I love this kind of thing—psychedelic, bizarre, folky, funny. I enjoyed their use of unconventional song structure and ethno-folk traditions (really working the WEFT in there before it was chic). Some of the material ran on for too long or felt rather made up on the spot, but as far as creating something unique and experimental, and evidently influential, it earns the 4 stars.

I am devastated—DEVASTATED I TELL YOU—that I got all three CCR albums within a week of each other. I love CCR and would have rather spread them out to be a little tasty treat for my ears. This is my favorite of the three CCR albums on the list—some certified classics and also features CCR really experimenting with their sound on a few tracks. I do find “I Heard It Through The Grapevine” unnecessarily long and CCR has always excelled at creating great singles rather than cohesive albums, so this one still earns 4/5 stars. Nonetheless, they really were a one of a kind group that wrote some of the greatest songs in the rock and roll canon. Also, let’s pour one out for “Willy and the Poor Boys,” which easily could have been on this list and features my favorite CCR song (“Fortunate Son”).

It’s interesting how old white people praise Johnny Cash, who sang countless songs about killing people. And praise Bob Dylan for his political lyrics. And love bands like Aerosmith who wrote all these songs about sex. And then they’ll decry how violent, sexual, and subversive rap artists like NWA are. Is it racism? Yeah. I think so. This album is electric. So much energy, so lively. The beats are funky and fun. The mix is exciting. These songs are inherently political. “Fuck tha Police” is just as relevant today as ever. And “Express Yourself” is a call to action for rappers (and to the tone deaf media), proclaiming the importance of freedom of expression—ironically avoiding profanity while criticizing rappers for avoiding profanity to end up on the radio. It feels like they’re creating a “sleeper cell” to infiltrate the radio and bring people to their album. Brilliant. Has some of it not aged well? Yeah, but neither have a lot of the greatest pieces of art. What an album. There’s a reason NWA changed the game.

Remember that YouTube video of the shirtless teenage boy saying “Hey baby girl, it’s okay baby, I love you more than there are grains of sand on all the beaches…?” This is the auditory equivalent of that. This album sounds like 2002, in a bad way. “Cry Me A River” is a good track, and the album is well produced, but the whole thing oozes with this awkward, performative “sexiness” that is hard to take seriously.

I looked at the album cover and thought, “I’m gonna hate this.” But someone once told me “Don’t judge a book by its cover,” and I’m a good boy. So I went in with an open mind. I hated this. The drums were erratic, the vocals were insane, the bass was exhausting, the guitar was whiny, the mix was terrible. It sounds like someone had just shot a gun in the studio, fucking up the mics, the mood, and everyone’s hearing. This is my introduction to Nick Cave. I’m worried about his other 5 (!) albums on the list, but hopefully they benefit from being a different project.

There is something about the whimsy of this album that’s so appealing—the collage of styles, at times humorous, at times dark, at times poppy, at times heavy. Compressed drums loops, dirty guitar strings, dub basses. Yet, when I compare it to Demon Days, this album feels like it contains less songwriting—more like “idea-splattering.” Nonetheless, it is certainly fun and listenable, but feels more like a premonition of what was to come than anything.

Wow, on just the first track, the aptly named “Folsom Prison Blues,” the energy is palpable and unmatched on any other live track I’ve ever heard! To think these prisoners got this experience, how they must have felt! The little aside in “Dark As the Dungeon,” when someone swears in the audience is so endearing—it just sounds fun and shows Cash as the consummate performer he was! The cheering at references to murder, drug use, and violence might seem morbid—I see it more that these prisoners were feeling represented in a way they rarely felt in media. After all, isn’t that what we all want? Cash was in a sense “one of them!” And the occasional announcements for prisoners to go to the counselor, the booing at the introduction of the warden, the instructions to the prisoners on how to exit the space, the hollers and chatter in between songs—it’s an album like no other! I’ve never been particularly keen on modern country, but this early country that feels more born out of folk and Americana is much more appealing to me. The story telling, the simple production, and Johnny’s gruff baritone are intoxicating. Amazing album, so glad to listen to it!

This is the first album to come up for me that I was already intimately familiar with. In fact, there was a time where I considered this my favorite Led Zeppelin album (although that was mostly because the acoustic tracks were a revelation for me and my gateway into folk-rock). On my first close-listen in probably a decade, a few things struck me: first, that the album is much more bluesy than I remembered it. In fact, though the acoustic tracks are notable, it’s not as many as I remembered. Secondly, it’s not a particularly consistent album. I’ve never been crazy about tracks 2, 3, and 4 which is a shockingly rough first half of an album, considering that it opens with the all-timer, “Immigrant Song.” “Gallows Pole” is one of the greatest tracks Zeppelin ever recorded, and one of their most underrated.

“Runnin’ with the Devil” is one of the all-time best introductions to a band—the thumping bass, Eddie Van Halen’s distinctive sound, and David Lee Roth’s screlting all grab you by the face. They follow it up with “Eruption,” which instantly cemented Eddie as a force to be reckoned with. And at under two minutes, the song somehow manages to avoid seeming overindulgent. Track three: their cover of “You Really Got Me,” by the Kinks. Another hallmark of Van Halen that I’ve always loved is their ability to make a cover song their own. And so, in just the first three tracks of their debut album, Van Halen expertly announces their intention as a band. But what made me decide to ultimately give this album 5 stars wasn’t from any of these songs. Rather, it was the doo-woo section on the lesser-known fifth track “I’m the One,” that did that. With it, Van Halen showed their willingness to step out of their genre, to have fun, to be referential, and to do it all while being unmistakably themselves.

A long-time favorite of mine—Joni at her best. Some bops, some ballads, beautiful lyrics, beautiful melodies, full of melancholy and twisted love. Track picks: “All I Want,” “River,” “Carey,” “California” Favorite lyric: Just before our love got lost you said/ "I am as constant as a northern star"/ And I said, "Constantly in the darkness/ Where's that at?/ If you want me I'll be in the bar" -“Case of You”

The guitar tone on “That Lady” is amazing. I could do without the extended solo that lasts for minutes without saying anything new, although I suppose if I were playing it, I too would want to live in that fuzz. Learning that this was recorded in the same studio and at the same time as Stevie Wonder’s Innervisions, I must say I prefer Stevie’s brand of soul to this—though I’ll admit I’m no expert on soul. The cover songs are interesting, but none are improvements on the originals. Overall, I find the album to be fine, but nothing is particularly exciting or memorable to me. And Ronald Isley sounds like if Bon Scott joined a soul band instead of AC/DC. Top Tracks: “That Lady, Part 1” and “If You Were There” I give a 3 to 3 + 3.

Another album I already know! I’ve always thought of this album as being sort of an onomatopoeia: it sounds exactly like what a band named Air would write. The breathy vocals, the buoyant synths, the gentle arrangements. “Kelly Watch The Stars” was my introduction to Air, and remains my favorite song of theirs. “Sexy Boy” is also a bang up track. Overall, a great album, but Air will only ever be my second favorite French electronic music duo from the 90s.

I just don’t like modern R&B very much. I’m not even sure just what it is, maybe the way the production swivels and the vocals slowness of the vocals. I think I will probably struggle to rate R&B albums fairly, but I’ll try. It’s music that feels sexy, but I don’t know how to listen to it when I’m just existing unsexily, which is my natural state. I don’t really feel like she’s saying anything interesting or original with these songs, even if it’s very competently performed and produced. I feel like it’s unfair to give it 2/5 given my own struggles with this genre, but I can’t rank it with some albums I actually like that I gave a 3 to.

I like it. It’s a little weird, a little silly, and an eclectic mishmash of styles. I also like the album cover. It made me want to listen to more of their music—which is a compliment to the album as it is. I’ve started listening to their second album and I think it’s clearly superior—I’m finding that the 1001 Albums seem to overvalue debuts. I must also admit that I’m surprised that this album made the cut and I’d be curious to know the reasoning. In any case, this is a solid album that was fun and surprising and left me wanting more. That earns a solid 4 stars.

If the album were tracks 3 through 10, this may have been the most consistent album Led Zeppelin ever released. I’ve never been crazy about the few songs bookending the album, although there’s nothing bad about them. But the great songs are among Led Zeppelin’s best: “In The Light,” “Kashmir,” “Ten Years Gone,” to name a few! I’m giving it 5 stars—though I’d probably go closer to 4.5 if I could. Nonetheless, while it isn’t a perfect album, it’s so eclectic and creative and its best songs are so good that they elevate the whole release.

Simply put, some of the finest song writing and performances ever given by four members of The Who. The album is bookended with two of their greatest tracks ever, “Baba O’Riley” and “Won’t Get Fooled Again.” But unlike other albums with a similar structure (*cough* Toto IV *cough*), the seven songs between all range from good to excellent. In particular, “Bargain,” and “Behind Blue Eyes,” are also stellar tracks. Each member gets their moments to show off. This album just feels big. And it sports their best album cover as well!

Bad Company is what ChatGPT would sound like if you asked it to compose “Dad Rock.” Devoid of imagination, plodding, lame. Too soft to go hard, too hard to be soft. The auditory equivalent of a “half chub.” Bad Company is the Imagine Dragons of 70’s Rock. Granted, if they were the entertainment in a bar that only serves Bud Lite, I’d think they sound pretty good, given that this is clearly their hobby. Everything they do well, a hundred artists do better. This album has no business being a “must hear.”

One of my all-time favorite albums. An impressively robust and strong double album, with amazing song after amazing song! What I love about Stevie Wonder is the strength of his lyrics, music, and playing. He is at the top of each field. His music can be fun and bubbly, or dense and political. Harmonically complex without ever sacrificing catchiness. You turn on the album, and even within the first four tracks, you’re treated to a bevy of styles and ideas, all excellent. And that’s before you even reach the hits! Like, there’s not a single song on this album I would cut, and that is exceedingly rare for double albums! It puts to shame other albums to which I gave 5/5 stars. Track Picks: “Sir Duke,” “I Wish,” “Ebony Eyes.”

A rare perfect album. Every song deserves its place on this album, eloquently showcasing everything that makes Queen so exceptional. Each meme we of the band gets to showcase their skills as both musicians and songwriters. The album is packed to the brim with hits. The whole package feels so innovative and revolutionary to this day. And it spans such a range of genres, but every track is still so unmistakably Queen. Track picks: “Bohemian Rhapsody,” “You’re My Best Friends,” “39,” “The Prophet’s Song”

Gangsta rap is a bit of a blind spot for me, so I have little to compare this to. I will say that I generally wasn’t impressed with 50 Cent’s lyrics or rapping—it wasn’t bad, but just kind of boring. In fact, my ears perked up and I got excited for the first time when Eminem showed up in “Patiently Waiting.” HIS parts were exciting, deep, and interesting. And then it goes back to 50 Cent and I start yawning again. Not great to be outshined on your own album… “In da Club” is fun and has a great beat (and is one of the few tracks on the album I had any familiarity with). I will acknowledge my own biases. I don’t really connect with these themes or this aesthetic, and I can respect that people who do probably really enjoy it. 50 Cent’s story is certainly compelling and the album is well produced. Track Picks: “Patiently Waiting,” “In da Club”

I went into this with low expectations given that it’s the lowest rated album of the list on this site. And then… I kind of liked it. Like, I don’t really want to listen to it again, but it was interesting. And imaginative. And transgressive. Then again, I was a composition student and I heard a lot of fucked up shit passed off as music back then, so maybe my tolerance for noise-music is high. It’s actually a lot more musical than I think some people are giving it credit for. It’s not just noise and it’s not just random. There is definitely some thought behind it all and it effectively makes the listener squirm. I’d rather be confused by this than bored by something else.

You know those videos called something like, “This is what English sounds like to non-English speakers?” Well, Prince’s 1999 feels like an album called, “This is what my favorite music sounds like to people who don’t like my favorite music.” I just struggle so much with Prince. On a superficial level, it sounds like music I’d like. But I don’t like it. I don’t like the over reliance on square synths. I don’t like the guttural sound of his chest voice or the muppet-esque tone of his falsetto. I don’t like the grooves and I don’t like that every song lasts 3 minutes too long. And yet, each of these elements have similarities to music I DO like. The instruments are well played and the concepts are sometimes interesting. It’s very perplexing. I think ultimately, it comes down to one thing: I don’t think Prince is a good songwriter. Two stars because I don’t like it, but not one star because clearly other people like it, so I think it’s a me problem.

“All alone is all we are.” This album, while not being my favorite by Nirvana, is a haunting send-off for band—and more specifically, Kurt Cobain. It’s impossible to listen to it without the lens of Kurt’s suicide. The angst, loneliness, and frustration that pervaded their music comes through all the more-so on this record. There are some songs that I am not particularly fond of, but the great ones are some of Nirvana’s best. And while I find the song “Rape Me” to be difficult to listen to on pure subject-matter, its provocativeness was the point, and the message is clearly anti-rape. Overall, what I’ve always loved about Nirvana is that through all the noise and anger and aggression and screaming, Kurt really knew how to write a good song.

In the first 5 seconds, I was already bopping. That’s gotta be a record. There isn’t a lot of depth to these songs and that’s okay! It does exactly what it sets out to do: it makes you want to boogie!

“Some voices got treble, some voices got bass/ we got the kind of voices that are in your face.” The Beastie Boys are one of those rare bands that seem to be their own genre. Though they straddle the line between hip hop and punk, what’s true is that no one else sounds like the Beastie Boys. At least not without sounding like they’re “doing” the Beastie Boys. The production is sparse, leaving plenty of room for their particular brand of rap. And they really sound like the no-goodniks they claim they are. This album is immediate, goofy, defiant, and makes you want to smash a beer bottle over your head and rip your shirt off while howling at the moon.

GZA’s lyrics are interesting and varied. The through-line of scenes from “Shogun Assassin” certainly tied the album together, through I don’t know if I understood the reasoning behind its inclusion. Perhaps an unpopular opinion, but I didn’t love most of the beats—or at least, I grew tired of them quickly as so many of them were so repetitive. I think that is what ultimately kept me from enjoying the album more. But I do feel like perhaps I need more time with this one than a single day. I could see this album growing on me.

This has been my favorite “discovery” so far on this journey. I had never heard this album before and my only knowledge of Eels was in their song “ You’re My Friend,” which isn’t great (a popular) song. Though I was initially distracted by what seemed like alternating Kurt Cobain and Elliott Smith impressions, everything changed when I got to “My Beloved Monster.” “Holy shit!” I thought. “The Shrek song!” From then on, I listened with perked ears and ultimately, I went back and listened to it again twice through. The album fits squarely in alternative rock, not quite grunge but grunge-adjacent. The songs and lyrics are solid, but what tickled me the most were the whimsical production and orchestration choices. All in all, a great album that will enter my regular rotation. I do hate the album cover though. Just had to say it.

I like this better than GZA’s “Liquid Swords,” mostly because I prefer the beats on this one. Method Man has palpable energy and as dark as the album sounds, it also has some humor. The features from other members of Wu-Tang Clan elevate the album. I like Blue Raspberry’s vocals on the second half. I think prefer rap that has more hooks, but I understand that wasn’t really the thing to do at the time. It’s a fun album, but not without its flaws. I think I’d give it a 3.5, but given the criteria by which I’ve given albums 4s, I think I have to go with 3/5 for this.

So I love the melodic bass lines. That’s my aesthetic. In fact, what works best for me on this album is the Attractions, whose playing is fun, energetic, and sounds awesome together. I also love the Power Pop sensibilities of the album (that’s my other aesthetic). The only thing I struggle with is Elvis Costello himself. I’m not crazy about his singing, which sounds like he’s just been punched in the stomach. And a lot of the melodic choices are strange to me—sometimes discordant or vague. It means that few of the songs end up being catchy, despite the instrumentation leading me to believe otherwise. And so I’m of two minds with this album. I love the orchestrations and production, just not the songs or vocals, which are kind of the point? But I do think I’ll be returning to this album. It seems like it might grow on me, like I’m acquiring a taste for Elvis Costello.

I like elements of this album: the haunting atmosphere, the isolationism and anxiety in the lyrics, the noisiness of the production, and the power of the drums. But I always struggle to get past Ian Curtis’s voice—like someone straining to sing lower to do their best Jim Morrison impression. It’s not that he’s a bad singer, but their’s an uncertainty to his tuning and a vagueness to his melodies that I have trouble accepting. Nonetheless, I recognize that there is something special here and the album feels voyeuristic in a way that is morbidly appealing. And while I like some songs by Joy Division, they are mostly in their non-album singles, rather than off this record.

Well, it’s certainly listenable, if not particularly interesting. “Sex on Fire” is a great track and there are some other fun moments. But it also features some of the tendencies in Top 40 rock that tends to make my eyes roll (I’m looking at you, cliche “oh-woah-woahs” in “Use Somebody”). It’s like if Hootie and the Blowfish got Blues Traveler’s lead singer and decided to write songs specifically to be played in Guitar Hero clones. Serviceable, but uninspired.

I really enjoyed this one. Upbeat, fun, funny, immature in the most captivating way. The jazzy beats really set it apart from its contemporaries, and though there is some lyrical material that makes me bristle, there’s a wink behind a lot of it. I’m realizing that I tend to prefer artists who don’t take themselves too seriously, especially in genres like hip hop and metal where a certain badass machismo is often cultivated. The “badasses” always seem so goofy to my, like kids play-acting. There’s something much more authentic, relatable, and brave about an artist choosing to let their silly side show.

A tremendous album—at times angsty (“You Oughta Know”), wryly humorous (“Ironic”), and heartbreaking (“Mary Jane”). So many iconic tracks. A truly iconic albums of the nineties that really defines the sound of that era. It reminds me of a favorite album of mine from the 80s: Tracy Chapman’s debut album. This feels like the 90s equivalent, replacing the folky sensibilities for a post-grunge rock sound. It’s the gripping lyrics and unforgettable hooks. And though occasionally I can find Alanis Morissette’s vocals slightly grating, this is undeniably a stellar album.

I like Beck as an artist—I like that he’s always evolving and experimenting with sounds. I like that for this album, he came in with his acoustic guitar songs and worked with hip hop producers to create this genre-kaleidoscope of an album. Yet it always sounds like a Beck album, perhaps as it’s always paired with his Gen-X apathy. There’s something admirable about creating an album that is intentionally strange and jarring and still managing to make it a hit. “Computer Rock” is one of the most bizarre ways I’ve ever heard an album end. And yet, it works for this album (and probably wouldn’t for most others).

This is really not for me. I can recognize the considerable talent of the band members (except for maybe the vocalist), but the whole thing feels like a dick waggling contest between four men who are desperately cosplaying as masculine badasses. And the longer it went on, the more I cringed and the more I wanted it to stop. I’ve written about this before, but there is something I find so off putting about music that is trying to make you think that they are so hardcore. It feels so… dorky. Take, for example, the following lyrics from “Take No Prisoners”: “Got one chance, infiltrate them Get it right, terminate them The Panzers will, permeate them Break their pride, denigrate them.” These lyrics sound awesome if you’re in middle school. But I’m not in middle school. And neither are they.

This is the first album I’ve gotten that I didn’t have a strong opinion on, so it’s getting a 3/5 for neutrality. I’m not well acquainted with jazz, so I struggle to see the greatness of this record, but I think that is part of my limited scope on it. A lot of it sounds cliche, but that may be a result of being from 1963. It’s also all instrumental, and I have a better handle on sensing what good songwriting is than good instrumental writing. I will say that it sounds like good dinner party music. But should that be my criteria for what makes an album worthy of being on this list? I wish their were more information available about its impact or legacy, but sadly, I couldn’t find any. If I knew, I may be able to form some actual opinions.

There was a time in my life when I was really into Billy Joel—I enjoyed his songs on the radio and bought a couple of his albums. But over time, my interest in him waned. He somehow become too schmaltzy in my mind and perhaps just because I’d heard his songs so much, I lost interest. This was my first time listening to The Stranger in years, and it really is a great album. Track after track is a hit, and there are some standout moments—particularly for me, the piano solo 2/3s of the way through “Italian Restaurant.” I also have always loved the Satie-like intro to “The Stranger.” It’s hard to find any real faults with the album… And yet, I can’t bring myself to give it a 5/5. Perhaps because the songs are overplayed or I know them too well to be amazed—and those reasons wouldn’t really be his fault. But it think in the end, while it is undeniably a great album, it doesn’t transcend the way the other albums I’ve given 5/5 to do.

I’m not really a club-going guy, which I feel like is a detriment to listening to this album. In fact, I’ll argue that there’s probably no good way to listen to this album without being in a club. I was in a car driving to Maine for Thanksgiving. Here’s what ultimately leads me to a 2/5 rating. It’s not that the album is bad, but I zoned out to the extent that I was thinking about (and hearing in my head) other music! That feels like an indictment against this. And, when taking into consideration that this came out around the same time as Daft Punk and Air were making their (superior) debuts, I can’t help but feel that this album lacks imagination.

At its best, there is some really fine, if not surprisingly sweet songwriting on this album. At its worst, it feels like a bunch of teens in their garage practicing for the “Battle of the Bands.” I appreciate the immediacy and brevity of the album, the fun and energy, and the punk rock attitude. “I Wanna Be Your Boyfriend” kind of turned things around for me, and made me start to hear them differently. There’s a surprising power pop aesthetic to some of these songs that I wasn’t expecting. So despite the amateurish quality to much of their sound, I think to some extent, that’s the appeal. It’s fun, quick, and undemanding. And that can be a good thing.

I the album certainly has the mystique of Bowie’s death around it, and that does make it feel special. After all, it was (knowingly) his swan song. Yet, I can’t help but feel that this album would not have achieved its notoriety if not for Bowie’s death two days later. I’ve always appreciated that Bowie never seemed too bothered with what would be commercially viable. Yet at times, Black Star seems too strange to enjoy.

I thought this was wonderful! I don’t tend to love jazz, but this was funky, groovy, imaginative, and fun! The intro to “Watermelon Man” was so weird and engrossing. And the synth riff in the first track is such a bop. This is definitely one of the best discoveries of this project to me.

I really like this one—great songwriting, fun lyrics, well produced and conceived. At times, it reminds me of Squeeze (which is a good thing). I can definitely hear the Split Enz connection. This is definitely an album I’ll be coming back to—another happy discovery of this project!

I don’t know if there’s a single artist whose name more accurately sums them up than Rage Against The Machine. With every song, they reaffirm their moniker. The songs are deeply political and viscerally angry. I appreciate the guitar writing—the album is full of heavy riffs and interesting effects. The solo on “Killing in the Name” is amazing. Having said all that, I found the rap-metal a bit wearisome over the course of the album, just yearning for some sort of melody in the vocals. And it’s a bit more angry than I typically feel inclined to listen to. So while I cannot deny that it’s an excellent album, I also don’t want to listen to it again. As such, it earns a solid 4/5, taking into consideration my own preferences, although it would certainly be worthy of a 5/5 from reviewers more amenable to this style.

On the surface, it just seems like a fun synth-pop album that sounds like someone snorted crystallized 1980s and sat down at a keyboard. But when you see that it was released in 1981, you realize that it wasn’t a distillation of the 80s—it was the catalyst! Though some of it sounds goofy by today’s standards, there’s a lot of bravery in an album as sparse, experimental, and synth-driven as this. For most of the album, every element is very plainly heard, nothing hiding behind lush production. And of course, it ends with the anthem “Don’t You Want Me,” an unforgettable and contagiously catchy song. Though it isn’t a perfect album, the “daring” behind it and its legacy earn it a 5/5.

Frank Zappa is an artist who I like more when I’m not listening to him. I like the idea of Frank Zappa. I like the idea of non-conformist, complex, satirical music and a lifetime of work dedicated to it. I like his willingness to be political and silly and impenetrable. Yet, I never really enjoy listening to his music very much. Now having said that, I like a lot of the sounds and music on this album, and I don’t mind noise or disparate elements in music. A lot of the lyrics are interesting and funny. Yet the album feels entirely like a parody, mocking psychedelic rock, and I’m left wondering, is there any joy in the music itself? Or is joy only present in the lampooning of this music? If the latter, I find it difficult to enjoy the album as anything more than a joke.

I love a debut that acts as a thesis statement for an artist, and this album is one of the best examples of that. The whole concept of “De-Evolution” is both silly and satirical and they take it through each track. And in addition to the noise and weirdness, there are also some solid songs on here.

I love the gritty, raw, imperfect sounds of CCR. I love John Fogerty’s gruff voice, I love the loose snare sound, I love the guitar tone they use. And not only that, but there are some great songs on this album, in particular “Proud Mary,” which may be one of the greatest songs ever written. Though I don’t view this as one of CCR’s best albums, it is still an excellent entry in their impressive catalogue.

Here’s the thing—I find much of this album rather boring, Frampton’s voice rather limited, and the choice to fade in and out tracks questionable on a live album. Yet, Frampton’s guitar solos are skilled and the use of the talk box is fun. It also does boast a couple bonafide classic track. I’ve vacillated between giving this album 2 or 3 stars, and I think I must give it 3 (thinking of it more as a 2.5 rounded up). I don’t intend to listen to it again, but I certainly wouldn’t turn off the radio just because they were playing one of these songs.

I’ve always found it strange that REM achieved the massive success they did given their sound and the era they got big during—I’m not complaining! I love REM. But there is something to their sound that sounds so particular and niche for them to have become one of the biggest bands of the 80s/90s. I’m more familiar with their next three albums, (“Green,” “Out of Time,” and “Automatic for the People”), so this one feels more novel to me. Of course, the big hits (“…End of the World” and “The One I Love”) are genuine classics. I enjoyed most of the other songs too (although tracks 5 & 9 got slightly irritating) and I appreciate this earlier sound for the band. Side note- amazing that their fifth album is still an “early” album for them.

My only disappointment is that this site generated this album only three days after I got “Bayou Country.” I would have loved to spread my CCR experience out a bit—they’re like comfort food music to me. Many of my general statements from Bayou Country still apply here, but I’ll add that I think “Green River” is overall a stronger album. The title track is great, as are “Bad Moon Rising,” “Lodi,” and “Wrote A Song For Everyone.” And no bad tracks either!

I suppose if you were a MBV fan and waited 20+ years for a follow-up to their best work, hearing this album would feel gratifying. To me, it felt as though they are a one-trick-pony. Having said that, they do the trick well, and there are some tracks I will listen to again. But overall, I find them too sound mostly like pointy background music. And frankly, I hated the airplane experience of the last track.

I like it. Reminds me of “Latin” by Holy Fuck, but precedes it by 20 years. I wasn’t totally sold at first, but as it went on, I was impressed by the number of ideas and textures they conjured up. After the first 20 minute track, I was expecting the rest of the album to have a similar sound, but the second track really surprised me by how big it sounded. I wasn’t familiar with the term “post-rock” ahead of this listen, but I like the idea of it. Focusing on timbre, texture, and minimalism—I definitely hear the Steve Reich influence, and about 11 minutes into “Djed” reminded me of Terry Riley’s “In C.”

A fun, early hip hop album that is proudly black and African. Though a lot of the rhymes and flow seem basic by today’s standards, the themes and social consciousness of the album stand out. A lot of the beats are fun and funky, though I feel that a lot of the melodic parts of the album seem to be in tonal conflict, which maybe was a choice, but doesn’t sound great to my ears. I’d probably give it a 3.5/5, but I’ll round up given this album’s significance and acknowledging the “Seinfeld Isn’t Funny” trope that may be coming into play here. Top tracks: “Doin’ Our Own Dang,” “Acknowledge Your Own History”

I am devastated—DEVASTATED I TELL YOU—that I got all three CCR albums within a week of each other. I love CCR and would have rather spread them out to be a little tasty treat for my ears. This is my favorite of the three CCR albums on the list—some certified classics and also features CCR really experimenting with their sound on a few tracks. I do find “I Heard It Through The Grapevine” unnecessarily long and CCR has always excelled at creating great singles rather than cohesive albums, so this one still earns 4/5 stars. Nonetheless, they really were a one of a kind group that wrote some of the greatest songs in the rock and roll canon. Also, let’s pour one out for “Willy and the Poor Boys,” which easily could have been on this list and features my favorite CCR song (“Fortunate Son”).

This fuckwad appropriated hip hop and trailer trash in one album. No person is better at using great samples so terribly. I’ll never forgive him for telling me to put his balls in my mouth. Also, IT’S FUCKING AN HOUR AND A QUARTER! What the fuck!? I hate this album nearly as much as I hate Kid Rock, and nothing makes me happier than giving him 1 star.

Initial listen: I liked it, but wasn’t blown away. In fact, on Motorcade, I was almost distracted by how it sounded like Midnight Oil (who I feel are glaringly omitted on this list). But taking into consideration the year of its release and the artists Magazine influenced—including Radiohead and The Smiths—I started to listen to the album with different ears. In fact, it predates “London Calling,” “10-1,” and “Drums and Wires.” A lot of the sounds that initially seemed derivative were actually quite the opposite: they were foundational! And given that it was founded by Howard Devoto of seminal punk group Buzzcocks, it seems quite likely that this album is responsible for Post-Punk existing at all! I gave the album a second listen, and it’s actually so well done—interesting melodic ideas, some polytonal guitar solos, creative instrumentation choices.

Instant 5 stars for me! I’ve loved this album for a long time. Pure power pop! Fun, energetic, and timeless. And nobody knows how to write a catchy synth riff better than The Cars. Even the experimental songs that on the surface seem rather gimmicky— “Moving in Stereo” and “I’m in Touch With Your World”—are still memorable and catchy! And with “Good Times Roll,” “My Best Friend’s Girl,” and “Just What I Needed” being the first three tracks of the album, it’s an unbelievably strong start to an album. And it doesn’t stop there! All the tracks are classics. Damn. I love the Cars.

Of all the amazing artists and albums not represented on the list, I can’t for the life of me understand why this was included. Bland, boring, awkward, and sonically dated. It’s not offensive to my ears, just lame. It’s like if you took Ed Sheeran and subtracted from him until all that remained were the things that make him uninteresting.

I gave the album two listens because I realized after the first that I didn’t give Dylan’s lyrics the attention they deserve. After all, though Bob Dylan is a singer, guitarist, and harmonica player, he’s fairly mediocre at all three—what makes him great is his songwriting. His lyrics are witty, poetic, at times humorous and political. His simple and effective. The album is so stripped down, it’s rather difficult to rate it on the same merits I’ve rated other albums. When I think of other albums from the early 60s, I think there’s a maturity to Dylan’s lyrics that are beyond his years. I think it’s an excellent collection of songs, but I wonder whether I’ll ever feel that an album of his can be a 5/5.

Surprised to read the negative reviews! I love these songs—fun, high energy power pop. “I Want You To Want Me,” “Ain’t That A Shame,” and “Surrender” are all classics, and the enthusiasm of the crowd is incredible. The quality of the recording is lacking, but it makes up for it in the energy of the crowd.

Loved the first track, “Peaches in Regalia!” I struggled to connect to “We’re Only In It For The Money” with the Mothers of Invention, so I was a bit wary of this record before hitting play. But that first track put me at ease—it was inventive, exciting, and rocking. Zappa really shows off his guitar skills on this album, which is exciting to hear!

This is an album I definitely will come back to. The production was really exciting, and the use of brass, strings, and a gospel choir were captivating. I had no expectations going into it, but coming out, I am certainly impressed. This is probably my favorite album I’ve heard in the “shoegaze” genre. My only complaint is that I could have done without the 17 minute long closing track—I already felt that the track preceding it was a triumphant end to the record and this one was kind of down tempo, sprawling, and droll.

I’m trying. I’m really trying to appreciate metal. But when I listen to it, I don’t feel any excitement or interest, I just tend hear hyper-masculine posturing. There’s something weirdly empty or sparing about this album. Like, it all sounds too samey. Everyone is good at their instruments I guess. But I don’t really like it. I do appreciate the political nature of the lyrics on this album, rather than the typical metal imagery that I find so dorky. So they get some bonus points for that.

I really liked this album. Funky, political, well performed, fun orchestrations. I’m also impressed that it was a soundtrack! Few film soundtracks feel so cohesive as an album, even when they’re recorded by one artist! This will definitely enter my rotation!

I had no idea New Order was an offshoot of Joy Division! Mind blown. Such a different direction they went in, especially on this album. I knew the opening track “Love Vigilantes,” but nothing else. I love this kind of new wave synth pop stuff, although at times it might sound too stereotypically 80s to hold the same weight it did back when it was new. A solid, if not perfect album.

I was in a turbulent airplane when I listened, and as Pitchfork suggested about this album, it was indeed nauseating. While some of the sounds and ideas were interesting, I simply can’t say I liked it—and I struggle to imagine anyone choosing to listen to this except to induce vomiting. P.S. — I highly advise against listening to the track “Dead on Arrival” while your airplane is bumping about through a storm. P.P.S. — Also, the child’s voice on “Hometime” is a jump scare. Which is weird, because they honestly seem like a nice kid. P.P.P.S. — I liked track 9, “AB/7A.” So that’s nice.

It’s interesting how old white people praise Johnny Cash, who sang countless songs about killing people. And praise Bob Dylan for his political lyrics. And love bands like Aerosmith who wrote all these songs about sex. And then they’ll decry how violent, sexual, and subversive rap artists like NWA are. Is it racism? Yeah. I think so. This album is electric. So much energy, so lively. The beats are funky and fun. The mix is exciting. These songs are inherently political. “Fuck tha Police” is just as relevant today as ever. And “Express Yourself” is a call to action for rappers (and to the tone deaf media), proclaiming the importance of freedom of expression—ironically avoiding profanity while criticizing rappers for avoiding profanity to end up on the radio. It feels like they’re creating a “sleeper cell” to infiltrate the radio and bring people to their album. Brilliant. Has some of it not aged well? Yeah, but neither have a lot of the greatest pieces of art. What an album. There’s a reason NWA changed the game.

I really enjoyed it on my first listen, and on my second listen, I found my appreciation for the album growing. The interplay between the drums, bass, guitar, and vocals is so esoteric and interesting throughout—there’s a counterpoint to everything that I think is actually fairly rare to hear in pop music like this. While I do find Sting’s “Jamaican accent” a tad cringey, he is a charismatic vocalist who complements the music perfectly. Of course, a lot attention is (deservedly) given to Sting—whose melodic basslines are often the highlight of a song, as in “Walking on the Moon”—but this doesn’t give enough credit to Stewart Copeland and Andy Summers, who are incredible musicians just as crucial to the success and sound of The Police. In fact, Copeland’s drums are the star of this album. So erratic yet controlled, the fills are perfectly placed, and his tom work is so tight and exciting. I was expecting myself to like this album, but I wasn’t anticipating giving it a 5/5 rating! This will definitely be revisited many times over.

I like the sound of a lot this music—feels at times akin to Joy Division, Midnight Oil, The Smiths. It’s a solid album, but I don’t know if it’s great. I think it comes down to the vocals in the end—they don’t feel quite as strong as the rest of the arrangements, melodically or tonally. Monkeys, Crocodiles, and Do It Clean were probably my favorite tracks.

A fun album full of music that makes you want to dance. To me, Chic’s power lies in Bernard Edwards’ incredibly groovy and catchy bass lines. Though I’m not apt to bump disco in my normal life, they certainly were masters of the genre.

Phil Spector is one of the most complicated artists for me in terms of “separate art from the artist.” An abusive, exploitative, murderous man who is also in some part responsible for the sound of all popular music since the 60s. An incredible innovator for sound who touched so many iconic albums. The benefit of an album like“Let it Be” is that you can kind of “forget” about his involvement. Not so with an album that has his name in its title. He haunts this album full of cheery Christmas classics! And even as the album goes on and you’ve nearly forgotten about him, he decides to show up like a dick and mansplain the record to you on the final track. Ugh. So many of these songs are so endlessly nostalgic, and it’s easy to not realize that many of the song arrangements that are so familiar originated from this album. Some of the sound has aged poorly, but it was revolutionary stuff in its time. The Darlene love tracks are the best—and especially “Christmas (Baby Please Come Home),” which is one of the greatest Christmas records of all time.

Such a fun album with a unique sound! Yes, it’s punk, but there’s actually some really interesting rockabilly in there too. The hooks are catchy, the lyrics are enigmatic, the guitar riffs are rocking. It’s a punk rock collection of love songs. But it’s the vague harmonizing and shout-sung vocals from Exene Cervenka and John Doe that really makes the album sparkle. I’ll definitely be coming back to this album—one of my favorite discoveries from this project!

I just wasn’t really feeling excited to listen to this album—Steely Dan, like Billy Joel, is one of those artists who are undeniably excellent at what they do, and yet tend to veer into a sort of accidental self-parody that I find off-putting. So I hit play and was surprised! “Bodhisattva” was a standout, high energy, and virtuosically performed opening track that felt like Steely Dan but seemed to avoid their worst tendencies. And then we got to track 2, “Razor Boy,” and we were in full Steely Dan mode. Which, again, isn’t bad, but is something that I struggle to get excited about for some reason. I suppose given that this was their second album and first where Donald Fagen had control, this album set their template, and that’s worth something. Side note—I had no idea Super Furry Animal’s “The Man Don’t Give A Fuck,” sampled a line of “Show Biz Kids,” so that was a fun discovery. When a good song spawns an even better song, I see that as a win!

When this popped up on my home page, my first thought was “Ugh.” The ugly cover, the stupid font choice, the cringey band name. My expectations were low. I judged the album by the cover. Shame on me. The very beginning of the album seems to confirm my suspicions, but about halfway through track one, something shifted. Starting with the second track, I realized I liked what I was listening to. It has a heavy sound, and the vocals are rasping and intense—but the brass and strings are an interesting element that works quite well with the overall sound they were going for. There are some really exciting backing vocals, and the album is full of clever musical ideas. It’s an album that doesn’t want to be put in a box, and it succeeds at that. Top tracks: “Born in ‘69,” “Young Livers”

This is the album that taught me that “ugly” sounds can be beautiful. At times, the album is so noisy, or David Byrne is just making weird sounds with his voice—and it’s still so excellent. There’s also the unapologetic weirdness of this album, which was so exciting and refreshing to me in high school. And all throughout, the album just moves! Talking Heads somehow manages to stay silly while being groovy and danceable. So many classic tracks: “Cities,” “Air,” “Animals,” “Memories Can’t Wait,” and “Heaven” are all favorites of mine. “I Zimbra” is one of the greatest opening tracks of all time, and “Life During Wartime” is iconic. And this album marks an important shift in their sound that culminates in my favorite album of theirs, Remain in Light. It simply is a 5/5 album, and it’s only my third favorite Talking Heads album. They’re just the best.

I’ve never been crazy about Springsteen. I think this is a good era for his sound (even if I don’t find it particularly groundbreaking or exciting). Where I think he shines is in his evocative lyricism and storytelling. Yet unlike Bob Dylan, who allows his subpar singing to be front and center as a showcase of his lyricism, I feel that Springsteen’s voice often seems to hide behind the other instruments/reverb/production in a way that makes his lyrics less transparent. And at a certain point, I got sick of every song starting quieter and then moving into grandiose rock & roll. Is it a great album? Sure. But I do think it’s overrated, and perhaps unjustly, I’m punishing it for that. I do concede that “Born to Run” is an excellent song.

I looked at the album cover and thought, “I’m gonna hate this.” But someone once told me “Don’t judge a book by its cover,” and I’m a good boy. So I went in with an open mind. I hated this. The drums were erratic, the vocals were insane, the bass was exhausting, the guitar was whiny, the mix was terrible. It sounds like someone had just shot a gun in the studio, fucking up the mics, the mood, and everyone’s hearing. This is my introduction to Nick Cave. I’m worried about his other 5 (!) albums on the list, but hopefully they benefit from being a different project.

This is, without a doubt, one of the few perfect albums that exist. Every track is great (even “Speak to Me,” which is just a minute of sound effects), with a few certified bangers. The lyrics are poetic but specific and meaningful. The album flows so elegantly, making it the fastest 45 minutes of music that exists. The album is actually fairly sparing in production and yet sounds so enormous and beautiful, a testament to the brilliant performances and engineering. In fact, this is likely what makes it the most beloved prog rock album—it doesn’t veer into excess or pretension. A long time favorite, there simply is no album I would rather have to ring in the new year. One of only two albums I’ve gotten so far that deserve a ranking higher than 5/5 (the other being “Songs in the Key of Life”).

Wow, I did not know Nina Simone well, but she is such a dynamic performer. “Four Women” captivated me and I immediately listened back to it. The way she changes her inflection and timbre throughout the song is so interesting. She knows how to shift her voice from beautiful to ugly in such an effective way. The way she sings about blackness (only 100 years after the Civil War and two years before MLK’s murder) is inspiring. My only gripes with the album are that the choices to fade some songs in what felt like the middle seemed clumsy and the album doesn’t feel particularly cohesive. But the album was made up of “leftover” tracks, so I forgive both points. I am truly impressed by Nina Simone’s performance and writing.

Okay, so I liked this better than Crocodiles, but not enough to give it a 4/5. “The Cutter” is an awesome track, but most of the rest were simply fine. I also liked the breakdown in “Heads Will Roll.” I think what I struggle with is that I feel like there are a lot of stylistic similarities between them and Midnight Oil, a band who I think is better and unjustly omitted from this list. It’s not that Echo & The Bunnymen don’t deserve a place on this list—but I don’t think they deserve three places, especially when so many other great bands are not present.

I liked this better than I thought I would. Though I’m not crazy about the guttural screaming or overall ethos, there’s actually some solid songwriting behind these tracks and the more melodic vocal parts are actually quite listenable. This is never going to be something I listen to with any intention after this point, but I prefer it to Megadeth or Anthrax. Somehow, I think they avoid some of the dorky faux-machismo that tends to turn me off from metal—it just feels very dark. Top tracks: “Vendetta,” “Psychosocial”

I’m not a huge fan of The Rolling Stones —it’s probably one of my greatest sins. Having said that, “Gimme Shelter” is one of the greatest rock tracks ever recorded. The rest of this album varies from good to annoying, with some stage mixing choices throughout. Mick Jagger performs like he thinks he is a good singer, and that confidence has done a lot for him. But the best vocal performance on the album comes from Merry Clayton—and then, strangely, Keith Richards on “You Got The Silver.” The album closes with “You Can’t Always Get What You Want,” which is another classic track, though it doesn’t transcend as well as the opening song. Not a bad album, but The Stones just aren’t my cup of tea.

Some artists write good music. Some write challenging music. David Bowie is one of the rare few who can do both simultaneously. I didn’t know this album at all, nor did I know any of the songs. But this is classic Bowie—idiosyncratic, catchy, steeped in pop tradition but experimental with melody and harmony, demanding your attention. The piano solo on the title track blew my mind. I thought this was great!

I’m frustrated about this album. I disagree with other posters—I think there are some live albums that absolutely deserve to be on this list: Johnny Cash’s “At Folsom Prison,” or Nirvana’s “MTV Unplugged” for two. I don’t think “Live at Leeds” is one of them. I first got into The Who in seventh grade, primarily through “Tommy,” “Who’s Next,” and a greatest hits album. So for my birthday, my stepfather gave me a copy of “Live At Leeds.” I remember eagerly placing it in my boombox and being so disappointed. In fact, this album turned me off Live albums as a whole for a while. It’s not that The Who do a bad job—they play well (Keith Moon in particular shines). But I don’t think the album captures the excitement of a live performance well, and so we just end up with worse sounding rehashes of songs that we already know. The blues covers are interesting, but not worth the price of admission. Listening to it again, it’s not a bad album, but it just shouldn’t be on this list. I don’t really understand why it’s considered one of the greatest live albums of all time (except for the fact that The Who is one of the greatest bands of all time). And with 4 other albums on this list, it’s not like they’re poorly represented. And there are so many versions with different track lists, I have no idea which one is on this list. And the banter isn’t even particularly interesting. I’m frustrated! A part of me wants to give it a 2, but if I’m being realistic, a 2 would be unfairly punishing this album for the anguish it caused me at 13 (also, I can’t bear to do that to The Who). But I can’t justify higher than a 3.

I enjoyed this album—I liked the skits (I thought they were fun, but then again, I’m a teacher, so it was kind of up my alley), I thought her synthesis of hip hop and soul was well executed, and I liked the woman-focused perspective. Just based off of listening experience alone, I would have given it 4/5 stars. The reason it’s getting 5/5 is that after reading about its legacy, you cannot deny the profundity of its impact. So many amazing artists have cited it as an influence, she uplifted women through rap, she introduced vulnerability to hip hop. The album earns that extra star off of its sheer importance—it really seems to have been a pioneering record.

This album is such a mood. While I enjoy Beck’s more eclectic, lively, energetic albums (Odelay, Colors), the melancholy that pervades this album feels so distinct. Featuring some of his best songs—“Lost Cause,” “Guess I’m Doing Fine,” “Lonesome Tears”—the album is lush, beautiful, and heartbreaking. It’s one that I can have on in the background or can listen to intently and enjoy equally. Great lyrical and melodic writing throughout. If I have any criticism, it’s that the album is so consistent, the songs veer into the territory of all sounding the same. Nonetheless, I love this album and think it deserves the 5 stars.

While I don’t think this is one of Radiohead’s greatest albums, I do think it is another great one for their catalogue. Somehow, I’ve never been as drawn to it as their other classics (“The Bends” through “In Rainbows”), so it was mostly unfamiliar to me. I appreciate that it feels like a marriage between the disparate styles of “OK Computer” and “Kid A,” marrying guitar rock with electronic instrumentation. The album has some fun musical explorations and always sounds undeniably like Radiohead. I find it amazing how “prog-y” they sound given how critically and commercially successful they’ve been. Even though I would probably consider this my least favorite of their entries on the list (maybe “Amnesiac” gets that honor), Radiohead is just really good at making music. A solid 4/5!

I’m a bit on the fence with this one. I liked it, and while listening, I was impressed by a lot of the songwriting choices and guitar work. Yet when it ended, I found myself struggling to remember any of it. As soon as I hit play again, I was enjoying it though. Having read about it, its impact and story, it definitely makes the album feel more significant than I would have initially imagined. I do like the glam-Britpop sound, and the last track was pretty epic. Also, I hate when people throw around the word “pretentious” with music. It’s a strange criticism for being ambitious.

One of my all-time favorite albums, (and an all-time favorite for the world). Instant 5 stars, I probably didn’t even need to listen to it again—I’ve heard it so many times that I can practically hear the whole thing in my mind. Nonetheless, I relished the opportunity for another listen. There’s nothing I can say that hasn’t been said about this remarkable album, so I’ll end with this: there is probably no greater collection of songs that exists—every track is top notch, even my least favorite. A perfect record, and the third I would give 6/5 to if I could—the others being “Songs in the Key of Life” and “Dark Side of the Moon.” (How do I pick just one song for my playlist?)

I like the title track, which opens the album in a high energy, exciting fashion. But as the album continues, I find little that is new or interesting. I’m not crazy about country music, and this album in particular has a bit too much hokeyness for my taste. But it has its moments.

I adore ELO and consider “Mr Blue Sky” to be favorite song. So it should come as no surprise that I give Out of the Blue the full 5 stars. Sure, the lyrics are nothing to write home about, but they’re not really the point. Jeff Lynne is an absolute genius at crafting catchy melodies and sparkling maximalist production, and that is what this album is all about. So many classic tracks: “Turned to Stone,” “Wild West Hero,” “Sweet Talkin’ Woman,” “Jungle,” (I could go on). I love it. Chooka Chooka Hoo La Ley!

Remember that YouTube video of the shirtless teenage boy saying “Hey baby girl, it’s okay baby, I love you more than there are grains of sand on all the beaches…?” This is the auditory equivalent of that. This album sounds like 2002, in a bad way. “Cry Me A River” is a good track, and the album is well produced, but the whole thing oozes with this awkward, performative “sexiness” that is hard to take seriously.

I love this kind of thing—psychedelic, bizarre, folky, funny. I enjoyed their use of unconventional song structure and ethno-folk traditions (really working the WEFT in there before it was chic). Some of the material ran on for too long or felt rather made up on the spot, but as far as creating something unique and experimental, and evidently influential, it earns the 4 stars.

I just find The Rolling Stones so mediocre, and this album is no exception. Even its best song, “Sympathy for the Devil,” drags on way too long. I’ll never understand why they are so well regarded… to some degree, I feel like I’m missing out on something…

What happens when you take one of the old blues masters from the 50s, and place him in the late 70s—the era of distortion and hard rock. You get a hard rock-blues album, steeped in tradition but beating you over the head with its sheer power. The collaboration with Johnny Winter clearly payed off. Big props to Johnny Winter for understanding that to update the Muddy Waters sound, he needed to simply crank up the Blues. Muddy Waters was 64 when this album was released and despite his, sounds as badass as ever. The distorted hoops and hollers on “Manish Boy” are invigorating.

I love Blood, Sweat and Tears and I love this album. To me they get the rock part of jazz-rock better than just about anybody. Such tightness in the band, amazing musicianship in each instrumentalist, and David Clayton-Thomas’s gruff vocals are so powerful and earthy. And I think the melodic bass lines had a profound impact on me as a songwriter. The opening track was my introduction to Erik Satie, who I consider to be one of my all time favorite composers. “And When I Die” and “Spinning Wheel” are amazing songs that just go so hard. It’s not a perfect album, but it’s a damn good one!

I always feel guilty giving fewer than 4 stars an album that I enjoy and would add to my library. This is one of those times. I love this sound, the catchy Beatles-esque melodies, the clean cut, fun production. But it’s so sanitary, so safe, so… well, lame, really. The Monkees are complicated because in a way, they were the prototype for the ultra-commercialized corporate-type bands that would dominate the Billboard charts in years to come. Yet, they have a lot of nice songs. I think that’s the other thing though. Nice doesn’t mean great. In fact, a lot of the time, ugly is great. I think this album is good, but not amazing, and there was much more creatively notable music that sounds similar from this time—for one, “Begin” by The Millennium, which doesn’t appear on this list. And so, though I like this album, I can’t give it higher than a 3/5.

Months ago, I told someone that I didn’t really get Kate Bush. Maybe it was something about her songwriting, or voice, or… something? It was never clear to me. I liked her contributions to Peter Gabriel’s albums, but never really got into any of her singles. But I am changed. I am a new man. Because this album is brilliant. I think she’s an artist who can’t be considered off of her singles—she’s an album artist. The pop songs on the first half are the perfect counterbalance to the challenging, curious back half. And to learn that she not only sang and wrote these songs, but also produced the whole album? Very impressive. Anyway, if you need me, I’ll be over here wiping the egg off my face.

When I was 11, iTunes used to have these albums called “iTunes Originals” where artists would play a live set of music in the iTunes studio and offer some commentary on songs. At least, I think that’s how it worked. In any case, I remember browsing through the library and I was both frightened and mesmerized by the image for Bjork’s iTunes Originals photo. I pressed play and heard her whisper-speak in an ethereal voice “iTunes Originals,” and I got scared. Ever since then, that has been my association with Bjork. But today, I got “Life’s Too Good” by The Sugarcubes, and found myself enjoying it. Seemed like some sort of cross between the B-52s and The Cranberries, with a pinch of eeriness mixed in. I went to look up more information about the album, and find out that the woman I’ve been listening to all this time was Bjork! Color me surprised! (And then not surprised, as I thought more about it.) I liked it, but I don’t know if I agree with contemporary opinions that it was groundbreaking or stretching the boundaries of what rock could be. 1988 doesn’t seem early enough for this particular sound to be groundbreaking. Nonetheless, an interesting album with a unique sound and perspective that introduced the world to the most widely known Icelandic artist. That’s certainly worth something.

If there’s any album on this list that is here off the back of one song, it’s this one. “Take On Me” is an undeniably excellent (and iconic) song. Nothing else on the album really reaches its heights. The other tracks are well produced and the vocals are nice, but everything else feels like, “Yup, that definitely sounds like it’s from the 80s.” I also struggled to finish this album—I got it two weeks ago. After a few tracks, I’d always get bored and feel ready to move on to something else. On my third attempt to complete it, I finally did. And that’s crazy, because it’s only 37 minutes long.

Cat Stevens is arguably the artist that had the most profound impact on me as a songwriter. Memorable melodies, inventive harmonies, and just all around excellent acoustic rock. It’s easy to think he’s simply another folk artist, but just listen to those choruses on “On The Road to Find Out” and tell me that he isn’t rocking. This album features several of his best and most well-known songs: “Where Do The Children Play,” “Wild World,” “Hard Headed Woman.” But my favorite is “Father and Son”—beautiful, heartbreaking, impassioned, clever. I love Cat Stevens and this is without a doubt his crowning achievement. An easy 5/5 for me.

Morrissey is the person who I find myself needing to separate the art from artist the most. I love him as an artist—his sardonic and twisted lyrics, his strange yet beautiful voice, his gloomy and catchy melodies. And yet, he’s so problematic… And so it’s strange to listen to an album like this which is deeply political, and which I actually agree with most of his positions (or at the very least, can respect them). I do love The Smiths’ sound —Johnny Marr’s jangly guitars and Andy Rourke’s melodic bass lines are also standout elements. The songwriting on this album isn’t as good as on their follow-up “The Queen Is Dead,” but frankly (Mr Shankly), it would be hard to accomplish that.

I wasn’t super impressed with the first track—nothing wrong with it, but it didn’t seem to be anything special. But I loved the second track, “Dishes,” and it completely changed how I heard the rest of the album. There’s a definite Bowie influence here. The thing I like about Britpop is the catchiness it has compared to grunge, and though this album has some darkness to it, the songs remain catchy, memorable, and fun. There are some sonic similarities to Super Furry Animals (who I adore), but this feels less experimental and a bit more grounded. Tracks 2-4 are top notch. “I’m A Man” and “Sylvia” are also bangers. After my first listen, I wasn’t certain how I was going to rate it. I gave it a second listen and enjoyed it more the second time through. I think I’m probably going to grow to like this album more with repeated listens. I think though I’d probably give it a 4.5 if I could, I’m going to round down because it didn’t grab me as effectively on first listen. But I have a feeling I may one day regret giving it only a 4.

It’s certainly not a bad album, but I spent the whole time kind of wondering what was the point of any of the songs. Certainly energetic and well mixed/produced. But there was little for me to latch onto. “Golden Skans” was a good track. I’ve been oscillating between whether to give this 2 or 3 stars. I think given what I’ve already put in the 3 star category, I should knock it down a peg, but I liked it better than anything I’ve given a 2 to… I also regret giving the Kings of Leon album 3 stars (should have been 2), and this album is making me think of that one. Do I punish Klaxons for the sins of Kings of Leon. Yeah, I think I will…

I don’t know how to appraise this. I feel truly neutral. The album repeated itself on my phone, and I only realized it started over when it occurred to me the album was incredibly long. 3. But not a 3 for “pretty good.” A 3 for “I dunno.”

This is an album full of great punk rock instrumental performances undermined by mediocre vocals and melodies. I loved what the guitars and bass were doing throughout. But the vocals lacked energy or something. I mean, this came out in 1978, just a year before “London Calling” and “Singles Going Steady,” and two years after “Ramones.” And while the band arrangements could hold up against those albums, the vocals simply cannot. A shame, because it almost was great.

Biggie was certainly a generational talent—his flow, his wordplay, his attitude, his storytelling, all just awesome. Anything he set out to do on this album, he succeeded in doing. What knocks it down from 5 stars to 4 is some of the skits. Not all were bad, but I’ll never forgive Puffy for making me listen to the 30 straight seconds of wetness at the end of “Respect.”

I went into this expecting not to be impressed. After all, how can an album of improvised jazz piano be one of the most essential albums to listen to? But it was beautiful, exciting, and full of ideas. I actually quite liked it. Nonetheless, Keith Jarrett didn’t spend hours crafting the pieces, so it’s not as noteworthy, right? Lately I’ve been watching “Whose Line Is It Anyway?” It’s one of the funniest shows ever made—so quotable, memorable, hilarious. It is great largely BECAUSE it was improvised. It has made me realize my bias with this album. Just like “Whose Line,” this album is great because it is improvised. That is part of what makes it so special.

“Back in Black” is such an amazing album—not only because it contains their most iconic song (the title track). And not just because it has my favorite AC/DC song, “You Shook Me All Night Long.” But because I don’t know of any other band replacing their lead singer with such success, at least not like they did. Everyone who loves the Bon Scott era loves the Brian Johnson era too (Van Halen wishes…). To go from the tragic loss of their lead singer to their most successful album is nothing short of incredible! “But the all their songs are the same!” Yes, and that one song is awesome!

Honestly, I listened to it twice and felt similarly both times… it’s fine, but kind of boring, unmemorable, and uninventive. The Cure has better stuff. I liked a few of the songs, but overall I was unimpressed… I prefer their poppier stuff.

It’s not that this is a bad album. But so often I wondered, “What’s the point of this?” There were inspired moments, but everything dragged on for too long and it was so far from the best prog rock I’ve ever heard that I feel it hasn't earned higher than 2 stars on this list. Perhaps if I read that it was incredibly influential or groundbreaking, but it doesn’t really seem like it was.

I love this album, Nick Drake’s swan song. It’s an album that I believe stands on its own despite its tragic backstory—I loved his music without the context, and with the context, it doesn’t make the music better, per se, but certainly colors it differently. I love the barebones nature of this album (as compared to Bryter Layter, for example), and the intimacy of Nick Drake’s voice and guitar is enveloping. There’s no hiding of the little imperfections in his playing or singing—both of which are beautiful as is. My favorite moment on this album is the piano part on the title track. So simple, so beautiful. Love this album.

While I love Queen, I was not very familiar with this album. Seems like a kind of strange deep cut when “A Day At The Races” was omitted from this list. Nonetheless, it was fun to listen to an album of early and unfamiliar tracks. It feels like Queen knew they were going to go on to do great things, but hadn’t quite figured out their sound or identity yet. Sure, the operatic harmonies and overdubbed guitar parts remained, but this feels more like a prototype for “Sheer Heart Attack” which came out later that same year. Still, without knowing what Queen was to become, I probably would have given this album 4.5 or 5 stars. So though I don’t think it’s necessarily an album of theirs that I would include on the list, it’s only because they would go on to become even better. And so, I’m giving it 4 stars.

You know, I don’t generally expect myself to enjoy country music, especially modern country. But I really liked this. It felt more like pop with a country twang. Lots of solid songwriting and interesting musical ideas. I imagine a lot of people will give this a low rating simply because they’ve decided that they hate country. I’ll say, I would consider country to be one of my least favorite genres, but my summary on this site does not reflect that. I think this list probably has higher quality country selections than some other genres (for example, I love punk music, but there’s a lot of punk on here that I don’t particularly like, so my rating for it is relatively low). In any case, I think it’s a shame if people don’t give this album the time of day simply due to its genre.

I really like this album—Bowie was definitely going for an R&B/Soul sound for it, and succeeds in doing so while still remaining indisputably Bowie. He has one of the most distinctive voices as a songwriter. I also find the John Lennon connection interesting: quoting “A Day in the Life” during the title track, covering “Across the Universe,” and then fully having him featured on “Fame”—which, by the way, is such an amazing track. It feels like everyone in the band had a stank face on while playing. We do need to talk about how overrepresented Bowie is on this list. I love him and think he’s amazing, but should he really make up nearly 1% of all the albums when so many other incredible artists are completely omitted?

Part of the appeal of The White Stripes is Meg’s rudimentary yet powerful drumming and Jack’s sloppy but memorable guitar riffs. On this album, they seem to have taken that ethos and applied it to piano, but I’m not sure it pays off in the same way. There are a couple excellent tracks on this record (“Blue Orchid,” “My Doorbell”), but a lot of it just doesn’t quite work. Still, I like listening to it. My heart says it’s a 4, but my brain says 3… I think my brain wins.

Bob Dylan has 7 albums on this list. Do we really need his 1997 blues-inspired comeback album to appreciate his legacy? When artists like Harry Belafonte, The Cranberries, Weezer, Vampire Weekend, and Bon Iver are so glaringly left off the list? I posit that no, we do not. If any other artist put out this album, it would not have been loved or remembered. It’s on the list because it was Bob Dylan’s first decent album in nearly 2 decades. It brings nothing new to the blues, nothing emblematic of the 90s, and no worthy entries to the Bob Dylan songbook.

I always find myself struggling to rate albums that are more about vibe than songwriting. But I liked this album, even if it faded into background music for me more often than not. I think you need to take into account the precedent this albums was setting for artists who came later: Daft Punk, Air, and Holy Fuck all feel like they exist as direct responses to the stylings of this album.

One of the more unique records I’ve gotten on this project—very cool to get this Afrobeat album, the fusion of African styles, jazz, and rock really works. Quite cool to have Ginger Baker on as a guest as well. The energy is electric, and Fela was a one of a kind performer.

I really like the Native Tongues—their clever beats, their proud African-ness, and overall the joy present throughout their music. This album is so solid throughout, and the second half in particular is excellent. I like the jazz-hiphop fusion going on in this record and the Busta Rhymes feature is amazing. Though some of the song structure seems simplistic by modern standards, I have nothing to complain about. And having read about the influence this album had on countless artists later on, I feel inclined to bump it up from 4 stars to 5.

What a fun discovery this one is! Reminds me at times of Sufjan Stevens, Cloud Cult, Eels. Interesting to read the comparisons to Nick Drake and Elliott Smith—I suppose I can hear it, and those other artists I mentioned came after Badly Drawn Boy, but I think this is clearly distinct. Imaginative, interesting arrangements, memorable melodies. “Once Around the Block” is a highlight, but I actually liked everything on this album! So excited to explore Badly Drawn Boy further!

I admire Sly & The Family Stone so much. From fact that they were one of the first racially integrated and mixed gender groups, to their indelible influence on funk, pop, and hip hop. Not to mention their awesome band name. They are at their best on this album when you can really hear “The Family.” Songs like “I Want to Take You Higher,” “Sing a Simple Song,” and my favorite, “Everyday People” al feature the band’s myriad of singers and instrumentalists creating something special. I’m not crazy about 14-minute blues jams (“Sex Machine”), so that knocks the album a bit. But overall, a solid album from a deeply important band.

I’ve had phases of my life when my favorite Led Zeppelin album was III, IV, Physical Graffiti, and (most recently) Houses of the Holy. But after relistening to Led Zeppelin II today, I think I might have a new favorite in town. “Whole Lotta Love,” “What Is And What Should Never Be,” and “Ramble On” are worth the price of admission alone, but this albums has some other great cuts: “Thank You,” “The Lemon Song,” “Moby Dick.” Really, it has no weak point. And JPJ absolutely kills it on this record. Damn, this is such a great album.

This is one of a handful of albums that takes on extra significance when you consider the circumstances surrounding it—Janis Joplin died just three months before its release. And so, through the joy, the rocking, and the humor, the album is underpinned by the knowledge that Janis was no longer with us by the time we got to hear it. “Cry Baby, “Me and Bobby McGee,” and “Mercedes Benz” are all classics, but it’s her resounding absence on the track “Buried Alive in the Blues” that makes you realize two things: what a wonderful group the Full Tilt Boogie Band was, and what a loss Joplin’s death was to the world of music.

There is a time in my life, when this would’ve gotten an easy five stars. It is still a great album, certainly notable and influential, great album cover, challenging and memorable. But I think I have become somewhat disillusioned by the sheen of progressive rock, and some of the things that I once loved about this album— like the extended instrumental noodling on “Moonchild,”—feel too self indulgent now. But the journey of this album is tremendous. “21st Century Schizoid Man” is so heavy. I love the use of Mellotron on this album (I’m a sucker for that sound). I think what’s keeping me from giving it a full 5/5 is how self-serious and humorless it is. I also feel like if we’re talking about early prog albums, this list egregiously omits “Days of Future Past” by The Moody Blues, so I’m pouring one star out for that album.

My favorite album by one of my favorite artists. Themes of growing older—“how terribly strange to be seventy”—that feel meaningful when you are young, and continue to resonate as you grown older. Some of their best songs are on this album: “Mrs Robinson,” “Punky’s Dilemma,” “Overs.” My favorite is “America,” which features one of the greatest lyrics ever written: “‘Kathy, I’m lost,’’ / I said, though I knew she was sleeping, / I’m empty and aching and I don’t know why… / Counting the cars on the New Jersey Turnpike, / they’ve all come to look for America.”

It’s a good album, it certainly deserves its place on the list. Honestly, Duane Allman’s contributions are way under-appreciated compared to Clapton’s. “Layla” is iconic, overindulgent, awesome, and overlong. All these things are true. My favorite track is “Bell Bottom Blues,” and the final acoustic track, “Thorn Tree In the Garden,” was a pleasant surprise. But I think their cover of Hendrix’s brilliant song “Little Wing” best exemplifies why this is a mid-tier album: well played, reinterpreted consistently, but losing the magic of the original. Side-note while thinking about “Little Wing:” it would be interesting to see the songs that appear on more than one release on this list.

I loved this from the opening track, “Instant Hit.” It was so not what I was expecting, but so fun, distinctive, bizarre, and imaginative. Their sound is a unique amalgamation of Talking Heads, The Cranberries, The Sugarcubes, and The Police. Or like The Shaggs if they were actually good. I feel like half the people in the reviews didn’t actually listen to this album. They talk like all punk music sounds the same. That’s bullshit. Punk has got to be one of the most varied subgenres of rock. I guess I can see not liking this, but it’s unfair to say they “lacked musicianship” or were just making noise—that is clearly not true. But as T-Swift once said, the haters gonna hate. I loved this album, and their cover of “I Heard It Through The Grapevine” is better than the CCR version (and I love CCR).

I have established my distaste for the hyper-machismo, play-acted bravado, and contrived darkness of a lot of metal music. This album contains some of that, although tempers itself at times. Where it is most successful is in its more melodic, poppy songs—like “Living After Midnight,” which almost feels out of place among the chug-chug postulations on the rest of the album. I guess I prefer my heavy metal closer to Def Leppard than Black Sabbath, and this fits somewhere in between.

The best thing about the White Stripes is that they weren’t afraid to sound sloppy—extra notable because the 2000s was probably the most “polished” sounding decade for popular music. They would come out of the gate with music that was loud, manic, and really rocked, making them one of the last truly huge rock bands. And “Elephant” certainly has cemented its place in the canon of great rock albums, largely thanks to its lead single, “Seven Nation Army,” which features a guitar riff so iconic, it feels crazy that it hadn’t already been written. Jack White’s vocals and guitar work always feel like a clear homage to Led Zeppelin, but nevertheless, he and Meg always manage to be their own thing. Now, as for my rating, I was planning to give it 4 stars, but I didn’t know why. In fact, I must admit that this is a better album than some I’ve given 5 stars to. So I gave it a second listen, and I think considering the pacing, the variety, and the special thing this was upon its release, I’m giving it the full 5.