bowie albums) but no big overarching summation - I’m sure there’s plenty of those already written.
I think Bowie knew what he had with that piano refrain on the title track, I swear I’ve heard a million alterations of the same few notes and they all stick in my head for long periods of time.
Right after on “Drive In Saturday” Bowie pulls off another emotive performance that might be one of my favorites from this record. I specifically say ONE of my favorites, because “Time” may be my real winner here; the theatric, circusy first half waltzes along. Then, suddenly, David Bowie employs a doowop-inspired-walking down of the melody, and cries out:
“breaking up is hard, but keeping dark is hateful,
I had so many dreams I had so many breakthroughs,
But you my love were kind,
But love has left you dreamless,
The door to dreams was closed,
Your park was real dreamless,
Perhaps you’re smiling now,
Smiling through this darkness,
But all I have to give was the guilt for dreaming.”
Can you imagine being an impressionable teen at the time and hearing that?? Maybe I’m projecting, but David is at his absolute best here, using his uncanny ability to be a voice both TO and FOR his young, impressionable, bright-eyed and/or heartbroken listeners. Generational talent.
Afterwards, “The Prettiest Star” shows even more of Bowie leaning on a sound that surely inspired him in some 50’s doowop rock - complete with a play out of a chorus of guys singing a ‘ba ba badada ba’ melody.
Lastly, I wanna note that Bowie basically spiritually invents the idea of sampling/remixing/nightcore in his pseudo cover of “Let’s Spend The Night Together”.
I’m not even gonna go into the character/concept/iconography on this project, I’m not qualified to do so. Not to mention the most radio-popular song near the end, “The Jean Genie”!
Such a fascinating album. Some songs on here that are just 3/5 material by Bowie standards, then there’s songs like “Time” that I’d give 6/5 stars to if I could. So a solid 4/5 from me
Neil Young
3/5
I shoulda known we flew too close to the sun with an excellent David Bowie album yesterday. In the context of this list, Young is the Wario to Bowie’s Mario. And specifically, Bowie always has the ability to shine and surprise me, while Young is just kinda one-note.
That being said, this is about as inspired and directed as i've heard Neil (or at least the first half of the album is).
"Speaking Out" might be veering into blue-eyed soul along with its downtempo rock aesthetics, and it actually sounded pretty good. Good piaano section, good guitar solo, & Neil doesnt ruin it with his singing.
"Borrowed Tune" is a pretty soul-bearing cut, with brutal honesty about the state Young was in for moments of this albums creation, his hopes for his future. Solid stuff.
Being as how Mr. Young just isnt for me, I definitely grew tired of things towards the end of the album. There are certainly moments where I rolled my eyes at the singing. But hey, that's better than feeling totally irate this time around.
A 3/5 for Neil Young is about the biggest praise I can give
Travis
1/5
I might've liked this album when I was 14. But you know who I hadn't listened to yet at 14? Radiohead! This band sounds exactly like they're trying to be Radiohead. But not just any iteration of Radiohead - like a milquetoast, bland, sometimes irritating version of Radiohead.
I have no songs to highlight from this project, I wish it wasn't on this list that Radiohead is already on multiple times. Something between a total snoozer and a tragic attempt to sound vogue at its time.
I have to give this album a 1/5 on principle. Please remove this from the list if we are so lucky to get another series of amendments.
Sonic Youth
3/5
I come away with the same conclusions as i did with the last two Sonic Youth albums. I respect them from afar and think Kim Gordon specifically is excellent.
"Tunic (Song for Karen)" didnt necessitate any research to know this song is about Karen Carpenter and the hardships she endured with her image, being a woman drummer, etc. Really nice tribute.
"Kool Thing" was a really unique song I dont think i'll ever hear another one quite like it.
Lastly, I liked the instrumental on "Disappearer" the best.
3/5
The Cult
2/5
Around the end 2013 or so, EDM crossed over from a novel/trendy sound, to something over saturated and tired. Anyone trying to get in on a club banger or progressive house festival anthem was sniffed out for their authenticity. I’d imagine that hair metal had the same timeline of events towards the end of the 80’s. This album felt like it was trying to cash in on the hair metal sound/aesthetic.
A bad cover of “Born To Be Wild” was shoehorned near the end was a practical admission that The Cult couldn’t hold a pop song on their own. Rick Rubin even back then, you were better than this.
A waste of a spot imo 2/5.
Basement Jaxx
3/5
This album doesn’t have good pacing or structure, but some of the most popular reviews on this site are way too harsh. You all wouldn’t know groove if it hit you upside the head.
There are a few very big highlights on this album worth talking about.
The opener is perhaps the most house-ish, and that sub bassline can be traced with a through-line all the way to the John Summit’s & Chris Lakes of today.
The high pitched vocal yo’s on “Yo Yo” were wayyyyy ahead of their time, thats a 100 Gecs delivery right there.
“Red Alert” is incredibly cathartic I can’t imagine being skeptical or grumpy after listening to this track.
“Always Be There” is probably my shining star of this album. Pretty, sweeping synths in the background creating a great atmosphere.
Lastly, “Dont Give Up” sounds like something Koreless just produced for the recent FKA Twigs album. I’m in awe of how there are moments like this peppered throughout the album that seemingly had a crystal clear premonition of future sounds.
Outside of these songs, I can acknowledge the means ing nature of the track listing, and some of the more pointless interludes. But you’re telling me this is globally rated lower than that The Cult album from yesterday? That was boring trash compared to this.
Strong 3/5, electronic music is still wildly misrepresented on this list but an album like this is a step in the right direction. If you’re not a fan of this but still want to listen to something impactful and electronic from its time, might I suggest ‘Wide Angle’ by Hybrid. Came out the same year, very cinematic, probably would please the people that prefer their electronic music in headphones instead of made for the dance floor.
Tom Petty and the Heartbreakers
3/5
At his best he’s charming and personable, at his worst his singing is a little harsh on the ears. Oscillates between the two extremes from song to song.
“Breakdown” is a classic and is surprisingly short. Even with the weird accent he’s attempting.
“The Wild One, Forever” is a good song through and through. Probably my pick from the album. Emotive and well-performed.
Just kinda standard rock 3/5
T. Rex
3/5
Decently fun listen early on. T Rex seems super relaxed and happy to be performing. Got a little tiresome and samey towards the end of the record.
"Cosmic Dancer" is probably my pick from the album - it's nice and dreamy, easy-going, etc. The little 'aaaaa-aaa-aaaa' background vocal motif totally reminds me of the vocal motif on Dance Yrself Clean & Home by LCD Soundsystem.
I was unaware that this is who made "Get It On". Probably on the less favorabale side of all the classic rock radio songs I heard as a kid, but I get why it became popular.
3/5 for some goodd rocknroll. Also (to make a second bloghouse connection) this SURELY mustve been the inspiration for Justice's original Cross album artwork. Surely.
Buffalo Springfield
2/5
Ahhh how soothing, the first vocal is none other than Neil fucking Young!!! My absolute favorite!!! It's a biweekly event to run into Neil's annoying voice. This is getting ridiculous.
I couldn't get anything out of this album. It's strangely quiet at points, and otherwise mundane all around (except spotify temporarily thinking I like Neil Young again). All the deliveries are so standard for their time. I don't feel particularly moved in any sort of way. This is a stinky 2/5.
John Martyn
4/5
I was oh so excited to see this name cross my screen, as his Solid Air album was such a pleasant surprise on first listen. 5 years on from that album and it sounds once again like John has lived his years with a fullness. I think it was his intention to represent that with a very gritty vocal delivery on the opening "Dealer".
Martyn takes a dive back into his more soulful delivery over the next few songs - I particularly loooove "Smiling Stranger". The bubbly instrumental, the strings that come soaring in, and John Martyn's ability to embody a character/scene is immersive.
The wah pedal delay sound on "Big Muff" is the kinda stuff I've come to appreciate so much with this guy - little sounds with a lot of thought behind their recording techniques and placement in the composition of each song. Martyn excels at bringing in an experimental jazz ethos that drives him to create such distinct senses of *space* on his recordings. He is more than confident in letting instrumental sections air out into very placid atmospheres for minutes on end.
I was digging "Couldnt Love You More" for similar reasons, then "Certain Surprise" just took things over the top for me! The bossanova style rhythym, Johns mumbly singing of a KILLER hook, then that lazy trumpet halfway through?!? What a trip. It's been a while since I stopped an albums tracklisting from playing out in order to replay a song - this one got my rare replay award.
"Dancing" was a lowlight for me. It seemed a bit like a half cooked mashup of inspirations taken from equal parts Fleetwood Mac & The Doobie Brothers. Not a horrible song, but not great and didn't sit well in the track sequencing.
All's well that ends well though, with John playing an echoey, post-rock style guitar on the closing "Small Hours" in a manner that makes you wonder 'did this guy just lay down a This Will Destroy You instrumental 30 years before the band even formed??'
Seriously unreal.
I had to look this guy up once this record finished - two stellar efforts in a row warrants some research. It's a shame he went through some rough times and was abusive to his partner for a while, likely around the time of this album. You can hear the trouble in his voice. I'll be curious to do some more listening of different projects during different times in his life. STRONG 4/5!
JAY Z
3/5
The production on here is unreal, every beat has so much bounce, each sample hits the ears just right. As for the rapping, it’s mooostly good - not on par with the quality of the production, but mostly good. Like a lot of rap of it’s time, some dated language and corny lyrics disrupt an otherwise very recognizable set of flows JayZ delivers.
“Takeover” was the first beat that had me nodding my head - so bouncy!
“Izzo (HOVA)” is iconic and reminds me to use this space to encourage you to go listen to the mashup EP JayZ and Linkin Park put together, which includes this song. It’s one of the most unique ideas you’ll ever hear and is pulled off perfectly.
“U Dont Know” has some cheesy lyrics but a great chipmunk soul sample. Same can be said for “Ain’t No Love”.
He’s maybe a little one-note in terms of what he’s rapping about, but JayZ hit his stride here in many ways. Strong 3/5
The The
2/5
This lies in a frustrating middle ground between the whimsy of the pet shop boys and the personality of Billy Idol. Lots of songs that come to a frustrating end falling just short of being a good 80’s pop song.
“Heartland” had an interesting social message but is a bit on the nose about it.
“Twilight Of A Champion” was my favorite for some much needed switch ups in production.
2/5 plenty of bands did this sound better
Marty Robbins
4/5
“Big Iron” alone is worth the price of admission, which is why it’s the first song on the record. A song so good I think it’s got a life of its own even today. But lucky for us, there’s plenty of good storytelling to go round with Marty Robbins.
Most song topics on this album have long since become cliche and pastiche, but that doesn’t mean they’re bad. I’d like to highlight “Utah Carol” which is a genuinely sad song that had me captivated and a surprised at how into the story I was by the end of it.
Pretty. Good front to back. I don’t have a lot of other material of it’s time to judge this album properly, but it seemed to be a quality album. Light 4/5
Britney Spears
3/5
A lotta little nuggets of good in an album thats probably more relevant for its artists cultural significance nowadays than the substance of the album itself.
“Baby One More Time” in the context of the rest of this project now seems almost edgy on purpose. Worth its status as a pop hit either way.
“Soda Pop” latches on to one of the funniest pop trends of its time with the Caribbean MC and laidback beat.
“E-Mail My Heart” had me laughing at its title but honestly this song ended up being my standout track. There’s some amazing vocal runs and it goes above and beyond in achieving its goal of being a sappy pop ballad. Love the chords, love the composition choices towards the end of the chorus.
“The Beat Goes On” also has some wildly in-touch production choices, this thing sounds spectacular.
Last, “Autumn Goodbye” is a candy-sweet dance pop closer that nails that bittersweet banger sound that came from y2k club-focused tunes like this one.
I’m a little uneasy coming away from this one, and none of it has to do with the music really. I think she got too much attention for all the wrong reasons that had to do more with her appearance, age, & status as a popstar around this time. She got the raw end of the deal a lot of times following this album.
Some solid pop hooks, a few forgettable 90’s tropes. 3/5
Pet Shop Boys
2/5
Lamenting what could’ve been on this one. PSB show signs of some of their best traits - a good pop hook here, a funny lyric there - but don’t put it together for a full album run in my opinion.
The opening “One More Chance” had me especially hopeful by the time it ended. The song had a nice chorus, a sticky synth stab, some dramatic imagery.
But it took a few songs for me to latch onto something, and only for something that was as novel as it was substantive. The novelty was the chorus & general topic of the song “Rent”. I’m reminded of MGMT’s “She Works Out Too Much”; both songs are built on softer, idyllic 80’s production and only seem to take themselves so seriously.
The last good thing for me to report on is the instrumental passage at the end of “Hit Music”. This slowed beat manages a 1-to-1, practically prophetic construction of the vaporwave sounds that wouldn’t develop until the early 2010’s. This was really a trip, given that vaporwave is an artistic development/interpolation of pop tropes of the late 80’s etc etc. PSB time-traveled forward to beat the entire genre to its sound.
Everything after this point was tragically hard for me to latch onto. Not all is lost for Pet Shop Boys on the whole, I really liked and prefer their album “Very” which came out in the early 90’s - they keep up with the electronic music / dance-pop-club trends in a really fascinating record.
This, sadly, is a 2/5 for me
Abdullah Ibrahim
3/5
What I hear in my when I think of classic jazz - which I don’t have much of a framework for. I loved the mellow, warm sounds of “Song For Sathima”. I felt like taking an easy, careless nap after this one, it was such a sweet listen.
“Manenberg Revisited” felt like the soundtrack for a lovely day walk into town - a bright, happy-to-be-here sound.
Maybe a bit ‘vintage’ fir it’s time of release but this was a pleasant 3/5 for me
Gotan Project
2/5
“Epoca” was memorable for its upright meditative beat.
“Triptico” was nice for how it makes a point where the pacing of the album picked up a lot - which was much needed.
I also liked the bass & drum patterns in “Santa Maria”. It had a great groove pocket.
But everything else was so similar that it became hard to remember which song I stopped listening to and which song I started listening to. I really appreciate this project for providing a sound closer to something that actually piqued my interest at first, but it does absolutely nothing with that sound. Firm 2/5, good to put on as background music but not any better than a good ambient, lofi, or house album
The Monks
3/5
For some reason I read this albums release year as 1986 instead of 1966, so I was underwhelmed and confused until I looked again during the song “Oh How To Do Now” (which is a fantastic song) and realized it’s from 1966. With that in mind, I’m super impressed by the lead singers performances - so much personality & vibrance.
Im a little split on this one. On one hand, it’s another rock album from the 1960’s. On another hand, it exceeded my expectations for a rock album from the 1960’s. Soft 3/5
David Bowie
3/5
An absolutely fascinating project in that its second half is demonstrably more captivating than its first half. It seems like two of Bowles friends were big inspirations for this one: Iggy Pop & Brian Eno. The front side of Low sounds like the Iggy side; standard proto-punk rock that was a slog to get through. But the back half is soooo worth it; mostly lyricless, electronic, ambient, and experimental.
Seriously, as soon as “Warszawa” starts off side B, things get interesting. Dramatic, suspenseful, and eerie.
“Art Decade” has the same drum machine sound that much of Eno’s “Another Green World” has.
“Weeping Wall” continues to sound like a progenitor for AGW, with some waiting-room-style keys and bells.
“Subterraneans” closes the project out on a climactic note, I love the horns coming in at the end of it all.
Really hard to be fair about this one, as I enjoyed none of the first half, while I loved the second half. Let’s go 3/5, Bowie seemed to be reaching for things more than executing an exact idea to his usual standard of perfection. But always a good day when it’s a Bowie album regardless
Tim Buckley
3/5
I liked this a tad more than most albums of its time and genre. There’s more meaningful, directed songwriting that isn’t just 60’s folksy psychedelic pastiche.
Wonderful opener had me cautiously hopeful, then it took a few songs to get to the crazy flowery fun of “I Never Asked To Be Your Mountain”. Buckley sells out on the vocal performance, so does all of the band really.
Then, in a rare 1001 albums list occurrence, the last few tracks on this album were easily the most impactful.
“Goodbye and Hello” is easily Tim’s best vocal work, ranging up into some high-pitched verses.
My favorite of the album is easily the closing “Morning Glory”. A tender story with some vivid imagery and great backing vocals. Placid tune, it got a replay out of me.
3/5 the Buckleys could write some good music
Todd Rundgren
3/5
For some reason that’s escaping me, I’ve listened to this album already this year. Have I listened to this guy before? I’m officially too deep in to remember, but I believe I have.
To Todd’s credit, this album held my attention mostly front to back, which is very hard to do over a shrewd 90 minutes.
A great opening 2 songs had me pigeon-holeing this album to a sound, but it expands in a few different directions.
“Intro” is one of the coolest recordings I’ve heard, I can’t quite call it a song. But it’s very cool.
“Marlene” has some unfortunately unacceptable lyricism that made me skip instantly.
The last minute of “One More Day” was very catchy, it stuck in my head all day!
“Piss Aaron” touches on the universal experience of knowing people in high school that were just so crazy you can’t quite believe they were real, or that they actually did the insane things they got up to.
“Hello It’s Me” had quite a nice groove, proving that Todd had the chops to write a good pop song but didn’t want to all the time. The sax on this one went especially hard.
Lots of good moments, a few that weren’t so palatable, but a full listen front to back. 3/5
Raekwon
3/5
This had some higher highs, but also some lower lows compared to the GFK solo album I got a little while ago. Though that one, and this one especially, are hard to be considered solo albums. More like posse rap projects, or an expansion of the WuTang universe.
"Knowledge God" felt like the first true banger imo, with a great rap chorus. Very vintage east coast too, a minor/atonal, minimal instrumental with thumping, cold percussion. Much of the same can be said for "Incarcerated Scarfaces" - though that one was even more hypnotic.
"Glaciers of Ice" had a very cool moment at 2:40 what they female singer performed what was pretty much an EDM riser with her voice - it really heightened the ominous energy of it all.
Lastly, "Heaven & Hell" SURELY is Raekwons eaast coast attempt of Ice Cube's west coast "Today Was A Good Day". Like, it's so clear with the more laidback sample sticking out like a sore thumb in the tracklisting, Rae even shouting out his west coast homies in the lyrics. It wasnt bad, it just didnt live up to the impossible standard Ice Cube set for a song like that.
A bit long and not exactly anything new, the instrumentals are indistinguishable from any other WTC project, or Mobb Deep for that matter. But enjoyable enough, soft 3/5
Gil Scott-Heron
5/5
One of the most strikingly beautiful first listens of an album on this list so far. Gil Scott-Heron pours his heart out with Brian Jackson accompanying him for some excellent instrumental performances/lyrical storytelling. An anomaly in the context of this list, this record actually gets better with each song, leading to a captivating end. All the while, explorations of socio-economic hardships and the struggles of being a black American are told in ways both hyper-specific and universal, all at once.
The opening "Peace Go With You, Brother (As-Salaam-Alaikum)" was a wonderful mediation on self-restraint, and anger pervading black male social circles. Little did I know this song would bookend the record!
I don't have much to say on the lyrics of "Rivers Of My Fathers", but GSH's voice is superb on this one, and the piano work is sooo soothing.
If I had to pick a lowlight, it would be "Very Precious Time". It's a lovely track with a bit of a twist in perspective on reflecting on young love, but considering the topics of the songs to come, this track sticks out from the rest just a bit.
"Back Home" made me think about all the nice homely things I hold dear, the warmth GSH conveys through this track is infectious.
"The Bottle" sets the bar for songs that are lamentations on cycles of alcohol abuse and cycles of social struggles that black americans are especially susceptible to - whether it's the 1970's or present day.
"Song For Bobby Smith" followed by "Your Daddy Loves You" are heartbreakingly bittersweet songs that act as a tender pulling back of the curtains a bit. The latter especially just felt so universal, so humane - much like Stevie Wonder's "Isn't She Lovely". Somehow, it got better from here.
Because "H2OGate Blues" rocked my world. A sprawling, colorful, vitriolic-yet-measured exploration of the United State's governmental wrongdoings, crimes, misdirection, and chaos all at once. While this song centers around Watergate and a number of crisis situations of it's time, I found myself making many a connection to the frustrations of this songs era to the times of today. American citizens attention being diverted by it's government, mentions of companies like Lockheed/Boeing skirting around the fact that they were profiting off the war in Vietnam. Paranoia on a widespread scale, the failure to stop fascism on the rise, the rich attempting to crush the lower and middle class. I'm in awe of how prescient and relevant these observations are. This is genuinely a top 10 song I've heard from my 550+ albums so far, and probably the best protest song I'll ever hear.
The 1001 albums list giveth today, in a huge way. I encourage everyone to sit with this album, it's easily a 5/5 for me
The Good, The Bad & The Queen
3/5
I love most everything Damon Albarn touches past the year 1999 but this is a bit of a vanity project and vanity pick imo. The entirety of this album sits in one register. It’s all laid back slices of life over a dub bass. That’s it, that’s the entire thing front to back.
“Herculean” actually escalates its instrumental a bit towards the end of its runtime, but only so much.
I appreciate that this project only runs just over 40 minutes because anything longer than that would get on my nerves. Nothing here is bad, but it sure is all the same.
My highlight is the slowing/beat switch on the last third of “Three Changes”.
Soft 3/5 the ending pushed it just over the edge
Frank Zappa
3/5
As irreverent as it is creative - which I understand is a fair summation for Zappa’s entire musical career. To this albums credit, it’s much better than many pop-leaning psych rock albums of its time. This at least has some original ideas, even if it sorta beats them to the ground at points.
Some guitar solos too long, some musical tangents go nowhere, but the opener and “Little Umbrellas” were a great listen - the latter felt very appropriate for Halloween listening.
3/5 why not
Jamiroquai
2/5
Dont really see the point of this Jamiroquai album being on here, as he’s later find his sound on albums like Traveling Without Moving, or my favorite, Funk Odyssey. What’s on here was probably pretty surprising for its time, like, who is this white boy that sounds strikingly like Stevie Wonder? But beyond the novelty, everything’s only just alright.
I enjoyed the messaging on “If I Like It, I Do It”.
The instrumental passage on the end of “Music Of The Mind” was stellar.
My favorite groove was easily “Blow Your Mind”, which had a Chic-esque bassline.
It’s clear this guy was very studied right out of the gate and had a great sense of how to make funk/disco music. But again, he has much more memorable work to be heard on later albums.
So for that I give this albums placing on this list a 2/5
Dead Kennedys
4/5
This shit rocked. Punk heads tap in, surely this is one of the better punk/post-punk albums out there no? Front to back this album was fantastic.
Something I immediately caught onto was the level of cynicism this album brings is very forward-thinking, as is the case with a lot of good punk music. The opening “Kill The Poor” makes it very obvious. “Let’s Lynch The Landlord” was also ahead of its time considering the more widespread anti-landlord sentiment these days.
The topics aren’t just what make this album so good, the deliveries and energy behind these performances is spectacular. “Your Emotions” is delivered sooooo well!! For that to roll into my favorite of the album, “Chemical Warfare”, WOW!! That’s all I can say.
These guys are also excellent in changing things up right when they need to, like the 1:45 mark in “California Uber Alles”.
Lastly, “Holiday In Cambodia” deserves the praise and placement on the GH3 track listing that it got.
Really solid 4/5 here could be 5/5 if I listen to it more
Tom Tom Club
3/5
It was a vibe at times, it was a bit forgettable at times. I do think there’s a lot of 80’s music that has aged so very poorly, but this actually holds up alright!
“Genius Of Love” was a pretty cool beat for its time but goddamn I could happily never hear another song sample it again and I’d be perfectly happy with it.
“Lorelei” miiiiight be my favorite track purely for how catchy it was. Kinda like a talking heads cut. Either that or “On On On On”.
Maybe a soft 3 on this one
Stan Getz
4/5
No need for a song by song breakdown or to point out any specific song at all. Just make a mimosa on the morning of your day off and kick your feet up for this one. Front to back great vibe
Belle & Sebastian
3/5
Feels like the more pleasant version of Sufjan Stevens. Specifically, almost every song on here had a fantastic last minute or so. These songs are very well written and performed. The catch, for me, is I couldn’t care less about the lyrical content. Not in a bad way! But he could just be saying anything and I’d enjoy it no more or less.
“If You’re Feeling Sinister” is my standout pick on this project. A great road trip song with some Americana inspiration.
Much like the bossa record we had yesterday, this kinda sits at one placid wavelength from beginning to end. On a bad day, I wouldn’t have much tolerance for this one. On a good day, it’s a great, relaxing accompaniment to whatever I’m doing. Firm 3/5
The Only Ones
2/5
Something very charming about these guys. I’d like to think this album is a bit ahead of its time, it’s got a 90’s rock pulse to it!
…is what I thought for the first two songs. Everything after that devolved and nose-dived into protopunk nothingness that all blurred together.
Grant Lee Buffalo
1/5
Would've loved for this to go anywhere or do anything, but it instead settles for loads of 90's acoustic rock pastiche. Karaoke-level singing allowed by the onset of Pearl Jam a few years earlier really rears it's ugly head on this album. "The Hook" almost had me hopeful for something of substance, but "Soft Wolf Tread" dragged things right back down.
It's all a bit sad, I could see country and 90's alt rock going well together, but not this way. This album isnt gritty and visceral, it's poorly-performed and sometimes hard to get through. Surely most people that like Fuzzy were of an impressionable age in 1993. I'd love to get behind the messaging of "America Snoring" if I could get over how on the nose it is, or the shrill, harsh singing.
The closing "You Just Have To Be Crazy" is a suggestion for the mental state you need to attain to thoroughly enjoy this one. Unfortunate 1/5 we go next
Everything But The Girl
2/5
Tracy Thorn has a ridiculously good voice, but that only takes this project so far. As a huge dance music fan who was of an impressionable age when I heard the Todd Terry remix of "Missing", I had a hard time digesting this soft, squeaky-clean ballad sound - or dethatching Tracy's voice from that minimalist, cutting-edge club beat sound. I hope they like that remix, I'm sure it follows them everywhere. Anyways.
"Love Is Here Where I Live" has some decent electronic instrumentation, even without Tracy or Ben's voice this sounds like some nice 1990 shopping mall/waiting room music (a critique leveraged by many, but to me it's pleasant when done well).
It's quite sweet to listen to a song like "I Always Was Your Girl" knowing these two quietly fostered a love for each other, never marketed it, and eventually got married almost 20 years after this record came out. Context doesn't always matter for listening to the albums on this list, but I feel like that little nugget means a lot.
All these nice things being said, I think I'd heard enough by the 7th or 8th song. A solo piano with a strong melody, a choral accompaniment, something more was needed to give this thing some punch. "Apron Strings" came too little, too late.
2/5 stars because this just isn't an album you need to listen to, no matter how sweet it is
ZZ Top
3/5
Nothing new here, just ZZ Top hard committing to a mixture of blues, rock, and a bit of country, all with a heavy-for-it’s-time twist.
This record was recorded/produced really well though, it’s quality of sound stood out to me consistently for something made in 1973.
“Precious & Grace” is my non-La-Grange pick for this project. Soft 3/5
Metallica
2/5
An album that puts you in a bit of a tough spot. On one hand, this is a very sensible accompaniment - the symphony really elevated the mystical element of Metallica’s lyrics. On the other hand, I was not built for 2 hours of this. But you also can’t do anything about it, I’m sure this was a 2 hour headline show that many people were amped for.
The intro on “Master Of Puppets” might be as good as it gets in terms of this album providing a cinematic angle to the normal Metallica songs.
I was honestly a bit disappointed though with the renditions of “One” and “Enter Sandman” at the end. I think the originals just can’t be beat.
I will remember this as a well-executed project that went on for far too long. Strong 2/5.
Flamin' Groovies
1/5
I’ve gotta be on a notable cold streak at this point. All I heard during this albums hour long run time was something falling short of The Rolling Stones.
Halfway through there’s even an identity crisis that includes a bad Elvis impression, then a softer rock ballad. Just no across the board. This sound was done better by other bands. Pass 1/5
Femi Kuti
3/5
This was alright. I remember that Michael Kiwanuka album from a while ago, I feel like this laid out the blueprint for the successes that one saw later one. A nice blend of African influences and pop music here. Not really a bad song on here, but nothing that rocked my world all the same.
My pick is the one-two punch of "Survival" into "Frustrations" on the front end of this record. 3/5
Milton Nascimento
4/5
Echoing everyone’s sentiment about this being a bit of a hidden gem. I’m maybe not as crazy about it as some, but this record certainly had its share of spectacular moments; specifically "O Trem Azul" is when it got real good.
The craziness of "Um Girassol Da Cor Do Seu Cabelo" already felt like the icing on the cake.
The title track was very blissful, it felt like a little getaway all in a few minutes.
"Um Gosto De Sol" felt like it's own little Eleanor Rigby tribute in the best way possible.
I’ll put this at a 4 stars for actually having some thoughtful takes on how to spice up the rock formula of the early 70’s - lord knows I’ve suffered through many an album where that wasn’t the case.
Radiohead
4/5
I will point to this album anytime i think about what it sounds like to fall just short of a full 5 stars in the context of this list. An impressive first half that mostly loses its edge a bit in the second half.
A great opener leaves a strong first impression, and the chunky prog bass on “National Anthem” is just as sticky.
This probably isn’t a wildly popular pick, but “Treefingers” is my highlight for making a placid ambient song work perfectly well in the otherwise paranoid, anxious, sad track listing.
Lastly, the looping beat on “Idioteque” might be produced to perfection. Really well done.
I may have said this about OK Computer, but man this must’ve sounded mind-blowingly futuristic at release. A bit of a shame it putters out towards the end, but a good project through and through.
Frank Black
2/5
Hmmmm. Hm hm hmmm. It oscillates between moments of imaginative creativity and moments of dull nothingness.
“Abstract Plain” brings up the first instance of a recurring theme that Frank is really trying for a voice that sounds a bit like Tom Petty at times.
“Sir Rockaby” was a much needed moment of more quiet instrumentation that I really enjoyed.
“Freedom Rock” might be my pick on the album for an emotive vocal performance.
“Two Reelers” flies off the handle and it’s quite a fun listen. Same can be said for “Ole Mullholland”.
Every song not mentioned was just another passing rock song though, which got a bit hard to get through after a while. Unsure if this is a 2 star or 3 star album.
The Rolling Stones
3/5
Interesting album this one. It excels at creating a vibe if you can just let go of attention to lyrical detail, while simultaneously reminding you that these are some white guys performing music that definitely clearly originated in black culture.
“Rocks Off” is my pick from the album, I don’t have a particular reason for liking it, I just did.
“Sweet Virginia” was also a fun instance of slowing the pace down a bit.
“Tumbling Dice” was never my favorite Stones hit, and it doesn’t sound any better or worse in the context of this album.
After a strong effort to be an attentive listener for most of this year, it’s now October 2025 and I’m feeling a bit burnt out by one rock album after another. Maybe just a bit of a bad pocket but I want to be wowed by things I haven’t heard. Soft 3/5 for this one
Buena Vista Social Club
3/5
Took a while for me to latch onto something but I ended up enjoying this one. I could be wrong but this sounds a bit older than it is, not in a bad way though.
I liked the rhythm section of “Dos Gardenias” and “Veinte Años” a lot.
Really really loved the slide guitar on “Orgullecida” quite a bit.
“Murmullo” is easily my pick from this album. Love the swaying, easy instrumental - it’s like taking a nap in the sunshine.
Because it ended on a stronger note I’ll go 3/5 on this one
The Black Crowes
2/5
I can’t say anything better than the person that said this was half zeppelin and half hootie. Unfortunately it was the bad half of both of them.
I have no song to highlight, as this one was a total slog and an affront to musical originality altogether. But, I must acknowledge that it wasn’t performed horribly, at points. So a very soft 2/5, but should probably be a 1/5 in the context of this list
Everything But The Girl
4/5
I was admittedly deflated when I saw another EBTG album for the second time in a few weeks but damn what a total facelift their sound got. Trading out sappy soft ballad instrumentation for wildly sleek jungle-inspired production. I think they did in fact get the message about the success of Todd Terry’s moody club-friendly “Missing” remix.
Man they knocked this out of the park. So many of the sounds on this album are being revisited in the pop zeitgeist today, namely by PinkPantheress. “Before Today” & “Wrong” are such firm opening songs.
“The Heart Remains A Child” was a bit of a lowlight, just a bit cheesy and out of place. But that didn’t last long, the following “Walking Wounded” was fantastic - part somber, part eerie jungle cut. This HIT, everything about this song is right up my alley. The piano that comes in halfway through?? OOOH!! Love it. I’m reminded of Goldie’s classic “Inner City Life” from a few years prior; surely a touch point for this song and album on the whole.
The same phenomena occurs again, when “Mirrorball” lulls a bit too much as another cheesy ballad, only to be followed by yet again some more stellar jungle in “Good Cop Bad Cop”.
This album really pulled me out of the doldrums I mentioned recently with rock album after rock album. Totally what I've been into this past year or so. Save a few ballad-style cuts from this project and I'd be thinking 5/5. A happy 4 stars from me.
Ravi Shankar
3/5
Really cool educational-style album. I don't have too much to say as I'm sooooo out of my depth here, but it was fun comparing all the scales he talked about, how some sounded more suspenseful and some sounded more tranquil. I think in one of the scales he played there was a note that went back up in the descending part, and a note that went back down in the ascending part?? Crazy to hear in my white western ears.
I want to highlight "Bhimpalasi", this one sounded the coolest to me. The scale introduction also made me think back to George Harrisons "Within You Without You" (that's a George song, not a Beatles song". A quick search doesnt tell me anything conclusive about it being in this scale, but it still sounded most similar of all the songs on here.
Very cool concept, another happy day without classic rock. Also I ran a marathon today and this was a good mood setter for it all. 3/5 I enjoyed, woul've liked a visual accompaniment at times.
Billy Bragg
2/5
I was wildly surprised by Bragg's "Talking with the Taxman About Poetry", an album from this list that's really stuck with me. This one didn't do it for me. What I’ve heard from Wilco has never done it for me, just a personal preference thing.
What carries this album is its charm, like the line about maybe having all the fascists gone in the future in “She Came Along To Me”, or the whole idea of the song “Christ For President”.
Still, I don’t feel impacted by much of what I hear, specifically sonically and compositionally. Strong 2/5
Wilco
2/5
This is what I get for saying Wilco never did it for me on yesterday’s album huh.
Well I can’t say much changed with this record either. Signs of ambition in a few of the instrumentals, and I liked “Forget The Flowers” a good bit, but that’s it. I don’t find much in Jeff Tweedy’s voice, it’s bland at best. 2/5
The Prodigy
4/5
So few albums on this list that represent a sound I’d consider to be important to me past the year 2000 (non-Burial bass music or anything EDM). We may not have many of those, but we do get a second Prodigy album. While not as polished as its flawless follow-up Fat Of The Land, Music For The Jilted Generation is still very electric, albeit a bit drawn out.
This albums signature sound may not be the breakbeats, but the reverb-washed acid saw synth on “Their Law” and “Voodoo People”. What a gritty, visceral lead. “Voodoo People” in particular is masterful; I recommend Pendulum’s remix of this song, and Pendulum in general as a group that carried the torch after the Prodigy’s height of fame.
The programmed percussion choices on “Full Throttle” were so ahead of their time, I hear stuff like this on new spotify playlists to this day.
I’ve always thought of “Speedway” to be an interesting mixup in the track listing - it’s much more melodic and trancey than the rest of the album.
Last, that drum sample breakbeat on “Poison” is unreal. What a great pocket, what a great beat to build around, with that aforementioned saw lead showing back up too.
The only problem with this project is that it’s too long - some tracks stay past their welcome. Outside of that, The Prodigy locked in on this one. 4/5
Love
3/5
Strong first half that had me hoping for something that would transcend all of psych rock’s bad tropes. Didn’t totally do that. Verbose and intelligible at least.
My pick is easily “House Is Not A Motel”
3/5
Echo And The Bunnymen
3/5
I accidentally booted up their 1996 album “Evergreen” because it has SUCH similar cover art and got halfway through thinking “damn they were way ahead of their time for 1980 this sounds more like well-recorded late 90’s pop-rock! Wow!”
Whoops.
A bit of a shame too, I heard a lot of maturation in Evergreen. Not that this is a total sloppy mess, this just isn’t as sticky for me.
“Villiers Terrace” is pretty fun, full of character, and a good Halloween song. To this albums credit, the band gets more comfortable experimenting and being its true self after this. “Pictures On My Wall” is even more creepy and subdued.
Let’s say 3/5 and move on from accidentally listening to two albums
The Sabres Of Paradise
1/5
I'm 600 albums in now, I fel qualified to say this list has no idea what it's talking about when it comes to picking electronic music. Aphex Twin, Burial, and Daft Punk (though, not Discovery) are on here only because it's idiot-proof to omit those. I try to hard to fly the flag for electronic music on this list, then my hand is forced to review this, or that wildly-out-of-nowhere Les Rythymes Digitales album, with honesty.
I could spend some time tearing this album apart in the context of it's inclusion on this list. I will instead list a handful of electronic albums that should be on this list, mostly from the onset of EDM hitting big in the states, as this list basically overlooks that entire musical phenomena:
Damage Control - Mat Zo
Clarity - Zedd
Random Album Title - deadmau5
Nurture - Porter Robinson
If It Were You, We'd Never Leave - Andrew Bayer
Welcome Reality - Nero
True - Avicii
Immunity - Jon Hopkins
The Ineffible Truth - G Jones
Blood, Sweat & Tears
3/5
Of the 150+ members listed on this bands Wikipedia page, perhaps my favorite is Bo Bice, of early American idol fame. Much like that list, this albums is massively extensive, with few cohesive elements, but is sometimes impressive all the same.
Is there jazz? Yeah Is there rock? Yes. Blue-eyed-soul, yacht rock, big band, bayou, pop, gospel, prog? Sure. Pretty much anything is on this album. It feels a bit like the progenitor for Jacob Collier, who also digs his heels into whatever musical whim he finds himself on.
I was unfamiliar with these guys being the “Spinning Wheel” guys. Strangely, it didn’t change my listening experience at all.
Peculiar. 2/5 for my taste, but overall 3/5 for some good musicianship
Röyksopp
4/5
A really enjoyable, serene project that I needed before game 7 of the ALCS today. Nice and soothing, very delicate at times, but still full of intent and ideas.
“In Space” has that Four Tet sound going for it, before he was even producing such a sound.
“Poor Leno” has a dancey, disco inspired groove that just goes over great. Certainly apart of the house + disco fusion of its time, but not an aged time capsule by any means.
“A Higher Place” leans a bit more Aphex Twin, with some crunchier percussion and glitchy textures. Really like this song, but the best is yet to come.
That title belongs to “Remind Me”. A super-sleek, utopian, loungey cut that is smooth as butter. Effortless and all around beautiful.
This is a 4/5 for me. Mellow and subdued, but imaginative all the same.
The Byrds
2/5
My baseball team just lost their lead in game 7 of the ALCS there is no way you’re telling me I have to listen to another fucking Byrds album now.
“My Back Pages” is the best song here.
I am inconsolable, 2/5 stars
Black Flag
3/5
It’s weird looking back on all the kids that used to wear slipknot shirts also were the same kids wearing black flag shirts; which, after listening to this, feels distinctly different.
There’s a noticeable amount of cries for help and socially conscious anger here. “Damaged 2” and “Life Of Pain” left an imprint, but my pick from this record is “TV Party” for how well it captures the life of some bums just bumming it.
Soft 3/5
Nitin Sawhney
2/5
The good news is that this albums sole fear of complete nuclear annihilation has yet to happen.
“Letting Go” had some really good vocal runs, it really stuck me even if it went on for a bit too long.
The album takes on a lot of different sounds and genres to get to my favorite “Nadia”. More turn of the century DnB with some atmospheric chords floating around in the background.
This project has no sonic cohesion from song to song, yet it’s also well-produced/performed. Some of my favorite subgenres, some wildly forgettable songs too. And for an album that wants to get into the exploration of the atomic bomb, it doesn’t dig that deep into ideas of mortality or consequence.
Wanted more from this, but didn’t hate it, 2/5
Frank Sinatra
3/5
I can’t remember if this is the second Sinatra album or if we’ve had more, but I think this should be enough. It’s not bad! Sinatra was 1 of 1, his vocal presence is unmatched, etc etc. But you get the point after the first 10 songs. Silky smooth lyrical delivery, quintessential romantic backing tracks that are tightly performed.
I’ll take “Too Marvelous For Words” from the pack of songs on this album. It’s a very happy, simple, fun take on a romantic song.
Strong 3/5, if I was of an impressionable age when this album came out I’m sure it would be 5/5
The Modern Lovers
4/5
“Astral Plane” captured the charming essence of how simple this bands successful formula was. Slightly funny, blunt, almost just a talking delivery at times.
“Hospital” was a great little story as well as a good time for a mood/tempo switch.
John Richman at the helm here comes off as deeply passionate and just so plainly human. He sings about very real-life things/feelings very plainly but with a great deal of love.
James Murphy, New York based frontman of LCD Soundsystem, has talked about being an artist that borrows/steals from greats from the past - I’m so sure that he got a bit of his delivery from listening to “I’m Straight” on this record. The similarities are prominent.
This might be the best proto-punk album I’ve heard so far. It’s a bit unfair to say that, as an uneducated American who doesn’t know all that much about the full picture of punk in the cultural zeitgeist. But that doesn’t change how much I enjoyed this album after not expecting much of anything from it. 4/5!
John Lennon
2/5
John Lennon, like most megastars, seems to be too caught up in his own drama until the end of this record.
"I Found Out" was grating on the ears, and the first instance of a reoccurring problem throughout this record - it feels a bit phoned in on the composition/instrumental side of things. On top of that, Lennon's lyrics are about as impactful as a 13-year-old would allows them to be. "Working Class Hero" and the first half of "God" are a bit shallow, never offering anything beyond surface-level observations or statements. That being said, "God" moves along quite nicely to deliver a very personal message from John on his stance of being in a post-Beatles world.
My pick is "Well Well Well" for it's memorable vocal delivery.
While I must credit this project for finally getting out of it's own entanglements and speaking from the heart with "God" & "My Mummy's Dead" at the end, it takes far too long to get there. Many of these songs sound like glorified demo's that are only carried by Lennon's noteable persona/presence. Very torn on this one, but it gets a 2/5. I could probably revisit this a few times and find it in me to be more kind to it, but this simply didn't land well with me for three quarters of it's run time. I'd like some more elaborate backing tracks if the lyricism is gonna be so stark. Strong 2/5
Napalm Death
2/5
This is someone’s jam. It is certainly not my jam, but I get it. This is way more deserving of a spot than handfuls of psychedelic records on this list. At least this has some teeth to it.
2/5, the album cover tells all. The horrors persist
The Yardbirds
3/5
Yesterday, I mentioned how Napalm Death was more deserving than a lot of 60’s psych rock records on this list. I should know better by now, this generator works its magic and summons a 60’s rock record. Not quite psych, more down the middle rock than anything but still psychedelic adjacent.
“I Can’t Make Your Way” was pretty well done, the ‘ahhhhh’ vocals were just as catchy as the first lyrical bit of the song.
I felt similarly about “Farewell”, with its cyclical vocal melody and aaaahhh’s in the background once again.
I didn’t need songs like “Jeff’s Boogie” to lower the experience with some more typical, unoriginal ideas (even if it was admittedly well performed).
All my kvetching out of the way, this album is pretty solid for what it is. Strong 3/5, maybe a hit song or experimental song away from a 4/5.
Orange Juice
3/5
Much more fun than most of the dealers choice vanity picks have been on this list thus far.
“Mud In Your Eye” has a certified banger chorus, a little doowop/surf rock influence for good measure. Really liked this song! The way it fades into “Turn Away” is super impressive too.
“Tenterhook” is almost so fun it borders on goofy, but never being too gimmicky.
Strong 3/5 on this one, it’s nothing you haven’t heard before, but at least it’s a good time
Madonna
3/5
Like all the Madonna projects we’ve had on here so far, this one is very respectable and falls just short of something I’d call fantastic. Even if the production on this one is right in my wheelhouse.
“Swim” has one of many great vocal refrains, with the ‘we can’t carry the sins on our back’ line.
“Ray Of Light” has an even better hook thats made this song worth its popularity.
“Sky Fits Heaven”, more like This Song Fits Me with that late 90’s 4 on the floor kick turning this into a soft trance anthem.
“Shanti / Ashtangi” gave me some questions I need answered. Is this respectful and chill in eastern culture? So many artists use the Indian word for peace and do their ommmm Shantiiii’s. I really liked how Zedd did it in his most recent album. But is this all good? I genuinely don’t know.
This original version of “Frozen” is absolutely wonderful with its breakbeats and mellow yet dramatic atmosphere. It unfortunately escapes me, but somewhere there’s a really good remix or lift of this vocal thats more club-oriented.
Lastly, “Little Star” is a sweet song clearly meant for her child, and the album probably shoulda stopped here. I felt like “Mer Girl” was exactly when I started to tune out.
For my tastes personally this is a 4/5, William Orbit did a killer job on the production, Madonna’s voice is as good as ever. But maybe there’s a bit of meandering here and there. It’s a project that feels a bit stuck between needing to make sure it holds onto its pop essence while experimenting with these other sounds of trip-hop, trance, and eastern music. It isn’t a perfect marriage of the two in totality, but it’s solid over all. 3/5? 4/5? Tough call.
Madness
2/5
All of this was fun but none of this was impactful. I'd like to hear a pure ska effort from this band though, because it's clear they were/area a ska band at their core.
"Sunday Morning" kinda summarizes this album on the whole - technically well-performed, but a song about nothing that goes nowhere.
Sadly, my pick is the chorus of "Our House", which sounds like a poor interpretation of a song that could be done much better by Talking Heads. Just the chorus too, the verses aren't all that notable. Sad 2/5, the pieces are there but they did not put any of them together.
Method Man
2/5
“Biscuits” was tracked and mixed really poorly, the bassline overwhelms Method Man’s voice.
At least “Sub Crazy” acknowledged this projects obsession with sub bass and did something interesting with it. I don’t think we’d see echoey, trippy vocals like this until the onset of cloud rap in the 2010’s.
It took until “Release Yo Delf” for my ears to perk up for something. Finally, Method Man shows some life and variance in his flows and delivery. Fantastic interpolation of the I Will Survive melody.
Method Man is really great when he (or his features) is flying off the handle, like on “Mr. Sandman”. Sadly, there is very little of that, especially on the front half; credit to Tical for keeping some of its most interesting songs till the end, but too little, too late. Far too mellow and doesn’t do much to poke its head out from the sea of other WTC albums or solo projects that would follow on this list. 2/5
Janet Jackson
3/5
Janet Jackson is here and she's gonna save the world through dance.
Everything on here has such a general call-to-action hopefulness about it. Seems like a thing that persisted into the 90's. Some of this has certainly aged not as well though, like in the song "The Knowledge" with the call and response saying 'no' to illiteracy, bigotry, etc. Just a very cheesy way to structure things. But you can't say Janet's heart isn't in it.
"Miss You Much" is sweet because you can kinda hear the chorus as something her brother could join in with her on - it's very 'Bad' era Michael. Super slick delivery, infectious hook. Definitely my pick from the record.
What I appreciate most about this record is how Janet Jackson's earnesty can cut through some of the late 80's pastiche and cliche on this record. Her soft ballad "Livin in a World" is very endearing, boosted by an incredible chorus, and a pretty crazy ending too.
I also LOVE the beat on "Someday Is Tonight". It sits somewhere between the romantic ballad it intends to be, and hypnotic, surreal waiting room music. Which means this song is PRIME vaporwave material, I wonder if any vaporwave artists hopped on sampling this song.
"Escapade" stood out like a sore thumb as far as it's lyrics. Didn't make much sense at all. Same with "Come Back To Me". Both fine songs, but just all of the sudden nothing to do with Janet's socially-conscious messaging.
Sorry for the very scatterbrained review here. The topics Janet covers here kinda made me get all messy with this one. Handfuls of social action songs followed by handfuls of romantic ballads. My alternate title for this album is "New Jackson Swing".
Solid 3/5 a nice listen
Bonnie Raitt
3/5
The title track opened the album beautifully. Bonnie Raitt’s ease of delivery and perspective on aging reminded me of one of my favorite songs, John Mayer’s “Stop This Train”.
My other pick from this album is “Love Letter” for the groove it’s got going on the chorus.
Sadly, like most albums, the back half didn’t impress as much. “Too Soon To Tell” was a nice moody ballad with some sweet slide guitars in the background of the chorus.
I’ll give this an easy 3/5
Sly & The Family Stone
3/5
I maybe should’ve tempered my expectations for this one a bit. The last Sly album we got was “Stand”, which was super imaginative and creative in all the right ways. Retrospectively, that album and the stuff that Funkadelic was doing around the time of this records release set the bar super high. So There’s A Riot Goin On didn’t quite leap over that bar, but it’s not bad.
“Africa Talks To You” is my pick from this album, it’s very colorful. I also liked “Runnin Away”.
I think some of the music on here is great for vibes listening, but not as great for intensive, active listening.
3/5
Rod Stewart
4/5
It feels very odd to give this album a 4/5. Every song sounds like it was trying to be what would eventually become Maggie May. Yet he does well with most songs on here, both with quick pop hooks and very committed vocal performances. Additionally, there’s a sweet spot of instrumental variation to my ears.
The title track and opener is super sweet, great verse, great chorus. Sounds like it was meant for a crowd to sing along with him.
“Only A Hobo” was a nice tender moment that gets more quiet as the track progress until he brings it back with a loud, rousing end. Love the violin on here.
“Lady Day” had some nice melodies as well. Every song on here is like this, about a love lost or a pursuit of a girl. But each song is varied just enough.
Short and sweet album. So funny that I’m giving Rod Stewart a soft 4/5
Sigur Rós
4/5
If this album condensed some of its ideas into maybe 55 minutes total runtime, it would be perfect. This is about as close to a 5/5 as you can get without actually getting there.
“Sven-g-englar” is such a quintessential post-rock song, and that’s not the only must-listen on this album imo.
“Starálfur” while very overt and a bit on the nose with its instrumentation at times, is touching and beautiful. Its swelling strings and unique composition are super memorable.
“Ny batterí” is so dramatic at its ending, completely subverting the first few calm moments of the song.
“Viorar Vel til Loftárása” has a sweet piano piece and other varied instrumentation that I feel were really needed to switch things up at that point in the album.
The problem is, as I said before, this record has moments that just go on for too long and do nothing. I’m really sad about it in the context of applying a rating, because Sigur Rós pull off something incredibly impactful on the whole. This was my Radiohead, in many ways. Emotional and tender at moments, then loud and grand at others.
Siouxsie And The Banshees
3/5
While "spellbound" opened things up well, I found "Into The Light" to be the real hook. It's got a fantastic chorus.
"Sin In My Heart" was maybe the highlight for me though, it upped the energy a bit at a good time to do so in the tracklisting. Siouxsie is just in a league of her own vocally.
Around the 4 minute mark of "Voodoo Dolly" is another faavorite moment of mine as well, what a great way to end the record by speeding things up and making it all very chaotic.
Not the best I've heard from them imo, I think I liked Tinderbox more. But still a solid 3/5 front to back
The Disposable Heroes Of Hiphoprisy
4/5
My slight annoyance with how on the nose this lyrical delivery is gets trounced by my heartbreak for how many societal problems covered in this project have only gotten worse.
"Satanic Reverses" wastes no time digging right into the nitty gritty of all sorts of national and international injustices at the time. Which is crazy because the chorus mentions bailing out banks, which repeated in such horrific fashion in the wake of 2008. Fundamentalists collapsing civil rights in America (if ever that was a real thing). Wow.
"Television The Drug Of The Nation", like all songs about tv rotting the brain, can now be replaced by social media and it all still works.
The INS Greencard song hits a little too hard for just functioning as an interlude.
"Music and Politics" is a wild change of pace but is a much needed look in the mirror, an admittance that true revolution starts from within. Honestly, I take everything he says here even more seriously after he’s added this self-reflective moment into the track listing.
And there's a cover of "California Uber Alles" on here?? Beautriful.
While occasionally clunky (at times it’s as if they took Serj Tankians info dump parts in SOAD and expanded them into full songs), this project is very effective at getting its message across with super specific lyricism that cuts to the heart of soooo many issues in America and around the world. It’s sad that most all of these societal problems persist, have gotten worse, or have taken a new form in the 21st century. I will be going back to this one often. Unexpected 4/5
Duke Ellington
3/5
There are some wildly expressive horn sections that wowed me and at the same time this is just way too long of a listen, no matter how fun it can be at times.
Since it's a live album, I wont highlight a best song, but there are moments when the trumpet is being played with such effort and expertise that it sounds like the vibrato of a human voice. Super impressive.
3/5 listen when you have something else you need to get done!
Suicide
2/5
Everyone in the global reviews acting like each song isn’t a guitar solo and Lou Reed’s vocals away from becoming something they’d love. It’s not THAT bad. Now, it’s not a great album either. This record was experimental and maybe ahead of its time, it would be iterated on in the years to come.
Some of the programmed percussion & drum machines are really nice on “Rocket USA” & “Chree”. And, for aa jarring as the last few songs are, at least the lead singer commits to the stories he’s telling.
2/5 at least it’s memorable
Waylon Jennings
4/5
Is my American bias showing when I say there haven’t been an overwhelming amount of country albums on this list so far? This one was really good. Waylon Jennings can SING. He can BELT.
Then “Old Five And Dimers” takes things back to a sound that was popular a couple decades before the 70’s and it’s SO CATCHY.
“Omaha” is a catchy, more upbeat anthem that I would love to hear in a concert with tons of people shouting the lyrics back.
Lastly, I love the strings in the ending of “We Had It All”. Very touching.
Really good record from front to back anyone that lets their general distaste for country come between themselves and this album needs their biases checked. 4/5
M.I.A.
4/5
MIA’s music sounds like a fun street carnival thats politically motivated. Shes really got a genre of her own going here. You can listen to this and be frustrated with how clunky it may sound, or you can take it as creative and charming, hearing sounds/aesthetics that would give was to the era of bloghouse/indietronica to come.
“Sunshowers” is a wildly fun beat that doesn’t match the very *real* nature of the lyrics. It works well.
That’s not the best beat though. “Amazon” might lay claim to that, with an insanely catchy chorus over top of it too.
The bangers keep coming, “Bingo” goes just as hard as the last track.
Last, “URAQT” stuck with me for its whimsical delivery and lighter subject matter.
I think I have to 4/5 this one. A light 4. Lots of little pockets of creative production + great hooks + meaningful lyrics.
Shivkumar Sharma
3/5
This was very pleasant, I think that’s the best word that applies here. Sets a nice atmosphere from the get go and rides it out for over an hour. I don’t have much to say about each individual track, and I’m not sure this album should even be perceived on a song-by-song basis. I’ll take “Raga (Desh) (Dadra)” as my favorite, if I had to pick one.
3/5 throw it on and passively enjoy
My Bloody Valentine
1/5
You ever find those songs on YouTube that are “X song but if it was written with minor chords”? This sounds kinda like that. It seems to be intentionally dissonant at times. I like to think I have at least a little tolerance for material that functioned as a blueprint for forming a genre or trend down the road, in this case shoegaze. But this just didn’t click on any level for me. Especially with the knowledge that MBV did this sound justice later on.
‘Isn’t Anything’ sits in an uncomfortable middle ground between being a background-listening, passive sonic atmosphere and a listening experience worth paying any close attention to. 1/5
Pink Floyd
5/5
Hi Madeline & Matthew, today is the day of your wedding and this is the album! How fitting. Nothing to say about this album that hasn’t already been said. I’m happy that this record has been a soundtrack to night hikes in the past. 5/5 the 1001 albums list works it’s magic once again
Sam Cooke
4/5
I wonder what the total live album count is on this list. Can probably find that answer somewhere. With each passing day I have more questions about the little intricacies of this list. Anyways.
"Chain Gang" was super fun and catchy. This whole record almost functions like a modern-day club dj set it's just one song into the next, everyone's meant to just keep dancing.
Sam Cooke sounds pretty good live. Near vocal-booth quality of singing and TONS of energy.
The medley at the end of "Sentimental Reasons" was a sweet moment. You can hear the people having fun and singing along while Cooke leads the crowd.
The closing "Having A Party" is worth the wait too, I encourage everyone to stick it out till then.
A sneaky 4/5 honestly for how infectious it is
Koffi Olomide
3/5
Nothing I can be too analytical about here since this is so out of my wheelhouse and in a language I don’t know anything about (which I’m thankful for, more non-English albums pls).
But I enjoyed my listening experience. Much like the album cover, some of the production is a bit dated but that’s the only gripe I can come up with. 3/5
Led Zeppelin
3/5
They fucked with a chance at another generational album here by making it wayyyyy too long. Should’ve been cutting things out during the process of choosing the track list, not being additive to make it a double album.
The dust has kinda settled on albums like these, I feel as though I don’t have much to add in the conversation surrounding this project. “In My Time Of Dying” and “Bron-Yr-Aur” are behemoths. “Ten Years Gone” may be a little slept on, maybe so for “In The Light” too. Everything else is just fine.
The quality is all there, but damn this is too long. Strong 3/5 hard one to rate
The Doors
4/5
Alright alriiiight I get it I like The Doors I think Jim Morrison was worth his star power.
Songs like “Break On Through” and “Light My Fire” are culturally ubiquitous at this point. But I really liked the composition of “Alabama Song (Whiskey Bar)” for its circusy instrumentation, something I believe was later explored on Strange Days and The Soft Parade.
I also liked the swagger of “Back Door Man”. It’s heavy for its time and has a great piano section.
This is an easy 4, could honestly be a 5 depending on the day. So much character to everything Jim Morrison stepped in front of, backed by instrumental work that probably lit the studio on fire
Beatles
5/5
This will be a very fragmented, stream-of-consciousness review. No grand statements or linear writeups, just a few thoughts.
It’s crazy that it’s been Dark Side Of The Moon, Physical Graffiti, The Doors debut, and now this all in the span of a few days. Specifically with this album and Dark Side being globally rated albums #3 & #2, thats wild to me.
So few albums innovate AND are culturally, universally praised immediately. Listen to that little synth/keyboard in “Maxwells Silver Hammer”. This was 1969? No way. So far ahead of its time.
You know it’s a great Beatles album when even the Ringo song is good. Please listen to the demo version of “Octopus Garden”, George Martin helped Ringo shine on this one.
“Golden Slumbers”? More like Golden Melody. What an incredible way to work a melody into multiple songs.
And how about "Sun King"? it's literally like an audible version of laying out in the grass under the sun. So airy and easy-going.
Good memories of Paul's live tribute to George Harrison, with his ukulele version of George's "Something". Somehow nearly as charming as the original on Abbey Road.
I could go on and on. Everything's already been said though. This has got to be the best album of the 60's no? George Martin reels in the experimental sounds of Sgt. Pepper's, refines it, makes it more grandiose - all while corralling 4 guys who are starting to get at each other's necks. Isn't it insane that they weren't on the best terms making this album? They sound so cohesive and imaginative here. So much artistic ambition realized with complete success.
6/5 stars, an exemplary work of art
Dwight Yoakam
2/5
I don't know, I feel like it's slightly formulaic for an inclusion on this list.
There's some moments, the accordion on the title track makes a ton of sense. There's some good pop-country songwriting on the two songs that follow, "I Sang Dixie" has a simple but beautiful chorus that wraps itself up quite nicely.
I do hear the charm in Dwight's simple, straightforward delivery. And I'm not questioning his gangster, he seems like a true Kentucky fella. But This didn't move the needle much for me. Maybe I'm not the most qualified for this record, but I do like me a good country record. This one just wasn't it.
Speaking on country (kinda) music, it's a DAMN shame there's no Jimmy Buffet on this list. I know he can be a bit campy/hackish, but he's gotta have a case for a spot on here
Django Django
2/5
These guys do a great job at making music, but fall just short of creating something with impact.
"Default", "Firewater", and frankly most songs here sound like they're made for Amazon commercials. Hints of character, offensively inoffensive, and technically well-produced.
I've gotta be a bit harsh on this album's inclusion, this is not very important music, especially for the time it came out. the EDM boom was happening, rap was being taken in some wildly interesting directions. At least stomp-clap had a sound and aesthetic!! Then there's this milquetoast project.
The music is a 3/5, but it taking up a space on here is 2/5 material. Not worth your while
Stan Getz
3/5
The beginning of the bossa nova craze in America, you say??? Well you’ve piqued my interest.
Unfortunately, I got more out of the other Getz record on this list, "Getz/Gilberto". Maybe it took him a few years to really find his bag, maybe it's his Brazilian counterpart bringing the heat, but that album has more impactful melodies and establishes better, more smooth sonic backdrops. I hate to think in such a comparative manner, but that album just does everything Jazz Samba does, just better.
Given that this album was before the Gilberto collab record, I will give it props, as I'm sure this blew some Americans minds being their first dive into bossa. Nothing on here is bad, some of it is super fun and feels improvisational, but it didn't knock me off my feet by any means.
Light 3/5, happy to hear it but won't go back to it
Talk Talk
3/5
I’m gonna call this genre ‘deconstructed new wave’. These guys are happy to pick at the tropes of their sound, happy to give their songs some length & room to breathe. For that bit of experimentation, I commend them.
But at the end of the day this is still a relatively unremarkable new wave album on this list. The more of these I hear, the less likely I am to latch onto anything from this sound or time.
Patti Smith
5/5
Totally captivating.
Words don’t do this experience any justice. Patti Smith is so emphatic and animated in delivering some of the most unique lyricism you’ll ever hear in anything rock/pop adjacent. The vocal inflections are unreal. Usually, with an artists you kinda sacrifice unique lyrics for catchy delivery or appealing instrumentals. Not here, she has it all. I’m just floored.
“Gloria: In Excelsis Deo” and “Birdland” are my picks from the record, but really this is just front to back amazing. Easy 5/5, no need for a long write up just go listen to this masterpiece
Elvis Costello & The Attractions
3/5
Probably one of the better Elvis Costello albums we’ve had so far, since there seems to be so many of them. This one at least held my attention until the end. Seems like it was a bit ahead of its time, I hear a lot of 80’s tropes in this late 70’s project. So points for that.
However, this man doesn’t need to occupy so many spots on the list here. Plain and simple.
My picks are “Pump it Up” and Lipstick Vogue”. Mid 3/5
Elvis Costello
1/5
Costello me once, shame on me. Costello me two days in a row? Must be the 1001 albums list.
Man this was rough, especially hearing what Costello was capable of on yesterdays album. The material on Brutal Youth was performed worse in almost every way. From the clanky guitar on "Kinder Murder" to the pitchy belting on "Still To Soon To Know" .
Most every trope I don't like about 90's pop/rock/alt is here. Acoustic rhythm guitars feel like melodic placeholders that were just never changed or improved upon from the demos of these songs. I agree with the namesake of the most popular track on here, this is hell. What in the world is "Clown Strike"? It's half-baked. Most of these songs are.
I see that Elvis Costello and Neil Young are playing a show in Manchester this coming year. What a dream come true for the curator of this list, and what a total nightmare for me. Just two of my least favorite singers that happen to be all over this list.
Always unhappy to hand out a 1/5, but that's what this was. Could barely get through it. I will happily remember not a thing from this blob of mush
Bauhaus
3/5
So much more palatable compared to the last two days. Truly gothic and not afraid to just air an idea out and experiment a bit.
What weakens this album a bit is that there's not much to latch on to. Sometimes I felt a bit like things got a bit too hazy. Some meandering was done. Not anything offensive, but occasionally hard to stick with.
Track 14 (the one that's just their names) was quite cool though, with the speeding up of the tape track, and lyrics that seemed to just be stream-of-consciousness. Fish cakes!!
My pick is "Man with X-Rray Eyes" as it's quite catchy. Soft 3/5
OutKast
5/5
So admittedly Outkast is a huge cultural blind spot for me (as is most stuff from 1990-early 2000), so I can kinda listen to most of their albums with fresh ears and a lot of music/cultural frames of references to compare things to. One comparison stands out - there’s a lot of Sly & The Family Stone spiritually passing through these guys imo. Even down to the flag album artwork of There’s A Riot Goin On!
Stankonia must’ve sounded like the modern day experimental funk, with similar topics that range from Americas shortcomings in how it treats black people, to highly personal relationship stuff. All with some frenetic, vivid production work that's just as varied as it's subject matters. On that note, it's a bit on the nose but I think Kendrick Lamar has obviously become the next flag-bearer as an artist who creates hyper-unique works of art that speak for the Black American experience. He even has these wild vocal inflections that Andre3000 had.
These were my thoughts on my first full listen (trying to avoid talking about the mega hits on here, since ive heard those) ~~
The “Kim & Cookie” interlude is very clever given the prose of the next song, that was a huge highlight for me.
I know it’s one of the more noteable songs on this album, but “Bombs Over Baghdad” is really a remarkable song considering this came out before 9/11. And just the totally intricate, chaotic way the song is produced. Super impressive. I almost hear some breakbeat influence in that repetitive snare halfway through the song. That halfway point couldve been the end of the song, but it kept evolving with different instrumental passages getting cooler and cooler as it went on.
“Humble Mumble” is soooo pretty. The way the instrumental is introduced really makes it feel like you’ve pulled back the leaves on some musical jungle scene. We’re Andre3000 and Erykah Badu dating by then? I’ve heard about that.
Something that really moved the needle on how highly I view this record was just an interlude, “Cruisin in the ATL”. I’m a sucker for those little ‘in the car’ interludes where it’s a scene from a group of people in a car, or even better, a radio ad.
Then, for it to be followed by the hypnotic, bouncy chorus of “Gangsta Shit”? I think this was around where I felt like this was a true 5/5. The 808’s could be placed right into a late 2010’s beat and go just as hard. Absolutely insane.
I feel like this album is so dense that you could do separate studies on the production work and the lyrical content. I can't even speak all that much to the lyrics on first listen because as quickly as a clever bar would fly by, some new funky synth would whirl past as well. On top of it all, they still retained a deeply 'Atlanta' sound amidst all the pushing of these musical boundaries.
They had me narratively in their grasp completely but the point “Toilet Tisha” ended. I am so captivated that I forgot to mention that football style "break!" interlude that has been underpinning this whole project. Very clever.
It’s a 5/5 for sure. What a pleasure it is to not just listen to a 5/5 you already know, but to be introduced to a 5/5 for the first time.
Terence Trent D'Arby
3/5
Was a slow start that got better on the back half, a rarity for anything that leans pop.
The intro of "Dance Little Sister" was incredibly corny, so it's impressive that it could recover from there.
"Let's Go Forward" was pretty catchy and probably my pick from the record. Love the chorus and the warm, plucky guitar that added a lot of color.
Actually this album is sprinkled with good ideas, like the 'shoowop' 50's style chorus in "Sign Your Name".
"As Yet Untitled" is bold enough to probably tip the scales on this one and make it a firm 3/5.
But I do ultimately think people were a little too hungry for anything that resembled Prince, which is understandable. A lot of goodness that falls just short of greatness imo
Minutemen
3/5
A grab bag of fragmented ideas that range from jagged social protests to meandering ideas that float off into the ether.
For one song to be as directed and tense as "Viet Nam" to immediately transition into the soothing, rolling solo guitar on "Cohesion" is certainly chaotic, but it somehow works? It's kinda like they said the rules for this album is that there are no rules. Wanna do some instrumental noodling for a song? Sure! Wanna demand widescale policy change in America for another song? Go ahead!
The start of "Shit From and Old Notebook" was a highlight for me, as I too experience similar stream-of-consciousness anger at the nature of advertising.
"Corona" did jolt me out of the doldrums at that point in the tracklisting, it's like the band very intentionally tried to form their version of a pop-leaning rock son, and it worked. Unfortunately, this meant that most everything after lost a bit of it's magic.
Reading more on Mike Watt, it seems like this man just lives to create. So many bands, so many albums, it is reflected in his musical style here -- pure flow of ideas, from head and heart straight to mouth.
Most of my points go to this album being a very peculiar project, breaking the mold for how a western music record could be structured. As for the musical content? Mehhhhh. Fun and/or invigorating for small moments at best. 3/5, no need to return to this one for casual listening
Stevie Wonder
5/5
Not only one of the better albums of all time, but one of the most aptly named albums of all time. Stevie Wonder sings about the human experience, and often the black American experience, with such conviction and joy that even the saddest songs in here are still comforting and uplifting.
The first disc of the double album is generational, specifically the run of songs from “Sir Duke” to “Pastime Paradise”. Those songs don’t need to be talked about. But honestly the second disc is no slouch either, it makes it hard to say that this album is too long - which is insane to say out loud about an hour 45 minute long album.
The confident proclamations of “Black Man”, the warmth of “As”, the piano groove in “Ebony Eyes”. Not to mention the perfectly-timed introductions of things like an electric guitar in one song, or a harmonica solo in another song; this album plays itself out with perfect pacing.
If you told me to hand you an album that best encapsulates the emotions of the overall human experience, I’d likely give you Songs In The Key Of Life. I don’t want to presume toooo much about the demographic of people who get through these 1001 albums, but I’m guessing a large subsect is atheistic white men? So it’s a testament to the strength of this album that
Echo And The Bunnymen
3/5
An early sense of excitement came from hearing “The Cutter” as an opening song. Sharp songwriting and a catchy hook had me looking forward to a lot more. Sadly, nothing quite matched that high. That seems to be my experience with Echo & The Bunnymen - they’re good for a couple fantastic new wave/post punk/pop rock songs and everything else on the album is just an attempt at the same sound.
Some glimmers of hope came pretty late, like the hypnotic second half of “Higher Hell”, or how “Gods Will Be Gods” ended.
This is about as true of a middle of the road album can get for this list. 3/5
Brian Eno
3/5
Man it is crazy how you can tell this is Eno off the first note of the first song, no singing needed. I may have a bit of loving bias to get over for this one, as this is a creative sequel to one of my favorite albums of all time, Another Green World.
I can't help but love Eno's delivery and strange vocal disposition during this era as he spiraled towards ambient greatness. He seems so observant, still, and lucid in songs like "Kurt's Rejoinder".
Something that wasn't as expected was how energetic "King's Lead Hat" was. I'm not sure if I loved it as much as some may. However, the following "Julie With" -- now that's what I'm talking about. Airy and a bit ethereal. This is all about what AGW was. This song is like taking a dreamy boat out to sea under a warm night sky. Really, every song beyond this point in the tracklisting is similar (in a good way). "Through Hollow Lands" is ambient Eno before he was fully formed. So delicate and pretty.
The sweet, soft 2nd half of this album is just a revisitation of Another Green World, so go listen to that masterpiece. This one is a strong 3/5, could be a 4/5 (and probably is on a personal level) if it didn't live in the shadow of one of the best albums ever
Todd Rundgren
4/5
Todd Rundgren. Hmmm. Not someone I expected to be on this list 3 times, but it’s perhaps foolish of me to expect as much since Rundgren was both an art-pop AND eventually slightly psychadelic musician.
This is much, much more on the frivolous psychedelic side of things. I love it when you can tell an artist has gone through a psychedelic drug phase.
I gotta hand it to Todd on this one for how ambitious it is. “Dogfight Giggle” transitioning into “You Don’t Have To Camp Around” is really cool. A few songs later, “Flamingo” is a wonderful space odyssey type of intsrumental that keeps evolving over a short runtime.
Something I realized about midway through the track list is how this album probably stood in Rundgrens discography. While the Beatles were almost immediately heralded for their ‘experimental’ work, I’m willing to bet this put a lot of people off. Which is a shame, this album is so full of color, motifs, and crazy ideas. “Zen Archer” with its crazy sax solo is a great example.
I think the high rating I give this album ultimately comes down to Todd Rundgren conveying an unbridled sense of fun and ambition with these wild arrangements that are even occasionally catchy, like on “Sometimes I Don’t Know What To Feel”.
Is it a Pink Floyd opus? Is it a galavanting perfect prog record? Is it a perfectly accurate drug trip accompaniment? Probably no, to all those things. But it’s a very fun, very colorful record thats not ashamed of itself. 4/5
Burning Spear
3/5
Checks of all the raggae/rastafari boxes you’d hope for in an album like this. Great use of the dub bass on almost every track.
“The Invasion” is my pick from the album. The “wadada-ooooh-wadada” melody is super cool.
Not much else to say, standard 3/5
The Residents
2/5
This has a case for being objectively bad at points. It also makes a case for being pretty uniquely memorable at other points. I’d rather have more of these so far out of left field albums than the 18th postpunk/new wave album in a row.
It’s nice to face down something this challenging after 650 albums. I’d be a bit more appalled if this was one of my first few albums. Like, the beginning of “Blue Rosebuds” was actually pretty solid. The vocals on it are laughable, but maybe that was the point? I definitely get the vibe that The Residents dont want you to take them too seriously, if they have any preference at all.
Points for the deconstructed, minimalist carnival style music on “Laughing Song” as well.
It’s a strange disposition to have such lukewarm or even mildly accepting feelings towards an album that seems to upset most people. This album is an exercise in shedding genre preferences and general preconceptions. I do desire for these guys to have dug into their arrangements a bit more, everything is very basic for being so out there. I think they could’ve had something great on their hands if they had second half’s of songs that devolved into something completely different, or did more to subvert expectations from song to song. Many of these tracks end up just being looped little motifs. Still, a fun listen.
The end of “Birthday Boy” is easily my favorite moment on this one.
Strong 2/5, but really impossible to throw a number on this one. It more feels like ✌︎🙰♍︎♒︎♍︎◆︎♎︎⬥︎ ⧫︎♒︎♓︎⬧︎□︎⬥︎■︎❒︎ 👓︎📭︎‘❒︎ 🕮︎📭︎🕮︎🗏︎✏︎◆︎🙵⬥︎■︎♏︎ ❒︎♒︎♍︎□︎□︎
Fiona Apple
4/5
Incredibly pretty piano to open things up, paired with a super personable delivery. Everything comes together to sound a bit like one of my old favorites, Regina Spektor.
The charm of this album comes in Fiona Apples flowery imagery and super clever vocal performances. She could be seething mad and find a way to make you seething mad with her, but also make it all really catchy too! "Under The Table" comes to mind when I say that.
The beginning of "Ladies" was so engaging too. I couldn't wait for the song to unfold, no matter what it sounded like. I was hanging on to every word! Probably my pick form the album. "For Her" is a CLOSE second though.
Just really great singer/songwriter stuff that can't really be replicated by anyone else. 4/5
George Jones
4/5
A few songs on here are as good as country music gets before the advent of Garth Brooks.
This guy is heartbroken and the opening “Grand Tour” set that tone right away. Then the harmonizing vocals on the chorus of “Darlin’” gave a reason to sing along in George Jones’ sadness. Really good, really simple chorus. Right after, “Pass Me By” pretty much replicates the sad singalong effect to great success.
But the highlight of this album might be the more upbeat “The Weatherman”. Excellent country songwriting and a killer execution of rolling a verse into a chorus. Super cohesive song start to finish.
The fun doesn’t end there! “Who Wil I Be Loving Now” makes its own case for the most infectious chorus of them all, it’s a proto-Eagles melody.
Last, “Our Private Life” is a strange way to end this project. Its subject matter is way ahead of its time, being a song about rejecting the platform of stardom to remind everyone that these idiot country celebrities are people too. For an odd comparison, much of Porter Robinson’s “Smile” speaks from a similar place.
Yeah this is a 4/5 for me. There’s enough emotional substance and fantastic country songwriting in here to push it over a 3
Talvin Singh
4/5
I got into Talvin Singh’s music a year or so ago without realizing this album was on the list!
Really like the opening “Traveller”, it’s aptly named - I felt like I was being transported very intentionally into the world of this album.
But “Light” is my favorite song off this record, by a country mile. The opening new wavey piano refrain immediately induces a sense of placid relaxation for me - I listened to this song a lot when I was running at sunrise this past summer. I can’t recommend that experience enough!
Another highlight, “Disser/Point.Mento.B” felt like an homage to the hazy aesthetics of 80’s sci-fi soundtracks.
Last, the pads that come in halfway through “Soni” really elevate the song and make it memorable for me.
I’m unsure if this is a 3 or a 4. If I’m being objective, maybe a high 3. However, Ive had some personal time with this album as I mentioned with it soundtracking my morning runs in the past. It’s the perfect set and setting to elevate the album to a 4/5 for me. A nice blend of Indian music and some jungle for good measure
The Hives
3/5
I was irritable at first but some emphatic performances and solid songwriting won me over a bit. A bit of a strange pick considering this is a compilation album though.
I was moody and judgy about this record until “Untutored Youth” came on. A song equivalent to giving everyone the finger!
“Mad Man” is probably my pick of the bunch here. It’s wholly unoriginal, I’ve heard that guitar riff a million times, but nevertheless it’s a ball of energy that won’t be denied.
Torn a bit on how to view this one. Also “Luno” by Bloc Party came on auto play after this comp ended and it was just a better song than most of the stuff on here, in every way. Ultimately, this is a 3/5 stars, but I have my hang ups about it
Spacemen 3
2/5
I see the vision, but I do not hear the execution. The band was aiming for these airy, evocative, prolonged instrumentals that would turn guitars into atmospheres, and voices into characters. But sparse arrangements and flat performances leave a void of nothingness for the better part of the hour plus this thing putters on for. I feel like you can point to Spiritualized as a group that executed Spacemen 3's game plan to a great deal of success.
What was a song like "Revolution" doing in the first third of this project? Unnecessarily noisy and harsh, taking me out of what little involvement I had with the albums wispy aura.
"Suicide" was nice because it committed to an idea but then it went for way too long so it kinda ruined itself. "Lord Can You Hear Me" is a fair reason to JUST keep this project floating at a 2/5 stars. But man. Not by much, especially if you can endure disc 2
Emerson, Lake & Palmer
2/5
The musical equivalent to having one of those hibachi chef's make you a bad-tasting steak; sure, it was quite the show, I ooh'd and ahh'd a few times. But I didn't enjoy the taste of the beef, I won't care to remember it long from now.
A 20 minute opener is cool in concept but when the synths/keys get super shrill at minute 18 and there isn't a ton of melodic themes to latch onto then it kinda just whirls right by. Just make them separate songs instead of one big song with 7 mini songs in it. The concept can still remain all the same.
For things to go from that hectic opening song to something as twee as "Jeremy Bender", then back to some frenetic but impressive instrumental work on "Bitches Crystal" is a lot for me. I don't need albums to be super cohesive, but this all too much. Then a whole bunch of proggy craziness only to be ended with a rockabilly cut? I'm tired.
I take issue with one of the more popular positive reviews this album got. It says "There is a thoroughgoing prejudice against prog in the critical community, probably because it forces critics to engage with the music instead of discussing influences, lyrics and personalities."
I disagree with this wholeheartedly. I simply don't care to listen to something that's being overtly intentional about hitting me with yet another new motif or time signature every passing minute. There is SO much to marvel at on the technical side of this project, that it glazes over conveying a sense of humanity in my opinion.
I wish to hear more songs with heart and soul, not songs of the brain and fingers. Strong 2/5