Summery: One of the rare albums that's genuinely hard to listen to. Solid bass and drum playing throughout (including some undeniably good bass riffs), but the vocals are consistently garbled and grating. It gets even worse when the vocal harmonies join in. Additionally, the sound effects are really, really annoying. I can see these songs being used to extract information from foreign espionage agents. Non-Alignment Pact: Punk, for sure. Very high drone in the right channel is annoying and unnecessary. Fantastic bassline begins to make itself known, and around 1:30 we get some really solid reduction in texture. The right channel is almost completely unlistenable - like the end of Queen's Sheer Heart Attack (the 1977 song), but for more than 3 minutes. Too irritating for my taste. Modern Dance: The right-channel noise has been replaced by literal static noise (a bit like the sound lava makes in Minecraft when it turns into obsidian), and it's a welcome relief. The song would be much stronger without it, though. Fun vocal back-and-forths, and an overall fast-paced groove. Unfortunately, though, Pere Ubu adds these really unappealing sound effects that make these songs go directly from 3-4 stars to 2 or less. Laughing: I sat through 125 seconds of painful, off-tune intro, before an equally out-of-tune shouting harmony ensued. At 2:50, the thinning of texture was again a welcome relief. Great bassline and decent drumming, but everything else is... not good... At least the ending was tolerable. Street Waves: Easily the best track so far, because it lacks the incredibly grating sound effects that dominates the earlier songs. Another solid bassline that steals the show, and a garbled, technically unsound vocal that brings the song up several notches as soon as it ceases. Chinese Radiation: It's alright until the loud-crowd section, which is bad. Strange piano-based section at the end that I can't really comment on. Life Stinks: The singing is actually pretty funny here. However, whatever's happening at around 0:55 is unacceptable. Real World: Pretty good, actually. Fairly nondescript. The singing is very weak. Over My Head: Floyd-esque whale noises, but the comparison ends there. The singing is okay, particularly the backup vocals (they're especially okay). Nice and chill. Sentimental Journey: The breaking glass probably means something. I wonder if it's a result of the vocal performance. Lots of nonsensical noises here, again reminding me of some early experimental rock piece by Pink Floyd (think Several Species from Ummagumma) or possibly Revolution 9. Not fun. Humor Me: At this point, you'd have to give me a Bohemian Rhapsody or Stairway to Heaven to bring this album up from 1 star to 2 stars, and this song wasn't either of those. It was pretty good though, especially the bassline. Good guitar playing, but whatever effect was used on it doesn't fit the song well (too much distortion). A decent ending to an indecent album.

The musical rendition of Hitchhiker's Guide. Adventurous, mind-bending, indecisive, crazy. I got lost several times. The fact that this was recorded live is incredibly impressive. It sounds several years ahead of other bands that would themselves be considered wildly ahead of their time (e.g. Pink Floyd's Meddle and WYWH). Unfortunately, though, the music lacks riffs, hooks, and (for the most part) chord progressions and melodies, making it tough for your standard listener. One thing I will say is that it wasn't boring. It just overrepresented creativity and musicians' enjoyment, at the expense of building a connection with the audience. Because I'm part of said audience, I can't give this 5 stars. Great synths. In fact, great instrumentation all around. The musicianship is solid and the band sounds like they're genuinely enjoying themselves without sounding too indulgent. Fun and well-executed build-ups as well. It's mostly great, in theory. 4/5 Fave track: Out-Bloody-Rageous

First off, this album gets 5 stars from me. It's great music that's aged in a pretty interesting way, in that the sound is very dated (and reminiscent of the 60s), yet rather than being grating, it acts as a beautiful kaleidoscope into 1967's Summer of Love and the coincident musical revolution. I would've made this review a miniature love letter to Sgt. Pepper's and the Beatles as a whole, because the album really exemplifies what made the band so incredibly influential in the 60s. But then I noticed the highly upvoted review that gave the album 2 stars out of 5, and I had to object. The reviewer isn't exactly wrong (after all, it's mostly opinion), but they're approaching this music the wrong way. I think it's very important to have an idea of the Beatles' history and the context of this album – as well as at least some vague idea of what the Beatles' "classic" sound is – before diving into Sgt. Pepper's. So, let's get started. The reviewer comments that the title and opening track is bombastic, orchestral, and sends you straight into the album on a huge high. This was partially the point of the track, but you also have to realise that the Beatles were exhausted from touring around the world and (in a sense) "competing" with the roaring, screaming audiences in order to make themselves heard. This led them to quit touring after mid-1966. Sgt. Pepper's was a chance for the band to fully take the reins in the studio without having to worry about performing live. This idea – to fully utilise studio techniques and ignore the logistics of performing – was unheard of at the time. A rock band creating an alternate persona (which was also a rock band, albeit a much quirkier and stranger one) was also pretty much unheard of. The opening track, even in the first few seconds with the ambient noise of musicians warming up and tuning their orchestral instruments, exemplifies this perfectly. With a Little Help From My Friends is decidedly the "Ringo" track of the album (there's always one!), and it's cheerful, hopeful, and warm all at once. The reviewer quipped that it's incongruous with the opening track and isn't the perhaps-expected "well-oiled machine", but did you hear that song transition? How much better, more iconic, can you get than the crowd cheering wildly as Billy Shears appears onstage? The tone of the song is uplifting and full of love and friendship, again solidifying the song as an artifact of the Summer of Love and wordlessly requesting that the listener not take the music too seriously. If a track like Within You Without You had been second instead, I think it would've been misplaced, heading into a more mysterious and introspective mood much too early. If the reviewer had paid attention to the key changes, they would've noticed that the choruses of Lucy in the Sky With Diamonds (and, for that matter, the verses) are a master class in merging several otherwise harmonically disconnected song sections. Also, I disagree with the idea that the chorus is musically inert, considering the building, overlapping harmonies that more or less form that entire part. And the verses... Man, even as someone who's not a fan of psychedelia, how can you dismiss how perfectly the genre was executed? It essentially laid the groundwork for all future psychedelic sound, the lyrics are beautiful and poetic, the chord progression is smooth... And no, I've never done psychedelic drugs either. It sounds like the reviewer in question just wasn't paying much attention to the music, and especially not to the full context of the album. I think the criticism of She's Leaving Home – that it's a mellowing track for an energy peak that never happened – is unfounded. This isn't meant to be an album of bombastic peaks and troughs (except the title track and its reprise). In fact, it's rather the opposite: Sgt Pepper's maintains this lighthearted hopefulness that bridges the gap between a variety of otherwise unrelated genres. If you're looking for lots of ups and downs, try, like, The Wall or something. The reviewer dismisses most of Side 2, including the crucial and mesmerising album centrepiece Within You Without You (wildly underrated and, considering the context, wildly impressive and ballsy to include on a Beatles record), When I'm Sixty-Four (the fan-favourite "granny music"), and Good Morning Good Morning (showing direct inspiration from Pet Sounds, another masterpiece that I doubt this reviewer had anything good to say about). At this point in the album, the first-time listener is meant to have forgotten that they're listening to the Beatles, and the title track reprise comes back with an old-school Beatles sound to remind you that yes, this really is the same band that released Please Please Me and A Hard Day's Night just a few years ago. (Mind. Blown.) And no, the point of this track is not to have the band pat themselves on the back for a show well done. It's to tie everything together, to shine a light on everything that's possible in this beautiful world of music. Especially if you have access to psychedelics. And then there's A Day in the Life, a brilliant album closer that many fans (including myself) consider to be the band's magnum opus. And it goes completely unmentioned by the reviewer, leading me to question if they actually listened to it. Once you've listened to it, had several mid-life crises, and had your mind wrenched away from your body twice during what have been coined the "orgasmic" orchestral sections, a final thunderous E major chord sounds, signalling the end of an era and the start of something new. A revolution. (Well, you know, we all want to change the world.) 5/5

A shimmering, easygoing sound that's quite refreshing for its period of music. There's a solid textural approach, though often there are many tracks that sound similar. The band must've been exhilarating to experience live. There's a heavy British accent in the vocal. For some reason it reminds me of a punk vocal (I Am the Resurrection being the primary suspect) even though it surely isn't punk music. Cross-genre? Otherwise, the album's solidly in the (80s) rock category. Huge props to the drumming on this album – really engaging, good use of silence and some interesting rhythms. It complements the other instruments nicely. I first noticed it on She Bangs The Drums, and especially on Shoot You Down, but it's great on all tracks. I Am the Resurrection is a mostly-instrumental epic. (Love it.) In fact, the album ends with two back-to-back "epics", which is a little exhausting as an album experience. The final track in particular could've been cut down. The album is probably best appreciated via close listening. My rating was a high-3 at first (on account of many tracks sounding similar, e.g. Waterfall/Don't Stop, and others being lengthy), but increased to a high-4 when I went back through the track listing and paid closer attention. Good stuff. Key tracks: She Bangs the Drums, Bye Bye Bad Man, Shoot You Down, This Is the One

The instruments mesh together well, creating a distinctive, warm, laid-back atmosphere. For such an unfamiliar musical style, I enjoyed it more than I expected to. Now for the negatives. The songs are unadventurous and painstakingly repetitive. This makes the album really dull for close listening after the first 30 seconds or so of each track, and even a little grating in the lengthier ones. Some people might describe the songs as "chill, doin' their own thang" but I think it's very important that the musicians interact with and entertain the listener as much as possible. In my eyes, Toure's music does not accomplish this.

Not a style I'm usually a fan of, but Lauryn's voice is really fantastic in this. Great backing vocals throughout, especially noticeable in Doo Wop and Superstar. (Superstar gets points taken off for sounding like a Megan Trainor song, especially at the beginning.) Melodies and percussion throughout were nothing special. Cool rapping rhythm that has that satisfying laid-back offbeat delay. Sometimes makes me feel a little on-edge though, and very difficult to focus on the lyrics when the lyrics are so deliberately and consistently off the beat by the same fraction of a second. Many of the tracks overstay their welcome. Classroom interludes (e.g. end of Ex-Factor) are useful for breaking up the fairly repetitive music. Love the overlapping harmonies and general verse/chorus harmony choices in I Used to Love Him. Less so in Everything is Everything. (Two chords. E and F? exhausting.) Nothing Even Matters is just fun to listen to. Great one. Can't Take My Eyes Off You - (I Love You Baby) - so much missed potential. If it were a ballad (piano? acoustic guitar?) it would have potential to be the best track on the album. The percussion and too-fast tempo ruin the track. Good: Doo Wop (That Thing), To Zion, I Used to Love Him, Nothing Even Matters

2112: impossible to find the beat or key in the first 90 seconds (intentional). Track is immediately reminiscent of a 70s Atom Heart Mother. Huge pickup at around 3 minutes that changes the mood spectacularly. Vocals at 4:30 are unexpected and a little out of place, especially when they're replaced with Geddy's vocals soon afterward. Something's missing from the next couple minutes. Synth, maybe? Texture is thinner than the instruments would normally indicate, and harmonies/drums are quite simple (at least comparing to Moving Pictures, which I've already listened to). Acoustic evening-outdoors-nature sound with no transition into the section. When vocals come in, it almost reminds me of the low-energy parts of Led Zep's Ten Years Gone (this is a really good thing!). The lyrics are clearly telling a story but I chose not to follow it. Whoa. Big hits with guitar/bass/drums leading into new, slightly more upbeat section. Adventurous, structure-wise. Rush's acoustic guitar is really fun to listen to. 13 minute mark: starting to warm up to the very simplistic repeating theme now that it's being varied throughout the piece. Guitar solo has an awesome quality to it and makes the most of the chords it's playing over. Strange non-transition to a wobbly, "churchy" acoustic sound. Geddy's voice sounds very different here. Really energetic following section - more like the Moving Pictures Rush I'm used to. Fantastic sound, if a little unmemorable from my first listen. Next section has a pretty incredible contrast between the reflective beginning section (repeat of the trickling water theme from earlier) and the screaming emotion that follows it. Apparently this is called the "soliloquy" section and okay wow I'm just getting to the next guitar solo. This one is stanky (9/10). Wish it could've gone on for longer and let the rhythm section build more behind it. Around 19-minute mark: we start to see a compound time that really brings up the energy of the song. Love the drumming here - some really subtle and lightning-fast fills. 20-minute mark: alien-like, powerful, otherworldly. Great ending. A Passage To Bangkok: immediately a very cool (but quite lengthy) riff. The higher guitar on top really bolsters it. Chorus lyrics and their enunciation are a bit silly. Great bass throughout - guitar as well. Halfway through song - guitar solo is really strong. Drums are simple and repetitive but sound awesome - very 70s-esque (what else?). The lyrics never mention the song title, which is strange considering that this is a fairly "poppy" track. The Twilight Zone: No idea what's happening in the verse. The "chorus" is unusual - not very deviating melody and all the instruments feel further back in the mix. By the second verse I'm starting to get it, but the swing is so wacky for Rush and it's a little difficult to comprehend. Second chorus - nice whispering vocal counterpart in the left ear. Would've been more effective if my left ear worked. Lessons: Geddy sounds really happy (perhaps high as well?) during this song. Energetic. Bass and layered acoustic create a kind of celebratory mood - love it. Bass in the chorus is rapid and groovy. Fadeout works nicely. Tears: Nice interlude track. Strings (mellotron?) provide a fitting atmosphere. Surprised this one doesn't have more listens on Spotify - could be because it's unlike Rush to release quieter acoustics. Something For Nothing: not much of note, except that I liked the tonal transition between Tears and the beginning of this track. Fun way to end an album. Overall:

Superb. Music that's played self-assuredly and maturely, taking inspiration from several genres and turning it into a timeless, uniquely Ray Charles sound. The backing vocals are generally strong, as is the simple, quiet drumming. And, of course, Ray's vocal is heavenly and full of heart and soul. The strings are a little overdone at times, giving the album a Christmas feel that's a little exhausting on top of all the holiday music I'm forced to listen to this December. However, every track on here is great as a standalone. Seventy-four minutes is a lot to handle, and while Ray's style is freaking awesome, the style doesn't vary much. But it's darn good music.

Summary: Very simplistic – too much so. Title/opening track is iconic and played to perfection, but most of the other tracks really aren't memorable. Instrumentation and performance consistently plays it safe, to the detriment of interest in any of the tracks. Lack of vocals is fine, but it does leave a higher demand of interest in the other instruments, which just isn't there. The tracks could be ordered better as well – tracks 6/7/8 sound very similar. Green Onions: Iconic! Warm atmosphere created with the organ. Other instruments give the head melody (played by organ) plenty of space. Guitar soloing could be better – very rhythmically repetitive, although that could be explained by this section not actually being a solo at all. (Whoops.) Organ section comes back, and it's brilliant. Fade-out is choppy. Rinky Dink: Heart and Soul chords. Organs are at the forefront again, with a less memorable melody than the previous track. Tropical feel. Feels like it should have vocals. Love the guitar solo. I Got a Woman: fun quick drums and guitar. Jammy. Easy to lose myself to the groove. Mo' Onions: Discount version of the opening track. At least, I thought that at first. Would've preferred this to be the closing track or immediately follow Green Onions, but it's a perfectly fine reprise. Lots of repetition here. I think they knew the title track was their strongest – maybe a better idea to make that one longer (merge tracks?) instead of this separate one. Filler? Nice filler, for sure. Twist and Shout: A cover of the track we all know and love. The Beatles did it better, although a shoutout to the organ for doing its darnedest. Some cool guitar fills at around 1:20 – wish they kept going with those. Behave Yourself: first time where I found myself really enjoying the bass. Layered organ also pleasant, and swing composition is a nice change of pace. Still too simplistic for my taste. Props to the organ melody in the last minute for going ham. Stranger on the Shore: Feels like a continuation of the previous track (same swung tempo). Reverb on guitar. Wacky chords. Otherwise, kind of boring :( I imagine this works great as a (jazz) standard, but not with this band. Lonely Avenue: Again, same tempo+swing as the previous two tracks. Intentional? Getting hard to maintain interest at this point. Relaxed. One Who Really Loves You: Whew - a change in pace! I enjoyed this one more than I probably should have – almost sounds video game soundtrack-esque. Production quality on guitar is muted and brings it down substantially. You Can't Sit Down: upbeat 12-bar. Green Onions's hyperactive cousin. First piece that makes use of (relative) silence, around the 2-minute mark – and fairly successfully. One of the stronger tracks. A Woman, a Lover, a Friend: I didn't have much to say about this one. Nothing particularly bad, just uninteresting. Solid ending. Comin' Home Baby: Love the composition. The playing is pretty lightweight - the lower held notes on the organ could be brought forward for a substantially heavier (and, in my opinion, better) sound. Really good guitar solo. I so wish it kept going higher towards its climax.

Summary: An incredibly solid album filled with lush harmonies, tasteful arrangements, and powerful lyrics. This is such a darn strong tracklist. You can't really go wrong. The Chain and Go Your Own Way. in particular, are in a league of their own. Fleetwood Mac masters this element of humanity that really allows you to relate to the lyrics and the sound. Second Hand News: Soft, acoustic, energetic. Just a great, hopeful, cheerful mood. A song about wanting freedom, or regretting freedom? Title drop is catchy and climactic. Dreams: Unusual and pretty vocal. The mixing is very radio-friendly - unfortunately, at the expense of the rhythm section (aggressively simplistic at times). Lush yet simple harmonies (three-part?) during chorus. I really like the atmosphere of this album so far - solemn yet hopeful. Never Going Back Again: Folky. Is that only one acoustic guitar? It's really impressive playing, if so. The vocal quality is so on-point in this album - not overbearing, and giving the instrumental time to shine. Fantastic. Don't Stop: Lyrically, the coda (or counterpart) to the Beatles' Yesterday. Lacking some harmony in the vocals - I mean, come on, the "Don't Stop" in the chorus is pretty much begging for it! Solid swing beat and great instrumental layering underneath. Shiny organ sounds especially prominent towards the end. Neat. Go Your Own Way: Drumming is superb here. Chorus is goosebump-inducing... so damn good. Lyrically, a little depressing, but from the song's tune it seems like they're at least breaking up on good terms. Gosh, this track is so uplifting. Tasteful solo with tasteful separate of channels (acoustic vs electric guitars especially). Second solo - first extended solo in the album? Carried out beautifully. I love this track. Songbird: I zoned out. This is a gorgeous track. Simple, yet so darn effective. Not a huge fan of the acoustic guitar fade-ins, although it makes the piano sound that much better by itself. The Chain: Bluesier, more ominous intro. Arrangement is the strongest it's been so far. Overlap/repetition of lyrics in the chorus is catchy. Weird drum sound at 1:30. This is definitely the most varied and unpredictable track so far. Organ, guitars flowing and melting together, tambourine... ear candy. Brilliant use of build-ups and texture change throughout. Unexpected outro. You Make Loving Fun: Even bluesier. I like the dirty guitar, although the transition to a more airy, celestial sound is a bit sudden. The second time this "chorus" shows up, I'm warming up to it, and it's more effective. Outro is very pretty and a fitting way to wrap up the song. I Don't Want To Know: The signature Mac harmonising shows up right at the beginning, and I'm here for it. The song gets a little "monotextural", but it's such a good-sounding texture that I can't really complain. I could see this song closing the album, but of course we've got two more tracks. Oh Daddy: Good singing and atmosphere. Possibly the most "serious"-sounding track on the album, but I can't take the track seriously daddy. Backing vocals lift moments of this song (esp. ~2:50 and ~3:05 - the subtle two-part monosyllable harmony. Oh, Daddy!). Gold Dust Woman: You can tell there's going to be a build-up. When the chorus hits, it hits hard. The backing doesn't change much, but the harmonies are (as usual) gorgeous. Biting lyrics. The outro is lengthy and man, what a way to close an album.

Summary: Uninteresting. Lyrics weren't relatable and I ended up subconsciously tuning them out. It didn't help that very few tracks had any kind of melody for my mind to hook onto. Rare, scattered moments of interest, mostly in the track C.R.E.A.M. (the only track that caught my attention for being slightly good). Nice underground-y production but incredibly monotonous. Bring Da Ruckus: Out of the gate, not a sound I enjoy. Thick, bassy percussion is some of the crunchiest I've heard in hip-hop. I would almost describe the backing as hard lo-fi. Still, there's something about this style and arrangement that makes me feel empty. Absolutely nothing. It's not bad, just doesn't evoke anything in me. Lack of melody plays a big part. Hopefully later tracks are more interesting. Shame On a: Just uninteresting. Lyrics are stupid and recited with an aggressively monotonous constant yell. Piano is nice when it shows up, which isn't often. Clan In Da Front: Beginning to get exhausting, and we're less than 8 minutes into the album. Cool three-note bass riff, but they don't vary it in the slightest. Reintroduction of the piano, except this isn't varied either, making the only saving grace of this track another flop. (I'm trying to think of anything good to write about these songs. Seriously.) Wu-Tang: 7th Chamber: Good transition. Non-music conversation was a welcome break at first, but a little too long. Can It Be All So Simple / Intermission: Nothing good until 3:30 when singing starts. Jumps up from a 1-star to a 3-4 star performance during this section. Groovy. Da Mystery of Chessboxin': no new comments. Wu-Tang Clan Ain't Nuthing ta F' Wit: no new comments. C.R.E.A.M. (Cash Rules Everything Around Me): Piano lick (dorian mode?) is really strong, but nothing else interesting. Oop, never mind, we got the "dollar dollar bill yall" vocal. Best track so far, but there wasn't much competition. Method Man: This one's pretty catchy at the beginning, but nothing lasts forever. Protect Ya Neck: nothing. Tearz: fuzzied backing vocals at 1:50 were a welcome breath of fresh air, but otherwise nothing. Wu-Tang: 7th Chamber - Part II: nothing.

Summary: The album title and cover art really describes the album better than words could. Semi-urban, semi-rock/country feel with solid playing and pretty good vocals. The lyrics are really strong. Transitions between songs are sometimes good and sometimes not. The atmospheres in each song are inoffensive and unadventurous for the most part, but because of that it's difficult to find genuine fault in the album other than the songs just being plain and uninteresting. The mixing and overall sound quality could be stronger and much more engaging at times, especially given the lush textures throughout. The melodies are consistently below average. The Suburbs: Weird chord progression! I love it! Fun vocal, especially during the chorus. The rhythm section (particularly the drums) have a slightly muffled sound - interesting. At around 2 minutes you start hearing high string alternating with high backing vocals - this leads to a thick, ethereal texture. Only problem I have is that the melody isn't very catchy or singable, which (for the album's lead single) can't be a good thing. Ready To Start: Transition! Gotta love it. Immediately, an energetic and slightly foreboding rhythm section. There's a strange, subtle vocal effect throughout that is either a really convincing double-track, an echo with incredibly short delay, or me imagining things. Winding-down of texture following the climax at 3:00 is effective. Again, the melody is pretty unremarkable. Nice ending. Modern Man: Strange time signature, but only sometimes. Same vocal effect as the previous song (I wasn't imagining it). Otherwise, not much to say here. Solid, inoffensive track. Rococo: The vocals should be put even more at the front of the mix. The lyrics, enunciation, and emotion are great, but they're held back by the loud, repetitive backing. Another good ending, but the next track shatters this too quickly. Empty Room: The female vocal here is a great change of pace. Not much else to say. City With No Children: This isn't a new vocalist, but it still sounds very different. Percussion (apart from hand claps) is put back in the mix, and the result is very effective, especially when the second singer starts harmonising. Some of the lines are a little clumsy ("cityy withh NO CHIL-dreninit") but it does make for a more memorable chorus. Chord progression is uninteresting. Half Light I: Atmosphere-wise, the same pros as the previous track. Half Light II (No Celebration): Good transition, very similar to the transition between tracks 1 and 2. Sounds suspiciously like a celebration for a track titled "No Celebration". Nice percussion that's especially noticeable around 2:30. Vocals sound really good here. Woo! Suburban War: Not interesting until around 3:30 when the tempo and percussion change completely, reflecting the track's title. Month Of May: Grungy. Velvet Underground-ish, but with more harmonies. Alien-like drone synths at around 2:50 are nifty. Wasted Hours: Brought down substantially by an awkward (yet boring?) melody. Not a fan. Deep Blue: Atmospheric! The low, distorted guitars work excellently throughout. We Used To Wait: The backings in this track are great, if quite repetitive. The bass drum backs the synth, piano, and vocal at 1:00, which creates a nifty little texture. Sprawl I (Flatland): Strong vocals here. Strings are very pretty, but are begging for more layering. Sprawl II (Mountains Beyond Mountains): Whoa. Completely different sound here. Powerful, pulsating bass synth notes contribute greatly to the texture. Actual emotion in the vocal (though it's hard to tell what emotion it is). ABBA-esque. The melody's the catchiest it's been so far. Repeating synth melody at 1:30 is prominent in the mix and makes it very radio-friendly. The Suburbs (Continued): Short reprise-y track tacked onto the end. Probably not necessary. The fade-out certainly wasn't.

Summary: A solid album. Consistently energetic (but relatively uninteresting) rhythm section backs an impressive vocal with occasional backing harmonies that really make some of the tracks shine. Love the style and callbacks to American (or British invasion) rock of the '50s and '60s, while staying true to the early '80s rock trends. Harmonies (chords) were very uninteresting, but I didn't actually notice this until the final track's fadeout. The production, as with many popular '80s tracks, is quite dated, and this detracts from a set of otherwise fairly strong country-pop-rock compositions. Born in the U.S.A.: Earworm chorus and a melody that is backed steadfastly by synth and piano. Brash, confident, \"lumbering caveman\" drumming (as Rick Beato might describe it). This could really do with some vocal harmonising, but overall a pretty convincing hit song. Cover Me: Very overblown vocal. I haven't listened to much Springsteen before, and I was secretly hoping his voice wouldn't be this... persistent. It's skillful singing, but it'll be a bit of a slog to get through the full album. Rockin' guitar backing the riff. Darlington County: Intro reminds me of Honky Tonk Women. Very country-ish. We hear some (self-?)harmonising in the chorus, and it was a jolly good time. Impressively catchy chorus considering there aren't any words. Reduction in texture at around 3:10 is a fantastic choice, and I almost wish the two previous tracks had followed in these footsteps. Working on the Highway: Clearly inspired by Elvis. A great fast-paced '50s American rock feel. Downbound Train: Fairly nondescript Springsteeny track with a solid backing (nice dreamy synth sounds a little back in the mix). Weak drums. I'm On Fire: Strange semi-electric guitar quality on this one - I dig it. The one-line chorus reminds me of Cash's Ring of Fire, although the delivery is quite different. Definitely an inspired album. Very strong track, and my favourite so far. No Surrender: A rocking start to side 2! This song has plenty of elements that make for a good American rock song: powerful vocals, tastefully placed vocal harmonies and synths, and a confident (yet still very simplistic) bass and drumbeat. \"La-la-la, la-la-la-la, la-la-la-la, la.\" (Brucey, 1984) Bobby Jean: There's something really interesting happening in the instrumental but it's often too far back in the mix to properly appreciate. I'm Goin' Down: A very memorable chorus that again is lacking adequate vocal harmony. Strong piano in the rhythm section. Glory Days: Ooh, I've definitely heard this one before. The riff is very strong and easily the standout riff in the album. Effective use of synths, if slightly repetitive. The percussion has a little more emotion in it than in previous tracks, and it brings the album up spectacularly. I also notice myself slightly tuning out the lead vocal by this point in the album, not because it's necessarily bad, but because it's so similar between most tracks. Dancing in the Dark: Keyboard is cool but could be cooler. More than three distinct melody notes, maybe. (The vocal melody doesn't have this problem.) The vocals show a little more restraint, and crack at times, which is actually a huge strength of the song. There's a definite emotional contrast between sections. Very catchy as well. It makes sense that this is the most streamed track on the album. My Hometown: Light, tasteful keyboard and percussion. Bruce's voice is great for the second consecutive track, leaving me wondering why he placed all the songs with good vocals at the end of each side. Blend of acoustic and electric (via synth) is great. I realised as this song faded out that I hadn't heard any interesting chords in the last 45 minutes, and grew frustrated accordingly.

Summary: A good album. I would rate this higher if I valued lyrics above sound. The album starts off spectacularly with the first two tracks, but tapers off significantly due to the tracks' sonic repetitiveness. The chords aren't adventurous, but the instruments sometimes are (especially percussion). Great vocals (lead and backing) throughout. The main issue is that most tracks present a specific, non-novel sound and then refuse to deviate from that sound for 4 minutes. Lively Up Yourself: A chill reggae bop. Instrumentation is on point here. The bass is very prominent and grooves along with the light, varied percussion. Singing is emotive, confident, and (for lack of a better word) really satisfying. Vocal melodies are used tastefully and sparingly. No Woman No Cry: The percussion is again really strong (but repetitive) and unusually modern-sounding. The modified verse/bridge at 2:10 is fantastic, as is the choruses (and the verses, for that matter). The organ and subtle, occasional keyboard are great additions too. This was the only track I'd heard before. Them Belly Full (But We Hungry): A half-swing; wicked! Pretty backing vocals. There must be more than one bass guitar here, and they create a complex, rhythmic backing. The lyrics ("a hungry man is a angry man"? (sic)) are a bit weak. Rebel Music (3 O'Clock Roadblock): Something about the instrumentation here just doesn't do it for me. It feels a little unmixed and thrown together randomly. Cool mesh of harmonica and organ, but it only sometimes works. This is also the first track where the vocal rhythm and melody were quite weak. Cool high notes by Marley at around 1:50. The phrase "rebel music" being sung as one of the main hooks is a weird choice - much like if Mercury sang the words "Bohemian Rhapsody" after every verse of the beloved 1975 song. So Jar S'eh: Bringing back the unusual percussion, and it's great. Nice back-and-forth between lead and backing vocal. The horn arrangement is smooth too. At this point I'm fairly sure this is a political commentary album (not paying much attention to lyrics). Natty Dread: The bass and especially the horns are the stars of this song. Nothing else shines much compared to some previous tracks. Too much repetition of the song title. Bend Down Low: It's cool, but... only two chords. Every bar sounds the same. Talkin' Blues: Ooh. The backing vocals are incredible here. Singing "talking blues" is an awkward lyrical choice, as explained previously. Lots of passion and personality in Marley's voice. Revolution: Nifty chords in the intro! (We haven't had many nifty chords in this album.) Again, great backing vocals - strange shouted whisper at 2:20. Otherwise, not a super engaging song. Am-A-Do: Not a fan of the echo effect on the lead vocal. This was a weak track; my ear couldn't latch onto anything I liked. Strange choice to end an album, especially with a fadeout rather than a definitive conclusion.

Summary: An album that was surely ahead of its time. Monotony of chords (monoharmony?) isn't normally my jam, but it's incorporated into a sort of proto-punk/proto-grunge style here that works excellently. All tracks except the 10-minute slog "We Will Fall" are very strong. The vocal, bass, drums, and guitar (particularly the latter) all have chances to shine throughout the album, and the band is consistently a cohesive unit. 1969: Wacky panning - very distinctive. Intensely late-60s rock sound, but with an almost proto-grunge/punk feel. Progressive sound, but anthem-like in structure. The lead guitar is intense! A fantastic song. I Wanna Be Your Dog: From the beginning, strong drumming and guitarwork. Simple riff that I'm hoping won't grow stale (it didn't). Vocal inflections are a lot like Mick Jagger (mid-60s era) and Lou Reed from the Velvet Underground. Definitely an inspired style. We Will Fall: An unusual atmosphere - like a group of old men chanting in a cave. The percussion even sounds like water dripping onto cold, hard stone. Not sure what to think about this track, other than that it's out of place and the novelty wears off quickly and brutally. The casual, matter-of-fact "g'bye!"s near the end are pretty funny, though. No Fun: Again, very Velvet Underground inspired (I'm Waiting For The Man!). That grungy distortion on the guitar is tasty. The singer gets strangely excited at around 2:45 and it's really entertaining. Nice guitar solo, although it being in the left ear behind the vocal going all-out "Come on!" on loop means it's easy to miss at first. The five-minute track length flies by, and it's all jolly fun. Poorly named. Real Cool Time: The triumphant return of the wah-wah guitar. The lyrics are silly, but this can easily be forgiven because the track is just great. Adventurous bassline is especially noticeable from 1:45 onward when the vocal halts. I imagine an extended version of this would be great to play live. Ann: A change of atmosphere that actually makes sense (unlike a certain earlier track). The vocal is fairly low in the mix and panned entirely to the left channel. Actually, the panning feels entirely wrong, and after noticing this I flipped my headphones around. It felt more normal after that. Slow, moody little song. Not Right: The lyrics get goofy again. They're also delivered pretty slowly, with plenty of time between lines to ponder how goofy they actually are. Lead guitar with a low-resolution, slightly goopy texture that differs weirdly from lead guitars on earlier tracks. A good (albeit forgettable) track. Little Doll: Nice repeating drum lick - absolutely the star of this track. Melody stands out as being almost too brashly rock'n'roll. It works, though. The chords aren't anything special (but still better than the 10-minute We Will Fall, which was exactly 1 chord).

Holy paranoia. This one is brilliant. Catchy, memorable riffs played over a grungy metal sound that I would've called derivative if it was from 20 years later, but is pretty revolutionary for its time. Incredible restraint shown on all instruments, demonstrating that the most effective musician plays what's right for the song. And yet, all instruments (particularly the drums and bass) have countless outstanding moments that make for great replayability. Intense, energetic, and impassioned. I love it. 5/5

Summary: The first track's title sums up the album. A really solid album with some creative and very technologically-impressive (for their time) synth/electronic drum beats. The electronic percussion, in particular, stands out greatly on this album. A lot of the ideas are pretty cliched now, but at the time of release they would've been revolutionary, not only for acid house, but for all modern genres of music. Magical Dream: Crazy drum machines. This would be an incredible event to experience while high. Rhythm is 4/4 but has an alternating 7/8-9/8 feel at times. The vocals are very weak, but this is forgivable since they clearly aren't the focus. Rave-like synths and other high-pitches sound effects I can't name. Smooth transition to the next track. Ancodia: Reminds me of something you might hear in a 2000s/10s rhythm video game. The soundscaping is definitely ahead of its time. The drum machine is killing it again (in a good way). Vocals are better in this track than the previous one. Very jarring but fitting transition. Cobra Bora: Normally I dislike drum machines, but the drum machine work on this album is just great. Hyper-syncopated riff at 0:45ish that is really well composed. The track could be cut down a little. Video game shooting solo at 3:10 - cool. New high-pitched synth introduced in the outro - also cool. Pacific 202: Great intro, with a strange bird-like electric sound repeating heading into the verse. Hard to tell if the sax is real or fake, but the melody on it is solid. Jarring percussive noise at 5:00 takes us into a great percussionless synth outro. Donkey Doctor: Solid track. Not too much to say here. Terrible transition to the next track - the music just stops. And this ain't no I Want You (She's So Heavy), so don't think you're getting away with this, 808 State. 808080808: The drum track is a little less in-your-face than the previous tracks, but this means the primary charm (and strength) of the artist's music is slightly lost. Bubbly noise throughout. Fun chords, but they never resolve because of another really badly cut ending. Sunrise: Very repetitive rhythm, but the airy synths hovering around the mix create this awesome, mystical, spacey atmosphere that definitely makes up for any lack of interest in other parts. Synths are especially noticeable after the texture drop at 3:25. The Fat Shadow - Pointy Head Mix: prototypic. Reminiscent of a "Seven Seas of Rhye" off Queen's debut album. Some cool synth-voices in here.

Summary: Beautiful string arrangements, tasteful acoustic guitars, and light drums (among others) accompany Walker's confident baritone vocal in this excellent album. Some unusual mixing (especially with the vocals), but brilliant and luscious textures easily make up for this. The lyrics were really pretty too. The genre was difficult to pin down; Walker's one of those musicians that creates his own signature style. This was a tossup between a 4 and a 5, but I'm reserving the latter for unquestionable masterpieces, and a few questions could be asked about this album. The Seventh Seal: Lovely voice and dramatic, legato instrumental backing it in the intro. Either a weird vocal effect or a poor microphone setup gives it a semi-live feeling, but this mixes strangely with the studio-sounding percussion and guitars. Nice strings that only get better throughout the track. I'm finding it difficult to pin down the name of this style. Walker's powerful tenor-baritone is really something great. On Your Own Again: A brief, beautiful ballad. Sinistra-esque. Strings are again excellent. I wish this track had been extended. The World's Strongest Man: Not the direction I was expecting the lyrics to take based on the song's title, but it fits more with Walker's style. Something about the melody reminds me of a Billy Joel ballad, possibly in his River of Dreams era. Great stuff. Angels Of Ashes: The vocal is much louder in this track than previous ones, and it's a bit out of place. Very pretty acoustic guitar panned to the right, and some smooth strings (and occasional very high-pitched guitars? What is that instrument?) panned to the left. This song gave me chills, especially in the second half. Beautiful. Boy Child: We're back to the legato feel of the album intro. Another great track; not too much to comment on that hasn't already been said about previous tracks. Hero Of The War: The prominent, deceptively simple-sounding percussion gives this track energy we haven't seen thus far. At one point he pronounces "war" so that it rhymes with "tar", even though the previous line ended with "more". (Hmm.) Loved The Old Man's Back Again (Dedicated To The Neo-Stalinist Regime): Fantastic bassline. Bluesy melody, with heavy use of the major-IV chord giving a hopeful undertone to the primarily minor key. Gosh, this song is so good... I forgot to write things about it. Fun scatting in the outro. Duchess: A fairly nondescript but nonetheless beautiful track. (The main culprit was the very boring chords.) Love the smooth ending though. Get Behind Me: Fun verse, but it's the chorus where things really get crazy. Some choral harmonies and a very out-of-place electric guitar back Walker's powerful melody. The later verses are strong, especially with the acoustic guitar "hook". Uplifting. Rhymes Of Goodbye: A pretty, soaring waltz sends the album off on a good note.

Here's a vital lesson in musicianship: don't be a vocalist if your voice is annoying. (M.I.A.'s voice is annoying.) She does this sudden upward rise at the end of some notes (a la Freddie Mercury, early-mid-80s) which just doesn't work with her voice at all. The backing instrumentals add very little to the experience other than being repetitive and rhythmically (fairly) simple. The electric sounds create this unsatisfying liminal feel that makes it difficult to really get into the music. Many of those sounds are piercing "whines" or monotonous synths. Not ideal. Since every other aspect is poor, the lyrics must be the intended focal point. And, for what it's worth, the lyrics are actually really badass - when they're not a little goofy ("Quit bending all my fingo/Quit beating me like you're Ringo/You wanna go/You wanna win a war/Like PLO, I don't surrendo"). But that's the thing - I place lyrics very low down on my priority list in music. Arular just doesn't sound good, so I'm judging it accordingly. That being said, it doesn't exactly sound bad. I could imagine this coming on in a supermarket or movie and I wouldn't give it much mind. 2/5

Summary: The Who have mastered the craft of early-70s hard rock through this unquestionably great work of art. A solid lineup of songs and three particularly strong ones bookending the rest. The instruments are all played excellently, including the drums, guitar, and synth (when it appears). Also, one of my favourite-ever album covers. Baba O'Riley: Incredible intro - one of the stadium-filling, immortal moments in rock history. Simple bass, drums, and guitar back some brilliant singing. A thrilling masterpiece. Seamless movement between the sections, showcasing variations on the iconic synth+guitar strums combo from the intro. Exciting, semi-climactic ending. Bargain: Some excellent drumming (Keith Moon!) leads us into a driving rock beat with a mean melody. Again, a well-constructed mood change at 1:50, with some noticeably good playing on the bass. More mood changes later. Consistently engaging, and a variety of fairly memorable riffs and licks. A lengthy synth-guitar tradeoff solo section ends the song. Love Ain't For Keeping: The acoustic guitar and soft backing vocals are most impressive here. Classic blues chords and a laid-back drumbeat. Quite a short track, which fades into the next one. My Wife: Different vocalist. Simple melody (I feel like there's something missing here in the verses; we know this vocalist can hit some higher notes ("yeaah!"), so incorporate those into the melody!). Some slightly more adventurous chord progressions, still keeping in the heavily bluesy rock style of the previous tracks. Nice meshing of brass and synth at 1:35. The Song Is Over: Piano intro sounds familiar. Nice chords and a wistful atmosphere. Great drop (with a strange tempo change) at 1:15. Bass fills are strong, and the song's feel gets really adventurous leading up to the 2-minute mark. Build-ups and drop-offs are used frequently, to great effect. Brilliant. Build-up similar to Baba O'Riley towards the end, for a nice climactic end to side 1. Getting In Tune: Sounds in tune to me. Unexpected chords in the chorus create some seriously cool vibes. "Right in on you"-"ʳᶦᵍʰᵗ ᶦⁿ ᵒⁿ ʸᵒᵘ" makes a good back-and-forth. Harmony in the left channel at 2:15 - nifty. Long outro with the "getting in tune with the straight and narrow" line repeated over an energetic rhythm section. Note the high piano at the end; very cool. Going Mobile: Gosh, that drum part is so fun. An almost country-ish feel at times. The selective drum breaks, acoustic guitar, and vocals (quality/melody) remind me of Fleetwood Mac. Fast and bluesy. Behind Blue Eyes: Pretty. I can see myself listening to this a lot. The lyrics speak to me, even though I'm not nearly successful or admirable enough to relate to them. Exciting drumming and guitar work just before the final chorus. Great vocal harmonies throughout. Won't Get Fooled Again: The synths return, and they're mesmerising. An epic to conclude an epic. The rock section hits hard and possibly overstays its welcome, but this can easily be forgiven. I'll probably change my mind through relistens. The outro, with the bare-bones synth followed by the reintroduction of other instruments, is great.

Summery: One of the rare albums that's genuinely hard to listen to. Solid bass and drum playing throughout (including some undeniably good bass riffs), but the vocals are consistently garbled and grating. It gets even worse when the vocal harmonies join in. Additionally, the sound effects are really, really annoying. I can see these songs being used to extract information from foreign espionage agents. Non-Alignment Pact: Punk, for sure. Very high drone in the right channel is annoying and unnecessary. Fantastic bassline begins to make itself known, and around 1:30 we get some really solid reduction in texture. The right channel is almost completely unlistenable - like the end of Queen's Sheer Heart Attack (the 1977 song), but for more than 3 minutes. Too irritating for my taste. Modern Dance: The right-channel noise has been replaced by literal static noise (a bit like the sound lava makes in Minecraft when it turns into obsidian), and it's a welcome relief. The song would be much stronger without it, though. Fun vocal back-and-forths, and an overall fast-paced groove. Unfortunately, though, Pere Ubu adds these really unappealing sound effects that make these songs go directly from 3-4 stars to 2 or less. Laughing: I sat through 125 seconds of painful, off-tune intro, before an equally out-of-tune shouting harmony ensued. At 2:50, the thinning of texture was again a welcome relief. Great bassline and decent drumming, but everything else is... not good... At least the ending was tolerable. Street Waves: Easily the best track so far, because it lacks the incredibly grating sound effects that dominates the earlier songs. Another solid bassline that steals the show, and a garbled, technically unsound vocal that brings the song up several notches as soon as it ceases. Chinese Radiation: It's alright until the loud-crowd section, which is bad. Strange piano-based section at the end that I can't really comment on. Life Stinks: The singing is actually pretty funny here. However, whatever's happening at around 0:55 is unacceptable. Real World: Pretty good, actually. Fairly nondescript. The singing is very weak. Over My Head: Floyd-esque whale noises, but the comparison ends there. The singing is okay, particularly the backup vocals (they're especially okay). Nice and chill. Sentimental Journey: The breaking glass probably means something. I wonder if it's a result of the vocal performance. Lots of nonsensical noises here, again reminding me of some early experimental rock piece by Pink Floyd (think Several Species from Ummagumma) or possibly Revolution 9. Not fun. Humor Me: At this point, you'd have to give me a Bohemian Rhapsody or Stairway to Heaven to bring this album up from 1 star to 2 stars, and this song wasn't either of those. It was pretty good though, especially the bassline. Good guitar playing, but whatever effect was used on it doesn't fit the song well (too much distortion). A decent ending to an indecent album.

Summary: An all-over-the-place rock album with some hard-hitting walls of sound throughout. Sonically, it's pretty great to lose yourself in, if you can tune out the harsh vocals. Spectacular creativity, especially for its time, but that creativity only amounted to a medium amount of good. It's not really my style. Musically, close to a 4/5, but my enjoyment was a bit lower. Neighborhood #1 (Tunnels): Intense, self-assured modern rock. Thick drum-based textures underlay a passionate (and slightly crazed) delivery of some interesting lyrics that hint at a mortality theme. This'll be the only time I check the lyrics. Neighborhood #2 (Laika): Some fantastic breakdowns throughout, but the repetitive harmonies and lead vocals can get a little grating. Still a banger and really sonically enjoyable as a wall of sound. Une Année Sans Lumiere: Using French lyrics is a Beatles gag that I don't normally let bands get away with (especially after Billy Joel's subpar "C'etait Toi" on the otherwise stellar Glass Houses album). This song doesn't get away with it either, until around 2:50, when the previous feel is abandoned for a much more energetic one. And it kinda slaps. Neighborhood #3 (Power Out): Such an unusual sound here: frenetic vocals, a wildly indecisive shouting melody, brash drumming, and glockenspiels. It's not really my thing, but I have to give it credit for sounding incredibly unique for its time. The rising guitars at 3:00 are pretty cool. Neighborhood #4 (Kettles): A lower-energy track, and a welcome break from the previous songs' colossal textures. The wobbly strings (the "kettles") in the back are a little distracting, but at 1:55 we get a huge improvement and the song sounds much better after that point. The vocals are quite strong. The acoustic guitar and strings work well together. Crown Of Love: An emotional song that feels, instrumentally, like the sequel to Kettles. Nice backing vocals at 1:35 which would've been even better if they were harmonised (with several vocalists). Same comment for 2:45. The chorus/post-chorus part at 3:00 is really strong. What the heck happened at 3:40. I love it. I-iv chord changes are the best, and the strings do them justice. Wake Up: A riff that would be stronger if it had more than one unique note in it. Still, a strong, memorable intro. The singing in the verse is stretched out awkwardly, and the vocal inflections don't help here (he's out of tune and it sounds like he's just been crying). I can't help but like the song, though. Must be the bias of seeing 140 million streams and subconsciously believing that it has to be good. The sound wall beginning at 3:20 is pretty sick. At 3:50 we have an unnecessary tempo and textural change that adds little to the song, at least until the singing starts again. They start to hit their sonic stride again, but then the song kind of disappears without warning. A weak ending. Haiti: The vocalist is great here. I wish she was a little more forward in the mix so that I can distinguish the lyrics from the floaty, magical instrumental. A little repetitive after the halfway point. Fantastic transition to the next track. Rebellion (Lies): 20 seconds in and I already really like it. The kick drums are aural dopamine. Harmonically, pretty simplistic, but the chord progressions in the second half of the song are wildly popular among musicians for a good reason. Great use of muted strings, and a brilliantly thick texture that doesn't go overboard. My favourite track. In The Backseat: The piano(? harp?) arpeggios are great with the backing guitar and strings, and the vocalist really shines here too. Until 1:15, it sounds like a completely different band playing (the electric guitar brings it back). Lengthy instrumental with a soft, harp-based ending.

Summary: A summery baroque-pop collection of songs with fantastic production, vocals, and instrumentation (for the most part). There was a lot of clear inspiration taken from other mid-/late-60s artists, and it's combined beautifully into this pretty paintbox of an album. Half a star docked for the songwriting being slightly weak at times, but luckily that still rounds up. Care Of Cell 44: A bright Summer-of-Love atmosphere. Some great singing and bass in particular, and one shouldn't shake a stick at the drummer either (pun intended). Some great, brash vocal harmonies that make for archetypal 60s rock-pop. The 2:55 drop into harmonisation is great. The only real issue here is the lack of a hook, apart from possibly the piano/harpsichord melody. A Rose For Emily: The kind of haphazard melody one might expect from a Pet Sounds deep cut. (Likely an inspiration.) Some strong back-and-forth singing with a simple piano backing. The ending is Beatlesque; actually, the Zombies' whole sound kind of is. Maybe After He's Gone: There's a lot of vocals trying to grab your attention in the first 60 seconds, and upon first listen it's a lot to take in. Still, brilliantly composed. Very high piano chords are very high. I've just noticed how clean the production's been so far. Another very typical 60s-pop imperfect-cadence ending. Beechwood Park: A laid-back feel with some cool vocal and guitar effects. The chorus is well-constructed, again with very strong vocals and harmonies, but the rest is a little repetitive. Brief Candles: Unusual vocal enunciation until the change in feel at 30 seconds, which is more Zombies-sounding. I have a huge soft spot for the chord progression used in the chorus (I-I7-IV-ivadd4-V). Great song. Hung Up On A Dream: Whoa. Now this chord progression is interesting, and quite unpredictable. The vocalist sounds like Nico (from the Velvet Underground) here. Fantastic drumming, and unintrusive, beautiful backing vocals in the left channel that sound like a children's choir. An unexpected ending. Changes: I was hoping this would be a Bowie cover until I remembered that wasn't really possible. The (unharmonised) singing here is a little unkempt, similar to Syd Barrett's. The flute keyboard thing (also used on Strawberry Fields Forever) is used to shadow the vocal melody, and it's fun. Unusual percussion too, but it's a great choice for the song. Solid ending with a fadeout. I Want Her She Wants Me: The two-part harmony breakdown is great, as is the transition back to the bass-led chorus(?). Beautiful outro, but the fadeout should've been slower and been started earlier. This Will Be Our Year: Great chord progression, and the guitar shines because of it. Earnest singing that might be the strongest it's been so far. A short, sweet track with a simple, pretty melody – but a darn good composition. Favourite track so far. Butcher's Tale (Western Front 1914): Another Barrett-esque vocal. Very simple instrumentation; apart from the foreboding intro, it's just an organ (and a brief mellotron cameo) and some occasional drumstick tapping. Solid. My [insert body part here] won't stop shaking. Friends of Mine: Energetic guitar and drums back a vocal performance that goes all over the place texturally. These rapid changes took me most of the song to warm up to, but by the end I loved them. Silly ending. Time of the Season: A chill atmosphere, made especially so by the vocal and bass parts. The sudden, intense harmonies in the chorus are fabulous. And that organ/keyboard solo... Gosh. It's the first really strong improvisation we've had on the album, and it's so good. "Who's your daddy" is a strange line to hear in 2023. A second organ solo (this time containing two organs fighting for the spotlight) closes out the song. A groovy, tasteful way to end the album. Also, this song has singlehandedly moved the album from a 3.5 to a 4.

This album has clean, chill production with a kind of lightly ethereal atmosphere. The singing is fantastic and the choice of instruments is on-point. Piano and string arrangements work beautifully with Tori's vocals. The only things preventing this from being 5 stars are a lack of obvious "hit" tracks and the absence of guitar and (active) drums. Favourite tracks: Silent All These Years, Winter, Happy Phantom, Tear in Your Hand

A playful, and at times pretty hilarious, mash-up of 80s synth-pop-rock. I wasn't expecting to like any of it other than the brutally popular Take On Me. And yes, many of the tracks had an extremely dated feel to them that distracted from the compositional talent. But that's just it: if you can look past the 80s polish, you'll discover that most of the tracks are freakin' bangers. Fight me. The Sun Always Shines On T.V. has a gritty, intoxicating riff that is played to perfection, avoiding being overused. The Blue Sky sounds exactly like its name: fresh, clean, and carefree. The title track is great. A few tracks were forgettable, but I forgot which ones.

Great instrumental interplay in this album (see: acoustic guitar+piano+strings in Marz). The smooth, light harmonising in many of the choruses also makes for some great easy-listening. The harmonies and melodies are generally strong and enjoyable. That being said, nothing in this album blew me away or demonstrated some idea I'd never seen before (apart from possibly the quirky lyrics). The track "JC Hates Faggots" is pretty on-the-nose with its lyrics - just a fair warning. Sixteen incredibly solid tracks well worth a re-listen, but nothing outstanding. Key tracks: TC & Honeybear, Marz, It's Easier, Outer Space Huh tracks: That's The Good News, Supernatural Defibrillator, What Time?

Smooth. Intoxicating. Like honey. You like jazz? Then bee my guest. It's "Kind Of Blue"-esque in its approach to album creation, with hook-heavy, solo-laden charts at the beginning and more unconventional, exotic improvisation session towards the end. All ten tracks, including the intermediary ones, are quite long, the shortest one being over 5 minutes in length. Part Of A Whole and The Big Apple are highlights.

I mean, duh. The first few times I listened to this album, I thought it could've done with some trimming (songs like Wild Honey Pie, Don't Pass Me By EGSTHEMAMM, Revolution 9), but I've come to seriously respect the charm these tracks add to such a disparate and diverse album. The stylistic diversity in this album is mind-blowing, and yet all (most) of the songs sound uniquely Beatlesque. Most tracks get better on each listen (but a few, like Ob-La-Di, get significantly worse). There are countless little details to keep repeat listeners interested. The playing is complex yet laid-back; very self-assured. The track ordering is freaking awesome, as it is in nearly all Beatles albums.

An eclectic mix of rock and jazz noises thrown together into a decently coherent early 70s album. Certainly, the sound is quite innovative for its time. The musicians involved are playing passionately – perhaps too much so – which creates a very full-on, almost chaotic atmosphere compared to his previous atmospheres. Too much energy and excitement, possibly from Bowie's rise to superstardom the previous year. Most of side 1 suffers from too-complex flourishes, chord changes, and melodies that aren't quite catchy enough to justify themselves. In fact, this is a rare album where I can say definitively that one side (side 2) is stronger than the other. Time, Lady Grinning Soul, and The Jean Genie are my personal favourites (particularly the latter). In The Jean Genie, Bowie finally decides not to go overboard on the musical theatrics that greatly bring down other songs like Panic In Detroit and the title track. This creates a piece of music that not only rises to the heights of Bowie's previous album, Ziggy Stardust, but actually surpasses most of it. The other two aforementioned tracks are also like this, and easily move the otherwise 3-star album up to 4 stars.

Summary: I've only heard their debut album prior to listening to this, and there's a marked difference in quality and professionalism with this album. The songs are mature and tightly arranged. Just an all-round incredibly solid rock album that's on par with Abbey Road for sounding like 1969's future. The majority of the tracks are fire. It's close to being 5 stars, for sure, but the weaker tracks and very questionable "experimental" choices on them hold this album back. Candy Says: A very pretty ballad with an excellent chord progression and melody. Love the confidence on this track compared to their comparably laid-back debut album opener, Sunday Morning. What Goes On: A stronger counterpart to the identically-named track off the Beatles' Rubber Soul. Organs are well-placed and the vocal ensemble lends it a bar-singing vibe. Distorted guitar/horn-sounding solo would be better without the piercing high organ notes over the top. Overall, the song gives a progressive early-70s underground feel. Some Kinda Love: The spread-out mixing on this bluesy, one-chord "talky" song is really fun. A little monotonous, but a good track. Pale Blue Eyes: I've just noticed how great the singing is on this album. Especially in this track, Reed's vocal has this quiet sadness and maturity that's difficult to describe but incredible to witness. Excellent guitar and bass playing here too. My favourite track so far. Reminiscent of Radiohead's No Surprises (which was recorded 28 years later). It's even in the same key! Jesus: Unusual mixing in the intro, but it rebalances after the 30-second mark. A beautiful, quiet track. Beginning To See The Light: A bombastic start to side 2. The chorus (or post-chorus? "Here we go again...") is excellent, and Reed's wild hollering heading into the next verse is pretty hilarious. A great track. I'm Set Free: A good track with a good guitar solo, but otherwise nondescript compared to other quieter songs on the album. Fitting choice of percussion. That's The Story Of My Life: The melody doesn't deviate much here, but interestingly the vocal still ends up shining. The Murder Mystery: A very odd intro with a convincing guitar riff that ends up being the star of the first portion of the song. Confusing two talking vocals at the same time is confusing. These are replaced by two completely new talking vocals, again different and played over each other. It's impossible to keep track of, so the listener tends to focus more on the rhythm section, which (fortunately) is kind of fire. New section at 6:30 is fun but makes the song sound like heavily discount prog. After Hours: Huh? Who's this vocalist? Honestly, this song bops, and it's difficult to explain why. The guitar and singing are extremely simplistic, and there's nothing else there. The lyrics are pretty but naive - and maybe that's exactly why the song shines. It's a simple, blind, naive, childish, beautiful lullaby concluding a great album. Key tracks: Candy Says, What Goes On, Pale Blue Eyes, Jesus, Beginning To See The Light, After Hours

A hauntingly beautiful snapshot of Indian pastoral and musical culture in the 1960s. The blend between Eastern and Western influences (I hear you, flutes and guitars!) is immaculate and truly a sound to behold. A variety of moods are captured throughout the album diverse, lush track listing. Really, the only thing holding this back from 5 stars is the fact that there's very little in the way of "hooks", meaning it's difficult to follow along or predict the music.

Sweet and really depressing – even more so later in the album. Lo-fi-sounding with its disheveled two-part harmonies and tentative rhythm section. The climactic moments, such as the second half of Nomadic Revery, are powerful. I See A Darkness is a stellar track that really summarises the whole album, making the tracks following it a little obsolete. Simplistic instrumentation, chord progressions, and melodies, all of which point to an emphasis on lyrics and mood. Not exactly my thing, but still easily one of my favourite post-80s albums. Key tracks: A Minor Place, Nomadic Revery, I See a Darkness, Death to Everyone

A crazy, spinning, hypnotic "mess"(?) of vocals and heavy production. Probably meant to be listened to while on hallucinogens, but it was still perfectly decent without them. My Girls and Summertime Clothes are clear highlights, for having some satisfying vocal moments and non-overbearing instrumental interludes. Daily Routine, on the other hand, is one of several examples of experimental synth-pop done very, very incorrectly. It's an irritating sound. The songs are mostly hits or "eh, it's alright"s, with a couple of these absolute honks thrown in to remind you that Animal Collective isn't perfect. That's part of the charm, though. They sound like a group of kids making a relatively organised racket with a mishmash of modern sounds at their disposal. And, honestly, it's pretty cool.

Willie Nelson's takes on these covers are heartwarming, soulful, and full of softness and spirit. Nelson's voice, while taking the vibrato a little too far at times, meshes beautifully with the other instruments. The in-and-out trickling of different textures, such as harmonica, piano, horns, and strings (especially noticeable in songs such as Georgia On My Mind) is carried out fabulously. Now for the negatives. Many of the tracks sound very, very similar, indicating a limited ability to play outside a specific style and tone. Non-vocal instruments are only very rarely given moments to shine, and other vocals (e.g. backing) are not present. Also, it's a cover album. Somewhere between 3 and 4 stars for this one. I'm bumping it up to 4 because of Nelson's happy charisma.

The instruments mesh together well, creating a distinctive, warm, laid-back atmosphere. For such an unfamiliar musical style, I enjoyed it more than I expected to. Now for the negatives. The songs are unadventurous and painstakingly repetitive. This makes the album really dull for close listening after the first 30 seconds or so of each track, and even a little grating in the lengthier ones. Some people might describe the songs as "chill, doin' their own thang" but I think it's very important that the musicians interact with and entertain the listener as much as possible. In my eyes, Toure's music does not accomplish this.

An album that doesn't take itself too seriously. I can admire that. The tracks are generally light-hearted and full of life. The instrumentation is fantastic and Paul's vocal is, of course, strong. The lyrics sometimes leave a lot to be desired (Allergies, When Numbers Get Serious) but I can't get too annoyed at that given the circumstances. The problem is, the album never really wows me. Like, at all. It plays it incredibly safe, especially for Paul Simon. Also, the song Cars Are Cars exists when it has no right to do so. For these reasons, I cannot in good conscience give it more (or less) than 3 stars.

Summary: A really great album. Spiky, punky, semi-reggae emblazoned with Sting's signature (and sometimes unhinged) vocal. There are a couple of hits in here, mixed in with high-energy instrumentally-focused tracks and a few oddities thrown in for good luck (On Any Other Day). Shoutout to the snazzy album cover! Message In A Bottle: a fast-paced thumper. Sting's vocals are the centre of entertainment, but the guitar, bass, and drums are all given chances to shine. The guitar riff is excellent and the chorus is laden with memorable vocal hooks. The outro could be cut down significantly, or have a guitar solo replace the repetitive four-word vocal. Reggatta De Blanc: Has an almost reggae-ish feel, but much more energetic. The texture is high-frequency-heavy (hope you have good headphones), giving a "windy", outdoorsy atmosphere. Incomprehensible lyrics. A fun jam session. It's Alright For You: The standout of this track was the short guitar solo at around 1:45. Strange "alien" inflections that bring life to an otherwise pretty generic pop-rock song. Also, the outro is fire. Bring On The Night: Whew. What a freaking amazing intro, and some killer guitar arpeggios to follow. I usually condemn octave harmonies, and this is one of those circumstances. These kinds of harmonies require much lower-energy instrumental accompaniment to not sound overblown. That being said, the vocal in the higher register is great. Whatever's going on in the instrumental before 3:00 is cool, and the outro is similarly very strong. Deathwish: A wacky track with an adventurous bassline, but only sometimes. The rest of the time, it plays one repeated note in a syncopated rhythm. The lyrics are enunciated weirdly and a little difficult to make out. Walking On The Moon: Possibly the most "stylish" instrumental so far, on par with Roxanne from their previous album. The melody is really funny and unpredictable. The bridge is odd, and the drumming in the following mini-instrumental is stellar. Lunar, even. On Any Other Day: Mostly entertaining lyrics (though the line "my fine young son has turned out gay" is a bit sus). The singers have American accents - does this mean something? Commentary on the gun-blazin bacon nation? Nah, probably not. The Bed's Too Big Without You: I'm noticing a bit of fuzziness over some of the louder notes and beats here - production quality drop? Sting's singing is top-notch. Interestingly, the production quality suddenly improves at the 3-minute mark. Fun percussion and bass; actually, hang on, that bass lick is fire. Contact: I could see this being a Bowie song from the same time period. A great, cosmic track that surely deserves more Spotify streams than it has (2.6 million). Some very high-level playing on all instruments. Does Everyone Stare: The first track to heavily feature piano instead of guitar, and the band pulls it off. The repeating, deceptively simple instrumental is insanely catchy, and the vocals are on point. The gradual addition of harmonies seem to represent an increasing paranoia (also demonstrated through the lyrics themselves). One of my favourite tracks on the album. No Time This Time: Okay, now here's some serious instrumental prowess. The vocal filter makes Sting sound a little unhinged.

I realised pretty quickly that 23-minute live tracks are next to impossible to focus on for the entire duration. So, beware; this is not an album for close listening. I also imagine this would've been pretty painful to listen to live. That being said, it's excellent background music. The jams are mellow and laid-back without sounding too egregiously noodly. The melodies are unmemorable but not bad. The instrumentation and musical skill being showcased is fairly strong. Can I see myself giving this album a 3, on par with Hearts and Bones, Born in the USA, and Natty Dread? Sure - but no way it's getting higher than that.

This one is a tough call for me. On the one hand, the lyrical storytelling is fantastic. I can tell because I found myself actively listening to the lyrics, which is extremely rare for me. On the other hand, Bob Dylan’s vocal is lazy, almost drunken-sounding in this double album, and overall the sound is less refined than the studio versions of these songs. Even with the storytelling element being a big positive, the first disc is still a slog to get through, and the highlight is Mr. Tambourine Man simply because it’s the most famous song on the disc. Disc 2 is better, incorporating some electric guitar, drums, bass, and other instruments to create a fuller, more interesting texture.

Some excellent tracks in here. Rod’s husky vocal took some time to warm up to (knowing that there was an entire album ahead of me), but once my brain accepted it, it really was a blast to listen to. Six covers that easily improve upon the originals, and three new compositions that expand on the blues-folk scene. The tracks It’s All Over Now, Cut Across Shorty, and especially You’re My Girl are the standouts; the latter is funky and rocking, approaching a perfect array of sounds that I’ve come to adore from bands like Zeppelin and the Velvet Underground (among others). The remaining tracks don’t stand out nearly as much. The rhythmically clumsy harmonies, fairly typical of the folk genre, are also really fun. The instrumentation isn’t particularly grabbing (excluding the final track) but it’s passable. This is very close to 5 stars, but there’s something missing from the sound.

It's not the worst it could be. Adele's voice is very strong, pretty much guaranteeing the album will get more than 1 star. The vocal is subtly flourish-y, which sometimes works to its advantage but also sometimes accentuates the subtle autotuning and occasional wacky overproduction. The compositions are generally very weak, being both (lyrically) unrelatable and (musically) unadventurous, almost to the point where it's hard to take Adele's clear vocal talent seriously. The instrumentation is consistently poor, especially the percussion. A few tracks on the latter half of the album are very strong (e.g. Million Years Ago, All I Ask) but most of the songs are unconvincing. Hello: Every time I listen to this song, I like it less than I thought I would. Verses are mediocre (piano isn't given any chance to shine or vary, and the melody is weak). Chorus is catchy and extremely memorable, but it isn't the culmination of several instruments; instead, it's Adele's slightly processed voice with scant flowery adornment. The other instruments aren't contributing enough, and I can't forgive that. Send My Love (To Your New Lover): The harmonies in the chorus are a fantastic choice, and they almost distract from the egregiously stereotypical-pop percussion (invariant bass drum and claps). The contrasting acoustic sound of the verses is solid. I Miss You: The percussion is really fun to focus on in this song. It seems like the drummer can't decide whether he's playing a straight syncopated rhythm or some kind of quintuplet polyrhythm. The indecisiveness actually becomes really distracting, since the rhythm keeps changing slightly each bar. At this point, I was most of the way through the song and had to think of something else to talk about. The backing vocals are nice, I guess. Good outro. When We Were Young: Similar problems as the opening track, albeit with a more interesting verse. The chorus is odd, because Adele's voice is very powerful but the lyrics themselves are pretty bad. Picture Freddie Mercury singing Yellow Submarine. (Huh, that would actually be pretty badass.) Remedy: This one's fine. Not much going on instrumentally, but none of it is bad (in fact, the piano playing is the most adventurous it's been). I really like the outro. Water Under the Bridge: Generic 2010s pop instrumental and chord progression that I tried my best to ignore. Melody is solid in the verses but exactly three different notes in the chorus. River Lea: Clumsy transition from the previous track. The build-up to the chorus is good, but the chorus itself isn't great, mostly because of the percussion. Seriously. With a proper acoustic drum kit, that chorus could actually be the strongest on the album, because the synth(?)(strings?), harmonies, and singing are fantastic here. Love In The Dark: Again, great strings! Nothing else particularly stands out. Million Years Ago: Hang on. This one's actually good. Some clumsy editing (0:50) but overall pretty darn solid. The acoustic guitar sounds much better with Adele's voice than the piano. Also, is that the Autumn Leaves chord progression? Sick! All I Ask: This one's really strong too. The chorus is excellently done, with some seriously great chords complimenting Adele's singing. Sweetest Devotion: It's passable. Bonus points for including percussion sounds that could actually be produced by a real, unprocessed drum kit.

Rundgren didn’t try hard enough to make this cohesive. The textures are lush and interesting, but they also make very little sense. The lyrics are pretty confusing and sung in a strangely un-catchy way. With some of the less substantial tracks removed and other shorter ones (such as Tic-Tic-Tic and Rock & Roll Pussy) more fully realised, this could’ve been a great double album. Unfortunately, I can’t give this more than 3 stars. The ideas have a great deal of potential that just doesn’t land properly. We instead get a decent-sounding but very swift-moving, hard-to-remember set of psychedelic rock tracks. There are definitely some highlights, including the I’m So Proud medley, Is It My Name?, and Sometimes I Don’t Know What to Feel.

I like the use of organs, horns, and especially strings on this album. It creates a very retro feel, a la Billy Joel’s An Innocent Man, but mellower (and, in my opinion, far inferior). Unfortunately, the commitment to a 50s/60s-era sound means the percussion (and instrumentation as a whole) isn’t very interesting. The vocal is often brash when loud and very weak when quiet; it doesn’t ever find the right timbre. They’re fun songs, but there’s plenty to fault. The main limiting factor preventing this from being higher than a 2 is that “spark” – anything exciting or inventive. Also, the solemnly-delivered lyric “You’re a horse, I’d clean the crap out of your stable” made me take the album a lot less seriously. Key tracks: In Pursuit of Happiness

Some fun sounds here, but nothing revolutionary. The singing is quirky yet unobtrusive, making for good background music. The texture is extremely monotonous, which isn't always a bad thing, but it generally limits relistenability. That being said, the texture the Smiths cooked up is pretty awesome, almost like continuous-alternative-punk. If this counts as punk, it's definitely one of my favourite albums in the genre. Fave tracks: What She Said, That Joke Isn't Funny Anymore, Barbarism Begins at Home

Ultra-electronic - a little disconnected-feeling, maybe. The only obvious human elements are acoustic guitars and vocals, and the former unfortunately only appears on some of the weaker tracks. Walking Wounded and Before Today are highlights for purely atmospheric reasons (by my normal, heavily instrument-based standards, they wouldn't be standouts). The percussion in the album is about as solid as electronic drums can get, but heavily limit the songs' potential. Unfortunately, as a general rule, electronic drums suck the life out of a track, and this album is no exception. The vocalist is clearly strong, but I feel she doesn't express as much emotion as she could. The singing is a little restrained, playing it safe in terms of both melody and range. Alright, I've dunked on this album enough. The pros: the textures are fresh and reasonably unique for their time, the lyrics are pretty strong, and there's this indescribable warmth present. For all the sins it commits, it's surprisingly good.

Brilliantly detailed and crazy - almost a little too much so, relying on weirdness and "wow here's another fun bit/bob to keep your interest for the next 30 seconds" to the point where it stands more as camp than as creativity. However, there's literally nothing else bad to say about this album. The songs are so darn fun to just quietly observe, all the while thinking, "How the heck did this guy manage to make that sound good?". It's reminiscent of an early-70s Bowie record - think Aladdin Sane, but with less of David's distinctive drawl and slightly more tea and crumpets. The transitions are goofy and work really well - On Some Faraway Beach leading into Blank Frank, in particular, had me wide-eyed. Highlights: Needles In The Camel's Eye, Baby's On Fire, Cindy Tells Me, On Some Faraway Beach

Great modern easy-listening music. I'd never heard of this band before, which is surprising, given their clean, catchy sound and engaging instrumentation. It's reminiscent of 60s/70s music, and merges Brit-pop-rock with hints of country, drama/cinematic, and country. An eclectic combination, for sure, but it sounds pretty good. No tracks that stand out, although I did find myself particularly enjoying My Mistakes Were Made For You, The Age Of The Understatement, and The Meeting Place.

Such an odd listening experience. The guitars - clearly touted as ZZ Top's signature instrument and defining sound - are distorted in a very processed, controlled way, creating an atmosphere where I feel like I should be headbanging but can't quite hit the groove. The sound is too heavy to qualify as pop rock, but not heavy enough to succeed Zeppelin or other towering contemporaries. The instrumental consistency is either a blessing or a curse, depending on how you view albums. It's somewhere in between for me. Many of the tracks sound extremely similar, rendering it good background fodder for a garage hangout. On the other hand, the album has zero flow or order to it, kind of tossing any vestiges of a concept album out the window. That being said, some killer tracks in here. Sharp Dressed Man, Gimme All Your Lovin', I Got The Six... in isolation, these are pretty great, possibly 4s or 4.5s. The album experience drops my rating down to a 3.

For 1971, perhaps the most revolutionary year in modern musical history, this album just doesn't stand up against its peers. That being said: props for having one of the dumbest, awesomest album covers in prog rock. The title track is a mind-bending soup of keyboards and indecisive time signatures. The material is complicated, and E/L/P mostly pull it off, but there are points where the band goes noticeably out of sync. The song is almost too adventurous, rarely seeming to revise earlier themes, and introducing wacky new ideas every few bars. The "singing" sections of the suite are fairly strong sonically, but the lyrics are less than compelling. The tracks on side 2 are so tonally distinct from side 1 (piano rockabilly/ragtime, compared to the stupidly indecisive organ-laden heavy rock on the flipside) that I'm also convinced E/L/P has no idea what kind of music they want to make. "The Only Way" is, well, the only way I might see myself coming back to listen to any part of side 1; the other tracks are dated rockers.

Summary: A surprisingly diverse array of tracks that showcase Bowie's prowess when tackling many different musical genres. Instrumentation is fantastic throughout, and Bowie's vocal is mature yet whimsical. It's so difficult to label this music with a particular style, but of course that's the virtue of the Bowie. The only real drawback is that it's not simple music, and could take a few listens to really "get". Station to Station: a dramatic, exotic, eclectic mix of instrumental weirdness. Also, for what it's worth, incredibly groovy. Bowie's voice is very strong here, exploring some self-harmonising that keeps the backing from getting too repetitive. At 5:20, there's a mood change with a faster tempo. You can tell that Bowie's really getting into it in the latter half of the track. Golden Years: Bowie perfects the craft of funk here. The percussion is subtly and precisely chosen, the harmonies make masterful use of the lush dorian mode, and the guitar is just the right level of grungy. A light-hearted foot-tapper with not a single wasted moment. Word on a Wing: Some weird chord progressions are presented here via a confidently-played piano. The lead vocal is very cutting in the mix, and the song is generally just a little louder than I feel it should be. Still, who am I to question the Thin White Duke? The section between 3 and 4 minutes balances the instruments' volumes noticeably better. A very expressive song that probably would've been more meaningful if I'd paid attention to the lyrics. He title-dropped a few times, I think. The organ fadeout is good but feels a little low-effort for ending side 1. TVC15: Side 2 begins with a bluesy number you might expect from the Stones or rock-era Billy Joel.. The bass is quite prominent here and the lines are solid. The vocals carry those confident, swaggery inflections one would come to expect from the piano man. There really isn't anything questionable about the track, except perhaps the song title that you're forgetting even as you read it. Stay: Whoa, that percussion. Soundscapey. The bass is even more prominent now and it's approaching "thats darn fire" territory. Everything's working together perfectly here, and it's complex yet simply groovin. Wild Is the Wind: Probably the simplest track, instrumentally. Bowie's vocal is, again, very strong here - possibly the best it's been yet. The guitars overlaid onto each other are yummy (ear-yummy, I guess). Great track.

An intersection between psychedelic rock, hard rock, and metal. Definitely a pioneering album for its time, and a friggin' awesome-sounding one at that. The only complaint I have is the slightly excessive screaming, but that's purely based on personal taste. The bass playing is reminiscent of the late-60s-early-70s burly psychedelic bass sound, and the guitars complement it beautifully.

A very strong album that takes some of the best (and worst) elements of Beatles music and mushes them into a hook-laden mulch of pop rock. McCartney's ideas here are darn good, and their execution is mostly on-point. There are a few glaring issues, though, when it comes to some of the tracks noticeably losing their steam and creative spark partway through. "Mamunia", "Mrs Vandebilt", and "Picasso's Last Words" are the main offenders here. McCartney's overactive hook-imagination is prevalent in the track "Jet", which is exhausting to listen to no matter how familiar you are with it because of the overwhelming jumble of brash musical ideas. "Bluebird" is a solid lower-energy track, reminiscent of Ram-era solo Paul. The remaining tracks - "Band On The Run", "Let Me Roll It", "No Words", and especially "Nineteen Hundred and Eighty-Five" are killer, and turn an otherwise average post-Beatles McCartney album into one of his finest works.

A fun, modern psychedelic loop-de-loop (rollercoaster isn’t quite the right word). The first two tracks are so incredibly strong that it’s almost unfair to the remainder of the album – which itself is, to be fair, also solid. Some tracks, notably Come Together, Higher Than the Sun, and Loaded, are anthem-like, paying homage to the likes of Hey Jude. Unfortunately, they’re not as good as Hey Jude, but still go on for longer. The messages of freedom, solidarity, and love are pretty clear-cut from the beginning of the songs, and I think their runtime could’ve been cut down substantially. Oddly, there seems to be a strong influence from the Beach Boys in some of these tracks. This influence is most obvious in the instrumental Inner Flight, which bears a very strong resemblance to Let’s Go Away for Awhile – albeit with more modern instrumentation and atmosphere. Also inspiration taken from the Beach Boys’ early 70s sound with I’m Comin’ Down. Good contrast between louder/”thicker” tracks (most of the album) and quieter tracks (Damaged, I’m Comin’ Down). Close to being a sonic masterpiece, but it’s just a little longer than it needs to be. Key tracks: Movin’ on Up, Slip Inside This House, Inner Flight

An album that, under ordinary circumstances, I'd happily give a 2 or 3. There's an element of simplicity that usually grinds my gears with other artists. However, Paul McCartney makes it work with his mind-bending charm and heart he puts into his singing. The bare-bones instrumental approach to most of these tracks works excellently with his vocal. The only particularly complex arrangement, Maybe I'm Amazed, is also one of the best songs by any Beatles member. The remaining tracks, of which there are many, hit different in the context of McCartney's emotional state at the time, and there's something about them that just clicks. 4/5. Maybe I'm delusional. Maybe I'm amazed. Heh.

This album is better than 25 in just about every way. Unlike the latter, the percussion on 21 isn't obnoxiously electric, and the acoustic elements are emphasised. Use of strings is quite prominent and complements Adele's singing nicely. The production is high-quality and sounds really fresh. On the flipside: the songs aren't very memorable or lyrically compelling (this only applies to the ones I hadn't heard previously). Additionally, Adele's vocal timbre is such that it sounds like she's constantly trying too hard. It's a little off-putting, especially in tracks like Set Fire to the Rain that have almost zero textural variation. Adele also overuses little melodic inflections, which isn't a huge issue except during close listening. Favourite tracks: Turning Tables, Don't You Remember, I'll Be Waiting

Back to Life – the single version, not the album version – is fantastic, and I’m not surprised it was a huge UK hit. Keen on Movin’ is also a great track, and Holdin’ On and African Dance aren’t half bad either. The female vocals in every track that includes them are gorgeous, to the point where the carelessly-spoken male vocal is “immersion-breaking” and obstructs the otherwise very cool, hip-hoppy flow of the album. The percussion is pretty boring, predicting the upcoming decade of similarly unremarkable percussion being (somehow) a hit with the crowds. Other instruments are cool but repetitive, such as the fun horn licks decorating some of the later tracks.

The opening track, Badlands, is executed really well, perfectly setting the mysterious, goofily-lighthearted-yet-kinda-serious tone of the rest of the album. His distinctive singing fits the songs really well, especially on the album’s first side. The sound is slightly less “commercialised” than his later album Born in the U.S.A., which I’ve already encountered on this list (and gave a 3/5 rating). Instrumentation is good, but doesn’t vary noticeably from song to song (with the exception of the piano-ballad tracks, which are arguably the weaker tracks anyway). Still, good stuff. A jolly good time.

A good album. The tracks are very similar sounding to each other, and no fresh material is used (i.e. a cover album). Very typical of the early-to-mid 60s. Dusty's voice is great, and the remaining instruments complement her well.

What an absolutely strange, liminal sound Le Tigre have got here. It's music that shouldn't exist - and that certainly shouldn't sound good - but it does. Vocals that are clear and full of emotion, yet monotonous and robot-like (in a good way), conveying some message I have yet to figure out. Lots of motif repetition and droning with synths and guitars, to a pretty good effect. The music is kind of time-defying, not in the sense that it doesn't sound dated (it does) but that it's difficult to pinpoint exactly what era or genre it's emulating. There's clearly a punk influence... but anything further than that, I'm lost. Key tracks: Deceptacon, Hot Topic, Let's Run, Les and Ray

Summary: There aren't many albums from this era of music that I enjoy. That being said, this was great! Lyrical themes of lost love and a fresh new start, often involving said love. I think Taylor needs to learn to move on. The album's atmosphere is confident, positive, and fresh. It risks sounding austere or sterile at times, but Taylor's vocal is consistently very emotional (at least, compared to Midnights, the only other album of hers I've listened to) and this balances the feel out. Mostly poor electronic percussion, but the tracks that avoid this are fantastic, and the ones that don't are still pretty darn strong. A clean, modern tracklist that only Taylor could pull off. Welcome To New York: Very fresh-sounding. The percussion isn't great, but the vocals more than make up for it. Taylor's singing is the brightest I've heard it, although the lackluster melody detracts slightly from this. Simple and fairly effective. Blank Space: Whoo boy, now here's a good melody. Infectious. The moment when the instrumental disappears at the end of the chorus is a huge highlight - "... and I'll write your name." The percussion is distractingly electronic, much like the previous track. Hopefully at least one track will have either good percussion or none at all. "Getting bored of Walls 2, I should find a new minigame..." Style: the intro is great. This is the kind of atmosphere where I can forgive the lazy percussive instrumentation, because it creates a clean, goosebump-inducing synth feel that just clicks with me. One thing I notice about this album is that Taylor really likes hanging onto one melodic note for several words, or even entire lines. She also uses the 6th and 9th of chords VERY frequently in her melodies, which is a little difficult to swallow since most artists don't do this. All of that aside, this is a fantastic song. Out Of The Woods: a distinctive intro, for sure. The building-up atmosphere leading into the chorus is good, but the chorus itself is not. There's a release of tension at the beginning, but afterwards it feels like Taylor forgets both the lyrics and the melody and just repeats one line, hoping for the best. Breakdown at 2:50ish is solid. All You Had To Do Was Stay: Ugh. I guess I'm not getting Taylor's vision. Her choruses are just... not good (excluding Blank Space, which was kinda fire). The high-pitched "stay!!" hook is the strongest part of this song, and it seemed Taylor was aware of this. Shake It Off: Fantastic. Taylor's voice is positively bursting with excitement and enthusiasm, and the melody is the strongest one so far. The percussion is also significantly more human-sounding than previous tracks. Spoken vocal in the middle has a great lyric that really nails home song's atmosphere and message. The hooks are incredible, the backing vocals are sung to perfection... If this song isn't the winner, I'll eat my hat. I Wish You Would: The guitary-thing far back in the mix (except during breakdowns) is the best part of this song, although the wacky syncopation in the vocals is a close second. The repetition of the song title at the halfway mark is also a great moment. However, the percussion has relapsed (sad face). I won't comment on it anymore unless it's good. Bad Blood: This song feels like very generic Taylor Swift. There isn't much to go on. Choruses are energetic and fairly catchy. Wildest Dreams: Oh man, this one's good. The description of the man of interest does kind of combine all the traits of a perfect man (hence the song title), and I wish it weren't the standard I was competing against. The melody is subtly brilliant, the self-harmonising (especially towards the song's conclusion) is another goosebump-inducer, and the restrained percussion is fantastic. Another highlight. How You Get The Girl: Taylor has correctly identified that I need a lesson in this. Wait, she's telling me to... Break the girl's heart, then stand outside her house in the rain, attempting to make up? Kiss her on the cheek? Yeah, that'll get me reported for stalking and assault. Also, it absolutely only works if you follow rules 1 and 2 (be attractive; don't be unattractive). I'm good. Chorus is similar-sounding to Blank Space, but a bit worse. A Swift Standard, one might say. This Love: Dreamy, almost ethereal atmosphere. Lots of goosebumps during this one, though it could be because I'm wearing shorts. A good track with good percussion. I Know Places: The verses are a bit jittery and all over the place, but they hold their own. The choruses, on the other hand, are so much better than the verses that they're almost different songs - particularly the chorus at 2:15. Confident, positive, and fresh. Notably, a great song ending with the little VHS click. Clean: I wouldn't have chosen to end the album with this track, but go off, I guess. The contrast of bumpy, staccato synths with smoother overlaid ones creates a distinctive atmosphere that's really enjoyable, but more befitting of a track near the beginning of an album. This is me being really nitpicky though. The song's message is encouraging and speaks of Swift's journey with addiction and how she overcame it. Proud of you, Taylor. <3

Not great. Some of the backing musical ideas are good for the first ten seconds, but they aren't varied or developed. Combined with the lack of melody or (cohesive) harmony, this creates a very monotonous listening experience that's only slightly improved by engaging vocal rhythm and attitude. The lyrics were probably relatable for someone, but not me. There just wasn't anything in the music to latch onto, and I felt myself unconsciously tuning out the noise. A great deal of 90s rap and hip-hop can be summarised with a description like this, and Cypress Hill is no exception. At least the album length wasn't excessively stuffed with dull, scripted skits. It's got that going for it.

This is very close to 5 stars for me. The playing is confident and on-point, with a near-perfect blend of grungy distortion and smooth licks. Guitar and bass are in sync for much of the album (woo!) and the vocals are rough in their usual classic hard-rock way. The riffs are reasonably catchy, though they really start to sound similar after an hour of riff-oriented songs all in the same style. (I’m glad I didn’t do a track-by-track analysis.) The audience interaction is really fun; live recordings are always improved by an engaged crowd (see: YYZ performance by Rush in Rio). Honestly, any and all of the songs may as well be highlights, but my personal ones are Dancing In The Moonlight, The Rocker, Are You Ready?, and Southbound. The band definitely knows how to effectively and satisfyingly end a song, much to my delight, but just a few of the tracks take too long to reach that ending. Still, one of my favourite-ever live albums. Thin Lizzy slaps.

Sisters of Mercy knew exactly what style they were going for, and they rocked it. Dark, haunting synth rock with low, foreboding, almost monotone vocals. Memorable bass riffs and solid instrumental expertise. It's not exactly my style, though. The synths are heavily overused, creating a very dated sound a la A Momentary Lapse of Reason (which is weak for a similar reason). The choruses are often an intensified, faster version of the verses, which might bode well for live performances but not so much for album close-listening. My favourite track was This Corrosion because it sounded the least like the others: a more light-hearted, standard rock style.

Abbey Road has this subtle mellowness and melancholia that can't be missed once you've noticed it. And knowing the context of this album makes it all the more beautiful. The band members were at their breaking point, all of them composing solo material and avoiding having to collaborate (especially between John and Paul). It was Paul who suggested they record an album that returned to their old Beatlesque ways: engaging song structure and melodies, breathtaking harmonies, and creativity that pushed the boundaries of rock and mainstream music. (I imagine all four members knew, in the back of their minds, that this would be the final album they ever recorded together.) The production is not to be overlooked either; it rivals Pet Sounds and Sgt Pepper with its fresh, clean audio that makes for an incredible with-headphones experience. The result? A collection of rock classics that have easily stood the test of time and include some of music's most beloved tracks. Come Together. Here Comes The Sun. Something. Because. Octopus's Garden. Oh! Darling. I Want You (She's So Heavy). The Abbey Road Medley. (And, just like that, I've covered every track except for Maxwell's Silver Hammer, which some people consider a dud but I definitely don't. It's a banger.) Within the medley are killer moments such as the multifaceted You Never Give Me Your Money, the beautiful serenity of Sun King, the energetic and fun-packed transition between Polythene Pam and She Came In Through The Bathroom Window... and, of course, the iconic finale of Golden Slumbers/Carry That Weight/The End. What a brilliant way to end the career of the greatest band of all time.

Really good. Lots of energy and poppy synths, with a cool spunkiness in Costello's vocal that reminds me of Billy Joel around the same time. (I still prefer the Piano Man's chops, though.) The compositions aren't especially memorable, but they keep the listener constantly engaged with radio-friendly instrumentation that plays it just safe enough to be universally appealing while still incorporating punk and pop sounds that would've been fresh and new at the time. Special shoutout to Chelsea and Living In Paradise for having a sick riff, and to The Beat, No Action, Pump It Up, and Radio, Radio for just being really strong overall.

A decent album. The vocalist's nasal, "teacher's-pet" voice quality got under my skin at first, although I warmed up to it slightly by the album's conclusion. It works decently as background music. The band sounds like very, very discount Rush mixed with some Bowie and Velvet Underground. The second track, "Another Girl, Another Planet", is a futuristic-sounding standout. It (strangely) reminded me of the Beatles' track Let It Be, but with a power-pop, 80s spin. Guitars are solid. The opening track, "The Whole Of The Law", is also pretty good, as is the instrumental second halves of "The Immortal Story" and "Peter And The Pets". However, the track quality dips as the album continued and the songs' sounds begin to sound less unique and more derivative. Passionate playing, but the compositions aren't there. Plus, as mentioned previously, the vocal is very bad.

It's alright - some good harmonising - but instrumentally it's very straightforward and doesn't give the listener much to latch onto. Extremely simple percussion appears in a couple of tracks, which end up being the highlights of the album for that reason. Most other tracks are guitars and vocals, and the songs sound quite similar to one another as a result. I guess this was meant to be a lyrics-focused album, but the lyrics aren't particularly strong either. Still, the general vibe/mood is positive and carefree (to an extent). I can appreciate that. Key tracks: Wildflowers, Those Memories of You

Surprisingly good. I usually dislike 90s hip hop, but this defied all expectations. Warm, uplifting, funky, spiritual album. The lyrics were enrapturing and (for the most part) relatable. And, for once, there were actual vocal melodies! Some darn sick beats rooted in blues, funk, and rock from earlier decades. This honestly has the potential to be a 5/5. What's stopping it is the crude 1-bar repetition that defines most of the hip-hop genre.

Energetic and spunky. Lots of obvious blues influence even before the Stones' reputed "blues era" of the late 60s and early 70s. Under My Thumb is a fantastic, memorable number that seems to perfect the combination of lots of different mellow-rock cliches of the time. ("Ain't it true, babe?") Paint It Black is a brilliant, exotic-sounding tune that clearly takes influence from the Beatles and Eastern artists. The remaining tracks are solid, particularly "Stupid Girl", "Flight 505", and "Lady Jane", and showcase common motifs in the US/UK rock scene with utter confidence and precision. One star has to be taken off for the lyrical ping-ponging between desire (acceptable) and misogyny (a bit less acceptable). I guess the Stones were trying to be relatable with their material, but even if it possibly was relatable at the time of release, it hasn't aged well. Still, if any album's an artefact of its time, this one definitely is.

Bold and almost underground-esque, with Jagger-like vocal inflections used by somebody who definitely isn't Jagger. But Patti pulls it off convincingly, and with some really inspiring compositions to go with it. I had to do some reading on Wikipedia, and it seems this album was hugely influential on the rock, punk, and female musicians' scenes. I can definitely see that in Patti's music. Gloria is an excellent, exciting opening track, making heavy use of a three-chord power harmony. Free Money, Redondo Beach, and the title-ish track are also strong. It's not exactly punk, but that's fine. It's better than most punk anyway. There's just something a bit unpolished about the album that's hard to pin down. It's missing something that really creates relistenable, coverable classics. 4/5

A really good acoustic Latin record. Incredibly catchy vocal hooks, especially in the opening three tracks (Chan Chan, De camino a la vereda, El cuarto de Tula). The fact that this album was recorded in just six days only adds to its impressiveness. The guitarwork is also very solid and provides an atmospheric backdrop to the shining vocals, emphasising the band's Caribbean roots. The energy and soulful performance decreases slightly throughout the album, but this is harder to notice if you have it playing in the background. However, through close listening, this was a bit of an issue (coupled with the lyrics I couldn't follow!).

The bands performing on this album are fantastic, and the music is high-quality. The actual songs being covered are overplayed and exhausting to give a close listen to after months of hearing them day-in-day-out at every shop in the city. Still, the charm and passion of the musicians means I can't really justify giving this less than 3 stars.

The one time I can excuse all of an album's tracks blurring together. The Stones are seriously glowing throughout this album. It's obvious they're having a blast, and the songs are incredibly consistent, linked together by a country-esque ecstasy that only this band could pull off. Songs such as Tumbling Dice, Shine A Light, Loving Cup, and Rocks Off are highlights, but there really isn't a bad track. I could easily see this going into my regular rotation.

It's... fine. Passable for 90s hip-hop, at least. The skits are actually pretty entertaining, and come close to outshining many of the actual musical tracks - which is a bit of a no-no. There are a few musical highlights, namely the great Mind Over Matter, the raging mood of Fly By, the unexpected metal-rocker Body Count, and the chilling keyboard hooks in The Tower. Unfortunately, the album is brought down severely by its lyrics, which veer all over the place, from misogyny (Bitches 2) to narcissism (Straight Up, among others) to underwhelming sex-talk after stating in the previous track that there would be nothing of the sort (Fly By). The percussion is also generally uninspiring - very standard for 90s rap, having a kind of semi-lo-fi electronic sound that makes the production sound much worse than it should. The rhythms themselves are not interesting. 2/5

Summary: Far too many I-IV chord progressions for my comfort. That being said, Bono's voice is stunning, and works for every occasion (in this case, all 11 occasions). Guitars and synths are used tastefully throughout, and the overall sound is full and satisfying. 4/5. Where The Streets Have No Name: An 80s counterpart to Fleetwood Mac's "Second Hand News". Energetic rhythm section backing a soulful, heartfelt lyric about finding your place in the world. I Still Haven't Found What I'm Looking For: Again, just a brilliant atmosphere. The chorus is a little generic, but still powerful and (probably) crowd-energising. Harmonically, not interesting – essentially one chord with heavy textures trying to convince you otherwise. With Or Without You: The singing on this is pretty darn great (although it's easier to pull that off when the melody doesn't deviate much. Hang on, the melody's getting higher. A five-minute emotional arc? ... Yep. Whoa. This song is an anthem if I've ever heard one. Some good guitarwork in here too. Bullet The Blue Sky: Groovy. Two chords, but the almost angsty vocal coupled with a slow, druggy metal instrumental makes up for it. Atmospheric. I think I'm starting to see the band's main strength. Running To Stand Still: A little nondescript until halfway through, with the repeating "Ah la la la de day" lines and the following "Hoooooo!"s and verses. Lyrically: Man, this Bono guy didn't have good relationships [with drugs], did he? Red Hill Mining Town: Okay, the number of I-IV-I-IV-... chord progressions in this album is kind of crazy. Fortunately, I was saved (partially) a few seconds after typing that sentence. A slow, powerful mourning sesh about a worker's strike. Kind of generic-sounding, but Bono's vocal once again saves it. In God's Country: A different chord progression. Huh, actually, this one's the same. No wonder some people (especially "background-listeners") complain about all the songs on this album sounding the same. Fast-paced and possibly more intense than it needed to be. Trip Through Your Wires: Harmonica! I-VII-IV-I is a slight change, but nothing crazy. The vocal harmonies and rhythmic choice of 6/8 time really sell this one for me. One Tree Hill: The gold standard. Every song on the album (after the phenomenal opening trio) is trying to be like this one. The first track where I noticed how much I liked the drums. Simple-but-not-too-simple, effective, repetitive, great. "Run like a river/To the sea..." Bono's going all in on the chorus, and the backing vocals agree. As long as you're okay with the second consecutive VII-IV-I song in a row, this song is probably your jam. Interesting change in atmosphere in the final 30 seconds, almost like a departing prayer. Exit: Kind of an homage to punk, or a tongue-and-cheek reply to the post-punk that was popular around the same time. Also clearly inspired by blues, what with the "caveman bassline" and heavily dorian-mode melody. Fun contrast between the "moody" and "rahhh!" sections. I'm pretty sure the entire song is one chord. Tasteful use of synths - not too overbearing. Mothers Of The Disappeared: Pretty. A good choice to end the album; it wouldn't have worked anywhere else. The fadeout is a little rough.

I came into this from the Wikipedia article expecting to give it 3 or 4 stars, and left very surprised. It's pretty darn great. I'm familiar with a couple of the tracks (Oye Como Va, Samba Pa Ti) as jazz charts, but this overall modern Latin-rock genre is quite unfamiliar to me. And Santana Latin-rocks the house down. Every song is great - even the mysterious, atmospheric Singing Winds, Crying Beasts - and the album was over as soon as it had begun. Excellent guitar work and a fitting, precise-yet-jammy vocal performance.

Music, quite by definition, decorates time (much how art decorates space). This album is the music equivalent of sprawling mass of mud and rocks heaving slowly down a long mountainside. Even though it technically decorates the landscape, most people could only watch it with boredom or discomfort, and it would be a stretch to call it art. The instruments, individually, are played well, but when put together as a band, they feel incongruent and without passion. The vocal is consistently, uncomfortably out of tune, which might be a staple of the genre but isn't working for this album. Albatross is a slog to get through, with even the bass (which seems to be touted as the crowning sonic achievement of the album) hardly deviating from repeated tonics in an eighth-note rhythm. There's very little material to hook the listener's interest after around three minutes. The unhinged falsetto at the end is probably the best part of the song. The tracks following Albatross are slightly better on account of simply being shorter (and having some good interplay between drums, guitar, and bass, e.g. in Poptones). The songs Poptones and Socialist are highlights because of the guitar/basswork, but the former is much too long. The Suit is very strange, almost like a Syd Barrett or Chats track with a dark bass undertone. Bad Baby is as bad as the baby. Chant is also bad, because it takes repetition to the extreme in an album already overloaded with it. The final track, Radio 4, is far and away the best track on the album, and yet it's merely a semi-good synthy instrumental. Another reviewer stated it best: "Fair play for abandoning the Sex Pistols' sound and exploring new and interesting sonic textures, but this seems like a case of PiL crawling in a slow, ungainly manner so other post-punks could run."

My first time listening to Fiona Apple, and it was great. Ten stellar tracks, each with their own unique instrumental feel and brilliant, non-overblown piano part. The mixing is done well, allowing Fiona's beautiful and emotional vocal to shine. Fiona also incorporates a hard-to-describe theatrical element to her performance that adds drama and variation to each of the songs. The songwriting style is unadventurous but honed to near perfection. Sleep To Dream, Sullen Girl, Criminal, and Carrion are highlights. The album cover is the only obvious thing bringing this album down (a blurry brightness filter on a poorly cropped selfie isn't ideal).

Spectacular. Ten great compositions, executed beautifully. Bridge Over Troubled Water, The Boxer, El Condor Pasa, Baby Driver... goshdarn Cecilia. Earworms in the best way possible. The harmonies are S&G's signature, and they really shine in most of these tracks. Simon's solo vocal is always playful and conversational, which really draws the listener into the music. "So Long, Frank Lloyd Wright" is the only odd one out; there's something just a little unsatisfying about it, like an incomplete souvenir shoved into the middle of the album to increase runtime. Still, it's not bad, and the consistent flow of the album manages to work with the variety of moods and styles. For its time, this music is phenomenally fun and creative. This customer has been kept satisfied. 9/10

There are some great melodic/instrumental hooks in these pieces, but they're hardly developed and it's easy to lose interest after the first three or so minutes of each track. And, given the five-plus-minute average length of the tracks, almost half the runtime is spent wishing the song would progress to something a little more engaging. I'm glad I listened to this album, but it's a bit too tedious for a relisten. The opening track was a highlight, if only because I didn't yet realise how thematically repetitive the future tracks would continue to be. Cool singing voice. I was a little worried I'd tire quickly of it, but I actually really enjoyed the vocals, especially when they were harmonised. 2/5

A fresh, very pretty sound with some funky instruments. In my eyes, none of the tracks are standout classics, but you can see the heart in Wilson's compositions, as well as the inspiration from the Beach Boys.

For an album released in 1970, it was just a little underwhelming. The music felt like it was meant to be enjoyable (by myself included), and it got most of the way there. There was just something incomplete about nearly every song in this set. All of side 1 was, barring some pretty simplistic arrangements, fantastic. The harmonies were glimmering and it sounded at least five years ahead of its time. As the album progressed, the music seemed to shift into more dramatic, "proggy" territory, but never quite reached the heights of other prog rock giants around the same time. Rundgren's style is a bit indecisive at this point. Black Maria, Hello It's Me, and Slut were some later highlights, but the energy of the album had long since plateaued. I thought I was going crazy. The Wikipedia article showed near-perfect critic reviews, and I couldn't observe that near-perfection. That being said, it's incredibly impressive that every instrument on sides 1, 2, and 3 was played by Rundgren. That's some sick talent.

Moody. Cinematic. A brilliant dive into late 60s soul-light-rock, including the gorgeous hit "Son Of A Preacher Man". The other tracks are nothing to sniff at either, although they can often be difficult to tell apart from one another. Dusty's voice is pretty magical, and the other instruments (such as horns and strings) are given a chance to shine too. I think it's very important that a solo artist give equal (or close to equal) priority to their band members, even though the music is only under an individual name. The vocal harmonies are good, and should've been utilised even more. The musical harmonies (chords) are unadventurous, which I can sometimes forgive, but not quite in this case. Note: This album is really close to 5 stars. It's delectable, but not delicious.

Crazy, energetic, deadly. Some tracks were actually really catchy and evidence of strong songwriting prowess (Rise Above, Six Pack, TV Party) but others were just several minutes of angry noise from all instruments who showed up to the party. In those moments (which were far from fleeting), the music wasn't exactly musical, and it was a slog to get through despite the tracks' very short average runtime. These vocals are best when performing a mini-skit or sing-talking, but not when screaming.

It's decent music. The intended audience is definitely not me, so I can't appreciate the lyrics. The tracks are pretty hit-or-miss, particularly with regard to the backing instrumentals. Tracks like Gin and Juice, Ain't No Fun, and Gz and Hustlas are seriously catchy because of their intoxicating riffs, varied rhythm, and non-monotonicity. Some tracks, like the opening Bathtub, are acceptable as skits but clearly not relistenable. Most of the remaining songs are fine but pretty uninteresting and repetitive, especially compared to the incredible rock, folk, and post-prog music being released around the same time. Snoop Dogg is, as his lyrics demonstrate, pretty narcissistic. It alienates me even further from the already uninspiring lyrics. 5/10

The most musically impressive punk music I’ve ever experienced. Everything that punk does wrong, London Calling improves upon, and everything punk does right, London Calling gives a nod (and a half) to. Absent are the arhythmic, atonal travesties of same-era punk (such as Public Image Ltd.’s “Metal Box”, another album in this list). The tracks are short, varied, energetic, and powerful in terms of their messages. The Clash ain’t messing around here. The singing is archetypal punk-esque, not going overboard but maintaining a balance between energy and control. The guitars and drums are great, and addition of other instruments (such as horns) is tastefully done. They’ve also expanded upon the sound from their earlier albums, taking influence from blues, jazz, and Latin – among other genres – throughout the tracklist. Essentially, the White Album, but more cohesive and with fewer obvious “classic” songs. Key tracks: London Calling, Lost in the Supermarket, Death or Glory, Train in Vain, Jimmy Jazz

Great guitar, great bass, great drumming. It's a bit Rush-esque, with much more conventional singing timbre to fit the late-80s "funk metal" style. The opening track, Cult of Personality, is pretty infectious, and the remaining tracks are all good, though many of them sound similar. The three live tracks tacked onto the end are unnecessary, both for runtime and for being repeats of earlier tracks. Still, a very strong showing for an album and band I'd never heard of.

Fairly good disco, but disco itself is a very dated genre that inspired many significantly better, more varied styles in future decades. It was one of the lowlights of the 70s. For what it’s worth, CHIC pulls it off very well, nailing the chill multi-harmony vocals, smooth synths/horns, and tight drum beat. It’s just a little artificial, which is an artifact of the genre rather than any fault of the band. The opening track, Good Times, has that excellent hook, but runs over twice its ideal length. What About Me is another very strong track, the harmonies especially notable here. Otherwise, the album is fairly monotone. Suitable for a soundtrack (or indeed an actual disco), but not for close listening in the modern day.

The musical rendition of Hitchhiker's Guide. Adventurous, mind-bending, indecisive, crazy. I got lost several times. The fact that this was recorded live is incredibly impressive. It sounds several years ahead of other bands that would themselves be considered wildly ahead of their time (e.g. Pink Floyd's Meddle and WYWH). Unfortunately, though, the music lacks riffs, hooks, and (for the most part) chord progressions and melodies, making it tough for your standard listener. One thing I will say is that it wasn't boring. It just overrepresented creativity and musicians' enjoyment, at the expense of building a connection with the audience. Because I'm part of said audience, I can't give this 5 stars. Great synths. In fact, great instrumentation all around. The musicianship is solid and the band sounds like they're genuinely enjoying themselves without sounding too indulgent. Fun and well-executed build-ups as well. It's mostly great, in theory. 4/5 Fave track: Out-Bloody-Rageous

This is a tough call for me. It’s between 4 and 5. The compositions are great yet simple (but unfortunately not memorable), and the lyrics are relatable. I’m guessing this is one which I’ll grow to love, not only as I listen to it more in the future, but as I gain more wisdom. This is an album for wise people. Instrumentally, the songs are nothing mind-blowing, but they complement Joni’s vocal. The harmonies are gorgeous and well-placed. Yeah. I’ll have to give it a 5. But it’s a low 5.

Dramatic. Hard-hitting. Gospel-soaked, yet utterly merciless. Avoids falling under one genre; the closest would be something like "blues gospel metal" or, more vaguely, alt-rock. Lots of minor keys, dorian modes, and V-i / i-IV chord changes. The drumming is darn fantastic, full of anger and rocking energy. The lead vocal is throaty, manly, and distinctive. The main drawback is that it goes on far too long, and the ideas in many tracks are sometimes very similar to one another. Sure, each individual song is a blast, but as an album it's too exhausting to give 5 stars. The album's bookends are the clear highlights. Fave tracks: Get Ready For Love, Cannibal's Hymn, Babe You Turn Me On, O Children

Fantastic. A collection of smooth, soulful anthems with excellent singing and percussion in particular. This album contains classics like Mercy Mercy Me and the warm-yet-earth-shattering What's Going On, but also some excellent deeper cuts such as Flyin' High, Right On, and Wholy Holy. There are no duds, and Marvin Gaye is clearly confident in this style of music. It's also such a non-grating, relistenable genre that you can't help but adore it. The transitions between tracks are smooth and unforced. Add to that the groundbreaking impact this album had at the time of release, and the clear-cut, powerful messages passionately laid bare within the music, and you have an all-time classic. Easily 5/5.

Impressive blending of several styles, including country, rock, jazz, and most notably blues. The band and instruments mesh well together. You can tell they've rehearsed these pieces a lot, because even live it sounds like it could be a studio recording. The opener, Stateboro Blues, and the three longer tracks are all highlights, though at times you really start to notice their length. The extended ending to Whipping Post, with countless false finishes, is good, and would've been fantastic to hear live (without knowing the track length in advance). The guitar playing is superb but plays it safe stylistically (every excellent solo is very similar-sounding). 4/5

It's fine. Very late-90s-easy-listening-esque. Sounds a bit like Lana Del Rey's music, but leaning into bluesy melodies and harmonies more often. Madonna's music throughout this album isn't particularly exciting, but it's fun to listen to and the songs are executed smoothly and earnestly. It's inoffensive and doesn't take many risks - at least, viewing it through a retrospective lens. The quality of the track listing is a little inconsistent. The first three tracks - Drowned World, Swim, and Ray of Light - are pretty darn great, introducing a variety of moods and instruments to the table. Candy Perfume Girl is goofy and passable. Skin is less passable, for having an uninteresting atmosphere and weird lyrics, and we run into this problem with later tracks such as Frozen and Little Star.

Bjork-esque, but more monotonous and tedious. Very few acoustic instruments; the only frequent acoustic element (vocals) are often heavily filtered. This lack of humanity creates a huge rift between artist and listener. Sometimes that lack of connection works wonders, but not in this case. Cool textures that are difficult to really get into because there's no human element. The opening track is the strongest, on account of being the Fever Ray equivalent of Radiohead's Everything In Its Right Place (an incredibly strong album opener from the same decade). It's still a little monotonous, but for a first listen, If I Had a Heart is solid. The remaining tracks are less engaging, except Keep the Streets Empty For Me, which has a standout atmosphere.

I came in fully expecting to dislike this album, it essentially being a set of electronic dance tracks – and, worse, 90s electronic dance. However, this was actually executed pretty well. The tracks are a little repetitive and cling strongly to certain chords and rhythms, but those motifs are very catchy and manage to avoid getting irritating. Already, this lifts the album above nearly all of its annoying little brothers of the same genre. Couple that with the fantastic track transitions, high energy, and ability to be listened to both closely and in the background, and you have a really solid end result.

A prime example of glam-meets-prog rock, performed with skill, passion, and a sense of adventure. An argument could easily be made that this is Queen's greatest and most ambitious album, surpassing even the heights of Sheer Heart Attack and A Night At The Opera. This album is also an example of how not to produce your album. The mixing is a little untidy at times, and it's very obvious when the guitar/drums max out their volume. Still, it gives the music a raw, fierce energy that doesn't really detriment from the sound. The "concept" of this album, featuring the "White" and "Black" sides (reflecting themes of reality and fantasy respectively), is really cool. The songs are wicked, particularly March of the Black Queen, which is one of Queen's best.

For what it's worth, this definitely isn't a soul album. It's closer to soft hip-hop. A couple of the tracks stand out with their warmth and uplifting feel - Livin' Again and All Day Love Affair - but most of the other tracks are not notable, covering hardly any new ground and presenting cliched, overused hip-hop ideas. The beats are reasonably catchy but difficult to get into, partly because of the percussion (which is very simplistic), generally weak vocals throughout, and lyrics that are hard to relate to (and at times hard to hear!). The textures are generally thick and unvaried, again making the music harder to consistently engage with. All Day Love Affair is concrete proof that this artist is much more skilled as a singer than as a rapper. Why he didn't lean into that more is beyond me.

This started as a promising 3-or-4-star listening experience, but it quickly became a slog to get through. Sure, there’s variety (especially if you’re a hip-hop fan), but any album longer than two hours is going to drain the listener of enjoyment regardless of content. Couple that with my not being a fan of the genre or music era, and you have a recipe for disaster. The album is somewhat salvaged by the backing vocals, horns, and relatively hit-or-miss percussion (the percussion has to be really incredible to make up for the fact that it’s non-acoustic). The second disc is noticeably better than the first, incorporating more singing and elements of rock and jazz, but it still suffers from the overbloating problem; there are plenty of lesser songs that could be left off the record. Cut every interlude and about half the remaining tracks on each disk, and you have a result worthy of its “classic” status. Some tracks that should be left in, primarily for their fun instrumentals and singing rather than rapping, include GhettoMusick, The Way You Move, The Rooster, Happy Valentine's Day, Love Hater, and of course the genuinely great Hey Ya!

I struggled to find the words to describe my feelings about this album. It was really good. Hopefully I can safely steal someone else's description here: "Haunting, majestic, uplifting - like watching the sun rise over a mountain, gradually spreading light over the rocky crags and dissipating the frigid mist." Yeah. It's atmospheric and has a fresh, oldey-time-folk sound, almost implying a sort of medieval fantasy setting (especially given the album cover). It would've been fun to hear them lean into that idea more. The instruments are played well but not virtuosically. The choir-like harmonies are consistently gorgeous. The band's sound is good but not very distinctive.

As far as soundtracks go, this one has some seriously cool sounds. The mood is brooding yet expressive, sensual, and atmospheric. There's a solid blend of electronic and acoustic sounds, possibly paying homage to Pink Floyd and other rock giants of the 70s and 80s. The only real drawback is that the lack of vocals and non-rhythm instruments creates a hook-vacuum. The tracks aren't distinct from one another. That being said, the opening track (Playground Love) is fantastic. Love the sax. Also, Highschool Lover sounds like a vocal-less Great Gig in the Sky. Another connection to Pink Floyd.

A fun collection of jazzy jam sessions with clear Nigerian influence. The percussion (and general instrumental work) throughout is well done, and the resulting sound is clean, groovy, and deceptively simplistic. However, if you’re going to put out a full-length album with four tracks, those four tracks had better be either groundbreaking or consistently engaging. The album almost managed the latter, but the music eventually became straightforward, conventional jazz, albeit with a stylistic spin. The vocals, particularly in the opening/title track, are the most hook-like element. Everything else was background music - "bar jazz" - and, most likely, nothing more.

The time signatures and song structures are atypical and very fun to ponder over. On the flipside, the songs drag on, giving you plenty of time to understand the strange arrangements and musical choices, think them over, grow slightly bored of them, and then frown and check how much time is left in the track (barring the opening track, Breadcrumb Trail, which is fantastic throughout). The lyrics are great, but sometimes difficult to make out. The instruments demonstrate the band's punk roots, which I'm not a huge fan of, but they make it work to an extent. Like another reviewer commented, I listened to this whole album closely and I still can't decide whether I like it.

This album is so fun. Excited, passionate, soulful vocals by Cooke that absolutely live up to his legendary reputation as a singer and performer of the early 60s. Sure, there isn’t much variety, but this is to be expected for a live album released during this period. Tracks like Feel It (Don’t Fight It), Twistin’ The Night Away, and Chain Gang, among others, are honestly just a blast to listen to. You can definitely hear how Cooke was influenced by 50s blues/rock and how he would leave a legacy for decades to come. Really, the only thing preventing this from being 5 stars is the fact that it’s not really meant to be listened to as an album. Such is nearly always the problem with live albums. It would’ve had an even bigger, louder, prouder effect live – but as an album it loses some steam when the performers aren’t actually present.

I love this album. It's stupid, ridiculous, unhinged, overdramatic, and brilliant all at once. The theatric element is overdone to the point where the cheesiness and unnecessary horns and whistles end up being unironically fantastic. It's like operatic-soft-metal, with just the right level of kitschiness to convert the haters. The instrumentation is on point, and the melodies are fun and relistenable. Maybe the most shallowly important element that pushes this to five stars for me is its utter confidence to be loud and nonsensical.

A mess of cool-sounding but meaningless repetitive vocal licks, coupled with basic synth/percussive rhythms. It’s actually really interesting, bordering on soundscape-esque during some moments, and the music isn’t so repetitive that it gets boring. And it sounds, well, cool. However, even though the music is sometimes catchy, it’s disorganised and nonsensical to the point of (often) going in one ear and out the other. Maybe I don’t understand The Avalanches’ true genius. Highlights: Since I Left You, Close To You, Live At Dominoes

I wanted to give this more than 3/5, but couldn’t find a way to justify that. The tracks “Proud Mary” and “Born on the Bayou” are fresh, energetic, and well-played; they’re my personal favourites on the album. The remaining tracks are quite dated. While it was probably impressive (and clearly popular) for its time, the swampy, heavily-accented drawling and half-impassioned instrumental isn’t quite doing it for me.

This album is a whirlwind of surprisingly congruous ideas, beautifully executed and (at least to me) wildly ahead of their time. Bjork is clearly a master of her craft, which incorporates heavy, ethereal textures and a smooth blend of modern, electric sounds and more "acoustic" ones. These tracks seriously make me want to ascend to the heavens and live the remainder of my life as a mythical air spirit. Best tracks: Cocoon, It's Not Up To You, Undo, Sun in My Mouth

I really like this album. The vocal harmonising is incredibly distinctive for its time, creating easy-listening music like no other. The two opening tracks, "Take It Easy" and "Witchy Woman", are a brilliant one-two punch that made me immediately love the album regardless of the future tracks. The downside is that the instrumentation and harmonising is so consistent that it makes the "filler" tracks much harder to remember. The final two tracks - especially the grand finale "Tryin'" - also kick some serious butt. The music is simple, elegant, and does its job - but it's not quite mind-blowing. 4/5

I'm familiar with this album already, and it's excellent. With LZ's first record, the band said, "Here's what we've got." With their sophomore record, the band said, "No, seriously. This is what we've got." And what they've got is absolutely legendary. Nine near-faultless hard-rock/blues tracks, performed with unparalleled energy and stadium-shaking riffs. Unlike their first record, this setlist works very well both as a live performing set and a high-production album showcase. All four musicians are working in sync with each other, the musical ideas (especially for 1969) are pretty groundbreaking, and the songs are incredibly catchy. Whole Lotta Love, Heartbreaker (paired with Living Loving Maid), Ramble On, The Lemon Song, Bring it On Home... I can't give enough positive feedback on these tracks. The weakest track, Moby Dick, is still a powerful, hard-hitting instrumental, with the low point being the slightly misguided drum solo that works better when performed live. The drums are so loud and solid that they sometimes audibly clip the sound. I'm guessing that was intentional, given how esteemed Page's production is.

It's haunting, dark, self-reflective... the perfect swan song for Bowie. I only really got into Bowie's music right after his passing in early 2016, and yet I avoided this album in particular. Maybe I was worried that it would be too depressing, shining in a completely different light once Bowie passed away several days after its release. The album is, for lack of a better word, a masterpiece. All seven tracks are intense, creative, incredibly unique-sounding, and somehow both chart-topping and genre-avoidant (they definitely aren't pop songs). They're also some of Bowie's most complex compositions, delving into wacky time signatures, complicated percussive rhythms, and prog-esque multi-part experiences. It's an experience you can't miss. 5/5

A small collection of songs trying to act as multi-genre prog, but actually not really settling on any genre. It’s an odd, nondescript kind of sound, but it also jams nicely, especially in the opening track. Czukay’s German accent is also really fun across all tracks, and it’s placed tastefully (i.e. not overused). The synths are also pretty fun. The instruments generally don’t show much “flourish” or expertise, and the hooks (if there were any) aren’t memorable. I guess it’s a little unclear what musical statement Czukay was trying to make. It sounds good, though, so I shouldn’t complain! Key track: Cool in the Pool

I'm going to put the same review I wrote for Metal Box, because I have nothing new to add. They may as well be the same album. Even the opening tracks of both albums are both horrendous slogs to get through before the slightly more palatable later tracks. Music, quite by definition, decorates time (much how art decorates space). This album is the music equivalent of sprawling mass of mud and rocks heaving slowly down a long mountainside. Even though it technically decorates the landscape, most people could only watch it with boredom or discomfort, and it would be a stretch to call it art. The instruments, individually, are played well, but when put together as a band, they feel incongruent and without passion. The vocal is consistently, uncomfortably out of tune, which might be a staple of the genre but isn't working for this album. I'll give the album some credit, though: The riff in Religion II is good, if a bit poorly mixed. The title track, Annalisa, and Low Life are passable for their nicer texturing and guitar work. Unfortunately, the mixing (throughout the album) makes the nearly-droning cymbal and bass sound so harsh that it's difficult to genuinely enjoy the highlights of these tracks. Another reviewer stated it best: "Fair play for abandoning the Sex Pistols' sound and exploring new and interesting sonic textures, but this seems like a case of PiL crawling in a slow, ungainly manner so other post-punks could run."

An album that doesn't quite commit to jazz, but nor does it come anywhere near the pop/rock that was typically popular at the time of release. I'm very surprised this sold as well as it did, because the individual tracks aren't particularly memorable. Some really solid guitar, bass, percussion, and overall instrumentation, though. "Four Cornered Room", with its dreamy hypnotic atmosphere, is probably the best track on the album, and the only lengthy track that justifies its runtime.

Who knew a Ska revival album would be so catchy? Really, the only thing preventing this from being 5 stars is the limited complexity of the genre. Aside from that, the songs are infectious, well-played, and brimming with attitude. Elements of punk and reggae sneak their way into several tracks; the latter is particularly noticeable in the guitar riffs.

Every year or so, I think, “Okay, time to give Coldplay another chance. Maybe this time, I’ll get it.” I didn’t get it, but there are still a few standout tracks. In particular, Clocks, God Put a Smile upon Your Face, and A Whisper are really solid songs that honestly wouldn’t be out of place on a Greatest Hits record. The Scientist, on the other hand, does not justify its own popularity, being an incredibly nondescript piano track with very little to distinguish it from any of the thousands of highly-produced piano ballads out there. The remaining tracks fall somewhere in between. Most of the songs are slow, synthy, and awash with thick, dramatic textures that grow old surprisingly quickly, especially in the context of the 2020s where there are far better synth-based “soundscape” bands out there. I’ll say this: the album is definitely overrated, but it isn’t bad. 3/5

What a legend. Sinatra's voice is luscious, filled with emotion, and really draws you in. It also has a Christmassy vibe similar to Bing Crosby. The strings are fantastic - the best I've encountered on this list so far. The songs are not very distinct from one another, but still perfectly good as heartfelt love songs. I really enjoyed this album. It gives you a warm, fuzzy, almost nostalgic feel.

Bjork’s music has such a quirky, cool, likeable aesthetic. Her debut is no exception, though it is a little less interesting and varied than some of her subsequent albums (e.g. Vespertine, one of my previous albums on this list, received an even higher rating). Venus As A Boy vividly demonstrates Bjork’s understanding of musical hooks, and the instrumentation throughout the album is incredibly atmospheric and ethereal. Other highlights include Aeroplane (nifty percussion!), Violently Happy, and Human Behaviour. The tracks are of ideal length (runtime), and differ from one another enough to maintain good listener interest, particularly for a debut. (Debut albums can sometimes fall into the trap of every song sounding the same, under the guise of committing to a particular style – see Bowie’s first, self-titled album.) The only track that was a miss for me was The Anchor Song, whose hook was unsatisfying and a little grating. Still, a generally very good album.

A cool sound for its time. Kind of an industrial feel, hip-hoppy without rap (for the most part). It’s pretty good, although at times it felt slightly aimless, as if the musicians had no idea what they were banging on about. The singing is typical of the genre, being light and airy in contrast to the heavy instrumental. One element of 90s hip-hop that’s included here is skits, which (thankfully) are short but still unnecessary. Some of the tracks are great, including Carnt Sleep, Stoned to Say the Least (what a fantastic atmosphere! seriously.), She’s the One, Only Love Can Break Your Heart. Most of the others are pretty forgettable, but musically still quite interesting in their own right. The album, in my eyes, hasn’t aged particularly well, but for its time it’s seriously impressive.

This album is tragically less “full of [quirky] life” than it was probably intended to be. Especially tragic, because the song names allude to something really creative that never really gets off the ground. The artist was clearly trying to showcase nifty space-rock elements (e.g. filtering vocals to emulate alien speak) to merge with some prominent hip-hop themes, but in my opinion space-rock completely fails to convince when there’s no melody, very little (real) percussion, not many contrasting “elements of humanity”… Honestly, this album isn’t that bad – in fact, it’s close to getting 3 stars on account of its fun textures – but it just doesn’t succeed at all in its goal of genre-blending. The closest the album gets to a convincing, musical, spacey atmosphere is the semi-layered synths and bluesy bass playing in To the Moon’s Contractor (which I think is the album’s strongest track). In particular, the drum sound in the last couple minutes of the album’s centrepiece is really cool, and I wish they’d leaned more into that in other tracks. The track following this, I Feel Like $100, is also pretty good.

I was expecting a little more variety within each song. Daft Punk are touted as “the” electronic club duo, so inevitably there would be an explosion of creativity throughout the album. The problem is, it’s a pretty long album (74 minutes), and with some tracks lasting more than 7 minutes, the one-chord, one-bar, one-idea repetition can get a little stale. Still, I thought it worked excellently as “empowerment” music. The lengthiness and repetitiveness of many of the tracks made me feel productive, like I needed to do things and do them now! Aw yeah!! The electronic instrumentation - primarily synth-based - is honestly really cool-sounding for its time. With more solid song structures and less perpetuity, this album could easily be a 4/5 or higher. Key tracks: Indo Silver Club, Rock’n Roll, Around the World, Da Funk

Never heard this guy before. Very Thom York-esque. The vibe is hard to pin down, containing subtle hints of fantasy, medieval-ness, dramatic opera, and piano/music hall, all wrapped into a neat genreless package. All of the tracks sound great and are genuinely fun to listen to, with the exception of Vibrate (something about the lyrics just don't translate the way I imagine Wainwright wanted them to). The album cover is very odd, with an unattractive colour palette and - looking at the knight's attire - allusion to just one of the many genres included in the tracklist. Weird. 4/5

This artist had so much potential with the opening track, which had a vibe of ominous building-up prelude to (presumably) an earth-shattering intro. Annoyingly, though, every track was precisely like that: build-up and no payoff. The mumbled, indistinct vocal got old fast, and the low, atmospheric instrumental present in most tracks was good in isolation but tedious when listened to for 47 minutes straight. That being said, Terrible Love was a good opener, and could’ve easily been the legendary opener to an album that made some very different decisions. The second track, Sorrow, was also good. After that, only tracks with higher energy (usually dictated by the presence of louder percussion) were enjoyable - including Afraid of Everyone, Bloodbuzz Ohio, and Vanderlyle Crybaby Geeks. 2/5

I adore the production on this album. It's warm, bluesy, and gives a soft jazz bar vibe. Morrison's vocal is noticeably more gravelly and mature than on the Doors' debut, but still equally strong. The compositions are strongly rooted in blues, and the band remains loyal to the genre while providing a selection of excellent, catchy compositions. The instrumentation is near perfect, suiting every song fairly well without being overly showy. The energetic-yet-simplistic piano in the title track is a good example of this; the consistent, laid-back synergy of the rhythm and bass guitars is another. (Virtuosity works in some genres, but generally not this one.) Also, it's a (somewhat) rare album where the hits, according to Spotify listens, match up with my favourite tracks: Love Her Madly, L.A. Woman, and Riders on the Storm. Finally, it's the friggin' Doors. Wooooooooo. 5/5

My first experience with a full REM album, and I thoroughly enjoyed it. The instrument playing does come off a bit dated, seeing as many timbres and textures of popular 80s and early 90s bands ended up sounded very similar to this. However, speaking objectively and without regard to other musicians, this is some great stuff. Pulsating, atmospheric guitars, melodic basslines, a tight rhythm section, and solid vocals. Some forgettable tracks, and some really fun ones. Highlights: Talk About The Passion, West Of The Fields, Radio Free Europe 4/5

I was hugely surprised by just how great this album was. It has a shot at having the highest quality-to-popularity ratio on this list. The compositions and arrangements are little Beatlesque, or perhaps Brian-Wilsonian, especially in the slower, more string-oriented tracks. The strings are the album’s point of focus, along with the smooth, emotional vocals. Really, the only slightly weaker track is Your Dictionary, because of the horrendously goofy lyrics – but that can be overlooked. The rest of the album sounds really good, cementing its place as an obscure classic in the world of British baroque-pop. Key tracks: I Can’t Own Her – Beautiful shimmering strings and some sitar-like instrument in the back. Very cool. Takes a darker, more aggressive turn in the B-section halfway through the song. River of Orchids – Man, that orchestration is haunting. Cool, dark, nature-overgrown alleyway. A little haunting. Easter Theatre – Fun, poppy, well-produced. Greenman – Hard-to-place genre. Some quasi-medieval hints – possibly mode related? Again, great use of strings – adds so much colour. (This is a consistently strong theme throughout the album.)

Small Hours is fantastic, and singlehandedly adds a star to an otherwise substandard 2-star album. The vocals are very low-energy, which works in the aforementioned track, but comes across as not trying hard enough in the other songs. The "echoey" layering effect in the album is pretty cool, though it feels flourishy at times to cover the fact that the compositions aren't very strong. For its time - mid-to-late 70s - it's impressive. However, I still found plenty of negative points.

Cool production and sound-panning. The vocalist reminds me of early-career Robert Plant (a la Led Zeppelin III, 1970). Tracks like The Denial Twist and Instinct Blues really capture this classic-rock energy, which is also present in other tracks with a really nifty modern spin. Some unusual instrumentation in The Nurse incorporates this modern spin especially effectively. Add to that Blue Orchid, an excellent, catchy pop-rock track, and you have a pretty darn good album. One issue that prevents this from attaining a 5th star is that the filler is noticeable (Forever For Her, Passive Manipulation, Red Rain) because you notice several weaker hooks being haphazardly thrown together to make up for the fact that they're weak (think "Jet" by Paul McCartney + Wings). The instrumentation is also a little inconsistent, making it hard to recall the band's sound other than "modern garage rock with, uh, some guitars and pianos? I think?" Other than that, though? Fire. Key tracks: Blue Orchid, My Doorbell, Little Ghost, The Denial Twist, Instinct Blues

I’ve been looking forward to this one! An instant classic. Roaring guitar hooks backed with precise-yet-grungy bass playing, solid drumming, and electrifying vocals that take the band that huge step further into the land of classic rock giants. This album, while not exactly exploring many genres, contains a wide array of incredibly catchy riffs that I caught onto and loved immediately each time. It felt like one track after another of pure rock energy that made me feel pumped, excited, ecstatic, and high on something illegal and unidentifiable. I would probably categorise this as a hype album; there are definitely times where it would be inappropriate to play this, but if you’re having a good time already, you can’t go wrong with some goshdarn Back In Black. (I hit the sack.) Key tracks: Hells Bells, What Do You Do For Money Honey, Givin the Dog a Bone, Back In Black, You Shook Me All Night Long, Rock and Roll Ain’t Noise Pollution (tl;dr: all of them are key tracks, basically)

It's heartening to see a modern album remaining faithful to the "album spirit", particularly adhering to the art of song transitions that lifted so many 70s and 80s albums to masterpiece level. This album doesn't quite reach the same level, though it does contain a great array of acoustic riffs, genre distortion, and meaningful lyrics that really make you question the true nature of broader society. The blend of blues, 60s acoustic pop, rock, and lyrics that tackle modern politics and human struggle is also refreshing. Key tracks: You Ain't The Problem, Rolling, Living In Denial, Solid Ground

For punk, it's distinctly average. Out-of-tune vocals and instruments, fairly unskilled playing, and repetitive motifs that are very much hit-or-miss. When they hit, they hit reasonably well, with stronger tracks like Instant Hit, Typical Girls, and I Heard It Through The Grapevine (which, let's be honest, is hard to do a bad cover of). Most of the other tracks were a slog and a relief to get through, which is typically a bad sign. I will give a shoutout to the sheer boldness of an all-female punk band in a musical scene which (at the time of release) was heavily dominated by similarly hit-or-miss all-male punk bands. From what I've read, this album was also incredibly influential on the post-punk and wider music scene - possibly for that reason. This doesn't justify the music's messiness and the fact that punk, with few exceptions, is a difficult genre to enjoy through a modern lens.

Franz Ferdinand (Franz Ferdinand, 2004): 3/5 Summary: First, the pros. The tracks all sound fairly different to one another, and for the most part are good pop compositions. However, the album feels a little incongruous or lost, like they band can't decide which instruments they want to sound consistently good. Sometimes it's the guitar riff, sometimes it's the vocal - but no matter the focus, all other instruments tend to get "downgraded" as a result. It's strange, really. I've never heard another album that does this. It's not quite convincing, but I'll give credit where it's due: the music is still pretty darn good. Jacqueline: A pretty, acoustic ballad, before a jarring bassline leads into a punk-esque breakdown at 45-50 seconds in. Cool guitar riff, if a little simplistic. The vocals (and indeed all the instruments) sound slightly muffled, adding to the punky feel. Even though the vocalist seems pretty good at his craft, the actual melody and lyrics are so uncatchy that it's a mystery as to why this was chosen as the album's opening track. This track didn't do much for me. Tell Her Tonight: Hmm, looks like that muffled production has continued into the second song. I hope this doesn't become a theme, because it's pretty distracting. The chorus is pretty good here. Slightly rockier than the previous track. Take Me Out: Immediately, the vocal distortion works better than in the first two tracks. The relatively clear percussion and right-channel guitar helps with this. Cool tempo change leading to an entirely different sounding song just 60 seconds into the song. The multi-vocal thing is very messy sounding (single-track vocals would work much better). Chorus is pretty catchy; outro is similarly strong. Best track so far. The Dark Of The Matinee: The intro is decent, and the vocal distortion seems to finally be absent. First time the vocals sound good, and they work well through self-harmonising(?) in the chorus. A solid track. Auf Achse: Simple and effective bassline that easily steals the spotlight. An energetic, almost frenetic (at times) track that doesn't quite manage to be catchy, but is still really engaging. I'm not a big fan of the percussion, which would sound pretty darn nifty if it went all-out. Cheating On You: See - this drumming is already noticeably the standout instrument. Unfortunately, nothing else really interests me. The riff is played so confidently that it's easy to miss the fact that it's... pretty terrible. This Fire: this fire is out of control i'm gonna burn this city burn this city this fire is out of control i'm gonna burn this city burn this city this fire is out of control i'm gonna burn this city burn this city this fire is out of control i'm gonna burn this city burn this city (tl;dr: chorus, which is meant to be the best part, is very repetitive) Darts Of Pleasure: Thickly-textured. High energy, and a good, decisive ending. This is a good track. Michael: Something about the vocal really stands out here. Lots of passion and an almost Elvis-like timbre that jells well with the heavy indie-punk-rock backing. Great track - probably the strongest on the album. Come On Home: C'mon Franz Ferdinand, why'd you have to hold off on genuinely fun vocals until the final few tracks? Also, the first track to have a noticeably good chord progression. Me likey. 40': A jangly, country-sounding guitar riff steals the spotlight here, cutting its way into the post-chorus amidst smooth, slightly timid singing. I particularly enjoyed the sudden juxtaposition between the lighter and heavier textures.

Cinematic, genre-bending, emotional, and at times hard to keep up with. A few of these tracks are whirlwinds of soundscapey synths that aren't necessarily bad, but could use some cohesion. Occasionally the music will veer into a kind of electronic avant-garde (not good), e.g. in the track No Sympathy. Some of the chord progressions, especially in the key tracks below, aren't necessarily creative, but they're darn great to listen through. The band is very obviously stronger and less abrasive when they lean into their more acoustic sound. I really like the vocals. They're not overwhelmingly the focus, which is often a problem with post-2000 pop: artists in the pop genre will tailor their music to be singable rather than high-quality/complex, and the two are often mutually exclusive. Super Furry Animals knows when to let other instruments shine, usually for the better. This does come at the cost of the lyrics and melodies being a little harder to take in and recall. Key tracks: (Drawing) Rings Around the World, Receptacle for the Respectable, Shoot Doris Day, Juxtapozed with U

The music is fine, albeit very, very repetitive at times. There are several tracks that are mostly one chord, which is always a risky move. I don't reckon that choice ever paid off (e.g. The Noise of Carpet, an otherwise fantastic rock track, is seriously marred by how harmonically monotone it is. Tomorrow Is Already Here suffers from the same issue). It's also bold to start off the album with the heavily looped electronic track Metronomic Underground - an 8-minute track that uses almost exclusively one repeated lyric - and expect the product to be likeable by wider audiences. That being said, some of the instrumental and (especially) vocal layering in tracks like Cybele's Reverie and Les Yper-Sound is super cool. The combination of synths and more old-school rock elements in songs like The Noise of Carpet is enjoyable. Additionally, I can respect the lack of electronic percussion in an album from the mid-90s.

This album is fine. Highlights include Under the Bridge and (arguably) most of the first half of the album, excluding Suck My Kiss which is pretty terrible. Give It Away is also not great, being too repetitive and droning for my taste. The vocals are largely misses rather than hits, often being a kind of half-spoken-half-sung thing that definitely isn't appealing. The riffs and overall rhythm section often make up for it, especially in the opening few tracks; the band is very well-practiced and in sync with one another, making for a great sonic basis for some good tracks. However, by the latter half of the album, it's pretty clear that the Peppers are padding runtime for the sake of composing a "grand masterpiece". Props to them for making themselves known – arguably superstars – with this album. There's some good material on here, and influence from 80s rock, pop, and (soft) metal is apparent. Shaving the album down to its stronger tracks would've been a good decision.

The vocalist was a huge standout here, with her soft, airy-yet-lilting voice that brought a great atmosphere to each track. I do imagine her vocals, and the absence of any others for contrast, might get stale for listeners after a few album repeats. The 90s sound is also a little dated. And yet, every track was great (or at least good). The Cardigans managed to grab the listener immediately with cool chord changes and fresh, modern instrumentation. I think they mostly used acoustic instruments, but I wasn't paying too much attention to that. The compositions were just so fun and creative that it wasn't too hard to ignore any downfalls. Also, that Iron Man cover shouldn't exist, and yet it does. (Why did they try to make the song seductive?) It's brilliant. Key tracks: Iron Man, Step On Me, Lovefool, Choke

I'm listening to this just two days after another Peppers album - Blood Sugar Sex Magik - and my opinion of the band has remained very much the same, despite 8 years of discrepancy between the albums' releases. The vocals are largely misses rather than hits, often being a kind of half-spoken-half-sung thing that definitely isn't appealing. The riffs and overall rhythm section tend to make up for it, especially in the opening few tracks; the band is very well-practiced and in sync with one another, making for a great sonic basis for some good tracks. However, by the latter half of the album (excluding Road Trippin'), it's pretty clear that the Peppers are padding runtime for the sake of composing a (second) "masterpiece". I have some respect for the fact that this album was (and still is) wildly popular. However, it doesn't cover any particularly new ground or invent anything interesting. It just exists, as decent, aggressively inoffensive rock that's a microcosm of its time. Like the Eagles, but two decades later. (Eh...) Key tracks: Otherwise, Californication

Albums like this are surprisingly rare on the 1001 Albums list, considering how important of a foundation they are to early 60s skiffle and pop-rock (and, by extension, pretty much all music after that). It’s reasonably enjoyable, although it uses just about the least exciting instrumentation possible: a solo vocalist (very occasionally switched out with another) and an acoustic guitar. Fun stuff, sure, but those instruments definitely limit the textures and dynamics available to the aspiring composer. Many of these tracks, if not all of them, are covers in a blues-country style, and it’s pretty boring and blurry after the first 20 or so minutes. I can acknowledge its influence, but at the same time, there really isn’t much happening. If it had taken an Elvis approach, even while incorporating the same “rambling” vocal style that Elliott sticks closely to throughout the album, it would’ve been much more engaging.

Oof. This was a rough listen. There are just too many un-catchy tracks, during which the only hooks are harsh electronic jingles or some 17-year-old-sounding kid doing a subpar gangster impression. The mannerisms are pretty awful, even for the time; there were frequent slurs, including (among others) the inexcusable n-slur, and the extremely tonedeaf r-d and f-g-t slurs. Considering the artist is very much white, and presumably progressive for his time, these are especially egregious. As a listener, you also receive a lot of references to "sucking my d*ck" and telling people to "f*ck off", which would be pretty irritating by itself - and then, because of Eminem's odd rapping style, it comes across as a young, overconfident dude who mistakenly thinks he's badass. (The track "Under The Influence" is the most obvious offender in this regard, being possibly the worst track on the album.) Honestly, it's kind of sad to listen to. The skits end up being some of the stronger tracks, and they're absolutely filler, no question. Tracks such as Kill You, Who Knew, I'm Back, and Kim are bottom-tier in these regards, and without convincing melody, harmony, or instrumentation to back them up, they end up being worse than throwaway. The out-of-left-field Dre shoutouts, which appear on several tracks, are pointless and dated. The clear standouts are the two biggest hits (by Spotify listens): "Stan" and "The Real Slim Shady". Both are really catchy and capture the smooth intersection between a solid, modern backing instrumental and some great (albeit repetitive) vocal hooks. "Stan" is strongest during Dido's sung vocals, but the rest isn't half-bad either.

An interesting atmosphere here. It’s almost like a more acoustic Coldplay record in several ways. Like Coldplay, the lyrics might be fascinating (I’m not sure), but are accompanied by such “standard” vocals that it’s very easy to not really take in what’s being sung. The vocalist is probably the band’s weak point, having a clearly limited melodic and emotional range. The instrumentation is fairly unremarkable, but really picks up in the second half of the album. My four favourite songs are actually the final four in the track listing, because the texture really starts to noticeably thicken and stir up some drama, incorporating (what sounds like) heavy synths, electric guitars, and more front-of-mix drum patterns. I’m surprised “Jesus, Etc.” is the album’s hit song, because it doesn’t sound much like a hit. Tracks like that one are flawed in that they don’t contain any obvious hooks. Still, it was enjoyable. Key tracks: I’m the Man Who Loves You, Pot Kettle Black, Poor Places, Reservations

There are exactly four tracks that are legitimately good, four tracks that have bad lyrics and a bad message, and six “tales” that act as interesting interludes between the music. I’ll start with the pros. Bodies, Pick Up Your Feelings, Lost One, and Girl Like Me are great examples of how to use themes in modern electronic pop to make well-textured, smooth, listenable R&B that appeals both to general audiences and music enthusiasts. The lyrics are fairly uninteresting but still relatable, discussing topics like love, relationship, and interpersonal conflict. Now for the cons – and they’re some pretty serious cons. Put It Down and On It are essentially a love letter to the small population of well-endowed men, and they perpetuate an insecurity that a huge proportion of guys have about their bodies. For an album with such a commercialised sound (trying to speak to a wide audience), this ain’t gonna fly. I guarantee that any man singing or rapping about a woman’s body like Jazmine is here would be shunned, cancelled, the works – and rightfully so. In addition to how frustratingly tone-deaf and entitled the lyrics are, they’re also just poor lyrics, and they distract from the otherwise great sound. On the topic of entitlement, the tracks Price Tags and The Other Side speak to another fairly toxic dimension of partner preferences in men: wealth. Sure, you have some oldies that commit the same offence (ABBA’s “Money, Money, Money” is an obvious example) - and I’ll admit I dislike the lyrics of that song too, but at least in isolation, it expresses a desire without trying to rationalise it. However, combined with the interlude “Precious’ Tale”, Sullivan is essentially saying that because she (and/or other women) grew up poor, and yet they’re confident in their attractiveness, they deserve to have a wealthy, hard-working, attractive man to themselves. It’s another really tone-deaf pair of tracks that expresses an ugly shallowness and sense of entitlement which take away from the rest of the music. I’m all about social progress, but this doesn’t feel like social progress to me. (Hopefully I’m completely off the mark here and Sullivan is doing social commentary about the commodification of men, but I doubt it.) Key tracks: Pick Up Your Feelings, Lost One, Girl Like Me

It's like Nirvana, but slightly less overwhelmingly good. There's a sprinkle of indie mixed in with the punky, thrashy metal rock that was all the craze in the early 90s. The outcome, for what it's worth, is very consistent and pretty good. Intense, rugged, angry guitars constantly keep you on your toes, and the vocals, while not that distinctive, work well with the genre. Key tracks: Nitro, Come Out And Play, Self Esteem, Smash

Surprisingly great. You can definitely hear the influence this record had on Bowie's Berlin-era albums (Low, Heroes, Lodger), what with the vivid electronic quasi-soundscapes, stationary vocals, and gradual, impactful chord changes. It almost jumps on the prog-rock bandwagon that was all the craze in the early-to-mid 70s, but veers into a more slow, electronic genre. I get the point of the opening, title track, but clocking in at almost 23 minutes without too many new ideas being introduced throughout, it's just too long and repetitive to really be a masterpiece. The four tracks on Side 2 are all great (if a little unmemorable), containing some pretty synth melodies and a few extra instruments thrown into the final track. A really good album that was very much ahead of its time.

A fairly anonymous and very inoffensive take on modern country-folk. Every track is noticeably strong, as is Harris's smooth, strong vocal (particularly in her lower register), but the songs are missing some key hooks that would really push my rating beyond 3 stars. I remember thinking "This one is pretty good" during Red Dirt Girl, Bang the Drum Slowly, My Antonia, and Michelangelo - but thinking back now, I couldn't tell you much about those tracks. There were lots of major chords on acoustic guitar, some airy background strings, and of course Harris's voice at the front of the mix - but as for the rest... well... I Don't Wanna Talk About It Now. (heh.)

Baker's voice, which is very "full" (particularly in the lower register), has an almost Cher-like quality to it. Coupled with the cliched heavy piano chords and light drumbeat, the album has an aggressively 80s feel. The opening track ("Sweet Love") is very catchy, and an easy playlist-padder. It's pretty infectious. The following tracks, "You Bring Me Joy" and "Caught Up in the Rapture", are also strong. The song "Mystery" almost reads like a slow disco song, with its outspoken electric keyboards, wiggly bassline, and call-and-response backing vocals. "No One in the World" is similar, but commits the sin of distracting the ear with too many incongruous elements (possibly a failed attempt at emulating MJ). The track "Been so Long" is a slight stinker, mainly for the vocals being nonsensical and lacking any kind of hook. Same Ole Love is almost good, although the use of lyrics with any number greater than 100 is always risky because it often just sounds clunky. Also, the phrase "365 Days a Week" is part of the song's title, but the word "week" doesn't appear anywhere in the lyrics. Strange. I'm a sucker for iv-I chord changes, and the final track, "Watch Your Step", is drenched with them. (The entirety of every verse is just those two chords.) Not too much else stands out, except for the "you fall and hurt yourself one day" hook performed by gospel-esque backing vocals, and the cool sax solo. I'm very surprised this track has the least listens on the album, because it clears all the other tracks except "Sweet Love". Still, the inconsistency of quality means this album gets 3 stars from me. A high 3 stars, but 3 stars nonetheless.

Some seriously good 90s rock - a little too polished to be garage-style, but also too rough and wild to not be. Still, the band is fairly tight, with precise instrumentation and musical ideas that work very effectively. The abrupt pauses in Supervixen are just fantastic, emphasising how silence can be an integral element of music. The mixes throughout the album are dense and heavy, mostly because of the distorted lead and bass guitars that occasionally overpower the band – but then, I think that's kind of the point (exhibit A: the incredible build-up in My Lover's Box). The vocalist is noticeably stronger in higher registers, though her lower voice does play a kind of mysterious, foreboding role in some tracks. Do I have time to talk about Stupid Girl? No? Well, I'll keep it brief then. Stupid Girl is absolutely the best track here, at least upon a first listen, though some other tracks do come close. It's catchy, has a good chord progression, and remains true to the band's style. Key tracks: Supervixen, Only Happy When It Rains, Stupid Girl, Dog New Tricks

As a rule of thumb, I prefer albums with heavier production and less lyrical focus. I was prepared to make this album an exception, if only because Lou Reed has a reputation as a musical storyteller and for being incredibly influential on his contemporaries. The album is decent, albeit incredibly lyrically-focused and without much melodic (or, indeed, musical) regard. There were some musical peaks, namely the brilliant horn-focused production in some of the later tracks. However, I did drift away from the lyrics a few times and found myself thinking "This music is kind of nondescript... where's the energy?" And with the exception of a few tracks on side 2 (Sad Song, Caroline Says II, The Kids), the music does feel somewhat lacking energy and emotion. Maybe that was the point. I can see someone of Reed's calibre asking his bandmates to "Play simply!" for the sake of driving home the album's concepts of introspection, lost love, and coping with hitting rock-bottom. Perhaps as a result of this, the concepts are communicated clearly and capture a vivid image of a doomed couple's lives falling apart. Even someone as thick-headed as myself could pretty much understand what was going on. As a concept album, it's tough to fault it. I've listened to a couple of Velvet Underground albums prior to this (their first two albums), and I do prefer them to this one. Still, I can acknowledge the influence this had on artists such as Bowie (Low-era) and some later Pink Floyd projects like The Wall and The Final Cut. 3/5

A whirlwind of 60s pop-rock at its finest, with an unstoppable energy that only the Beatles could really pull off in early 1964. This is an incredibly consistent album with some seriously infectious hooks and countless moments that would make musical history - starting with the very first chord in the opening track (what chord is that, anyway?). The hurried, catchy adrenaline-rock of A Hard Day's Night leads into several more "poppy" tracks with I Should Have Known Better, If I Fell, and the George vocal I'm Happy Just To Dance With You. We get a pristine, flowy, Latin-influenced ballad in And I Love Her, before the band starts firing on all cylinders, blasting the listener with track after track of excitement, fun, and love (or lack thereof) - perhaps the most famous being Can't Buy Me Love. Uncharacteristically for the band, the album ends on a more mature, almost introspective note with I'll Be Back, which sees major-minor interplay and beautiful harmonising in the vocals. The instrumentation - with excellent guitarwork, drumming, and singing - is there. The harmonies, melodies, and songwriting are there. The lyrics, however straightforward they may be, are easy to remember and insanely catchy. This is a 10/10 album if I've ever seen one. Key tracks: all of them

A heavily 2000s feel. Harvey's vocal is great - kind of Lana-esque. I loved "This Mess We're In", which featured Tom Yorke of Radiohead and his ethereal voice, as well as the two preceding tracks for being musically strong lead-ups to the album's centrepiece. The rest of the tracks were alternately rocking or soothing, with a few interesting time signatures. The main downfall of this album was its lack of adventurousness. Every song focused on a single particular sound (be it a nifty rhythm, a couple of unusual chords, or a guitar lick) and didn't really deviate from that sound at all. I felt that many of the tracks could've been shorter, and/or shown more intra-song variety. Key tracks: Good Fortune, The Whores Hustle And The Hustlers Whore, This Mess We're In, This Is Love

A haphazard approach to world music, with some beautiful-yet-simple tracks led by choruses of vocalists, mixed together with subpar takes on proto-hip-hop. The track listing was the definition of hit-or-miss, with strong cuts like Jive My Baby (man, that hook), Punk It Up, and Double Dutch alternated with some noticeably weaker ones (Song For Chango, Legba, Buffalo Gals). I don't really get what McLaren was going for, but whatever concept might have existed was pretty messy and inconsistent. Other notes: - Cover artwork is great - The context of this album and the unacknowledged theft of musical ideas must be taken into account - 3/5

I think we've got a hit here, boys. Surrealistic Pillow is something pretty special. All tracks on the album are great in some way or another, with very convincing hooks and a couple of excellent singles (Somebody To Love, White Rabbit). The opening track is killer, being both energetic and psychedelic, setting the mood for the rest of the album and for the Summer of Love as a whole. Embryonic Journey is an unexpected instrumental gem, featuring intermingling elements of classical, rock, and folk music. Go To Her, How Do You Feel, 3/5 of a Mile in 10 Seconds... Just great. A really well constructed setlist with equally well constructed songs. The vibe here is also pretty darn brilliant, if a little dated. Jefferson Airplane perfectly capture the year of 1967 in pop/rock, in all its colourful-yet-dark, flourishy, crazy, psychedelic glory – more so than any other band, even the Beatles. In fact, there's a definite chance that the two bands played off each other during the latter's Revolver- and Sgt Pepper-eras. Key tracks: She Has Funny Cars, Somebody to Love, 3/5 of a Mile in 10 Seconds, White Rabbit

I think there's a good reason this album is the fourth-best-selling worldwide, and frequently tops (or nearly tops) album rankings. It's mind-blowingly good, and coincidentally also my current favourite album. Pink Floyd has done something really incredible here that's harder than it sounds: musically tying a concept album together. In particular, the opening and closing tracks ("Speak To Me", "Eclipse") are respectively a teaser and an encore for all the sounds that appear throughout the album. It's an idea I've never seen repeated to the same high standard. The lyrics are absolutely incredible. Take "Time", for example. In this one track, nearly every line is a gem: "Ticking away the moments that make up a dull day" "No one told you when to run, you missed the starting gun" "Plans that either come to naught or half a page of scribbled lines" "Hanging on in quiet desperation is the English way" Add to that the pristine, psychedelic, soul-lifting guitar solo, backing vocals, and thematic connection to the earlier track "Breathe", and you have as close to a perfect song as one can get. Speaking of "Breathe", its lyrics are nothing to shake a stick at. "All you touch and all you see is all your life will ever be" is a mantra I could live the rest of my life by. The transition between the previous track and this one is iconic, heart-stopping, and beautiful all at once. And the song really sounds like stepping out of the frightening darkness of noise and maniacal laughter into the air. (Ahhhh.) "On The Run", justifiably the album's weakest and most sonically dated track, is still great, incorporating an ultra-fast synth-bassline to create an agitated, restless psychedelic atmosphere. It's unnerving, which was certainly the intention. Need I mention "The Great Gig in the Sky"? Ugh, those vocals. They're disgustingly brilliant. Clare Torry might not have been given the best instructions in the studio, but whatever improvised magic she came up with, it was incredible. Coupled with Rick Wright's insanely cool chord progression, Roger's floating bassline, and Nick's drumming, this is another perfect track. Seriously. And yet, somehow, side 2 is every bit as good as side 1. The transitions are particularly of note, making the four-track run from "Us and Them" through "Eclipse" incredibly cohesive. "Any Colour You Like" has brilliant, rainbowy synths and guitarwork, with a classic Floydian i7-IV chord progression. "Money", popular for a reason, has an infectious bassline, a groovy 7/4 time signature, and a break into 4/4 whose instrumental is seriously one of the best you'll get in any 70s album. "Us and Them", the album's true centrepiece, is magnificent, laden with emotional sax and piano solos, nifty chord progressions, and four complementary out-of-body experiences as the song shifts effortlessly between the A- and B-sections. "Brain Damage" and "Eclipse" are so congruent that they may as well be one track. And gosh darnit Roger, you've really done it this time. His understanding of textural shift and artistic motifs is off the charts here. It's a perfect closer to a near-perfect album. Oh yeah, the album art. It's decent... Maybe it'll become famous someday.

First, the flaws: - Lorde has this odd singing accent that sounds very... lazy? It's hard to articulate (ha-ha), but whatever's going on, it's distracting me. Reminds me of pretty much every girl during music class at my high school. - The sound is really artificial – but honestly, I didn't mind too much. Production-wise, this worked in its favour (see below); normally, such a lack of acoustic sound would be a bigger problem to me. Now, the neutrals: - Sounds a lot like Lana Del Rey. - It's fine for easy-listening – maybe a 3-star album when played in the background – but handily jumps to 4 or 4.5 stars when you put on some headphones and really key in on the lyrics and the sound. This feature can sometimes be a liability, but based on album sales, it seems the general public didn't mind much. Finally, the pros: - The production is seriously cool. Atmospheric, panning echoes of vocals, mixed together with a muted lo-fi bass and drum combo, backing a strong, emotive, moody vocal from Lorde herself. Everything's put together professionally, and it sounds great. - A large number of tracks that are individually very, very strong. Green Light, Sober, Homemade Dynamite, The Louvre... And those are literally the first four consecutive tracks. Man. - Lorde experiments with piano ballads! And they're (arguably) every bit as strong as the darker, more dramatic tracks. Favourite track: Green Light Honourable mentions: Sober, Hard Feelings/Loveless, Liability 4/5

One of the more upvoted reviews explained my feelings about this album better than I could: "Cooooooool. Deep moody lounging. An overcast afternoon in Ibiza. The soundtrack that plays over a moody montage of parallel characters in an ensemble drama. Closing credits to a 2000s James Bond movie." That being said, "Protection" (the album) comes with some flaws. The final track, a cover of the Doors' legendary "Light My Fire", is so far inferior to the original song that it's almost painful to listen to. None of the iconic chord changes (like, e.g., the sudden III chord in the middle of the chorus) are present, and instead a weirdly grating electronic psychedelia insists itself upon the listener. The title track, however, is great - along with some other key tracks, listed below. The sound and production across all the songs are fairly strong, but nothing mind-blowing. The tracks that have an actual melody are (both genuinely, and as a rule of thumb) better than those without. An enjoyable listen that sits somewhere between 3 and 4 stars, but drops down to 3 on behalf of its incongruous closer. Key tracks: Protection, Weather Storm, Sly, Heat Miser

Already listened to Who's Next on this list. My Generation is an energetic, honking good ol' time, keying in on many themes of "forefront" 60s pop-rock. It's comparable to the Beatles and Stones albums coming out around the same time – the likes of Rubber Soul, Out Of Our Heads, Aftermath, ya know. The classics. And this album is definitely a classic. Excellent vocal hooks that immediately key the listener in. Thick, boisterous harmonies which (more often than not) max out the audio and cause a blurry, distinctively 60s-quality sound. It's just so loveable, fun, rocking, [insert more adjectives here]. And the party starts quite suddenly with the opening track, Out In The Street, a fairly standard yet wildly invigorating taste of what's to come. Following that are a string of would-be classics, overshadowed only by The Who's later work; songs like The Good's Gone, La-La-La-Lies, A Legal Matter, Please Please Please... Then, of course, the two radio tracks: My Generation and The Kids Are Alright. These are the peak of the album, and are fittingly placed as its double-centrepiece. The whole thing's a jam. I dig it. Key tracks: Out In The Street, The Good's Gone, My Generation, The Kids Are Alright, Please Please Please

A shimmering, easygoing sound that's quite refreshing for its period of music. There's a solid textural approach, though often there are many tracks that sound similar. The band must've been exhilarating to experience live. There's a heavy British accent in the vocal. For some reason it reminds me of a punk vocal (I Am the Resurrection being the primary suspect) even though it surely isn't punk music. Cross-genre? Otherwise, the album's solidly in the (80s) rock category. Huge props to the drumming on this album – really engaging, good use of silence and some interesting rhythms. It complements the other instruments nicely. I first noticed it on She Bangs The Drums, and especially on Shoot You Down, but it's great on all tracks. I Am the Resurrection is a mostly-instrumental epic. (Love it.) In fact, the album ends with two back-to-back "epics", which is a little exhausting as an album experience. The final track in particular could've been cut down. The album is probably best appreciated via close listening. My rating was a high-3 at first (on account of many tracks sounding similar, e.g. Waterfall/Don't Stop, and others being lengthy), but increased to a high-4 when I went back through the track listing and paid closer attention. Good stuff. Key tracks: She Bangs the Drums, Bye Bye Bad Man, Shoot You Down, This Is the One

I like The Doors! Do you like The Doors? The Doors (The Doors, 1967) is inexplicably unique-sounding, both for its time and in retrospect. Pretty interesting, really, because the instrumentation is simple (vocal, drums, organ, bass) and the genre is very in-your-face blues rock without much room for wondering. And I reckon that's entirely the point. The Doors knew their strengths and played to them. Couple that with a string of easy classic compositions, and you start to verge into masterpiece territory. Break On Through and Light My Fire are the main radio hits, but many other tracks here are so goshdarn memorable. The Crystal Ship, Soul Kitchen, Alabama Song, Back Door Man... and, of course, the closing track that slowly and sinisterly tears at the soul: The End. You can't argue that that isn't an impressive track listing. The lyrics (arguably) aren't exactly poetry, but Morrison delivers them with such manly, whiskey-soaked confidence that you don't really notice. Also, the cover art is great. It's one of my personal favourites. As another reviewer wrote, "The fact that 75% of the band is standing neatly next to a massive, superimposed headshot of Jim Morrison is hilarious." Key tracks: all of them, probably

Seriously. What a great voice. Janis Joplin has a clear vocal talent and she tailors the music to emphasise that as much as possible. It's so fun, energising, thumping, honking... really just makes you want to perpetually make the stank face. Shoutout to the percussion and horns for complementing Joplin's vocal really well. Unfortunately, there are a few obviously weaker tracks (alongside some really great ones), which knocks my rating down to a 4. I don't know how Me and Bobby McGee could possibly be the most popular song on the album, given how relatively uneventful and devoid of hooks it is. And soul-rock masterpieces like Half Moon are left in the (popularity) dust! Man, people have some questionable music taste. Key tracks: A Woman Left Lonely, Half Moon, Buried Alive In the Blues, Mercedez Benz

I don't have much to say, really. It's passable music with decent but unremarkable elements in pretty much every regard. Nothing is (very) memorable, it sounds exactly like it should for its time (1967), isn't groundbreaking or inventive, yet still sounds pretty good. My guess is it's on this list purely for Buffalo Springfield being the foundation for Stills' and Young's later careers. There are a select few elements that caught my attention, such as the fleeting yet relatively complex guitarwork in Bluebird, the bluesy vigor of Mr. Soul (and indeed most of the album), and an interesting genre-blend between pop, country, blues, and rock. Key tracks: Mr. Soul, Bluebird, Rock & Roll Woman Enjoyment: 3/5 Does it belong in the list: 2/5

more like david lowie am i right Here we see a tastefully confusing piece of art that's surprisingly grounded for someone recovering from drugs. The synths and especially the drums are most notable, instrumentally, on this album. The drumming has a very loud, distorted sound that probably isn't to everyone's taste, but I think it sounds fantastic. And it's front-and-centre in every track on side 1. The tracks themselves on the record's first side are short, catchy, thoughtful, and... I can't really explain how, but they're so darn artistic. Speed of Life, the opening track, is the iconic opening to a new electronic era of rock music. Immediately following that, we get an electric, bass-driven interludey number with Breaking Glass. What In the World is a wobbly, synth-laden, two-chord ball of energy. Sound and Vision, with its simple chord I-vi-V-I progression, manages to be one of the most satisfying standalone tracks in Bowie's discography. Always Crashing In the Same Car and Be My Wife are a one-two punch of moody tracks driven primarily by synths – and both are great. Finally, we close side 1 with a return to simplicity in the fresh, upbeat instrumental track A New Career In a New Town. Then we get to side 2 – arguably what the album is most known for. It's pretty brilliant, again incorporating several layers of synths that flow rhythmically in and out of the mix. The four tracks on this side are all quite distinct from one another, and yet share that indescribable Bowie creativity. Warszawa in particular creates a cool, yet very grim, atmosphere. 5/5

Nifty alt-rock. Also, respect for keeping the tracks consistently very short – an art that feels very rare nowadays. Not every track is a hit (indeed, none of them particularly are) but they are all similarly strong. The mixing and overall sound is pretty high-quality, at the expensive of the music sounding extremely typical of 90s alt-rock. The vocalist has a very pleasant and distinctive voice quality, but it could really do with some harmonies. Some tracks approach this, but more self-harmonising (or collaboration with other musicians!) would really boost the strength and memorability of most, if not all, of the album's tracks. As it stands currently, the tracks, while individually exciting, blend into one another – and this isn't only the fault of the singing, but the singing is the most obvious factor that could be improved upon. Key tracks: It's A Shame About Ray, My Drug Buddy, Kitchen, Mrs. Robinson

Strong start with the monumental singalong title track, before the album falls into (debatably) an acoustic rut. It's just McLean and his guitar, baby. And you darn better feel emotional and all "countried out", even as you reach the fifth consecutive track with exactly the same texture. (Seriously – Till Tomorrow, Vincent, Crossroads, Winterwood, and Empty Chairs all have such similar feels that it's pretty surprisingly they were clustered so closely together, or indeed all placed on the same album to begin with.) Following this train of thought, it really does feel like Don McLean can only write songs with two textures: the slow, acoustic ballads with little to interest the ear other than lyrics (which are admittedly pretty touching), and the semi-joyous, pessimistic country singalongs (title track and Everybody Loves Me, Baby) In fact, Everybody Loves Me, Baby feels like a thinly veiled adaptation of the verses of American Pie, with similar vocal inflections, instrumentation, chord progression, and melody. Still, it's a pretty strong track. I won't end this review without giving a special shoutout to Babylon, the medieval-sounding closing track. Thick with self-harmonising, the track is a textbook use of canon and is honestly great. Very pretty. The album comes across as a slightly weaker and less varied Cold Spring Harbor (Billy Joel). It's a high 3, but a 3 nonetheless. Key tracks: American Pie, Vincent, Winterwood, Babylon

3/5 80s synth pop... hm... it's okay. A very boomer-esque opinion, to be sure, but what else can I say? It certainly had potential to be lower, but the tight instrumentation (particularly in that sexy, sexy bass part) made up for the overused, overhyped, overrated genre. In fact, the bass is so integral to the album's quality that I only ended up saving tracks that (in retrospect) had great basslines: Lonely In Your Nightmare, Hold Back The Rain, and The Chauffeur, to name a few. The title track and Hungry Like The Wolf were also quite strong, presenting some pretty catchy vocals and harmonies. The remaining instruments are either straightforward (drums, vocals) or very irritating (synths, saxophone (seriously, what is with that weirdly artificial sax sound?)). Best track: The Chauffeur Worst track: Last Chance On The Stairway

It's not very good. (No mercy.) Don't get me wrong – the music isn't unpleasant, like most of my 1-star ratings tend to be. It's just underwhelming; almost entirely set-up without payoff. Two Weeks and While You Wait For The Others are easily the two strongest tracks because they have some darn great hooks. Frustratingly, though, most other tracks just don't get off the ground. It almost seems like knock-off Radiohead (note the modern soundscapeyness), or perhaps just a heavily misguided blend of generic alt-rock with something harder to describe – maybe country? Blues? Hard to pin down. However, without Yorke and the gang to back them up, Grizzly Bear is left with somewhat interesting atmospheres and pretty much nothing else. The band doesn't ever go all-out, and instead sticks to an odd, mostly quiet, half-baked feel. Backing vocals are pretty strong. The drumming isn't incredible, but it lifts the band up texturally whenever it's used. Lots of unusual instruments seem to be used purely for novelty and don't really improve the music. Same goes for rhythms, chords, and so on – particularly in the first half of the album. Key tracks: Two Weeks, While You Wait For The Others, I Live With You 2/5

Very nifty, but also monotonous. Generally this would work much better as background sound than close-listening music, because there really isn't any variation within each of the tracks (excluding a few songs, which were the album's highlights). An odd fusion of influences. We've got the folksy, introspective feel of Simon and Garfunkel (in tracks like Come Down Softly To My Soul and Lord Can You Hear Me, the album's strongest track). We've got a lot of wibbly-wobbly space rock with a wide range of potential influences, most likely (and famously) Pink Floyd. Honey, So Hot, and Suicide were big highlights if you got over the overall repetitiveness. Great bass sound – again, reminiscent of early Pink Floyd and some later prog-/space-rock in the 70s and 80s. The synths were cool, though I think they could've been made more complex, with more interesting chord progressions to better engage the listener. Key tracks: Honey, Come Down Softly To My Soul, Lord Can You Hear Me 3/5

This was a great listen. I respect the choice of (somewhat) unusual chords for the genre, and melodies that are just unorthodox enough to keep you on your toes. Reminds me of Radiohead's melodic style; it's possible that Yorke and the crew were inspired by Nirvana in that regard. So, what exactly is the genre here? There are elements of punk, considering the heavy repetition of hooks (mostly in guitar and vocal) and the aggressive, unrestrained mood. Noticeably more punky in the track Territorial Pissings, which was fantastic. Definitely hints of early alt-rock too. And, of course, the heavy metal that takes centre stage. Cobain and Grohl's playing (and Novoselic's too) is very... synchronous? The band knows how to play together. It's clear that they're comfortable with one another and incredibly skilled on their respective instruments. Let's talk individual tracks. Of course, there's the single that shook the music world, Smells Like Teen Spirit – renowned for its infectious guitar riff, sudden-yet-smooth texture changes, and Cobain's iconic rock wail during the chorus. It seems the band made some darn good choices for singles: Come As You Are, Lithium, and In Bloom are all heavy, instrumentally dense tracks with good riffs and longevity (i.e. they all still sound fresh and fantastic today). Something In The Way is a sort of acoustic ballad, and is also one of my favourite tracks. Really, the only track I disliked was Endless, Nameless. Its extended guitar solo was just a little too atonal and experimental (and long) for my taste. Cut out that track, and the album is honestly near-flawless. Good music though innit. 5/5

I love albums like this. Some fun banter over a few mistakes made during the live recording, and this really adds to the album's liveliness and humanity. Really great tracks, too, especially for a long-time fan of jazz singers. It's certainly a snapshot in time, and Vaughan's voice is lovely. Cool idea to include the warning given to the audience at the beginning of the album. Really makes you feel like you're there, and the recording quality reflects that, being surprisingly high-quality for a 50s live show. The songs themselves are excellently written, as individual tracks, but perhaps not the most varied or interesting setlist when played back-to-back. Backing instruments are played well, if a little simply. The understatedness kind of works here, though. Nifty. 4/5

Very cool idea for an album cover. (Pharmaceuticals and stuff. Whoa.) Possibly a bit bloated in terms of runtime, but why care about runtime if you're on drugs (or a pretty convincing sonic representation of drugs)? The instruments are tastefully selected and played fairly well, creating some great space-rock inspired grooves. Really, the only track that obviously falls apart – from lack of musicality – is The Individual. All other tracks are, in some way or another, fairly solid, incorporating elements of early-mid career Pink Floyd (and other artists in the space/prog/rock genre) with the clean 90s mixing and a few hip-hoppy elements. Note in particular the percussion, which heavily favours clicks, shakers, and tambourines over the more classic drum kit. Not quite my thing, but it has its place. And it makes for a nifty mixture of musical eras. The vocalist often sounds disinterested or unemotive, which makes the singing harder to pay attention to. In other words, I feel like the singing doesn't add much substance (heh) to the music. Was there some message in the lyrics adding key political or personal contextualisation to the music? Who knows? Great textures, and a nice variety of moods. (The final track, Cop Shoot Cop..., is an unprecedented and apocalyptic epic that showcases the texturing in action.) This is a huge plus that boosts pretty much any album to a 4 or higher. Key tracks: Ladies and gentlemen we are floating in space, Come Together, Stay with Me, Electricity, Cool Waves

This album is an example of an objectively weird combination of styles that accidentally sounded kind of good. It's easy to hear the influence of Public Image Ltd (of which Jah Wobble was a member) in the form of brutish, ambling (yet melodic) basslines and a punk/post-punk freedom in the vocal and percussion. In fact, the basslines are some of the most impressive elements of these tracks. Mr Wobble definitely knew what he was doing in that regard. There's also a distinctive foray into world music, sort of like the very-post-punk equivalent of Paul Simon's Graceland. The world influence is butchered slightly, focusing heavily on a bright, positive, celebratory atmosphere while kind of ignoring cultural nuance. Feels kind of like cultural appropriation, almost. But it's fun music... what else could you ask for? Well, you could ask for a male vocalist that suits the band. There are two lead vocalists – one male and one female – and while the female one, as well as the backings, are generally very strong, the male one is so incongruous that it feels like a tipsy British bloke had a stack of five quid slapped into his hand and was asked to freestyle-ramble about philosophy. I actually didn't mind it too much. It was such an odd sound that it ended up being pretty entertaining and engaging. Still, it's nowhere near a masterpiece. The album cover is horrendous. Key tracks: Visions of You, Relight the Flame, Bomba 3/5

A testament to simple, short, effective rock tracks. They can be pretty darn effective. Each song in this collection is pretty distinctive from the others, and has a fun Bowie-space-alien spin while still remaining very loyal to standard rock roots. I also admire the concept behind the songs, even if it's a little haphazard in places. Five Years is an excellent album opener, setting the stage of an Earth that's five years away from utter destruction, and the emotional and psychological turmoil being spread as a result. Soul Love begins to introduce Ziggy Stardust as a character, focusing on his (surprisingly poetic) foreign understanding of love. Moonage Daydream takes Ziggy's alien nature up a notch, and (in combination with the next two tracks, Starman and It Ain't Easy) emphasises Ziggy's desire to understand/save the human race which is both innocent and difficult to fulfil. Lady Stardust and Star seem to be discussing Ziggy's unexpected success in the world of rock'n'roll, whereas the next three tracks – Hang on to Yourself, Ziggy Stardust, and Suffragette City – present varying outsider perspectives on his overbearingness and overconfidence. At this point, Ziggy's probably forgotten his original goal of saving the planet, and the story culminates in an epic climax with the finale, Rock 'n' Roll Suicide. And yet, the concept isn't obvious upon a first listen unless you're really paying close attention. Because of this, whether you're a fan of concept albums or non-concept albums, this album is able to impress, since it can be considered either one. (Does that make sense?) The key to a really great album is a plethora of iconic, memorable moments – and Ziggy Stardust definitely has plenty of those to go around. The brilliant use of climaxes and textural changes in the opening and closing tracks. The beautiful pop genius that is Starman. Mick Ronson's finesse on the guitar, especially in the outro of Moonage Daydream. The ballsiness of essentially making the main character a drag queen, as an artistic statement in the early 70s. (wham bam thank you ma'am) Key tracks: Five Years, Soul Love, Moonage Daydream, Starman, Ziggy Stardust, Suffragette City, Rock 'n' Roll Suicide (though honestly, a solid case could be made for any/all of the tracks) 5/5

"Do whatever you want with [...] music, just don't make it boring." -Freddie Mercury clearly Tim Buckley hasn't heard of Queen smh It's passable music, but the tracks are much too long for their own good. And not in a proggy or atmospheric way. They're just... very long. And static. Even the ones with a mere 5-6 minute runtime really start to drag. I do appreciate the elements of jazz. The marimba (or whatever percussion it's called) is a big standout, adding a chill, semi-exotic atmosphere to the already jazzy mix. There's a lot of acoustic guitar with drone-ish bass notes, which I've found to be a hit-or-miss harmonic choice in other albums. It's a miss here, since the tracks are already fairly unchanging. Buckley's vocal is generally good, though the inflections and twangy accent feel somehow forced. Strange Feelin' and Buzzin' Fly are my two favourite tracks, although that lent more credence to their position in the tracklist rather than how good they actually were compared to the later tracks. Buzzin' Fly has an interesting country spin; Strange Feelin' doesn't. 2/5

A fun little collection of songs, featuring Elton John's signature janky piano playing. He really doesn't vary his playing style much, so while it sounds pretty darn great (especially in combination with his voice) it makes many of the tracks sound very similar to one another. This, along with a marked decrease in songwriting quality throughout the album, explains why side 1 is much stronger than side 2. Indian Sunset, Rotten Peaches, and All The Nasties are lyrically very odd and incongruous with the remainder of the album. And sonically, they aren't any better, replacing the emotional grandeur of Tiny Dancer and Levon with a more acoustic, country-ish style that doesn't suit Elton's singing as well. It's hard to explain. However, the two opening tracks – Tiny Dancer and Levon – are so darn great that they very nearly justify a 5-star rating by themselves. They're essentially a one-two punch version of Bowie's "Life On Mars?" released the same year. (Dang. 1971 was fantastic for music.) Texturally, the combination of strings, light drumming, and piano playing self-described by Elton as "pound[ing]" makes for some really exhilarating accompaniment to the vocal, which is strong and unfaltering. Definitely adding these two (and a few others) to my playlist. Key tracks: Tiny Dancer, Levon, Madman Across The Water, Holiday Inn Side 1: 5/5 Side 2: 3/5 Total: 8/5 Adjusted total: 4/5

Ultra-solid songwriting wrapped in a neat 70s soft-rock package. Me likey. There's plenty to compliment here and not much to fault. In terms of track listing, the first three (Hotel California, New Kid in Town, Life in the Fast Lane) leave little to be desired. They're so darn catchy while (importantly) not making you feel like your brain is decaying slowly. I do feel that there's some punchy, electric element missing from all three tracks (particularly Life in the Fast Lane), but then the same applies to all Eagles music. Eh, whatever. They knew what they were doing, probably. Except for that weird accent in the title track. There aren't any major standouts in the remaining six tracks except the pretty, acoustic finale, The Last Resort. They're all inoffensive and, while still catchy and musically complex enough in their own right, aren't quite as memorable as they could be. Still, it's hard to find specific faults. Still lacking the gritty element I'm looking for, but that would be incongruous with the Eagles' style that made them so successful. (But there's a flaw - they played it safe.) In terms of general sound, the band's firing on all cylinders here. The textures and vocal timbre/harmonies are incredibly smooth, like sonic mousse. Chocolatey, too. The guitar solos are groovy, catchy, and deceptively simple. The drumming is fairly standard but works excellently in every song. Key tracks: Hotel California, New Kid in Town, Life in the Fast Lane, The Last Resort 5/5

A solid collection of songs with a heavily "late 60s" musical style, but perhaps more risqué and experimental than was the norm. And yet, if you go beyond the surface, you'll realise how monumentally influential this music actually was, despite its poor sales when it was released. Yeah, sure, everyone talks about how important this album is as a landmark in music history. But there's a reason this is so universally accepted. It's because it's true. Chronologically, one of the first-ever albums to dive headfirst into lyrical (and, in a sense, musical) themes of drug addiction, sex (addiction?), prostitution, masochism, and more. For the 60s, the Velvet Underground and Nico were light-years ahead of its peers. Pretty dang cool album cover too – instantly recognisable, mysterious, and just plain strange. One of Andy Warhol's finest contributions to music. Plus, you just have some genuinely fantastic songs. The album moves effortlessly from the beautiful, airy, music box-like lullaby Sunday Morning to classic grungy underground rock tracks (I'm Waiting For The Man, Run Run Run, There She Goes Again) to exotic mystery (Venus In Furs) to pretty 60s ballads (Femme Fatale, I'll Be Your Mirror) to some seriously impressive experimental rock epics (Heroin, European Son). It's a versatile mix, with a couple apparent instances of new genres being created on the spot. An otherwise 4-star experimental rock album, pushed off the charts when you consider historical context. 5/5

One of the most fun, laid-back, pure-joy albums I've heard. George knew his stuff, and he definitely deserves his status as the best post-Beatles Beatle (in terms of raw music quality). There are so many tracks here that are just a blast to listen to, with the added benefit of musical complexity that keeps both music aficionados and more casual listeners engaged. Isn't It a Pity, Wah-Wah, What Is Life, Beware of Darkness, Ballad of Sir Frankie Crisp, All Things Must Pass... The list goes on, and there isn't a single stinker track (except possibly It's Johnny's Birthday, but come on, it's under a minute. Give Sir Georgie a break!). Add in the monumental and iconic single My Sweet Lord, as well as the run of groovy instrumentals that conclude the track listing, and you have a near-insurmountable double album. There's a spiritual vibe that really shines through, particularly throughout disc 1. Lots of organs, acoustic guitars, and pianos playing together, along with fun adaptations on I-IV chord progressions. It sounds pretty great. George's vocal is also well-suited to this (for lack of a better descriptor) preachy style. Not exactly comparable to any of his Beatles output, except for possibly Within You Without You (a very underrated Sgt Pepper's track). Some excellent texturing here that's apparently underappreciated, based on Spotify listens. Let It Down, Isn't It A Pity, and Ballad of Sir Frankie Crisp all have an anthem-like quality that automatically gains my approval. They're also well spread out across the album, which brings me to another point: I really like the order of tracks. Reminds me of Low (David Bowie) with its fantastic instrumental final side, and just a fun, creative, diverse mix of songs earlier in the album. Lucky me - the third consecutive day of 5-star albums. I've living the life, truly.

It's fun music, though pretty derivative of other punk bands in the same era. I don't think much new ground was covered here. Also, 15 tracks is a lot to stomach in under 40 minutes; given the high-energy sound, it would've been good to have a few longer, slower tracks for a better full-album experience. Good instrument playing – well, as good as the punk genre allows. The issue with punk is that it's very difficult to showcase good musicianship when the genre's existence hinges on sticking it to the "music elite" by playing simply (and sometimes haphazardly). It doesn't leave as much room for creativity as other genres. I will give The Undertones credit for having clean, fresh music production, particularly in the lead and bass guitars. The vocals also meshed well with the other instruments. It meant that all the tracks honestly sounded great – at least, in isolation. I'd be tapping my foot along to any of these tracks in the car (especially the key tracks – see below). An entire album full of tracks with very similar energy, though, is harder to stomach. Key tracks: More Songs About Chocolate And Girls, Hypnotised, Whizz Kids, My Perfect Cousin, Wednesday Week

I came into this with very high expectations, considering the big hit "Get It On" (aka Bang A Gong). I left somewhat underwhelmed, but I'll start with the pros. Great guitar riffs, a fun vocal performance from Marc Bolan that was extremely typical (and rightly so) for its time, and just an overall fun vibe. Comparable to Ziggy Stardust. The tracks are produced very well, almost to an 80s punk-rock standard. Now for the cons. The tracks just aren't particularly memorable, excluding the aforementioned Get It On and a few others (Cosmic Dancer, Jeepster, The Motivator). In fact, most tracks sound like budget versions of Get It On, demonstrating a lack of musical versatility. Although I just complimented Bolan's vocal, it gets just a little grating towards the end of the album. And the comparison to Ziggy Stardust flops as a positive when you realise just how much more conceptually interesting and catchy Ziggy Stardust is. Key tracks: Cosmic Dancer, Jeepster, Get It On, The Motivator

This album has a sort of grandeur that is pulled off more convincingly than in Springsteen's later albums Darkness At The Edge Of Town and Born In The U.S.A. (both of which also appear on this list). His voice still sounds like a slightly less enjoyable Roy Orbison, and it's mainly this that brings the album down from a 5. I just can't make myself enjoy Bruce's vocal, and seeing that he's the face and focus of his music, it prevents his albums from reaching masterpiece territory. But the compositions, arrangements, and instrument playing are pretty darn great here. Jungleland is the main exhibit: a crazy, twisting multipart epic with a heavy emphasis on exotic, thick textures and an impressive sax part. The saxophone is also (nearly) front-and-centre in many other tracks on the album, which is rarely a bad thing. (Big shoutout to Clarence Clemons!) Born To Run, the title track, is of course a classic. Thunder Road is an explosive opening track that's a contender for the album's finest. Great guitar, bass, and drums. Not much to say in terms of creativity or ambition, but they do what they need to do and it sounds good. Admittedly, when listened to as one long musical adventure, the high energy starts to get a bit exhausting, especially with the relative lack of ballads. Enthuastic, anthemic, and bombastic – I can see why it's popular.

This album was a real blast. It's that typical blues-funk-soul-band with quick, biting horn stabs, great vocals, and classic (yet very simple) chord progressions. A fun ensemble that was perhaps a little surprising for its time. The 70s aren't normally associated with such an intensely 50s/60s style - but then, the Temptations had made a big name for themselves by this point. Interesting touch of politics, presumably, in the track Run Charlie Run. The lyrics are pretty cool, and I especially like how their grim, sarcastic message conflicts with the upbeat positivity in the music. I've never heard the extended/album version of Papa Was A Rollin' Stone before, and it's just as good as the single. Long instrumental build-up is worth the wait. I do wish a few more tracks on the album had the courage to be longer than 3-4 minutes, because it seems like that's all it takes for the Temptations to really shine. Funky Music Sho Nuff Turns Me On is a medium-paced headbanger with a lot of call-and-response between several vocalists. It introduces the album's fun-filled atmosphere effectively. Do Your Thing is an interesting contrast to conclude the album: a laid-back song draped with soft bass and backing vocals. While the remaining tracks were definitely good, they're harder to remember. All I can recall, a few hours later, is that the album didn't flow very congruously. The track listing jumped from quick, peppy funk to ballads, which isn't intrinsically a bad thing - but safe to say it didn't work here. Rating: high 4/5 Key tracks: Funky Music Sho Nuff Turns Me On, Papa Was A Rollin' Stone, Do Your Thing

This is the album you get when you confine a semi-psychotic musical genius (Brian Wilson) in a sandpit with some goats and a sizeable budget. Pet Sounds is that rare album where I can say that nothing - absolutely nothing - sounds quite like it. I challenge you to prove me wrong. There's something so oddly gratifying about the loopy chord progressions (consisting of a lot of melancholic maj7 chords), slightly blurry orchestra sound, the angelic voice of Brian Wilson, the silky-yet-rough-around-the-edges American production sound... But the fact that it's so hard to pin down is probably why it hasn't been replicated. The songs themselves are straight up bangers, start to finish. The trio of radio-friendly tracks - Wouldn't It Be Nice, Sloop John B, and God Only Knows - are all fantastic, incorporating pop elements from the Beach Boys' "rival" band, the Beatles, among other influences. The two instrumental tracks, particularly the first one, Let's Go Away For Awhile, are beautifully composed; the tasteful entry and dropping-out of different wacky instruments is especially noticeable. Most of the remaining eight tracks take on an introspective vibe that's noticeably different from their previous output, and indeed from nearly all pop music up to 1966. I would list highlights, but it's so hard to choose. Don't Talk is just utterly gorgeous and a brutal reminder that, as a single person, I'm missing out on a lot. You Still Believe In Me has such an unpredictable melody and smooth, goosebump-inducing harmonies (and a car horn). Oh yeah, I should mention the vocal harmonies. It's the Beach Boys. The harmonies are spectacular. Nothing else to say. The bass playing is also worth pointing out. It contributes monumentally to that gorgeous sound that's so hard to pin down. Rating: 5/5 Key tracks: all of them Caroline: No

Oh, this album is just so disappointing... Don't get me wrong. It's not terrible (hence the 2 stars). The lyrics are pretty thought-provoking, and the sound is high-quality (particularly where synths are involved - mixing is fun and immersive). Some of the tracks are pretty good on account of their catchiness, including Red Eyes and Lost In The Dream. The primary mistake made by The War On Drugs is a failure to deliver anything exciting, energetic, or (sonically) volatile. Nearly every track sounds exactly the same for the entire 7 minutes, and at least half of the tracks bear the additional burden of sounding identical to each other. This isn't helped by the fact that the drumming is extremely standard and uninteresting (one-a-two-a-three-a-four-a- throughout every song). The vocals aren't anything particularly interesting either. They're perhaps Dylan- or Petty-esque, especially in the title track, but this only accentuates the difference between those bands and The War On Drugs in terms of how good the rest of the music is. Oof. The album also fails to justify the long track runtime on all of their longer songs. In general, these songs drag quite a lot, increasing the length of what should've been a 40-minute album (or less, if you remove the duplicate tracks) to roughly an hour. If the band was trying to create a slew of "epics", a la In The Court Of The Crimson King, they didn't succeed. Key tracks: Under The Pressure, Red Eyes, Lost In The Dream

A great balance between consistency and variety makes for a great album. Jimi Hendrix pretty much nails it, and casually throws in a few absolute powerhouse tracks to top it off. Even without those songs (Purple Haze, Hey Joe, The Wind Cries Mary, Foxey Lady) this could feasibly be a 5-star or high 4-star album, purely because of the high-energy explosion of ideas, riffs, and attitude in essentially every track. Hendrix's vocal is pretty strong. It packs a big punch, driving home the romantic and/or political lyrical ideas with spunk. And his guitar playing, which may well be the best of all time, is the musical highlight. For its time, Hendrix's guitar tone is electrifying, in-your-face, shredding... really demonstrates his virtuosity. The other instruments are also able to shine in places. I also love the influence from psychedelia. In fact, given the year of release (1967), this was probably one of the genre's pioneering acts. Classic. Brilliant. 5/5 Key tracks: Purple Haze, Manic Depression, Hey Joe, The Wind Cries Mary, Fire, Foxey Lady, Are You Experienced?

Albums before the mid-60s tended not to capture the concept of what really makes a great album. This is a collection of good songs - but when listened to in one sitting, the style isn't quite good enough to boost it to 4 stars or higher. It's at the upper end of 3 stars. It's performed well, with a very strong vocal and simplistic backing arrangement. Big Iron, El Paso, They're Hanging Me Tonight, and Billy The Kid are highlights that could really shine as concept album material if placed in the right order. The chords definitely lack inspiration, being primarily the 3 blues chords plus the occasional minor 6 for moodier pieces. The instrumental backing the vocals also really doesn't add much to the table, being mostly bass, acoustic guitar, and light drums, all of which could be further forward in the mix and played with more energy. Overall, good music, but not pioneering - which isn't a bad thing, but I feel it doesn't fully belong in this list. 3/5

Pretty haunting in retrospect, given Cobain's mental state in early 1994. And yet, this is a surprisingly intimate set of songs that still remains faithful to the Nirvana spirit. It's every bit as good as the only other Nirvana album I've listened to (Nevermind), but with some interesting differences in energy. It's lower-energy, more relaxed, and has a great un-produced acoustic feel similar to the Naked version of Let It Be (which is vastly superior to the original). The banter between tracks – something I normally criticise – works much better in a live album than the more typical scripted skits of hip-hop bands. The cover of Bowie's The Man Who Sold The World is iconic and, maybe surprisingly, outshines the original by a lot. The riff, infectious as it is, is all but lost in the track on Bowie's 1970 album – but it takes centre stage here. Love it. The other tracks I'm familiar with are ones that also appeared on Nevermind: On A Plain, Something In The Way, Come As You Are, and Polly. They're good choices for this album because of their more introspective, low-texture feel. Even On A Plain, whose original recording was a fiery ball of pop-energy, is toned down a lot on MTV Unplugged. About A Girl was a solid choice of opener. Hoping Nirvana's debut album, Bleach, appears on this list. 5/5 Key tracks: all of them, honestly

I would describe this album as a large, bad mound of noise made by self-described "musical geniuses". There are a few tracks that are passable - namely, Genius Of Love (by far the strongest in the set), Lorelei, and On On On On. The remaining tracks straddle this weird balance of children's music and extraterrestrial "alien pop"-type stuff. It's not that good, but I don't hate it either. The texturing and production are pretty good for their time. Excluding a couple short tracks, all songs on this album go on for longer than they should, failing to introduce any new compelling musical ideas after the 1-minute mark in most cases. The lyrics are also pretty uninspiring, and often the only point of the vocal seems to be to add more noise. This idea definitely has its place (vocal solos - think Robert Plant) but it's not executed very well by Tom Tom Club. Just because something is creative doesn't mean it's necessarily good. I feel this album does not belong on this list. (Change my mind!) 2/5 Key tracks: Genius Of Love, Lorelei, On On On On...

An album chock-full of saxy-trumpety jazz swing. It's good fun, although some of the tracks are definitely stinkers, which holds it far back from getting the coveted 5-star award. These stinkers include The Lip (a brutally narcissistic song trying its best to be coverable by other artists), Be Mine, and Body and Soul (two uninteresting tracks with few memorable moments). The remaining tracks, however, are generally better; the opener to the album, Just A Gigolo / I Ain't Got Nobody, is the strongest. The lead vocalists (of which there are several) are great. Super strong and full of personality, yet still laid-back and non-overstepping. Soft brushes play a swing beat on the drums during most tracks, creating a lovely jazz bar atmosphere. Definitely approaching the best of pre-60s "pop" music. 4/5

This is the sort of weird, wacky, prog stuff I've been holding out for. It's layered, atmospheric, and (as I kept noticing throughout the album) sonically well ahead of its time. An argument could be made that the aptly-named Future Days is more musically progressive than The Dark Side Of The Moon, another 1973 album commonly touted as one of the crowning achievements of prog rock. Only having four tracks is a little risky in a musical world where bite-sized tracks are the standard. And yet, Can definitely justifies the long runtime of some of these. Bel Air, the monstrous 20-minute epic closing the album, is a spiralling trip where synths, bass, and drum calmly take turns absolutely shredding – but in a trippy, relaxed manner. (In fact, all four tracks could probably be described like this, but Bel Air was the standout.) I wasn't particularly focused while listening to the album, but even so, I found myself drawn to the bass in particular. I'm all about it. Very post-psychedelic. The 9-and-a-half-minute title track, Future Days, is also really strong, though I don't have much memory of it. I guess the primary flaw of the album is that none of the tracks really stand out from the others, even though the feeling of listening to them is very memorable. 4/5 Key tracks: Future Days, Bel Air

Having listened to the Marshall Mathers LP before, and given it 1 star, I came into this with low expectations. And I was pleasantly surprised (if only a little). This album admittedly does sounds very similar, suggesting that Eminem isn't a very versatile artist. (Probably could've guessed that.) But there's a series of 4 or 5 tracks in the middle that are unironically bopping. The skits on this album are very much focused on public opinion of Eminem and rap/hip-hop in general, as well as Eminem's controversial position in the genre as a young, overconfident white guy who's in over his head. That, I can agree with. Fun choice to include mostly guest vocalists in these skits, allowing for a break in the monotony of Eminem's irritating hip-teen vocal. I enjoyed the skits quite a lot, actually - more than I normally would with a hip-hop record. Like his other albums, we see caution thrown to the wind as Eminem carelessly lets out a torrent of slurs, misogynistic remarks, and narcissistic, dismissive attitude. It leaves a bad taste in the listener's mouth. I really don't see how anyone can genuinely enjoy the lyrics. The music, on the other hand, is at least hit-or-miss. And when it hits, it hits pretty well. The tracks Role Model, My Fault, Cum On Everybody, and Rock Bottom have fun, nightclub-esque atmospheres, and Eminem's vocal meshes decently in that environment. Chord progressions are also (sometimes) very cool here. 2/5 Key tracks: Public Service Announcement, If I Had, Bitch, My Fault

It's truly great music. The main thing holding it back from 5 stars is the low production quality, which is impossible to ignore once you notice it. There's a fuzziness to every instrument's track during quieter moments. Could definitely do with a remaster. The songs, for the most part, also aren't super impressive. It definitely sounds like 60s music. Not a big fan of the album cover either, which is about as basic as you can make artwork containing Aretha Franklin's face. But that's where my criticism ends. The songs are performed spectacularly. Aretha's vocal is gorgeous, soulful, and full of spirit, all while letting the other instruments shine. Chain of Fools and A Natural Woman (you make me feeeeelll!!) are 60s soul classics, and the remaining 10 or so tracks are full of great moments too. Good to Me as I Am to You, with its slow, lilting feel and prominent bass, is a highlight. Ain't No Way, a jazzy, emotional piano-based ballad, is also fantastic. In terms of actual performance (not songwriting), pretty much every single track delivers. 4/5 Key tracks: Chain of Fools, A Natural Woman, Good to Me as I Am to You, Groovin', Ain't No Way

It's fine, though some tracks have a noticeable dip in quality when Ms. Dynamite focuses on lyrics (particularly her "I'm a badass independent black woman who's been through some shit" lyrics, which are fine in isolation but brutally unrelatable) rather than focusing on sounds and memorable hooks. The tracks Watch Over Them, Seed Will Grow, Now U Want My Love, and Gotta Let U Know, to name a few, suffer from this issue. Other songs, like the pop-track Dy-Na-Mi-Tee, lean so heavily on their hooks (dynamite-hee~!) that they become pretty annoying. It's safe to say this album is pretty hit-or-miss (most of the tracks I haven't mentioned are passable or better). The interlude at the beginning could definitely be cut out. The run of songs from Anyway U Want It to It Takes More is pretty strong, with some really great modern synth-pop textures and basslines. Percussion is rarely, if ever, acoustic, which is generally a big criticism of mine unless it's seriously justified by creativity or something groundbreaking. (In this case, it isn't.) The lyrical themes are, like nearly all hip-hop/rap, not relatable. I find myself subconsciously tuning out the lyrics in most tracks. In general, lyrics that reflect every human's experience (such as those on The Dark Side of the Moon, The Stranger, Aja, Blackstar...) make for much stronger music. Close to being 3 stars. But there are a lot of places to improve. 2/5 Key tracks: Anyway U Want It, Put Him Out, Brother, A Lil Deeper / Get Up Stand Up

I've already listened to Funeral and The Suburbs (both by Arcade Fire) on this list, and gave them both a 3 for similar reasons. I enjoyed this album slightly more than those two, though it could be because I was listening to it with higher quality headphones. But even so... eh. The songs aren't very catchy, which is really the band's only obvious downfall – but it's a big downfall. Otherwise, I can think of some definite pros: The tracks sound really well produced, layered with slow, contemplative synths and percussion. With good noise-cancelling headphones, I could appreciate this production more. The opening track, Black Mirror, was actually pretty fire. If every song had been that much of a moody, mildly catchy adventure, the album could've scored 4 stars or even higher. The song Black Wave / Bad Vibrations, on the other hand, was Black Mirror's brutal antithesis: it was just uninteresting. The remaining tracks fell somewhere in between these in terms of quality, and while I liked all of them, I didn't love any of them. The dramatic touch in this album, seen with is a fun addition that I didn't really notice in Funeral or The Suburbs. Especially liked the organs in Intervention. Close, so close, to 4 stars. I believe in you, Arcade Fire! Just don't be so pretentious and use those musical chops to make something worth bopping to! Key tracks: Black Mirror, Keep the Car Running, Intervention, (Antichrist Television Blues)

The space-rock thing Primal Scream's going for isn't terrible, but it's very undercooked. Also, it's one of the few renditions of "90s space-rock" I've heard - and there's a reason there aren't many albums in this category. Without the low-production, experimental, semi-psychedelic charm of the 60s and 70s, there's just something lacking. Most notably, the melodies sound incredibly low-effort, as do the vocals. There's nothing in the form of catchy melodies, interesting (vocal) rhythm, emotion, drama, or really anything to hone in on in terms of singing. Instrumentally, my criticism is similar, but I'll give Primal Scream some leeway here because the mood set by the slow synths and light drumming is pretty nifty. Something else that disappointed me was that all the best tracks on the album - the run of tracks including Jesus, Know Your Rights, 96 Tears, and Rebel Dub - aren't even on the album. They're only included in the expanded edition. The exciting hard-rock guitars and high energy in some of those tracks boosted the album to a 3, until I checked and realised they weren't actually there! (Must've been my imagination.) 2/5 Key tracks: Star, Medication, Long Life

What bothered me most about this album was its lo-fi production. I'm normally pretty open to lo-fi if it's done correctly, but something about Guided by Voices's un-remastered, homemade sound is very off-putting. Another reviewer wrote it best: "I cannot stand the mix. I get what they were going for with the dirty, fuzzy sound but I fucking HATE it. The guitar tones on this album are fantastic but I feel like that gets so muddy and hidden in the mix. This would easily be a 3 or 4 star album for me if it were a little "cleaner" sounding." Another issue is melody. These vocalists cannot carry a tune. Add that to the factor that some of these melodies can hardly be called tunes in the first place - owing to lack of musicality and a generally improvisatory feel - and the list of tracks that could be considered catchy becomes short very quickly. But with 28 tracks, at least a few had to stand out, and indeed I did notice some highlights. The main factor that boosted these to being "good" songs was higher energy and a solid melody. These songs, in particular, I wish could've lasted longer (nearly all 28 tracks are under 2 minutes), but I still appreciate them as they are. Also, for what it's worth, the lyrics are pretty fun. So is the album cover. Key tracks: A Salty Salute, Game of Pricks, A Good Flying Bird, Blimps Go 90, Alright

I tend to give post-2000 albums a pass if they were really popular on release or have since become popular, because that means they would've had a big impact on the music world (for better or worse). Modern Kosmology definitely didn't make a big splash on the music scene, looking at the Spotify listens. Because of this, I have to ask: why is Modern Kosmology included in this list? The music itself has a mix of good and bad going for it. The good: it's chill music. Very atmospheric. Good to put on in the background while you meditate, before/after a big public speech, or during a particularly uninteresting cricket match. I liked the very out-of-place male vocal that bookended the track Ravenspoint. Also, the style is pretty consistent but still varies in terms of songwriting. There's a good creativity-consistency balance. Now for the bad. Jane Weaver's singing is... not great. It's possible that either she or the production team knew this, and added thick layers of effects/filters in some tracks to disguise it. (This actually made her voice sound definitively worse.) But even without the filters, she doesn't have much in the way of vibrato, range, or clarity. Her voice is a little breathy and she doesn't get much volume or depth out. Another criticism I have is with the synths, which are almost too consistent/unwavering within tracks. Often, they'll either drone one note for entire songs or song sections, or repeat some simple melody relentlessly. It's exhausting for the close listener. But yeah, I did enjoy the music. Kinda. Just not sure why it made the list. Enjoyment: 3/5 Does the album belong on this list: 1/5 Avg: 2/5 Key tracks: Did You See Butterflies?, Modern Kosmology, Valley

Talking Heads are so often touted as one of the "classics" - to be revered, reviewed, and NOT reviled. Everyone loves the Talking Heads, right? Not this guy. David Byrne's vocal is rightly criticised by many listeners, because it just sounds plain bad. Almost to the point that it sounds like he's trying to sabotage the other instruments' sound (which is otherwise pretty solid). It's often atonal, arrhythmic, slurred, and bored-yet-strained. That's just about the only criticism I have, but Byrne places himself so front-and-centre in the music that it very nearly destroys the entire album. Everything else is good, if a little samey in places. The opening track, Thank You for Sending Me an Angel, uses a simple yet satisfying chord progression and powerful guitar for a great start to the album. (Seriously. By the end of this track, I was thinking, "at this rate the album's getting 4 stars".) The next two tracks featured more varied guitar lines/licks, with some energetic drumming and bass playing. Unfortunately, the vocal gets more and more unappealing as the album progresses, and it's difficult to really groove as much as the other reviewers seem to be doing. I'm jealous. 2/5 Key tracks: Thank You for Sending Me an Angel, The Good Thing, Take Me to the River

Unusual genre – country prog? Most of the tracks are pretty long (though none overstay their welcome) and any instrumentation/melody changes within songs are very gradual and subtle. Bill Callahan's voice is old-fashioned, almost Johnny Cash-esque but with a less pleasant vocal quality. Sounds a bit underproduced. It's a weird juxtaposition with the otherwise fairly clean production, but still cool-sounding regardless. Also fun to hear the half-spoken half-sung vocal style that seems to be a rarity in the post-2000s era of music. Beautiful string playing. It's quite raw-sounding; it really sounds like a string ensemble, or (at some points) an entire Romantic-era orchestra, is playing on the stage behind Callahan. And yet, it's a very thin texture. Generally I'm not a fan of thin textures unless they're placed as a contrast to much thicker, more dramatic textures in other places. That isn't really the case here; the album doesn't have much sense of "flow" or "ups and downs". It commits to one thoughtful, melancholic mood and sticks to that throughout, which definitely limits audience excitement. The strongest instruments are the acoustic guitar and piano. Simple and pretty playing over (mostly) standard chords. The drums, during their appearances, are played lightly and tastefully. 3/5 Key tracks: Jim Cain, Too Many Birds, My Friend

My rating here is partially a response to the album itself, and partially an artifact of having listened to far too many consecutive Britpop/post-punk albums. At a certain point, it really takes a toll, and not in a good way. Now, like just about all of these identical-sounding British 80s bands, I: - hate the monarchy - hate the government even more - desire a healthy gossip about the Silent/Boomer generations while sipping a good Earl Grey - dislike the music industry, but not quite enough to go against the brutally unvarying trends I guess this is how Echo and the Bunnymen felt. Even so, I can't bring myself to love the music. The singing doesn't quite fully commit to the punk genre, but instead has that kind of wobbly, unpolished quality that's so commonplace in this decade of music. It's put through a sort of distant, metallic filter here, but rather than masking the poor singing, it just makes the music seem emptier and less passionate. In addition, within the tracks, there isn't much progression or change of moods. It feels a little disorganised and chaotic, yet still manages to be (energetically) monotone. Wacky. (There is a healthy variety of moods and energies throughout the album, though, so this isn't too much of a fault.) The drumming and guitar playing is nothing incredible, but it's solid. Just about any fast drum fill will make me appreciate the percussion as a whole, and this album is no exception. The world-music gig going on in the instrumental is also pretty nifty. Not sure what a lot of these instruments are, but they add a seriously cool atmosphere that singlehandedly brings the album up to 3 stars. Well done, Bunnymen, you saved yourself. 3/5 Key tracks: Heads Will Roll, Porcupine, Back of Love

Some really solid stuff on here, even ignoring the rose-tinted lens of fame that nearly allows the album (and its monumental sales) to speak for itself. The music is crammed with little bits and bobs to keep the listener absolutely hooked. Take Wanna Be Startin’ Somethin’, the opening track, as an example. There are constant little flourishes in the backing vocals, electronic drums, synthy bassline, and so on, all amounting to six minutes of pure musical excitement. It's incredibly engaging – addictively so. Imagine one of those heavily edited TikToks or YouTube Shorts, but in song form, and you'll understand where I'm coming from. But, unlike TikTok, this has some pretty darn good music. Baby Be Mine, P.Y.T., and Thriller (title track) are also distinctively engaging in the same way. Obviously Michael Jackson's voice is the star here, but even if you don't like his voice, there's plenty else to lap up. Jackson's voice is pretty cool on this album, though. A bit of an acquired taste for some because of his ultra-youthful, almost whiny timbre - but honestly, he makes it work really well here. We see a healthy mixture of ballads (The Lady in My Life, Human Nature, The Girl Is Mine), disco (Baby Be Mine, kinda Billie Jean), high-energy pop (Thriller, Wanna Be Startin' Somethin', P.Y.T), and a very poppy rendition of rock (Beat It). And for all of these, Jackson manages to find a reasonably convincing vocal while sticking to his "slot in random cool noises" guns. His breathy crooning in the ballads is probably the weakest his voice gets, and it's still pretty good. Also, to all of you saying The Girl Is Mine is cringey and that McCartney should stay out of Jackson's music: Yeah, nah. It's a fun-filled collab that's not meant to be taken seriously. Sort of the "Yellow Submarine" of the album. I dig it. 5/5 Key tracks: all of them! Reads like a greatest-hits record.

It's a really strange collection of songs. On the one hand, there's definite musical prowess and understanding of texturing, keeping the listener's interest, and knowledge of several genres (including blues, jazz, funk, and ska). On the other hand, it genuinely seems like Madness was trying to alienate the listener during some tracks. Take Sunday Morning, a theoretically strong track. It tries to go for almost math-rock levels of auditory annoyance with its frequent, unorthodox pauses, off-kilter horn hits, and so on. The song That Face, later in the album, is similar. Separately: New Delhi (the track) is so caricatured that it's hard to enjoy. Also, the main vocalist has a pretty monotone British-conversational voice, reminiscent of punk. Not a big fan. But when the album hits, it really hits. Our House, the international hit single, is really good. The eclectic nature of the band is relegated mostly to the haphazard chord changes, which honestly sound pretty great in this instance. Tomorrow's (Just Another Day), Rise and Fall, and Tiptoes are all just great jazzy/brassy tunes. The four promo video tracks, which weren't included on the original album, are some of my favourites. (Seriously – they should've been on the original! A travesty.) Unfortunately, there's the blackface guy on the album cover. What's up with that? 3/5 Key tracks: Tiptoes, Our House, Tomorrow's (Just Another Day), Rise and Fall

I surprised myself here. This record is pretty great. Alt-rock nearly at its finest, with little bits of influence from jazz, funk, and classical (among others). Reminiscent of Radiohead's debut album, Pablo Honey, though I would argue Beautiful Freak is generally better and more consistent. Lots of electrical SFX, synths, and sharp/sudden editing, all of which I really enjoyed (though I understand people who don't). That editing is especially apparent in the stop-start-filled opening track, Novocaine For The Soul, which is coincidentally also my favourite song on here. My main criticism is that the vocalist doesn't have much variety – but even so, it's still a more convincing voice than half the albums on this list, so I can't complain too much. 4/5 Key tracks: Novocaine For The Soul, Flower, Mental, Spunky, Manchild

I didn't like this album, and there's a lot of space to improve. For one, the main vocalist's voice is barely passable. It has that distinctive 80s-pop-synth-man that's trying to be embellished and theatrical, but doesn't quite get there. And yet it's obvious that the music is centred around the singing, excluding the short title track Calenture, which was a mess of orchestra and piano, attempting and failing to deliver any drama. The remaining tracks aren't exactly terrible, but they're very uninteresting. The instruments are easy enough to focus on in terms of volume and texture, but they don't vary much, instead yielding to the singing, which isn't the best idea for this band. The strongest track was the album opener Bury Me Deep in Love, which was heavily 80s-acoustic sounding but still decent. Disney-esque. It overstayed its welcome by a minute or so, which was also true of many other tracks. Vagabond Holes was so ridiculously poorly written, mostly in terms of melody/rhythm, that (coupled with the catchy instrumental) it looped back around to being kind of fun to listen to. Save What You Can was a decent piano-driven track that ended the album on a good note. All the remaining tracks were aggressively forgettable, even while I was still listening to them. The reason behind this was most likely the poor melodies – easily the music's weakest link – and the lack of any good hooks. Very surprised this made it onto the list. It isn't captivating, innovative, inspiring, catchy... or popular (judging by Spotify listens). 1/5 Key tracks: Bury Me Deep in Love, Vagabond Holes, Save What You Can

As a jazz musician myself, it feels a little traitorous to give this such a low rating. But really, Mingus could have done so much more to make this more accessible to a wider audience. The organised chaos of avant-garde jazz is just a little much even for me to handle, and it brings a consistently crazed, dizzying mood to the table that makes it harder to engage with that it should be. Still, the music is dark, energetic, and filled with humour and little winks to jazz contemporaries and predecessors. There's definitely some Davis and Ellington influence with the rapid, wavery trumpet and sax lines. Interesting mutes on those wind instruments during some parts, though it could just as easily be the musicians trying to play as weirdly as possible. The wah-wah, almost kazoo-like sax timbre in Duete Solo Dancers was the clearest example of this. I also liked the wild, interweaving melodic lines on, like, 7 different instruments at once. This happened very often in the track Group Dancers. Cool mood transitions in this track, too. And, obviously, fantastic, dynamic bass playing. I'm not a fan of extended jazz tracks on albums. They're much more forgivable when recorded live, but of course this is a studio album. The 19-minute album closer is, by its own admission, a medley – and in fact the song includes several near-silent intermissions. Break them apart, Charles! 2/5 Key tracks: Duete Solo Dancers (track 2/4), Group Dancers (track 3/4)

Solid, catchy, yet fairly nondescript country music. This album was released while the world of modern music was rapidly approaching more artistic, experimental territory (The Beatles, other British Invasion bands, Dylan, Beach Boys, arguably Elvis)– and if anything, I imagine this was a return to normalcy for many listeners. But was that necessarily a good thing? Even for 1965, this is some incredibly simple material, barely varying harmonically from the four pop/country chords and showcasing good but unexciting performances on guitar, drums, bass, and vocals. Still, it's fun, positive music. I can dig it. I especially enjoyed Act Naturally, which the Beatles would cover soon after this album's release. 3/5 Key tracks: I've Got a Tiger By the Tail, Wham Bam, Streets of Laredo, Act Naturally

He's back! ...but he isn't perfect. It doesn't help that none of his huge hit singles are present here. And concordantly, a key element of pre-army Elvis energy feels keenly absent. None of the tracks are particularly memorable except the three openers (Make Me Know It, Fever, The Girl of My Best Friend). The two moods appear to be either "crooning with very little instrumentation" or "fast-swing-rock but lacking some energy". Don't get me wrong – it's still pretty enjoyable music. But it doesn't reach the heights of his pre-1960 work I'm familiar with. Lots of gentle, "classical rock" harmonies going on in the backing vocals. Pretty cool. The bass and particularly the drums are mixed decently, but written simply, without letting their respective players shine as much as the vocalists and solo instruments (e.g. sax). Feels a little gramaphoney (granny music?), but what can you do, prior to the earth-shattering revolution of music in the 60s? This is the kind of music that sold well, and Elvis was fully aware of that. 3/5 Key tracks: Make Me Know It, Fever, The Girl of My Best Friend, Dirty Dirty Feeling, Such a Night

Love this one. Tasteful, fun, positive, well-written. I really don't have anything bad to say. Maybe his voice is a little wacky (especially when it isn't joined by any harmonising), but it definitely doesn't overstay its 35-minute welcome. But the songs themselves are superb and performed exactly as they should be. Great instrumentation, particularly with the acoustic guitars. The guitar solos are also worth mentioning: they're easygoing and expressive, without using too many notes. Sort of the folk-rock equivalent of David Gilmour. Nice variety of moods throughout the album too. Nothing revolutionary, but the perfect (standard) album experience. Wahoo! 5/5 Key tracks: Tell Me Why, After the Gold Rush, Only Love Can Break Your Heart, Don't Let It Bring You Down, Birds

Reminds me a lot of Bowie's Aladdin Sane album. Similar atmosphere, with heavy, plodding, bright instrumentation. Piano, electric guitar, brass, and voice are all bombastic and in-your-face. Though, I think I prefer the Bowie rendition of glam rock. The songs here sound a little undercooked. The catchiest track, Gang Bang, also bears the burden of having horrific lyrics. And the lyrics of Next (the title track) are also not great. But the overall sound and mood is consistently fun, glamorous, and overall kinda nifty. Definitely captures the 1973 vibe. This is groovy enough, but the 70s had better offerings. Give me more of those! Next! 3/5 Key tracks: The Faith Healer, Next

The extended intro of Right Here Right Now is pretty infectious. I wish they'd gone into more variations of that repeating theme, because it's genuinely great. The Rockafeller Skank also has some great ideas (those two simultaneous guitars... man. Good stuff.), as does Kalifornia. Unfortunately, there are numerous moments with only vocals and/or percussion. The vocalist (rapper?) in most tracks has a generic and unexpressive rapping voice. When this happens, I tend to start paying closer attention to the lyrics, but that's a mistake here. ("Right here right now right here right now right here right now check it out right here right now right here right now check it out now funk soul brotha right about now right here right now funk soul brotha now now now now now now right about now now now now now now now right about now.") This album is a solid reminder that using a soundboard for vocals is a terrible idea. The percussion is barely passable as long as you don't pay too close attention to it. Very repetitive and artificial. The producers are trying to direct attention to the synths and guitars (I guess) and those are pretty good. Praise You takes the synth prominence to the next level and, combined with singing rather than rapping, it's easily the strongest track. 3/5 Key tracks: Right Here Right Now, The Rockafeller Skank, Praise You

Earth, Wind & Fire is a great band. One of the most carefree, tight, badass sounds of any band – and certainly any 70s band. Up there with the likes of Stevie Wonder, Tower of Power, and Steely Dan in terms of consistently great feel-good tunes that are known for their sharpshooter horn hits, high-level musicianship, and impeccable incorporation of jazz/funk into pop music. That being said, this album doesn't showcase any of Earth, Wind & Fire's absolute best tracks, leading me to question why it's the only EW&F album here. Don't get me wrong – the tracks are all very good (particularly the two openers) and generally kick some serious bum – but they don't quite reach the heights I know EW&F's capable of. And as good as some of the songs are, some are pretty forgettable (See the Light, All About Love). Not a huge fan of the vocals in Yearnin' Learnin' either. EW&F pulls off the proto-disco falsetto better than the rough vocal fry. Key tracks: Shining Star, That's the Way of the World, Reasons

A must-listen. Great production, fantastic genre-mixing and cross-cultural nods. Lots of little quirks to discover upon a second or third relisten. You definitely notice Paul Simon's attention to detail and how he embraces the music of his global contemporaries. Add that to the kaleidoscope of different instruments meshing together seamlessly, and played excellently, and the entire album feels like a warm embrace between friends, amidst the surrounding chaos. You even have the large number of different vocalists contributing their little parts. Paul Simon's vocal is also very good here, but doesn't take the spotlight as much as his earlier material (including from Simon and Garfunkel). I like that. And no, this album isn't cultural appropriation. If the only people throwing around these allegations are white guys who raised themselves on classic rock and proto-metal of the 60s and 70s, and not the wide array of open-minded African and African-influenced musicians contributing to Graceland, then I think this speaks for itself. 5/5 Key tracks: Graceland, I Know What I Know, Diamonds on the Soles of Her Shoes, You Can Call Me Al

It's fun to see the wacky origins of Frank Zappa. This album, surprisingly, delivered some pretty great stuff. The out-of-sync vocal harmonies, kazoos, and "yuueah"-ing (see: You're Probably Wondering Why I'm Here) firmly root this album in the mid/late 60s, but there's also some serious inventiveness that places elements of the music well ahead of their time. But, as interesting and risky (for the 60s) tracks like The Return Of The Son Of Monster Magnet and Help I'm A Rock may be, they're just a little too "out there" for my taste. Important to musical evolution, maybe, but that doesn't mean I have to necessarily enjoy their free-jazz-esque noises. The former (The Return...) is like a slightly more musically coherent Revolution 9 – though that isn't saying much, given Revolution 9's generally accepted status as the worst Beatles track. But what the album does well, it really nails. Really solid, fun pop bops with a lot of musical coolness to hone in on – especially on the album's first disk. I love the vocals, which parallel those of British Invasion bands. Great, clear bass playing too. I guess this is an early concept album, in the sense that there's a distinctive yet gradual shift in tone throughout the album, from bright and collected psychedelia to dark, crazed, ...uh, psychedelia. 4/5 Key tracks: Trouble Every Day, Hungry Freaks Daddy, I Ain't Got No Heart, Go Cry On Somebody Else's Shoulder

The true-to-roots variety show that blows all pre-1975 music out of the water. This is Led Zeppelin at their loudest, proudest, and most groovy. Of all albums I've listened to, this is probably the one that made me thrash my head and stomp my feet with the most gusto. It's fair to argue that, other than Kashmir (a track that's quite possibly the pinnacle of LZ's career), there aren't any big archetypal LZ songs on here. Maybe it's comparable to the Rolling Stones' Exile On Main Street in that way. But every track packs such a satisfying punch that it's hard to really fault it for lack of hits. And in my mind, there are plenty of "hits" here. Custard Pie, The Rover, In My Time Of Dying, Trampled Under Foot, The Wanton Song, Sick Again, In The Light... man, the list really goes on. Even the "filler" tracks are pretty great. Boogie With Stu, Black Country Woman, and Bron-Yr-Aur are all very strong in their own right. Those tracks add colour and change of pace to the otherwise nearly overwhelming powerhouse of straight bangers. Oh yeah, there's also Ten Years Gone. (The best LZ track.) A dozen guitars layered atop one another, backing a gorgeous, emotional-packed ballad with one of the coolest chord progressions that could've been chosen. Plant's vocals have changed a lot in the six years since LZ's debut. They've gotten more butty and "manly", which is an interesting change of pace. I know some people prefer this style of vocal, though I'm torn. LZ3/4 present the best balance between cutting and gruff, I think. The drumming and bass playing are near flawless, as usual, and the lower-energy guitars compared to earlier albums is made up for by Page's sophisticated and timeless production. 5/5 Key tracks: Custard Pie, In My Time Of Dying, Trampled Under Foot, Kashmir, Ten Years Gone, The Wanton Song

While I can appreciate the historical importance of this album and a tremendous side 2, side 1 doesn't quite reach up to the same heights. It tackles a fairly straightforward concept – ageing – and while it captures that idea pretty well, it's at the expense of the music's quality. The tracks on side 1 aren't very catchy, and musically they're very simple, often consisting of finger-picked guitars and odd, repeating melodies. America and Old Friends are my two favourites on this side. The Bookends Theme and its reprise are very forgettable, and Voices of Old People is obviously unnecessary. I will acknowledge that this would've been a pretty big stepping stone in the development of concept album culture. At least it's a more well-defined concept than Sgt Pepper (as another commenter pointed out). Side 2 is brilliant. Fakin' It, Punk's Dilemma, Mrs. Robinson, A Hazy Shade of Winter, At the Zoo... All of them put a huge smile on my face because of how goofy and fun-packed their melody and lyrics are. Mrs. Robinson, in particular, is pure 60s pop, and it's a masterpiece. 4/5 Key tracks: Fakin' It, Punk's Dilemma, Mrs. Robinson, A Hazy Shade of Winter

Summary: Very cool. Jazzy, multi-instrumental, varied, and musically super engaging. A lot of the tracks sounded similar to one another at a distance (i.e. when not close-listening) but it's seriously good overall, especially for 1969. Peaches En Regalia: Fresh, exciting, and almost classical with its structure, showcasing a theme and several brief variations. The variations showcase a wide variety of instruments. A near-perfect track. Willie The Pimp: Strange raspy vocal. I checked later, and it seems this was sung by Captain Beefheart. I'm not surprised. Approaches being unmelodic, but the vocal-sounding guitar and very melodic/dynamic basslines make up for it. The extended instrumental gets away with being largely one chord because of how texturally crazy it is. The music really picks up around the 6-minute part, with some great playing on drums, guitar, bass, and some keyboardy instrument that's very quiet in the mix. Son Of Mr. Green Genes is essentially an extended version of the opening track. It's weaker overall, but the keyboards (I think those are keyboards) and percussion are a highlight. I listened to side 2 without my laptop nearby, so I couldn't write direct notes, but they would've been similar to my discussion of Son Of Mr. Green Genes. Wacky prog rock with jazz elements (also known as "jazz") dominates side 2. It Must Be A Camel was my favourite on this side. It had a lot of personality and energy, and the track name is fantastic. 4/5 Key tracks: Peaches En Regalia, Willie The Pimp, It Must Be A Camel

Compare to other Neil Young albums, there's something lacking here. Part of it is that the tracks are definitely too long for a non-live album. I felt like, with the longer track lengths (over 6 minutes on average per song), the "good stuff" was diluted and hidden underneath a thick layer of relatively empty jamming on lead guitar. The vocals, while fine, are not up to Young standard. And the strongest track (narrowly), F*!#in' Up, is solid, but barely more memorable than the other songs in the setlist. That being said, the atmosphere is pretty badass, and I assume the lyrics were strong too (I wasn't paying much attention to them). Even for some of his worst material, you can't go (too) wrong with ol' Neil. 3/5 Key tracks: Country Home, F*!#in' Up, Love to Burn, Mansion on the Hill

Being a New Zealander, my opinion of Crowded House is definitely more positive than it should be – but seriously, this stuff slaps. The band is sort of a combination of R.E.M. and the Eagles, with a little of Neil Finn's 80s Split Enz sprinkled in there. The main reason I mention the Eagles is because of Crowded House's tendency to rely heavily on two- or three-part harmonies throughout entire tracks – not that that's necessarily a bad thing. It adds a bit of colour to an otherwise fairly standard vocal. The guitar lines and solos are solid, if a little artificial – but honestly, for 90s pop rock, I'll take what I can get. The hit single Weather With You has a sparkling, sitar-sounding lead guitar that inexplicably forces its way into your head even though it doesn't exactly scream "riff". It's pretty infectious, and also the strongest track on the album. Fall At Your Feet has a catchy melodic hook, making it another great track. Other tracks like Chocolate Cake, It's Only Natural, Four Seasons In One Day, and Fame Is are pretty darn good too. Lots of references to other musicians and famous figures in the lyrics, which comes across as a bit contrived at times but is still a fun addition. I have to imagine the cover art is a nod to either Aboriginal or Māori (Australia or New Zealand native) culture, but I'm not certain. Still, it's pretty cool, and certainly memorable. 4/5 Key tracks: Chocolate Cake, Fall At Your Feet, Weather With You, Four Seasons In One Day

When you have a band this confident in their craft, it's hard not to love them. CCR has nailed the art of feel-good, soulful, simple tunes with three chords and a rocking folksy beat. The sheer number of consistently great songs packed into an 11-track album is a testament to this band's skilful songwriting. I particularly like the lead and backing vocals, though after an album or two, I might want to listen to someone with a "smoother" voice. The bass playing is also easily audible in the mix, and it's played very well. I guess I'd like to see a little more variety in terms of instruments and production. There are a few tracks that feel like filler versions of other ones, and a couple of tracks are great but don't quite justify their track length. Think S&G's Bridge Over Troubled Water, released the same year. CCR taking that approach would've raised my rating to a 5/5, no question. Key tracks: Travelin' Band, Lookin' Out My Back Door, Up Around The Bend, Who'll Stop The Rain, I Heard It Through The Grapevine

Definitely loyal to the ska genre, but given that it's an 80s album, I expected something new to be brought to the table. The Specials delivered a messy array of fun, proto-reggae-ish bops with dated production and decently catchy melodies. Pros: it's just such a joyful, fun time. Almost reminds me of the Beach Boys' "Party" album, or possibly a live album recorded at a Jamaican bar. If I encountered the band playing this in public, I'd jump on the dance floor and have a grand time. A festive kind of feel, especially with tracks like Enjoy Yourself, Hey Little Rich Girl, Pearl's Cafe, and Holiday Fortnight – some fairly complex arrangements and interweaving of instruments here. Also, when the band hits its groove, it really hits it... Cons: ...but when the band misses, it falls flat. The female harmony is not at all synchronous with the male vocal, and anytime they're singing together I'm hoping the song will end soon. The drumming is also generally not great. It's either so simplistic that it's overshadowed (International Jet Set, Sock It to 'Em J.B.), leans heavily on other percussion (Pearl's Cafe), or it's very washed out in the mix (most of the remaining tracks). 3/5 Key tracks: Enjoy Yourself, Hey Little Rich Girl, Do Nothing

Vibey synth stuff. It's listenable, but it's also been done to death. The genre of "repeating electronic noise with very gradual and minute variation spread across six minutes" might've been revolutionary back in the 90s, but it's not so impressive anymore. Not everything about the album is necessarily bad. Some of the tracks, such as Dirge, Soul Auctioneer, and Flying have a chord progression that's just interesting and exciting enough to be engaging. Flying, in particular, exhibits a level of slowly rising energy and adventure that I really liked. My main issue is that most of the remaining tracks are just not interesting (Death Threat, Lever Street, Broken Little Sister) or kind of irritating (Aisha). Speaking of Aisha, what's going on with that random screaming, weird monsterish mumbling, and out-of-place synth noise? Coupled with what's essentially a one-chord retro video game soundtrack, the result isn't great. I feel a lot of the tracks, particularly that one, could've been improved by cutting down on the experimentation and adding a good crooning singer. 2/5 Key tracks: Dirge, Soul Auctioneer, Flying

A sort of soft-club-rock mashup. It's listenable, but it's also been done to death. The genre of "repeating 1-2 bars of theme with very gradual and minute variation spread across seven minutes" might've been revolutionary back in the 90s, but it's not so impressive anymore. (Also, this is the 2nd day in a row where my opening remark is almost exactly that. C'mon 1001 Albums, I know you can do better!) Not everything about the album is necessarily bad. Some of the tracks, such as Someone Great, All My Friends, and New York, I Love You but you're Bringing Me Down have a hook that's just catchy/silly enough for me to not grow tired of it. The latter track in particular exhibits a level of slowly rising energy and adventure that I really like. (Also by far the most liberal use of acoustic instruments in the album - great piano and raw vocal.) My main issue is that most of the remaining tracks are just not interesting or memorable, and this effect is exacerbated by the long track lengths. There's so much repetition and not enough variation. So much lifeless processed stuff, not enough soul. The '00s decade has better to offer. 2/5 Key tracks: New York I Love You but You're Bringing Me Down, Someone Great, All My Friends

Cool voice, though I wish he'd vary it a little more between the tracks. Given the album's release date in 1972, "variety albums" had become much more accepted than 10 years earlier – so give us a little more variety, Al! Regardless, it's pretty solid material, and Al Green's vocal has a soulful, warm quality that keeps on delivering. It's strongest in the track How Can You Mend a Broken Heart, where Al really goes all-out on the emotion. Good backing vocals throughout, along with the pretty (though dated) strings. On some tracks it's hard to distinguish between keyboard and piano - are they playing in unison? Great brass, but I would've loved more complex arrangements for them. The playing is a little predictable at times. (See: trumpet lines in La-La for You.) Interesting freeform-ish song structure that gives the impression of a live jam session - I'm not a big fan. The production is also a glaring step backwards from some of the incredible production showcased in the late 60s from other artists. You know what I always say: "If you've got the tech, then use it, heck." 3/5 Key tracks: Let's Stay Together, How Can You Mend a Broken Heart, La-La for You

The rare album on this list that has the guts to be funny while also being genuinely great. The singing varies from solid rock-soul to whatever the heck is going on in tracks like Groovalegiance. The high-pitched wailing coupled with a tight funk arrangement is almost too much to handle. It's terrible, brilliant, and ridiculous, all at once. I wasn't even listening to it closely, but I was still head-bopping and toe-tapping for nearly the whole hour. The interacting vocals, littering of little flourishy noises in the mix, Latin American sounding percussion, and a slick guitar-bass combo work together pretty well. The percussion could be a little more interesting. There are some things that knock it down a little. It strays away from typical funk, which is definitely easier listening than whatever this is. The backing vocals are, unusually, kind of messy. The mixing is fine, but during most of the tracks I was thinking, "This would be incredible with some better stereo mixing." 4/5 Key tracks: One Nation Under A Groove, Who Says a Funk Band Can't Play Rock, Cholly, P.E. Squad

Here we see Peter Gabriel making his music weird for the sake of being weird. Truth be told, it does sound pretty great, but it could do without the excessive quirkiness. It also makes the music unrealistic to play live in some cases, though that isn't always a bad thing (see: Sgt Pepper et al.). The drumming is fairly simple but extremely effective and importantly, actually human-sounding. No artificial nonsense going on here, like some other late-70s bands were transitioning into at the time. The electric guitar isn't always prominent; it's added in tastefully, whenever a track needs that rocky spark of energy. The only "instrument" I'm more ambivalent about is Peter Gabriel himself. His voice is pretty standard (if a little piercing) during his rock-screaming, but implacably odd at his normal energy. Could be the echoey vocal effect, I guess. Solsbury Hill is definitely the highlight here. The interaction between the wavery keyboard thing, harmonised vocals, and constant percussion give a Wall of Sound feel, but perhaps less intense. It's a simple, happy, marketable tune, and I love it. Here Comes The Flood is also really good. It's intense, varied, emotional, almost proggy at times. (I'd give the opening track, Moribund The Burgermeister, a similar description – but it's not nearly as good.) I like when strings are dropped into an already-strong track, almost like the cherry on top. It rarely fails, and definitely doesn't fail here. Fun singalong chorus too. 4/5 Key tracks: Solsbury Hill, Humdrum, Slowburn, Here Comes The Flood

Unlike the other Joni Mitchell album I've listened to (Court and Spark), this isn't a tough call for me. It’s a clear 5/5. The compositions are great yet simple, with gorgeous, semi-unpredictable melodies and some of the best singing you could ask for. Mitchell's voice is incredibly on-point here, and her little improv flourishes sound kind of jazz-vocal-y. And, like pretty much everything she writes, the lyrics are relatable. (Or they'll be relatable in a few years, hopefully.) I’m guessing this is one which I’ll grow to love, not only as I listen to it more in the future, but as I gain more wisdom. Like Court and Spark, this is an album for wise people. Instrumentally, I'd compare this album to Paul McCartney's and John Lennon's solo debuts, in that the instrumentation is very minimalist yet complements Mitchell's vocal beautifully. The piano is particularly good. Yeah. I’ll have to give it a 5. 5/5 Key tracks: All I Want, My Old Man, Carey, Blue, River, A Case of You

Raw, distorted, slightly atonal. And yet here it is, getting 3 stars from me. Because despite its theoretical unlistenability, it's actually pretty good. The instrumental track, Death To Our Friends, is perhaps the strongest track here, lacking the disinterested and off-putting singing that pulls some of the other songs down. The music in this particular track is dark and foreboding, and overall a great ambient track. Many of the other songs intrigued me because of their spoken vocals, which seem to capture a proto-emo feel. I definitely enjoyed these more than the sung vocals (which were, frankly, bad). At the end of the day, music that sounds good is going to rank higher than music that doesn't, and bored, out-of-tune singing doesn't sound good to me. The drumming and vague rock influence was a standout. Seriously - the percussion in In The Kingdom #19 is great. I also like the instrumentation in Shadow Of A Doubt, combining piano, drums, and acoustic/electric that are just filtered enough to blur the line between human and alien. We also hear rising and falling tension in this song, which is always a win. I don't like the singing, but the backing more than makes up for it. Madonna Sean And Me is similar; a great track overall. Bubble Gum sticks out like a sore thumb at the end of the album, having more of an early 70s sound than an 80s one. Sounds like early Queen prog mixed with Velvet Underground (+ Nico) vocals. Weird, but pretty catchy. 3/5 Key tracks: In The Kingdom #19, Death To Our Friends, Madonna Sean And Me

Pretty depressing stuff. Poor Mr Cohen. He's clearly been through it - maybe even more so than Bob Dylan. Now, a day after listening to the album, I can confidently say that it was good but pretty unmemorable. And my policy is, if an album ain't catchy, it ain't getting a 5. I'll admit, though, that the lyrics intrigued me. Mournful, reflective, and oddly poetic in a kind of old-fashioned, rambly way. The instrumental backing for every individual song is great, though I wish there'd been more variation in energy throughout the album. (Nearly every track is a slow meandering tempo with cut-back textures. The best of these is, no question, Famous Blue Raincoat.) Cool voice - better than most who are dubbed "singer-songwriters" - but the real sonic strength is in the guitars here. The plucking is done delicately and thoughtfully, and I really dig it. 3/5 Key tracks: Avalanche, Famous Blue Raincoat, Diamonds in the Mine

Here we have a band that's clearly excited to get their hands on some fancy synths. But unusually, they have the musical genius to make it sound interesting and the audience awareness to make it sound darn good. All seven tracks here are near flawless. One could make the argument that The Camera Eye's instrumental sections drag on too long (I agree) or that Vital Signs is a bit incongruous and hard to latch onto (I agree). But as for everything else, well... there's so much to love. Peart's drumming is killer here, particularly in the instrumental YYZ, the enormous single Tom Sawyer, and the soaring rocker Red Barchetta. The mixing is very clean and makes way for the percussion at all times, giving Peart plenty of space to spew out lightning-fast triplets and fills. And yet Peart is completely in sync with the rest of the band. Lee's bass playing is often a little further back in the mix, but it has a vibrant, synthy tone that really distinguishes the Rush sound. And, like the drums, the bass is extremely volatile, often playing its own melody alongside the guitar and vocals. Speaking of which: Lee's vocal is fun, confident, and (for lack of a better descriptor) nerdy. (Much like his fans.) Add Lifeson's on-point, precise, energetic, melodic guitar playing, and you have a near-unbeatable trio. And then there's the synth experimentation in every track, giving the album a kind of cinematic feel. For 1981, this would've been pretty groundbreaking stuff. Then there are the individual tracks. Tom Sawyer, a sassy, catchy pop track with some intense harmonic play. Red Barchetta, with its indecisive, memorable melody and adventurous feel. YYZ, the ultimate condensed rock instrumental. The Camera Eye, with its cinematic juxtaposition of two completely different atmospheres. Witch Hunt, a dark, foreboding track that is surely underrated. And Vital Signs, which has a retro video game sound that's hard to place but I seriously love. If you're still not convinced, listen to YYZ Live in Rio. That audience is freakin' convinced. 5/5 Key tracks: Tom Sawyer, Red Barchetta, YYZ, Limelight, The Camera Eye, Witch Hunt, Vital Signs

The pinnacle of experimental jazz. I would describe it as "cool" - about as cool as you can get (check out that badass keyboard playing!) - but not necessarily good music. The repetition of themes is nearly non-existent, so for the non-jazz-minded, it's hard to really latch onto anything other than the drum beat. Even that is often absent. Feio, for example, has very drawn-back and irregular percussion. Pharaoh's Dance leans heavily on its unusual harmonic mode, but doesn't do much to make it sound marketable. Contrast that with Caravan, a comparable jazz standard, which is much more friendly to the crowds (and to me). The skill and instrumental control here is unreal. The bass, keyboard, drumming, and weaving wind section are all, separately, fantastic. (Man, those muted trumpet growls. Mmm.) But I think this ensemble is less than the sum of its parts. I also think that the Kind Of Blue ensemble is much stronger, though that could be because of the difference in style rather than how proficient the musicians actually are. 3/5 Key tracks: Pharaoh's Dance, Spanish Key, Sanctuary

It's cool to compare this to The Joshua Tree. This seems a lot more carefree, wild, and filled with humour. The Baby takes itself less seriously than the Tree, and I can respect that. This difference is similar to the difference between Radiohead's OK Computer and In Rainbows. Alas, the album isn't perfect. For some reason, Bono's voice is a lot less friendly to my ear than it was on the previous album. It's less melodic, less lilting, less powerful, and more... sporadic? Could just be the choices of melody, which are on the whole less catchy and memorable than in The Joshua Tree. And judging by Spotify listens, it seems most modern-day listeners agree with me. The instrumentation is pretty darn powerful, though. The anthemic guitars and percussion make their triumphant return, while also showcasing a lighter, more upbeat texture that begins to display signs of 90s music. Key tracks: Even Better Than The Real Thing, One, Mysterious Ways

Holy smokes. This was recorded in 1968. I mean, sure, the Beatles were wildly ahead of their time with all their material, but compare their White Album to this earth-render of a debut album, recorded at the same time. It's like night and day. Or heaven and hell. Imagine what 60s youth were thinking when they set the needle down on side 1. First track: Good Times Bad Times. BOOM-BOOM. A stadium-shaking E-major chord rings out twice, with all three rhythm players playing in unison. BOOM-BOOM. The light drumbeat doubles in speed, adding dramatically to the tension and excitement. BOOM-BOOM. The percussion rapidly grows more complex and the texture begins to thicken. And just a couple bars later, we enter a flurry of instrumental showcasing, centred heavily around Bonham's in-the-pocket drumming. Man, what a great drumming track this is to start off Zep's career. It's a strong contender for my favourite drumming in any song, ever. Also, some incredible guitar, bass, and 60s-pop vocal with a Plantish flair. And for January of 1969? Mind. Blown. Then we have the wailing rollercoaster ballad of Babe I'm Gonna Leave You, the head-thrashing You Shook Me, and the monster Dazed And Confused (containing some of the strongest guitar riffs of all time) finishing off side 1. Side 2 begins with the whiskey-soaked, gospel-inspired crowd singing of Your Time Is Gonna Come, followed by Black Mountain Side: a short and exotic-sounding instrumental focused on the acoustic guitar and light, wooden percussion. Then we come to an excellent proto-punk tune, Communication Breakdown. Led Zeppelin returns to a slow semi-blues, a la You Shook Me, with the following track, I Can't Quit You Baby. Finally, we end with a jazzy rock jam in How Many More Times, and you're left wondered what the heck you just listened to, other than some of the greatest music of the 60s. Yes, the songs are a little derivative in terms of musical and lyrical ideas – but the raw energy and proficiency on the members' respective instruments is pretty obviously unmatched. And given how popular the band became in the years to come, it seems most people tended to agree with me. 5/5 Key tracks: Good Times Bad Times, Babe I'm Gonna Leave You, You Shook Me, Dazed And Confused, Communication Breakdown, How Many More Times

I like to think the number of Spotify listens on each track represent people's actual reaction to listening to the songs in order. "Hey, this is pretty cool. Nice bluesy synthy rock mash-up genre. I dig it. ... Holy smokes, this is great! Tighten Up, Howlin' For You... very catchy. A nice fresh take on the genre. ... Ah, the next track kind of sounds the same. Oh well, every album has its filler. ... Oh. A lot of these tracks sound exactly the same. They're in the same key, similar tempos, and use an identical instrument line-up. Really, the only difference is occasionally swapping out acoustic with electronic percussion (or vice versa). ... Yep, pretty much all the tracks after the big singles sound the same as one another. I mean, sure, it's good music, but it completely lacks versatility. This could probably get higher than a 3 from me – but it would be a stretch. The high-pitched singing, most prevalent in the opening track Everlasting Light, is really funny, showing that The Black Keys had the ability to not take themselves too seriously. They vaguely emulate that feel throughout the rest of the album, but that initial flurry of excitement and weirdness is never quite recaptured. The album also lacks distinctive guitar riffs or solos. The entire mix has a sort of blustery, lo-fi filter put over it (but it's subtle), greatly reducing the audio quality. It almost sounds like a 40s or 50s rock record if not for the synths. Not that that's a bad thing, but it just lacks what makes really convincing blues. 3/5 Key tracks: Everlasting Light, Tighten Up, Howlin' For You, I'm Not The One, Unknown Brother

Groovy. Lower energy and more mature lyrics than some of Elvis's earlier work, but there's a soft-spoken introspection here that I really enjoy. The instrumentation isn't spectacular but it does its job, weaving tastefully between the vocal lines and creating a kind of jazz-blues feel. 4/5 Key tracks: In the Ghetto, Suspicious Minds, Wearin' That Loved On Look, True Love Travels On a Gravel Road

I wouldn't say any of this material is necessarily filler, but the album could definitely use some shaving down. It lacks a sense of adventure and versatility, leaning heavily on a proto-reggae rock feel for nearly every track. That being said, it reeks of "dad album", which I approve of. Stephen Stills is great at that gentle, acoustic, American texturing (a la Eagles, Neil Young, Elton John) that all fathers of the world can unite under. Colorado is so warm and campfire singalong-y that it's hard not to love. Several tracks like these are proof that Stills's vocals really shine when accompanied by a few backing vocalists. By itself, the lead vocal sometimes struggles to push past the in-your-face mixing of the drums and guitars, but it has a fun Southern American twang that's really likeable. It's noticeable in all tracks, but I especially like the main vocal in Song of Love, Rock and Roll Crazies, and Johnny's Garden. Overall, great stuff. Warm, accessible, fun-filled. A bit bloated, but no individual song is necessarily bad, so who am I to complain? 4/5 Key tracks: Jet Set (Sigh), Song of Love, Colorado, Johnny's Garden, The Love Gangster, What to Do

From the 70s onward, blues has tended to be associated with low-skill, low-energy music for boring members of the Silent Generation. This album, as with some of the best music of the 50s and 60s, blows that idea out of the water. This is what true blues sounds like. Powerful, soulful vocals, a swung rhythm that can flip between mourning and upbeat, a walking bassline, and some jazzy, involved percussion. Plus, of course, we have B.B. King's excellent guitar playing. Despite its relative obscurity for this list (at least in terms of Spotify listens), I don't see how Live At The Regal could get any less than a 4. It does have its flaws, though. Being a live album, and one that seems quite improvised at that, the tracks differ in mood but not in instrumentation or key. Seriously, it really feels like all of these are in the same key, making for poor album flow. I have the same problem with albums like Led Zeppelin's debut, where the two consecutive blues numbers on side 1 are in the same key, greatly decreasing how memorable one of them (You Shook Me) is. The same problem occurs here, particularly on side 2. Still, music like this makes my soul move. And not all music can do that. 4/5 Key tracks: Every Day I Have The Blues, Sweet Little Angel, How Blue Can You Get, Help The Poor

I like the "lighthearted impending doom" feel throughout this album. It's incredibly weird, but not necessarily bad. I first noticed it in Nocturnal Me, a strange kind of sea shanty with a foreboding chord progression (lots of diminished chords) and yet a gentle, childlike texture of light acoustic instruments. Lots of orchestral strings are used in combination with Spanish guitar(?). The feel is subtler in other tracks – such as The Yo Yo Man, where the medium-tempo swung rhythm and low vocals create a subtle ominousness that's otherwise obscured by the joyful vocals. Thorn of Crowns is similar. Cool juxtaposition between carefree and ominous elements, but I wish they'd picked one or the other. The whole album experience is kind of shaky. But I'll come out and say it again: claiming you're standing up against the "music elite" by creating (deliberately bad) punk/post-punk music is only a sound idea if you're actually good at playing your instrument. And nowhere is this rule broken more egregiously than in post-punk vocals. Echo & the Bunnymen is no exception. Tracks like Crystal Days and The Yo Yo Man are only listenable for their instrumentalists – and nearly unlistenable for their untrained, out-of-tune vocalist. ... Okay, it's not that bad – in fact, at times, it's almost Jim Morrison-esque (but more out of tune) – but it's bad enough in its post-punk context that I should point it out. The exception is The Killing Moon; I actually really like the singing there. The Killing Moon is also a standout track for its very thick, ongoing sonic texture. Reminds me of Radiohead. Hard to explain why, but it sounds great. The following track, Seven Seas, is also strong. A bit reminiscent of early Bowie (1970/1). Close call between 3 and 4. I do like it more than Porcupine, which I gave a 3. I'll give this a high 3. 3/5 Key tracks: Silver, The Killing Moon, Seven Seas

The tracks are a little one-dimensional for my taste. The only variation within tracks is (most often) vocalists joining with new melodies or fading out again. The percussion, in all the songs where it's prevalent, is so consistently simple that it may as well not be included in the mix. Consider an 8-minute Led Zeppelin track where Bonham is playing the exact same bar of drumming with no complex rhythms on repeat for the entire song. Or Neil Peart of Rush doing the same thing. It wouldn't be nearly as fun to listen to, right? The vocals, though – especially those of the lead vocalist – are very strong. Confident, melodic, exciting, and playing along to the mood of each song. I found myself wishing the tracks were a bit shorter (the average track length was around seven and a half minutes) but the lead vocals made it bearable. The acoustic guitar(?) in Ali Maula and acoustic strings on Ni Main Jogi De Naal are also worth a shoutout. 2/5 Key tracks: Allah Hoo Allah Hoo, Ali Maula Ali Maula Ali Dam Dam

The strings on this album are gorgeous. I really wish more rock and rock-esque artists used them to the extent Nico used them here. They're adapted to be smooth and lilting in the ballads, and a more foreboding staccato when the song calls for it. It also makes me feel fancy and superior. And Nico's singing... it might not be technically perfect, but it's pretty unique, with her distinctive accent and a signature deadpan delivery. There's a weird mixing error happening nearly every time she sings where a soft fuzz can be heard behind her vocal. It's a little distracting once you notice it, and it's prevalent in other un-remastered music from this era. (Clare Torry's vocal in Pink Floyd's The Great Gig In The Sky, 1973, comes to mind. Also very noticeable in The Velvet Underground's debut, which featured Nico's singing on three tracks.) It's not a bad thing, just an interesting little detail. Other than strings and vocals, there's not much in the way of instrumentation. Some very light drums and guitar here and there, and while they fit well with Nico's voice, I would've liked to see more textural variation and experimentation with how other instruments interplay with Nico's vocal. 4/5 Key tracks: These Days, It Was A Pleasure Then, Chelsea Girls, I'll Keep It With Mine

First off, this album gets 5 stars from me. It's great music that's aged in a pretty interesting way, in that the sound is very dated (and reminiscent of the 60s), yet rather than being grating, it acts as a beautiful kaleidoscope into 1967's Summer of Love and the coincident musical revolution. I would've made this review a miniature love letter to Sgt. Pepper's and the Beatles as a whole, because the album really exemplifies what made the band so incredibly influential in the 60s. But then I noticed the highly upvoted review that gave the album 2 stars out of 5, and I had to object. The reviewer isn't exactly wrong (after all, it's mostly opinion), but they're approaching this music the wrong way. I think it's very important to have an idea of the Beatles' history and the context of this album – as well as at least some vague idea of what the Beatles' "classic" sound is – before diving into Sgt. Pepper's. So, let's get started. The reviewer comments that the title and opening track is bombastic, orchestral, and sends you straight into the album on a huge high. This was partially the point of the track, but you also have to realise that the Beatles were exhausted from touring around the world and (in a sense) "competing" with the roaring, screaming audiences in order to make themselves heard. This led them to quit touring after mid-1966. Sgt. Pepper's was a chance for the band to fully take the reins in the studio without having to worry about performing live. This idea – to fully utilise studio techniques and ignore the logistics of performing – was unheard of at the time. A rock band creating an alternate persona (which was also a rock band, albeit a much quirkier and stranger one) was also pretty much unheard of. The opening track, even in the first few seconds with the ambient noise of musicians warming up and tuning their orchestral instruments, exemplifies this perfectly. With a Little Help From My Friends is decidedly the "Ringo" track of the album (there's always one!), and it's cheerful, hopeful, and warm all at once. The reviewer quipped that it's incongruous with the opening track and isn't the perhaps-expected "well-oiled machine", but did you hear that song transition? How much better, more iconic, can you get than the crowd cheering wildly as Billy Shears appears onstage? The tone of the song is uplifting and full of love and friendship, again solidifying the song as an artifact of the Summer of Love and wordlessly requesting that the listener not take the music too seriously. If a track like Within You Without You had been second instead, I think it would've been misplaced, heading into a more mysterious and introspective mood much too early. If the reviewer had paid attention to the key changes, they would've noticed that the choruses of Lucy in the Sky With Diamonds (and, for that matter, the verses) are a master class in merging several otherwise harmonically disconnected song sections. Also, I disagree with the idea that the chorus is musically inert, considering the building, overlapping harmonies that more or less form that entire part. And the verses... Man, even as someone who's not a fan of psychedelia, how can you dismiss how perfectly the genre was executed? It essentially laid the groundwork for all future psychedelic sound, the lyrics are beautiful and poetic, the chord progression is smooth... And no, I've never done psychedelic drugs either. It sounds like the reviewer in question just wasn't paying much attention to the music, and especially not to the full context of the album. I think the criticism of She's Leaving Home – that it's a mellowing track for an energy peak that never happened – is unfounded. This isn't meant to be an album of bombastic peaks and troughs (except the title track and its reprise). In fact, it's rather the opposite: Sgt Pepper's maintains this lighthearted hopefulness that bridges the gap between a variety of otherwise unrelated genres. If you're looking for lots of ups and downs, try, like, The Wall or something. The reviewer dismisses most of Side 2, including the crucial and mesmerising album centrepiece Within You Without You (wildly underrated and, considering the context, wildly impressive and ballsy to include on a Beatles record), When I'm Sixty-Four (the fan-favourite "granny music"), and Good Morning Good Morning (showing direct inspiration from Pet Sounds, another masterpiece that I doubt this reviewer had anything good to say about). At this point in the album, the first-time listener is meant to have forgotten that they're listening to the Beatles, and the title track reprise comes back with an old-school Beatles sound to remind you that yes, this really is the same band that released Please Please Me and A Hard Day's Night just a few years ago. (Mind. Blown.) And no, the point of this track is not to have the band pat themselves on the back for a show well done. It's to tie everything together, to shine a light on everything that's possible in this beautiful world of music. Especially if you have access to psychedelics. And then there's A Day in the Life, a brilliant album closer that many fans (including myself) consider to be the band's magnum opus. And it goes completely unmentioned by the reviewer, leading me to question if they actually listened to it. Once you've listened to it, had several mid-life crises, and had your mind wrenched away from your body twice during what have been coined the "orgasmic" orchestral sections, a final thunderous E major chord sounds, signalling the end of an era and the start of something new. A revolution. (Well, you know, we all want to change the world.) 5/5

This is definitely one of the strangest albums on this list. We start with the almost military (or perhaps sea-shanty) Leben heist Leben, with a dramatic, artificial drumbeat and a team of bellowing male vocalists. The guitar solo is pretty cool, incorporating some staple 80s elements like slow, post-psychedelia-esque guitar picking and blurry, interweaving guitar in the background. The atonal organ and backing guitars create a weird doomy atmosphere that isn't quite synchronous with the rest of the song. Many of the following tracks are similar. Also common to most tracks is a strange half-brass-half-synth sound that makes me more uncomfortable than anything else. It's incredibly weird. Like an army of nationalist cyborgs is approaching and spewing propaganda. Geburt einer Nation, the second track, is incredibly similar to Queen's One Vision – as I'm sure was intended – but it's not nearly as good as the work of Her Majesty. The interacting gravelly and nasally vocals are goofy, but they're worse than goshdarn Freddie Mercury's voice. The synths are comparatively lower in the mix, and the very simple drumming is pushed to the forefront (not ideal). I did enjoy this track, though, if only because the original Queen material was so strong. The track F.I.A.T. takes the album's artificial feel to the extreme, even placing a robotic filter over the monotone vocals and using some kind of string-keyboard. It isn't exactly bad, but it feels like it's trying to be alienating. Something something dictatorship nationalism. Opus Dei, the title track, does the whole "fascism rock" gig best. All of the tracks after Opus Dei are confused and not very memorable. Herz-Felde, with its annoying tape-looped vocals, is essentially the end of Another Brick In The Wall Part 2, but for nearly five minutes. It's the weakest track on the album. Jagerspiel isn't much better, essentially being a sound collage with a fast tape-looped 6/8 rhythm on repeat for more than 7 minutes. That album cover, though? Badass. 2/5 Key tracks: Geburt einer Nation, Opus Dei

Good stuff. Not as strong as their earlier material, but still some of the best in the proto-metal genre. I think Ozzy Osbourne said this was his favourite Black Sabbath album. Tomorrow's Dream has a great, relatively short guitar riff – almost reminiscent of Led Zeppelin (who had recently reached their songwriting peak in terms of iconic riffs). Contrast it to tracks like Supernaut, which have single riffs lasting the length of an entire verse. (Dang.) The bass is also not to be underestimated in either of these two tracks, pumping out some dynamic, melodic lines even as it's mixed underneath the lead guitar. I'm normally pretty indifferent to mellotron as an alternative to strings, but I really think strings would've suited the song Changes much better. The mellotron contrasts a little too sharply with the warmer piano timbre. Osbourne's vocal has a bit of a harsh attack on the melody here, where something a little mellower would've worked better. As far as ballads go, Black Sabbath has better to offer – but that's not to say this isn't a fantastic track. (It is.) The piano riff is played with gentle emotion, and it's one of the more memorable parts of the album. Snowblind is a solid track, showcasing the drums more than anything else. The percussion is very forward in the mix, overlaying a repeating two-chord sequence, so the drum patterns and fills are easy to latch onto. (Man, the musicianship in this band is impressive.) The following track, Cornucopia, has a completely different drum sound; while they seem similarly active to the previous track, there's some kind of mute (or mic adjustment) that's mellowing the sound out. Fun choice – I'm interested to hear how hard-hitting this track would be with a more "live" mix. Overall, this album's pretty dang great. Each song showcases a different facet of Black Sabbath (and heavy metal music as a whole), and it's cool to see Black Sabbath testing the waters. 4/5 Key tracks: Tomorrow's Dream, Changes, Supernaut, Under the Sun

Great stuff. Reads as 60s Dylanesque in some places, but I'm not complaining. The harmonica-acoustic guitar-lamenting husky vocal combo can do wonders sometimes. Plus, tracks like On The Beach and See The Sky About To Rain absolutely nail the singer-songwriter blues ideal, and it's a joy to hear. Like other Neil Young albums, I was initially a little peeved by his quavery voice. But after a certain point, you can learn to ignore it. For some tracks here, it actually worked to his advantage, such as the mournful-sounding Motion Pictures (where it, correctly, sounded like Young was on the verge of tears). My complaint here is that the genre and combination of instruments are very much playing a safe card. Apart from many of the tracks (particularly on side 2) sounding very similar, the musical upheaval of the late 60s and early 70s had already happened by this point, and artists like Neil Young are still releasing unexperimental, (arguably) overdone genres by the mid-70s? Live life on the edge a little, Youngster! 4/5 Key tracks: Walk On, See The Sky About To Rain, Vampire Blues, On The Beach

I won't stoop to calling this shoegaze, because it would do the genre injustice. Most of the album is over-distorted rock nonsense with apparently zero thought put into production or a positive listening experience. For the most part, the only discernible feature of the vocals is an American twang, and this is because everything is horribly mixed, making it impossible to appreciate the musicality of any one instrument. I listened to the YouTube playlist, and the comments were wack, as the kids say. Nearly every comment was either unintelligible gibberish, or called this "the last good rock music", "nothing even comes close", and so on. But don't get me wrong – it's not the worst on this list. At least it's coherent music with some vestige of skill. But it's still pretty bad, and these commenters can't see that. Crazy. I mean, if you have to include an anonymous garage rock album, go off, I guess. But this choice seems quota-filling more than anything else. If Penance Soiree really is one of the 1001 most important albums in (Western) musical history, as this list is meant to showcase, then I'll eat my hat. 1/5 Key tracks: Spike Island, The Icarus Line

Imagine the Smiths where the bass remains the same, the drums and guitar are dialled back in the mix, and the singer, rather than Morrissey, is some drunk Aussie off the streets of Canberra. That's pretty much what we're working with here. The standouts on this album were the bass and horns. The bass guitar was very energetic and motile, arpeggiating up and down chords at just the right time and gluing the rest of the band tightly together. The horns/trumpets, in the few tracks in which they featured, were tight, punchy, and just a little low-quality (a la Got To Get You Into My Life, Beatles version). I'm a fan of that sound. There were some catchy (albeit extremely generic in the punk genre) guitar riffs, but I wish they would've gone all-out and played it with more gusto. The electric guitar sound is often very washed out here; same with percussion. Again, the bass definitely keeps the band afloat, establishing a solid energy and defining the chord progression when the guitar fails to do so. The singing is very typical of the punk genre – namely, unrefined and technically not great – but it works. Kind of. Great energy throughout the album. Some fun moments too – International Robots, (I'm) Misunderstood, Orstralia, to name a few. Trust a punk band to not take themselves too seriously. I just wish the music was backed up with better recording choices and a stronger vocalist. 3/5 Key tracks: Know Your Product, Orstralia, (I'm) Misunderstood, International Robots

I actually had never heard of this band, and honestly, what the heck? How is Jane's Addiction not more popular? (They freaking slap!) The first thing that really stood out was the clear, rockstarry guitar sound. Sounds like a combination of Brian May and Jimmy Page – notably, two all-time greats – with just a touch of psychedelic distortion. The guitar playing here is insanely good. Big shoutout to Dave Navarro. The bass and drums are also really solid, playing tightly and packing a big punch. The mixing is really clear, allowing all of these instruments to shine. And Perry Ferrell does his classic-rock screaming over that, merging some pretty hilarious lyrics with a weird multitrack semi-melodic gig that sometimes works in the band's favour. But the multitracked vocals can also bea little distracting; they make Ferrell sound a little messy and it can be hard to make out the lyrics. But who cares, really? It's (alt)-rock-n-roll, bro. In fact, what impressed me the most was just how many excellent tracks there are here. The songwriting is nearly off the charts, falling just a little short in terms of melody but making up for it with thick, complex rock textures that keep the listener engaged and guessing. Also, the band gets away with lengthy tracks like Ted Just Admit It and Summertime Rolls. I hardly even noticed the length, really. I was enraptured. Addicted. Haters might even call me Jane. 5/5 Key tracks: Up the Beach, Ocean Size, Had a Dad, Ted Just Admit It, Standing in the Shower Thinking, Summertime Rolls, Mountain Song

Paul Simon's treading a fine line between beautiful simplicity and blandness, and that's not necessarily a good thing. I think the full-on analog sound suits Simon pretty well – and, given his discography, it seems like he agrees with me – but when acoustic instruments swamp an entire album, it's easy to get tired of them. Still, in terms of singer-songwriters (i.e. people who rarely, if ever, make use of new/electric/innovative sounds), Paul Simon's one of the best. He's great at constructing a happy, carefree atmosphere with some truly fantastic lyricism and solid production. Me and Julio Down by the Schoolyard is great. In fact, it's one of my favourite 70s songs, even before having heard this album. It's the only track I'd heard before, and it still remains my favourite. (Can't really go wrong with Simon's youthful, peppy vocal over a I-V-I-V guitar chord progression.) Excluding Graceland, this is surely the best in Simon's solo discography. I was also impressed by the lively reggae track Mother and Child Reunion, and the lower-energy, lyrics-focused Run That Body Down and Peace Like a River. The remaining tracks, on side 2 in particular, were not impressive, and an album consisting only of songs of that quality would get a 2/5 at most. Paranoia Blues, Hobo's Blues, Papa Hobo... they just felt a little devoid of substance. But I think I can forgive Simon just this once. 3.5/5 Key tracks: Mother and Child Reunion, Duncan, Me and Julio Down by the Schoolyard, Peace Like A River, Run That Body Down

The main standout, as is often the case for post-punk music, is the bass playing. Very energetic and flamboyant, keeping the songs moving even in the 5-6 minute tracks when the music is otherwise pretty static. Many tracks here feature a full-on punk-rock wall of sound. which isn't necessarily a bad thing, but some could use more of a sense of "progression". The drumming and guitarwork is theoretically strong, but it doesn't shine as much as it could due to textural monotonicity and there not being many solos. Requiem and Change are, in my opinion, the two tracks that avoid that constancy, and are hence the two best tracks. I will say, though: none of the tracks are necessarily bad. Sure, the vocals are nearly objectively bad – but that's essentially a staple of the punk genre. And when I'm in a revolution-esque mood (or maybe going through an unprecedented emo-punk era), this could make for an excellent soundtrack. 3/5 Key tracks: Requiem, The Wait, Primitive, Change

I'd heard good things about this album going into it. But... it just isn't that good. Straightforward punk-rock with no risk-taking either musically or lyrically, solid musicianship with no particular standouts, and a mild combination of genres and moods without the album quite feeling like the adventure it was intended to be. The best tracks on And the worst tracks can be identified by their titles alone, even excluding the relatively weak hooks in them (Tommy Gets His Tonsils Out, Seen Your Video, Gary's Got a Boner). My favourite track, if only for its nifty doubled guitar/bass melody, is the opener I Will Dare. Androgynous is about as controversial as the band is willing to reach - particularly in a genre defined by its controversy - but it's surprisingly good. The drumming throughout the album is pretty fun, with some good, satisfying fills here and there. The experimentation in guitar sounds, if a little limited, is fun and keeps the listener engaged. In general, the bass closely mimics the lead guitar, so it doesn't stand out as much as it could. A couple of bass solos would've been darn cool. The Replacements aren't necessarily bad in Let it Be. But the Beatles did it better. 3/5 Key tracks: 20th Century Boy, Temptation Eyes, Androgynous, I Will Dare

Not too much to say here. Tight soul-funk with some great guitar and horn sounds in particular. The song That Lady, among others, has a distinctly Earth, Wind & Fire sound, suggesting that EW&F took some inspiration from the Isley Brothers (or vice versa). Lots of synth use here, which has dated a little poorly, but the jazzy improvisation in some of the synth parts/solos makes up for it. The percussion (including piano and drums) is also worth a shout; even though it's often low in the mix, it does an excellent job of creating a light, warm, dancey atmosphere. Perfect for a sunset drive along the coast. 4/5 Key tracks: That Lady, If You Were There, Summer Breeze, The Highways of My Life

Given the title track, you'd expect this to be an easy 5-star album. The song Imagine is one of the best, most famous, and most memorable anthems in rock history. It overshadows most of the rest of the album, which is still fairly strong but a bit scattershot. The melodies are a little undercooked and the lyrics are all over the place, but I think by pure lucky coincidence Lennon happened to hit several home runs here. Some of these tracks shouldn't work, what with the melodic/lyrical oddities and barebones instrumentation... but yet they do. Gimme Some Truth is a great example of this. All the musicians in the track, including Lennon himself, are playing/singing kind of halfheartedly... and yet it works. And the chorus is darn memorable (and darn good), despite consisting of a yelling monotone. The weakest track here - I Don't Wanna Be A Soldier Mama - isn't terrible, but it's not particularly engaging. Just the title, repeated, with a bluesy, sololess backing instrumental. That being said, blues elements are prevalent throughout the album (which I wouldn't have expected from Lennon), and they're actually pretty great. All of the tracks on side 1 (excluding the title track) feature swung acoustic guitar and twangy singing over some variant of 12-bar blues. And, for the most part, they work. (Maybe it's just the novelty of having Lennon's vocal paired with an unexpected genre.) Side 2 alternates between light anthems and lighthearted ballads, with the centrepiece being How Do You Sleep?, a very thinly veiled diss track dedicated to fellow ex-Beatle Paul McCartney. Brutal. 4/5 Key tracks: Imagine, Jealous Guy, Oh My Love, Gimme Some Truth, How Do You Sleep?

There's some good instrumental potential here, yet there's also a lot of self-sabotage (mostly in Kanye's vocal performance) preventing certain tracks from being sonic masterpieces. The few times when singing is present, it's often heavily autotuned – to its detriment – and the synths, while great, are frequently interweaved nondescript rapping vocals and weak lyrics. I'm judging these lyrics on relatability and depth, and in general the lyrics on Yeezus have neither. On Sight: intense and reasonably catchy synths back a fairly nondescript rap vocal. Weird choral interlude makes the track a lot less accessible. This track definitely starts the album with something new and creative, but does it sound good? Not particularly. When the track ended, I found myself letting out a sigh of relief. Note the heavy use of very brief silences, which is also seen throughout the rest of the album. Black Skinhead: The percussive rhythm here is very strong. Consistent, brutal, paralysing. There's a sudden-mute sound that reminds me of the drumming on David Bowie's "Low", an album that was revered (in part) for its revolutionary drumming. Not a fan of the artificial clapping though, and I'd like to hear some more human-played instruments. Kanye's voice isn't that good, and incredibly non-distinct from contemporaries, so I'm interested to see if he varies his enunciation or maybe introduces more vocalists. I Am A God: A bit fever-dream-ish. Lots of little details to keep the listener engaged. I'm also noticing at this point that (possibly due to nearly 100% electric instrumentation) the textures are quite thin. The screaming towards the end is a bit off-putting, as is the narcissistic theme, but I'll let it slide. New Slaves: the melodic theme is good. Foreboding, impatient, menacing. Everything else about the track is pretty mediocre until the section with the radio-filter singing, which approaching soul territory (with just a hint of shoegaze). Here, the music quality drastically improves. I could listen to a whole album of the last 90 seconds of this song. Hold My Liquor: God, the synths behind Kanye's voice are so darn good in this track. Melty psychedelic electric guitars intermingling with one another over a restless, dronelike low synth line. Kanye's voice actually kind of gets in the way of an otherwise brilliant instrumental track. I'm In It: The lyrics here are pretty gross ("Eatin' Asian pussy, all I need was sweet and sour sauce"? Seriously?), and there isn't much else going on. At least we're introduced to a different vocalist/rapper, this time with a solid and distinctive voice, but that doesn't improve the track much. And, in contrast to the previous track, the instrumental never settles on anything convincing. Generally a weaker song. Blood On The Leaves: It takes some guts to sample Billie Holiday's Strange Fruit. It had better justify itself with good music. In fact, the track starts off promising, with some (ridiculously) intense horn-synths punctuating some fun electronic harmonising. I can't even tell if the female vocal in the chorus is a human or not. Unfortunately, the track is severely tarnished by the autotune on Kanye's singing. Guilt Trip: the retro video game noises get old really quickly, leaving us with nonsensical lyrics and repetitive electronic percussion. Somehow the "dem a gwaan" section is the strongest and most memorable part of the song, and it's not particularly appealing. A throwaway track. Send It Up: The vocals here, while being monotone, match reasonably well with the chord in the synths, making them stronger than most other tracks. The "security breach" noise that defines the track is a little grating, and substantially took away from my enjoyment. Bound 2: the (texturally) thickest and most musical backing of any of the tracks. I feel that singing, rather than rapping, would've meshed much better with the childlike multipart harmonies. Still, this was a pretty good way to end the album. The singing breaks are clearly rooted strongly in soul-pop, and they serve as fun interludes. One of the strongest tracks. 2/5 Key tracks: Black Skinhead, New Slaves (second half), Bound 2

I can't justifiably give this 1/5, because it at least had some substance and exciting moments. I found myself wondering how exactly this could be a soundtrack to a nonexistent movie. How did Adamson know where to build crescendos? How did he know where the moments of tension and relief should be? This at least gave me something to ponder over, and combined with the music not being actively bad (unlike some Public Image Ltd records on this list), it was actually a fairly interesting listen. Reminiscent of Revolution 9 from the Beatles' White Album, particularly in the opening track, On the Wrong Side of Relaxation. Other than that, though, there's very little personality or gusto in the music. The mixing is also very dull and blurry, and considering the era, there's no excuse for this. The Dark Side of the Moon and Aja - both timeless sonic masterpieces - had been released more than 10 years prior to Moss Side Story, and they sound significantly better. There's no excuse for bad production. 2/5 Key tracks: On the Wrong Side of Relaxation, Suck On the Honey of Love, The Man With the Golden Arm

What a great find! I was most impressed by the strong hooks that managed not to get old even with their repetitiveness. Great guitar and bass playing in particular, extending past the typical low-skill-high-energy combo of the punk/post-punk genre. See No Evil in particular has an infectious guitar riff that opens the album excellently. Not a huge fan of the vocals – partially demonstrated by the lack of memorability in the lyrics and melodies – but the instrumentation mostly makes up for it. Marquee Moon is the groovy, hard-rocking centrepiece of the album, blurring the border between classic punk and classic rock. Venus is another highlight. Overall, exceeded my expectations. A high 4. Key tracks: Marquee Moon, See No Evil, Venus

If anything, a very musically consistent album. Every track has soft, semi-psychedelic vocals overlaying a thick and emotion-laden instrumental, with a guitar playing a repeating two-bar melody over various chords that work well with the melody (mostly I/i and IV/iv). It's cool, though once you figure out the trick, all the tracks start to blur into one another. In terms of specific tracks, Shine a Light is the strongest, despite also being the longest. It's positive, dreamy, vibey... somehow without overstaying its welcome. But on the topic of overstaying welcomes, let's talk about 200 Bars. The best thing I can say about this track is that it's experimental. Until now, I've never heard a song whose lyrics (half of them) are spent counting which bar we're up to, like a lousy band director. And the backing - Spiritualized's signature I-IV-I-IV repeat - isn't anything particularly inspiring. These two songs represent the best and the worst of the album, and the whole track list balances out at a fair 3/5. 3/5 Key tracks: You Know It's True, Run, Shine a Light, Sway

Proto-metal is an underrated genre. With albums like Vincebus Eruptum, you can hear the melodic precision that was so favoured by critics in the late 60s, along with the pent-up energy that would soon explode into popularity. We have some great (but very simple) riffs in tracks such Rock Me Baby, accompanied by Robert Plant-esque blues wailing and in-sync drum/bass. Not terribly much letting loose and going all-out metal jam – but then, I doubt the album would have sold as well if they had taken that approach. Plenty of precursor elements of metal (and hard rock) are still present here, and considering it was 1968, this must've been pretty darn wicked to spin in front of your horrified parents. Interesting texture. A distinctly 60s mix, with vocals and drums panned to the right and lead guitar primarily on the left. Additionally, there isn't actually much going on at once. It's very easy to hear the complexities in all instruments, unlike music like Steely Dan where there's so much complex interweaving sound that it can't be mentally separated (though it still sounds great). Reminds me of the Doors. The texture often picks up during the allocated "jam" portions of the songs – for example, in the middle third of Doctor Please – even though no vocals are present. Good music, though dated and limited by the technologies and societal preferences of the time. 4/5 Key tracks: Summertime Blues, Out Of Focus, Second Time Around

Brutal, at times overwhelming, and tied together into one neat package ready for shipping. Lots of themed reused/recycled throughout the album, which can be a bad thing for many listeners, but not me. Take the "we don't need no education" melody. It appears again and again, not only in the three "Another Brick In The Wall" parts, but in The Trial, Run Like Hell, Hey You, and more. It's just one of many examples of this album's genius. Thematic repetition adds this beautiful consistency that you normally only hear in classical symphonies. The Wall's "plot" strikes a good balance between easy-to-follow and left-open-to-interpretation. The tragic story of an up-and-coming rock star trying (and failing) to come to terms with his past, leading to several recurring instances of mental breakdowns. Roger Waters, the primary composer here, creates these darn great musical ideas that, while not exactly complicated, tell the story perfectly. There are ups and downs, problems and solutions, comedy and tragedy (mostly the latter) - and Roger Waters does all of these justice. Some great song transitions in this album too. Lots of incredible musicianship here, particularly in the lead guitar (Gilmour) and bass (Waters). The guitar solos on some of these tracks are pretty incredible and some of my favourites of all time. The bass playing, particularly in the "radio" tracks like Another Brick In The Wall, Pt. 2 and Comfortably Numb, is superb. I'm not a huge fan of Waters's vocal here (it's stronger in the previous three Floyd albums) and Gilmour definitely outshines Waters on that front with his rough rock voice. Wright's synth and keyboard playing is more understated than in earlier albums, but it's placed tastefully and played excellently. Mason's drumming is solid as always. Also, this album arguably has more Pink Floyd hit/"classic" tracks than any others (though that could be attributed to The Wall being Pink Floyd's only double album): In The Flesh, Another Brick In The Wall, Pt. 2, Mother, Goodbye Blue Sky, Young Lust, Hey You, Run Like Hell... and of course the crowd favourite Comfortably Numb. With a portfolio this strong, I think you can afford to have a few throwaways. 5/5

The ballads from this band – including The 2 Of Us, Daddy's Speeding, and The Wild Ones – are fantastic. Seriously. 5/5 on that front. The vocalist's expression is pretty darn top-notch in those. (As I would later find out, they aren't all fantastic; I'm not a fan of the song Black Or Blue and its wavering, uncertain melody. Failed attempt to be theatrical.) The higher-energy pieces are a little more questionable, particularly ones like This Hollywood Life and The Power that try to pass themselves off as masterpieces when they don't quite have the lyrics or hook memorability to pull it off. I do appreciate the track Introducing The Band, where the vocalist's strong English accent and repetition of the title is reminiscent of the "Sgt. Pepper's" title track. Love the non-traditional instruments here mixing in with the (alt-)rock genre. The low flute-sounding thing in The 2 Of Us, the brassy (yet not quite rock) horns in several tracks, and the odd, spacey guitar filter in Black Or Blue – to name a few. I was trying to find another artist to relate this to, and couldn't quite put my finger on it for a while... Ah, yep, Bowie. Pretty much all the tracks sound heavily inspired by the Starman, with the thick British accent in the vocals, haphazard self-harmonising, experimental instrument combos, and lots of quirky little vocal mannerisms. As I'm typing this part, I'm listening to The Asphalt World (which is a perfect example), but this applies to the other tracks too. A very good album, particularly on side 1, but not quite a 5. 4/5 Key tracks: The Wild Ones, The 2 Of Us, Daddy's Speeding, Introducing The Band, We Are The Pigs

One of the coolest genre fusions ever (country and punk? what?) completely and utterly marred by a bad vocalist. He has the mannerisms of Morrissey but without any of the vocal control. He's often out of tune as well. Otherwise, the instrumentation is tight. The percussion is a bit repetitive and artificial, but the liveliness of the guitar, bass, backing vocals, and fiddle make up for it. Fear and Whiskey also has a fairly unique sound (I haven't heard anything like it before) with its odd genre and spacious mixing. Nice live performance feel. As a side note, I'm 250 albums in, and I've found myself criticising vocalists more than any other musician. Maybe I'm being a little too harsh; maybe my standards have been raised by the likes of Lennon, Mercury, Wilson, Cooke, Wonder. But then, a vocalist is usually a frontman, a spokesperson, a figurehead. It's their responsibility to hold the band's sound together. 3/5 Key tracks: Trouble Down South, Last Dance, Country

Overall, wildly creative (particularly for its time), with some pretty incredible synths and harmonies. But the vocals aren't great, and the music lacks anything catchy or memorable to balance out its experimental nature. Right from the first track, we hear heavy use of synths that had recently entered the rock/pop music sphere. Some cool keyboard layering, combining electric and acoustic sounds, and inspiration from jazz (including a nifty piano solo over augmented and diminished chords). The vocalist's British accent is pretty strong, possibly inspired by Bowie's early works, but more distractingly untrained than Bowie's vocal. (Take that weird and unnecessary vocal solo in Sea Song. Yeah. Not great.) Lots of complex melodies that lack an obvious melodic hook. I suspect more effort and musicianship was placed on the drums, bass, and keyboards, which are the star instruments in most tracks. Ignoring the vocal, the sound is reminiscent of Radiohead - specifically the Kid A record, as another reviewer pointed out. A proggy, dreamy sort of feel, with production that favours layering and surround-sound rather than something performed live. Little Red Riding Hood Hit The Road is particularly relevant here for its crazed overlapping horns (The National Anthem) and artificially-cut, psychedelic vocal snippets (Everything In Its Right Place), though the latter appears on many tracks on the Rock Bottom album. Radiohead pulled these ideas off better. 3/5 Key tracks: Sea Song, Little Red Robin Hood Hit The Road (reprise)

Not a good look for Deep Purple, one of the all-time "greatest" pioneers of hard rock and heavy metal. The individual instruments are played skilfully, but each of the six tracks contain drearily long jam sections with not much substance. You can tell the audience isn't particularly engaged – for example, the only audience noise during a piece is clapping along to the Smoke On The Water riff – and this sentiment bleeds into the listener (me) as well. Highway Star is the strongest track (a solid 3.5/5 even in the live format) but most of the remaining songs aren't very memorable. Overall, a high 2/5. 2/5 Key tracks: Highway Star, Smoke On The Water (but the original is better)

I really like this album. The intensity, strong (but not too strong) musicianship, and moodiness capture the essence of (90s) Britpop. The oddly deep/bellowy Blackstar-era Bowie vocals took some getting used to, but once I did, it was a good time. Apart from the opening track (The Fear) and the title track, none of the tracks had particularly memorable hooks, but this was generally made up for by having a really gratifying emo-ish quality to it. Roaring, slightly distorted guitars, often without a distinctive riff and mostly providing a loud atmosphere. Fun use of synths in tracks like Party Hard – and not overused, which is a plus. Additionally, I did enjoy every single track (and added them to my Liked Songs playlist!). The same can't even be said for some of my all-time favourite albums. That's gotta count for something, right? 4/5 Key tracks: The Fear, Help The Aged, This Is Hardcore, I'm A Man

Gritty, emotional, bluesy stuff. A little repetitive at times, but then blues isn't exactly a genre known for being prolific in that regard (without introducing a blend of other genres to the mix). Muddy Waters does the genre justice with his gnarly blues wail, and though none of his big hits are present, the album does just fine without them. Love the live setting, too. It's fun to hear how laid-back gigs could be in 1960. Waters, by this time a pretty big face on the musical world stage, ends each piece with an offhand "Thank ya." before introducing the next piece and getting right back into the music – often in 10 seconds or less. It's great pacing and the audience experience must've been fantastic. Love the piano playing too. Other than the singing, this was a highlight. 4/5 Key tracks: I'm Your Hoochie Coochie Man, Goodbye Newport Blues, Got My Mojo Working

Very different to OK Computer, and (contrary to some people's beliefs) that's fine. In fact, it makes this album a heck of a lot cooler, and gives a fat middle finger to managers and producers that solely encourage formula-following. Sure, guitar-soundscape-art-rock pays the bills, but have you checked out these cool synths and voice filters? Everything In Its Right Place is aptly named for its heavy reliance on C and F chord resolutions, making use of several smoothly overlapping synths. Trippy vocal editing. Very little going on, instrumentally, yet the signature "soundscapiness" of Radiohead is still very much present. Smooth transition into the title track. In fact, it seems like nearly every pair of tracks has a transition worth complimenting. The National Anthem is an energetic high, coming out with a positively crazed brass section and loud, deadpan, repeating, catchy(!) bassline. The vocal can be described in the same way here. It's classic Thom Yorke, and yet he's without emotion... and yet he's expressing so much. Encapsulates this album nicely, I think. How To Disappear Completely is just magnificent and gorgeous and great in every way. Even that off-kilter high note at the beginning that's a semitone off the chord fits in with the lyrical theme of unbelonging, of wanting to disappear. (Disappear completely, even.) Optimistic is the most OK Computer-esque on the album, with a solid guitar riff and a fairly typical rock melody accompanying some surprisingly thoughtful lyrics. Incredible transition to In Limbo, which itself is a trippy, psychedelic experience based mostly on its dizzying guitar riff. Idioteque's electronic drums are immediately memorable and, arguably, singlehandedly introduce an entire genre to the world of pop(/rock?) music. Then we have Morning Bell, which has a lonely yet restless feel with its quick 5/4 time signature, followed by the beautiful Motion Picture Soundtrack to end the album by tugging on your heartstrings. Yeah – a darn good tracklist if I've ever seen one. I should also give another shoutout to the mind-blowingly good production on this album. Lots of surround-sound stuff going on, rivalling OK Computer as some of the best sound artistry in recent music history. 5/5 Key tracks: All of them. This is a whole-album experience.

Definitely a new entry to my "favourite genres" list, Mostly because of the singing. Hard to describe the genre though - maybe "overdramatic horny punk" or something along those lines. The vocalist here kicks some serious butt and makes otherwise pretty weird and nonsensical lyrics surprisingly engaging. The singing (particularly in the first half of the album) is dramatic, sarcastic, desperate, and hilarious. It's great. And the vocals are completely different in every track, controlling the flow of the album. Because it's nearly always the backing instrumental that has this job, it's easy to see that the vocals are the band's centrepiece. The drumming is also energetic, wild, high-strung - complementing the singing nicely. I'll knock the album down a little for having technically weak lyrics, as well as a run of lower-energy tracks at the tail end of the album that seem a heck of a lot like filler. But otherwise, there ain't much to slander here. Good job folks. 4/5 Key tracks: Rich, Man, Tick, Black Tongue, Pin, Maps

I'm not a huge fan of this album, though it's marginally better than music from JAY Z's contemporaries (Eminem comes to mind). Most of the tracks had really good, lo-fi-ish backings, often with the electric guitar(!) standing out the most. Unusual for rap/hip-hop from this era – at least, in my experience – and it's a welcome breath of fresh air. We get a bit of disco and soul in places, too, in the form of horns, backing vocalists, and retro-style synths. The main issue I have here is JAY Z's vocals – in terms of intonation, melody, emotion, and lyrics. All of them are heavily flawed in some way, and detract from what could easily be a 4- or 5-star album if it had some convincing singing instead of the relative disappointment we have here. Firstly, JAY Z doesn't do much to stand out from the crowd, vocals-wise. He sounds nearly identical to other, more anonymous rappers from the 00s, with a flat, disinterested tone and lyrics that primarily speak towards rebellion, going against those in power, standing up for yourself. And yet, ironically, this is the kind of music that sold millions in the 90s and 00s, meaning JAY Z was very much conforming to the norm. We also get some truly awful lyrics in the form of Girls, Girls, Girls (and its reprise). Appropriation over... and over... and over. "Now that's Spanish chick, French chick, Indian and black / That's fried chicken, curry chicken, damn I'm gettin' fat." (Oof.) And yes, I'm aware that this theme is common to a vast array of songs, and has been for decades. Yet, California Girls (by the Beach Boys) is still one of my favourite songs, because it makes up for it with fun summery charm, decent singing, and a great melody and chord progression. Girls, Girls, Girls fails to do this, and we see JAY Z's lyrics for what they really are: a mild dumpster fire. Most of the lyrics throughout the album are misogynistic, narcissistic, prejudiced, or some combination of those. And the vocals are delivered so flatly and without any kind of melody or style that it makes the lyrical content impossible to ignore. Not quite a 3. Do better, Z. 2/5 Key tracks: Renegade, Hola' Hovito, Song Cry

The majority of this is loud, brash, and unsubstantive - particularly the first half, which seems to incorporate all of the worst and most overused elements of heavy metal, hip-hop, and alt rock into one slushy mess. One red flag was in Hot Dog with the horrendous lyric "If I say fuck two more times / That's 46 fucks in this fucked up rhyme". (Side note: by the end of this pair of lines, "fuck" had only been said 45 times. Points docked for inaccuracy.) The lyrics don't particularly evolve or improve over time - nor does the sound, which is often blisteringly loud, including the vocals. Yes, I could turn down the volume, but the auditory overload primarily comes from the poor, blistery production, particularly on the guitars. Distorted electric guitar can sometimes sound great (see: nearly all Led Zeppelin tracks that use it), but when you can't hear a riff anymore, a line must be drawn. There's also the issue of rapping. I'm not typically a fan of rap anyway, but add to that Fred Durst's general inability to rap (compared with popular contemporaries) and you get a pretty bad result. Had me wincing - when I was engaged enough to do so. But when Limp Bizkit avoids horrific eardrum torture and uses Durst's singing rather than his rapping, it actually produces some decent tunes. My Way, The One, Take A Look Around, and It'll Be OK are all songs that succeed because of their non-overbearing sound, fun guitar riffs, and genuinely good melodies. This is good enough reason to raise the album to a 2. Plus, as another reviewer pointed out, I can avoid having the extremely questionable album cover forever pasted onto my front page. 2/5 Key tracks: It'll Be OK, The One, My Way, Take A Look Around

I really liked this one. It's essentially a modern take on the rock'n'roll genre, with a particular highlight on the rocking electric guitar and country-esque violin. There's a clear Beatles influence (particularly from their early career) and some similarities to the guitar and bass of Rush. Some nice soulful harmonies in the organs, guitars, and vocals, though I feel the vocals could be a little stronger. The vocals are a little goofy and pretentious most of the time as well, and the album isn't particularly cohesive. That being said, though, I was pretty engaged throughout the experience. There isn't a single bad track on here, and very few "middle-of-the-road" ones. It might be worth checking out the White Stripes after this. 4/5 Key tracks: Take Me With You When You Go, Sixteen Saltines, Blunderbuss, I'm Shakin', Love Interruption

Good, but repetitive. Consistently fast tempos, a small range of keys and chords, and a heavy reliance on the punk-rock genre in every track are the main factors contributing to this repetition. The songs Kiss Off, Promise, Confessions, and To The Kill are slightly below the rest of the tracks (and the only ones I actively disliked), lacking any significant hook that can drown out the poor singing. Yep, the vocals here are pretty bad - particularly when the guy tries to reach the top of his range. I've said this frequently about punk music on this list, which is that it's (typically) not very good on account of the instruments not being played well. The vocals are the most common offender here since they're the easiest to sound terrible with. That being said, some of the hooks/ideas here are strong enough to overcome these obstacles. Blister In The Sun has a fun, syncopated, memorable line in the acoustic guitar, easily bringing it to the forefront of not only the album, but the Violent Femmes' discography. Add It Up, Gone Daddy Gone (man, that xylophone!), and Good Feeling are also fun listens. 3/5 Key tracks: Add It Up, Good Feeling, Gone Daddy Gone, Blister In The Sun

There isn't a single bad track, but there aren't any particular standouts either. It's just a happy, groovy time without much musical substance. Most of the meat seems to be in the lyrics, but even those are executed a bit clumsily. I'm not a fan of the vocals - the enunciation is hard to make out at times, and it's almost too reggae-ish - but it could definitely be worse. The guitars and percussion are fun and catchy. I think the positives of this album were articulated best by another reviewer. It's clear that Burning Spear's message is very specific those who were raised on Jamaican culture and politics, and I doubt I'll ever be able to fully appreciate the ideas laid out here. There are definitely those who get a lot more out of the content of the lyrics than I ever could. The lyrics do have a haunting quality to them (though I feel they could be more elegant), and there's a certain melancholy present. Maybe if I dug a little deeper, I'd uncover the full darkness and beauty of this album. For now though, Marcus Garvey is just another average reggae album. Feelgood, lighthearted, bluesy, with some political undertones. But nothing particularly revolutionary. 3/5 Key tracks: Marcus Garvey, Slavery Days, Tradition

I'm very surprised at just how many 2- and 3-star ratings there are, with a significant number of them being some variant of "Respect is great, but the rest is meh." Nah, no way. This is easily a high 4-star album, if not 5 stars. There are a couple of factors holding it back. Like Lady Soul (another album on this list), the production is noticeably poorer than more modern soul material - which aligns with Franklin's releases having performed poorly on the charts prior to this one. The mixing is typical for old-school blues/soul, bringing out all vocals much more clearly than the rhythm section. This is a little problematic for the backing vocals, which sometimes overpower Franklin's lead (and/or the horn/piano parts) when they shouldn't. Otherwise, though, there's nothing to fault. The lead vocal is stellar. The songs - many of them covers, by the sound of it - are fantastic, paying homage to the original versions while (almost always) brilliantly overshadowing the original with soulful, powerful vocals and instruments. The piano is also really good throughout the album. 4/5 Key tracks: Respect, I Never Loved a Man (The Way I Loved You), A Change Is Gonna Come, Soul Serenade

Utter insanity. Not just the music itself, but that so many chaotic and clashing elements were brought together to create something that sounds kind of good. I did not expect to like this album based on its Wikipedia description as "noise rock", but man, this is some good stuff (considering the genre). Vibrant, colourful, wall-of-sound-ish. Interesting how every track has a consistent rhythm, but tries to trick you into thinking otherwise with its ridiculously complex polyrhythm overlays - particularly in the drums. But all the instruments - drums, guitar, and bass - are performed frenetically yet masterfully. It must be exhilarating to perform this live. The mixing definitely gives off a raw, live-show feel. Now for the cons. It is absolutely not danceable or foot-tap-worthy. Nothing about this music screams "catchy". The three main instruments seem to be going out of their way to play the least radio-friendly riffs or beats possible, and gosh darnit, they stick with it. And that's not a good thing. 30,000 Monkies and Duel in the Deep are the most obviously offending tracks here, but most of them are like this. A bit like free jazz in this way, though a little more accessible. Also, each individual track is very, very repetitive, with little in the way of structure. That being said: Assassins is freaking amazing. Good job blokes, you sold me. Somewhat. 3/5 Key tracks: Assassins, Dracula Mountain, Crown of Storms

It's good, but doesn't vary much in texture or dynamics – either within songs or between them. I'm not well-versed in traditional British and Celtic folk material, so it's possible there are more nuanced variations I'm not picking up. But for the most part, there's the "bard tunes" (e.g. Matty Groves, The Lark In The Morning) and the mournful yet hopeful ballads (e.g. Reynardine, Farewell Farewell), and Fairport Convention sticks solidly to one of those two. The music lacks versatility. But for what it is – a showcase of classic folk tunes and original compositions emulating them – it succeeds pretty darn well. The instruments are mostly ones traditionally used in a rock band (vocals, electric/acoustic guitars, bass, drums), but they're played creatively to get that distinctive "folky" feel. This is particularly noticeable in the drum playing/mixing. Then we have the vocalist - love the singing here. Reminds me of Christine McVie. The musical modes are also indicative of that old English (and surrounding regions) sound. Definitely stands out from the rest of the pack, and is deserving of a spot on this list. But there are more versatile, engaging albums out there. 3/5 Key tracks: Come All Ye, Matty Groves, Reynardine

I've heard a lot of fans knock this album for being "Immigrant Song and a bunch of boring acoustic stuff". Rubbish. Although not quite bearing the "classic" status of I, II, or IV, this album is arguably the best in terms of raw songwriting. And while there are fewer distinctive riffs on the electric guitar and bass than usual (thus lacking one of the key elements of Led Zeppelin music), the actual instrumental skill is possibly the most consistently impressive, especially from Jimmy Page. I also think this album showcases Robert Plant's most impressive vocals on any single track, with the stunning semi-epic Since I've Been Loving You. In that song, Plant's rock scream is the perfect balance between his early otherworldly youthfulness and his later manly husk. Other songs, like Out On The Tiles, Gallows Pole, Immigrant Song, and Celebration Day further showcase this vocal. Then of course we have the iconic stadium-shaker Immigrant Song, with its heavy, octave-based riff and foreboding chord progression. Friends is most notable for its odd, horror-esque string melodies, juxtaposing the kid-friendly lyrics. Tangerine is arguably Led Zeppelin's best early ballad (giving Going To California and Thank You a run for their money), containing the rare vocal self-harmonising and a pretty acoustic guitar pattern. Bron-Y-Aur Stomp is a solid jam, with slightly odd mixing that half-buries the vocals – but I'll give it a pass because it's insanely catchy. Hats Off To (Roy) Harper is really the only stinker on the album. It's a fiesta of terrible echoey vocal/guitar effects with little substance and no actual reference to Harper. I suspect most of the hate towards Led Zep III comes from this single track, because pretty much everything else is pure fire. 5/5 Key tracks: Immigrant Song, Since I've Been Loving You, Out On The Tiles, Tangerine, That's The Way, Gallows Pole, Friends, Celebration Day, Bron-Y-Aur Stomp

One of the highlights of the New Wave movement, even though the genre is (more often than not) pretty bad and invariable. The songs here are incredibly catchy, often using synths to their full potential to get some seriously catchy riffs. The first three tracks in particular are great - what I would call "pop standards". They aren't necessarily interesting or virtuosic, but they're a darn great time, and I could easily see them being covered by lesser New Wave (or even alt-rock) bands in the years to come. The singing and drumming is just a little immature, in the sense that the beats used aren't particularly creative or inspiring. I've heard each of the individual elements before, such as the drum fills, chord progressions, melodies, and so on. In addition, all of the tracks are so packed with energy that it doesn't quite capture that "perfect album experience" I'm looking for. 4/5 Key tracks: Good Times Roll, My Best Friend's Girl, Just What I Needed, Moving In Stereo, All Mixed Up

Per the top-rated review: "When people say they don't understand this album, or that it's "too 80's", what they really mean is that they have never felt soaring, impossible limerance... their lives have been absent of love and loss" Hey, that's mean. My life's had some loss. Still a pretty good album though. 3/5 Key tracks: Bonny, When Love Breaks Down, Moving The River

There's some decent material on here, but (like many albums in the genre) the idea of a faux-plot with various interludes is just not cohesive enough for a good album experience. The inclusion of these interludes comes off as a bit pretentious when they could easily have been made full tracks, or even better, left off the album entirely – especially given that they sound like knock-offs of earlier tracks (and of each other). Just because interludes are a staple of 90s dance/hip-hop doesn't mean they're a good idea. Sexy-Interlude is the worst offender here, being a gross and immature non-sequitur to the previous songs. I'm also not a big fan of certain parts of the instrumentation and performance. The choice of instruments creates a texture that often combines very poorly with the vocals (especially the huskier singer) and makes the lyrics difficult to hear. This is noticeable in Case of the Fake People and Let's Do it Again, among others. Additionally, the lyrics themselves clearly cater to an audience that I'm not a part of. That's not necessarily a fault of TLC, but more so an artifact of relying on a vibe that's... well... crazy, sexy, and cool. Not really my thing. That being said, there are some positives to point out. Creep and Waterfalls (particularly the latter!) have some seriously great hooks and instrumentation, cementing their well-deserved status as 90s classics. Check out the brass and dynamic basslines in Waterfalls – now that's what I'm talking about. The production is also consistently solid and immersive, and there's some serious attitude in the singing. If I'd been a teenage girl in the 90s, I could've easily fallen head-over-heels for this. That being said, I'm lowering my rating slightly to counterbalance all the 5-star reviews. This is definitely not a 5-star album. 2/5 Key tracks: Waterfalls, Creep, Diggin' On You, Switch

Some of the heaviest music you'll get that manages to stay fairly mainstream. The tracks are (mostly) catchy foot-tappers, and a few are compositionally great too. The main issue is the rest of the tracks. Most of the songs on "Metallica" are heavily riff- or atmosphere-based, and hardly vary in terms of structure or texture. Nothing Else Matters is the album centrepiece, the breath of fresh air, that momentarily makes you believe that songwriting is one of the band's strengths. Nah, man. Nearly all 55 remaining minutes in the album are a bit too invariable for my taste. It lacks creativity. And, especially in the latter half, it lacks punch. The instrumentation, though, is about as good as you can get. Hammett's piercing guitar tones, shredding solos, and memorable solo lines definitely make him a contender for one of the best rock guitarists of his generation. Hetfield's vocals are solid and an excellent instrument for the thrash metal genre. The drumming, performed by Ulrich, is in near-perfect sync with the guitar and bass (Newsted). The absolute tightness and synchronicity in the rhythm reminds me of Nirvana, or earlier music greats like EW&F and Tower of Power. I'll also shoutout a few tracks of interest. Enter Sandman is solid, and probably the catchiest of the simple, raw songs on the album. Holier Than Thou has a fun, memorable chorus, and I was a little surprised it hadn't been released as a single. The Unforgiven is my second-favourite track after Nothing Else Matters. It's texturally lush and musically complex - and its placing near the beginning of the album means I haven't yet tired of the relentless onslaught of guitar noise. The four tail-end tracks (Of Wolf And Man, The God That Failed, My Friend Of Misery, The Struggle Within) are indistinguishable in my memory. My conclusion: it's good, but not *that* good. Legacy is nothing without substance. 3/5 Key tracks: Enter Sandman, The Unforgiven, Nothing Else Matters, Sad But True

Less internally repetitive than Sound of Silver, and groovier - but not by much. And based on some of the reviews, I suspect a great amount of the "creativity" here is blatantly copy-pasted from other original artists. The genre itself - seemingly combining retro-EDM with elements of post-punk and hard rock - is fairly good. I'm just glad they didn't commit to the whole "repeating 1-2 bars of theme with very gradual and minute variation spread across seven minutes" again. Some of the tracks, including the heavily rocking "tonite" and foot-tapper opening trio "oh baby" "other voices", and "i used to", are really strong. In most cases, these have a hook that's just catchy enough for me to not grow tired of it. I also have to hand it to LCD Soundsystem: the tracks I just mentioned, along with the title track and a few others, have some fantastic thick textures, what you might calls "highs". Often there aren't any "lows" to create contrast and emotion, but then this is meant to be an idle atmospheric album, isn't it? My main issue is that a few of the songs are just not interesting or memorable, and this effect is exacerbated by the long track lengths. The song "how do you sleep?" tries to take a prog rock approach but it's not convincing at all. There's no rise and fall of energy, just a few disparate song sections. The '10s decade has better to offer. But this is still solid. I like to think Sound of Silver primed me for LCD Soundsystem's style, and that I'd also give it a 3/5 if I came back to it. 3/5 Key tracks: oh baby, other voices, i used to, tonite

This is the second Fiona Apple record I've listened to, after Tidal (which I gave a 5/5 rating). And I have to say, the creativity here is pretty ridiculous. As in, I can easily see it being ridiculed. There are so many wacky, unfamiliar, nifty ideas being tossed around here that it was a little hard to keep up, and it's easy to imagine people being turned off by that. "Quirky for the sake of quirky". That being said, I bet this gets better upon relistening. Looking at the Spotify listens, I actually disagree with the apparent consensus that the opening three tracks are the strongest. I was surprised and a little disappointed when starting the album, because these songs (I Want You To Love Me, Shameika, Fetch The Bolt Cutters) were nothing spectacular. Just standard, non-catchy, instrumentally rich stuff with a fresh 2010s sound. But then Fiona's music really started to grab me. Under The Table is pretty much a textbook "good song" - literally so, because I remember our music teacher playing Under The Table to my music class back in high school as an example of how to write great music. The overlapping vocals, revision and variation of previous sections, fun but sensible key changes, and a gradual build-up of emotion. Relay, Rack Of His, Newspaper, Ladies, Heavy Balloon, Cosmonauts, For Her... all of the following songs are similarly really enjoyable. For the cons: the production is poor, and not tastefully so. It's in the uncanny (bad) valley between the wild 60s/70s sound and the clean production that should be expected in the 21st century. The percussion, so touted by other reviewers as the general highlight of the album, sometimes sounds a bit washed out, with the high-frequency cymbals (e.g.) bleeding into some of the other instruments. Also, the final three songs - For Her, Drumset, and On I Go - are all technically good, but lean on a similar "hook" element: a pretty, girl-group-esque self-harmonisation for the entire track duration. It honestly sounds fantastic, but I wish those three songs had been moved further apart in the track listing. 4/5 Key tracks: Under The Table, Relay, Ladies, Cosmonauts, For Her

Interesting sound. Very indie-sounding, almost operatic at times with the heavy use of classical string arrangements, piano, and classical/romantic-style melody and harmony. It isn't as enjoyable as Want One (another Wainwright album on this list), but it's still pretty substantive and engaging. This Love Affair, Memphis Skyline, and Waiting For A Dream (among others) sound a heck of a lot like Radiohead songs from the A Moon Shaped Pool era. Wainwright's vocal has that clear, nearly (but not quite) whiny quality that makes Yorke's voice so distinctly memorable. And yet the mesmerising Radiohead-ness doesn't really make an appearance here, and is instead replaced by... well... it's hard to describe. The music here sometimes feels a bit empty, particularly in the lyrics. 3/5 Key tracks: The One You Love, This Love Affair, Peach Trees

A jazz masterpiece that brilliantly showcases Duke Ellington and his orchestra at the peak of their powers. The live performance is a testament to the enduring popularity of big band jazz, and I wish we saw this more often (preferably with packed stadiums) today. Ellington's masterful compositions and arrangements shine throughout, with standout tracks like "Diminuendo and Crescendo in Blue" having some pretty darn great solos. The trumpet playing from Cat Anderson is particularly strong. Paul Gonsalves' iconic 27-chorus sax solo is also a highlight. The band's cohesion and the spontaneous brilliance of the solos make for a fun-packed listener experience. I'm not a fan of the live aspect. The constant background noise and emcee banter can often be distracting, and a big chunk of the album is just that (and nothing else). A studio recording of all the musical tracks likely would've earned this a 5-star rating from me. Even then, I suspect the album would be a bit bloated - maybe splitting this up into several albums and carefully arranging track listings could've proven beneficial here. 4/5 Key tracks: Diminuendo (And Crescendo) In Blue, Black And Tan Fantasy, Take The "A" Train

Incredible? As in, "not credible"? I'll concede that many of the tracks here are very catchy, especially in the album's first half. The horn arrangements are pretty standard and unrevolutionary, but they're also tight jams. The main issue arises when we start comparing the covers to the originals, and see that just about everything in the Incredible Bongo Band's version is worse. Satisfaction, while still a solid track, doesn't live up to the Rolling Stones' original in the slightest. Sing Sing Sing is just too low energy to be even comparable to the brilliant original. And many of the bongo-based tracks, which are (probably?) originals, sound quite similar to one another. 3/5 Key tracks: Apache, Last Bongo in Belgium, Dueling Bongos, Bongo Rock, Bongolia

A traditional jazz record that would've been more fittingly released in the 60s or earlier. I understand there's a political message somewhere in the music, but without any lyrics, it's very hard to pick up on. We see mentions of Mandela, Tuang Guru, Manenberg, and Sameeda, but these are largely unrelated to the tracks themselves, which consist of warm, full blues-jazz ensembles. You might as well have named the tracks after generals in the French Revolutionary Wars, or after exoplanets in distant star clusters. The music itself is a standard, forgettable level of "good". The piano and horns stand out the most amongst the instruments. Manenberg Revisited is also notable for its excellent, dynamic basslines. There's a soft, pleasant ambience present in most tracks here that's indescribably comforting, again acting as a weird contrast to the political implications. Regardless, the musicians here are clearly excellent at their craft. 3/5 Key tracks: Mandela, Song For Sathima, The Mountain

Oh, man. This is a tough one. On the one hand, the genre-blending is a pretty darn great idea. Metal and rap? Badass - at least in theory. (Particularly for its time.) We see themes that are frequently covered in each of these "parent" genres, including anti-capitalism, police brutality, the broken education system, assassination of political figures, and corruption. There's a brutal, wild anger in the music that's very nearly unmatched. The instrument playing is almost too perfect for the mood RAtM is trying to convey. It's loud, disarming, terrifying. The guitar and bass, while playing the (great) riffs, are perfectly in sync, and I'm also a big fan of the ridiculously atonal guitar solos. (If they'd been contrasted with some coherent vocal melodies, I would've liked them even more.) The drumming is your classic metal crash bonanza. It's fast, energising, and fitting for the music. On the other hand, the singing (which is very much a centerpiece element) could use some improvement in a few ways. The vocals are mostly unmelodic screaming, with very few actual melodies to make the tracks singable or memorable. The songs then have to lean heavily on the riffs, which thankfully are much better. This isn't a deal-breaker for everyone, nor is it for me, but it's something that could be amended. In addition, the lyrics don't exactly mince words, getting directly to the point with each and every line: "Fuck you, I won't do what you tell me" (x16) "See through the news and the views that twist reality / Enough, I call the bluff, fuck Manifest Destiny" "Networks at work keeping people calm / You know they murdered X / And tried to blame it on Islam" It's almost too in-your-face. And that's not really a fault of the band, who remains stoutly true to this revolutionary new genre. It's the fault of the genre itself. 4/5 Key tracks: Know Your Enemy, Wake Up, Bombtrack, Killing In The Name

Slow, chill, and (very arguably) a near-perfect rendition of 70s soul. Stevie Wonder is one of the most likeable musicians of all time, and his music is no different. I'm impressed by how much is consistently going on, sonically, at any given moment – and at the same time, how cohesive and smooth it sounds. And, heck, Stevie's voice is so soft, effortless, and beautiful. An absolutely perfect genre-vocal match-up. The creativity with chords, melodies, and lyrics is also pretty darn great. Another nifty musical element here is the spontaneity of the backing vocals, which drop in and out of the music effortlessly. And they sound great. I guess the main thing knocking this album down is that it doesn't pose much of an adventure to the listener. All of the tracks are at a medium tempo, a medium range, with a fairly consistent texture. And while I appreciate the consistency, more variety (either in instrumentation or in mood) is called for. If my soul ascended from my body during Fulfillingness's First Finale (it didn't), it would've only been a few inches above my chair, and it wouldn't have varied in altitude after that. You Haven't Done Nothin' gets the closest to the high-energy funk I usually expect from Stevie Wonder, and it's also my favourite track on the album. 4/5 Key tracks: Heaven Is 10 Zillion Light Years Away, Boogie On Reggae Woman, You Haven't Done Nothin', They Won't Go When I Go

Even for 1971 – arguably one of the greatest years for music of all time – this gives King's contemporaries a run for their money. The songwriting quality here is so darn strong for (essentially) every track here, including a fair share of all-time classics. Check out my list of key tracks and you'll realise just how consistently great the songs here are. Some great melodies, powerful (but not overdone) vocals, and smooth, feelgood instrumentation that compliments the mood of each track perfectly. For a while, I couldn't quite place what made King's vocal mannerisms so familiar. But... ah, yep! She sounds like a female Lindsey Buckingham, in terms of accent, inflections, and melodies. And of course Fleetwood Mac's music was later, meaning there's probably heavy influence taken from King's material. Lots of parallels can also be drawn with Joni Mitchell's stripped-back indie sound from around the same time. Cool stuff. I Feel the Earth Move is a great choice of opening track, being a catchy, upbeat song with a distinctive vocal hook. The other bookend, A Natural Woman, is a solid choice of finale too. The track ordering definitely does the music justice. I guess the only thing I could fault would be the uninteresting album cover... except it's just about the best album cover you can get. (Cat) Key tracks: (You Make Me Feel Like) A Natural Woman, You've Got a Friend, It's Too Late, I Feel the Earth Move

While I can understand the historical importance of punk, that doesn't justify how ridiculously often it appears on this list. And albums like this are just about the most archetypal examples of why it shouldn't. Siouxsie's vocals aren't very appealing to begin with, and they sound even worse when double-tracked. It's gives off a very unprofessional and messy feel. McGeoch's guitar playing is similarly inaccessible, mostly avoiding any particularly good hooks or solos, and instead playing experimentally in a way that hasn't aged well since the early 80s. I'm very surprised that these were the two musical aspects most praised by critics, because they bring the music from decent, energetic rock down to near-unlistenable dreck. I do feel that I'm giving Siouxsie And The Banshees a little too much flak here. Some of the songs are genuinely pretty great – namely, the two opening tracks, Spellbound and Into The Light (the latter of which should've been the second single instead of Arabian Knights). Spellbound was an immediate hit for me and the rest of the album never quite reached the same energy. Great drumming and bass playing here too. Monitor is also a solid track, containing a simple yet elegant chord progression and a prog-esque textural journey. But the remaining six tracks... man, they're just not engaging at all. Really makes you wonder what was going on in Dimery's head. 2/5 Key tracks: Into The Light, Monitor, Spellbound

Gritty, gutsy, emotional, and biting. Muddy Waters is undoubtedly one of the key pioneers of the Chicago blues style. Mannish Boy has that classic, unforgettable 5-note riff that's become a staple of the blues genre. (Darryl even referenced it in The Office when he and Michael belted out the riff together during a car trip.) You can see the direct influence of the riff not only on blues contemporaries, but also on later rock bands – such as George Thorogood and the Destroyer's Bad to The Bone. Bus Driver is another excellent track showcasing the slow 12-bar blues in all its emotional glory. Nothing particularly novel is introduced after these two tracks, but the quality of music remains impressively high throughout the album. Most of the remaining songs are relatively unmemorable but still great tunes. The guitar and bass work is also a highlight. The production is quite bad for 1977 – notably, the year of Bowie's Low, Steely Dan's Aja, Pink Floyd's Animals, and the Bee Gees' Saturday Night Fever. There's no excuse for the fuzziness and lack of sound clarity in some of these tracks, especially given that this is studio-recorded (and not live like many of Muddy's other releases). 4/5 Key tracks: Bus Driver, Mannish Boy, The Blues Had a Baby and They Named It Rock and Roll

I'm unimpressed. This is clearly a punk (or worse, post-punk) band, despite Wikipedia claiming otherwise. Punk has little place in the "influential-music"-sphere of the 90s, and my experience so far is that the 90s has much better to offer than whatever this nonsense is. It's derivative to the point of anonymity. The music is technically high-energy, but lacks any kind of soul or emotion. This is most noticeable in the vocals, which are a standard punk-monotone set to a backing instrumental that isn't very impressive either. The guitar playing is fine but not memorable. Same with the percussion. Whew. I'm just so tired of listening to low-effort punk album after punk album. This honestly could've been worse, with songs like Smile, Car Song, and especially Connection cutting through the darkness and giving us a little excitement. Connection has a fun, subtle synth thing going on that I really liked. (Though even that sounded like hundreds of other bands, most of whom did it earlier.) 2/5 Key tracks: Connection, Car Song, Smile, Vaseline

An album that feels very directionless and lacks any heart. There's little in the way of creativity, spunk, or excitement. It's just bland acoustic country-rock with a large host of musical superstars (or would-be superstars, anyway) scrawled onto the record sleeve, presumably to increase sales. Laughing is the only really good track here – where the atmospheric softness actually achieves its goal of being mellow yet powerful. Most of the other songs are mellow and, well, powerless. The mixing makes the texture sound oddly empty for most of the album's runtime, excluding more energetic tunes like Cowboy Movie and Music Is Love. Speaking of Music Is Love... talk about a terrible idea for an opening track. The singing is wobbly and crazed, drunkenly repeating one line for essentially the entire track. Why this is the most popular track on the album – by a significant margin – is beyond me. 2/5 Key tracks: Laughing, Song with No Words, Cowboy Movie

Dylan's weird voice was less distracting on this album than on other records by him. I think the studio is his friend, with his vocal meshing well with the acoustic guitar and other instruments much more smoothly than on his live albums. I could hone in on some of his vocal mannerisms, like his apparent adoration of the "blue notes" (e.g. F#, or Eb, during a C major chord) or his very long rambly lines that only commit to rhyming at the very end (or sometimes not at all). It's fun to see these patterns and how they shaped folk rock for years to come. There are some genuinely good compositions here too. Mr Tambourine Man is memorable and catchy, and probably a "return to normalcy" to fans that criticised his shift to a more electrical sound. (Side note: I would hardly call the sound on Side 1 electrical, at least not compared to conventional rock bands at the time.) Subterranean Homesick Blues is a fantastic choice of opener, being an energetic blues number with some biting lyrics and one of Dylan's best song titles. She Belongs to Me, It's All Over Now, and It's Alright Ma are also strong. The main thing that brings Bring It All Back Home down from 5 stars is the lack of variety and adventurousness – especially looking at it through a modern lens. 4/5 Key tracks: She Belongs to Me, Subterranean Homesick Blues, Outlaw Blues, Mr Tambourine Man, It's All Over Now Baby Blue, It's Alright Ma

I found myself thinking, "This album has to get interesting at some point, right? Right?" Cue my excitement when I reached the final trio of songs – Metal Mickey, Animal Lover, and The Next Life – which are the only really great cuts from the tracklist. The remainder is fairly bland, milquetoast Britpop that was clearly inspired by the likes of early-career Bowie and the Smiths, but with less gusto and nothing new to bring to the party. (In fact, the same could be said for every song, but the final three were just a smidge better.) I'm definitely giving this album more flak than I should, because it was by no means bad. The vocals were funny and British, and the instrumentation was actually pretty dope. But I came in with high expectations because of the 4/5 album Dog Man Star, released a year later, which I had already reviewed. I'm not even sure I would say Dog Man Star was good, even though I gave it a good rating – but it committed a kind of Beatlesque style, which is at least a genre you can't go wrong with. Britpop is much more questionable. 3/5 Key tracks: Metal Mickey, Animal Lover, The Next Life

Incredibly heavy, yet ethereal. At times, it felt like I was drifting slowly through the multiverse, with any emerging questions being pounded down by the sheer heaviness of confusion. A nightmare that's terrifying yet strangely comforting. It's hard to describe. The guitar is easily the peak, sound-wise, of the music. The riffs are thick, distorted, and unforgiving – yet still pretty darn catchy. Take, for example, the alien-teque riff in "when you sleep" (or the similar-sounding one in the following track, "i only said"). Or the throbbing two-chord progression in "only shallow" Whoever's contributing the guitar playing, and indeed that of the entire rhythm section, really knows their stuff. The bass playing should also be complimented; I'd be interested to hear this music with the bass cranked up to the max. It could create something transcendental. I'm a fan of the drum mixing too, which is unusually without distortion relative to the other instruments. Something needed to maintain a grip on reality, and the percussion is a solid choice for that role. But if this is genuinely the peak of the shoegaze genre (as it seems to be touted), I do worry a little bit, because it was great – but not life-changing. Music with lyrics that are too distorted to make out is a strange idea that hadn't been tried before the 90s precisely because it's hard to connect with. Maybe that's the point, though. Maybe I'm missing some brutally deep commentary on the nature of man. Edit: I take it back. I relistened to Loveless on full volume with better headphones. I have discovered life's meaning. 5/5 Key tracks: only shallow, when you sleep, come in alone, sometimes, soon

Weird and (sometimes) oddly likeable music that I would best describe as "jingly British rock aggressively trying to sound like American country". For some reason, early on, I was reminded of King Crimson's music, even though I know they're stylistically wildly different to this. The singing and drumming were particularly reminiscent. I've not a fan of the title-esque track John Barleycorn, where I think Traffic bites off more than they can chew with the country twang. The final song, Every Mother's Son, is also unappealing. However, the first four tracks are good or better, with Freedom Rider and Empty Pages being the standouts. They're full of energy and make good use of piano and organ for a fun, inspired performance. 3/5 Key tracks: Freedom Rider, Empty Pages

Crazy horn arrangements. I'm not super familiar with Ray Charles's music, so I don't know if he's the one doing the arranging – but man, it's good. Dramatic, thick vibratos, particularly in the trumpets, punctuate Charles's soulful vocal with jazzy, big-band-style hits. This is particularly prevalent in the first half of the album with tracks like Let the Good Times Roll and It Had to Be You (which are, coincidentally, my two favourite songs in the set). And Charles is just about the most likeable singer you can get, even with the steep 50s competition of Little Richard, Buddy Holly, and Ella Fitzgerald (among countless others). This is about as good of an album as you can get without committing to any sense of album-esque "adventure". In other words, I reckon you could rearrange the songs on this album in pretty much any order and get the same experience. It did feel at times that the songs were slight variants of each other, what with the identical arrangements, commitment to the big-band swing-pop genre, and so on. 4/5 Key tracks: Let the Good Times Roll, It Had to Be You, Alexander's Ragtime Band, Come Rain or Come Shine

Reminds me a bit of Elton John crossed with Bon Jovi. Warm, bluesy, and heavily keyboard-based songs, with the rock-husk vocal quality of ol' Jonny (and tons of other 70s and 80s stadium-rock singers). We see heavy use of synths in particular on the keyboard, though organs and pianos are also present. Knowing that Windwood played every instrument here makes the listening experience considerably different, as you struggle to comprehend how musicians are able to do this. It's pretty impressive. The reliance on synths is the album's downfall, though, because for all its success (particularly in the 80s), it makes the music sound pretty dated. And once you realise that, the miffed-ness you feel is unavoidable. (While You See A Chance is great, though, and I'm sure I recognise it from somewhere. It gives the album bonus points for familiarity.) 3/5 Key tracks: While You See A Chance, Spanish Dancer

A style I would best describe as "discount Led Zeppelin". It has essentially all the blues elements (and one of the songs) of LZ's debut album, but with less of the punchiness, musicianship, or raw energy that shot LZ1 into the musical stratosphere. But then, this did come out one year earlier, so I guess it's technically one year more impressive. Apparently this was a proto-metal cornerstone that inspired the heavy metal of the 70s and 80s, and I definitely see it. Pretty cool. The mixing splits the instruments almost too harshly, giving an odd impression of standing right in front of the band and facing away from them into the audience. (And once you notice it, it's hard to ignore.) Despite this, you can clearly hear the robust, punchy rhythm sections (particularly the bass, which is pretty great), along with Beck's loud and bluesy guitar. I have some qualms with the vocals, which are probably good for their time, but in a broader blues context, incredibly generic. The vocal mannerisms ("oh baby, you shake me, gimme all your lovin' baby...") are ridiculously overdone and it would take a little bit more than that to wow me into giving a 4- or 5-star rating. 3/5 Key tracks: You Shook Me, I Ain't Superstitious, Blues Deluxe

A very goofy album cover (and title) for a surprisingly great collection of songs. The horn arrangements here are the most obvious highlight, written to impress jazz musicians and admirers of more accessible music. They're tight, sly, and playful, acting as a substitute for vocals in an otherwise entirely vocal-less album. Great piano playing by Basie, too – just the right balance of musicianship and pure joyful energy. I love the little off-kilter, slightly jumbled chords he plays. Was that intentional, or just Basie having so much fun that he lost a bit of his precision? Who knows? This style was very much the norm for "pop" music in the 40s and 50s (along with string-accompanied ballad songs), but that was soon to change. As another reviewer pointed out, The Atomic Mr Basie is a kind of last hurrah for big-band presence in popular music before rock 'n'roll completely took over in the late 50s and early 60s. Unfortunately, as good as this music is, I'd be hard-pressed to give 5 stars to any album without lyrics, because purely instrumental sound lacks the verbal element that really blows me away. But Count Basie and his orchestra get pretty darn close. Replace a few of the virtuosic trumpet lines with stanky soul singing (a la Ray Charles) and you'll approach something really special. 4/5 Key tracks: Splanky, Lil Darlin', The Kid from Red Bank, Fight of the Foo Birds

Okay, this is a sound I can dig. I've heard plenty of great things about Amy Winehouse, but this is my first real experience with her music, and it was incredible. The sound is obviously inspired by 50s and 60s girl groups, and we hear plenty of elements carried over: lush horn sections, backing harmonies, a soulful lead vocalist, clapping, a light acoustic drum in the rhythm section... man, what else could you ask for? The compositions themselves are so darn memorable and present a great album experience, with energetic highs and lows creating the ideal journey for the listener. Rehab, my personal favourite and arguably the catchiest track, is placed at the beginning – exactly where it should be. The team behind this album deserves several pats on the back for doing their darn homework. I guess the only things I would improve are the production (sometimes the volume maxes out and causes some distortion) and Winehouse's singing, which has that heavily-accented twang that makes her, and hundreds of other 21st-century singers, sound kind of tipsy. (See: the track Love Is A Losing Game, where she sounds very drunk the entire time – but then, maybe that's exactly the point.) But never fear! These don't take away from the music very much. Bangers up and down. An easy 5. 5/5 Key tracks: Rehab, You Know I'm No Good, Back To Black, He Can Only Hold Her

Not as good as her earlier magnum opi "Court and Spark" and "Blue", but Hejira has its merits. The lyricism is complex and thought-provoking (though to be honest, I didn't really follow what they meant) but this was the music's greatest strength. Mitchell's melodies, which I've criticised before for being hard to follow and incongruous with the harmonies/chords, are noticeably more rambly and even less accessible than her earlier works. In fact, the melodies are so odd and (dare I say it) "incorrect" that it kind of forces the listener to engage fully with the lyrics. Interesting strategy – after all, lyrics are Mitchell's strong point – but it does negatively impact the listening experience. Interestingly, this also has the effect of making the simpler tracks more enjoyable than the more complex ones. Black Crow, a stripped-down tune with a simple chord progression on the acoustic guitar, is a standout for this reason. A Strange Boy and Coyote are also fairly simplistic and have reasonably catchy melodies. The instrumentation is fantastic, always complementing each song as well as it can. I like the basslines, particularly in the two opening tracks, Coyote and Amelia. The drumming is done lightly and tastefully. I'll raise it to a 4 because Joni Mitchell is cool. 4/5 Key tracks: Coyote, A Strange Boy, Black Crow

A style of music that's hyper-American, both in name and in substance. The genre is a laid-back country blues, which can have its merits in the music world, but American Music Club doesn't really cut it here. The playing is (for the most part) low-energy, often to the point of sounding lazy. The vocal enunciation is similar, and I'm not a big fan of the singing. Probably the main highlight is the sparkling acoustic guitar lines in tracks like Lonely, Firefly, and Jenny. The ballads in this album are also worth a shoutout, not necessarily for standing out sonically, but for having some great lyrics. Pale and Skinny Girl, while very forgettable in terms of sound, has some pretty haunting poetry in there. The closing song, Last Harbor, is actually a surprisingly solid and mature finale to an album that didn't deserve such a thing. A lot of reviewers are bringing up the fact that this isn't on Spotify. While that isn't usually a fair "criticism" of music, it is in this case – because even on YouTube, the songs don't have many views. And for good reason. 2/5 Key tracks: Firefly, Lonely, Last Harbor

A great modern take on punk. It's almost too clean, too polished, to fit the image of punk I'm familiar with – but I think this works to its advantage (mostly). It's hard to find any actual flaws with the sound. The guitar melodies are very loud; I wish I'd have heard Green Day on their American Idiot tour back in the day, because I would've gone crazy over the lead guitar/bass synchrony and how the riffs dig straight into your chest. I do think those two instruments could be played a little more liberally, just to give then a bit more of a human element. Armstrong's vocal is great, though. It complements the instruments perfectly, and retains that great punky youthfulness. The record's concept is a little loose and messy, perhaps counterbalancing the incredibly tight rock sound. I keep hearing mentions of this Jesus of Suburbia guy, but it's hard to really connect the lyrics together, especially when bands of the punk genre don't usually commit to big operatic concept albums. But the lyrics are meaningful, probably. (I was able to work out the title track's meaning!) 4/5 Key tracks: American Idiot, Jesus of Suburbia, Boulevard of Broken Dreams, Wake Me up When September Ends

I like to think of myself as a Joy Division fan (of their first album), but come on, you can't expect your fans to genuinely love this. Half of these tracks sound very amateurish, both in composition and in instrumental skill. Atrocity Exhibition, Passover, Heart and Soul, and Decades are all blurry and forgettable tracks that are the very definition of filler. The remaining five tracks are stronger, though they teeter towards the same flaws. Paying attention to the drumming, which is prominent in the mix, I noticed that there was pretty much only one fill used dozens of times – and once I noticed this, it was difficult to ignore. The singing is also more distractingly bad than on Unknown Pleasures. It wasn't entirely bad, though. The atmosphere created in The Eternal is great – slow and impending-doom-esque. Isolation is a solid pop track that's reminiscent of their previous album. The lyrics are good, roughly akin to the Smiths' lyrics, and the themes of depression, loneliness, and mortality hit pretty darn hard considering the events surrounding this album's release. 2/5 Key tracks: Isolation, A Means to an End, The Eternal

A delightful but not particularly varied output from a band I've absolutely never heard of. And there's very little in the way of uniqueness – hundreds of other bands have a near-identical sound to this, with even the overlaid seductive female vocal being an overdone element. Maybe the "trumpets and woodwind and bongos and Spanish chanting" wasn't ridiculously overdone in 1958, but it sure as heck is now. We can clearly see why the genre was successful, both in Latin America and worldwide, but I view it similarly to modern-day pop/country in that it's too derivative to have any chance of blowing my mind. But there were specific elements that appealed to me. The (male) singing is great, surpassing language barriers with its pure energy and drunken giddiness. It's a fun contrast to the female vocal, which is excellent and not overused. I'm pretty sure the only brass is trumpets, and the lower wind sound is from woodwind instruments. It creates a lighter, airier sound than a full-on brass band would. I enjoyed the two opening tracks (El Cayuco and Complicación) the most, simply because they were early enough that I hadn't started to notice the musical repetition yet. The top-rated reviewer commented that "you really get the feeling the Latin people are having way more fun than everybody else." (Well said.) 3/5 Key tracks: El Cayuco, Complicación, Mambo Gozon

A very chill and groovy take on the hip-hop genre that I wasn't expecting. It's one of the best in the genre – certainly in the decade. (Though it doesn't have much competition.) Nice to see Ghana's flag on the cover representing the deep African roots found in nearly all American music. The beats and riffs behind the vocals in nearly every track are excellent – so much so that I would've loved to have this album be instrumental, or even better, have a soulful/rocky singing vocal rather than a rapping one. The guitars and bass in particular really stand out. I'm not a fan of the sampling at all. Even though the source material is great (Stevie Wonder, David Bowie, the Beatles... dang), the actual licks are sloppily edited into the beginning of their respective tracks and not really integrated into the song. It's like the band's saying, "Hey geezers, we like your music too! Please give us money." And, like I mentioned above, the vocal just don't cut it here. We need some kind of melody to make this music memorable and singable, otherwise it just comes across as trend-riding dreck designed to appease the hip-hop crowds of the era. 3/5 Key tracks: Luck of Lucien, After Hours, Can I Kick It?

Also known as "Frampton Is Barely Clinging To Life", this album is very much propped up by its (admittedly strong) electric guitar sound. The vocals are pretty variable, but none of them are convincing. At one point Peter Frampton sounds like a discount version of Steely Dan's Donald Fagen, which isn't necessarily a good thing. At other points, Frampton sounds like discount Bowie. Lots of discounts here. Kind of makes me want to discount the entire album. And yet, the crowd is going positively wild for the whole performance. Even during the comparatively simple and repetitive acoustic instrumental Penny For Your Thoughts, you can hear giddy whoops from the audience like they're drunkenly cheering on their girlfriend at karaoke night. It's a little distracting, especially in some of the weak tracks like All I Want To Be and the cover of Jumpin' Jack Flash. You guys do know you don't have to cheer when the music isn't good, right? But despite all its flaws, the electric guitars on this album are honestly some of the best I've heard in 70s music. Show Me The Way is a highlight. 2/5 Key tracks: Doobie Wah, Show Me The Way, It's A Plain Shame

Great album cover. Unnecessarily serial-killer-esque vibes – I dig it. The music itself is peculiar yet reasonably catchy, utilising a variety of instruments and tempos to create lots of different textures and moods throughout the album. This might be my first experience with Brazilian music, and I thought it was fairly strong. The music has a fun, light, dancey feel, even in its slower ballads. Veloso's melodies are quirky and unpredictable (except for the songs which were released as singles). There are little elements sprinkled throughout that hook the ear, such as subtly-mixed organ licks, horns arrangements on scattered tracks, and the occasional vocal harmony. I do take issue with a few things, though. The melodies on non-single tracks, while interesting, are a little too jumbled for their own good. The music isn't particularly punchy, with the lack of percussion being particularly noticeable. This isn't head-nodding, foot-tapping music. So, even though Caetano Veloso ticks most of the boxes in terms of musicality, the approachability is lacking. And I don't quite see the connection to psychedelia that many sources insist upon. 3/5 Key tracks: Tropicália, Clarice, Superbacana, Soy Loco Por Ti América

The best two-part harmony you'll find anywhere. I mean, I can't reasonably give this a 5 considering the jarringly dated lyrics ("Girls, girls, girls were made to love / That's why some have eyes of blue / That's why some stand five feet two" - oh no). And from a modern perspective, the sound is just so simplistic and doesn't feel very fresh or creative. But other than that, there isn't much to complain about. The harmonies are great, giving me heavy vibes of early Lennon-McCartney. You can easily see the huge influence the Everly Brothers had on the Beatles' early music. And given the prospective influence of the Beatles on essentially every single pop/rock predecessor, we can trace the lineage back to these two guys right here. Pretty cool, eh? Even other huge legends of (roughly) the same era – the Beach Boys, Simon and Garfunkel, and so on – clearly took inspiration from this style. Every song here is at least a 6/10 – an impressive feat for any album. The instrumentation is pretty, pillowy, and perfect in the ballads, and punchy and powerful in the more upbeat pop tracks. The vocal harmonies are great. Did I mention I like the harmonies? (I guess I'm a teenage female boomer. Darn.) 4/5 Key tracks: Made to Love, Lucille, Love Hurts, Cathy's Clown

Lesson learned: If you're going to commit to a 4-song album where tracks range from 7 to 13 minutes, those songs better be some darn masterpieces. But thin-textured, somewhat monotonous 60s blues doesn't really get there for me. Sure, it's a pleasant listen, but nothing more. My favourite piece is the opener/title track, mostly because the music hasn't yet run itself dry. I see this album as a continuation of the trends set by Booker T. and the M.G.'s and other contemporaries. Light jazz, no lyrics – just a simple, lighthearted atmosphere. But honestly, unless you're in one of these bands, there just isn't much to keep your interest. All the tracks are identical texturally and in terms of overall mood. The long-form solos on sax and keyboard are solid, but without vocals or really anything to break them up from one another, they can come across as repetitive. 2/5 Key tracks: Back At The Chicken Shack

Pretty bog-standard house music with DJ sound effects sprinkled around to give an air of legitimacy. But the music's quality is undercut pretty significantly by the track length, which (with an average of 6+ minutes per track) is just too long to maintain interest for most listeners. The music also generally lacks hooks or any key elements to keep the listener engaged. It's extremely repetitive, and not in an especially great way. The percussion is almost all (if not entirely) electronic, and that's a bad thing. It makes the music sound dated and is pretty exhausting after an hour of club-house tunes. But it could be worse. Stop This Crazy Thing has a great big-band-esque horn riff (almost like a samba melody). People Hold On has an unusually loud synth/piano/drum combo to complement the already clear-cut vocals – which are the best vocals on the album – making it pretty memorable. It's quite disco-y, which is a contrast from the otherwise hip-hop-like atmosphere. 2/5 Key tracks: People Hold On, Stop This Crazy Thing

This is very simple music, and somewhat effective. In fact, I consider this to be one of the peaks of the folk-singing-with-acoustic-guitar genre (which has wider scope than you'd think). The main problem I have here is that there's so little musical variation, and adherence to the idea of an album experience, that it's hard to seriously engage with this as an entire album. Add to that the fact that there aren't any noticeable hooks in the guitar part (which is the only non-vocal instrument) and you're looking for some sort of variation in the singing, which just isn't there. Let's talk about the singing. Joan Baez's voice is very strong, but in my opinion she heavily overuses vibrato, almost to an operatic extent. There's something just a little off-putting about melodic ornamentation (e.g. vibrato) that, rather than decorating a melody line, makes it sound kind of off-pitch. I like Baez's use of modes, though, and it's one of the strong points of her vocal part. Fun little nods to English and Irish folk music are present. I do think other artists in the genre, such as Joni Mitchell, pull off what Baez is attempting much more successfully. I would've liked to see some original compositions on here, too. House Of The Rising Sun is a fantastic (and heavily covered) song, but it can get old after so many artists cover it. 2/5 Key tracks: Wildwood Flower, House Of The Rising Sun, Donna Donna

Man. I don't know what to say. This is heartbreaking to listen to - a fitting swan song for a brilliant career in country-folk music. Johnny Cash's voice is expressive, emotive... just great. The instruments backing his singing make tasteful use of piano, strings, and even guest vocalists (including Fiona Apple in the third track!). If I had to suggest one thing to change, it would be to include more original compositions (fewer covers) and more musical variations between the songs. But really, given the context of the album, I doubt this performance could have been surpassed. 4/5 Key tracks: Hurt, Bridge Over Troubled Water, In My Life, The Man Comes Around

This is a fine album, but its quality goes up and down in a way that would definitely make me want to skip tracks on subsequent listens. Tainted Love, albeit a standard 80s-sounding hit, is a great track, in part due to its infectious synth riffs and Soft Cell having enough self-awareness not to include mind-dulling repetition in the synth/keyboard/brass parts. The same cannot be said for all tracks. There's a lot of filler here, which could easily be made otherwise by adding some more variation in pretty much any instrumental part. Exceptions are Tainted Love, Say Hello Wave Goodbye, Bedsitter, Torch, and a few others. Given the 1hr 14min runtime, I think this could be shaved down, especially seeing that it isn't a concept album. I'm not a big fan of the vocals either. They're reminiscent of British punk, a genre that hasn't seen much high-complexity or groundbreaking music (in my opinion). Swapping them out for someone subtly different but more flourishy, like Morrissey, could be the way to go. Vocal harmonies also could've been a good strategy, but alas, those are generally absent here. 2/5 Key tracks: Tainted Love, Bedsitter, Say Hello Wave Goodbye, Torch

Better than its successor, A Rush of Blood to the Head. Synths definitely have their place as an instrument, but I think Coldplay's music is much stronger without it. And following this idea, the band's attempts to come across as "Radiohead incarnate" are less obvious in Parachutes, with a slew of focused, powerful, slow-tempo songs paving the way for a great deal of 21st century music. The vocal is pretty good, and distinctive from other contemporary modern rock bands. The mixing is done perfectly – almost a little too perfectly – but with the deceptively simple music, it elegantly tows the line between too bland and too pretentious. Fantastic guitar playing. I dig the acoustic sound. Most of the music is centred around the guitar and vocals, and there's a fresh yet melancholic atmosphere here that I haven't seen many other albums achieve. The lyrics are consistently really good (enough to get the album banned in China upon its release). I do wish the sounds were a little more varied between tracks, but I also admire the commitment to one sound. It's a good sound. 4/5 Key tracks: Don't Panic, Sparks, Yellow, Everything's Not Lost

This album tows the line between genuine brilliance and utter absurdity (the bad kind). And I'm torn between giving this the 1 it probably deserves and a 5 for the sheer fun of it. I'll go with a 2. The singer's gravelly voice is kind of out of place in an 80s context, but it occasionally works, particularly in the great mid-album one-two-punch of Hang Down Your Head / Time. If I were forced to pick which other vocalists sound like this, I'd go with Ram-era McCartney (think Monkberry Moon Delight) and Randy "It's a Jungle Out There" Newman. But honestly, the voice is so distractingly out of left field that there's little time for comparison. The instrumentation is a whole different can of worms, with the only common element being a jangly old-blues guitar, reminiscent of pre-WWII acoustic blues charts. Everything else is thrown together pretty oddly, including free-jazz brass playing, a drum player that really isn't trying (example track: Downtown Train), some light organs and synths, and incredibly straightforward chords that make one reminisce about simpler times. Then one meanders through this album's tracklist and correctly wonders, "what the heck?" Songs like 9th & Hennepin, Midtown, Singapore, Blind Love, and Tango Till They're Sore - among others - seem like purely novelty tracks. Except here they make up the entire album. What a strange idea. 2/5 Key tracks: Time, Hang Down Your Head, Clap Hands

I'll say what I said in my previous Talking Heads review: TH are so often touted as one of the "classics" - to be revered, reviewed, and NOT reviled. Everyone loves TH, right? Not this guy. The music is just difficult to latch onto, largely because of the very weak and questionable vocal delivery. Byrne's voice is just not good in any context, but particularly for this funky instrument lineup, the music works best when there's no singing. It actually sounds pretty darn great during instrumental breaks like the intro of Drugs, and parts of I Zimbra, Paper, and Cities (among others). But when Byrne's vocal comes in... ugh. It's incredibly off-putting, marginally out-of-tune, slightly ahead of or behind the beat at times, and there's little in the way of articulation or emotion within each track. I like the compositions on this album, particularly Memories Can't Wait, Air, Paper, and Cities. Life During Wartime is also worth a shoutout – I think I recognised it from somewhere. If the right band had been playing these tunes, this album could've easily scored a 3 or even higher. As another reviewer commented, "Every track is completely original and arrestingly immediate. They would move onto more ambitious work immediately afterwards, but 'Fear of Music' shows the band absolutely mastering three-minute songcraft." I guess the only task now is to hire the right frontman for the job. 2/5 Key tracks: Cities, Drugs, Paper

I enjoyed this. Reminded me a lot of the Indigo Girls and Lana Del Rey, though of course Suzanne Vega preceded both artists. The folky singer-songwriter scene was growing rapidly at this time, and Vega's definitely got to be one of the better ones. In her music, we hear lots of fun acoustic guitar licks, light percussion fills, and soft, expressive singing. There's something very humanlike and approachable about Vega's vocal that you don't often hear from "superstar" pop singers, and I really appreciate that. And the music's pretty solid. Some great lyricism in tracks like The Queen And The Soldier and Marlene On The Wall, as well as some darn catchy vocal lines/melodies in other songs (Freeze Tag, Undertow, Some Journey). Some Journey in particular is a brilliant track in terms of atmosphere, using a synth-string-type instrument to create soft wavey swells that made it a textural standout. This again reminds me of Lana Del Rey and (in particular) her Norman Rockwell album. I'm surprised Some Journey isn't a more popular song. There are a couple of things dropping this from a 5 to a 4. There's no vocal harmony, which I feel is a missed opportunity (even if it would just be self-harmonising). With one or two exceptions, the textures are generally pretty thin, and the album journey can be a little one-dimensional. But otherwise, Vega's kind of slaying here. 4/5 Key tracks: The Queen And The Soldier, Some Journey, Marlene On The Wall

Although the music isn't great, the top reviewers are definitely giving girl groups like Destiny's Child too much flak. The music, while technically generic early-2000s pop, is undeniably catchy - particularly the opening trio of songs, Independent Women Pt. 1/Survivor/Bootylicious. The sound is reminiscent of some mega-popular pop and R&B acts from the 80s and 90s, and clearly takes inspiration from these. The percussive rhythms are complex and engaging in the former part of the album, and the textures are really ear-catching. Unfortunately, there are a few reasons to lose interest after the first three songs. The fourth, Nasty Girl, is lyrically very off-putting. And, excluding a couple of highlights, most of the remainder of the album introduces absolutely nothing new to the party. It's a pretty long album, too, and this isn't to its benefit. The chord progressions are pretty cool in the first few tracks and in Fancy, but later on they become very generic. The drum machines rapidly grow old as you keep listening. Mini-skits appear at the end of some tracks, and I'm not a fan of those at all. (I also doubt I'm the target audience for this music. And my policy is that the best music can connect with people from all backgrounds.) 2/5 Key tracks: Independent Women Pt. 1, Survivor, Fancy

A gorgeous and ridiculously impressive set of extended piano performances. Given the context – that this was performed in one take, live, completely improvised, and using a practice piano rather than a performing one – The Köln Concert is even more breathtaking. The actual skill level is through the roof. Even if Jarrett had been reading from pre-arranged sheet music, the virtuosity required to pull off all those quick-fire ornaments, arpeggios, and so on is pretty mind-blowing. The repetition of themes is also worth mentioning. You can almost see the exact thoughts going through Jarrett's head (at lightning pace) as he tinkers with ideas, finds certain ones that sound good, and lean into them as he experiments with variations. The audience is taken on an artistic journey, in a more raw sense than any pop or rock album. A couple of problems, though. Three of the four pieces are just too long to reasonably be called their own tracks, though this is more a production/editing complaint (about poor track listing) rather than a complaint about the artist. Some of the motifs are done to death, such as the repeating one-bar/one-chord phrase throughout nearly the entirety of the second track. The first track, which excellently avoids this motif problem, instead falls to the track runtime problem above. 4/5 Key tracks: all of them, kinda

I don't have too much to say about this album. It's solid, it's enjoyable, it's Sinatra. Lots of his majestic, iconic crooning going on here – but even for its time, it doesn't introduce much new to the music scene. And of course, there's the issue that every track has the same melodies, vocal ornaments, instrumentation, horn section punches, percussive beat... Even the keys and tempos used are often pretty similar. This creates an experience which is a bit hazy and not particularly cohesive. I honestly couldn't tell you which tracks I liked more than others, because I enjoyed them all very much equally. For all my gripes, though, this is pretty good. It gives me some misplaced nostalgia for 40s and 50s swing-pop (I'm a 2000s kid), and comes with all the perks of the era – most noticeably, the fuzzy production you associate with gramaphones and your grandparents slow-dancing in the living room on Christmas Day. Sinatra's voice is familiar, smooth, lilting – like a warm hug. I dig it. 3/5 Key tracks: unsure

Interesting sound, but kind of done-to-death. It's essentially modern Latin-pop with a noticeable electronic influence (e.g. DJ sfx/sampling, synthesisers). The opening three tracks were strong patch in a fairly weak track listing, possibly for being the beginning of a listening session before my enjoyment tapered off substantially. This album just doesn't bring anything new to the table. Anything on this list post-2000 has got to be seriously creative or ear-catching to really justify its presence. As is typical for the genre, the horns and percussion are two very strong point. I love the trumpet harmonising and extensive syncopation, and could easily see me in my high school jazz band struggling to play Nadie Te Tira correctly. Brings back some good memories. The percussion is reasonably complex and busy – always a plus. The production isn't particularly interesting, and I would've liked a less mono-sounding mix. There's less piano than I would have expected, but when it appears, it's usually played with gusto. I don't like the singer's vocals at all – it's a bit hoarse and unrefined – but I can understand its appeal in this genre. 2/5 Key tracks: Believe, Street Signs, Doña Isabelle/Nadie Te Tira

Even in spite of the pretty horrific Thatcher era of UK leadership, this album is far from the country's saving grace. It sounds like most of the band members – most noticeably, the singer – are piss-drunk, and I'm guessing I'd only genuinely love the music if I were the same. This does have an air of late-night pub, helped by the sluggish yet punkish feel of the rhythm section. The riffs are actually pretty great, until the first 10 seconds of any given track have passed and you realise it's a two-bar loop lasting anywhere from two to six minutes. The lyrics are generally unintelligible gibberish. I can hear the Britpop influence. This album doesn't help with the genre's reputation. It could be worse, though. The production was palatable enough that there were a few tracks that were pretty enjoyable. These include L.A., Spoilt Victorian Child, Paintwork, Cruiser's Creek, and (notably without vocals) Mansion, the opening track. For all of these, if played on more distorted guitars (lead and bass), the riffs wouldn't be out of place on a Led Zep record. That's got to count for something. 2/5 Key tracks: Mansion, Spoilt Victorian Child, L.A., Cruiser's Creek

Going into this album, I only knew Heart Of Glass and One Way Or Another (both great tracks) and I was expecting the rest of the album to be roughly the same style and quality. I was a little disappointed. Most of the remaining songs, while generally good, don't quite live up to those two overshadowing singles. Neither of the two facets (rock and punk) were really committed to fully, and the product is a sort of lower-energy blend of the two genres. It's not bad, but I wish it were more gritty, more "biting". Even One Way Or Another, arguably containing the hardest rock on the album, is tamer than I remember it being. The songwriting is pretty great, though, and for that reason alone I can't justify giving this album less than a 3. The guitar riffs are simple, effective, and catchy. I enjoy Debbie Harry's clear, emotive singing, though again I wish it could be grittier. Not too much else to comment on. Key tracks: Heart Of Glass, Hanging On The Telephone, Sunday Girl, Heart One Way Or Another

We'll start at 3/5, the rating of an average album. -1 for album length. Listen, I'm all for a compilation album, but not on a list like this one. You might as well put in compilation albums by other greats, like the Beatles' "1", Led Zeppelin's "Mothership", Queen's "Greatest Hits"... but those would (in some cases) also be too long, and for that reason I'm glad they aren't included. Ella Fitzgerald doesn't get a pass. In fact, out of protest, I only listened to 40 minutes of the album on shuffle, and the rest of the review is dedicated to those 40 minutes. +1 for gorgeous vocals. Ella Fitzgerald's singing is smooth, lilting, well enunciated, and just all-around fantastic. She's definitely material for a "top 10 vocalists of all time" list, even if lots of online critic articles seem to disagree. -1 for bringing nothing new to the music scene. By the late 50s, rock, skiffle, and experimental jazz were experiencing revolutions, and in terms of sheer creativity, Fitzgerald's style of music can't quite compete. It doesn't help that nearly all the songs on the album are in the same style and mood. Add to that the fact that none of these songs are originals, and you have a set of material that's not quite deserving of a spot on a list of the 1001 most important albums. +1 for atmosphere. There's something so indescribably charming and beautiful about soft brass, a laid-back rhythm section, and jazzy harmonies and melodies. You can all too easily lose yourself in the music if you're not careful. It's hypnotic. 3/5 Key tracks: The Man I Love, Embraceable You, They Can't Take That Away From Me

This is my second listen, and it's a little better on the second pass. Some great lo-fi-esque beats accompanying a standard (if not slightly substandard) vocal. The lyrics are all over the place in terms of rhythm, rhyming schemes, and general themes, towing the line between being oppressed and being the goshdarn king of the world. This is a problem I have with most hip-hop lyrics, and while Kendrick Lamar makes a small improvement on the generally bad poetry in the genre, it's a small improvement only. The lyrics in the interludes are particularly suspect: "Fuck you, motherfucker, you a ho-ass n-a / I don't know why you trying to go big, n-a, you ain't shit / Walking around like you God's gift to Earth, n-a, you ain't shit / You ain't even buy me no outfit for the Fourth / I need that Brazilian, wavy, twenty-eight inch, you playin'" ...Yeah. If this is the best the rap/hip-hop genre has to offer (and it clearly is, based on reviews from rateyourmusic), then that's a very bad sign. I'm also not a fan of Kendrick's husky, almost raspy voice, though it does somewhat stand out amongst the crowd. The instrumental behind the vocals, though, is pretty solid. Kendrick pulls out all the stops for adding little bits and bobs to the music – sound effects, synths, horns, backing vocals, and so on – to really spice up the texture. And he does it better than most, to the point where you feel like you're listening to something truly incredible. (Whether you are actually doing that is up for debate.) Tracks that are more texturally busy, like King Kunta and Alright, are some of the stronger ones for this reason. The cover art is iconic, and possibly my favourite aspect of this entire album. But the music could use a little work. Bin the interludes and some of the lyrically-suspect full tracks, and you have the scaffold of a masterpiece. 3/5 Key tracks: King Kunta, Alright, Momma, i

This felt like very standard hip-hop to me. There wasn't much in the way of variation within tracks or between tracks, creating a slightly monotone atmosphere for a grand 77 minutes. The songs involving (melodic) singing rather than rap were easily the highlights; Ms Lauryn Hill is always a win. (I still regret giving her "The Miseducation..." album as low as 3/5, but I was much more naïve back then.) I'm surprised this album was the 5th best-selling hip-hop LP of the 90s, because it's very nondescript. It wasn't terrible, though. I enjoyed the variety of rappers, and the cover of No Woman No Cry was almost as good as the incredible original. The production was fairly good as far as 90s hip-hop goes. 2/5 Key tracks: Fu-Gee-La, Killing Me Softly With His Song, No Woman No Cry

This music is very... odd. I think I'd enjoy it more if it were accompanied by a late-night drive out of the city (or, perhaps more fittingly, through an urban hellscape). The music is kind of dull, but with a hypnotic electronic spin. The percussion creates an almost industrial atmosphere, particularly in tracks like Shellback that have heavy, atonal synths backing a slow, equally heavy drumbeat. The tracks with vocals are very artificial-sounding, and I imagine it would be an unusual experience listening to them live. The bass playing is probably the album's high point – particularly on tracks like Don't Go Nowhere and Keeping Pigs Together, where it's more prominent – because of its clear, central mixing. It acts as the melodic voice when there aren't vocals, and I think that's a nifty choice. Other than the points above, the music is pretty nondescript postmodern stuff. At times, it's almost brutalist, and can get a bit overwhelming. I didn't enjoy it much, but it wasn't horrible either. 2/5 Key tracks: Keeping Pigs Together, Don't Go Nowhere, Bussing

Very middle-of-the-road rock for me. But hey, at least it pulls off that generic (and good) 70s rock sound that so many other bands tried and failed. Guitar riffs that are simple, brash, and somewhat memorable, propped up by a bass that often mirrors the riff but never really strays out of its comfort zone. Some good vocals, but ultimately they just aren't distinct enough from other bands at the time. And after having heard Led Zeppelin's music from 1969-75, I'm finding this a steep comparison to make. I'd like to take a moment to comment on the top-voted review here: "back in the 70s, steven tyler fucked an underaged groupie, and proceeded to literally adopt her as his legal daughter so he could keep fucking this child. he can stuff his big ten inch up his own ass for all i care" Now, I'm no Aerosmith fan, especially after the unremarkably passable rockfest of Toys in the Attic – but you can't seriously hold this belief unless you extend it to just about any white male 70s rock artist. Lennon, Bowie, most of Led Zep, Kiss... et cetera. This kind of review is just farming likes for something you could easily put on another artist. I was hovering between a 2 and a 3, but this review made me choose 3 to counterbalance the 1 (which is unreasonably low, even if you (rightfully) despise members of the band). 3/5 Key tracks: Toys In The Attic, Adam's Apple, Sweet Emotion

I'm a little biased here because the two huge tracks here (ITEOTWAWKI and especially The One I Love) were kind of like childhood anthems for me. I grew up on Guitar Hero: World Tour, and The One I Love was my favourite song on there. Some of my best memories from the late '00s are jamming out on a plastic orange guitar with a Wii remote wedged into the back while my mom belted out "FIREEEEEE" at the top of her lungs. (I'm surprised our neighbours never complained.) So, as simple as the melodies and harmonies are in most of the tracks, R.E.M. gets a pass for pure nostalgia. The pure energy in the other track (with the funny long name) also bumps this album up significantly. Other than those two tracks, the songwriting isn't particularly memorable, and the main draws into the music are Buck's shining guitar arpeggios and Stipe's distinctive and heavily American vocal. I wasn't sure if R.E.M.'s music qualified as alt-rock, so I had to look it up, and it seems they're pioneers of the genre. I can definitely hear it towing the line between classic 70s rock, the clean, electronic "danciness" of the 80s, as well as something indescribable that's unique to alternative rock. 4/5 Key tracks: Finest Worksong, It's The End Of The World As We Know It, The One I Love

Nina Simone's voice takes a little getting used to, but once it hits, man, it really hits. One of the coolest, most soulful, and most distinctive singing vocals of the 60s. The lyrics in these songs are also great. The three-track run of Four Women, What More Can I Say?, and Lilac Wine is especially strong in terms of both lyrics and musical hooks to back them up. So, in a rare turn of events, the weak point in the album is actually the instrumental. There's a lot of piano, and it's all played in one particular register that gets a little stale after the first twenty minutes or so. (The piano on the track Four Women, though, is fantastic – partially for being beautiful/bluesy, and partly for just being near the beginning of the album.) The percussion is present, but never quite in satisfying quantities. I think the soul and drama in these compositions should be complemented by an equally dramatic instrumental section (think muted crashes, more strings, and so on) – but it's not *quite* there. 4/5 Key tracks: Four Women, What More Can I Say?, Lilac Wine, Wild Is The Wind

Objectively speaking, this album shouldn't have been created, but it's got a few things going for it. Some of the song titles (Rock Against Ass, Humiliation Street, Rendezvous With Anus) are fire. The opening song, The Age Of Pamparius, has a decent sounding, new-wave-y atmosphere in the opening that introduces the album pretty well. But apart from that, the sound is just generally bad. All the tracks are a weird sort of abrasive metal-punk. And I mean all of them. Because, apart from the opening track, they all sound identical. There's little in the way of musicality outside of the opener. This album was a slog to get through, particularly with the horrific cover of Bowie's Suffragette City and some other album fillers like Monkey On Your Back and Back To Dungaree High. Even if this album had been shaved down to a more appropriate 30 minutes (or less), it still would've been a painful commitment. 1/5 Key tracks: The Age Of Pamparius

This was an enjoyable but very inconsistent listen. The first half of the album is packed with a variety show of indie-sounding piano ballads and country jams – and, for the most part, they're all reasonably catchy. The opening trio of Son Of Sam / Somebody That I Used To Know / Junk Bond Trader is arguably a one-two-three punch of great harmonies, instrumentation, and just an overall groovy feel. Everything Means Nothing To Me is one of those tracks that I love for its several distinct sections, featuring a sudden percussive buildup that makes the second half of the song one of the album's highlights. The dramatic shift in tone (even while the melodic hook from the first half continues to repeat) is a fun part of this song. L.A. continues this lineup of very strong tracks – at least, on side 1. Then we get to side 2, and it immediately becomes apparent that Elliott is padding the runtime with melodies that are difficult to follow, instrumental lineups that imitate those of earlier songs, and less interesting singing. (And I wasn't particularly a fan of this guy's voice to begin with.) The three-song run of Easy Way Out / Wouldn't Mama Be Proud / Colorbars is most suspect here; there just wasn't anything particularly standout in any of these. We see a couple of standouts with the catchy Happiness/The Gondola Man and the haunting piano outro Bye, but otherwise, there's not much going for this half. All in all, the two sides balance each other out, and we end up with a standard 3/5 rating. Some other notes: - As I mentioned, Smith's whispery and unvaried vocal is not good. - The lyrics are pretty darn depressing even in the more upbeat tracks. - This album is recontextualised (to an extent) given that it's the last of Smith's albums released during his lifetime. I almost wonder if the drop in quality throughout the album is meant to be a metaphor. 3/5 Key tracks: Son Of Sam, Somebody That I Used To Know, Everything Means Nothing To Me, L.A.

Man, I love this guy. It's not often that I enjoy the little spoken skits and interludes in an album, but this time they could well be the album's highlights. When Cash declared to the audience that they were recording an album and that none of his band members should even think about saying "hell" or "(bleep)", I gained at least a year of life. His little bouts of campiness during tracks like 25 Minutes to Go ("And now I'm swingin' and here I go-o-o-o-o-o-o-o-o-o") and Cocaine Blues ("Hopped and he coughed as he cleared his throat / He said, *cough cough* *obviously with an obstructed trachea* 'Come on you dirty heck into that district court' *cough cough*") are fantastic. And the audience at Folsom Prison is clearly having a blast. The main critique I have is that the music is very simple. As in, simple enough that Cash can go completely off-script ("...hehehe did I see somebody applaud that lyric? hehe. anyway,") and the instrumental remains entirely intact. But even then, I have trouble really faulting the music for this. The musical simplicity is made up for – even complemented – by the audience interaction, the humanness of Cash's singing and the backing instrumentalists, and the music's incredible rawness and "instant classic" energy. Quoting one of the top reviews here: "This dude is up there singing about murdering dudes to applause from murderers." Can't get much more badass than that. 5/5 Key tracks: Folsom Prison Blues, Cocaine Blues, Orange Blossom Special, Greystone Chapel

As soon as I saw a review comparing this to Hitler screaming into a microphone, I couldn't get the image out of my head. Even the mic quality is the same. And the drums, the relentless, dull, muted-yet-deafening miscellaneous percussion, the nightmare-inducing screams, the empty, brutalist soundscapes, the lack of any melody or harmony save for some scant, poorly-played horns, the repetition that makes me want to fold into a small cube and hurl myself off the conveyor belt... Let's just say there's a lot to be desired here. 1/5 Key tracks: none

I have similar feelings about this album to Dylan's earlier album Bringing It All Back Home, although the latter is better in my eyes. Dylan has a weird vocal that, in many cases/genres, would be very unappetising – but he generally makes it work. His sound is also immediately recognisable and distinctive, primarily because of his voice but also his melodies, which often center around "blue notes" (e.g. F# or Eb during a C major chord) or his very long rambly lines that only commit to rhyming at the very end (or sometimes not at all). These "Dylanesque" motifs are strangely comforting amidst all the horrific Britpop, hip-hop, and post-punk on this list. It's also fun to see these patterns and how they shaped folk rock for years to come. Unfortunately, unlike his predecessor albums Bringing It All Back Home and Highway 61 Revisited, Blonde On Blonde doesn't have any particularly standout tracks. They're all just kind of "there" – good, but not great. (I'm disregarding the lyrics here, because that's the way I prefer to listen to music. Judging by the reviews, the lyrics easily bump this album to a 4 or higher.) Absent are the fresh organs and biting phrasing of Like A Rolling Stone, or the memorable melody of Mr Tambourine Man and Subterranean Homesick Blues. In addition, there's really a lack of variety and adventurousness (other than being one of the very first double-albums) – especially looking at it through a modern lens. 3/5 Key tracks: Just Like A Woman, I Want You, Absolutely Sweet Marie

I do think this album is a little overrated in terms of raw sound and catchiness – but then, I reckon that's an artifact of (most of) the jazz genre. That being said, Kind Of Blue is fantastic in just about every other way. The talent and virtuosity presented here is insanely good – easily putting it on par with the likes of "rock-equivalents" Led Zeppelin or the Beatles, in the sense that every member of the band is contributing equally interesting, impassioned, and creative parts. In fact, in some ways, Kind Of Blue (and well-played jazz in general) outperforms any kind of rock or pop imaginable. The restraint shown in the rhythm section, and in the horns, is undeniably tasteful. It makes you feel warm, comfortable, sophisticated... And, as other reviewers have mentioned, this music works in any setting. From close listening to a dinner party, from including it in a screenplay to playing it in the background while you seduce that girl you've had a crush on for years. It's pretty versatile. And its influence on both the jazz genre and the wider music scene cannot be understated. For specific tracks: the quirky, high-energy feel of the first two tracks outshines the rest of the album by a decent margin. So What and Freddie Freeloader are by no means overwhelmingly complex, but they're played so goshdarn well – especially the solos, which are simple, elegant, and playful – that you're still sitting there thinking, "Man, I could never come up with that." The trumpet solos in these two pieces, as well as the remaining three, are particular highlights. But then, as I'm relistening to the album, I'm realising that every instrument is a highlight. The bass, the drums, the sax, the piano... Shoot. So, even though it's easy to zone out to this music (and cite boredom as a reason), all the other factors bring this straight up to a 5. Plus, is zoning out really a bad thing? Key tracks: So What, Freddie Freeloader, Blue In Green

Clearly these guys are skilled, but it's hard to enjoy the music when they seem to be actively shooting themselves in the foot at every step. The SFX soundbites include this very grating high-pitched loop that shows up relentlessly in most of the tracks. There's extremely little in the way of melody, harmonies/interesting chord progressions, any kind of acoustic or rhythmically engaging percussion, variation within or between the tracks, and so on. The album is essentially a 58-minute wall of angry political yelling and drums. Often hip-hop can make up for the lack of harmony and melody with complex rhythms, sampling from tracks with many acoustic/melodic instruments, or backing vocalists – but in this album, Public Enemy doesn't appear to do any of those. These factors are very distracting from what's presumably an important political message. Apparently this album was meant to be, thematically, the hip-hop equivalent of Marvin Gaye's "What's Going On". The latter pulled this off much better in just about every way. It Takes A Nation Of Millions... gets slight bonus points for being ahead of its time in the genre, but not impressively enough to push this beyond the 1/5 it deserves. 1/5 Key tracks: none

Weird album. The track A Gospel is a strange turn of events, committing to the rare combination of jazz and rap. It's very ahead-of-the-curve for its release year, 1984. I kind of like it, though I could probably only take it in moderation. Strength Of Your Nature continues this odd "modernisation"-esque trend. I have no idea what to think of most of the latter half of this album. You're The Best Thing and My Ever Changing Moods, the two biggest tracks and my favourites on the album, are the only two standouts. 2/5 Key tracks: You're The Best Thing, My Ever Changing Moods

An album that centres around guitars (both acoustic and electric) and some slightly inconsistent vocals. Sometimes the singing is fantastic and soulful, and other times – most times – it's slightly weak and nondescript. The music has a sort of soft rock-pop feel with a hint of country. Very layered, a little hard to follow, variety-show-esque. I got hints of psychedelic pop, which other reviewers also noticed. There isn't any particularly new ground covered, seeing that this was released in the 2010s and mishmash albums with an abundance of catchy guitar hooks had been done to death by this point. All that being said, I really enjoyed listening to this album. Even though there were no particularly memorable tracks, every song made it into my "Liked" playlist. 3/5 Key tracks: Back at the Farm, Street Joy, Anvil Everything, Is and Is and Is

This music is heavily reminiscent of a live Beatles show, minus the thousands of giddy screaming girls. Even this Jerry Lee Lewis guy sounds pretty similar to Ringo Starr, especially on the tracks that both bands covered (Money and Long Tall Sally). In places, when I wasn't paying close attention, the resemblance became a little uncanny. Other than that, the music here is straightforward high-energy rock'n'roll. Lots of fast, repeated piano chords, often in high registers, make an appearance, as well as crash-heavy drums in the background and plenty of twelve-bar blues progressions. From the Wikipedia article, I get the impression that Jerry Lee Lewis had quite the stage presence, though it isn't as apparent in the audio recording. I'll try not to let the fact that he's a horrible person affect my rating. (Hence the bonus 3 stars.) 3/5 Key tracks: Great Balls Of Fire, Good Golly Miss Molly, Long Tall Sally

Something about this feels very pretentious. Mike Oldfield, through the music, constantly insists that, "Hey, this bit is cool too. And this instrument. And this little melody that you'll be hearing for the next seven business minutes. Spiffing! Hey, did you know that I played 27 different instruments on this album?" During one extended segment of Tubular Bells - Pt. I, he even announces the new instruments as they appeared. This actually would've been pretty funny if the music wasn't taking itself seriously, but I get the feeling it was. In addition, this guy needs to learn about variation over a theme. Some of the musical motifs are pretty good, but they get stale quickly when you play them on repeat for several minutes with the only variation being the entry of a mandolin or a Spanish guitar. This could've been improved with some more pronounced variation in dynamics, texture, maybe some lyrics... but then, this serves its purpose as a soundtrack, so what can you do? The second side of the album is mostly stronger than the first – has kind of a medieval feel with all the overlapping arpeggios – but that gets fairly old after the first five minutes or so. (I'm a Gen Z guy. My attention span is low. Give me more drama!) Then we get to the grunting part at around 12 minutes in, and it's all over. Maybe I just don't get prog rock. 2/5 Key tracks: Tubular Bells - Pt. II

I’m not sure that I’ve had another album be brought down quite so violently by its vocalist. Without the singing (which I’ll get to), we have a sort of post-punk (or possibly Britpop) style of instrumental, with the main focus being nicely distorted electric guitars riffing over one-bar patterns. A little jam-sessiony for my taste, given that it’s been judged one of the 1001 most important/influential albums of all time, but I’ll let it slide. There’s a sprinkle of grunge in there, suggesting a possible influence from Nirvana or other contemporaries. The drumming is fairly strong, having fills every so often that perk me up and keep me engaged with the music. The main downfall of The Infotainment Scan is, of course, the vocal. Rhythmically, it sounds like the guy’s at least trying to pull off a decent melody, but his pitch is very conversational and droning in a really unappealing way. Some people like this style of singing, but I'm willing to bet most don’t, seeing how aurally frustrating the lack of commitment to a melody is. The singer also has a habit of ending words with “ah”, making him sound like a particularly enthusiastic drunk. The vocal is mixed loudly, making it unavoidable in many of the tracks that are otherwise really strong. I’m reminded of Slang Of Ages, the sole Steely Dan track sung by guitarist Walter Becker, and how it’s generally considered one of the weakest tracks by the band because of the very off-kilter, off-key sing-talking. The Infotainment Scan is a fifty-minute-extended cut of that. (What’s not to like?) 2/5 Key tracks: Lost In Music, Im Going To Spain, Ladybird

I really liked this! Upbeat, refreshing, new-wavey pop with some hints of (classic) rock scattered throughout. The two singles from the album – Our Lips Are Sealed and We Got The Beat – are the two strongest tracks overall, but the entire album maintains the energy of those songs very consistently. The most noticeable common thread is the peppy vocals, which admittedly aren't the most technically good voices out there, but make up for it with sheer 80s girl-group energy and some fun overlapping harmonies that never failed to bore me. The music is deceptively simple; when listening closely, I heard quite a few rhythmic doodads (particularly in the drums) that pop music of that era often shies away from. The main thing bringing this album down from 5 to 4 is exactly what brings a lot of these down: a combination of overcommitment to a particular style (i.e. not enough versatility) and datedness (some of these lyrics and musical tidbits are almost jarringly "of their time", and not necessarily in a good way). 4/5 Key tracks: We Got The Beat, Our Lips Are Sealed, How Much More, Lust To Love

Behold, one of the most likeable figures in the music world! Stevie Wonder is fantastic, and his music pretty much never fails to deliver. Innervisions has a versatile yet consistently high-quality setlist, with great high-energy blues-rock tracks like Living For The City, Higher Ground, Don't You Worry 'Bout A Thing... I could go on. There aren't any bad tracks on here, though a couple are slightly forgettable because of a lack of any obvious musical hooks to keep the listener engaged. But the stronger tracks are interesting, exciting, soulful, and sung from the heart. According to my research, Innervisions is also a creative and musical milestone in Stevie Wonder's career. This album is the end of a transitional phase from mostly 60s-style ballads (and the "Little Stevie Wonder" persona) to a mature, musically complex, and self-performed style. And that self-performed element is a big one. Stevie Wonder plays nearly all the instruments on nearly all the songs here, and this sets the agenda for the albums to follow. Great singing. Great horns. Great guitar and bass. Great jazz-rock-jam drumming. 5/5 Key tracks: Living For The City, Higher Ground, Don't You Worry 'Bout A Thing, He's Misstra Know-It-All, Too High

I'm not a fan of punk, even punk on the higher-quality end like Rattus Norvegicus. Normally my complaint (about punk) would be that nothing is catchy or played well, though I will give a shoutout to The Stranglers' organ and bass playing, which is pretty fire throughout. The organ makes it feel like something from The Doors. But the band falls apart with the drumming and vocals, which feel uninspired and bland – just enough so that the music fades into the background as repetitive Brit-punky stuff that doesn't engage me. The general positive reception in the other reviews surprises me. I'll grant that the bass and organ particularly stand out in Hanging Around and Peaches – the two best tracks by a significant margin – but most other tracks fall a bit flat for me. Additionally, the band as a whole has this stylistic superiority complex that I'm not a fan of. Between the lines: "My lyrics are sexist and also anti-establishment and also we're cool blokes with leather jackets who like to beat up our fans in the middle of a song." (Weird flex.) That being said, the listening experience wasn't actively bad like some other albums on this list. 2/5 Key tracks: Hanging Around, Peaches

Not a huge fan, although some of the earlier tracks showed promise. Hate To Say I Told You So is a strong album opener, almost verging into pop territory with its infectious guitar riff and glowing, colourful chord progression. But (most of) the rest of the album commits to a much less enjoyable version of that first song, with net-positive tracks being few and far between. The sound is kind of Rolling Stones meets Strokes meets very-very-weak-post-punk, and it's mostly the latter. The singing is clearly imitating the more "crazed" side of the punk movement, featuring a lot of off-pitch shouting and screaming, caveman drums (a bit faster though. maybe "caveman in a hurry".), and a heavily distorted guitar-bass combo. It definitely would've riled up the teenage crowds back in the 70s, but it's weirdly out of place in the 21st century, and I can't say it's covered any new ground. 2/5 Key tracks: Hate To Say I Told You So, Untutored Youth, Here We Go Again

Is it blasphemy to say that I think this album is really overrated by most of the reviewers here? Sure, Cyndi Lauper was a far-reaching, flamboyant act that spoke to millions of music lovers (especially teens) in the 80s – but is her music really as good as her legacy suggests? Maybe not. Lauper's vocal, while powerful, quirky, and memorable, does not provide good material for an album's worth of music. After the first 20 minutes or so, her voice starts getting a bit abrasive – and of course you're only halfway through the album at that point. Combined with the overactive synths, electronic drumbeats, and backing vocalists, we have a product that's very much larger-than-life and a little exhausting to follow completely. But Lauper's music is a goshdarn fun time, I'll give it that. It's impossible to hate this woman. 3/5 Key tracks: Girls Just Want To Have Fun, Time After Time, All Through The Night

This music reminds me of the colourful synthy-ness pioneered (arguably) by several Pink Floyd projects – including Any Colour You Like from The Dark Side Of The Moon and the entirety of the Wish You Were Here Album. The overlapping synthscapes here are clearly inspired by one of the best aspects of mid-career Floyd (and a lot of 70s prog rock). It's certainly the highlight of the album, and justifies some of the long track runtimes by kind of mesmerising the listener in most of the songs. Neon Lights may actually be the best track here, because despite its lack of catchy lyrical hooks, it takes you on a dizzying techno-journey that lets you forget about silly human-run reality. Sometimes you'll get bands that can't quite pull off the electro-trend (see: mid-80s Queen) but then MJ, Rush, and other 70s/80s bands – including Kraftwerk – prove that the genre has potential. There are a few things that bring this down. For one, the vocal is quite deadpan, which is either hilarious or lazy depending on what mood you're in. I personally don't mind it, but I can see how some people would, given the incredible vocals of 70s music contemporaries. Additionally, most of the tracks are six to eight minutes long, and there's little in the way of variation within each. This is a bit of a sin for me, but at least it doesn't verge into prog rock (dangerous territory). Every bit as good as Autobahn, another Kraftwerk release that's also included on this list. 4/5 Key tracks: The Robots, Neon Lights

Kind of an odd experience. I wasn't really able to connect with the music, though that's not to say it was unpleasant. The production and mixing is solid, the use of strings is decent (if a little too standard and non-boundary-pushing), and the layering does give the impression that this should be really good music. However, there are too many flaws to justify any medium-to-high rating. As many reviewers have noticed, the vocalist is quite bad, having a promising timbre but with half the notes being very off-pitch. (This gets really distracting as early as the opening track, Race for the Prize (Remix) – which is also the strongest on the album.) The instrument-playing is not impressive/virtuosic in any capacity. Additionally, a lack of solid hooks really holds the music back. There's not too much to say here. The Soft Bulletin is fine, but nothing special. 2/5 Key tracks: Race for the Prize, Waitin' for a Superman

An exhausting and pointless listen. The main culprit here is the singing: your typical gravelly, undertrained garage/death-metal timbre. Like nails on a chalkboard. Like unsanded brass against unsanded brass. Like Kurt Cobain with a dead squirrel lodged in his throat. It's bad. Even though the instrumentation is your standard rock lineup, it sounds brazenly amateur, and even the players seems to concede this fact through their repetitive and uncohesive sound. If this were written and released as a kind of satirical statement about how low record labels sometimes stoop in order to get something released, I think I could forgive Girls Against Boys for this release. But unfortunately, I think they're serious. The one-two "punch" (really a halfhearted nudge) of Bullet Proof Cupid / 7 Seas is a welcome breath of fresh air towards the album's conclusion, notably having some catchy guitar/bass riffs to drive a slightly more cohesive sound. But overall, I can't see myself ever listening through the album again to reach that point. We aren't getting to Venus Luxure No. 2, baby. 1/5 Key tracks: Bullet Proof Cupid, In Like Flynn

I loved listening to this. It's a lively fusion, of rock, blues, soul, and singer-songwriter, with Van Morrison himself being the star performer. Morrison's voice is punchy, powerful, and surprisingly unique (given the enormous number of vocalists in the soul scene by the 1970s). He varies his tone from tender to wild to mournful, and everything between, throughout the album's tracks. The drumming is usually light, swung, and very committed to a jazz sound (this is good). The acoustic guitar is lovely, drifting in and out of the mix as appropriate; similar comment about backing vocals, brass, and other "guest" instruments like the flute in the title track. Every song on side 1 is utterly fantastic. And sure, the latter half of the album is a little more forgettable, but it maintains the sound/stylistic quality of the first half and keeps me wanting more. 5/5 Key tracks: And It Stoned Me, Moondance, Crazy Love, Caravan, Into The Mystic

Poor Nixon. If this is his legacy, then, coupled with Watergate, you really gotta feel for the guy. He was only trying to purge all the hippies, prolong the Vietnam War for as long as possible, increase organised crime rates by attempting to prohibit drugs and alienate drug users, and employ espionage to sabotage the plans of the Democratic National Committee. Simple pleasures. This album wasn't particularly a simple pleasure, though that's not to say it didn't have any positive aspects. The vocal alternates between a very weak timbre that can only be described as "generic-old-man-hunched-over-guitar"-voice and its significantly stronger/younger counterpart. And for what it's worth, some songs with the latter vocal are actually pretty good. The four track run of You Masculine You / Up With People / Nashville Parent / What Else Could It Be shows some vestiges of cohesive songwriting, incorporating some nice guitar and string hooks to engage the listener. The backing vocals, when they appear, are a nice atmospheric touch. I paid essentially zero attention to the lyrics (as I normally do), but there's some chance they were poetic. There's really no way of knowing. Typing this part a day later, though, the album just isn't particularly memorable – apart from the really discomforting old-man singing in about half the tracks. 2/5 Key tracks: You Masculine You, Up With People

This is pretty good and creative music, but it also gives me terrible flashbacks of wandering through department stores with my mom back in the late 2000s. (I tried to ignore that when listening.) I like the modern pop take on the "wall of sound" technique. A chorus of vocalists and light synths that, individually, aren't anything impressive – but as a group, they sound bright, heroic, unified. It's hard to describe. But the best tracks are the ones that embrace this fresh, modern sound, including Time to Pretend, Kids, and Of Moons, Birds & Monsters. There were exactly two tracks – Pieces of What and Future Reflections – that were noticeably worse than the others simply because they stopped committing to this "choral"/wall-of-sound technique, and it became more obvious that these musicians aren't nearly as good as their smokescreening might suggest. This was especially noticeable in the vocal, which was wavery and technically bad when it was by itself. In other tracks, like Weekend Wars, the instrumental was uplifting and well-mixed enough to mitigate the poor solo singing. (Is this being a little harsh? Maybe.) 3/5 Key tracks: Kids, Time to Pretend, Electric Feel, Of Moons Birds & Monsters

It's jazz, and at this point it'll have to do something seriously crazy (for better or worse) to sway me away from a 3/5 rating. The beginning of the opening/title track is a little worrying because, rhythm-wise, it feels almost free-jazz-like with the percussive uncertainty and lack of cemented rhythm. But then it hits its stride after a minute or two, and it's smooth sailing from there. Most of the remainder of the album is bouncy, joyful, unassuming jazz played by some of the genre's legends (including, of course, the great Thelonious Monk himself). But no track in particular really stands out. The sax and piano playing, particularly the sax solos (which are extremely plentiful), are fantastic, particularly in the title track and Ba-Lue Bolivar Ba-Lues-Are; however, they're absent in the remaining three tracks, which are largely piano instrumental ballads. The lack of album flow isn't ideal and takes away from the listening experience. 3/5 Key tracks: none

The opening track (Amsterdam) is intense - it kind of has the chord progression of Greensleeves but with the addition of some seriously cool/dramatic singing and timpani-like drums punctuating it. About half of the remaining tracks follow the same lines, with the more upbeat, intense ones being the highlights. The ballads, on the other hand, are kind of lost on me - excluding the string parts, which are pretty good. "Le plat pays" is a track which would be a complete throwaway without the strings in the latter half (though honestly, it's still probably a throwaway regardless). As an aside, this musical style is exactly what comes to mind when someone says "French 60s music". The accordions probably don't help to break down the stereotype. I'm giving this a slightly higher rating than I would've initially, because as another reviewer pointed out, it's hard to judge this without understanding the nuances of the language, since Brel is known for his wit and turn-of-phrase. 3/5 Key tracks: Amsterdam, Les timides, Tango Funebre

Some claim this album hugely popularised the blues genre. I call utter bologna, because even by 1966 standards, this kind of music is massively overdone. And an entire album filled with 12-bar blues (half of the tracks all in the same key) isn't doing the music any favours. Sure, it sounds fine, but it also has that '60s unpolished feel that makes the band appear more unprofessional than anything else. With a more interesting mix of genres, a la Revolver or other contemporary albums, they could've gotten away having unsteady mixing and performance – but here, they don't quite cut it. The piano (appearing in many of the tracks) is probably the highlight. The singing is fine, though I slightly prefer the instrumental tracks to the ones with lyrics. I have such an intense and rightful grudge against Eric Clapton as a person that all of his music is irreparably tainted even if it's played well, so I can't really say I loved his guitar cameo. As with a lot of my recent album reviews, I'm probably being too harsh here. But Clapton deserves it. Take that, little racist anti-vax guitar boy. 2/5 Key tracks: All Your Love, Have You Heard, Little Girl

Too ambient and aimless to really be noteworthy. It isn't bad, but for an album released just 25 years ago, only the most influential/important music should genuinely qualify for "1001 albums you must hear before you die", and I don't see anything particularly influential here. Clearly (judging by number of listens), Spotify listeners don't either. In fact, São Paulo Confessions feels mostly like a vague and uninspired continuation of Latin American music from decades prior (with a little electronic sound sprinkled in to remind you that this ain't no 60s throwaway – it's a 90s throwaway). Props to Suba, I guess, for capturing this sound accurately. Felicidade is probably the track that intrigued me the most and had the more enjoyable electronic contributions. Those quiet pulsing synths are fun, and the singing is solid. The opening track, Tantos Desejos, is good for similar reasons. Most of the remainder of the album blended together for me. 2/5 Key tracks: Tantos Desejos, Felicidade

Solid, but I do feel that Prince is more hyped up by my rose-coloured-glasses-wearing Gen X parents than it should be. 1999 (and Prince's discography as a whole) speaks to a post-disco generation who's still interested in this whole moonwalking/showboating gig. There are some great electronic sounds here, and that's the main highlight. Almost comedically 80s-sounding for pretty much the entire runtime. Throughout this "1001 Albums" project, I've really warmed up to musicians who wholeheartedly embrace that feel. That being said: the songs are far too long, having an average track length of more than 6 minutes (and some reaching almost 10 minutes). Disco and post-disco have a habit of doing this – presumably because it works well in a club-music context – but during close listening the songs get a little repetitive. The title track is the only one that really gets away with being this long, though it could still be shaved to half its runtime and I'd be happy. I get the feeling this album would've been excellent for live touring. 3/5 Key tracks: 1999, Little Red Corvette, Lady Cab Driver

Muahahahaha... Steely Dan. This is my dojo. A big step up from their debut album, particularly if you're a fan of the jazz-rock fusion genre they'd eventually cling to in their later works. Gone are the fun but cliched radio hits of Do It Again and Dirty Work, and instead we get a diverse whirlwind of jams, miniature-prog projects, and some truly epic solos (mostly on guitar). And only a year later! And, for 1973, it sounds completely different from anything released before it. Man, there's just so much to like here. From the crazed slam-dunk opener of Bodhisattva to the glowing pseudo-pop Razor Boy with its unpredictable harmonies and percussive bells, to the extended shredding solos in The Boston Rag and Your Gold Teeth, to the brassy joy and snarkiness of My Old School... Big shoutout, too, to King Of The World, one of the more underrated Steely Dan tracks – for its excellent synth solos, floaty/psychedelic guitar lines, jolting chorus harmonies, and a very odd lyrical theme for Dan standards. Normally their lyrics are tutorials on how to prepare high-quality meth or about the regret of hiring a pair of 19-year-old prostitutes, but here we have this post-apocalyptic theme more akin to something by R.E.M. It's a great closer to a great album. The two weakest tracks here are probably Pearl Of The Quarter (the line "voulez voulez voulez vous" being its only real notable moment) and Show Biz Kids (that weird whiny shouting towards the end emphasises my feelings about a 5-minute jam over one chord and the backing vocalists repeating "lost wages" for its entire duration). And I guess the album art is kind of goofy. But the music is so darn fun to listen to that you can't really fault ol' Don and Walt. 5/5 Key tracks: Bodhisattva, Razor Boy, Your Gold Teeth, My Old School, King Of The World

This album was such an odd, magical experience, and nothing else I've heard sounds quite like it. I almost gave it a 4, mostly because I caught my attention drifting during some of the slower tracks. I'm also not a fan of the 80s production gloss that obscures some truly brilliant material. But eventually my mind was changed. The vocalising here is distinctively Kate Bush, and the real highlight of the album - along with the strings, which are generally excellent (Under Ice, Cloudbusting, the title track). The album keeps throwing surprises, twists, and turns at you, whether it be reversed octave-harmonised singing in Watching You Without Me, the exciting medieval battle-esque fiddles in Jig Of Life, or the beautiful overlapping piano and acoustic guitar in And Dream Of Sheep. Kate Bush is honestly one of the most badass artists of the 80s. She pulls off this powerful aura with her voice, songwriting, and experimentation, inspiring the likes of Bjork and other atmosphere-experimental female artists of the 90s and early 00s. 5/5 Key tracks: Running Up That Hill, Hounds Of Love, And Dream Of Sheep, Jig Of Life, Cloudbusting

This is good music, but it's a bit anonymous, especially for the 70s, when this is more of a 50s genre. In general, I prefer to give high ratings to "genre renaissance" albums only if they bring something really new and special to the table, and I don't think Joan Armatrading quite accomplishes this. It (at least the first half) absolutely sounds like an Ella Fitzgerald release from the 40s or 50s, with better production and maybe a little more country-focused. That being said, the soul in Armatrading's vocal is undeniable, and the strings and horns complement her well. The acoustic guitar playing is incredibly groovy in certain tracks too, including Like Fire. The songwriting could use some work - there aren't particularly many hooks to make the individual songs memorable - but you can't really make bad music in this style. There's a reason this genre (which is sort of a blend of funk, country, and soul) had been done to death by the mid-70s and continues to be reasonably beloved in the present day. 3/5 Key tracks: Down To Zero, Help Yourself, Like Fire

The vocal production, as with many albums from the early 60s, is poor. It's impossible to ignore once you've noticed it. The quality is pretty low, and the audio peaks every single time Solomon Burke pulls out his soulful wail. And, in a rare turn of events, the backing singers are even worse than the main vocalist (for the same reason: production). It probably doesn't help that one of the higher-range backing vocalists is frequently out of tune. The overall production in this album is questionable, and it detracts noticeably from the listening experience. The lyrics are love-cliched to the point of obscurity. The album does drag a bit in terms of musical themes and styles, not really deviating from a crooning sort of soul for its 35-minute runtime. This lack of diversity was the norm for late 50s and early 60s albums in the UK and US. As another reviewer wrote, early 60s music is "like taking a trip to a forgotten era, one that’s kind of familiar, but also completely foreign. Having been released in 1964, this record is closer to the familiar than to completely foreign, but, it feels…old. Like if you could listen to music in black and white." In fact, the production makes this feel even older - like something from the 40s. It's not impressive for its time. Now for the positives. The songs, in isolation, are well-written. I imagine a lot of artists covered this guy, and the general boomer populace most likely knows a few of these tunes (possibly without knowing the guy's name). The opening track, Cry to Me, is easily the main highlight, having a fun little bass guitar-lead guitar back-and-forth as a hook. 2/5 Key tracks: Cry to Me, If You Need Me, Someone to Love Me

It's a coinflip between a 2 or a 3 for me. On the one hand, it's punk, and very low-effort punk at that. By the late 70s, few bands were on such tight schedules that they genuinely had to record albums in timeframes as short as one day. In general, I don't enjoy projects that have low effort. (It's one reason why I'm so critical of the punk genre.) Also, whoever's on lead vocals has that unbearable drunken monotone that crops up in pretty much every new British rock band in the late 70s. I refuse to grow numb to this. They're competing with the likes of 70s-era Queen (which some of you are giving 2s and 1s for some reason), and I refuse to lower my standards too far below the late great Mercury's voice. On the other hand, I caught myself tapping my foot a few times. The music on Live At The Witch Trials is surprisingly catchy, especially when you've just completed a couple of difficult uni assignments and you're feeling particularly anti-establishment. The riffs, played on a janky and jangly sounding electric guitar, are actually pretty solid. The singing is absolutely terrible, but then who needs a good singer anyway? (Wait a minute. I need a good singer. Who am I kidding?) 2/5 Key tracks: Frightened, Rebellious Jukebox, Mother - Sister!

I would describe most of this as gentle, slightly sappy orchestral rock that didn't really make me feel one way or the other in terms of enjoyment. Those kinds of albums usually warrant a 2/5 from me, and normally this would be no exception. But then we arrive at the killer title track, with its infectious string arrangement and excellent "la-la" singalong hook, and my rating is raised (almost singlehandedly) to a 3/5. Child's Christmas In Wales is another strong track for its festive carol-esque sound. Notable instruments on several tracks include the glowing strings and organs, as well as the simple yet expressive bass and drums. But the weaker tracks definitely bring this down. The song Macbeth has little to show aside from the horrible mixing of an already fairly weak vocal, plus some brash electric guitars to drown the guy's voice out. Hanky Panky Nohow and The Endless Plain Of Fortune bring out Cale's voice more clearly but the compositions (and the voice itself) are nothing to write home about. 3/5 Key tracks: Child's Christmas In Wales, Paris 1919

For about a year, back in 2020, this was my favourite album of all time. Here's why: Years of stressful touring, tens of thousands of screaming fans sacrificing their dignity/lives to get to you, a goofy comment about being more popular than Jesus leading to the most powerful country in the world turning against you. That's what the Beatles were wrapped up in. It's no wonder they started taking LSD in addition to heavy use of cannabis. The LSD had the side effect of creating some of the best 2-minute pop of the 60s. Taxman is the Beatles' first time opening an album with a George Harrison-penned track, and it's rock-solid. Jam-packed with distorted guitars, biting lyrics, and brash, infectious basslines, there's really nothing to complain about here. The "ah-ah, Mr Wilson" and "ah-ah, Mr Heath" backing vocals are one of the many tricks pulled out of the Beatles' collective hat here. Then we move onto Eleanor Rigby, a depressingly stark reminder that people like Eleanor Rigby, me, and others exist everywhere. One of the earliest uses of strings in a definitively rock-genre song, and it sounds fantastic. The contrast between staccato and legato string playing in the chorus is great. And other than the strings, there's just Paul McCartney and his more-nasally-than-usual vocal (he was sick during recording). "Eleanor Rigby died in the church and was buried along with her name / Nobody came / Father MacKenzie, wiping the dirt from his hands as he walks from the grave / No one was saved / All the lonely people, where do they all come from?" Harrowing stuff. I'm Only Sleeping - one of the earliest, if not the earliest, uses of reversed guitar in a pop song. There's an entire solo built around this and it really adds to the slow, swung, dreamy mood of the piece. Also, fun little bass licks bookending those music breaks. They're three for three so far, these Liverpudlian lads. Love You To is a track I feel gets too much hate simply for being wildly outside the Beatles' pre-1966 sound. I think it's a solid fusion of sounds from Indian classical and British rock (cool instrumentation especially), and George's vocal melody is super fun. Here, There, and Everywhere is gorgeous. Apparently it was Paul's "reply" to the Beach Boys' gentle yet revolutionary Pet Sounds, released a few months before this album, as part of the two bands' ongoing rivalry. It's a huge standout track in the Beatles' discography as a whole, particularly the chord progression, which is a masterclass in harmony by itself. Yellow Submarine is unequivocally the weakest track on the album, but that's not to say it's bad. On the contrary, it's probably the catchiest song released by the band that year (if not in their entire discography). Everybody knows Yellow Submarine. The "band begin[ning] to play" is the best part of the song. She Said She Said features some distorted, layered guitars, giving a very distinctive texture that would feature in many later Beatles tracks (including some others later on Revolver). There's so much going on here sonically that it's easier just to bask in the incredible harmonic work between the guitars and vocals, along with Ringo's crash-heavy percussion. Flip over the record and we come to Good Day Sunshine, an upbeat pop track centred around a very low piano register. What is it about low-register pianos that makes music sound comedic? This song makes me want to laugh, prance about, remember this song's lyrics don't really apply to me, and then sit down glumly and acknowledge the lack of a nearby presence. And Your Bird Can Sing, one of John Lennon's best Beatles tracks (despite the nonsense he spouted about it being a throwaway). The distorted, self-harmonising lead guitar line is brilliant, the vocal harmonies are on-point, and whoever's doing that tambourine at the end should probably be fired. (It's pretty low in the mix, though, don't worry.) This is taking too long to write, so I'll make this quick. For No One is a short, to-the-point ballad that is so simple and elegant that it may just be in my top 5 Beatles tracks. Doctor Robert's guitar riff is maybe a little annoying, but that middle organ section is a moment of spiritual ascension. I Want To Tell You has that great tritone+semitone clash in the piano part that some people apparently hate but I personally love. Got To Get You Into My Life is energetic, brassy, and has an excellent one-liner chorus, as well as a brilliant final section where the guitars take over for the trumpets. Tomorrow Never Knows still sounds like the future even 58 years later, with some of Ringo's best drumming to date, heavily edited guitars(?) that are made to sound like gulls, a pedal tone, an indecipherable lyric (LSD), and some stunning surround-sound mixing. What a freaking awesome album. Of course, as with every sane Beatles fan, I eventually started to prefer Abbey Road over Revolver. But the latter has this brilliant energy and raw creativity that I'll never forget. 5/5 Key tracks: all, pretty much

Not as good as Peter Gabriel 1, which is also on this list. Some interesting and mildly progressive sounds here, particularly with drumming and synths, but anticipating 80s as a musical decade isn't exactly something to boast about unless you're seriously ahead of your time. Biko is the star track here primarily because its sound strays away from that of earlier songs into something intense, exciting, and (probably) revolutionary. 3/5 Key tracks: Biko, Games Without Frontiers, Intruders

Q-Tip's The Renaissance sounds like your typical 2000s rap, heavily laden with one-bar loops over a monotone vocal delivery, miscellaneous DJ/quirky techy sound effects, and (unnecessary) nods to other contemporary hip-hop artists. This "triple threat" has been done to death, and it doesn't get particularly better over time, no matter how many artists give it a whirl. With this record, Q-Tip tries to go for a sort of "smooth jazz" approach to the hip-hop genre, in particular making use of crooning vocals, some interesting instrument harmonies, and some fun piano and bass lines here and there. If these had been a little more varied, my rating would've been raised to a 3 (or even higher). The track Gettin Up is the standout in terms of instruments, having some pretty good backing vocals, an infectious piano riff, and one of the best/funkiest bass parts I've heard in hip-hop. The album never really reaches this height again, and is mostly repetitive monotonous filler. The album cover is pretty cool. Nice 70s/80s "future-teque" vibe. 2/5 Key tracks: WeFight/WeLove, Get Up, Johnny Is Dead

Yeah, even as a long-time Radiohead fan, I can't let myself give every album of theirs 5 stars - not even to offset some of the mind-boggling 1- and 2-star reviews on here. This project is Radiohead's wild, bloated whirlwind - and after enough listens, it starts to hit pretty dang hard. Every track is charming in its own way, even the two-track dip of We Suck Young Blood and The Gloaming, and (contrary to the band's own opinion) I wouldn't cut any tracks out. Truly the White Album of Radiohead (and possibly of alternative rock overall, considering how big this album was upon its release). There's a paragraph from another reviewer that really resonated with me here: "So yeah, there's a lot going on here. Not all of it works, it's bumpy tempo transition-wise, and some of it just isn't even palatable the first time around. But despite its flaws, the LP presents such a logical step in the band's discography and overall sound that it shines in context (and honestly presents some experimental pathways I wish the band had followed). I don't fault anybody who hates this on first listen or just doesn't get it - an album that requires understanding an entire band's output to 'get' isn't perfect by a long shot. For me, though, I keep coming back to this runt of the litter LP that wears its 'Scatterbrain' on its sleeve and finding things new to love about this band." Seriously, though, whoever's calling Radiohead "boring" with the ridiculously intricate instrumentation, rhythms, chords/harmonies, and melodic lines has to be kidding themselves. A song doesn't have to be catchy to be engaging, but half of these are catchy anyway, and several of them made my "key tracks" list. The outro to 2+2=5 is explosive and packed with energy, as is the outro of the following track, Sit Down, Stand Up. The exciting country-esque acoustic guitar of Go To Sleep is also worth mentioning, and the chorus of A Wolf At the Door is as great as choruses can reasonably get. We hear an eclectic mix of styles from all throughout the band's career to that point - including The Bends-era, OK Computer-era, and Kid A / Amnesiac-era instrumentation and mood. I appreciate the overarching theme of the authoritarian government patting you on the head and telling you it'll be okay. Who doesn't like free pats? 4/5 Key tracks: 2+2=5, Sail To The Moon, Go To Sleep, There, There, A Wolf At the Door

A solid album – one of the better punk entries on the list – just slightly edging out American Idiot as the strongest "well-known" Green Day album. The album seems less full of itself, less insistent upon itself (as the famous saying goes). It exists, first and foremost, to provide a clean, energetic punk-rock sound – rather than prioritising proving its own cleverness. This is something that American Idiot fell prey to, though that album was still very good. So, Dookie. A sharp, consistent, relatively simple-sounding (particularly in terms of harmonies and instrumentation) setlist, with a surprisingly good ratio of meat to filler. In fact, upon a first listen, I'd argue that there was essentially zero filler – except maybe the closing track All by Myself, which is a goofy little aside that probably should've gotten the chop. Save that kind of lo-fi acoustic fluff for breathtaking swansong projects like Abbey Road (though even in that context, Her Majesty is questionable). My favourite tracks are also the ones with the most Spotify listens: Welcome to Paradise, Basket Case, Longview, When I Come Around... Seems like Green Day fans (and to an extent, the musical public) know their stuff. 4/5 Key tracks: Longview, Welcome to Paradise, Basket Case, When I Come Around

I loved listening to this. Of course, I recognised half the tracks despite never having actively listened to Gun N' Roses, but it was still an exciting, raw, libido-fuelled journey that showcased every instrument's potential. This is especially true for the vocals. Axl Rose, like Robert Plant of Led Zeppelin, has a great rock scream that toes the line between high-pitched and gritty. And there are so many great vocal and guitar hooks, making just about every track easily re-listenable. Paradise City, Welcome To The Jungle, Nightrain, Mr. Brownstone, It's So Easy... Then, of course, there's the star track – not just of the band, but (arguably) of all of 80s rock – namely, Sweet Child O' Mine. I think it's safe to say that there's nothing bad about this track (in isolation), and everything good. The semi-distorted, semi-melancholic guitar riff, the wistful lyrics, the stadium-rocker chorus. Quite good eh? Sure, half of these are played to death on rock radio stations, but can you really blame them? There's such a raw power in every instrument here, all brought together into a monster of an album that can absolutely stand up against other giants of the rock genre. Side note: "It's overplayed" is not a good criticism of any form of music. Don't give a 1-star review if that's your only justification. 5/5 Key tracks: Sweet Child O' Mine, Paradise City, Mr. Brownstone, It's So Easy, Nightrain, Welcome To The Jungle

By all means this should be a 4- or 5-star album for me, genre-wise, but something didn't click for me. The songs aren't particularly memorable, generally lacking any real hooks, riffs, or singability – excluding some standouts like Cut Your Hair, Gold Soundz, and Range Life. The singing is pretty lacklustre, though the guitar-playing mostly makes up for it. I'm a big fan of the acoustic guitar in Range Life (it really defines the track) and the simple yet stylish distortion in the guitar and (partially) the drumming. The main thing that really brings this down is the vocals in several particular tracks. In Newark Wilder, Stop Breathin, and Heaven Is a Truck, the singing is done quite lazily and atonally, almost giving the impression of an untalented band. But clearly these guys have talent (exhibit A: the instrumental track 5-4=Unity). I'm giving a generous 3 stars because I think this band is better than they're letting on. 3/5 Key tracks: Cut Your Hair, Gold Soundz, 5-4=Unity

My first time hearing Costello was in December of last year, with the album "This Year's Model" with his band The Attractions. This isn't quite as strong. Something about his voice frustrates me, like it's in an uncanny valley between a few other, better vocalists. He sounds *kind of* like Billy Joel, the better Elvis, the Strokes, and a few other rock bands from various eras mashed together. Another problem, related to that one, is that the music doesn't really bring anything new to the party, other than some decent compositions. The style is an odd sort of soft-punk, with clear 50s/60s R&B and rock influences. (My friend and I argued briefly about whether this counted as rock, and we couldn't come to an agreement. But being "genreless" isn't necessarily a good thing.) There's a lot of filler music and poor mixing on the album too. As for the positives: Watching The Detectives, Alison, Red Shoes, and Less Than Zero are really fun little tunes, especially when paying attention to the instrumentals only. Watching The Detectives has a great bassline that really holds the song together. Alison is an enjoyable sort of chill power pop, featuring a chorus that sounds exactly how you'd expect based on the title and genre. Throughout the album, the guitar and drums are generally pretty good, and the bass is pretty killer. 3/5 Key tracks: Alison, (The Angels Wanna Wear My) Red Shoes, Less Than Zero, Watching The Detectives

Not really my thing. I can see the innovation, and I can also disagree (with most reviewers, it seems) about it sounding good. The 60s-quality production isn't doing Dr John any favours, particularly on the vocals, which self-distort at almost every volume. The lead vocals are mixed completely differently to the backing ones, creating an odd aural disconnect that's very distracting once you notice it. The instrumentation is very pulled back, focused mostly on a heavily acoustic and lo-fi percussion section (which actually does sounds pretty good). The guitar playing is incredibly retro even for its time, with licks and strumming patterns sounding like they date back to the 1910s or even earlier, but it's also passable (if very dated and odd-sounding). I'll give Dr John this, though: Gris Gris doesn't sound actively bad or boring. In fact, I was pretty intrigued during the entire 33-minute listen. It's fun when this list allows you to discover genres you couldn't have even conceived of. I'd love to see this style revisited with better production and with some stronger compositions and musicians backing it up. A slight improvement on Pink Floyd's "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict". 2/5 Key tracks: I Walk on Guilded Splinters, Mama Roux

Pessimism won't get you far, even in the realm of music. I'm not an advocate for it, particularly when it drives all the focus into the lyrics and none into the actual sound. The music is very brash, unrefined, and there's little for the ear to grab onto so that you can recognise and predict the music later on. The (rhythm) guitar playing, in particular, is punky, heavily distorted noise that probably should have been taken out. The lead and bass are fine but nothing notable. Even the lyrics – so dark, grim, and utterly depressing that they're surely the focus of the album – are next to impossible to discern without straight up Googling them. The lyrical enunciation is poor even for post-punk/alt-rock standards, and the melodies aren't exactly memorable or catchy either. Sure, the lyrics themselves definitely come from the heart, but given the quality of the package they're delivered in, I'd rather just read them from an agitated political revolutionary's memoir. The Holy Bible isn't necessarily actively bad like other 1-star albums on this list, but it has very little good going for it. I can't think of much to compliment, and there aren't any standout tracks. She Is Suffering and 4st 7lb are maybe the only tracks I partially liked, but I couldn't tell you why. Maybe the chorus of 4st 7lb was kind of catchy. P.C.P. has a good energy too, and the sound was fairly enjoyable. Very bad album cover art. Though I will say – it definitely makes a statement. To those of you calling this the "greatest album of all time" (there are surprisingly many of you), I ask: in which ways does The Holy Bible outperform OK Computer? Abbey Road? Rumours? The Stranger? Tapestry? The Dark Side Of The Moon? Blue? Back to Black? (just to name a few.) 1/5 Key tracks: 4st 7lb, She Is Suffering, P.C.P.

I usually expect a fun, commercial-yet-complex sound from David Bowie but, unlike Low or most of his earlier albums, the commercial part is really lacking here. Bowie and Eno's creativity is possibly unparalleled for its time, and I'm aware that "Heroes" was contextually important for musical contemporaries – but it doesn't hook me in anywhere near as effectively as Ziggy Stardust, Blackstar, Low, Station to Station, or Aladdin Sane (all of which are on this list). Briano Eno's contributions are top-notch here, particularly on the side 2 track V-2 Schneider. The background synths are a nice contrast to the "bloopy" ones (which are less enjoyable), the guitar playing is solid, the drums are more or less a continuation of the proto-80s feel in Low. Based on general consensus from the reviews, it seems like Lodger is a continuation of these trends. I feel that, at this point in his career, Bowie's vocals start to abandon the early/mid-70s quirk and charm that most earlier albums showcased, and that really brings an album like this down – especially for such an iconic rock figure. 3/5 Key tracks: Heroes, Blackout, V-2 Schneider

Listen, I like metal as much as the next guy (if the next guy were indifferent to metal), but even I can appreciate the catastrophe of an album that is Napalm Death's "Scum". There's not much to comment on, but I'll do my best. Scum is 33 minutes, and 28 "songs", brimming with the beautiful voices of drunken ogres crying for battle over a loud, heavily distorted, extremely crash-heavy percussion line that can't quite decide whether it wants to sound mildly professional or like some kid in a garage that's angry at his mom for grounding him. Honestly though, the drums aren't terrible, nor is the guitar - though I wish it was easier to hear the melodies and harmonies in the latter. The music is severely lacking in any kind of melody for the ear to grab onto, and this makes it horrendously difficult to properly engage with in any meaningful way. The question "what was your favourite song?" could not honestly be answered, because they're all puddles of equally unmemorable, bland, testosterone-laden mucus (or other excretions). In that regard, the songwriting is some of the weakest I've ever experienced in all my years of listening. I know I've already slammed the singing, but god, it's so terrible. Inexcusably so. Any form of singing with any effort put into it would be better. Even a regular speaking voice would've made this infinitely more listenable (though I would still give the album a 1/5 rating for a plethora of other reasons). It sounds like somebody vomiting, kicking dogs, and drinking a smoothie made primarily of braised beef and malic acid - all rolled into one miserable trainwreck of a vocal in an instrumental lineup that already didn't show much promise. I tried to enjoy "Scum". I really did. But it's unequivocally a contender for the worst album on this list. 1/5 Key tracks: none

No, I don't want to listen to people having sex for an hour. In fact... *checks notes*... the album is 69 minutes long. You can't make this up. 1/5 Key tracks: Warning, Big Poppa

Some rock-solid songwriting from the Beatles, showcasing the finest harmonising in their discography and a bright, colourful genre-blend of rock, pop, and folk. Every track is great in its own right, but I'll shout out a few specific ones. Rubber Soul sees possibly the band's best integration of Indian instruments into their own style of music in the form of Norwegian Wood (This Bird Has Flown), a powerhouse track that has since become one of the most covered songs in modern history. Norwegian Wood is truly one of their masterpieces and easily a top-10 (or even top-5) Beatles track, despite its instrumental and harmonic simplicity. The riff and melody (the two are pretty much identical) are just fantastic. There's a fun synergy between the acoustic guitar and sitar, as well as tambourines backing it up – along with the gorgeous harmonising vocals. But that's pretty much it. Simple and effective. Michelle is one of the Beatles' most harmonically intriguing songs, and again has been heavily covered since its inception. I'm not quite sure how I feel about the French choruses – they've always felt a bit gimmicky – but then, this was before everyone was messing around with similar ideas, leading to the likes of Billy Joel's dud track C’était toi (You Were the One) on his otherwise stellar 1980 album Glass Houses. Other than the Frenchness, Michelle is a mellow, mysterious, quietly empassioned interlude between some of the rockier tracks. In My Life is another incredible tracks, showcasing not only some of the Beatles' best lyrics, but also possibly some of the best lyrics of all time. And apparently they get better as you get older. Gives me something to look forward to, I guess. The baroque-style keyboard/harpsichord solo is also a wacky standout here, using the same gorgeous chord progression as the rest of the song but otherwise sounding completely different. Was this a stroke of genius by the Fab Four? Probably. People seem to think it was, anyway. I see it as the "good old days" flashing before the narrator's eyes, but maybe that's reading too much into it. Regardless, In My Life is another easy top-10/top-5 Beatles track. Then there's a plethora of great pop-rock tracks here with a sprinkle of country-folk that was developed in 1964/5, likely inspired by Dylan's records. These tracks include Drive My Car, You Won't See Me, Think For Yourself, Nowhere Man, I'm Looking Through You, Wait, and If I Needed Someone. (And just like that, we've talked about almost every track on the album!) Plus there's Girl, an acoustic-guitar-heavy ballad that's hard to describe but radiates a feeling of "wow this song is utter genius". I like the part in the chorus where John inhales weirdly. I can see why some listeners would find the album closer Run For Your Life questionable. To me it comes across as a peppy Elvis imitation, and I don't have a problem with it other than its lyrics (which haven't exactly aged well). Ah, well. Even the big Beebles were fallible. 5/5 Key tracks: Drive My Car, Norwegian Wood (This Bird Has Flown), Nowhere Man, Michelle, Girl, I'm Looking Through You, In My Life, If I Needed Someone

A silly little album with a few silly little songs that any fan of classic rock will instantly recognise. Yet I can't help but feel that there isn't much variety, either in the lyricism or (especially) the style and instrumentation of each track. Tracks like Things Goin' On and Poison Whiskey, while technically fine, fade into the background when compared to the more well-known songs surrounding them. And is it fair to say that the "confederate rock" genre is both overdone and slightly in poor taste? I think it is. When the songs shine, though... man, they really shine. Tuesday's Gone and especially Free Bird are masterclasses in how to keep a 7-plus-minute song interesting through exciting solos, varying energy, and experimenting with combinations of instruments. Gimme Three Steps has a memorable vocal and guitar riff, as does Simple Man – justifying their clear popularity. I would've liked to see Lynyrd Skynyrd take these ideas and make more of a creative splash on the music scene through experimentation and artistic expression, but this album is pretty solid as is. 4/5 Key tracks: Free Bird, Simple Man, Gimme Three Steps

Something about this feels oddly soulless. There are some nice overlapping instruments, particularly involving string instruments and synths, but it's very artificial. Even the singing feels kind of empty. I'm also not a big fan of the melodies here, which are at once slow-moving and very difficult to catch onto properly. The chords are kind of weird and don't make it easy for the (vocal) melody to be catchy or singable – at least, upon a first listen. Maybe the music on In Our Heads ages like wine upon relistening, but I doubt I'll be giving it that second chance. The music wasn't entirely bad. There were a few musical ideas that caught my attention, particularly in the tracks Motion Sickness, These Chains, and Flutes. (Phoebe Bridgers pulled off the former much more convincingly though.) There are some fun guitar and synths arpeggios in these tracks that are significantly better-sounding with the wacky chord progressions than the singing generally was. The track Night And Day is almost nightclub-esque, although it has a heavy retro/80s vibe that separates it from the more 2000s-esque remainder of the album. 2/5 Key tracks: Flutes, Motion Sickness, Night And Day

Weaker than Wilco's later work, Yankee Hotel Foxtrot. The band experiments with a fairly bland alt-country genre that might work as a track or two sprinkled amongst some much stronger and less outdated compositions, but 77 minutes of this is just slightly too much for my taste. The jangly acoustic guitars and uninspiring singing get a bit stale after the first dozen tracks (and some of these tracks are in excess of 6 minutes long). Poor music for close listening; great fodder for background noise at Uncle Joe's farm party. Fortunately, though, we do see a glimmer of the better songwriting that's to come. The tracks I Got You (At the End of the Century) and Monday have an electric hard-rock energy that's quite different from the remaining tracks, and that breaks up Disc 1 nicely. Dreamer in My Dreams, the closing track, is also worth mentioning for its overuse of drunken noises and being a nice all-out way to end an unnecessarily bloated album. Forget the Flowers and Misunderstood are the strongest of the slightly mellower tracks, but they (like most early Wilco songs) still bring nothing new to the musical world, and are pretty uninteresting as a consequence. 2/5 Key tracks: Monday, I Got You (At the End of the Century), Dreamer in My Dreams

I enjoyed every track on here except Money For Nothing. The f-slur? Repeated three times in one verse, because I guess once wasn't enough? Not cool, man. Otherwise, there's not much to criticise here. Dire Straits have a very refined and precise style, and it works in all kinds of settings – from stadium rock to meditation music to everything in between. I'm a big fan of whatever's going on in Your Latest Trick. Smooth synth-jazz, reminds me a bit of Gaucho-era Steely Dan (which is an incredibly sick style in its own right). You can't go wrong with various sax licks over a chill, future-esque jazz bar cocktail night aesthetic. The synth riff in Walk Of Life is instantly recognisable, and the moody, memorable opener and closer (So Far Away; Brothers In Arms) set the album's tone very nicely. There's some clear influence from prog rock, country, jazz (of course), and classic blues-rock – and despite being from the 80s, it just barely manages to remain timeless. (Or it doesn't, depending on who you ask. I'm 50-50.) 4/5 Key tracks: So Far Away, Walk Of Life, Your Latest Trick, Brothers In Arms

Oh, boy... we finally made it. The artist that every rapper name-drops in every one of their tracks since the early 90s. This guy better freakin' blow everyone else out of the water. After listening to this album in full, I can safely say that Dr. Dre fits in snugly with the rest of the 90s hip-hop crew. The percussion is consistently very bad, using low-quality, poorly produced loops that add little to the overall sound. The synths are a coin flip on each song, with their timbre being either fair or ear-piercingly terrible (see: the first three tracks). And the vocals... Dr. Dre's voice is so incredibly hip-hop-generic that the music is much better when you tune him out completely. And thankfully, it's not too hard to do that. Once you do, you realise nearly every track is completely devoid of anything interesting – with the exception of the quasi-outro The Roach, whose instrumental is actually kind of fire. Nice brass-synth interaction going on there. Decent riffs are spread here and there throughout the album, including on Fuck Wit Dre Day, High Powered, and A Nerd Witta Gun – but for the most part, there's nothing of value to glean here. Then we get to the lyrics. Huh... There's a ton of swearing, misogyny, sex noises, pretty much the usual fare for 90s hip-hop music. But the lyrics of Bitches Ain't Shit are a new level of heinous. It might have been partially because the vocal enunciation was more brash and unique-sounding, so I had to pay attention to it. Check out the poetic lyricism in the chorus: "Bitches ain't shit but hoes and tricks Lick on deez nutz and suck the dick Get's the fuck out after you're done And I hops in my ride to make a quick run" ...Yeah. That's what we're dealing with here. I can't justify anything higher than a 1. I didn't have the heart to sift through the lyrics to the other tracks, so I'm relying on another reviewer's opinion here: "The subject matter barely moves beyond smoking, macking, hoes, fronting and general gangsta BS... this album just has nothing to say." Do people genuinely like this guy's music? 1/5 Key tracks: High Powered, The Roach

My first listen to this was on a bike ride, and it sounded pretty bad. I was prepared to give it a 2, or even a 1, but the glowing reviews on here convinced me I should give it a relisten with higher-quality speakers. It's definitely better that way, though Raw Power still isn't as wonderful as many people claim it is. Very cool sound, guitar-heavy, incorporating elements of proto-punk, metal, and a heavy dose of 60s blues-pop. The Stooges' sound reminds me of the Rolling Stones' sound around (roughly) the same time. It also anticipates a lot of late-70s and 80s stadium guitar rock. All of the tracks were better upon a relisten, but some were still poor. The vocals in the songs Penetration and Raw Power (the title track) are poor: vocal breaking, microphone clipping, little to no discernable melody, the works. In fact, the vocals in general are quite unmelodic and unrefined, but it's most noticeable in the title track because of a lack of good instrumental riffs to distract the listener. Penetration has a great bell(?) riff and driving rhythm section, but the vocals are a horrendous half-whispered sexual frenzy that's not fun to listen to at all. The closing track, Death Trip, is essentially a longer cut of the title track, and doesn't add anything new to the table. The two opening tracks – Search and Destroy" and "Gimme Danger" are the strongest. I'll give this to the Stooges: they really pump you up. This had to be incredible live. 3/5 Key tracks: Gimme Danger, Search and Destroy

I really liked this album. It was full of energy, creativity, surprises, twists and turns. The leading single, D.A.N.C.E., was fantastic, and just imperfect enough that it doesn't come across as a manufactured EDM piece like so many of its contemporaries. These Justice guys are great at their craft and clearly competent at composing tricky, stimulating, crazy textures. There are dozens of interacting synth sounds across the album's 12 tracks, including ones that sound like ultra-processed guitars and bass. (Relatedly, the "bass" sound is consistently great here.) The use of reasonably complex chords and melodies is always a win. The transitions between tracks are very sudden, which definitely makes it an "album experience", albeit a slightly jarring one. According to the Wikipedia article, the album features a heck-ton of sampling – which I'm still not convinced has much creative merit, but I guess it was done well, because I hardly noticed it. The album does lose a bit of steam in the last four tracks or so. It seems like Justice tossed the four tracks with near-identical tempo and percussion onto the end of the album and called it a day. The track order could use some reshuffling. 4/5 Key tracks: Genesis, D.A.N.C.E., The Party

The riffs on this album are great, except for (funnily enough) the riff on the most popular track here, N.I.B., which is too simple to prop up such a lengthy song. Any melody doubled between electric guitar and bass feels weighty and stadium-shaking, even if it's really only shaking a localised environment like your middle ear. But it gives off the impression of raw power. Led Zeppelin does the same thing, to equally great effect. The title track is excellent, almost a proto-doom-metal genre – which is pretty ballsy for a year where other hugely popular releases were Let It Be, All Things Must Pass, and Cosmo's Factory. (Very different to their contemporaries, is what I'm saying. And in the 60s and 70s, that was usually a good thing.) The Wizard, Evil Woman, and N.I.B. are all fun, energetic jam tracks set to rock-solid guitar hooks. Admittedly, a couple of the tracks are definite filler and are entirely kept afloat by the riffs. My favourite moment was listening to Black Sabbath on Black Sabbath by Black Sabbath. 4/5 Key tracks: Black Sabbath, The Wizard, Wicked World

Passable, though barely. The bloated Britpop numbers on this album have produced a great many frowns and grimaces from (judging by the reviews) a great proportion of the audience, including myself. There's too much drum-machine, splashy/bloopy synth, and bland, uninspiring lyricism to really justify a positive review here, though a few pros are worth mentioning. The track When I Dream has potential to float to the top of the dumpsite, based on its infectious synth line – but after the two-minute mark you're thinking, "man, this is bloody repetitive, innit?" (you're British) and you glance at the runtime only to realise the song is over 7 minutes long. You sit back in your Union-Jack-cushioned and gaze out the window into the dreary, overcast Liverpool skyline, and think, "Ah, this is the life" as what little vitality remains in your English cadaver eagerly drains away. But seriously, there are some pros worth a shout-out. A few of the melodies in the synths are pretty good. The vocal is an enormous improvement upon most contemporary Britpop – reminds me a bit of Greg Lake from King Crimson. Nothing revolutionary, but a solid complement to the rest of the sound. The instruments are played fairly well, particularly the bass. But man, that repetition, particularly in the melodies... Each song is two bars of song looped for anywhere between 2 and 7 minutes. It's unforgivable. 2/5 Key tracks: Treason, Ha Ha I'm Drowning, Brave Boys Keep Their Promises

This album has a lot of thought and emotion hidden beautifully behind a post-punk, vaguely jazzy mask. I say "hidden beautifully" because it really is so well hidden that I have trouble discerning it. So many of the top-rated reviews give this a surefire 5 stars, and I'm left here wondering: what exactly is the craze all about? I'll give Fugazi some credit here. The bass is very good, and the drumming is pretty solid too. Even in some of the weaker tracks, like Greed and Shut The Door, the bass stands out as a rope of reality to cling onto. Also, there's a lot of potential for greatness here. The band really knows how to use silence to create tension, but rather than filling it (or following it) with exciting fills, the moments of tension will often flop, leaving the listener a bit unsatisfied. Amidst a sea of 5-star reviews, there's one well-approved 2-star review that puts my thoughts into words better than I could: "I don’t really like the vocals and although I see how this album could have been influential, I didn’t enjoy much of it. The almost yelled vocals that weren’t in tune were clearly on purpose [particularly noticeable on the song Merchandise], and it’s hard to say that they are bad, but they did nothing for me personally. The instrumentals are pretty good but not good enough to make me want to listen to most of the instrumental songs again." I guess a lesson here is that, while rebelling against the "musical norm" is all fun and good, there's a reason why it's the norm. (Because it sounds good.) And deviating from that norm is a dangerous game to play. 2/5 Key tracks: Brendan 1, Blueprint, Sieve-Fisted Find

Fairly groovy but anonymous material from the later Britpop days. It still has that subtle sheen of 80s production to it, but underneath there are some genuinely solid compositions. The track Alright sounded familiar upon a first listen, and no wonder: it's a huge hit. (So much so that I wonder if these guys are considered one-hit wonders.) Super catchy though. Whatever chord is being played under the hook lyric "I can't be sureeeeee" is a great choice to make the song more memorable, and there's a youthful energy in this track and many others that's frequently absent in the Britpop genre. I'll be honest, I don't like the vocals here. The singing is very unrefined and out-of-tune in places, and it sometimes has a scratchy/whiny quality that's very distracting once you notice it. Certain tunes, like Time (with its octave-harmonised falsetto) and She's So Loose (with a more driven, "rockier" quality) disguise the poor vocal better than others (Caught By The Fuzz). Then there's the song We're Not Supposed To, which sounds like a different band entirely. Some great grooves here. The instruments are, generally, played very well. She's So Loose, Alright, and Time are a few standout tracks in terms of backing instrumentals. 3/5 Key tracks: Alright, I'd Like To Know, Time

Fine, but not incredible. The music lacks any real spontaneity or "punch" that I would've expected from a post-2000 album on this list. Heavy use of acoustic guitar and strings, which normally impresses me to at least a 3-star rating – but not this time. The vocal is enunciated kind of lazily, making the melodies both difficult to sing along to and difficult to remember – two sins every songwriter learns to avoid during day 1 of the course. And the singer's vocal quality is like a heavily discounted Richard Wright of Pink Floyd (who himself isn't exactly known for his singing). I liked the part on The Good, The Bad & The Queen where The Good, The Bad & The Queen played The Good, The Bad & The Queen. (Although, the fact that such a sentence is grammatically correct makes one question whether this band's name is all they had going for them. It's not even that great of a name. Even the band's Spotify description admits that.) 2/5 Key tracks: History Song, Herculean

I enjoyed this, although as the opening track suggests, Kacey Musgraves really enjoys her slow burns. Golden Hour is a little slow to get through, in part due to all the songs having fairly similar country-pop arrangements. This includes a horrifically simple drum machine loop on most tracks – though the songs that don't include any percussion really shine as a result. The acoustic guitar playing is colourful, emotional, and really carries most of the songs here, along with the reasonably strong piano. Both could've shown some more virtuosity, but there's a beauty in simple music that Musgraves definitely has the hang of. I also have to mention her singing. Musgraves's singing accent is so quintessentially American that it loops back around from being a bit silly to being genuinely fun to listen to. In addition, her lyricism is very straightforward, memorable, and easy to sing along to. But it's not particularly poetic: "Monday, I was gone, and Tuesday, you were workin' late Wednesday went to hell, then Thursday kinda had to wait, yeah Friday, you were leavin', goin' out of town again I should see what's goin' on, only got a couple friends" "Is there a word for the way that I'm feeling tonight Happy and sad at the same time" "Texas is hot, I can be cold Grandma cried when I pierced my nose" Musgraves's style is definitely inspired by the likes of Alison Krauss, early Taylor Swift, and (possibly) some very particular aspects of Dolly Parton. More processed-sounding than all three, though. I think an artificial feel has its place in music, but perhaps not in country. But then, people seem to enjoy this stuff. It did win 6 Grammys. 3/5 Key tracks: Slow Burn, Butterflies, Space Cowboy, Rainbow

Like its two monumental predecessors (Joshua Tree, Achtung Baby), ATYCLB is very anthem-focused, almost to the point of losing the emotion and passion that backed a great deal of rock, punk, and post-punk in preceding decades. (Although, I will say – this sort of alt-rock is leagues ahead of nearly any post-punk on this list.) Beautiful Day is a complex, multifaceted power ballad that may be my favourite U2 album opener. The following track, Stuck In A Moment You Can't Get Out Of, is catchy, guitar-heavy, and has some lyrics I can really relate to. Elevation and Walk On are similarly great. However, the album becomes much less sonically memorable after these first four hard-hitters, and I couldn't tell you a single thing about the record's latter half. Well, maybe a couple of things. Peace On Earth, New York, and Grace are three limp, powerless songs on side 2 that give zero sense of progression despite all being around 5 minutes long. The Ground Beneath Her Feet is passable as a bonus track, though like most bonus tracks, it feels more like a blandish afterthought that doesn't mesh well with the earlier music. 3/5 Key tracks: Beautiful Day, Stuck In A Moment You Can't Get Out Of, Elevation, Walk On

"San Quentin, I hate every inch of you" -Johnny Cash at San Quentin (1969) At San Quentin is very similar to At Folsom Prison, an album released a year earlier and also included on this list. It does mar the listening experience just a bit, given the fact that he makes pretty similar jokes, and to a similar audience of overjoyed prisoners. But I won't let that impact my rating. Folsom got a 4, and San Quentin's getting the same treatment. Fun banter, great (albeit extremely simple) music, and the strongest version of perhaps my favourite Johnny Cash song, A Boy Named Sue. Also, if you squint your ears, every one of his songs is identical. But you can't squint your ears, silly! 4/5 Key tracks: Wreck of the Old 97, I Walk the Line, San Quentin, A Boy Named Sue

The interesting thing about this album is that it's quite bad. There's very little substance and lots of amateur DJ noise. It seems that a lot of people are giving this a higher rating on account of having lived through its release as a kid, but that's a ridiculous measure. It's like me saying Katy Perry's Teenage Dream album is good. Utter delusion assisted by violently rose-coloured glasses. Obviously Afrika Bambaataa was going for something groundbreaking, and that grants it some merit – but the end product is aimless, repetitive electronic drumbeat stuff with no particularly interesting melodies, textures, or variations in energy. There's no adherence to the classic "album experience" that showcases all the strengths of a band across a miniature variety show of tracks within one or a few genres. Instead, there's just soulless noise. And sure, it pioneered the hip-hop genre – but is that really something you want to be known for? As another reviewer wrote: "In historical context this album is very important for electro and hip-hop, but that doesn't necessarily mean it's still interesting to actually listen to today." 1/5 Key tracks: Looking for the Perfect Beat

Some good songwriting here. Very mellow, keeping in line with their (equally great) works before and after 1966 – but still some strikingly good melodies and excellent two-part vocal harmony. I guess I shouldn't expect any less. Some of these songs could do with extended cuts, because at the moment many of them sound like unfinished snippets that aren't developed enough within their two-minute runtimes. The album as a whole is under 30 minutes, which is short even for its time. I would've liked to see more of an exhibition. In terms of specific tracks: A Simple Desultory Phillippic is a strange tune that sees Simon and Garfunkel at their most aggressive, channelling a kind of angry Bob Dylan style, dropping many famous names of the time. It's suffers a lot from short runtime, but it's pretty fun, showing off their ability to emulate styles other than their classic acoustic singer-songwriter gig. Scarborough Fair / Canticle is a beautifully executed cover of the classic English folk tune. 7 O'clock News / Silent Night is haunting and sounds like it could easily be released today without the general populace so much as blinking. 4/5 Key tracks: Scarborough Fair / Canticle, Homeward Bound, The 59th Street Bridge Song (Feelin' Groovy)

This album is a perfect showcase of just about everything wrong with 80s and 90s hip-hop. Listen, I get the main message – the police are racist – but though it still holds true to this day, it's overshadowed by the rampant sexism in nearly every track, including the opener/title track: "I find a good piece o' pussy, I go up in it So if you're at a show in the front row I'ma call you a bitch or dirty-ass ho You'll probably get mad like a bitch is supposed to But that shows me, slut, you're composed to A crazy motherfucker from the street" ...and later in the same song: "So what about the bitch who got shot? Fuck her / You think I give a damn about a bitch? I ain't a sucker" ...Yeah. Pretty disgusting. The following track, Fuck Tha Police, has a near identical percussion section, tempo, and monotonous rapping style to the first track, albeit with a slightly more palatable subject matter. But the sound is bland, unmelodic, and repetitive. Like nearly all hip-hop music of the time, the lyrics here are littered with nods to the same small circle of other hip-hop artists, including Dre, Ice Cube, Ren, and so on. It's just... not enjoyable at all. Do people like listening to this? Track number 3, Gangsta Gangsta, shows that they're committed to being genuinely horrible people: "So we started lookin' for the bitches with the big butts Like her, but she keep cryin' "I got a boyfriend" bitch, stop lyin' Dumb-ass hooker ain't nothin' but a dyke" And just when you thought they were done: "We didn't get no play from the ladies With six nerds in a car are you crazy? She was scared, and it was showin' We all said "Fuck you, bitch!" and kept goin'" The rest of the album is very similar. There are some hip-hop albums on this list I've given 3s, 4s, and 5s to. This isn't one of them. N.W.A.'s Spotify description introduces the group as the "unapologetically violent and sexist pioneers of gangsta rap". If you're violent and sexist, and show it off like it's anywhere near a positive trait, nobody's going to take you seriously. 1/5 Key tracks: Express Yourself

Pretty uninteresting. Some fun little modern electronic ideas here and there, but for the most part it had all been done before 2004, and Heroes to Zeros remain as stragglers chasing after a previously-claimed pioneership of an already mediocre genre. The singing is bad and almost offensively inoffensive. It's mixed down to take away from the focus, but man, I hear you, vocal boy. And you're bad. Get a solid rock screamer or jazz scatter and you might have yourself something worth listening to, but this music hinges on the vocals being good and the talent just isn't present. See tracks like Wonderful, Lion Thief, and Liquid Bird to sample aforementioned poorness. The opening track, Assessment, is easily the strongest in the set, particularly when the singing is ignored. It's bright, catchy, and guitar-laden. Troubles used overlapping pizzicato, arco, and something glockenspiel-adjacent to pretty good effect – but again is only really enjoyable when considered without the vocals. Easy is fairly good, though it does rely quite a bit on the four-bar guitar/drum loop. 2/5 Key tracks: Assessment, Easy, Troubles

I get that this group was going for a warm, empassioned, bluesy setlist with a host of guitar-heavy epics to go down in history. They get about halfway there, and the main things holding these songs back are their long runtime and inter-track similarity. Half of these songs sound completely identical, including the solos – and oh boy are there a lot of solos to choose from here. Most of them are technically good, but hardly are very memorable. I do quite like the vocals here and they almost outshine the guitars even though they're clearly not meant to. (Take that, Clapton!) Shorter tracks that are more singing-focused, like It's Too Late, Layla, and Have You Ever Loved A Woman? are strong. The guitar playing is obviously good – almost too good. It's not nearly raw or passionate enough for ideal enjoyment, and it remains extremely consistent in this regard. The party-blues atmosphere, consisting of lots of jam-session-style pieces and background whooping/chatter, sort of works, but does get old towards the latter half of the album. 3/5 Key tracks: Bell Bottom Blues, It's Too Late, Layla

This music is fairly minimalist, and depending on what small selection of instruments were chosen for each track, it either works for or against the music. Hard Life has good overlapping vocal harmonies with light percussion, piano, and bass – and very little else. It's also well-mixed and fairly smooth. Other tracks, like Stop Dem, Don't Shoot Guns Down, and Miracles have much worse production quality. The vocal echo effect in many of the songs is very hit-or-miss for me. It works excellently in Hard Life, but is nearly unlistenable in the preceding track, Stop Dem. Another vocal effect I'm not a big fan of is the blurry distortion seen in (e.g.) Wildfires, Monsters, and Sorry Ain't Enough. It's a jarring contrast with the rest of the instrumental, and an exception to the otherwise-good mixing. (Props to Sorry Ain't Enough for emulating Marvin Gaye, though!) The messages in the lyrics are important, but I think they're delivered unconvincingly. Don't Shoot Guns Down, X, and Black Is are egregious examples of this. There's little emotion or even audible comprehension of the lyrics in the singing. It sounds like a very drunk (but average) person reading somewhat enthusiastically from a teleprompter. I still hold that a political message in music needs to be delivered in earnest while still being listenable. Untitled (Black Is) tends towards the latter – listenability – while forgoing the former. 2/5 Key tracks: Hard Life, Sorry Ain't Enough, Pray up Stay Up

This is fun! One of the better albums on this list – certainly one of the better jazz albums. There's a good balance between experimentation and radio-friendliness (or as radio-friendly as you can reasonably get with extended jazz tracks). The intense, complex, mostly drumless atmosphere on the fourth/final track Psalm is a huge standout and brings this album up from a 3-4 tossup to an easy 4-star pick. In fact, the whole album is kind of an "experience" that I wouldn't listen to very often, but that I'd keep on for the whole 33 minutes each time. Comparable to The Wall. The Jazz Wall? Coltrane's Enclosure? Davis's Dam? There's a real sense of plot and adventure, with points of tension and release – such as the intense yet lonely drum solos in Pursuance, or the playful bass breaks in Resolution. Coltrane's saxophone playing is consistently fantastic, though I would've liked to hear a greater variety of horns (or even different sax players/types of sax) showcased, particularly for close listening purposes. It's easy to lose focus on the music even when there's so much harmonic and rhythmic complexity to focus on. In fact, the complex melodic rhythms – first seen in the opening track, Acknowledgement – are a little hard to catch onto, and the drums don't make this task easier. There are definitely arguments for Acknowledgement being the weakest track here. Regardless, A Love Supreme is a huge musical feat, and easily deserves its spot on this list. Key tracks: Psalm

I can't decide whether this is genius or terrible, so my rating is entirely a compromise. Simple, noodling, yet strangely comforting tunes involving only an acoustic guitar and Springsteen's vocals. The singing is kind of bad, especially compared to his more bombastic works, but it somewhat works in this context. The guitar-playing is pretty good – again, incredibly simple, yet charming and moving. As far as I can tell, the only "upbeat" track is Open All Night, but oddly it doesn't manage to be a standout. Instead, I picked the songs with the most comforting and heartwarming feel to be my key tracks. To those people giving this 1 star: fair enough. To those giving the album 5 stars, you're clearly not paying attention to how unengaging and uncreative some of these tracks are. Or maybe you're one of those people who pays attention to lyrics. (In this economy?) 3/5 Key tracks: Atlantic City, Johnny 99

A very good album, aside from the synth- and electronic percussion-laden atmosphere. Nearly every 1-star review on here cites "80s production" as being the main factor that overshadows anything good about Introducing The Hardline..., but that's not a great way to judge every form of music. Other than the production (which admittedly is pretty bad), the music is honestly great; I can't really see any sound justification for anything less than, say, 3 stars. There are some solid horns, bass, and of course the vocals (lead and backing), which are excellent. I don't tend to pay much attention to lyrics, but from what I picked up, the poetry here is a little subpar. Lots of fairly bland lyricism without much clever wordplay or variation of topic. There's no depth. Take the first verse of the biggest hit on here, Sign Your Name: "Fortunately you have got Someone who relies on you We started out as friends But the thought of you just caves me in The symptoms are so deep It is much too late to turn away We started out as friends" Pretty unremarkable, no? The same is true for the album's remainder. I'm surprised Sign Your Name is (apparently) the most popular track, because it isn't exactly a sonic standout. 3/5 Key tracks: If You Let Me Stay, Dance Little Sister, Who's Loving You

As a rule of thumb I tend to be wary about punk as a genre, but these guys pull it off – and rather spiffingly at that. The Clash's self-titled debut record is definitely weaker than the follow-up London Calling, but that's not saying too much. The latter is a juggernaut album that's pretty difficult to top. Regardless, The Clash really nailed punk here. Fast, energetic rhythm sections underlying simple, catchy guitar riffs and poor vocals. What more could you want? The presence of the track Police & Thieves surprised me. I wasn't expecting The Clash to release such a strong "epic" track, especially when the genre they're typically known for defining is itself known for having incredibly short tracks (downwards of 2 minutes in many cases). And we get our fair share of those, in relative bangers like White Riot, Career Opportunities, and Protex Blue – but then Police & Thieves, a 6-minute bombshell, comes to remind you that not only can punk verses sound decent (not just the choruses), but tracks can get away with being three times their normal length. And to great effect. It's the best track on the album. 4/5 Key tracks: White Riot, Deny, Police & Thieves

Mayberry's vocals are great – as the Spotify description says, they're crystalline and emotive – and they really make the music pop. Sure, bass-boosted synths and electronic drums are fun, but the singing lifts the music above other, more unassuming electro sounds from contemporaries. The male vocals, in the few tracks in which they appear, are definitely weaker, but they're by no means bad. I'm a big fan of the electronic drum rhythms in songs like Gun and Recover, as well as the synths which encapsulate a sort of retro-80s feel (but without the 80s production accompanying it, thank goodness). The main thing holding this back from a 5/5 is (surprisingly) not the distinct lack of acoustic instruments, because CHVRCH≡S actually manages without them fairly well. Nor is it the album flow, which is again surprisingly good for its time period. I don't normally associate the 21st century with satisfying album progression, but there's a nice variation between the tracks in terms of energy, tempo, and texture. In fact, the thing holding back The Bones Of What You Believe is that it's very easy to stop paying attention – and when you do, the music begins to sound like just about every 2010s EDM composition. Very club music-like, albeit with slightly more complex ideas and a better vocal. Still, I can't give a perfect rating in good conscience when music actively embraces elements of music from what's likely the lowest-quality musical decade. 4/5 Key tracks: The Mother We Share, Gun, Recover

I can appreciate the historical significance of Ravi Shankar's music, particularly when considered in combination with his influence on various rock/pop artists in the 60s, but The Sounds Of India is definitely more of a historical curiosity than an enjoyable album experience. I'll start with the pros. Shankar's sitar playing is fantastic. The tabla is also clearly being played skilfully, and the result is a smooth, dextrous journey wrapped in a reasonably neat 53-minute package. A little long, sure, but there are very few actual records with this genre of music, and it's good to have it out there. I also enjoy Shankar's brief spoken-word explanations of the musical theory behind each track. Now for the cons. 53 minutes is a passable runtime for records in general, but classical Indian instruments have an issue: the tanpura. Its one-note drone is fine in small doses or as atmospheric background music, but for almost an hour of close listening, it gets stale really quickly. Inclusion of a tanpura also insists upon commitment to a single key for the entire album, even if the musical modes change every ten minutes or so. (Relatedly: a small nitpick about Shankar's spoken word. He says in the first track that Indian music doesn't use modes – at least, not in the Western sense – but then uses four or five standard Western modes, including Lydian, Mixolydian, and Phrygian, in the album's tracks. What gives?) The album is a bit of a darg, lacking much in the way of textural variation, harmony (aside from the one chord), dynamic changes, or melody. Really, the whole thing is a sitar solo. Props to Shankar, I guess – but it's not really for me. 2/5 Key tracks: Dádrá

I question the placement of this particular album on the list, because it sounds about as "typical" as you can get of a genre (in this case, of southern/country acoustic music). There's nothing groundbreaking, not much even interesting, on here – though that's not to say it's an unpleasant listen. Welch plays it very safe on Time (The Revelator), incorporating soft textures through her acoustic guitar and drawling vocals. This sound works best when leaning into the blues sound (e.g. "blue" notes, 12-bar patterns), but Welch doesn't do this in many tracks. Elvis Presley Blues is a highlight, as is Revelator for its solid execution of a guitar ballad with a catchy vocal hook. Otherwise, there's isn't much to say. Most of the album is unmemorable and doesn't push any musical boundaries. There's not much in the way of album flow, of ups and downs, of any sort of emotional journey. (In fact, there isn't much noticeable emotion at all – but that complaint can be made for a sizeable number of great albums, so I'll leave it to rest.) 2/5 Key tracks: Revelator, Elvis Presley Blues, Everything Is Free

A juggernaut album that somehow balances a polished sound with utterly raw anger and emotion. Nirvana's clearly mastered their craft here and are confident enough to come out with guns blazing and hearts asleeve. It has an entirely different sound to its predecessor, Nevermind, despite being in the same genre and technically involving similar instrumentation and textures. These three guys create a huge sound over some truly great (and catchy) compositions, including Heart Shaped Box ("Hey! Wait! I got a new complaint"), Pennyroyal Tea ("I'm anemic royalty"), and the mature closer All Apologies ("All in all is all we are..."). I wish we'd gotten more from this band other than the three studio albums and the incredible MTV Unplugged live album, because this is some gritty stuff. Cobain's vocal is at its finest in this album. The drumming and guitarwork is maybe a little less radio-friendly than in the band's earlier catalogue, but it's played to perfection. There are a few tracks that could be considered smudges on the otherwise rock-solid setlist that is In Utero. Scentless Apprentice verges into death metal, which isn't everyone's cup of tea – it definitely isn't mine – and it's best to tune it out. The "token death metal track" of the previous album, "Endless, Nameless", is better placed at the end of the album, where it doesn't mar the listener's expectations essentially right from the get-go like Scentless Apprentice does. Tourette's is also a rough listen, though fortunately it's well under two minutes. Songs like Milk It and Radio Friendly Unit Shifter are maybe a little questionable, but all the remaining ones are excellent. And don't you forget it! 5/5 Key tracks: Heart Shaped Box, Dumb, Pennyroyal Tea, All Apologies

This is pretty bad, even by hip-hop standards. The 90s had it rough for the genre as a whole. Melodically, harmonically, and in terms of overall sound, Liquid Swords is incredibly repetitive and tedious. The fairly long (55 minutes) album runtime doesn't help. Each track, rather than being a snapshot of a particular texture of artificial drumbeats and monotonous yelling, is instead a sluggish 4 and a half minutes of a particular texture of artificial drumbeats and monotonous yelling. The strongest tracks were those which at least combined these elements with a catchy one- or two-bar loop. In this case, the catchiest songs contained saxes, synths, and other melodic instruments. A few scattered basslines show promise, but surprisingly many of them are just one-bar loops of semitone movement, which gets old fast. The lyrics are also just about the most bland you can get for hip-hop, despite GZA being touted as one of the greatest lyricists in the genre. After the twentieth mention of nerds (well, the other n-word) and sex in one song, it's difficult to really take the lyricist seriously. One track that was a particular letdown for me was the album closer, B.I.B.L.E.. The lyrics are so close to being genuinely great, but then we get towards the end where GZA talks about teaching his kid to follow the word of God: "Son, life is a pool of sin, corrupted with foolish men And women with wicked minds who build picket signs To legalize abortion, the evil eye extortion I quiz son with my wisdom" ...Yeah. Pretty rough. If this is meant to be satire on bad people, it's a little too well-disguised. Otherwise, GZA is just another one of far too many terrible people in the music industry. And he doesn't hide it well. One of the top-rated reviews here claims that GZA's music is fresh and exciting when performed live. I have to believe that, because there must be a reason for this guy's success, and this album is not it. (Nor is Enter The Wu-Tang, another weak album on this list.) 1/5 Key tracks: Shadowboxin', I Gotcha Back

Hey now, this is pretty good. The Band's got a sort of country-party-blues sound – it's bright, positive, and laden with overlapping organs, guitars, and vocals. There's also a lot of variation in sound and texture (though the "thick-texture" ones are numerous) throughout the album, meaning the listener stays fairly engaged. The songs are a good length and none of them feel too dragged out. (Albums with too many "epics" are a peeve of mine, with very few exceptions – such as Pink Floyd's Animals.) Additionally, The Band's sound is surprisingly complex for the 60s, and also manages to separate itself from its "Bob Dylan phase". You can definitely hear Dylan's influence, but it's not overwhelming. The main thing holding this album back from 5 stars is that there weren't many "wow" moments. Sure, there's a nice rush listening to the blockbuster vocal hooks on The Weight, the lush organ notes that open Chest Fever, or the quasi-angelic singing on the closer I Shall Be Released. But these "highs" aren't that high. Absent are solos, transitions, or tight instrumentation (for the most part). In addition, the record doesn't provide a particular cohesive "album experience", even if it's a darn solid album. When I think of The Weight, I don't think, "Ah, that great song partway through Music From Big Pink!" And we're judging albums here, not average song quality. 4/5 Key tracks: Tears Of Rage, The Weight, Chest Fever, I Shall Be Released

A fun little foray into instrumental post-rock. The "post-" genres are usually executed very poorly, whether due to too much experimentation or sheer boredom while listening – but Tortoise's effort here is solid. The first track being one 21-minute-long epic is unnecessary here, given that the transitions between sections are just as jarring as if they'd been separate tracks. Side 2 is better in this regard, and Tortoise makes some pretty great atmospheres. Fancy time signatures (including the rare 11/4 and 14/8 rhythms) are seen in The Taut and Tame and Glass Museum. A Survey goes full-on acoustic, incorporating various melodic elements from the blues genre. Along the Banks of Rivers creates a calm guitar-/synth-based atmosphere that reminds me of later-era Pink Floyd instrumentals. Glass Museum is similar, and also my favourite track on here. For all its merits, though, Millions Now Living Will Never Die is a little dull, particularly for close listening. A severe limitation of instrumental albums is that there's very little replayability. Good for background listening, but no more. 3/5 Key tracks: Glass Museum, Along the Banks of Rivers

I'm very surprised this made the list. It's difficult to nail the punk genre because of the limitations on creativity and skill level (if the songs are too good, they don't sound like punk anymore). This is on the lesser end of punk. Despite being only 32 minutes long, the album feels tedious, there's little sense of album progression other than the surprisingly good oddity track Adult Books, which creates a calmer moment in a long series of frantic and poorly played tunes. The singing is quite bad, particularly the male vocal, which is consistently grating and out-of-tune. The harmonies between the two voices are pretty cool though, if a little simplistic (mostly using perfect 4th and 5th intervals). Other than Adult Books, the strongest tracks are those with guitar "riffs" (really just rhythmic strumming on electric axes) that don't get old within the first minute. These include White Girl and In This House That I Call Home. The drumming is poor throughout, consistently of extremely simple rhythms that showcase little in the way of virtuosity. The bass playing is similar. 2/5 Key tracks: Adult Books, In This House That I Call Home, White Girl

Pretty good. I feel that its sound is more Central American than Kenyan (as another reviewer pointed out), but the jazz elements are fairly strong. The improvisation is skilled, as is the technical ability in the drums, trumpets, and other horns. The tracks I could really jive to were ones that had distinct, easy-to-remember/-sing melodic hooks – including Holiday and Wild Jungle. Others were less commercial, having complex rhythms and a (perhaps) overwhelming number of sax/horn notes spilling out all at once. The compositions are impressive in this regard, but they aren't necessarily enjoyable. Unlike most other genres, jazz typically needs long track runtimes, both for development of themes and allowing chances for soloists to shine. I feel there are dozens of missed opportunities throughout this album for the solos (particularly with the trumpet) to really gain momentum. Instead, the tracks flash by in 3-minute chunks. It's a puzzling choice. There are also so many indistinct melodic themes presented in quick succession that it starts to blend together around the halfway point. Punk albums, being comprised of similarly "quickfire" tracks, tend to have a similar problem. 3/5 Key tracks: Wild Jungle, Kenya, Holiday

We're at album #405, and this is possibly the most lyrically bad album so far. I won't go into the lyrics, because frankly I'm exhausted after 67 minutes of this nonsense. Nu metal is also a pretty bad and unpolished genre, particularly in the pre-2000s era. As a whole, Follow The Leader is (I guess) listenable – but barely. The riffs are vaguely interesting, and in a very specific mood I could see myself enjoying this, but at the moment it's not doing much for me. The artist features on the album are also horrible picks. Fred Durst is widely recognised as one of the worst singers and frontmen in the music world, and the track All In the Family doesn't do him (or Korn) any favours. It's bad. Ice Cube is better, though again rapping is a very questionable choice for the nu metal genre. The song Children of the Korn is a complete outlier in the album, sounding more like a purely Ice Cube-dubbed hit – and it's also pretty bad. Cameltosis, featuring Slimkid3, is experimental-sounding and continues the trend of horrendous, misogynistic, disgusting lyricism. Earache My Eye is a six-and-a-half-minute throwaway track featuring an extended skit/spoken intro followed by several minutes of uninspired ear-blistering guitar noise. The tracks Freak On a Leash and Dead Bodies Everywhere are certainly the only two mildly enjoyable tracks, and any of the others having more than a million Spotify streams is a tragedy. 1/5 Key tracks: Freak On a Leash, Dead Bodies Everywhere

A little crazy and disjointed, sure, but cool nonetheless. There's very little to dislike about this sound, unless you think it's overdone. But really, can anything be reasonably compared to music with the Edster's epic, galaxy-rendering guitar chops? I didn't think so. 5/5 Key tracks: Runnin' with the Devil, Eruption, You Really Got Me, I'm the One

Admittedly, I was a little bored by this. The low-energy twangy acoustic guitars didn't do it for me, with a few exceptions. In the better tracks, the energy is higher, or the guitar meanders until it settles on a relatively catchy riff. Highlights include Sweet Cocaine, That's The Bag I'm In, and (what I assume is) the lead single, Everybody's Talkin'. In other tracks, like I've Got A Secret, Faretheewell, and Green Rocky Road, there's very little to actively engage the listener. The singing is solid but not spectacular, the instrumentation is extremely simple, and the writing has a semi-improvisational quality to it. The overall feel is floaty, disjointed, unemotive, even unprofessional. It sounds like something that could've been written and recorded on the spot during a round of old man karaoke. But is it bad? Not completely. (I'd cut out the eight-minute raga at the end, though.) 2/5 Key tracks: That's The Bag I'm In, Everybody's Talkin', Sweet Cocaine

This album reads like an unapologetic continuation of the Smiths' sound, and I honestly really like it (or most of it, anyway). Morrissey's grandiose British bellow is on full display here. It adds this quirkiness and energy to the music that few others can match. The drumming is also pretty strong here. The lyrics are goofy, and it's hard to tell whether that's intentional. It makes for a more entertaining listening experience, if nothing else. If you're giving a review to someone on the basis of them being a bad person - or, in Morrissey's case, blatantly opinionated - then you'd darn better give 1-star reviews to all the pre-2000s rock artists on this list. (Which is the majority of the list.) Because those people invariably suck at least as much as Morrissey, and some of them have done horrible things that Morrissey couldn't hold a candle to. My rating is partially to make up for the abundance of low reviews with silly reasoning behind them. Sure, maybe the guy's insufferable, but the music doesn't have to be. 4/5 Key tracks: Irish Blood English Heart, I Like You, First of the Gang to Die

This album is mind-bending, mostly in a good way. It's fun to follow the storyline along until you realise that it's a little devoid of substance, but even after that it's goofy enough that I could see myself being entertained upon repeat listens. Townshend must've had a right time of it explaining the album's meaning to the press. A boy becomes psychosomatically deaf, dumb, and blind after childhood trauma? Sure. He's prescribed psychedelics by an alt-doctor and picks up the pinball machine? Of course. He develops a cult following and dislikes it so much that his character development goes out the window? Superb. I'm not sure that it's particularly relatable, but it's certainly one of the plots of all time. (To give Tommy some credit: it's a ballsy idea for a 60s album, and it turned the world of music – particularly rock artistry – on its head.) A heavily acoustic and vocally-harmonised atmosphere is presented in the Overture, and this sound remains more or less consistent throughout the album. There isn't much electric guitar compared to some of the Who's earlier and later works. The drumming is perhaps a little tamer than fans might have expected, but I enjoy it. The melodies are a little difficult to follow, and they're by no means simple, but that does provide plenty of room for relistening and working out what the heck is going on melodically and harmonically. And the main single, Pinball Wizard, is excellent. 4/5 Key tracks: Pinball Wizard, Go To The Mirror!, I'm Free

Goofy and likeable, though the music is a bit weak in places where it really needs to pop. The opening track, One More Chance, sounds like a primitive DJ soundboard showcase (particularly in the first minute) and it's very off-putting, especially through a modern lens. I've found that dated experimentation is best placed at the end of an album, not at the beginning where most people will approach (and promptly be turned off). The beginning track of side 2, It Couldn't Happen Here, is a sloggish track with drunken vocals (further blurred by the string arrangement) and lack of a strong melody. But many other tracks, including What Have I Done to Deserve This, Rent, and It's a Sin, are textbook examples of how to do 80s pop correctly. The 80s production, so frequently bashed by critics and listeners, isn't as overwhelming here as with other, bigger 80s acts – which is a good thing. The synth work isn't very strong – surprising, maybe, given the Pet Shop Boys' status as a synth-pop duo – but the upbeat energy in most of the tracks makes up for it. The main contributors are fun chords and melodies, good singing (with a couple of exceptions), and decent lyricism tackling some heavy topics in a radio-friendly way. The strings are definitely hit-or-miss throughout the album: in It's a Sin, they're pop-standard and sound quite good, but in It Couldn't Happen Here, they're lethargic. You win some, you lose some. 3/5 Key tracks: What Have I Done to Deserve This, It's a Sin, Rent

Björk's music is so surreal, so psychedelic and creative, that it very nearly defies logic. Medúlla is no exception. I am bumping it down a notch for the music being less accessible to general audiences than some of her other entries on this list (e.g. Debut, Vespertine). But it's still excellent stuff – really, mind-bending rather than necessarily pleasant. Mind-bending in the best possible way. Björk's overlapping vocal arrangements on this album are easily the highlights, particularly in tracks like Mouths Cradle, Where Is The Line, and Triumph Of A Heart, where she really goes all in on the weird avant-garde scatting. The music is bursting with personality, ideas, and musical virtuosity. It's insane. The music is quite minimalist, with instruments (or even non-vocal sounds in general) being used sparingly. A few of the tracks, particularly on the first half of the album, do suffer a little from this, particularly as Björk's accent makes her lyrics hard to make out at times. Show Me Forgiveness, Vokuro, and Oll Birtan (tracks 2, 4, and 5) are essentially 100% vocals-and-nothing-else songs. I worry it could get a little stale, especially upon album relistens. There's not much to glean from these kinds of tracks without dissecting the lyrics and melody, and if you're not that kind of listener, you can feel a little lost in the weird wonderland of Björk. 4/5 Key tracks: Mouths Cradle, Oceania, Triumph Of A Heart

There's something deeply unsatisfying about this record. It feels incomplete, shallow, half-baked. This isn't helped by knowing Norah Jones's star musician status, and that the record is one of the best-selling of all time. All that for an album that's essentially monotonous lo-fi jazz. It gives an illusion of refined complexity by combining various elements of jazz/soul bar tunes, including soft (and very simple) percussion, back-mixed guitar strums, some scattered soul-blues piano notes, unremarkable basslines, and various toots from wind/brass instruments. The piano is definitely supposed to be the central focus of the non-vocal instruments, but as a piano player, I can say that the primarily octave-based playing isn't that interesting or complex. And there's no central exciting element to tie the music together The product is something that "feels" like it should sound good, but doesn't. Jones's vocal is fine but is overshadowed by the occasional backing vocalists, which are great. They should've been a bigger part of Jones's musical style. Guitar ballads like Seven Years and Lonestar don't do her any favours. A key problem with the album is the stark lack of riffs – or, for that matter, any memorable moments in any instruments, including the vocals. There are few highs and lows; instead, the listener receives a steady, low buzz of inoffensive low-calibre noise that pushes no boundaries and sounds kind of good, especially if you aren't paying close attention. Maybe I'm being a little harsh. It's true that I'm slightly tanking my rating to counteract some of the 5-star ratings which only seem to laud this album for its historic fame. 2/5 Key tracks: Don't Know Why, Come Away With Me, Turn Me On

Some of these tracks are strong, but they're too inconsistently scattered throughout a lot of filler to really make for a positive album experience. The opener, Pretty Hurts, is an overexcited hype track that doesn't really get anywhere musically or lyrically. The next three consecutive songs – Haunted, Drunk in Love, and Blow – are all fairly good, particularly the former, which is a satisfying balance of moody and upbeat. Drunk in Love's "goodness" comes mostly from its circle-of-fifths chord progression (think the jazz standard Autumn Leaves); the rest is pretty unremarkable R&B/pop noise. The highlight of Blow is easily the guitar-synth interaction. It creates a funky, danceable atmosphere. No more interesting tracks appear until much later on the album with the song XO. This seems to be the point on the album where Beyoncé figures out how to write a convincing melody, because three of the final four tracks (the exclusion being Flawless) have some of her best vocal lines – helped greatly by the melodies. The two songs Heaven and Blue, in particular, are a great one-two to end the album on a high note. Other general comments: As another reviewer mentioned, her music sounds almost factory-produced at times. It's really difficult to connect with the music, even while ignoring the lyrics (which are clearly meant for an audience I'm not part of). Nearly everything is artificial, sterilised, and soulless (ironically). I assume the lyrics are meant to be the dirty, gruelling, boundary-pushing part, but I wouldn't know, because I'm not a lyrics guy. This album has further convinced me that Beyoncé is much more interesting as a media personality than as a musician. 2/5 Key tracks: Haunted, XO, Blue

I recognised some tracks on here, which surprised me. They seem pretty obscure in terms of Spotify listens. The song Questions 67 and 68 in particular has some catchy horn lines that really pop amidst some of the more "filler" tracks on here. Beginnings has a great layered acoustic guitar part which barely gets away with outweighing the bloated eight minutes of song length. I'm a big fan of the mix in I'm a Man. It's party-like, containing everything from exotic percussion and organs to chromatic movement in three-part harmonies. The guitars and percussion on this album are played skilfully in just about every track. The instrumentation choices are excellent and pretty complex for 60s music. But the filler on Chicago Transit Authority is just too glaring to ignore. Free Form Guitar gets old after less than a minute of its nearly seven minute runtime. It's jarring, hard to catch onto, and missing any catchy hooks or riffs. The "August 29" trilogy that closes out the album is passable, but could easily have been left out entirely. Liberation, in particular, is a nifty jam session but just doesn't belong on a studio album. Other songs, including South California Purples, Poem 58, and Introduction, are likeable, somewhat radio-friendly cuts that would be much stronger if they were trimmed down. In fact, bloated track length is a common theme in many of Chicago's non-hits, perhaps suggesting why the hits were so relatively popular. Save the long cuts for live performances, guys. 3/5 Key tracks: Beginnings, Questions 67 and 68, I'm a Man

This album is a very bland take on political hip-hop. Excluding a few key tracks (see: "Key tracks"), none of the songs are memorable in any way, whether in terms of harmony, instruments, melody (there's a distinct lack of melody throughout the album), or even rhythm/backing percussion, which is normally a cornerstone of "good" 90s hip-hop music. The sound is generic, dull, and repetitive. The lyrics, while easy to understand and politically agree with, are almost too much so. There's no nuance, no wordplay, no cleverness that separates The Disposable Heroes Of Hiphoprisy from their contemporaries. In fact, nearly all tracks involve a chorus that consists of monotone repetition of the song title. It's a glaringly obvious sign of poor songwriting ability. I'm not surprised at all that this didn't receive much airplay upon its release, nor has it since then. Okay, maybe there is one example of a lyric whose meaning isn't immediately clear: "Medical racist social statistics Has everyday life become a health risk" The more I ponder this one, the less sense it makes. Other reviewers seem confused as well. Not a good sign. The soft, laid-back guitar in Music And Politics is pretty sick, though. "If ever I would stop thinking about music and politics I would tell you that I pooped in my own dog dish" 1/5 Key tracks: Music And Politics, Television The Drug Of The Nation, Satanic Reverses

It's not all terrible. There's some solid guitar work here. The drums are typical of the 60s: mixed badly and rawly, not overly complex, fitting the music pretty well. Porpoise Mouth is one of those charming folksy songs that critics love to lump in with the rest of the psychedelia genre but should really be considered part of a whole separate, endearing beast. Flying High's swung rhythm is great, making the song stand out from the pack. I'm a fan of the twangy vocals and weaving, interjecting guitar lines in Super Bird. And of course, you know I dig a mean organ – as heard in the track Love. And if I'd encountered this album earlier in the list, I'd give it a 3 or higher, no question. But this "late-60s rock psychedelia" genre is so darn oversaturated – especially on this list – that it's become a bit arduous to sit through 40 minutes of this every other week. The two seven-minute tracks here – Grace and Section 43 – are the lowlights of the album. They flounder in circles without gaining any legitimate traction. They could maybe pass as proto-prog rock, but as a genre predecessor they're pretty terrible (and primitive). Other than psychedelia being fairly new in 1967, there isn't anything particularly fresh or daring here. Really, should it be considered creative when literally every other rock band is doing the exact same thing at the same time? Is this what you wanted, Dimery? For us to suffer? 2/5 Key tracks: Flying High, Super Bird, Love

This album is on par with most of Madonna's other big records: fine, pleasant, but nothing particularly special. It's intensely 80s-pop-oriented, which could tank some reviewers' ratings, including my own. The production has that spacious electronic quality that is nearly universally agreed to have not aged very well. The percussion, as is to be expected for 80s pop, is mostly too artificial to really enjoy. There's not enough humanity in quite a few of these tracks. Even Madonna's singing, while technically very strong and excellent for the genre, could use a little more heart and/or soul. The song Express Yourself sounds like a mildly better version of Lady Gaga's Born This Way. (Seriously. The choruses have the same chord progression and a similar melody. And the singers' voices are pretty similar.) It's a very strong track – certainly better than the title track, which listeners seem to prefer – and a contender for my favourite Madonna song. Later in the album: I was not expecting the Latin-style brass amidst the sweet, poppy strings of Dear Jessie. Cool. The string arrangement in Oh Father is also worth a shoutout. The melody of the penultimate song Spanish Eyes is very hard to catch onto, and the track ends up dragging as a result. In addition, the odd reversed sounds and side-mixed electric guitar on the final track, Act of Contrition, are unpleasant and a poor choice to end the album. But excluding these two tracks, I enjoyed most of the album. Not a bad showing for the Queen of Pop. 3/5 Key tracks: Like a Prayer, Express Yourself, Oh Father

Polly Jean Harvey, the legendary Cuban cigar retailer and deadly clandestine assassin, really pulls one out of the bag here. But which bag, and whose was it? These are the vital questions that need answering, and we are just the right crack team of aquatic mammals to answer them. But first, we'll investigate the bag to see if it contains any delicious molluscs or other seafood. Using our WHISKERS and and our PAWS and our adorable little black NOSES! Our vestigial arm bones will clink and clatter as Bitter Branches rings out through the murk, and then all will be revealed. The meaning of everything. 3/5 Key tracks: All of them!

Experimentation for experimentation's sake doesn't have to ranked highly, even if it ended up being influential. It's like giving Trout Mask Replica a 5 (though in this case there are some good tracks buried amongst the nonsense). Wake up, sheeple. You're being targeted by Big Avant. The one-chord songs are particularly suspect. I'm a big fan of chord progressions, and songs that don't utilise them face an uphill battle in my ears. Mea Culpa, Number 8 Mix, Very Very Hungry, and various other tracks commit this sin. The sounds are scattered, seemingly selected at random, and not at all coherent with one another (in most songs, anyway). There are very few melodic hooks on any instrument, or indeed any melodies at all until the final track, Solo Guitar with Tin Foil, which acts as a breath of fresh air at the end of a dubious setlist. Quotes from sanest reviewers: "It just seems the artists are trying to make it weird, and not trying to make it good." "A lot of unique sounds, but very little musical cohesion and flow." "Some of the songs are almost enjoyable but it all gets lost in a giant mess of sounds." (And even then, these negative reviews are often 2 or 3 stars. Delusion.) 1/5 Key tracks: Regiment, Help Me Somebody, The Jezebel Spirit

The horns, particularly the saxes, on this album are pretty dope. I Can't Help Myself is a standout for having a great, energetic sax solo that tows the line between rock- and jazz-style improv. But the main downside is the really terrible singing that's apparently ubiquitous to punk and post-punk. Songs that are otherwise good, like Tenterhooks and Louise Louise, are marred significantly by the animalistic moaning and groaning of lead vocalist Edwyn Collins. It's reduces the music to a product of its time rather than anything revolutionary or noteworthy. And that's disappointing, because the guitar and horns are darn good. Highlights, including Rip It Up and I Can't Help Myself, have a clean 80s-esque sound that partially distracts from the horrific singing. Rip It Up contains a prominent bass synth that defines the whole song and is reasonably catchy, especially when taken with the higher, melodic synths and almost reggae-esque guitar lines. Flesh Of My Flesh has a notable percussion section, blending well with the pretty trumpet lines throughout the song. I Can't Help Myself is energetic and again brings a Caribbean sound to the table. I do wish the chords were more complex on many of these pieces, because after a while the I-IV-I-IV-... changes get stale. Combine that with the singing (which is bad), and I can't justifiably give this album higher than a 2. But there's potential here. 2/5 Key tracks: I Can't Help Myself, Flesh of My Flesh, Rip It Up

Great stuff. I don't really get the critics comparing this with psychedelia. Apart from the album cover, which resembles some 20th-century psychedelia classics, the record is more akin to a collection of rock-influenced sea shanties. You've got the drunken choral vocals, the shrill harmonica, the shoop-shoop chugging of the drums, the tonic-dominant basslines... It's not unpleasant by any means (in fact, it's surprisingly enjoyable), but does it really belong on the list of the 1001 most important albums in history? Even the hit track, Dreaming of You, maintains this strange nautical dance energy that eludes comprehension of how it came to be such a hit. It's a fun track, sure, but having 100x the number of Spotify streams as the next-most listened on the album is a little extreme. The vocals are an obvious strong point here. They're clearly inspired by the likes of Jim Morrison, Piper-era Floyd, the Stones, and perhaps a sprinkle of CCR. Definitely a throwback to 60s and early 70s music with its thick vocal harmonies, brash mixing, and simple rocking energy. The song Goodbye is particularly suspect here. We love some good retro singing. The high-energy shuffle of all the songs does get a little repetitive, and the album feels a little lengthy even for just 34 minutes – but judging by other entries on this list, it could be much, much worse. 4/5 Key tracks: Spanish Main, Dreaming of You, Goodbye

Proto-lo-fi/EDM with tinges of drugs and psychedelia. Unremarkable, but pleasant enough. The piano-bass interaction in Sunworshipper is worth mentioning – it's smooth, dynamic, and manages to pull off what's essentially a two-chord track. The electronically-pitched vocals in Drop the Pressure is pretty darn sick, and significantly niftier than any other form of autotune I've heard. As with most electronic music, more acoustic percussion in all tracks (including that one) would be a significant improvement. Drum loops only get you so far, and when you're mixing them up and down, they're bound to stand out (in a bad way). Guilty of Love – or at least the string part of it – reminds me of Frank Zappa's music. I would've liked to see more commitment to rapid strings with weird harmonies, but unfortunately they only really appear in this track and the album opener, Valley of the Dolls. Overall, Destroy Rock & Roll is fine. It's just part of a genre that doesn't appeal to me. The title track is also a ridiculously low point in an album packed with "medium" points, and that's unforgivable. 2/5 Key tracks: Sunworshipper, Drop the Pressure, Guilty of Love

Either/Or is enjoyable, and probably better than Elliott Smith's other entries on this list. But there are a lot of elements missing that could bump this up to 4 stars or higher. The melodies are technically fine – maybe a little meandering and unrefined at times – but it's the vocal delivery that really sabotages the entire sound. Smith's singing is breathy and out of tune. It sounds like he isn't trying at all, and that's something unforgivable in my view. (Billie Eilish commits the same sin, and I'm not a fan of her voice either.) Many of the 5-star reviews here speak to Smith's emotional vocal delivery, but I don't hear emotion so much as a sense of depression and hopelessness. Even as someone with a history of depression, I really can't bring myself to enjoy the atmosphere Smith's singing creates. Especially during the summer. (Darn.) That being said, the instrumentation – particularly the guitar playing – is consistently excellent. It's simple, enjoyable, and smooth. Great for background listening. The album has ups and downs, switching effortlessly between the groovy, early-Radiohead-esque Ballad Of Big Nothing and the sweet acoustic ballad Between The Bars. So, unlike a huge proportion of the albums on this list, Either/Or actually feels like a complete album experience. And Say Yes is a solid closing track. 3/5 Key tracks: Between The Bars, Pictures Of Me, Say Yes

I'm not a big fan of this album, particularly the final three tracks (Jolly Roger / Making History / The Human Beings) which leave a sour taste in the mouth after a surprisingly palatable beginning to the album. The music is primarily punk-inspired new wave, with dollops of Burundi music sprinkled in through the vocal techniques, percussion section, and modes (noticeable in some of the melodies). It's crafted extremely sloppily, though. And, as is standard fare for new wave music, the vocals are generally horrendous. Someday those 70s kids will learn to compose something palatable... someday... The top-rated review here gives this album a 4/5, citing that "the lyrics are stupid, the music is stupid, the name and album art are stupid... there's even a completely random pirate song for absolutely no reason." They also mention that "this is what the kids like to call 'penis music'." I agree with all of those sentiments, and believe that reviewer is clearly fishing for likes through the humour of giving a high rating while correctly bashing every aspect of the music itself. That being said, there are flashes of merit (through interesting riffs, basslines, melodic hooks, and so on) that push this beyond a 1. A 4, though? Are you insanity incarnate? 2/5 Key tracks: Dog Eat Dog, Antmusic, Don't Be Square (Be There)

What in the fresh heck is going on here? I love it. It makes no sense. The Penguin Cafe Orchestra creates such an odd avant-garde atmosphere, creating what I'd call the musical equivalent of liminal space. I was so intrigued during the forty-two minutes of runtime that I couldn't really say I enjoyed it so much as vividly and confusedly experienced it. The electric keyboard, violin, cello, chilling Nico-esque vocal, and bass mesh well together, despite them not necessarily being played masterfully. The main highlight track is The Sound Of Someone..., which has a soft, melancholic feel that's fairly distinct from the more upbeat remainder of the album. I enjoy this kind of muted guitar tone (seen frequently in some of my all-time favourite albums, like Radiohead's In Rainbows). The ultra-high strings, which appear in this track and several others, aren't my favourite sound, but I can understand their place as another quirky voice in the choir of strange musical interactions and conversations going on here. The Sound Of Someone... showcases a great deal of these conversations. It's pretty captivating. Probably better on drugs, too. 4/5 Key tracks: Penguin Cafe Single, Zopf: Giles Farnaby's Dream, The Sound Of Someone You Love Who's Going Away And It Doesn't Matter

The first half of this album is impeccable, and the second half ain't too bad either. The title/opening track is killer, despite consisting essentially of an extended guitar solo with a two-chord muted bass arpeggio underneath. It's soulful, full of expression, and it sounds great. Any ten-plus-minute song that keeps you mesmerised the entire time is impressive in its own right, and the fact that it makes up almost a third of this album has to be acknowledged. (The first third of a (relatively) mainstream album being flawless psychedelic guitar noodling? Insanity!) The album closer, Wars Of Armageddon, is essentially a brasher and more texturally crowded version of the first track. The remaining five songs are chock-full of harmonised 60s-esque vocals, a solid funk rhythm section (including some great basslines), and elements of rock and jazz. In this middle part of the album, the atmosphere is almost party-esque, particularly in the songs Can You Get To That and Hit It and Quit It. Although I found that some of the later tracks were compositionally and tonally weaker than the opening trio, it's pretty dang tough to keep up that quality. And I daresay that this album would not have its legendary status without the mixture of "hook" tracks and "boys, do whatever you want" tracks. These guys are jamming, and you've got to hand it to them: they really pull it off. Note: Listen to this with headphones. My second listen was without headphones, and it was significantly worse. 5/5 Key tracks: Maggot Brain, Can You Get To That, Hit It and Quit It

Apart from the (great) drumming, the Foo Fighters' sound on this album is pretty anonymous, particularly for the already-oversaturated field of 90s alt-rock/grunge. Grohl continues faithfully in the footsteps of his previous band Nirvana, to fair effect – although the juxtaposition (for some listeners) between Cobain's roughened, emotional vocal and the weaker, blurrier one in this album can be stark. Grohl definitely made the right decision by distancing his Nirvana identity from the new music he wanted to spread and perform with the "New Foo". And maybe that separation of identity worked wonders back in the 90s, but with more hindsight information, I doubt it fools many people in the present day. Every track is pretty enjoyable, pretty energetic, with instruments that are pretty well performed – but not much more. The relatively mellow pop track Big Me is a highlight for having a warmer guitar sound and a generally more singable melody. The album opener, This Is a Call, is iconic enough as a full-fledged introduction to justify its place in my "key tracks" list as well. Most of the remaining tracks are inoffensive, perfectly fine tracks in a genre that had been (and still is) done to death. The Foo Fighters don't do much to distinguish themselves as artists, and combined with the lack of album flow (aside from the contrasting tone in Big Me and For All the Cows), I can't justify giving this any higher than a 3. 3/5 Key tracks: This Is a Call, Big Me, For All the Cows

I really wanted to give this a low rating because the vocals are very obviously bland and half-baked. But the instrumental's pretty good on most tracks, and it's enough to counterbalance the singing to create an overall neutral/slightly good listening experience. But certain parts of the instrumental are better than others. The chord progressions are engaging, and the percussion (whether acoustic or electronic) is pretty fire. Deerhunter is clearly great at creating an atmosphere, a setting for the plot to unfold. I'm normally partial to bass playing, but the bass is a little repetitive even for my taste. The guitar lines sometimes sound a bit like something from Create A Sim mode (exhibit A: Desire Lines) but that's by no means a bad thing. Overall, the vocals are holding the music back severely here. This seems to be a common occurrence on this list. 3/5 Key tracks: Revival, Desire Lines, Helicopter

An incredibly distinctive and strange style, with the focal point being the operatic vocals. In my opinion, the wavery falsetto gets a little annoying after a few tracks, and songs which give the ears a temporary rest end up being highlights as a result. All The King's Men switches between falsetto and a more pleasant tenor. (Two Dancers (i) and (ii) do the same thing, but the backing instrumental is worse. Darn.) The drums are generally poor throughout the album. They're mostly electronic drums, or are acoustic but do an excellent job at imitating electronic drums. Either way, their sound isn't promising. My favourite instrument showcased here is probably the piano, most noticeable in We Still Got The Taste Dancin' On Our Tongues / Wild Beasts. The echoey repeated guitar strums (in most tracks) are also worth a mention, if only because they're a key part of the spacey, post-psychedelic atmosphere. They're fine, but nothing special. The production is also worth a mention. It's bad. Gives me '00s flashbacks, and I wasn't even self-aware during that decade. 2/5 Key tracks: All The King's Men, We Still Got The Taste Dancin' On Our Tongues / Wild Beasts

I've been led to believe that this guy's an amazing singer. He's good, but not mind-blowing. His "I Feel Good" vocal is better. The sound here is extremely typical of the 50s, meaning an album released in 1963 is actually a step backward (or at least sideways) rather than forward. A gutsy move, for sure, putting this album on a list of the 1000 best albums of all time – especially considering it's a live album that hasn't reached many people (based on Spotify numbers). Was it the right choice? Well, probably. The influence on both contemporary and future musicians is palpable here, from the soul-rendering vocals to the relaxed, almost jazzy rhythm section and tight horns. It's at once a relic of its time and a clear inspiration for the likes of British Invasion bands, experimental jazz/blues, hard rock, and R&B. Plus, there are some mild standouts here. Most of side 1 is very strong, featuring thematic interludes that don't just talk about "sex, ya know what I mean, brotha?" (as interlude tracks in later tended to lean into). Instead, the interludes are generally instrumental and play off a horn section theme with slight variations each time. It's far more exciting and a solid addition to any live setlist. That being said, it's far too easy to skip these on subsequent listens, because they do interrupt the flow of side 1. Side 2 is marred by the almost 11-minute Lost Someone, featuring an arduous two-chord slog punctuated by Brown and the crowd having a back-and-forth screaming competition. It gets old after the first 5 minutes, and then you realise you're less than halfway done. And it takes up one third of an otherwise fairly strong album. This album was ranked 25th-best of all time by Rolling Stone in both 2003 and 2012, which is surprising. I can definitely think of 25 better albums released in the 60s alone. 3/5 Key tracks: Try Me, Think, Medley

Some ups and downs to talk about here. The album covers is so horrendously low-budget that it wraps around to being kind of good. It's a grainy close-up of Bowie putting on an unconvincing seductive face, two fonts that are ugly and hard to read, and some cheap sparkly plastic stuff from your local dollar store for good measure. The music itself is very strong, though until the final track, the songs feel just a little incomplete somehow. It doesn't help that Bowie's singing is wavery, lazily theatrical (even more than usual for mid-70s Davie), and can barely hold a melody. It's also mixed uncomfortably, sounding both in-your-face and partially muffled by the other instruments at the same time. Anyone who thinks his vocal here sounds better than on Low or Hunky Dory has a very odd taste in vocals. And I know there's at least one of you in the list of reviews here. The album really shines when you focus on all the instruments other than Bowie's voice, as well as the compositions in general. The backing vocals are gorgeous in just about every track. Incredibly tasteful sax solos are sprinkled throughout the album and I'm mesmerised every time they appear. The guitar style and especially the dynamic bass playing are clearly influenced by funk, and showcase the prototype of what would later populate much of 80s funk, pop, soul, and early R&B. This is the first album, chronologically, where Bowie commits to a setlist of jam sessions. I think it works pretty well, though Bowie's voice brings it down significantly. 3/5 Key tracks: Young Americans, Fascination, Fame

Unusually, these string arrangements don't do much for the songs, apart from possibly the strong opener Love Goes On!. But that track is mostly supported by its driving acoustic guitars and chord progressions, which the strings accentuate. The string playing in the remaining tracks is unremarkable. The singing is poor, not quite reaching the same humorously dramatic heights as Britpop giants (e.g. Morrissey). In fact, this band has quite a few parallels with the Smiths, but generally carries them out pretty badly in comparison. Quiet Heart and Clouds are two very sonically similar tracks that showcase the weak singing excellently. (Clouds tries to cover it up with octave harmonising, but I remain unconvinced.) The songs, in general, are a medium level of catchy. I could see this being a shameless chart-filler back in the 80s when Britpop was inexplicably popular. Another parallel: the track Was There Anything I Could Do? sounds extremely similar to the Smiths' Some Girls Are Bigger Than Others (1986). So similar, in fact, that I'm ready to call it a knock-off song – much like George Harrison's My Sweet Lord being a knock-off of the Chiffons' He's So Fine. Still, the sameness allowed me to actually enjoy it more than most other tracks. And mere second-hand enjoyment should raise some alarm bells. 2/5 Key tracks: Love Goes On!, Streets Of Your Town, Was There Anything I Could Do?

Anohni's lower register is much more pleasant (and, dare I say it, bearable) than her upper register. The vibrato is so rapid that it becomes distractingly omnipresent, but it's less noticeable with lower notes. With the alto range, it sounds like Anohni is constantly shivering while attempting to sing, and the result is goofy and hard to really take seriously. Clumsy lyricism. Generally good piano, though its ballad-like emotiveness gets a little repetitive. I enjoy the strings, which are arranged skilfully. What Can I Do? is a short laid-back jazz track, and I dig it. Definitely underappreciated, judging by Spotify numbers. Fistful Of Love is also worth a shoutout for its soul-esque horn section, which really separates the track's sound from the ballad-heavy remainder of the album. Most of the remaining tracks, though, are pretty forgettable, sharing a common element of having a poor vocalist. 2/5 Key tracks: Hope There's Someone, What Can I Do?, Fistful Of Love

Too many tracks that are too long. The Way Young Lovers Do is tied for shortest, at 3:17, and its Latin waltz feel is excellent, making it the primary standout track. I love harmonised trumpets. They're used so frequently in jazz, reggae, pop, and soul – among others – and for good reason. I would've liked to hear more than two repeated chords (for seven minutes straight) on the title track. That being said, it sounds pretty decent, especially if you're not listening to it studiously. The violin and flute additions are nifty. Tragically, though, the seven-minute I-IV chord progression comes back to bite you in the eardrum with Cyprus Avenue. Less than halfway through the album, and we have over 14 minutes of essentially two chords and some rambly singing. (Ballsy, I guess?) Madame George, clocking in at just under ten minutes, comes dangerously close to repeating this feat, but fortunately adds a V chord to the progression to break up the monotony slightly. But the title track carries out the bland chord progressions best. From another reviewer: "I feel like all [of these tracks] are kind of like the folksy acoustic songs that Zeppelin did, but that Zeppelin did them better." Moondance is significantly better than this album, and comparing the two only serves to hurt the latter. 3/5 Key tracks: Astral Weeks, The Way Young Lovers Do

The Jungle Brothers are further evidence that 80s hip-hop is peak hip-hop, by a wide margin. The 80s saw R&B and rap being fused with almost jazz- or blues-like instrumental licks (whether sampled or not), whereas the 90s tended to avoid those licks in favour of stronger political messaging. As a listener who tends not to pay much attention to lyrics, I definitely prefer the 80s style, and Done By The Forces Of Nature fits my groove. The first half of the album is consistently strong, with standouts like Feelin' Alright and What "U" Waitin' "4". (Putting the "texting" abbreviations in quotation marks feels like something my grandparents would do. I love it.) The keyboard is great whenever it makes an appearance. So are the (acoustic) drums, which inject a raw, rocking energy to the music. Later songs like Beeds on a String, Good Newz Comin', and the title track slightly abandon the melodic and harmonic elements in the background, and hence deal some critical blows to the flow of the album. I enjoy the interweaving male and female vocals on Black Woman and the excellent keyboards on Doin' Our Own Dang, but otherwise, the latter half of the album really loses steam. Most of this half of the record should cut out, particularly as the album is unusually long in its current form. 3/5 Key tracks: Doin' Our Own Dang, Feelin' Alright

Not as strong as the self-titled debut, but still exhilarating, darn it. Jump has that instantly recognisable synth riff that gives it a legendary stadium-rocker status (akin to Paul Simon's You Can Call Me Al). The short opening track also sets the atmosphere for Jump nicely. Hot For Teacher / I'll Wait is a brilliant one-two punch later in the album, giving the listener an adrenaline booster after the relatively standard rock fillers Top Jimmy and Drop Dead Legs. The bass playing deserves a big shoutout here: it's hard to miss, but incredibly addicting once you catch onto it. One thing that knocks this album down is that its lyrics (and melodies) aren't particularly singable (with a possible exception being Hot For Teacher). They're danceable and hair-thrashing – easy to drive along to with slicked-back hair and a convertible – but not exactly singable. David Lee Roth still pulled them off fairly convincingly, but at the end of the day these compositions just aren't as compelling as on the band's debut. Good guitar playing though. 4/5 Key tracks: Jump, Hot For Teacher, I'll Wait