I’m trying. Truly. I’m trying to understand jazz and appreciate it. I know that John Coltrane is a brilliant musician and rightfully revered. But I simply don’t “get” this type of jazz. To me, it just sounds like a cacophony of disparate musicians, and I struggle to find anything resembling a melody to grab on to.

I enjoyed this album enough to listen to it all afternoon! I’d describe it as breezy, sometimes haunting, sometimes sexy, sometimes sweeping, and sometimes… mariachi? It made for an interesting listen by mixing indie rock with such a Latin flavor, and, well… I LOVED it.

Ah, the angsty 80s. Very listenable, despite being a bit brooding.

I wanted to like this a lot more than I did. “Killer Queen” isn’t my favorite Queen song, but was the only one on the album I knew. The others weren’t my cup of tea - a little heavier rock and less pop than later Queen hits.

I liked the funk vibe coupled with the social messaging. Some of the language was a little jarring in today’s context, but overall a really solid album.

This one wasn’t my jam. It wasn’t bad, I just found it a bit… boring. Monotonous, perhaps? Nothing made my ears perk up or made me tap my toes.

The electronic music on this album is an obvious precursor to the synth pop of the 1980s; however, I’m a much bigger fan of the latter. The first few tracks weren’t bad, but starting with “Trans-Europe Express,” the tracks became a bit relentless - like an annoying buzzing in my ear with a driving beat and unpleasant chords. Overall I didn’t find this album particularly pleasant to listen to.

“Once in a Lifetime” is one of the best songs of the 80s and is my go-to whenever I’m near a TouchTunes. It never fails to make people smile and sing along with “same as it ever was…”. The rest of the album doesn’t *quite* meet that standard. However, ever since seeing “American Utopia” (David Byrne’s recent Broadway contribution), I have a new appreciation for Byrne’s creativity and fusion of musical styles. He also mixes music and message very well.

Hallelujah is such a beautiful song, and Buckley’s version is incredibly soulful. However, I wasn’t that thrilled by the rest.

A little sleepy for my tastes, but pleasant to listen to.

This isn’t my favorite genre of music, and I found the lead singer’s voice kind of unpleasant.

I didn’t know any of the songs other than “Psycho Killer,” but overall I liked the album. I’ve said it before and I’ll say it again: I think David Byrne’s musical/vocal choices are so interesting, in a good way. I enjoyed comparing this early album to the Talking Heads’ later work.

She has such a great voice - more soulful than one would expect. I found the album really pleasant to listen to, although I think I’d appreciate it even more if I was going through a breakup.

I’m not familiar with the movie, but I actually enjoyed this more than I expected. I felt that it had a late 60’s vibe - the kind of groovy music that you’d have on in the background at a party - which surprised me when I realized the album was actually from ‘78. I don’t think it’s one I’ll go back to, but I might check out some other things in the genre.

Maybe I’m missing something, but I really don’t understand the appeal of this album. I didn’t find it pleasant to listen to at all. Kind of harrowing, and not in a good way. I decided to look it up to see what the story was, and it turns out that Robert Wyatt fell from a window at a party and became paraplegic while making it. I thought that may explain why it feels so dark, but it turns out he’s started writing it before the accident.

Well, only part of the album was available on Spotify, but what I could listen to sounded like what would be playing when you’re walking through one of those airport tunnels with the trippy lights.

I wish I could give this one 4.5 stars because I feel like it’s a standout compared to some of the others we’ve heard recently; however, I’m holding my 5’s for albums that I connect with a bit more. Overall, American Idiot is solid. I love that it’s a concept album, but I never really followed the through line until I saw the theatrical production performed. Even then, the plot is… quite loose. Still, the music is great, including standouts like “Holiday” and “Wake Me Up When September Ends.”

I enjoyed the album, but even after a couple listens, there wasn’t a song that was a particular standout for me. I think I’m a bit partial to earlier Radiohead, as “Karma Police” is one of my favorite songs of all time. This one was good, but didn’t meet that high bar.

This album was a good listen. Really great musicianship.

I don’t doubt the musical prowess of Eric Clapton or this group. But I’m finding that I really just don’t enjoy blues music.

Ok, I love the name Electric Prunes and I mostly enjoyed the album for its cool psychedelic rock vibe. But I was really baffled by “Toonerville Trolley.” I honestly thought Spotify had started into a new playlist and was shocked to learn it was the last song on the album. It didn’t seem to fit with the rest of the album and kind of ended things on a dorky vibe. But the rest, I enjoyed.

It had been a while since I’d heard this album. It’s interesting to hear the Beatles’ take on the genres and artists that influenced them. It’s too bad that as often the case, the original black artists tended to receive less acclaim despite being the original - and superior - version.

I’m fairly mixed on this one. There are some interesting beats and it wasn’t an unpleasant album, as far as electronic music goes. However, there also weren’t any standout tracks, at least not to me.

Two electronic albums in a row. Interesting. And not a standout song among them. At least The Prodigy had some standout songs. If their album “The Fat of the Land” isn’t on the list somewhere, then they were robbed.

I kind of expected more out of Bowie. I honestly don’t have that much knowledge of his songbook, but based on his persona and adoring fan base, I figured there would be something I could grab onto here. Unfortunately, there really wasn’t. Nothing bad, per se, but just a bit uninspired.

I remember when everyone was saying that Oasis was going to be the next Beatles. Not a chance. But although not Beatles-worthy, this album isn’t bad. It also isn’t as good as their next one.

I think this might be the first album we’ve reviewed that I actually own! It came out when I was only 7 or 8, but I really connected with “Fast Car” as I got older and it’s one of my all time favorite songs. The rest of the album isn’t quite as meaningful to me, but it’s still powerful.

I really love the layered harmonies of Fleet Foxes. However, I’m not a fan of the tinny/echo-y production sound.

Even though I didn’t know any of these songs, the music had a familiar vibe. I enjoyed it, especially the titular song.

It pains me to say this about a female-led rock album, but it was just a bit too screechy for me.

Radiohead isn’t known for upbeat music, but I found this album particularly dour. However, I liked the New Orleans vibe of the last song.

A good album with multiple hits.

This reminds me of the music my dad likes to listen to that I find incessantly boring. I think my tendency to tune it out worked against ol’ Ray, because I listened twice and can’t remember a damn thing other than his strange plea during the first song to let him know if you enjoy it.

This wasn’t for me.

Too heavy for me. I actually like some of their more chill stuff. “Don’t Follow” (unfortunately, not on this album) is a GREAT song of theirs you should check out if you haven’t. As for Dirt, I do have an affinity for “Rooster.” I didn’t care much for it when I first heard it, but when you listen to the lyrics and realize it’s about a Vietnam vet (I believe, the singer’s father) it strikes a different chord.

Metallica is a group of extremely talented musicians whose music I don’t really like. However, I can appreciate their contributions to the metal genre, including this album.

A solid album from one the quintessential all female bands of the 80’s. A lot of fun to listen to!

I might’ve enjoyed this album live in an underground club in 1968 while doing a lot of drugs. But sitting in my office trying to listen? Not so much. I especially hated the cover of “Summertime Blues.” It was clever to replace the deep “adult” voice of the song with instruments, but the tempos were all over the place and mostly paced like a dirge. The album title “Vincebus Eruptum” is Latin for “controlled chaos.” I’ll agree that this album was chaos, but it definitely wasn’t controlled.

I don’t understand what would be appealing about this album. I guess it’s supposed to be subversive, but it doesn’t even do a good job at that. It’s like they’re trying too hard to be edgy, which just makes it uncool. Plus the music is downright unpleasant.

Well, after the past few albums, this sounded like liquid gold. It’s a little sleepy, but definitely soothing. Paul Simon is a great storyteller.

Tempted to give this one 4⭐️ because it gets a little monotonous in the middle. But… it’s Prince’s 1999. How can I NOT give it 5? Classic.

Nope.

I liked this one more than I thought I would. I’ve never heard of Leftfield, but the music reminded me of a modernized version of the mid-90s group, Enigma. I actually found myself tapping my foot at times.

I think it’s interesting how The White Stripes managed to get such catchy sound out of just two people. I feel the album peaked with “Seven Nation Army” but is still really solid.

I appreciate Little Richard as a performer and how influential his music was to the entire genre of rock and roll. He also deserves so much credit for being one of the first black artists to transcend racial barriers of the 1950s. I find his sound so distinct that there is no mistaking a Little Richard song. For that reason, however, I don’t find much variance in his music and the driving beat becomes a bit monotonous. Then again, the 50s were a time when artists would often release a sound-alike follow up to their hit song, so really, it’s fitting for the era. It just doesn’t translate well to more modern sensibilities.

There was nothing in particular that stood out to me about this album.

Not as good as the last one we listened to.

This album was SO familiar, yet I’ve never heard any of the songs (to my knowledge). It reminded me of music that would be playing at a party in an 80s movie. It’s such a vibe.

You can certainly tell why he’s known as the Godfather of Soul.

I enjoyed this one enough to listen to it 3 times! I was never a huge Bowie fan, but I think I’ve grown to appreciate him more and more as time goes on. I’ve especially grown to love “Is There Life on Mars” - a song that never registered for me when I was younger.

Meatloaf has always been a little cheesy and melodramatic for my taste, but I think he had a sense of humor about it and he seemed like a really nice guy. I eulogize home with this: “His name was Robert Paulson.”

I’ve always enjoyed “Novocaine For the Soul,” but hadn’t heard any of the others. I was pleasantly surprised! At first I thought the album was a bit pessimistic, but on second listen it felt more like the lyrics spoke to finding hope in a cruel world. I connected particularly with the lyrics of “Flower” and “Guest List.”

Wow. So many beautiful harmonies on one album. “Monday Monday” and “California Dreamin” are two of the best songs of the 1960s, in my opinion. But “Go Where You Wanna Go” really highlights the dysfunction of this volatile foursome. This is a great example of music where it’s difficult to separate the artist(s) from the music. Even though I adore their iconic sound, I can’t hear a Mamas and Papas song without also thinking about how truly dysfunctional a foursome they were. Michelle is the only one still living, and I hope that she’ll get behind a biopic some day.

Based on the guitars in the opening few seconds, I thought “why have I not heard of this band or album?” Well, now I know. Because it’s trash. Absolutely awful.

There’s a lot to love about this album. I find it interesting to walk through Eminem’s struggles with fame and both the fanatical adoration and criticism it brought him. In the end, he’s right: No one should take what he says seriously, emulate him, or put him on a pedestal. That being said… they do. There are real life “Stans” out there who treat famous people like gods and hang on every word they say. They don’t think about the real Eminem, just his cruel alter ego. I believe that Eminem does NOT hold most of the views he expresses on this album. Unfortunately, there are millions of teens of the 90’s that continue to gay-bash and hate women, believing that he does. For that reason, what could’ve been a 5-star album becomes barely a 3.

An easy listen but no song really stood out either. I was hoping “Bizarre Love Triangle” or “Blue Monday” would be in the mix, but those were on earlier releases, apparently. I’m curious why this album made the list when their other work seems superior. Then again, maybe their earlier efforts will show up at some point.

This was pleasant to listen to but a little more country than suits my tastes.

I know I’m in the minority on this, but I’m just not a big fan of Southern rock, even when it comes with a bluesy bayou twist like CCR. But, I can’t argue with CCR’s success and legacy.

Fun album. I love that the first song was what Will Smith sampled for “Gettin’ Jiggy Wit It” and “We Are Family” is classic.

I remember a lot of fuss about this band and can still picture all the billboards for this album on my first trip to NYC. Despite that, I’d never listened. I only recognized one song, and the rest of the album was decent, though not particularly exciting.

I enjoyed this album enough to listen to it all afternoon! I’d describe it as breezy, sometimes haunting, sometimes sexy, sometimes sweeping, and sometimes… mariachi? It made for an interesting listen by mixing indie rock with such a Latin flavor, and, well… I LOVED it.

For some reason, a lot of songs on the album weren’t available on Spotify. What I heard sounded pretty good.

I don’t have a lot to say about this one other than that I didn’t particularly enjoy it. But I’ve heard worse.

Love the hits, didn’t care much for the remainder. That “Mother” song was insufferable.

A little twangy for my tastes, but some nice harmonies. I really liked the cover of the Beatles “For No One.”

Since Neil Young is famously not on Spotify, I had to piece this album together from other sources. I *think* I hit most if it, and what I heard, I enjoyed. “Old Man” is such a great song both lyrically and musically. “Heart of Gold” is much simpler, but has a melody that really sticks with you.

Kevin, I can’t believe you brought up “Jammin on the one.” Love it. 😂 I first came to know Stevie Wonder through his later works, like “I Just Called to Say I Love You.” But really, his early stuff is where it’s at. Even though it came out well before I was born, “Sunshine of my Life” has one of the most soothing, familiar vibes. It takes me back to summer in the first house I lived in, with the windows open, breeze blowing, and the radio playing. And “Superstition” is such a jam. Classic funk.

It’s interesting that a bunch of British white guys decided to adopt such a Reggae sound, and even weirder that I never really noticed until now.

I didn’t know of Blur until “Song 2” came out about 5 years after this album, and if I hadn’t known, never would’ve guessed it was the same bad. This album was fun, and I give it an extra star for pro-LGBTQ lyrics.

A little too punk for me.

This one really takes me back. I remember my friend bringing this CD over to my house the summer going into 6th grade. What a game-changer. Suddenly the overly coiffed “hair bands” were SO uncool. Grunge ruled the airwaves and culture in general, trading neon colors and spandex for flannel and combat boots. Kurt Cobain died on my 14th birthday, and I remember Courtney Love’s statement that was SO angry and sad at the same time. That was just 3 years after this album, yet Nirvana continued to have an impact for many years thereafter. I agree that the album is front-loaded, but the first half is SO good and impactful, it makes up for the fizzle at the end.

A really lovely combination of music and lyrics, sung with such a soothing voice. I listened several times, and that speaks volumes.

No real standouts for me on this one.

I want so badly to enjoy jazz, but this album didn’t help in that regard. While I appreciate the talent and musicianship, the music itself sounds to me like a cacophony of competing instruments all vying for attention, with little melody to be found.

I had high hopes based on the cover art, but the rainbow art was the antithesis of the music. As I listened to the album, praying for it to end, I couldn’t help but ask, “Who is this for?”

Judging by his more popular tunes, I thought I would enjoy this Van Morrison album more. I didn’t hate it, but I didn’t love it either.

The album started out on a strange note but got better as it progressed.

More evidence that I guess I just really don’t understand jazz. This one did not create quite the cacophony that others have, and I didn’t find it unpleasant. It just didn’t spark my interest either.

It started out a little bit country but ended up being much broader than that. I enjoyed it enough to listen several times.

I wanted to like this one more than I did, but in the end, I just really couldn’t get into it. Plus, it was bristling to hear things like f@**** thrown around so casually.

I gave it several listens but just didn’t connect with this one.

I love the hits on this album. There’s a reason they were so popular: catchy melodies with great sing-along lyrics. There’s definitely a cheese factor that is more obvious at this point, but that’s generally the case with most hair band music. We all thought it was cool until Nirvana came along. I’m not going to let a little cheese spoil my enjoyment!

This one falls into the weird Depeche Mode era for me, post- the more bouncy Vince Clarke “Just Can’t Get Enough” era and pre- the more evolved 90’s “Enjoy the Silence” era. As different as those were, I think I prefer both to this one. I either want to be up and dancing or brooding alone in the corner, and this one straddled that line, making me do neither.

I was pleasantly surprised by this album! It was an easy listen.

I feel like “All Along the Watchtower” and “Voodoo Child” ultimately save this album from a lower rating. As for the rest, I’m sure I would have enjoyed it more if I’d been listening at a music festival or at least on a substance of some sort. But while sitting at my desk… not so much.

I’ve never really enjoyed Steely Dan. They sound to me like an amalgam of lounge act and a rock band. While I can appreciate their skill as musicians, I just can’t get behind the music.

I know I’m *supposed* to love The Velvet Underground because of their influence on future genres (despite lack of commercial success). But the truth of the matter is… the music is just ok for me.

Definitely has a dated feel, but in a good, nostalgic way.

When this album popped up, my first thought was “ugh.” As I said in a prior review, “Southern Rock” really isn’t my thing. But I have to admit, several of the songs on this album are pretty damn iconic. So even if the genre isn’t my favorite, I have to credit the songwriting and musicianship that gave so many of these songs such lasting power. My “ugh” has changed to more of a surprised “hmpfh.”

A great live album. I wasn’t alive when it was recorded, yet it somehow transported me back.

This album hasn’t aged well, in my opinion. What sounded edgy and controversial at the time now seems very dated and stale. A lot of redundant, relentless beats and sometimes cringey lyrics (and I don’t even mean the misogyny and repetitive fu@%s) do not make for a fun listen anymore. I can’t imagine what it was like to be black in LA/Compton at the time, but can appreciate that this album was the protest music of its day. Although it rightly deserves its place in history, it doesn’t earn a spot on my 2024 playlist.

Fairly solid but no real standouts.

This album made me feel sad. I commend them for translating feelings to music but… ugh.

This is not my new favorite band.

I knew the hits off this album but had never heard it in its totality. Overall, it seems like a much less self-serious version of the band - not better or worse, just different. I enjoyed it.

This wasn’t what I expected, and I don’t mean that in a bad or good way. Other than “Freedom! ‘90” it was just a lot less “pop” than I’m used to from George Michael, and definitely more chill. I had it on while working and had to listen multiple times because it just kept fading into the background. However, it was at least very pleasant to listen to, unlike some of the albums on this list.

Definitely gives a beach house vibe. It’s not something I would actively listen to again, but it’s a great album for background.

She has such an interesting voice. Surprisingly soulful. Obviously “Son of a Preacher Man” is the standout of this album, and none of the other songs really grabbed me. However, it was a pleasant, easy listen.

Have you ever been to the “House on the Rock” in Wisconsin? It’s the home of an eccentric man who assembled a very eclectic, sometimes haunting, sometimes beautiful, mostly bizarre collection. You either love it, or you hate it. I feel like this album is the musical equivalent. I just didn’t get it. Although I give it an extra star because of “Downtown Train.”

This album didn’t seem particularly special.

If you can get past the outdated lyrics, this is a good album.

This album is a vibe. Very chill, and a good listen.

Imagine is a nearly perfect song - a combination of beautiful melody and moving lyrics. I bought the album many moons ago only to be somewhat disappointed by the rest. It’s sad, really, that the album devolved from “Imagine” all the way down to a Paul McCartney diss track with “How Do You Sleep.” It just feels so petty by comparison.

Pretty bland.

A perfectly pleasant album, but nothing to excite me.

This one was not for me.

I wish I could give this one 4.5 stars, because it’s not a perfect album (I’ll never understand “Revolution No. 9”) but it comes close. I suppose you could say that if they’d just been willing to do some editing (or were working better as a team - we all know that their breakup was impending at this point), there’d be no need for a double album. However, I appreciate that they had the space to work in multiple genres. I love their homage to The Beach Boys in “Back in the USSR,” and truly enjoy their forays into other styles on this album, especially the folkiness of “Ob-La-Di.”

I’m struggling with how to review some of these middling albums. There was nothing wrong with this one, per se, but nothing particularly stood out to me either. I’m left again wondering why I MUST listen before I die.

Another album that I’d describe as “pleasant.” But it didn’t speak to me and no songs stood out to me despite multiple listens.

A lot of covers (4/9 songs?) but I enjoyed them well enough.

Obviously, the radio hits are the standouts, but the album is overall a favorable step in Simon’s post-Garfunkel era.

I feel like I’m *supposed* to enjoy this album more than I actually do, based on its acclaim at the time and its place on so many “best” lists. You can’t deny the catchiness of “Call Me Al,” but the rest just sounded kind of dated. Maybe it was groundbreaking for its time (*gasp* white folk singer uses African inspiration!) but now it just seems more desperate and appropriative. Don’t get me wrong, I’m a big fan of Simon as an artist, particularly in his Simon & Garfunkel days. But this album falls into the mediocre range for me, which is lower than where I thought it’d be going in.

I listened multiple times but nothing pulled me in.

I don’t think I “get” Elvis Costello.

Ah, the angsty 80s. Very listenable, despite being a bit brooding.

I have some friends who go see The Flaming Lips whenever they’re playing within a drivable distance. I never really understood that devotion, but I have to say, I really enjoyed this album. It had a much more modern feel than I expected from a band that’s been around for so long. Maybe now I’ll try to catch them live too.

I absolutely love the song “Where is My Mind”. It’s become pretty ubiquitous in media/pop culture, but I enjoy it every time I hear it, whether Pixies’ original or a cover. It makes me want to eat a bunch of gummies, put on headphones, and (depending on my mood) either lay on a beach or hole up in a dark room. Unfortunately, I didn’t particularly enjoy the rest of the album.

I first became familiar with Vega via “Tom’s Diner” and bought “Solitude Standing,” only to be surprised that the hit I knew was a DNA remix. But then I realized that she falls very much into the singer/songwriter domain I enjoy. Still, I never branched out in her catalog until this album showed up on the list. I really enjoyed it, and think she’s a fantastic storyteller.

“I Believe in a Thing Called Love” is a f’n fantastic song and I will absolutely die on this hill. The rest of the album is a great glam-rock throwback but doesn’t quite live up to that standard, although still pretty enjoyable.

It’s sad to think that “Bryter Layter” didn’t apply to Nick Drake’s short life. His deep voice and melancholy of his music would suggest someone much older, not a young man that wouldn’t live to see age 30. Although this album is beautiful, it’s still quite somber, which means it isn’t one I’ll want to put on repeat. But on its merits, I’d go 3.5 to 4/5.

This is a tough one for me. I give it 5/5 for ingenuity and for being the most well known (and first?) rock opera. I give the opening guitars in “Pinball Wizard” 5/5 because, WOW. But honestly, the storyline gives me the yucks. Who wants to sing a song about joyfully molesting someone? 1/1 for that one for sure. And I also have to give 1/1 for the ending, which just kind of goes on a bit too long. The story really should end with “I’m Free,” but delves into the unnecessary fame/guru/fall from grace storyline that just doesn’t seem fully fleshed out. So, 3/5 over all. Despite my criticisms, I have to say that I recently saw the Tommy musical revival in Chicago, which is now headed to Broadway (2024). I’ve never really enjoyed the show but did like this current iteration. There’s some very clever staging/choreography that is so good it kind of makes you forget the “ick” of it all.

I wanted to like this… but I did not. I listened several times and just when I’d find something to like, something else would come along and ruin it. The crying baby about did me in. But I can’t say it’s wholly unlistenable, so I’ll give it 2/5.

This was not what I expected from Beck but I thought the album was really beautiful, honestly.

This album is such a stark juxtaposition to “Sea Change,” the Beck album we heard yesterday, but just as enjoyable.

What I’m sure was a standout for its time now just sounds pretty dated. There wasn’t much I enjoyed beyond “Tom Sawyer.”

I understand that these men are talented musicians - particularly Billy Gibbons - but I really can’t stand their music. I find their blues riffs annoyingly unrelenting and their lyrics absolutely misogynistic. Obviously they weren’t the only ones to go this sexist direction with their songs in the 80’s (“Cherry Pie,” anyone?), but the fact that I don’t enjoy their music just makes it worse. However, I’ll round up my 1.5 stars to 2 in light of their contribution in the third installment of the Back to the Future trilogy.

When the album popped up my first thought was “ugh.” Can’t say I’d want to listen again, but it was actually better than I expected.

You never quite know what’s coming next with this album, with its mix of styles. That said, I didn’t particularly enjoy the heavier rock aspects, and the album as a whole sounded kind of like a self-produced an album from a bar band.

A bit nondescript but I enjoyed it.

Strange and surprisingly brief.

I’m trying. Truly. I’m trying to understand jazz and appreciate it. I know that John Coltrane is a brilliant musician and rightfully revered. But I simply don’t “get” this type of jazz. To me, it just sounds like a cacophony of disparate musicians, and I struggle to find anything resembling a melody to grab on to.

I think this is a case of someone being a better songwriter than performer. He was certainly more accomplished as the former and lacked commercial success as the latter, and this album stands as an example of why. The songs weren’t bad, but the performance just seems somewhat boring. For instance, “Everybody’s Talkin’” is a fantastic song, but Neil’s version just lacks the spark of Nilsson’s subsequent cover.

Totally listenable but also forgettable.

I almost couldn’t get through this one.

You come to this album for the hits. I could take or leave the rest, but the hits are SO damn good, they bump up the overall album score in my estimation. Songs like “Sweet Child o’ Mine” and “Paradise City” have so much more musicality than the heavy metal bands of the day, while songs like “Welcome to the Jungle” and “Mr. Brownstone” give GNR a much grittier appeal than the hair metal bands that ruled the airwaves. This album struck the right balance to appeal to me at that time, even though the lyrics were far over my head.

This one really takes me back. Looking at it now as a 40-something, it’s pretty amazing that such mature music and lyrics were written while Apple was still in her teens.

A song about shooting his lover in the head because she found somebody else… How lovely. Next time shoot yourself, Mr. Yoakam, so we don’t have sit through more of your terrible music.

Am I missing something here?

Pretty much what I expected from a 1966 pop/rock album.

I have a true appreciation for this music’s place in my life during my formative years. However, I think I like Beastie Boys songs in small doses. Individually, the songs are fun; but after a couple in a row, the Beastie Boys style just sounds sort of shrill and relentless.

I’ve only ever walked out of one concert in my life, and sadly, it was Bob Dylan. We all know he’s a poet, not a vocalist, but yikes. Still, I have an appreciation for his cultural significance, and this album is certainly one of those touchstones. And thank goodness, it’s also a more palatable vocal performance.

I LOVED this album when it came out and I’ve even seen Incubus in concert a couple times. But the angsty lyrics now feel a bit… heavy-handed? “Pardon Me” is a great song when you’re young, angsty, and desperate to be taken seriously. But the lyrics (and really the whole vibe of the album) just hit differently at this mid-40’s point in my life. I do still dig the message of “The Warmth,” which is essentially the angry white boy version of the kitten “hang in there!” poster. But even back in ‘99 I hated the lyrics to “Out From Under.” “To resist is to piss in the wind - anyone who does will end up smelling.” Really? Those lyrics were as eye roll inducing in ‘99 as they are now.

A solid 5 stars for the catchy beats and cultural impact. Minus one star for the misogyny.

I had to force myself to get through this one.

I feel like Coldplay’s commercial success has played against them. It’s become cool to call them overplayed, overrated, etc. But if you can just set that aside and give it an unbiased listen, most of the songs on this album are pretty damn good.

I didn’t understand the hype about this album in college and I still don’t understand it now. Maybe I’m just not cool enough to “get it” but I don’t see how this was game-changing in any way, other than for the band itself. That being said, it’s not a bad album either, though a little dreary for my tastes.

This era of Destiny’s Child was always so confusing… Who was in the group? Who was out? Who is actually singing on the album? The one voice I can always clearly discern is Beyoncé’s, which isn’t necessarily a good thing because it has a warble to it that I find mildly annoying. But, you can’t argue with the fact that these ladies (in whichever combination) know how to sing and make bops, as clearly this album spawned multiple massive hits. I was actually surprised, however, that this album had such a religious bent to it. Not my thing. And sadly, all the more evidence that conservatives’ hatred of Beyoncé is rooted in racism.

I’d never heard of this album or even this band, and that’s probably because they seem to have been a bit ahead of their time. More influential than commercially successful. I was surprised that this album came out in ‘74, because it has a much more 80’s feel to it.

I listened twice but nothing on this album stuck with me.

I think this album perfectly encapsulates the appeal of Unplugged. Sometimes, the stripped down versions of songs are actually better, especially in this case.

This is yet another case of: Was it influential? Yes. Game changing? Probably, at the time. Good? Not really.

A bit too minimalist for me.

This album sounds very of its time. It gives post-disco R&B funk, but those lyrics? What I’m sure was meant to be sexy now just sounds cheesy. Still, it wasn’t boring.

Pretentious and blissfully short.

As I’ve mentioned in other reviews, I’m appreciative of but not a fan of Southern rock. This had more of a bluesy slant to it, but the songs just kept going on. And on. And on… Jam bands can be fun when you’re actually AT the concert (and probably a little altered by substances), but definitely not so much for a casual, at-home listen.

A bit of a letdown after Shining Star, but pretty solid nonetheless.

I was surprised to learn that this was REM’s 5th album because it feels more like a jumping off point for their music of the 90s. At the same time, it feels a bit ahead of its time with respect to the music of 1987. I feel like I was picking up early grunge vibes, and maybe even a little Dave Matthews. If those folks don’t cite REM as influence, they should.

A few understated, pleasant songs, but the screeching… Why, John? Why?!?!

For some reason, Spotify really wants me to love the Smiths. They’re almost always the first song out of the queue in the “smart mix” the algorithm prepares for me. The truth is, I don’t hate them, but I’m not particularly excited by them either, and Morrissey’s voice can get annoying after a while. This album was no different.

Bringing’ the funk. Such a vibe.

Why do I remember this being much better than it actually is? I’m by no means offended by the word f*** (not sure if I’m allowed to type it here), but the overuse on this album became annoying, honestly. And although this is an incredibly skilled group of rappers, but I found the beats more annoying than catchy.

I’m not the target demographic for this music, but I can see why it appealed to guys my dad’s age, working blue collar jobs and longing for better times. But at least back then, those guys could view America through a critical lens (“Born in the USA” is NOT a pro-America song), whereas now, so many of them are blindly patriotic and worshiping at the altar of a man who’s never worked a hard day’s labor in his life. I couldn’t really escape that irony as I listened, so I’m not sure if I truly listened with an unbiased lens. The music itself, however, was… fine? I do think, however, that “I’m on Fire” stood out amongst the group, despite some cringey lyrics.

Very chill. She has a lovely voice.

I was quite bored by this.

This is yet another album that I feel I’m *supposed to* like, but do I? Not particularly. I honestly felt pretty neutral about it.

Somehow this album was able to be both incredibly boring and incessantly annoying. So much screaming. So many drum solos. And it went on… and on… and on… and on… and on…

Why did I like this music back in 2000? Oh, I know - because I was hanging out with rich white frat boys that thought their lives were SO hard. Listening to it now, I can’t believe how formulaic and repetitive it is. Plus the screaming… Another reviewer referred to it as “Cookie Monster vocals” and now I can’t unhear it.

I don’t mind new wave and there is some that I really love. But this album was overly long and became monotonous after a while. I don’t doubt that it was influential in its time, but I won’t go back to it.

It’s interesting to hear rap with a British accent and also interesting that many of the lyrics were about very American things. But “interesting” does not a good album make. What started out as “Huh, interesting” quickly became grating - particularly the skits. This probably deserves one star but I’m giving it an extra for the novelty.

Some very iconic songs on this one.

A great album, but rather somber.

At first I thought this album sounded like something you’d hear in early episodes of Friends, which made it feel a little behind the times for 1999. But some of the later tracks started to sound a bit more like mid-aughts bands, which would make it a bit ahead of its time. Either way, it was an easy, pleasant listen. Not earth-shattering, but good.

Steely Dan reminds me of music you’d hear from a lounge act in an outdated hotel. It’s fine as background music, but there’s much better, more engaging “yacht rock” out there.

A standout for its time, but I don’t think this one holds up. Even ignoring the misogyny and homophobia, it’s just not funny. It feels juvenile.

This was a really lovely album, and I’m surprised I haven’t heard of her before. I feel like she was probably an influence for Tracy Chapman, because this album definitely gave those vibes.

“In Your Eyes” is such a great song. But the rest of the album was somewhat middling, in my opinion. It probably doesn’t help that although “Sledgehammer” is a huge hit, it’s never been one of my favorites.

She is pretty badass, but her music really isn’t for me.

I’m having a hard time rating this one. In some ways it feels derivative, but other times inventive. I’ve gone back and forth so many times that I have no choice but to settle on a 3.

I understand why this appeals to some people and can appreciate what Pink Floyd was trying to do. But as a concept album, it simply didn’t land for me. I listened multiple times to give it a fair shake, but in the end, it’s dark, overly long, and sometimes cheesy. I can take the latter in musical theater, but not a rock album. I will, however, give it major props for Comfortably Numb. What a great f’n song.

I have utmost respect for the social messaging on this album and think it absolutely deserves a place on this list. 5 stars on that front. That being said, the beats on some of the tracks and Flavor Flav’s voice can be downright annoying. I gave it multiple listens and with each I was snapped out of my enjoyment several times to the point I needed to turn it down. Maybe old school hip hop just doesn’t hold up, or more likely, I’m just getting old. Either way, I can’t give 5 stars to an album that had me reaching for down volume button.

Another album that gets a bump for the messaging, but… **Yawn** The music itself is so generic. One song just blended into the next - and not in a good way. Listened multiple times and can’t hum a lick of it.

Influential? Yes. But beyond the hits, there’s not much to love. Even the hits seem a bit simplistic via a modern lens.

Listened several times and this album really grew on me. Although some of the music itself wasn’t landing for me at times, it’s the lyrics that really pulled me in. Other reviewers have described them as “angry” and “immature,” which baffles me. I feel that Apple was being real and confessional. And damn right, she’s angry. She has every right to be in light of the things she sang about (being bullied, raped, and silenced), which sadly, many women can relate to. I hope this album served as a bit of catharsis for her, as well as for anyone who has been in her shoes.

At first I thought, “Ugh, another White Stripes album,” because I’m not always the biggest fan of their minimalist style. But it actually really worked for me on this album.

Way too sleepy and way too much harmonica.

Other than “Genius of Love,” I wasn’t a big fan of this one. It’s definitely innovative and unique, but with a splash of appropriation. The vocals are layered without harmonies, making it sound simplistic - like it’s a group of random teenage girls with middling vocal talent singing together at an 80’s slumber party. And I hated the cover of Under the Boardwalk.

Ah, yes. Music of the late aughts. The reverb is strong with this one. I think I’d enjoy this more if I was on a beach somewhere versus at work. There are some definite Beach Boys-esque layering of harmonies, which was nice. And the echo gives it a bit of a “soaring” feeling. But sitting in my office, it felt a bit cacophonous at times, with no standout melodies. I wish I could give 2.5. But since I can’t…

Not bad, per se, but a total snooze.

Walk on the Wild Side is such a great song, but incredibly (embarrassingly) dated. The rest of the album was forgettable.

I do not understand the appeal of this music. I was skeptical going in, and with the few bars thought, “Huh. Maybe this will surprise me!” But just a few moments later, my hopes were dashed. I just can’t stomach this type of country music: twangy, and somehow simultaneously boring and annoying.

Liked the hits but could do without the rest.

This is not my favorite era of the Eagles, if indeed I have one.

“Breathe” still kicks ass. “Firestarter” and “Smack My Bitch Up” also continue to hold up fairly well. However, this is yet another example of a steep drop off beyond the album’s hits.

A little too country for my tastes.

I was tempted to give this one 1 star, but I gave it a second listen and bumped it to a 2. It’s not as unpleasant as I initially thought it was, but it’s not particularly interesting or exciting either.

Ugh. It was a struggle to get through this one.

It’s bittersweet to think about how MJ was essentially launching his adult career with this album. There was so much promise, and the disco vibe here eventually made way for even more innovative music. He seemed (and looked) so “normal” in this moment. But at this point, it’s hard to separate the music from the person we later learned him to be. But giving it my best to be objective in that regard, I give this 4.