It’s got a funkier vibe than I was expecting. The opening song is gibberish

This is an amazing album!

I feel like this was very progressive at the time, but it’s hard for me not to hear the singles in each song.

It was very synth pop - I could see the appeal and I love the single on the album (it was the last song on the record, which was a good decision).

Nothing ever was quite the same after Nirvana. In Utero sounds relevant today, but enough time has passed between 1993 and 2023 where it's revolutionary sound has come to dominate the alt rock charts and then become tired. It's irreverence has become cliched, albeit a loved cliche. I feel as if I've seen this sound live and it's electric. Heart-Shaped Box is still a bop, but it feels the most commercial of songs on the album. Rape Me probably wouldn't be able to made today, and I love it.

Classic Sinatra! It’s nice to hear his younger voice out of all the available options; although, he’s 40 in this album. And it’ll be 24 years after this that he’ll release New York, New York. Frank Sinatra’s work has aged like a fine whiskey.

I love that "modern sounds" is such a moving target. Ray Charles is being modern for the time, but that same sound is so vintage now after over 60 years since its release. The voice of Ray Charles has been so incorporated into pop ("what you say" is almost exclusively associated with him as a catch-phrase), he has remained as timeless as Sinatra.

This album is amazing. The concept, the composition, the atmosphere it creates all comes together to a powerful crescendo. Another Brick in the Wall, pt 2 is a certified banger that feels modern even in 2023.

What a debut album! Not only does SZA bring it in the solo tracks, but also makes her presence felt alongside other great collaborators. Ctrl really \"is craft in action, a uniquely excellent album from a uniquely excellent artist.\"

A good rock-and-roll album. It’s almost the Platonic idea of classic rock at this point - catchy and poppy but with enough guitar and drums to keep it elevated!

The year is 1987, Iran-Contra affair, the Unabomber is at large, the first Starbucks outside of the US opens, Platoon wins Best Picture, and the Simpsons first appears on TV as a series of shorts. The world is still disillusioned by the Cold War and seems like a crazy, crazy time. Context is so important to enjoy this album because it really is a product of its time. Since it's release, the singles have dominated the airwaves to the point where the phrase "It's the End of the World as We Know It" is essentially synonymous with the band R.E.M. However, outside of "It's the End..." and "The One I Love," there is a different sound present. "Fireplace" loses a bit of the garage rock vibe and adopts a more jazz attitude as it calls for use to "throw the walls into the fireplace" to dance. The first half of the album presents a dark vision of the future, while the latter half is more hopeful. It's almost a shame that the two hits have performed so well because it's to the detriment of the rest of the songs included.

This was like discovering the missing link to emo. Such a wild ride and enjoyable album!

This album is distilled Bob Dylan. Each song is distinctly in his voice, a bit too much to my taste. I found the tone of the album on a whole to be really monotonous and uninteresting. I can appreciate the songwriting talent, with a colloquial and rhythmic playfulness throughout, on display, but this was not for me.

This is the perfect blend of the New York-London-Tokyo punk jazz. The album itself approaches free jazz from the perspective of hardcore punk, particularly taking note of the contemporary innovations of thrashcore and grindcore. I loved this album and listened to it multiple times today - a new classic for sure! Was it aggressive throughout? Yes. Did it need to let up on the gas a bit and breathe in the second half? Most definitely. Did I love it anyways? Absolutely!

Terrible gun trigger discipline on the cover! Very scary to see. Anyways... This is definitely an enjoyable Western albums - a classic mixture of of pop and country blending together to an authentically genuine effect. Robbins is a wonderful storyteller, transforming songs that should feel corny into something fresh.

Abrasive and aggressive, this album really resonated with me. This is industrial noise, mechanical dissonance, loops that grind on your metal. In some ways, it's anti-musical in nature, but that's what I find so captivating about it as a whole. I can't say that I enjoyed listening to the whole album, but I am glad to have heard what it has to say.

I mean, Tuesday's Gone, Gimme Three Steps, Simple Man, AND Free Bird all on one album! Essentially, a greatest hits of Lynyrd Skynyrd. This is a classic album and sounds timeless granted this was 1973.

Tango and electronica sounds collide into a smooth mixture of sounds that wouldn't be uncommon for an upscale lounge or professional dance studio. It's accessible, and ahead of its time for being released in 2001. Today, it feels like the world has caught up to the album; turning this into another chill-hop tracklist.

I'm reminded of a multitude of samples listening to this album. The result is a patchy, but interesting cacophony of beats and rhythms. It's a funky experiment that sounds surprisingly modern considering it was released in 1989; the vocals to betray a 80/90s aesthetic, but enough time has passed that it can be perceived as nostalgic. 'Stop This Crazy Thing' and 'Theme From "Reportage"' particularly feel as if they could have been created today using vintage samples.

Not a week goes by without "Even Flow" popping into my head - the ultimate earworm.

Such a strong album from start to end. The drums run through each song like a heartbeat.

Haven't spent much time listening to Waylon Jennings on his own; mostly listening to his collaboration with Willie. What a miss! This album is exactly what I look for in honky-tonk country music. Electric guitar picking, harmonica, and a driving bass line.

Soulful, powerful, magnificent. This understated album blew me away.

As far as cheesy singer/songwriter albums go this was not too bad. I love Fire and Rain, even with the heavy handedness present here and in the rest of the songs.