I'm profoundly late to the Sleater-Kinney party. And hallelujah, it's a 90s rock album that's not over an hour long, clocking in at a lean 37 minutes. And those 37 kick ass. People complaining about Corin Tucker's voice can't hang. Highlights: Dig Me Out, One More Hour, Words and Guitar, Little Babies

I'm sure this was exciting to see in person. On record I'm less impressed. These performances are mush-mouthed and overly loose. I'm glad I don't like this, because JLL was also an awful person. Hearing people cheer his name between numbers makes my teeth hurt. Nothing leaves a bad taste in my mouth quite like hearing a racist co-opt songs (and a fucking genre) created by Black people. Or hearing a pedophile and abuser sing about love and attraction, for that matter. Man, fuck this guy. Highlights: not having to justify enjoying this album

I feel like I was maybe too generous when I reviewed E.V.O.L. I see 'Goo' suffers from long-ass-90s-song disease. "Mote" was going great, until it ended with two minutes of wandering rock noise, which would be fine if I wasn't expected to find it groundbreaking and transgressive. While I'll enjoy their instrumentation and melodies, I really struggle to enjoy the vocal performances across Sonic Youth's discography. I was so close to loving "Tunic (Song For Karen)"; the riff and the lyrics are great and I love the mix, but god I just can't do it with the spoken vocals. I did get to take another crack at "Kool Thing" as an adult. And it does rip, it's a great rock song, but god damn it with Kim Gordan's vocals. It's weird to hear this song now with more context and go "this is a pretty tolerable vocal take, actually." Highlights: Dirty Boots, Kool Thing (miraculously), Disappearer

The bassist is playing like rent is due, and I love me some bass. Otherwise, I have to admit this isn't my cup of tea. It's not grating; just boring, indulgent, and quite long. I'm a simple person who likes hooks I guess. I'd consider putting it on for background music while I'm working so I'd feel like I'm in a club instead of the office, so at least it's immersive. I kept checking to see how much time was left, which usually results in me slapping a one-star rating on an album; the most unforgivable thing an album can do is bore me. But again, the bass playing is so good that I can't insult it like that. Shout out to fellow Minnesotan Jim Hughart. I love to see a hometown hero winning. Highlights: On a Foggy Night, Eggs and Sausage, Better Off Without a Wife, Nobody

I didn't know what to expect based on the album cover, band name, or the Wiki description for that matter. My expectations were a bit low based on the release year, to be honest. And I'm a fool, because this blew me away. The second half of this album in particular is stacked with great songs--lyrically, melodically, and instrumentally. This is another one where I'm grateful to have started this generator journey so I could hear this. I might have to get this on wax, actually. Highlights: Nocturnal Me, Thorn of Crowns, The Killing Moon, Seven Seas

My two initial thoughts: "Oh, this opening verse is what they're referencing in the Page 7 podcast." "Oh, it's the album that Everybody Wants to Rule the World is on. Hopefully everything else is good, too." It sounds like it came out in 1985. (This is not bad.) 1. Shout 'They gave you life/and in return, you gave them hell.' I don't know if this first song needed to be over six minutes long, but what a hook. A lot of space and meticulousness in the instrumentation. 2. The Working Hour I love the clean guitar riff in the middle/latter part of this track, and the saxophone adds some drama. Again, not sure about the six minute plus runtime. 3. Everybody Wants to Rule the World I mean, c'mon. It's an all-timer. An unimpeachable song. 'Help me make the most of freedom/and of pleasure/nothing ever lasts forever.' And this bridge, oh man. 4. Mothers Talk These 80s drum machine sounds, I'll tell you what. There's something about that huge percussion that can get me going, though. The energy of this is welcome after the sprawling opening tracks and the shuffle of the last song. Oh, this slaps actually. There's a tasty guitar and bass breakdown. 5. I Believe Ballad time? I think it's ballad time. Ballads are hard for me. 6. Broken A good riff, however, is not hard for me. I was into this within the first ten or so seconds. There's an interesting dissonance between the organ bits and the background synthesizer; the productions ebbs from being cooperative to at-odds. I like the tension there. 7. Head Over Heels / Broken This is another one I've heard before--I think the Hivemind guys had this on their 'Our Favorite Songs of All Time' playlist. My money is on this being a Riley pick, but I could be wrong. I'm enjoying it more upon this second listen and in the context of the record. Great hook, great crunchy synth solo, and I actually like the compressed horns (or whatever it is that sounds like compressed horns.) 8. Listen Again: this album as been meticulously, lovingly produced from start to finish. It sounds of this time, but sounds great. I like the vocal sample and glitchy accent notes here, and the different drum textures. It gets you to Listen. I'm so funny. I'm a very serious musichead. There's great tension in the female backing vocals and patient production. It earns the over-six-minute runtime. Overall, I'd listen again. I've been missing out by only kneeling at the EWTRTW altar.

OKAY DAMN LET'S GET INTO THE CLASSICS 1. I've Got My Brand On You Blues always make me want cigarettes. I want my feet up on the dashboard of my car, windows down, watching traffic go by while I suck on a Marlboro. Blues can be hard for me to parse and truly appreciate; the first thing that stands out to me is the command and space in Muddy's voice. 2. I'm Your Hoochie Coochie Man THE man for blues standards. This song sounds like it's existed forever, but of course someone had to write it. The beat here is clear but restrained; they're not wailing on the beat stops like I'd expect a bar-blues band to do. I can hear the influence on the Rolling Stones and the Who here. 3. Baby, Please Don't Go Get those low notes, Muddy. The arrangement sounds loose and almost breezy, but that's only because the band is so tight. The call-and-response with the harmonica and guitar? Chef's kiss. 4. Soon Forgotten High pitched, warbling opening riff sets the tone here. Contrasts with the heavy, plodding pace. The bass drum is holding it down. 5. Tiger In Your Tank We've got a beat and prominent piano. Because of how repetitive the blues can be, songs are held together by the energy of the band and personality of the vocalist; both of these are present here. I could put this on at a party, maybe. 6. I Feel So Good Went right into this one; nice live transition. 7. I've Got My Mojo Working I like hearing the crowd be kind of stirred up at this point, although I'm realizing that although I respect the blues, it's not a genre that I turn to very often. Other than appreciating the musicianship, there's not a lot here that moves me, I guess. It can get me excited! Muddy is really popping off here as a frontman. Maybe if my ears were better attuned to blues, this would be great for running. "I've got my mojo working/it just don't work on you." 8. Got My Mojo Working - Pt. 2 I really dig the electric guitar work in this reprise. 9. Goodbye Newport Blues Jam \m/ Overall, I'm not sure I'll return to this album, but it could be something I'd put on while I'm up to something else around the house.

1. Bridge Over Troubled Water Okay, well, this album opens with a song that makes me cry. Let's fucking go. Absolutely adore the bass around the 3:10 mark of this song, right before we get the harmonies. 2. El Condor Pasa (If I Could) Are those recorders? It's giving the Thrillville's Pirateville park background music. "I'd rather be a hammer than a nail" so true bestie. 3. Cecilia I'm sorry to ask, but was this in a commercial? I like the way the percussion builds and layers with the acoustic guitar and their voices. This gives me novelty song vibes, which I don't think is fair. That "Pick it up, pick it up!" in the left chamber made me jump. I thought someone in the office was talking to me. That xylophone going ham in the latter half? Interesting sound and texture. What a strange song. 4. Keep the Customer Satisfied Here's the salty folk music I crave. Okay, not sure about the brass section here. It's a little cheesy. I still like the riff, the lyrics, melody, and vocal performances. Maybe the cheese is on purpose. 5. So Long, Frank Lloyd Wright Guitar work here reminds me a bit of Adrienne Lenker's playing. Nice bossa nova sway here and lovely vocals. 6. The Boxer "Met you at the dive bar to go shoot some p--" wrong song, sorry. I just like the way they (boygenius) interpolate and change the journey of that initial melody. Beautiful song, love the dramatic percussion--sounds like a snare with a bunch of reverb? Not to mention the bass harmonica. 7. Baby Driver "When I was young I carried a gun/but I never had a chance to serve." Maybe I should watch this movie. Anyways, a slap daddy of a folk rock tune. 8. The Only Living Boy in New York Delicious, salty folk. I used to listen to this when I worked at [coffee shop chain redacted.] Especially love the bass here. 9. Why Don't You Write Me Went right through me, to be honest. 10. Bye Bye Love Boy howdy are these folks clapping. 11. Song for the Asking A nice album; some highlights and some that didn't do a lot for me. I'd probably revisit on a rainy day.

Dude, I've heard Abbey Road a million times. It's ingrained in the folds of my brain. Five stars.

Okay, I'm not going to do track-by-tracks anymore because it's making it hard for me to focus on the actual album. This is a lean, mean, bite-sized piece of punk. Catchy and concise. Music to crash your car to.

Full disclosure: this is the first Wilco album I've ever listened to. The long runtime initially concerned me, but a few songs into the first half and I was hooked, especially when the rock influence turned up. The chord progressions? General musicianship? The lyricism? This may be my favorite record that this generator has introduced me to so far.

This is my first Iron Maiden record, full disclosure. Is this what metal used to sound like? It's so... melodic, almost clean. I like a lot of the riffs, the bass sounds great (imagine, being able to hear bass on a metal album), and it has compelling soloing. I didn't find this to be an overwhelming musical experience or anything, but I did enjoy it and could see myself revisiting in the future.

Boy howdy is this album bleak; boy howdy is this album good. Even the nearly-nine-minute closing track flew by.

This sure is new wave. I enjoyed it? I guess? It went right through me, which either means it's genuinely not compelling to me or I need to give it another couple of listens. I was relieved when it got to "Tracks" and there was a drum buildup. I've heard "Car" before, but in the context of this album I swear the same synth riff was used already. I'd be halfway through a song on this thing and thinking "Gosh, I can't wait for this to be over," then the song would end and I'd go "Wait, that was it?" Maybe I'm just not a new wave person.

One of my all-times favorites. An unimpeachable record.

There are some high points here, but there are Bowie albums I love more.

What a party record; what a voice.

😴😴😴

What a warm, fun, delicious record. I haven't listened to a lot (read: any) salsa music, but this was lovely. The production sounds great (some amazing bass performances!), the vocals grab my attention even when I don't speak the language, and the album is cohesive without feeling repetitive. There are so many moments and flourishes throughout that would reward repeat listening. I particularly enjoyed the "America" (West Side Story) interpolation in "Pedro Navaja" and the backing vocals on "Ojos". And, as mentioned, the amazing bass work across this album.

You know, maybe jazz fusion isn't for me either.

Here's the thing: Curtis Mayfield is a genius. He's the Gentle Genius! But why *this* album on *this* list? The instrumentation across the album is fine, his voice is nice, et cetera--but I'm not convinced that the sprawl of most of these songs is warranted or even in service to them. I was tired of "Jesus" and "Billy Jack" before they were halfway over. Mayfield's tenor gets samey in the back half of the record. I don't want to belabor the point here, but at this point I can't wait for this site to generate Super Fly.

Definitely a landmark G-funk record. The production is uniformly excellent, and Snoop's verses entertain and hold my attention. His flow is always great, but The Lady of Rage features are my favorite part. Some of the misogyny on this record is a little startling (although it is a 90s rap album) and I could really do without some of the skits.

"We quit making out to attend this meeting/with old ladies on tremendous amounts of coke." My ears perked up hearing this lyric, so precise and funny and telling. A whole story in a line. This is a great slice of early 2000s rock, served with the scent of the 90s on it. I'll likely revisit this album and explore more of Throwing Muses discography. My highlights were "Pretty or Not", "Speed and Sleep", and "Half Blast".

Disclosure: I came into this already hating "Come On Eileen". I really have trouble with this lead singer's voice. The way he uses his vibrato gives me the ick and I don't like his tone, especially how he transitions from falsetto to chest voice the way you'd go from talking to shouting. The track "Plan B" had an especially intolerable vocal performance. I liked the violin solo on the opening track. I hate the hokey claps and brass section on "Let's Make This Precious" and his Elvis-ass vocal inflections. And it doesn't get better for me. It just got more grating as the album continued. I heard the introduction to "Jackie Wilson Said" and actually gritted my teeth, bracing myself for the songs to follow. I don't want to be overly negative, so I'll say this: this is an over-produced, over-sung, overstuffed but uninteresting record that annoyed me start to finish.

I enjoyed this much more than I thought I would. It scratches the some nostalgia itch for me; it's like growing up listening to classic rock radio with my dad primed me to enjoy ZZ Top. The riffs and melodies are catchy, it's well-mixed and produced. These guys clearly love the guitar. It's not intellectual rock music, to be sure, but it's great for partying and you can dance to it. We all need some meathead rock and roll in our lives, and Eliminator is a prime cut of it. It gets a bit samey in the back half. I'd give this a 3.5 if I could.

What an English album. This is a solid collection of power pop and Brit rock tunes with some curveballs tossed in for flavor (see: "The Debt Collector", "Far Out"). I can't say that it blew me away, but I can see why some folks would love it. My highlights were "Girls & Boys", "End of a Century", "This Is a Low", and "Clover Over Dover".

Okay, well. I like the Natalie Merchant's voice, although she can come off as overly somber--the reigning mood of this album. She gets close to a kind of slinky sexuality on "I Don't Get It", which would've been welcome on other songs (I think "Misguided Angel" would've benefited from some of that energy). I've seen other reviews refer to this as a kind of proto-slowcore record, which I'm inclined to agree with. If a lot of these songs were a minute (or two) shorter, I think fewer reviews would complain about being bored. Many of these tracks just overstay their welcome. The lead guitar playing is great, often bluesy, and the gritty tone cuts right through the lowfi production and restrained vocals. I think this album is beautiful, in a way; I also think it could've used some edits and more varied vocal performances. I could see myself revisiting parts of this on a rainy day when I need some alt country for swaying. Highlights: Blue Moon Revisited, Dreaming My Dreams With You, Sweet Jane

I kind of love this record, actually. I think this is only the second album this generator has given me that I haven't heard before that's reached the five-star benchmark for me. I can't really fault it; it's well-written, well-performed, premium 1970's NYC punk rock. Highlights: See No Evil, Marquee Moon, Guiding Light, Prove It

These songs are short, sweet, and pretty. I wish there was some more breathing room between songs. I wanted the "Bookends" intro to be longer; the tone of that guitar is perfect. I guess there is the reprise. The arrangement on "Old Friends" was a little saccharine for me, and the short length of some of these songs made them feel fleeting and at times insubstantial. I'd rather that than a song overstaying its welcome, I suppose. Some of the sound effects and added dialogue were nice ideas, but ultimately took me out of the music and struck me as kind of corny. This track with my general experience re: Simon & Garfunkel albums. "Mrs. Robinson" is an all-time banger though.

Me, seeing a runtime of over an hour and eight interludes on what is ostensibly a pop record: 😐 And then the opening track "Rhythm Nation" knocked me clean out of my chair. It's amazing to hear an album this ambitious, conceptual, and confident from a 23-year-old; even more unbelievably, this was only her fourth proper album. I feel like I've missed something from the one listen, so I'd like to revisit this and commit to closer listening. There's the 1989 of it all: the massive drums, glossy backing vocals, and synths. "Dated" tends to have a negative connotation, but I don't mind that I can hear the year on this one. The songs stand up to time. Highlights: Rhythm Nation, Livin' In A World (They Didn't Make), Black Cat

With a lot of these Radiohead albums, they've been hyped up so tremendously in previous years that when I'm not blown away, it feels like a personal failure rather than some flaw in the music or over-saturation of universal praise. Still incredible, please don't get me wrong. I loved OKC and I loved Kid A and hopefully I love whatever else they have on this list. It's just, you know. I thought my life would be changed after listening or something. I'll keep trying. I'd give this 4.5 stars if I could, but because I can't really fault this album, it's 5/5. Highlights: Paranoid Android, Exit Music, Electioneering, No Surprises

I enjoyed the beginning of this album quite a bit, but something happened around the third-to-midway point. I think it was something like listening fatigue, but that's usually an issue when you're in the homestretch of some 60-minute LP. So what does that say about 'Fuzzy'? I like his voice; his diction could be better and some of the melodies seem limited by his range. Many of the lyrics that I could pick out seem socially-conscious in a pretty on-the-nose manner. I wish the rhythm section had the same verve and attention as the guitars and vocals do. "Serviceable" is a descriptor that comes to mind for this record, which feels more deeply insulting than "bad" or "okay." Funnily enough, I came around to it more during the last few songs. Highlights: The Shining Hour, Fuzzy, The Hook, Dixie Drug Store (who could hate on a classic "I fucked a ghost" tale?), You Just Have to Be Crazy

Okay fine alright okay fine fine fine I'll listen to Sonic Youth finally, fine. Okay. God damn it. I love the first track. I might end up loving this thing. Damn it all to hell. I don't know exactly where my deep aversion to Sonic Youth came from; maybe it was playing "Kool Thing" on Guitar Hero when I was too young to Get It and hating the song, maybe it was a reflexive dislike of Kim Gordon's voice (I'm sorry), maybe it was years of being inundated with people insisting that Sonic Youth is the greatest band to come from New York, the apex of cool, heirs apparent to The Velvet Underground, whatever. Here we are. The guitar work, the production and atmosphere--this thing *is* pretty cool. The drums sound great. The songs are tight. The album is polished but not fussy. If I was in somebody's basement or a dim club hearing this stuff live, I think I'd go nuts. There are still the moments of pretentiousness that I'd expected (see: "In the Kingdom #19", "Secret Voice"), but I wouldn't call this a pretentious record. It's damn good rock music. But I still don't really like Kim Gordon's voice. Highlights: Tom Violence, Star Power, Death to Our Friends, Madonna, Sean, and Me

I think I'm more compelled by the blues when hearing them live. Highlights: I'm In The Mood, Sally Mae, No Substitute

I'd give this a 4.5 if I could. I am glad I heard this album before I died.

I liked this more than I thought I would. Annie Lennox has an amazing voice, the synths are varied and the guitar is crunchy. I can hear Eurythmics influence in other artists I love, like St. Vincent. I feel like I've been missing out. Highlights: Love is a Stranger, Sweet Dreams, Jennifer, I Could Give You (A Mirror)

This is clearly well composed dance music. It's grimy and varied. Perfect for soundtracking your Cyberpunk role-playing game. It's also very long. Highlights: Voodoo People, Their Law, Speedway

Cheesy? Maybe. But "More Than A Feeling" does make me, well, feel a kind of way. If you grew up listening to classic rock radio you can recognize a Boston song from miles away. That voice, the production style, the massive hooks and arena rock polish. You even get some prog-adjacent instrumental action on the third track! My primary complaint with this record is that some of these melody lines and hooks sound a bit too similar to each other to be on the same record: "Rock & Roll Band" compared to "Peace of Mind" is one example. Use different chords, guys. Anyways, nostalgia and joy give this a decent score. But not quite a great score. Eat some cheese everybody. It's good for your bones.

I came around to it more in the second half, but I left this record feeling lukewarm towards it. I'm becoming concerned that I generally find 90s rock music kind of boring. Highlights: Blue, All-Nighter, Connection, Waking Up, Vaseline

I'm never quite sure how to rate albums that are well-made, well-executed, but just not for me. I enjoyed my listen on this one just fine, but I can't see myself revisiting it. Maybe for the instrumental playlist I have for work? Some of these tracks were groovy, even danceable. Other tracks made me feel like I was sitting in the waiting room for my therapy appointment. I can't in good conscience give this anything lower than a three.

This opens with a fucking Led Zeppelin sample? Did the Beastie Boys beat Dr. fucking Dre to "When the Levee Breaks"? This came out in 1986? There are THREE Zep samples? Why haven't I heard this record yet? This was a ton of fun, although at times it feels like being yelled at over music at a party for 45 minutes. Also, "Girls" is unforgivably stupid, but this album doesn't exist to be intellectually stimulating. Or progressive. (Although, sound-wise, it may be ahead of its time.) This is id music. Highlights: Rhymin & Stealin, The New Style, Fight For Your Right, No Sleep Till Brooklyn

This is fine rock music, I guess. He has this inflection in his voice that's part Presley, part Buddy Holly, part Billy Joel that kind of bugs me. I was surprised when I checked the critical reviews of this album after my listen and saw rapturous praise. This is so middle-of-the-road to me that I feel like a traffic circle. I will say that I think he's a good lyricist. I wish he was easier to understand when he sang.

So, I'm biased. I'm from Minneapolis. Paisley Park was blocks from where my dad worked, and I saw it often. I was dancing at First Avenue to "1999" on New Year's Eve when the clock struck midnight and it became 2020. "When I woke up this morning/Could've sworn it was judgement day." "We're running out of time." "We could all die any day." Tell me about it. The songs are long, sure. The Minneapolis Sound might not be for everybody. He says some freaky shit on this thing. But god damn, when Prince sings "I'm gonna have fun every motherfuckin' night", I believe him. Highlights: 1999, Little Red Corvette, Let's Pretend We're Married, D.M.S.R., Free, Lady Cab Driver, International Lover

Sure, I'll listen to a Christmas album on a snowless January 31st, that won't make me sad. Some unsorted thoughts: I could really do without the spoken interludes on a couple of these songs. Phil Spector talking all over "Silent Night" knocked a full star off of this thing. Darlene Love has an incredible voice. I had never heard "Parade of the Wooden Soldiers" before and, after listening, I understand why. But overall, this is a nice gift from Phil Second Degree Murder Spector. His "Wall of Sound" approach makes for exciting, stirring moments, and also for some muddiness and lack of clarity, sometimes on the same song. It's not my favorite Christmas album and sounds very dated to my ears, but I bet this went off in the early 60s. Highlights: Sleigh Ride, Winter Wonderland, Christmas (Baby Please Come Home)

I don't know? Some of these songs kind of slap, I guess, but the sound is so muddy that I can't really grab hold of any particular melody, lyric, or instrumentation. This is a perfectly acceptable live record that I'm sure classic metal fans would enjoy. I can't say that I'd revisit it. But I'm glad I've heard it and have now heard more than one Motorhead song, which I guess is part of the point of this list. My highlights were "The Roadcrew" and "Ace of Spades" (I mean, yeah).

Dante is a scrub. Thank goodness De La Soul's catalogue is finally available on streaming so more people can listen, and listen in higher fidelity than whatever YouTube does to audio. I love the Otis Redding flip on "Eye Know", the "Transmitting Live from Mars" interlude, the screaming about Coca Cola on "Do as De La Does", and how this album is a little over an hour and doesn't overstay its welcome.

Another landmark rap album, but I was expecting to enjoy this more than I did. It's well produced and I like most of the features, but this one does suffer from runtime bloat. If most of the songs were a minute (or even two minutes) shorter I think it would feel less vibe-y and tiring. It's held together by Missy Elliott's charisma and the beats, but I found myself zoning out and being surprised at how much was left to listen to.

Paul Simon was married to Carrie Fisher? Interesting. Anyways. This album seems to be pretty polarizing. I see folks either loving it or hating it, so here's my two cents: this record is fine. It sounds inspired, I guess, but the production doesn't always work. Why do the backing vocals on "I Know What I Know" sound like that? The backing vocals on "Diamonds on the Soles of Her Shoes" sound great, so why do they sound so shrill here? Why is that accordion so, so loud on "Gumboots", and why does the sax sound so strange and compressed? Was that on purpose? Where does he get off writing "Under African Skies"? (Although the female backing vocals on it are lovely.) But I can hear this album's influence on bands I love, most pointedly Vampire Weekend, and I can understand why somebody would love it. I can also understand why somebody else would hate it. I left this record wanting to hear more South African musicians (particularly choirs) and their music, but sans Paul Simon. Highlights: Graceland, Diamonds on the Soles of Her Shoes, Homeless

Me: Calling this Bruce's 9/11 album seems kind of reductive. It's over 70 minutes long and came out only six months after the towers fell, it can't just be about that. Me after listening: This is Bruce's 9/11 album. My dad listened to this album all the time when it first came out. I remember him being moved by much of it, especially "You're Missing". I had been just old enough to remember 9/11, but my most vivid memories about it are of the aftermath. I'd cry when my mom had to go into work because it was in a tall building; I remember the magazine covers full of smoke and debris, the anxiety and anger, the full swing into jingoism (which Springsteen does engage in some here; make no mistake, he wasn't above the inclination towards revenge or blind patriotism), the useless, wasteful war. Is every song literally about 9/11? No, I don't think so, but that grief, loss, and confusion permeates every moment of 'The Rising'; at the very least, it's an album of Springsteen processing 9/11, what he witnessed from his window in New Jersey, and the emotional state of the country afterwards. If you've noticed I've spent more time talking about the emotions and context around this album more than the music, there's a reason for that. This album does itself a great disservice by overstaying its welcome. Cut a few MOR or saccharine tracks, hack off a minute or two from the long songs, and this would maybe (emphasis on 'maybe') be an outright Springsteen classic. Seriously, I would cut the entire run of songs from "Into the Fire" through "World's Apart". As it is, this album is like an intense therapy session: a couple of breakthroughs, and lot of spinning wheels. Sorry, dad, I can't quite love this record, even though my nostalgia really wants me to. Highlights: Mary's Place, The Rising

Top ten favorite album of all time. What a delight to see it on this list.

🤷 Highlights: Movin' On Up, Damaged, I'm Coming Down

I'm a big Led Zeppelin skeptic, but unfortunately I must concede that this album rips. What holds me back from totally loving this record, and maybe Zep in general, is Robert Plant's voice. He'll turn in a performance I really like, or am even impressed by: "Battle of Evermore" and "Rock and Roll" stand out. But on other songs his howl sounds so shrill and overwrought. My hottest take is that "Stairway to Heaven" is overrated. But "When the Levee Breaks" gives me goosebumps across my whole body, "Going to California" transports me to someplace warm and fragrant, and "Black Dog" makes me go apeshit. So it balances out.

Hallelujah, I really liked this. I'm glad I've heard it and can listen to it again. Highlights: A Sailor's Life, Cajun Woman, Who Knows Where The Time Goes?, Million Dollar Bash

Imagine making a rap album so good that even though it drops on 9/11, it sells over 400,000 copies in its debut week.

So beautiful. The title piece is particularly stunning.

Instrumental music isn't really my cup of tea, but this is a solid album of the stuff. (Well, there are some snippets of vocals, but it's largely an instrumental album.) There's good variety of chill, smooth, dance-able, and in between. I'll be keeping it in my rotation for listening at work. I'd give it a 3.5 if I could.

What a voice what a voice what a voice what a voice what a voice what a voice what a voice what a voice what a voice WHAT A VOICE. Powerful and gritty and soulful. There will never be another like Aretha. The piano playing kicks ass, too.

Had absolutely no idea what to expect based on that album cover, then I heard the opening track and went "Oh, of course." I've heard music like this primarily live, played in someone's basement or garage in Dinkytown by a band I've never heard of and will not hear of again. I could appreciate the vibe this would bring when shoulder to shoulder in a houseshow environment. It made for strange listening at the office. This music didn't bother me or anything, and there were some moments of greatness, but the massive sound of it all started to sound the same. My favorite thing about this album is the bass. Also, apparently The Birthday Party was Nick Cave's first band, if that means anything. Highlights: The Dim Locator, Several Sins, Kewpie Doll

I've never listened to so much 1980s music in my life as I have doing this generator. A lot of influential music came out that decade, or so I keep being told. What was it about the period of time between 1983 and 1998 where people were making songs so fucking long? I'm not opposed to songs running longer than the pop-mandated two-minutes-and-fifty-seconds, but I'd like the additional minutes to feel warranted. Their singer has that English New Wave voice. You know what I'm talking about right? That kind of head-voice, almost nasally, a little whiny but a little deep voice, with terrible diction? That's the one. Did all these guys have the same vocal coaches or something, like the 2010s 'indie voice' singers? It's a vocal tone that either communicates immense self-pity or is strangely dispassionate towards what's being sung; for example, I believed this guy not at all when he sang "Life's What You Make It". I like the cover of this album a lot, for whatever that's worth. Overall, a bit of a snoozefest. Highlights: I Don't Believe In You (that guitar solo around the 3:30 mark helped a lot), Give It Up

I'm profoundly late to the Sleater-Kinney party. And hallelujah, it's a 90s rock album that's not over an hour long, clocking in at a lean 37 minutes. And those 37 kick ass. People complaining about Corin Tucker's voice can't hang. Highlights: Dig Me Out, One More Hour, Words and Guitar, Little Babies

Maybe the best Pixies album. I have a not so great ex who proselytized this album to me, so I was inclined to dislike it, but ultimately could not. It's too good. I'm in love with Kim Deal. Her bass and vocals are vital to this album's sound and texture ("I Bleed" is a great example). Highlights: Debaser, Wave Of Mutilation, I Bleed, Here Comes Your Man, Monkey Gone to Heaven, Mr. Grieves, Hey

Excellent vocal performances and arrangements, and the sprawl of "Papa" among a collection of solid 3ish minute songs is interesting. The mixing on the opening track had me thinking my headphones were broken at first. Highlights: Papa Was A Rollin Stone, I Ain't Got Nothin, Mother Nature, Do Your Thing

I love this record. God I love The Kinks. The arrangements are dynamic, melodies catchy without being overly simple, and overall theme cohesive. I'll absolutely listen again. Highlights: Victoria, Brainwashed, Shangri-La, Mr. Churchill Says, She's Bought a Hat Like Princess Marina, Nothing to Say, Arthur

I'd avoided listening to Blackstar for a long time. I was deeply saddened by Bowie's passing and didn't want my view of the album tainted by that, and all the acclaim for Blackstar fed my suspicions that would happen. I think it's been long enough now where I can listen to this as an album first and a Final Album second. It's a joy to hear Bowie explore so many genres and production approaches. He was adventurous, up to the end. While I don't know what to do with lyrics like "I was looking for your ass", I do think Blackstar is great outside the context of Bowie's passing. Highlights: Blackstar, Lazarus, Girl Loves Me, Dollar Days, I Can't--you know what, the whole thing. Whole album is a highlight.

Oh, this opens with one of my favorite musical pieces ever. Okay. (I wake up to Satie's Gymnopedies every morning and haven't gotten sick of it.) I've never thought of myself as a jazz rock person, but I can dig this. It's fun and a bit campy, almost dramatic in moments. It reminded me of musical theatre a bit, in moments. And the horns sound great. I'm honestly a little surprised by how much I like this album. Highlights: Smiling Phases, Sometimes in Winter, More and More, And When I Die, Spinning Wheel, You've Made Me So Very Happy

Who in the world needs almost an hour of The Black Keys on one album? I like a good riff as much as the next person, but this band has a tendency to milk them. The songs that are great are immaculately produced, catchy, and performed well; the songs that aren't are kind of exhausting. I can forgive a repetitive song when it's not a minute too long. It all begins to sound the same. Also, goodness gracious are these lyrics vapid. Highlights: Everlasting Light, Tighten Up, Howlin' For You

Read the label or you might get poisoned!! Highlights: Duel Of The Iron Mic, Living In The World Today, Gold, 4th Chamber, Swordsman, I Gotcha Back, B.I.B.L.E.

I've never been terribly impressed with "Bittersweet Symphony." I'm not terribly impressed with this either. Highlights: I'll just listen to Oasis, thanks

I remember listening to this album when it first came out; I was in high school and trying to keep up with new music releases for the first time. I don't remember it very well, even though I listened to it a few times. Maybe it fell victim to the free-version-of-Spotify disease where you could only listen to albums on shuffle. Anyways, my new take is that this album is pretty good, but it pales in comparison to Blackstar and, of course, Bowie's best work. It's a couple songs too long, and much of it has a straightforward rock sound with a bit of modern polish. But I can hear Bowie's passion here. Highlights: Dirty Boys, The Stars (Are Out Tonight), Love Is Lost, I'd Rather Be High, Dancing Out In Space, (You Will) Set The World On Fire

These songs all sneak up on me. They start and I don't really like them, and then by the end I'm bopping along. It's kind of refreshing to hear a DIY punk record that actually sounds DIY. Apparently The Slits couldn't really play their instruments when they first started, and although I can hear that on this record a bit, if I didn't know I would think this simply was creatively composed music. (And it is still that.) To be honest, as important of a record as I'm sure this is, I don't think I'll revisit anytime soon. But I'm glad I heard it and had fun along with the band. Highlights: Instant Hit, So Tough, Newtown, Ping Pong Affair, Typical Girls

This album makes me want neat bourbon and a cigarette. Highlights: The Girl From Ipanema (both versions), Desafinado, Corcovado

Oh man. This is really good. This generator has gotten me to listen to a lot of great hip hop records. God bless. Highlights: Johnny Is Dead, Gettin' Up, You, ManWomanBoogie, Life Is Better

Music soothes even the savage beast. It's nice to hear a 90s rock album that doesn't bore me to tears. It does make me feel kind of anxious after a while though. It might be his voice. Highlights: Bad Habit, Gotta Get Way, Come Out and Play, Self Esteem, It'll Be a Long Time, What Happened To You?

I've never been a Van Halen person, maybe because I never gave their music more than a cursory listen when their songs came on classic rock radio. I will say that hearing "Jump" with headphones instead of my dad's 2001 Ford F150 speakers gives it some shine. (Although, Van Halen definitely makes music for car rides.) It's still a bit too... meathead rock for me to Love it, but I appreciate the musical proficiency and the fun this album exudes. I can understand why someone would love Van Halen, and why this album is on this list. So generator, thanks for helping me get off my high horse about Van Halen, I guess. Highlights: Jump, Panama, I'll Wait

It's so good! Folky and jazzy, sincere and fun. It's also aged like wine. I do wish there was more variety in pacing; the middle portion of the album made me a wee bit sleepy. Highlights: And It Stoned Me, Moondance, Crazy Love

Harris has a beautiful voice, and her writing is spellbinding. My singular true gripe is that many of these songs are 30 seconds to a minute too long. The sprawl makes it difficult to pay close attention, which is a shame when the writing is this good. Highlights: The Pearl, Red Dirt Girl (😭), Bang the Drum Slowly, J'ai fait tout, My Antonia

I don't know, it's alright I guess. I don't believe this is something I needed to hear before I died, but at least I've heard another album by somebody who played at Woodstock. Whatever that's worth. It was nice of them to whisper "LSD" directly at me towards the end of the record; the influence had been unclear. Highlight: Love

This is my first R.E.M. album. I'm aware of their influence and some of their big songs, but that's about it. I feel like I owe this album at least one more listen, because it kind of washed right over me. There are moments of interesting instrumentation and turns of melody, but I have trouble understanding the lyrics and the mix is a little flat, so it starts to sound the same. I'm on the edge of really liking this, which is the same edge as leaving an album behind after a single listen. Highlights: Laughing, Moral Kiosk, Catapult, Shaking Through

Strangely enough, even though it holds some of my favorite Bowie songs, I hadn't listened to Hunky Dory in full before. Now I have, and I'm not surprised that I think it's pretty great. Highlights: Changes, Oh! You Pretty Things, Life On Mars?, Kooks, Quicksand, Queen Bitch

I feel like I was maybe too generous when I reviewed E.V.O.L. I see 'Goo' suffers from long-ass-90s-song disease. "Mote" was going great, until it ended with two minutes of wandering rock noise, which would be fine if I wasn't expected to find it groundbreaking and transgressive. While I'll enjoy their instrumentation and melodies, I really struggle to enjoy the vocal performances across Sonic Youth's discography. I was so close to loving "Tunic (Song For Karen)"; the riff and the lyrics are great and I love the mix, but god I just can't do it with the spoken vocals. I did get to take another crack at "Kool Thing" as an adult. And it does rip, it's a great rock song, but god damn it with Kim Gordan's vocals. It's weird to hear this song now with more context and go "this is a pretty tolerable vocal take, actually." Highlights: Dirty Boots, Kool Thing (miraculously), Disappearer

Senegalese music, you say? Thank goodness for some variety on this list. It's been a lot of English and American stuff. N'Dour has a great voice, flexible and strong. I like the instrumentation a lot; I especially love the bass, particularly its tone on the opening track. Not sure about the synthesizers; they muddy the sound a bit. Maybe I'll revisit this album, maybe not, but I am interested in more of Youssou N'Dour's work now. So thanks for taking a break to present me with some good African music, list. I hope it wasn't too hard to include among all the Britpop and New Wave. Highlights: Pitche Mi, Taaw

Thank fucking goodness, an actually perfect live album. This makes me feel like my head is being split open, I'm drenched in sweat, and it's a miracle to be alive and in a human body. Imagine being at this show. If you're reading this and enjoyed Live at Leeds, please check out their performances at Isle of Wight and Hull. They absolutely rip. Highlights: The whole thing. Long live The Who.

I'll add this to the pile of 80s rock albums I heard once and will never think about again. Thanks to this list, I finally understand all the people who find classic rock bland. These songs are indistinguishable from each other. See you next time, Rubin. Highlights: YEAH YEAH YEAH YEAH YEAH

I don't know. I guess it's not for me. It did make me chuckle a lot. Maybe it's how histrionic it is. Highlights: Wait and Bleed, No Life

I've heard it said many times that Dolly Parton is one of the greatest living American songwriters, but I hadn't heard one of her albums start to finish before. Now I have, and yeah. I think she's one of the greatest living American songwriters. I don't really care for Porter Wagoner's songs, so alas I must detract a star. Highlights: Coat of Many Colors, My Blue Tears, Early Morning Breeze, A Better Place To Live

I feel like I should like this more than I do. It has lots of elements of other music I love, but something isn't clicking for me. The length of these songs doesn't help. Highlights: If I Like It I Do It, Whatever It Is I Just Can't Stop

I had a run of albums that I was (at best) lukewarm towards, so I'm relieved to get something new that I also love. I'm looking forward to returning to this one. I like the way it sounds, the instrumentation, the variety, the lyrics and the vocal performances--I guess everything about it. Highlights: Halfway Home, Crying, Family Tree, Shout Me Out, DLZ

This is my first Bjork album. My first thought when pulling up 'Vulcinara' was "This had better be almost an hour for a good reason." I've also heard this referred to as Bjork's breakup album, which makes me inclined to like it, since I tend to enjoy albums centered around intense emotions and moments in the artist's life. This woman was really going through it. Her compositions are wandering and unbothered; the strings are beautiful and I like how they're combined with the drum loops and inorganic sounds. I disagree that it sounds like she's "trying to be experimental," none of this sounds labored to me. It does sound like someone working the pain away; there's real agony on here. I'm surprised she didn't process her vocals more, and grateful the raw delivery is largely left unadorned. It's still not easy listening, and I can't say that I'll revisit this often, but I enjoyed my time with this album. Highlights: History of Touches, Black Lake, Atom Dance, Quicksand

This is my first Frank Zappa record. It's an astonishing display of musicianship, and while I don't know if I'll revisit or not, I enjoyed my time with it. Highlights: Peaches En Regalia, Willie The Pimp

This didn't really stick to me at all. I thought it was meandering, almost sounding lost. "Madame George" didn't need to be 10 minutes long. I feel let down, or like I'm missing something. Highlights: I'm going to listen to Moondance again

A pretty good rock album. Inoffensive, enjoyable, and easy to move on from. Highlights: Enola / Alone, Everything Must Go, No Surface All Feeling

I'm a simple person. I drink coffee, I sleep on my side, and I enjoy Queen's music. It's interesting listening to early Queen; I can hear where their influence bled into artists after them, but I can hear them wear their own influences on their sleeve. I can hear The Who all over "Father To Son" and The Beatles on "White Queen (As It Began)." They were still fully in their rock bag on 'Queen II,' with some glimpses of the high-drama to come. That all being said, there are Queen albums I love more. Highlights: Some Day One Day, The March Of The Black Queen, Seven Seas Of Rhye

I'm not familiar with this album or artist, which I like. It's also nice when a total mystery album turns out to be good. It's spacious, unbothered music; I wish I could understand the lyrics better (I'm a words person), but the vibe is absolutely immaculate. And as the album title implies, the melodies are great. There are dynamic builds in the instrumentation, the production is clean, and I really dig the variety in guitar sounds. It does get a little sleepy in the middle and overlong by the end, which holds me back from completely loving it. 3.5/5 Highlights: If I Were with Her Now, I Want You, Smiles, Angel Sigh

Very excited to get this one from the generator. I ride with the Iggy Mix, personally. It's grimy and gritty without losing all of the sonic fidelity; all the compression manages to work in its favor. This opening three song run is maybe one of the strongest in its genre. And then the run continues, for pretty much the rest of the record. 'Raw Power' indeed. Highlights: Search and Destroy, Give Me Danger, Your Pretty Face Is Going to Hell, Penetration, Raw Power, I Need Somebody

I'd tried listening to 'Bitches Brew' in the past and failed, so I entered into this listen with some trepidation. I remembered it being difficult, long, and occasionally cacophonous. And it still is that, but I think I can grasp what makes this album required listening now. It's seminal and genius and groundbreaking and all that, but I have to be authentic to my listening experience with my rating. Highlights: Spanish Key, Sanctuary

Another opening on an album that makes me think my headphones are broken. Anyways, I like that the first track is "I Wanna Be Adored"--is there a sentiment more naked and relatable than that? The vocals are mixed low on a lot of this, which means the guitar has room to shine but the drums seem loud and severe. There are great chorus hooks and melodies. Sometimes a band has just one great album in them (see: Third Eye Blind, Hootie and the Blowfish, Boston), and that's alright. Bold of these guys to end their debut album on two sprawling songs. Overall, a good rock album. I'd revisit. Highlights: She Bangs the Drums (an all-timer), Waterfall, Made of Stone, I Am The Resurrection

This is my first full Duran Duran album. I'm familiar with them as one of the go-to 80s bands to mention when talking about 80s pop music. And this sure is 80s pop music, top to bottom. I think I'd only heard the chorus hook for "Hungry Like the Wolf," so I didn't know that that songs rips, actually. I like the verse melody even more than the refrain, which is a rare feat. (However, the breakdown on the bridge is a bit melodramatic for me.) This came out in 1982, which makes me wonder when the 1980s Sound came about. Was this the daddy of all 80s gloss? Surely they weren't the first New Romantics band. With this list, I keep running into massively influential, blockbuster albums that I come away from thinking are totally fine. Maybe there's too much distance between then and now and I can't hear exactly what's special here, like playing a video game from 2005 that was groundbreaking then merely enjoyable now. Maybe I'm putting too much stock into it. I never thought I'd spend this much time thinking about Duran Duran. Highlights: Lonely In Your Nightmare, Hungry Like the Wolf, Save a Prayer

I have maybe heard of this band? I'm chugging through a lot of 80s albums in a row. Maybe the generator is trying to get a bunch of them out of the way for me. I'll start with this: Tracey Thorn has a beautiful voice. The opening track is a lovely; she sounds great, and the guitar sounds warm and sweet. I am a bit wary of an album that opens with a cover, however. Some of the VERY 80s production dates these songs for the worse: "Love Is Here Where I Live" has that piddling drum machine sound that takes the polish off the heavy piano and layered vocals. If you took the vocals off a lot of these songs, it would sound like waiting room music to me. I spent a lot of this album waiting for the next song to see if that one would stick. Anyways, I've heard Tracey Thorn has a good solo career. I'll go check some of that out. Highlights: I Don't Want to Talk About It, The Night I Heard Caruso Sing, Shadow on a Harvest Moon, Apron Strings

This is my first Depeche Mode album. I was wary of yet another 80s record (my third in a row), especially one over an hour long. Thankfully, it hooked me right away. The mix is bottom-heavy in a way that gives these songs some weight and magnitude, there are vocal performances I can actually discern, and all the 1980s signifiers like the drum machines and squirming base lack the cornball "sheen" of their contemporaries. Thank goodness, it's good music. I'll be revisiting, especially the highlights. (It still could be maybe 10 minutes shorter.) Highlights: Never Let Me Down Again, The Things You Said, Behind the Wheel, Nothing, Pleasure Little Treasure, Route 66 (a cover I never thought I'd hear nor enjoy so much)

What a voice. I don't speak a lick of the language, but that hasn't stopped me from enjoying other records. I also enjoy a good live album, and this is one. The orchestra is spellbinding, the vocal performances are passionate but precise, playful but sincere--and the crowd's enthusiasm is included appropriately. Another album that makes me want bourbon and a smoke. Highlights: Amsterdam, Tango funèbre, Le play pays

Initial thought before starting my listen: Oh good, another 90s album that's almost an hour long. I'll get myself ready for a nap. It didn't put me to sleep, to be fair. I was pleasantly surprised to find a dance-pop record. The beats are good and the low mixing of the vocals actually works most of the time. Much of it still fell into the background for me, unfortunately. This is a great Vibes album, but Vibes aren't personally engaging for me, especially with house music. And not to sound like a broken record with my reviews, but this really didn't need to be 58 minutes long. Highlights: Only Love Can Break Your Heart (another album that opens with a good cover), Girl VII, People Get Real, Nothing Can Stop Us, London Belongs to Me, Kiss and Make Up

I think Talking Heads either work for you or don't. I'm glad I was born with the Talking Heads-enjoyer gene. This isn't my favorite TH record, but still a damn good sophomore effort. I love the bass, I love David Byrne's strange and kind of charming delivery, and I love the texture and sound of this thing. Highlights: Thank You For Sending Me an Angel, Warning Sign, Found a Job, I'm Not In Love, Take Me to the River (another great cover), The Big Country

I've never listened to a Siouxsie record, but I've read a fair amount about their influence on alternative music (you know, alternative music. The well-known music genre "alternative") and contemporary goth culture. And I'd heard "Happy House" before. I was looking forward to getting a bigger picture. First of all, I love the drums on the opening track accenting the "throw them down the stairs" lyric. Siouxsie has a great voice for this; charismatic and strong without being bogged down in technical showiness. As a band, they have good ears for a hook and a strong sense of mood. I can also hear how many samples have been pulled from this. Siouxsie And The Banshees might be the most sampled goth band. This album is spooky, sexy, atmospheric, catchy, and damn good. Highlights: Spellbound, Arabian Knights, Halloween, Monitor

Talk about a hyped album. I've never listened to Belle & Sebastian before, but boy howdy has a lot of ink been spilled about them and their impact on music, particularly the indie scene I once found so vital and precious. And I can hear it right away, as soon as the opening track: the slight production, the subtle build, the trumpet as the sonic climax. There's more sex on this record than I'd expected. I guess I assumed it would be too twee. It's not *sexy*, but certainly curious about sex as subject matter. Maybe a little horny. This album casts a spell. I was inclined to resist it, but around halfway through I realized I was really, really enjoying it. Damn. Highlights: Seeing Other People, Like Dylan in the Movies, Get Me Away from Here I'm Dying, If You're Feeling Sinister (what a great title track), Judy and the Dream of Horses

I had no idea what to expect going into this. I hadn't heard of the artist or the album, and the album cover didn't give me any meaningful clues. I guess I can continue to round out my 1980s listening. There's melodrama on this record; I started picking up on it during the second track. The songs are catchy and flashy, creating a listening experience that alternates between fun and occasionally grating. But mostly fun! I like the prominent bass guitar, what can I say. It's a strong debut album that gives concept album energy without being obviously a concept album. It's a collection of good early 80s pop songs about love and its trappings. I'll be revisiting the highlights. Highlights: Show Me, Many Happy Returns, The Look Of Love Pt.1, Date Stamp

I've never listened to a A Tribe Called Quest album in full before and I'm excited to finally do so. I've heard a lot about their influence and excellence and enjoyed the solo albums of some of their members very much (read: Q-Tip's). I was also a little bit apprehensive because of all the hype as well. But I didn't need to be apprehensive, because it is really good. The beats are great, the sample work is kind of bananas, and it's bursting with personality and humor. I can hear how its influence has stretched over pretty much all contemporary hip hop; it's great to listen to an album this foundational and enjoy it. Highlights: Footprints, I Left My Wallet in El Segundo, Can I Kick It?, Youthful Expression, Ham 'N' Eggs

There's a Taylor Swift song where she sings the lyric "Now that we don't talk I don't have to pretend to like acid rock." I imagine this was one of the records she tolerated, because that's how I felt. Highlights: realizing The Doors would be a great palate cleanser after this

Beautiful and well-performed. I'll be revisiting. Highlights: My Lady Story, You Are My Sister, What Can I Do?, Fistful Of Love, Spiralling

I'm always skeptical of albums that are over an hour long, especially when they tip into the 70 minute territory. But some of my favorite albums are pretty damn long, so it's not really an indication of quality on its own. If it's a good album, then you're in for a treat. If it's not good, it'll be agonizing. A just-okay album can crater to a bad album when its runtime is too long. All this to say that Stankonia is absolutely packed with heaters, bangers, and jams, and sometimes a long runtime is a good thing actually, because it means there's more of those. Highlights: Gasoline Dreams, Ms. Jackson, Snappin' & Trappin', Spaghetti Junction, I'll Call B4 I Cum, B.O.B., Humble Mumble, ?, Gangsta Shit

Kind of a bananas debut album, and it came out later than I thought. I was under the impression Eminem had been doing This since the early 90s, but this thing came out at the turn of the millennium. Everything that makes Eminem compelling is here, right alongside everything that makes Eminem inaccessible for many. Most of the skits are like, fine, but there could be fewer of them. Him beating critics to the punch about how disgusting his subject matter can be doesn't make any of those objections less "valid," but it does give me a preview into his future petulance about his place in the current rap scene. Let me be clear: I'm not personally bothered by what Eminem raps about or how he raps about it. I can tolerate 90s/00s misogyny and violence and homophobia just fine, especially with great beats, fun performances, and cultural context (which are all present here). It's harder for me to tolerate those things when I have someone poking me saying "Hey, are you mad? Are you offended? Aren't you offended? Are you mad? Look how much I don't give a fuck. I don't give a FUCK." If you say so, Em. Highlights: My Name Is (an all-timer for me, if I'm being totally honest; the Labi Siffre flip is too good), Guilty Conscience, '97 Bonnie & Clyde, My Fault, Bad Meets Evil

This is my third Long Album in a row and I've never been a big Metallica fan, so let me try to be fair here. They are clearly accomplished musicians. The remaster of this album is a massive facelift. When their long songs work, it's because they managed to include a new hook every minute or so. Hetfield is not a good lyricist (I feel silly for caring about that at all on a Metallica record), but he is a good frontman and strong vocal presence. I wish I could hear the bass, which is not an uncommon complaint of mine regarding metal albums. Overall, I kind of enjoyed my listen but do not plan on returning, except to the highlights if the spirit ever so moves me. Highlights: Master of Puppets, Welcome Home (Sanitarium), Orion

Prior to listening: My FOURTH album in a row that's past the hour mark, and you're telling me it's a SEVENTY FOUR minute LIMP BIZKIT record? Are you kidding me? Be serious. Okay, I'll climb down from my high horse, leave my prejudices about Fred Durst and nu-metal aside, and give this a fair listen. I'll stop eyeing what appears to be a cover of or a reference to The Who's "My Generation" with distrust and apprehension. I will wait until the end of my listening experience to gather my thoughts, I promise. After listening: "Go ahead and talk shit/talk shit about me." If you insist! The problem with referencing other bands so heavily, especially in the opening moments of your record, is that it reminds the audience they could be listening to those other artists instead. Why would I listen to "Hot Dog" ever again when I could just listen to NIN's "Closer"? Durst seems to want me to. I was relieved to get to "My Generation" and discover that it's not a cover; instead it's another numetal song filled with more sloppy references. It isn't top to bottom dog shit. I came close a couple of times to having the kind of dumb fun that (I think) is intended here, like on "Full Nelson." I liked the instrumentals for "My Way" and "Hold On" a fair amount. The sample and interpolation work is a mixed bag. "Take A Look Around" interpolates the Mission Impossible theme is overwrought, but in a way that's fun to listen to. On the other hand, the interaction between the Eagles' "Life in the Fast Lane" sample and the hook on "Livin' It Up" is unforgivably corny. I do want to say that I think I'd be slightly more forgiving of this album if it was a reasonable length. I'm already embarrassed by the amount I've written about 'Chocolate Starfish And The Hot Dog Flavored Water.' Still, I can't quite give it one star because, unbelievably, it didn't bore me despite its runtime. To be fair, I wasn't bored because I was frankly amused by this as a project; all the Limp Bizkit name dropping, the sudden moments of self-pity and sincerity, the righteousness about using the word "fuck"--it's too funny to outright hate. Maybe that's a deeper insult than slapping a one-star rating on this and calling it a day. I almost admire the audacity of including "Outro." Two fatal flaws keep me from engaging with this album with any amount of seriousness: the vocal performances and the lyrics. This all being said, if you tapped out on this album after the first couple of songs or didn't listen at all out of "principle," you're a coward. Highlights: My Way, Getcha Groove On (other rappers are here, thank goodness), Take A Look Around, Rollin' (see: Getcha Groove On qualifier)

Listening to 'Talking Book' after getting Limp Bizkit's opus 'Chocolate Starfish...' yesterday feels like coming up for air after nearly drowning. It is water in my mouth after crawling through an unforgiving desert. It is coming home to my own bed after time spent abroad in a hostile land. I actually involuntarily shut my eyes during "You And I" and let his voice wash over me. To be clear, I would've loved this record even if it was sandwiched between two other great ones. I'm just particularly appreciative of it in this context. It's a masterclass in arrangement, singing, mixing, producing, pacing, and general musicianship. Highlights: You And I, Superstition, Big Brother, Blame It On The Sun, I Believe (When I Fall In Love It Will Be Forever)

I actually could listen to Johnny Cash read more of Revelations. It won't make me a believer or anything, but there's something compelling about Cash's earnest faith and fear of God. I love how weathered his voice sounds, the gravity and grit in it. I didn't realize most of his knock-out late-career covers were on one album: his devastating rendition of Hurt (I love that the mix sounds blown out in the run up to the last lyric, like the mic is peaking just from the emotional intensity), the tenderness in his voice on In My Life, the Fiona Apple-assisted Bridge Over Troubled Water that makes me cry every time I hear it, and more--it's absolutely stacked. Cash aside for a moment, this is immaculately produced and mixed. The guitars in particular sound crisp and clean but still warm, like you're in the same room with them. Rubin was cooking on this one. This is a pretty somber record, but also full of gratitude and love; appropriate, given it was his last release before his passing. It's a beautiful work to go out on. Highlights: The Man Comes Around, Hurt, Give My Love To Rose, Bridge Over Troubled Water, Personal Jesus, In My Life, Sam Hall, Danny Boy, I'm So Lonesome I Could Cry, We'll Meet Again

Have mercy, generator, please--you've given me so many long albums in a row. This one is 61 minutes. I am on my knees. Is my attention span just shot? Are most of the 1001+ albums this long? Whatever. I am not familiar with this artist or album and had no idea what to expect; I did a bit of reading and learned that Suba was an up-and-coming producer who passed away in a fire at only 38 years old while trying to rescue his recordings from a studio fire, right before the album promotion for 'São Paulo Confessions' began. It's so tragic that I almost can't believe it's true. And it is such a shame, because this is so well produced and arranged. I've said before in my reviews that I'm not a "vibes" person, but this album envelopes you in vibes so completely that I can't ignore it. I love the variety of sonic approaches and instrumentation, and the guest vocalists are all important contributors to what makes 'São Paulo Confessions' work. The Wikipedia description of this album as a "musical account of life in that humid, foggy, and manic megalopolis" is a little purple, for me, but it's not inaccurate either. City living seeps out of every pore of this album. That being said, I can't say that I'll be revisiting, but some of these tracks did sneak onto my instrumental and dance playlists. Highlights: Tantos Desejos, Voce Gosta, Felicidade, Sereia, Samba Do Gringo Paulista

I hadn't heard any of Davis' work with his nonet, so this was a treat. Highlights: Moon Dreams, Venus De Milo, Godchild, Boplicity, Rouge

I forget how much I actually like this album until I hear it again, and quickly remember that I love it, actually. Beatles pastiche and all. Highlights: Roll With It, Wonderwall, Don't Look Back In Anger, Some Might Say, Cast Now Shadow, She's Electric, Morning Glory, Champagne Supernova

To quote Mic the Snare: "Music theory: don't do it, kids." I can understand, conceptually, why this album is on this list. It's considered a "classic," an example of what free-jazz can do for *your* rock and roll, a willful bucking of pop structure and defiance towards the listener; the can-you-believe-it-sounds-like-this-on-purpose of it all. That's all fine and great, and I didn't dislike absolutely everything about this album. I suppose it's impressive that this music was carefully written and arranged to sound like this on purpose, and that the band was able to execute Mr. Beefheart's vision, but that knowledge doesn't automatically make this listenable for me. I've heard that if you listen to this album enough, the brilliance shines through. I'll have to live on in ignorance. Highlights (?): Ella Guru, Moonlight On Vermont, China Pig, Well

Pharrell? Is that you? Where's the four-count start, my guy? "Her ass is a spaceship I want to ride." 🤮 I'm not impressed with the lyricism (there were multiple moments where a line made me say "Wait, what?") and many of these songs are too long, but this is fairly well-produced and (most of) the vocal performances are fine. I can understand why somebody would really enjoy this. Personally, I am unconvinced of needing to hear this before I died. Highlights: Don't Worry About It, Breakout, Thrasher Songs with particularly baffling lyrics: Wonderful Place, Drill Sergeant, She Wants To Move, The Way She Dances, Chariot Of Fire

I had a couple of rough albums in a row, so I was relieved to open the generator today and see an album I already know I love. Glad to have an excuse to listen to 'Nevermind' again. Highlights: Smells Like Teen Spirit, Come As You Are, Breed, Lithium, Territorial Pissings, Something In The Way

I've only heard of Roxy Music; this is my first exposure to their work. Some unsorted thoughts: Bryan Ferry's voice and delivery reminds me of David Byrne's, albeit with more vibrato. I love the breakdown in the opening track where each instrument gets a solo, and that the bass solo references "Day Tripper" and the sax references (I think) "Flight of the Valkyries." That bottom-heavy synth sound during the last minute of "Virginia Plains" makes my brain vibrate. The bass sounds great!! Listening to a new album and enjoying it more and more as it continues it one of my favorite feelings, and I'm thankful today that the generator has done it for me again. What a great debut album. Highlights: Re-Make/Re-Model, If There Is Something, Virginia Plain, The Bob (Medley), Would You Believe?

I thought I would enjoy this more than I did. There are Hendrix projects I like more, I guess; maybe my expectations were too high. Even still, I'm glad I've heard this. Highlights: Spanish Castle Magic, Little Wing, If 6 Was 9, She's So Fine

I didn't realize so many of U2's heaters were from the same album. Strangely enough, I'm glad I've finally heard a U2 album front to back. Highlights: Where The Streets Have No Name, With Or Without You, Bullet The Blue Sky, Running To Stand Still, One Tree Hill, Exit

The only thing I knew about The Go-Go's before listening was "We Got The Beat," which rips harder than I remember. I think I'd only heard shitty covers of it as a kid. This is a solid album, I'd venture to call it proto-pop punk. I can hear this thing's fingerprints on Riot Grrl bands like Sleater Kinney and Last Import. It's lean and catchy and performed well. I feel like I'd enjoy it more upon revisiting, even. Highlights: Our Lips Are Sealed, Lust To Love, We Got The Beat

Well, I'd heard the title track before, countless times. It still holds up: I love the separate parts and how the song's momentum builds. The rest of the album was a mystery to me. I grew up listening to a lot of Beatles music, among other things, so I have an innate bias to enjoy McCartney's songwriting. It's a pleasure for me to hear him touch on different rock sounds throughout this album; I don't think he's necessarily breaking new ground, but the songs are consistently catchy and well-performed (maybe as a result of McCartney's notorious perfectionism in the studio). Some of these tracks totally could've been late-period Beatles songs. I can hear their harmonies and instrumentation all over the place. A star deducted for McCartney corniness rearing its head at unwelcome times. Highlights: Band On The Run, Jet, Mrs. Vandebilt, Let Me Roll It, No Words, Nineteen Hundred and Eighty Five

Well, I enjoyed it, but it didn't stick to me like some of Smith's other work. It felt very polished and a little too Beatles-indebted. Highlights: Somebody That I Used To Know, Everything Reminds Me Of Her, L.A., Easy Way Out

It sort of all blended together at some points, but music like this feels like getting into a warm bath. It's lush and enjoyable and not too intellectual. And, of course, Sinatra has a great voice. But I probably won't revisit in full. Highlights: You Make Me Feel So Young, You're Getting To Be A Habit With Me, I've Got You Under My Skin, Anything Goes

I wish I had a picture of my face when "Roundabout" got started and I was suddenly made aware that that song from JoJo's Bizarre Adventure was a fucking Yes jam. Prog can be a hard pill for me to swallow, but this is a damn good prog record. Highlights: Roundabout, Long Distance Runaround, The Fish, Mood for a Day, Heart of the Sunrise

I'll give them this, "Sympathy For The Devil" might be a perfect rock song. Highlights: Sympathy For The Devil, Parachute Woman, Street Fighting Man

Beautiful compositions and guitar tones, and I'm glad to have listened to something I wouldn't have otherwise. But it also went right through me, and I'm not sure I'll revisit. Highlights: Bonde, Gomni

FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME FUCK YOU I WON'T DO WHAT YOU TELL ME MOTHERFUCKER Highlights: Bombtrack, Killing In the Name, Bullet In the Head, Know Your Enemy, Wake Up, Fistful of Steel

As a music fan and self-proclaimed pop-head, I'm a little embarrassed to admit I haven't listened to a MJ album start to finish. I don't live under a rock, so I've heard the hits. There's obviously a lot of baggage around MJ, but he was crowned the King of Pop for a reason and I do want to engage with that cultural legacy. So is it blasphemous to say that 'Bad' is just alright? Or is it a relief? It could be that the production sounds dated to my ears, or maybe that the hooks aren't as bulletproof as I'd expected. MJ's vocal tricks and runs get old by the middle of the album. But the hits are Hits, and undeniable ones. I'm sure there are other MJ albums on this list; maybe those will stick. Highlights: The Way You Make Me Feel (this is still a perfect pop song, lukewarm review aside), Man in the Mirror, Dirty Diana, Smooth Criminal

Fucking Morrissey. His work with The Smiths always washed right over me and left me feeling let down and indifferent, with some exceptions for the truly excellent songs. This album is much the same. I think it's a combination of his vocal delivery, the arrangements, and his general ear for melody. He's also a fascist. Fuck this guy. Fuck Morrissey all my homies hate Morrissey Highlights: Suedehead, Margaret on the Guillotine (at least he had the decency back in the day of being anti-Thatcher, an impossibly low bar)

I've never been big on the song "We Are Family," so I entered into this listen with some trepidation. "We Are Family" holds up much better in the context of the album, in my opinion. I'd only ever heard it pumped through speakers at some school event or other mandatory celebration. I'm relieved that the original seems to be a huge hit for a good reason. Overall, I enjoyed this album just fine and am glad to have a disco classic under my belt, but I can't say that I'll revisit. Highlights: Lost in Music, We Are Family, One More Time

I don't want to hear Boomers complain about how vapid and bubblegum modern music is ever again. Highlights: Lucille, Cathy's Clown

Before listening: I'm aware that this is one of the lowest-rated albums on this site. Let's fucking go. Some unsorted thoughts: I think my personal problem when it comes to music like this is that a lot of it is kind of, I don't know, boring? I can only hear so many blast beats and metal growls before it starts to sound the same. It isn't painful for me to listen to or anything, it's just too easy to tune out and not engage with. That being said, I actually enjoyed this a fair amount? The riffs on "Instinct of Survival" and "Scum" worked really well as hooks for me, and god knows there aren't a lot of vocal hooks to grab onto. All of these songs are well-below the three minute mark with the exception of one comparatively sprawling four-minuter. That brevity is for the best. I can't believe I'm listening to a grindcore album where I can sometimes actually hear the bass. 'Earache Records Ltd'--I can dig it. Highlights: Instinct of Survival, Scum, C.S., Pseudo Youth, M.A.D.

Glad to get another Siouxsie record, and for it to be another good one. Highlights: Pure, Jigsaw Feeling, Carcass, Nicotine Stain, The Staircase (Mystery)

A yes, a watershed rock album for our times. There are some massive hooks and riffs in here. I was skeptical going in, maybe because of all the hype around this debut album, but I warmed up to it as it progressed. I do gotta say, the filter on the vocals starts to get old. Highlights: The Modern Age, Someday, Alone Together, Last Nite, Hard to Explain, Take It Or Leave It

A landmark hip hop record full of charisma and great beats. Snoop Dogg kind of steals the show here. I love the The Lady of Rage feature on "Lyrical Gangbang." Could do without some of the skits tacked onto the ends of otherwise great songs. Highlights: Fuck Wit Dre Day, Nuthin' But A "G" Thang, Lil' Ghetto Boy, Lyrical Gangbag, The Roach

The lead singer has an enchanting, beautiful voice. On a few too many of the songs here, the hooks repeat themselves until the appeal is gone. The production is a bit dated to my ears as well. I didn't dislike my listen, but I wasn't moved by it. Highlights: Hang On to Your Love, Frankie's First Affair

This is what I'm talking about. It was refreshing to listen to this album again so soon after 'Figure 8.' (Well, a little over a week.) It's still Beatles-influenced, but also actually sounds like Elliott Smith. It's a beautiful record: the arrangements, the writing, the performances. I feel fully immersed in it when I'm listening, like being underwater. I've heard this acclaimed as Smith's best work, and I can't really argue the contrary. Highlights: Speed Trials, Alameda, Ballad Of Big Nothing, Between the Bars, Angeles, Cupids Trick, Say Yes

Hello? This album is longer than than 'The Silence of the Lambs.' I misread the Spotify description for this so badly that I read "42 songs" as "42 minutes." Imagine my surprise. But I love bluegrass and traditional country music and, you know, all that. So I'll strap in. Usually I can get annoyed with too much studio chatter--it can be indulgent--but hearing the musicians talk through their approach to these songs before they start playing is interesting and engaging to me this time around. I think it's the sincerity, and maybe knowing that these songs were recorded in either one or two takes. The musicianship on display here is astounding. It is a long collection, however, and I can't imagine sitting down to listen to this all again with intent and focus. But I would absolutely put it on in the background on a sunny day at the cabin. Highlights: Keep On The Sunny Side, Nashville Blues, Dark As A Dungeon, Tennessee Stud, Black Mountain Rag (😵‍💫), Nine Pound Hammer, My Walkin' Shoes, Cannonball Rag, Earl's Breakdown, I Am A Pilgrim, Will The Circle Be Unbroken (an all-timer)

Well, I do like Pixies, so I guess I can go into 62 minutes by Black Francis himself. The cover art threw me off. And it's really good. Some of his vocals remind me of Lou Reed or Ezra Furman (her voice also reminds me of Lou Reed's, to be fair). It's still a long record and I think some careful editing could get this down to a comparably lean 50 minutes--but overall I'm impressed by the consistent quality on an album this long. Highlights: Whatever Happened to Pong?, (I Want to Live on an) Abstract Plain, Speedy Marie, Headache, Sir Rockaby, Freedom Rock, Two Reelers, Pure Denizen Of The Citizens Band

I've loved this album for a while, partially thanks to Fallout NV. I don't know why it surprised me to see it on this list, but I was glad to get it and have a reason to listen to it again. Robbins has a beautiful voice, the lyrics and the storytelling are strong throughout the whole record, and the mixing is so clean for its year without sounding glossy or fussy. As a fellow reviewer said: "YE-(and I cannot stress this enough)-HAW" Highlights: Big Iron, A Hundred and Sixty Acres, Cool Water, The Master's Call, El Paso, The Little Green Valley, Saddle Tramp

It took me a couple of tries to get through this. It's not that it's bad; I have a hard time engaging with The Smiths' music. It just doesn't compel me. But it is better than the Morrissey solo album I got recently and has "There Is a Light That Never Goes Out," an undeniable all-timer, on its tracklist, so I can't hate it. I understand why people would like this record, but it's not for me. Highlights: Bigmouth Strikes Again, There is a Light That Never Goes Out

I love the guitar and bass work, and the vocal performances and production sound great. A landmark soul and funk record. Highlights: That Lady, Pts. 1 & 2, Don't Let Me Be Lonely Tonight, If You Were There, Sunshine (Go Away Today), Summer Breeze, Pts. 1 & 2

I'm entering my listen with a lot of apprehension. I'm not an instrumental/ambient/etc. music fan and have thus avoided Aphex Twin, as significant an artist as he may be--but now my time has come. For whom does the bell toll; it tolls for thee. And it tolls so fucking loud, because this album rips, actually. Highlights: Xtal, Pulsewidth, Ageispolis, Heliosphan, Schottkey 7th Path, Actium

To my ears, this is unimaginative, overlong, boring white-person blues rock. There's one all-timer on here; the rest feels like I'm at a bar with a sticky floor where the resident band is playing covers for people who aren't listening. Sure, they're damn good musicians, but I was ready to pay my tab and go home about forty minutes ago. Highlight: Layla

I appreciate many of the reviewers reacting with disgust to the notes of misogyny that perfume this record; it gives me a bit of hope for society, I guess. So maybe I'm a bad feminist for giving the benefit of the doubt here. Albums written from a place of pain, or a desire to explore toxic relationships, doesn't mean they're strictly autobiographical. So yeah, these lyrics are hyper-masculine and not always empathetic to the woman on the receiving end, but there are moments of (what appears to be) regret and desire for understanding. "Tonight I go to hell/for what I've done to you." Then we hear a woman's voice on "My Curse," like getting the other side of the story, which is the real saving grace on this record for me. As for the rest of the album, the sound and production reminds me of the 2010s emo revival, particularly in the Midwest. It's a nostalgic sound for me; I could've bumped this at 16 alongside bands like Title Fight or Joyce Manor. But many of these songs are paced the same, and the lead singer oscillates between sounding urgent and sounding strained. I'm curious about revisiting and spending more time with this record. Maybe it's just been awhile since my last bad breakup. Highlights: Be Sweet, Debonair, Fountain and Fairfax, What Jail Is Like, My Curse

The bassist is playing like rent is due, and I love me some bass. Otherwise, I have to admit this isn't my cup of tea. It's not grating; just boring, indulgent, and quite long. I'm a simple person who likes hooks I guess. I'd consider putting it on for background music while I'm working so I'd feel like I'm in a club instead of the office, so at least it's immersive. I kept checking to see how much time was left, which usually results in me slapping a one-star rating on an album; the most unforgivable thing an album can do is bore me. But again, the bass playing is so good that I can't insult it like that. Shout out to fellow Minnesotan Jim Hughart. I love to see a hometown hero winning. Highlights: On a Foggy Night, Eggs and Sausage, Better Off Without a Wife, Nobody

Another great Talking Heads record. I do have to say that the live rendition of "Life During Wartime" goes a lot harder than it does on the album, but I guess that's to be expected. Everyone who likes Talking Heads should watch 'Stop Making Sense.' Highlights: I Zimbra, Mind, Life During Wartime, Memories Can't Wait, Heaven

More organ than I expected; about as much screaming as anticipated. It's a solid rock album, and I can appreciate it as a blueprint for the hard rock and heavy metal that came after it--but I enjoy some of its contemporaries more. Highlights: Flight of the Rat, Living Wreck

I didn't know what to expect based on the album cover, band name, or the Wiki description for that matter. My expectations were a bit low based on the release year, to be honest. And I'm a fool, because this blew me away. The second half of this album in particular is stacked with great songs--lyrically, melodically, and instrumentally. This is another one where I'm grateful to have started this generator journey so I could hear this. I might have to get this on wax, actually. Highlights: Nocturnal Me, Thorn of Crowns, The Killing Moon, Seven Seas

I've heard a lot of good things about this album, though I did balk at the runtime at first glance. It is really quite long, but the songs consistently run from pretty good to great. There aren't really any outright clunkers on here. 'Something/Anything?' is an achievement, but it might be awhile before I listen to it again in full (at least in one sitting.) Highlights: Wolfman Jack, Cold Morning Light, Sweeter Memories, Breathless, The Night the Carousel Burned Down, I Went to the Mirror, One More Day (No Word), Couldn't I Just Tell You, Dust in the Wind, Hello It's Me, You Left Me Sore

This is my second Deep Purple album in less than a week. I'm glad to say I enjoyed this one more; there are a few songs that I'm familiar with, and I know how much shouting to expect. The proto-metal sound is more obvious to me here than it was on 'Deep Purple In Rock', particularly in the soloing and vocals. These songs are catchier and more discernible. I'm still not blown away. Highlights: Highway Star, Maybe I'm a Leo, Pictures of Home (the instrumental outro is bananas)

Beautiful folk music, understated but ornate. This album is more adorned than the Nick Drake stuff I'm familiar with. It's a shame he passed so young. "Would you love me through the winter?/Would you love me 'til I'm dead?" Highlights: Hazey Jane II, One Of These Things First, Poor Boy, Northern Sky, Sunday

It's giving post-punk Bowie with a Manchester accent, a little bit. Considering when this came out, it's absolutely a pioneering record. So while I'm impressed with this album to some extent, it didn't move me personally. It could be one that warrants revisiting in the future. I am curious about the rest of Magazine's work; I feel like they could be a good surrogate for The Smiths. Highlights: Shot By Both Sides, Motorcade, The Light Pours Out Of Me

Not sure what to say about this one, other than I have to admit it's perfect. The band is tight and the production sounds great. Hendrix's guitar playing is magnetic and hypnotizing. Some of his better vocals are here, too. If you only listen to one Hendrix record, have it be this one. Fun fact for anyone reading: "Foxey Lady" is about Heather Taylor, who went on to marry Roger Daltrey of The Who. Highlights: Purple Haze, Hey Joe, May This Be Love, The Wind Cries Mary, Fire, Third Stone From The Sun, Foxey Lady, Are You Experienced?

A voice for all time, gritty and powerful. The band sounds great too, the piano and guitar in particular. Highlights: Move Over, Me and Bobby McGee, Mercedes Benz, Trust Me, Get It While You Can

"I knew I had to rise above it all or drown in my own shit." An unstoppable, all-time great funk record. The performances and composition are immaculate and full of passion. I could do without the sound effects tacked onto the closing track, and I actively dislike the bell (?) sound on "Back In Our Minds," so alas this wasn't quite a perfect listening experience for me. But I'll be coming back to the rest, absolutely--and I can't begrudge it a five-star rating just because I was a little annoyed for a minute or two. Highlights: Maggot Brain, Can You Get To That, You And Your Folks, Me And My Folks, Super Stupid

Remembering my listening experience with Trout Mask Replica, it took me a couple tries before finally hitting play on this one. I was relieved to find 'Safe As Milk' listenable and unpretentious. Big fan of the bass guitar action in particular. Unfortunately, I am now concerned that I should revisit Trout Mask Replica. Highlights: Sure 'Nuff 'n' Yes, I Do, Zig Zag Wanderer, Call On Me, Electricity, Autumn's Child

I'm sure this was exciting to see in person. On record I'm less impressed. These performances are mush-mouthed and overly loose. I'm glad I don't like this, because JLL was also an awful person. Hearing people cheer his name between numbers makes my teeth hurt. Nothing leaves a bad taste in my mouth quite like hearing a racist co-opt songs (and a fucking genre) created by Black people. Or hearing a pedophile and abuser sing about love and attraction, for that matter. Man, fuck this guy. Highlights: not having to justify enjoying this album

An uncompromising, concise, fuzzy chunk of punk rock. Music for slam dancing in a basement, or perhaps a garage. Highlights: Rise Above, Six Pack, TV Party, Police Story, Life of Pain (never thought I'd hear a punk song about telling someone their self-harm is affecting you, too)

I loved 'Ocean Rain', so I'm a bit disappointed that this album didn't blow me away too. I enjoyed it enough to want to revisit it, but I wonder if I would've liked this more if I wasn't aware of a superior album in the same band's discography. The melodies and instrumentation just don't move me as much here. Similarly to the album I'm comparing it to, 'Crocodiles' picks up steam in the second half. Maybe I need be more patient and let my ears adjust or something. Highlights: Crocodiles, Rescue, Villiers Terrace, Read It In Books, All That Jazz

It took a second listen for this one to sink in. Another collection of fun, patient, well-paced songs from Roxy Music. I'm glad I got their debut album and their second in that order; I can hear the evolution already here. There's more sprawl and experimentation, less outright hookiness but more instrumental muscle. (Bass and sax still sound great!) Still, I'm not as taken with it as I was with its predecessor. Highlights: Beauty Queen, Editions Of You, In Every Dream Home A Heartache, Gray Lagoon

As with most Rolling Stones albums: there are a handful of all-time great rock songs, and then a lot of blues-adjacent meandering. 'Let It Bleed' justifies its existence to me by having "Gimme Shelter" on it; I'll begrudgingly admit that it's one of my favorite rock songs ever. It always gives me chills. 'Let It Bleed' is a more consistent listen than, say, 'Beggars Banquet', but it's no 'Exile' (which I hope to get more with each passing Rolling Stones album.) Highlights: Gimme Shelter, Country Honk, Midnight Rambler, You Got The Silver

As always, I head into any album longer than 45 minutes with some amount of trepidation, especially on singer-songwriter joints. Beth Orton's beautiful voice and thoughtful writing helped me settle in right away. There are some notes of Britpop in these songs; maybe it's the use of strings, or the way she paces her melodies. Her voice reminds me of some fusion of Joni Mitchell and Alanis Morissette. I want to listen to this album while driving up north; I want to listen to it on a cabin deck looking at a lake; I want to listen to it while dusting my home and feeling some kind of way. It's lovely. Highlights: Stolen Car, Sweetest Decline, Couldn't Cause Me Harm, Pass In Time, Central Reservation (what guitar tones!), Love Like Laughter

This album came out when I was 20, and I listened to it nearly every day walking from the bus stop to where I was living at the time. Even then I thought it was an achievement in pop music. I hiked in the woods bumping "Green Light," got stoned on the beach to "Perfect Places," and wept at "Liability." Two years later I had my heartbroken for the first time and this album became a kind of confidant; it understood me during a time where I felt very lonely and uncertain I'd be happy again. I was excited to revisit this album again for this generator, and I do believe it deserves its spot on 1001 albums to hear before you die. Thanks for making 'Melodrama,' Lorde. Highlights: Green Light, Homemade Dynamite, The Louvre, Liability, Hard Feelings/Loveless, Writer In The Dark, Supercut, Perfect Places

I've been looking forward to getting this one for a bit. I'm not disappointed at all; it's as good as I remember. Tight performances, great vocals from Mayfield, and expertly produced. It stands alone from its film, which is high praise for a movie soundtrack, in my opinion. Let the funk and soul envelope you. Highlights: Pusherman, Freddie's Dead, No Thing on Me, Think, Superfly

An electronic album from the 90s that's over an hour long? I've never seen such a thing from this list. Somebody fetch me a fucking fainting couch. Normally I would say that this just isn't my cup of tea, give it three stars, and move on--but there are too many moments of recycled ideas and textures on this album that the length becomes a bigger issue. The opener "Time Becomes" encapsulates my beef with 'Orbital 2': it begins with something interesting, then keeps throwing it at the wall after it's stuck, over and over again, with diminishing returns. That's not to say every minute is a snoozefest, but it does make it difficult to enjoy this record anywhere except a club; even then I think I'd be off the floor after the first five minutes of "Impact". Highlights: Lush 3-1, Monday, Halcyon and On and On (a truly great sprawling track, despite my complaints above--but any goodwill this track generated was obliterated by the "Input Out" outro)

A modern classic, creative and immersive. He has a beautiful voice and his artistry is singular. I was lucky to get a rainy afternoon for listening ambience. Highlights: Thinkin Bout You, Sierra Leone, Super Rich Kids, Crack Rock, Pyramids, Bad Religion, Pink Matter, Forrest Gump

Certainly classic rock indebted; these are jangly major-key guitar tunes if I've ever heard any. I can hear the fingerprints from all sorts of 60s and 70s juggernauts here. The melodies and instrumentation elevate this from being a pastiche to a genuinely good, inspired album. One of those things that just works for me. Highlights: The Concept, December, What You Do To Me, Star Sign, Alcoholiday, Is This Music?

Immersive, spare, succinct, R&B-flecked pop music--and massively influential. This came out in 2009 and many of the 2010s indie revival bands sounded a lot like this: the drum machine, bass, and clean guitar lines; the hazy mix. I'm inclined to say The xx set the benchmark. 'xx' is also a great blueprint for the contemporary bedroom pop boom. It feels homemade, but not messy or under-cooked. Highlights: Intro, Crystalized, Islands, Shelter, Night Time

Well, I think the band, production, and sampling sounds great. The rest rings hollow to me; the live band of it all becomes a one-trick pony as the album moves forward. I'm not sure what I took away from this one--maybe that I wish the instrumentals had more compelling rapping. (And that the 90s were a very different time for hip hop.) The good vocal hooks they have are repeated until they become meaningless and grating. Highlights: the research adventure I took to try and figure out if this guy should be rapping about some of this subject matter or not Nadir: Bear Hug

This album grabbed my attention at the first song and held it the whole time. Immaculate melodies, great lyrics, and varied production. I can't believe I hadn't listened to Belle & Sebastian before this generator. Highlights: The State I Am In, Expectations, She's Losing It, Electronic Renaissance, We Rule the School, My Wander Days Are Over, I Don't Love Anyone

A maximalist, lush pop album; absolutely stacked with great harmonies. Only cloying occasionally. Highlights: My Love My Life, Dum Dum Diddle, Knowing Me Knowing You, Money Money Money, That's Me, Why Did It Have To Be Me?, Fernando

A vaunted, cornerstone indie rock record. I've largely avoided listening to Arcade Fire. As always with albums with this kind of regard around them, I'm worried that I won't like it, that my expectations will be too high, or that I'll enjoy it only out of obligation. The album is also over an hour long, which adds to my trepidation. All of that aside, I know this is an album I'll be revisiting; partially because of the length and how dense it is, and partially because I did really enjoy what I could discern. It's anthemic almost constantly, which triggers some ear fatigue for me, especially on a first listen--and definitely Springsteen-indebted. I wonder what I would've thought about this album when it first came out; I was 13 and probably would've loved it. So 'The Suburbs' is good and I'm glad I was finally cornered into listening to it, but I'll have to revisit. Especially with the lyrics in front of me; I wonder if all of it is actually as bleak as it is on first impression. Highlights: Ready to Start, Modern Man, Empty Room, Half Light II (No Celebration), Month of May, We Used to Wait, Sprawl II (Mountains Beyond Mountains)

What are these Dubliners doing singing about the US West Coast like this? They must have had an enjoyable long vacation to SoCal. The Beach Boys fingerprints all over this album are undeniable, and I'm not picking up on any Irish accents here. It's fine, I guess, but it feels a little strange to me. Is this how the English or Irish feel when we sing with their accents? I wish I'd skipped the Wikipedia entry before my listen so I could be really surprised. When the album started and I heard the vocal delivery I said "Oh, no" softly, out loud, to myself--there be precious 2000s indie ahead. I wasn't wrong. I'll give them props for the varied instrumentals and sweet melodies, but the 60s pastiche is difficult to ignore. The Monkees reference in the second track made me roll my eyes, especially when they doubled down with "People said you monkeyed around." Yuck. I'm sure I'm not the first person to make this joke, but they could've used a different band name. Highlights: One Horse Town, Hollywood Kids

Music like this makes me feel young again, for better or worse. Especially Linkin Park, who I remember sound-tracking a lot of AMVs on YouTube and Newgrounds back in the day. They were very sure of their sound on this debut. Even if this kind of music isn't for me, Linkin Park does this shit a lot better than, say, Limp Bizkit. But the mix is a little flat; the guitars glaze over the rest of the instruments on this record, including some actually interesting synth sounds. Their songwriting formula announces itself before the halfway point. I wasn't bothered by my listen--it became background noise a few times before I reminded myself to be mindful. Linkin Park is dear to many people (especially in my generation); I can (kind of) understand why. If this genre of music works for you, 'Hybrid Theory' is a must-listen. If not, I don't think you'd miss anything by moving past it.

A middle-of-the-road space-folk singer-songwriter record. Inoffensive, sometimes pretty, often uncompelling. The guitar and the strings sound great; Beck's vocal performances are pretty good when he's not doing a Gordon Lightfoot or Kurt Cobain impression. I'm not sure why this particular Beck album is here. Highlights: The Golden Age, Paper Tiger

Absolutely gorgeous. I was kind of in awe of it on my first listen. The instrumentation and sonic textures are immersive without a note out of place; not to mention the melodies. I don't even mind that I can't really understand what Elizabeth Fraser is singing--the feeling she imparts is more important. Maybe a perfect record. The Cocteau Twins hype is real. Highlights: Cherry-coloured Funk, Pitch the Baby, Iceblink Luck, Fifty-fifty Clown, Heaven or Las Vegas, Wolf in the Breast, Frou-frou Foxes in Midsummer Fires

"I just wander around/I just wander around/I just wander around/I j--" No kidding. As soon as I heard the corny, plastic horns at the beginning I knew I was in trouble. Just another subpar 80s British pop record. "Neo-psychedelic"? Get out of my face. Nadir: Brave Boys Keep Their Promises

A solid debut from The Only Band That Matters. Their melodies and musicianship were head and shoulders above those of their contemporaries. And frequently, unapologetically political, as great punk music often is. But their truly great work is still ahead of them. Highlights: Janie Jones, White Riot, What's My Name, Police & Thieves

I grew up listening to classic rock radio, so I was primed to enjoy this. It's refreshing to get an album from this period of early 70s rock that hasn't been played to death. And the Janis Joplin cover is great. It's certainly not intellectual and I don't think it's pushing any boundaries, but boy could you drink to it. Highlights: Look at Last Nite, Move Over, Gudbuy T'Jane, Mama Weer All Crazee Now, Let the Good Times Roll / Feel so Fine

Eno will introduce and repeat a musical idea that shouldn't work, and then it does. Highlights: Backwater, King's Lead Hat, Julie With, By This River, Spider And I

A few pretty great rock songs and some absolute clunkers. Highlights: Lost Women, Over Under Sideways Down, I Can't Make Your Way, Jeff's Boogie, He's Always There

This is good stuff. I'd never heard a White Stripes album top to bottom. It overstays its welcome a little bit, but that makes it all the meatier. Highlights: Seven Nation Army, I Just Don't Know What to Do With Myself, I Want To Be The Boy To Warm Your Mother's Heart, You've Got Her In Your Pocket, Ball and Biscuit, The Hardest Button to Button, Girl You Have No Faith In Medicine

Far and away the best Beastie Boys project I've listened to. The Q-Tip feature was a pleasant surprise. Highlights: Sure Shot, Root Down, Sabotage, Get It Together, The Update, Futterman's Rule, The Scoop

Not what I was expecting at all. This sounds like the best band at a house show. If it wasn't for the f-slur dropped in the 22-second "Hit" I might not have noticed the 90s of it all. A startling 28 tracks across 41 minutes, nothing overstays its welcome or over-explains itself. I'd go wild to this shoulder-to-shoulder in someone's garage. I wish I'd known about this album in high school. Highlights: A Salty Salute, They're Not Witches, As We Go Up We Go Down, Game of Pricks, A Good Flying Bird, Closer You Are, Motor Away, Blimps Go 90, My Son Cool

John Paul Jones really holds it down here. What a musician. Once again I have to begrudgingly admit that a Led Zeppelin album is really good. I still have trouble with Robert Plant's voice. Listening to this after getting Led IV a while ago also reveals that his writing improved over time, thank goodness. I have to say, the remaster sounds fantastic. Highlights: Whole Lotta Love (I really want to dislike this song because of the alleged plagiarism of it all, but that riff is unstoppable), Heartbreaker, Ramble On

Sporadic moments of great pop, but overlong and plodding. The instrumentation oscillates between lush and overproduced. It sounds often like they're having some kind of fun; I wish I felt the same. Highlights: Something for the Weekend, The Frog Princess Nadir: Charge

Funny, catchy, and open-hearted. Another one I might've missed without the list. To be honest, I'm not sure how this one ended up here, but I'm glad it did. Highlights: Marz, Sigourney Weaver, Chicken Bones, Silver Platter Club, Jc Hates Faggots, Leopard and Lamb, Queen of Denmark

An audacious double album full of emotion and a variety of rock sounds. My enjoyment is probably bolstered by not being personally bothered by Billy Corgan's voice. I love that it opens with an instrumental and a stadium rock tune, then nosedives into something heavy. Highlights: Tonight Tonight, Bullet With Butterfly Wings, To Forgive, An Ode To No One, Cupid De Locke (chamber pop!), Galapogos, Take Me Down, 1979, Tales Of A Scorched Earth, Stumbleine, Lily (My One And Only)

Very pretty, but not as spellbinding as Drake's other albums. Highlights: Three Hours, The Thoughts Of Mary Jane, Saturday Sun

The first of the Berlin trilogy and a worthy entry in Bowie's catalogue. I'm glad the generator gave me an Eno album a bit ago so I could hear his touches here. The instrumental second half is a welcome adventure. Not one of my favorite Bowie records, but a great listen and one I plan on revisiting. Highlights: Speed of Life, Breaking Glass, Sound and Vision, Always Crashing in the Same Car, Be My Wife, Warszawa

"I just wanna hear a good beat." I respect that, and that Dee-Lite provides. And groove is absolutely in the heart. Hey again Q-Tip!! An album for dancing and hanging out; probably not for close listening. Highlights: Good Beat, Try Me On... I'm Very You, What Is Love?, Groove Is in the Heart (honestly, a perfect song),

Damn, there's a lot of talk box on here. A strong showing, and I could never truly hate a Sly record, but I was hoping to come away more impressed. Anyone who likes funk and soul should still give this a spin. Highlights: Sing a Simple Song, Everyday People, You Can Make It If You Try

Plastic soul era David Bowie, they could never make me hate you. An imperfect album that I've always had a soft spot for. The "Across the Universe" cover is unfortunately Not Good, and Bowie is often out-sung by the backup singers. (Which, to me, is fine, because they sound fantastic.) It is helped tremendously by its title track and, of course, "Fame": an undeniable, all-time, knock-out banger. Highlights: Young Americans, Fascination, Somebody up There Loves Me, Fame

A summertime album, and apparently important for introducing Britain to hip-hop. The incorporation (and potential plagiarism) of South American music stands out among its late-80s peers. I'm glad I've heard this album, and may put some of its highlights on at a party, but I'm not sure if I'd spend a lot of time with it. It's a little dated. I can't hold that against it too much because the engineering holds up. I gravitate towards the instrumental tracks, which is unusual for me. I can't shake the fact that the ex-Sex Pistols manager (the one who recruited Sid Vicious) 'made' this. Maybe that's unfair; maybe it's simply discerning. Maybe it just means I shouldn't read the Wiki. Still, I'm hesitant to credit what I did enjoy to McLaren. Highlights: Obatala, Buffalo Gals, Merengue, Legba

The comedian Kyle Kinane has a great album called "Whiskey Icarus" where all the tracks are named after songs from this album, if you're interested. This is like trying to pick up weed from your dealer's house and he makes you "hang out" for like, 34 minutes. Still, for all my snark, it's dumb fun enough of the time and many of the hooks are pretty good. Begrudgingly, there are worse albums from this genre from this time. I did keep getting annoyed with all the references to how much I should be enjoying their rock music. Highlights: Detroit Rock City (even if the introductory radio snippet is weirdly pretentious and unearned), God Of Thunder, Shout It Out Loud

"If God's my witness, God must be blind." Fuzzy, grimy, catchy, and charismatic. The riffs are gigantic but manage to not smother the lyrics or Shirley Manson's performances. It's hard to listen to this over 20 years later and not hear the massive influence Garbage has had, from their contemporaries to new artists. In my opinion, this is a knock-out 90s rock record. Highlights: Supervixen, Only Happy When It Rains, As Heaven Is Wide, A Stroke Of Luck, Vow, Stupid Girl, Fix Me Now

A fun jaunt with my guys The Kinks, but it didn't knock me over like some of their other albums on the list. It does include "Waterloo Sunset", a perfect, life-affirming song, which almost got me to bump the score up a star. Highlights: David Watts, No Return, Situation Vacant, Waterloo Sunset

At least the production on this DMR record is better than 'Too Rye Ay'. I still cannot stand this lead singer's voice, I still think their compositions are either boring or grating, and the 12-minute song almost put me over the edge. Unlike 'Too Rye Ay', this album has the audacity to have spoken introductions and interjections; unbearably pretentious in this context. I said "Are you kidding me" out loud when "Reminisce - Pt. 2" got going. I tried to keep the hater hat off for my second DMR album, but I can't. It's adhered to my scalp. I think there's one more of theirs on this list. I'll live in trepidation and fear until it has passed. Who knows, maybe third time's the charm. Highlight: Ironically, I did come pretty close to enjoying "Listen To This". Nadir: Reminisce - Pt.2

I'm a Led Zeppelin skeptic (and occasional hater) and my favorite record of theirs is also their longest. The irony is not lost on me; 'Physical Graffiti' is just that good. The musicianship is undeniable. I even like all of Plant's vocal performances! It feels like a culmination of everything that came before in their careers. In my opinion, this is their true triumph as a rock band. Highlights: In My Time of Dying, Houses of the Holy, Trampled Under Foot, Bron-Yr-Aur, The Wanton Song, Boogie with Stu

"I am done with belonging." An artist I'd heard of often but had never listened to. After the first few songs, I was strapped in. It's a generous, vulnerable, and tough-as-nails serving of French pop; funk-flavored and well-written, confident, and full of momentum. Highlights: Comme si, The walker, 5 dollars, What's-her-face, Feel so good, Make some sense

I respect the hell out of Sheryl Crow, but most of this album affected me like a fugue state. The disco-pastiche of "Solidify" stirred me from my waking slumber because I couldn't believe how much it didn't work. "The Na-Na Song" also shouldn't work, but I was charmed by it despite myself. Why this Crow album? Just say you wanted us to hear "Strong Enough" and go. I liked my highlights too much to give this less than three stars, but I don't expect to revisit this album again. Highlights: Strong Enough (an all-timer), The Na-Na Song, No One Said It Would Be Easy, I Shall Believe

This is another album where I'm unsure if my ambivalence towards it comes from the quality or it being outside of my wheelhouse. The beats are lush and enjoyable, but some of this leaves me feeling a little sleepy. "Abbaon Fat Tracks" snapped me out of it a bit; hearing "I fuck you in the ass" does that to a person. I will admit that "I ride the premenstrual cycle" is kind of funny. Then again, isn't this album named after his mom? I suppose I'm glad I've heard another 90s album I wouldn't have touched otherwise, and there is something wholly unique about 'Maxinquaye'. I do want to share quote from Tricky that I love: "Some artists use [unusual time signatures] to try and make their music weird. My music is weird because I don't know what I'm doing." Cheers. Highlights: Black Steel, Hell Is Round The Corner, Brand New You're Retro, Strugglin'

As impossible as it may be, I'm going to try and separate this album from all the white noise and clamor around Swift that's reached a fever pitch in recent years. It's a great, finely-crafted pop album. She has better albums, but many of her best singles live here. "Style" is perfect and I'm willing to fight about it. That being said, I do detest "Bad Blood", an underwritten, inert low-point on an otherwise vibrant album. I'm still mystified by it being a number-one hit almost 10 years later. "Shake It Off" has a great hook but I can't say that I like it. Taylor's Version has improved vocals and some songs have gotten a sonic facelift ("Out of the Woods" TV sounds fantastic, for example), but I have to concede that there is something about the youthful strain in her still-developing voice on the original, and that some of the TV tracks have lost some punch in the production. I need to stop writing about 1989. It's a great pop record and I wish the constant discourse around Swift would go away. It's exhausting. I'm tired. You're tired. We are all tired. Highlights: Blank Space, Style, Out of the Woods, Wildest Dreams, This Love, Clean

Incredible that this is the same band that made something as catchy and exciting as "Stayin' Alive". This is overwrought, oversung, and plodding. Highlight: It's Just The Way Nadir: When Do I

Lovely and inspired. Young's compositions especially stand out, but Nash's "Teach Your Children" has always been dearest to me. The Laurel-Canyon-folk songs hold up better than the rock-forward ones. Highlights: Teach Your Children, Helpless, Woodstock, Our House, 4 + 20

A punk album you could bring home to meet your mom. Perfectly fine. Polite, even. Underwhelming but solid. I could've used more horns. Highlights: Know Your Product, No, Your Product, (I'm) Misunderstood

Understated, thoughtfully composed, and even a little jangly. Some of the vocal mixing is a bit muddy, but it is a shoegaze album I guess. I'll be revisiting. Highlights: Seagull, In a Different Place, Vapour Trail

I understand this isn't technically an emo album, but I'd wager dozens of midwest emo bands had 'Bug' on regular rotation. It's earnest garage rock; not too polished or confrontational. I didn't realize Dinosaur Jr. had been around this long. Highlights: Freak Scene, No Bones, They Always Come, Pond Song

This is so obviously a creative triumph in every way that I'm not sure what to say about it. The musicianship, passion, and level of craft is unquestionable. I can't really fault it, not even the runtime. I guess I could do without the baby crying and talking sounds on "Isn't She Lovely", but saying that out loud makes me feel like a monster. Highlights: Love's In Need Of Love Today, Have A Talk With God, Sir Duke, Pastime Paradise, Summer Soft, Ngiculela-Es Una Historia-I Am Singing, If It's Magic, As

This surpassed my expectations. It's everything I want in a country album: story-forward, well-written, and concise. I love Nanci Griffith's voice and melodies, and the production is on point. I'm already looking forward to listening again. Highlights: The Last Of The True Believers, Love At The Five & Dime, St. Olav's Gate, Banks Of The Pontchartrain, Lookin' For The Time (Workin' Girl), Fly By Night

Sometimes spellbinding, usually pretty, occasionally sleepy. Great texture across the board. Highlights: The Big Ship, I'll Come Running, Another Green World, Becalmed, Everything Merges With The Night

It's not bad? It's occasionally kind of compelling, but not as often as I'd like. It's a bit too long. I'm part of the age group that has a special place in our heart for "Clocks". Highlights: The Scientist, Clocks, A Rush of Blood to the Head

Some astonishing rock songs, and a couple of clunkers. I was actually astounded by how much I didn't like "Alabama Song (Whisky Bar)", but "Light My Fire" immediately extinguished that disgust. Highlights: Break on Through (To the Other Side), Light My Fire Back Door Man, The End

A lot of different flavors of 80s pop are here; it sounds like an end of a decade. I enjoyed my listen more than I expected, but I don't plan on revisiting. I respect the personality and craft on display here. Highlights: Buffalo Stance, Inna City Mamma, Love Ghetto, Phoney Ladies

Well, I did get kind of a kick from listening to this. "Thrash jazz" is an objectively funny genre term. It's certainly different than anything else I've heard so far. Kudos to the drummers on this beast in particular. Having the saxophonists mixed to opposite channels is an interesting choice too. It's certainly not a leisurely listen. I wouldn't even call it recreational. I'm also bummed out that I often can't really hear the bass, although apparently one is present. Highlights: Enfant, Blues Connotation, Ecars, Feet Music

Holy shit, this was their debut? They came into the game swinging. This is self-assured, concise, and kick-ass. I had always assumed there was at least half a decade of Pixies records before "Where Is My Mind?", which I'd argue is a perfect song. I walked away from my listen feeling strangely moved and inspired. Highlights: Break My Body, Broken Face, Gigantic, Where Is My Mind?, Cactus

As far as albums in this genre go, this isn't bad. The bass work is fun and I appreciate a good synth chug. It's very of its time. I don't think I'll revisit, or think of it often, but there are some songs I'd return to. Trimming half a minute or a minute off of a lot of these songs would help this feel like less work to listen to and keep the hooks from wearing out. The 80s pop stomp gets tired towards the end of the album. Not that it's that important, but the album cover really put me off. Highlights: Someone Somewhere (In Summertime), Promised You A Miracle, New Gold Dream (81/82/83/84)

Gritty and foundational; this was a fun listen. "Dated" might be an appropriate descriptor, if unfair and reductive. I'm embarrassed I hadn't heard this in full until now. Wu-Tang is for the children. Highlights: Bring Da Ruckus, Wu-Tang Clan Ain't Nuting ta F' Wit, C.R.E.A.M., Protect Ya Neck

It's like a nice man at a communal bonfire is taking my hand and telling me things are going to be alright, that there is still wonder in the world, and there still much to do. Life affirming, sincere, and sweet; occasionally feather-light. Highlights: Where Do The Children Play?, Hard Headed Woman, Miles From Nowhere, On The Road To Find Out, Father And Son

DnB can be exciting to listen to when driving, dancing, gaming, et cetera. It's a cornerstone dance genre and a good cultural export for the UK. Put it on for the background of a chatty party when you don't want any singalongs. It is a little strange (and less exciting) to sit down and actively listen for over an hour (over two hours if you listen to the second disc.) I respect the craft, but won't be on this journey again. If you give a shit about DJing you might get a big kick out of this. The more interesting stuff is on the second disc, which is a shame because it means fighting through an hour of often indistinguishable break beats to get to it. Highlights: New Forms, Hi-Potent, Trust Me

First off, and perhaps vitally, I love her voice. It's clear and full of feeling but never shrill or overwrought. I'm learning that I enjoy country music more than I thought with each album I get. I was moved by quite a bit of 'Red Dirt Girl', so I'm glad to hear a much earlier album by Harris. 'Pieces Of The Sky' is more concise and the production is clearer, so I have to say I prefer it. The guitars sound beautiful, worthy of Harris' singing. If you're not a fan of the genre, I don't think there's anything here that will change your mind. Thankfully I am a fan of the genre, and I think this album kicks ass. "I told you summer stories/but outside it's getting mighty cold." Highlights: Bluebird Wine, Boulder to Birmingham, Before Believing, Bottle Let Me Down, Coat of Many Colors (I was delighted to hear this Parton song again), Queen of the Silver Dollar

I wanted to love this and merely liked it. It's a collection of pretty good rock and roll songs with a couple outstanding ones in it. I generally enjoy Fogerty's more understated vocal performances, but the holler he has on "Bad Moon Rising" is great. Highlights: Bad Moon Rising, Lodi, The Night Time Is The Right Time

I really, really do not like Nico's voice. This album is still pretty much perfect. It has one foot in the sound of its time and the other firmly planted in the future. I have to join the chorus of voices proclaiming it as one of the most influential, impactful albums to come out of the 1960s, but I think calling it THE best album of that decade is hyperbole. That being said, its impact on music as we know it can't be overstated, like it or not. I will continue to be annoyed with people telling me how much "better" and "cooler" they are than their contemporaries. They were like the fucking Sonic Youth of the 60s. At least the Velvet Underground did it first, I guess. I'm astonished whenever I hear "Heroin"; it is such an achievement in pacing, composition, production, sound design, and performance. Highlights: Sunday Morning, I'm Waiting For The Man, Femme Fatale (I know what I said about Nico's voice), Venus In Furs, Heroin, There She Goes Again

Another band I've heard plenty about but never actually sat down and listened to. This is fun and chunky in the way that good metal often is; I wasn't surprised when I read that Judas Priest had been touring with AC/DC and adjusted their sound accordingly for this record. It does get a bit samey as it continues, a pitfall of its genre, but I enjoyed this a lot more than I expected and am now actually interested in Judas Priest. I hope Rob Halford is having a great day. Highlights: Metal Gods, Breaking the Law, Living After Midnight, The Rage

Though I understand that it's not their best, 'Revolver' is probably my favorite Beatles album. I'll stop glazing for them eventually. Highlights: Taxman, I'm Only Sleeping, Here There and Everywhere, She Said She Said, And Your Bird Can Sing, For No One, Tomorrow Never Knows (!!!!)

Unsorted thoughts: These guys loved Crosby, Stills, and Nash. "Chug All Night" is a weird CSN-flavored sex jam, and I don't like it. The instrumentation and melodies are mostly great across the board, but the lyrics on quite a few tracks give me pause. There's a self-seriousness about them that doesn't do 'Eagles' any favors. A fake-deepness, if you would. Also some young-divorced-man energy. There are a few killer songs on here though. Highlights: Take It Easy, Witchy Woman, Nightingale

Holy shit this fucking rips. Highlights: being atomized

An interesting, often pretty album that would reward repeated patient listening. I'm not sure I'll revisit, but I'm glad I've heard it. Highlights: It's Not up to You, Pagan Poetry, Frosti, Unison

Heartache and humor, stories and love songs. It's aged fabulously. Dylan said in interviews that nothing on this album was written from personal experience; I do not believe him. Highlights: Tangled up in Blue, Simple Twist of Fate, You're Gonna Make Me Lonesome When You Go, Meet Me in the Morning, If You See Her Say Hello, Shelter from the Storm, Buckets of Rain

"You only live but once/and when you're dead you're done." It's interesting to hear Charles come at these old-school pop standards rather than rhythm and blues, which is what I'm used to hearing. It sounds a lot like other big band albums of its time; the only stand out is Charles himself, who has a great voice, piano chops, and presence. He comes off as less smug than, say, Sinatra. I think he has more interesting work, but this was a pleasant listen. The engineering leaves something to be desired. The horns often sound blown out or over-modulated. Charles' piano sometimes sounds like it's coming out of a broken speaker. Highlights: It Had to Be You, Come Rain or Come Shine

It's not the most exciting rock album I've ever listened to, but there are interesting ideas here and the musicianship is solid. Morrison had an inherent charisma that buoyed his less compelling lyrics and performances. Highlights: Love Her Madly, L.A. Woman, Hyacinth House

Like many prog albums, they really make you work for the nuggets of greatness, especially on the opening track. This was a rare instance where I enjoyed this more while driving than sitting down and listening to it. Maybe the movement kept me interested. The musical inspiration they took from Eastern Europe is pretty cool too. There's too much interesting stuff happening here for me to totally dismiss it. If this is someone's favorite album, that person is either unbearable or rad as fuck. I'd give this a 3.5 if I could. Highlights: the first big riff in Larks' Tongues In Aspic (Part I), Exiles, Easy Money

A lot of fun. Love the genre term "Celtic punk." I wish I'd been in a better mood when I first listened to it; if you're feeling grumpy, this can be kind of a lot, and it overstays its welcome a bit at some moments. All the performances and songs are totally there, though. I don't meant to be reductive, but this would go nuts at a Renaissance festival. Another album I'd give 3.5 stars if I could; alas, I must round down to be honest about my listening experience. Highlights: If I Should Fall from Grace with God, Fairytale of New York, Thousands Are Sailing, Medley

I heaved a great big sigh when I opened the generator today and saw this familiar disc staring back at me. The artist formerly known as Kanye West got me to begin listening to hip-hop. He made albums that I loved, and, for a while at least, was at least an interesting and bombastic public figure. Now he's just some asshole who hates Jewish people and mistreats women, refuses to meaningfully address his bipolar disorder, and makes unfinished music. He's forever scarred by the death of his mother and the subsequent long, long downward spiral has been awful to watch. I kept thinking he couldn't get any lower and yet he continued sinking. The last time he made music I really loved was 2016. It's a fucking shame. I loved 'Yeezus' and I know a lot of people who loved 'Yeezus'. It's one of the few albums I remember hearing for the first time: where I was and what I was doing, how I talked about it with my friends. It felt explosive and confrontational and fresh. Now I'm face to face with it again in 2024 and don't know how to rate it or what to say. It's hard to separate art from the artist when they have always been intertwined, tightly, with West. The bad lyrics on this thing (there are plenty) stand out more and are harder to forgive. Back then it came off as corny and funny; now it's embarrassing. In 2013, this was a 5/5 for me. "Blood on the Leaves" was one of my favorite songs ever, once. The SNL performance of "Black Skinhead" gave me chills. I put "Hold My Liquor" on repeat in college when I was deep in my feelings and unwilling to deal with it. That was then, this is now. And I do have to admit that I like this a great deal less.

I had no idea this album had been added to the list but am very glad to see it. 'Evermore' was a turning point in me becoming a fan of Swift's work, and it's still my favorite album of hers. I remember "ivy" knocking me on my ass when I first listened to it. "marjorie" in particular absolutely guts me every time I hear it. When the sample of her grandmother singing comes in at the end? Turns me to dust. "I should've asked you questions/I should've asked you how to be." I'm certainly in no position to tell Swift what to do, but I'd love for her to write like this again. It's one of the few records of hers where she sounds unburdened by public clamor and uninterested in audience expectations. Also, my favorite title track of hers. It's just beautiful. Highlights: champagne problems, gold rush, 'tis the damn season, no body no crime, ivy, cowboy like me, long story short, marjorie, evermore

This is another one where my expectations were low and then absolutely obliterated. This album slaps. I'd never listened to New Order but was dimly aware of them as "what was left of Joy Division" and thus overlooked them. What a mistake, and a disrespectful one too. These songs are well-crafted and catchy, and the production is way more dynamic than many of this album's peers. Highlights: Love Vigilantes, The Perfect Kiss, Sub-culture, Face Up

My favorite Nirvana album. Brutal, painful, and some kind of perfect. Highlights: Scentless Apprentice, Heart-Shaped Box, Frances Farmer Will Have Her Revenge On Seattle, Milk It, Pennyroyal Tea, All Apologies

I respect Prine tremendously, so I wanted to love this record. I liked it a lot, but maybe my expectations were too high. I'm not sure. Regardless, this is an astounding debut; his writing voice was fully formed. He's funny, unpretentious, and an astute storyteller. It's a good thing the lyrics are great, because the music itself kind of comes second here. I can hear his influence on other singer-songwriter types outside of this genre, especially Springsteen and Lenker. Also, "Angel From Montgomery" is a perfect song. I think this is an album that would reward repeated listening. Highlights: Illegal Smile, Hello in There, Paradise, Angel from Montgomery

This felt like much longer than 35 minutes, which is usually an insult. Not here. It's immersive and patient. I'm a little unsure of how to review Cohen albums; I'm often moved my them, and I understand why so many people love Cohen's work. He's an influence on a lot of my favorite artists. I did enjoy this more than 'You Want It Darker'. I couldn't even ascribe words to that experience at the time. I'd say for both YWID and this album that it's an intense emotional experience given the lyrics and the gravity of Cohen's performances, but it relies on your attention rather than demanding it. This was an interesting listen after getting John Prine's debut yesterday. They go hand in hand as impressive first albums from singular singer-songwriters, works that would reward repeated listens and attention, but ultimately fell to the background to me. I have close friends who capital-L Love Cohen's music. I feel like I owe them an apology. (Or at least more committed listens before trying to talk to them about these albums.) Highlights: Birds on the Wire, A Bunch of Lonesome Heroes, The Partisan, Lady Midnight

A vaunted album that lives up to the hype. There isn't a wasted note. Thank goodness he didn't join up with the Lions to become a football player and made this instead. It's bittersweet, powerful, beautiful, immaculate--how many adjectives can I throw at this? I know that I'm not even being articulate. I'm too in awe. This really is an album everyone should hear before they die. I even appreciate the Jesus stuff! The production holds up, too. There isn't anything about this that sounds dated. It's a towering achievement. Highlights: What's Going On?, Mercy Mercy Me (The Ecology), Right On, Inner City Blues (Make Me Wanna Holler)

What a voice. This 12-minute cover of "Walk On By" is special, I have to say. I don't usually describe 12-minute covers in positive terms. I was initially put off by the length of these songs, but it was a treat. The instrumentation and performances hold up. Like another reviewer said, this could've been recorded recently, which goes to show how forward thinking this album was. Highlights: Walk On By, One Woman

Not what I expected at all. I was waiting for sprawling psych-rock and got cosmic country. And it's good! What a shame such a lovely album came from a band with a name so silly I was mistaken about the genre. Even though it has a normal runtime, it felt longer than it is. Another "Well, what do I know" moment courtesy of the generator. Highlights: Sin City, Do Right Woman, Hot Burrito #1, Hot Burrito #2

Albums like this are what this generator is really for, in my opinion. Gems hidden in the rubble of the greater rock canon. This is a fun, surprisingly tidy and tight, and concise album--and I never would have listened to it. For lack of something more specific and articulate to say, it sounds like this band loves music and loves making music. Perhaps a low bar to clear, but it's nice to hear something that isn't so labored be this good. Highlights: In My Mind, Vastopol, What Gets Heard, Time With You, Some Things, Understanding

Credit where credit is due: this is a great metal album. It's not exactly my cup of tea and I'm not sure I'll ever love Metallica, but there are some fucking dynamic achievements on this thing. "One" is particularly astounding. I remember the original mix as tinny and undercooked. The remaster is... better, I guess, but you still can't hear the bass. Maybe on purpose given the passing of Cliff Burton, but c'mon. Respect the new bass player. Also, generally still not really feeling the lyricism. Highlights: One, Harvester of Sorrow

I hadn't heard of The Pharcyde before getting this album. This was a lot of fun; their energy is infectious. Definitely of its time, but the sample work is classic. I'm unsure of if I'll revisit, so I have to score accordingly. Highlights: Oh Shit, On the DL, Ya Mama, Passin' Me By

Competent but emphatically unexciting music. Credit where it's due: they tried really, really hard to make interesting choices here. On occasion it's actually a bit insufferable. I am not surprised I haven't heard of them before and don't expect to hear of them again. Highlight: Onie

What a showman, what a voice, what a crowd. There might be tighter performances on record, but the energy from the venue is overflowing. A live album that makes me wish I could've been there, as good live albums should. Highlights: Chain Gang, Medley, Somebody Have Mercy, Nothing Can Change This Love

No thoughts boss. It's good rock music.

I'll start with the obvious: she has an incredible voice, and she mostly avoids over-singing here. Her vocal performances are uniformly astounding. Second obvious point: this album is way too long. The length does it a great disservice. If you pick one song out from the first half, it's probably a perfectly enjoyable, even impressive pop song. Across 22 tracks, something gets lost. The second disc is significantly better. I wish this album was just the second half. Highlights: Welcome, Candyman, Mercy on Me, Save Me from Myself, The Right Man

It's certainly live. Not sure about dangerous. Maybe I'd really appreciate this if I was more familiar with Thin Lizzy's music. They're capable performers and this certainly wasn't bad, but I'm not especially taken with it. But I did find myself engaged more often than not. Highlights: Emerald, Still In Love With You, Cowboy Song, The Boys Are Back in Town

I'd never listened to Tori Amos. I think I listened to a cover she did when I was much younger and didn't enjoy it, so I've been avoiding her. But she's often cited by musicians I love as a major influence, and I've certainly heard of this album, so I tried to enter this listen with an open mind. Even if I hadn't, I think this would've pried my skull open anyways. It's beautiful. Her piano playing, singing, and dynamic songwriting is captivating. I'm looking forward to revisiting; it's pretty dense and would reward repeated listens. Highlights: Crucify, Girl, Leather, Tear in Your Head, Little Earthquakes

Many a review ago I mentioned that I'm able to tolerate misogyny/homophobia/various social ills from past days when the music is bumping. "It was a different time," I say to myself. "No need to get upset." I guess that's still true, but there is some startling shit on here. The way they write about women in particular is, uh, not awesome. The beats knock, the performances are charismatic, and I won't argue that this isn't a classic. But jeez, "Dopeman" in particular had me actually grimacing. Highlights: Straight Outta Compton, Fuck Tha Police, Express Yourself, Something 2 Dance 2

This album enveloped me like a warm sweater. It got my head on straight. It told me to keep my chin up and move forward, and to dance. I'll be listening again. Highlights: Penitentiary Philosophy, Didn't Cha Know, ...& On, In Love With You

This *sounds* a lot like something I would like, and yet I didn't really enjoy it. It kind of bugged me. The instrumentals rule, so maybe it's the vocals? It felt way longer than its runtime too.

"Tainted Love" is an absolute smash, so I wanted and expected to enjoy the rest of the album. It was campy and fun sometimes, but many of the hooks were overworked. I like the lead singer's voice and the production is clean. Highlights: Tainted Love, Entertain Me, Chips On My Shoulders

I mean, it is very long. I would be surprised if this isn't the longest album on this list by standard length. It's also a joy to listen to. I don't think I'll listen to it front to back like this again, but I will keep it on hand for mellow parties or busy days at the office. And certain songs are now close to my heart. Disc five (!) was my favorite. Fitzgerald is unquestionably one of the greatest American vocalists. I'm inclined to check out her other songbook offerings now, length be damned. Call me a pushover for my rating if you must. Highlights: But Not For Me, My One And Only, Nice Work If You Can Get It, The Real American Folk Song, Love Is Here To Stay, Boy What Love Has Done To Me, Lorelei, Oh So Nice

For the most part, a banger of an R&B album. I gotta say: "Nasty Girl" was seething with such intense internalized misogyny that my eyebrows were in my hair the whole time. It actually made me laugh out loud. And then there's a song later that seems to be about the cycle of trauma after a girl is molested by her stepfather, I guess? There are some strange tonal shifts on this album. I'm not sure I'd revisit in full. Highlights: Independent Woman, Pt. 1, Survivor, Emotion

I had absolutely zero expectations, which makes being blown away even more delicious. What a band; what a charismatic lead vocal performance. Highlights: Art-I-Ficial, Warrior in Woolworths, Identity

Listen to Tommy with a candle burning and you will see your entire future.

Beautifully sung, well-produced, and surprisingly sexy. Highlights: Son of a Preacher Man, I Don't Want to Hear It Anymore, Breakfast in Bed

This is a late-2010s rock album if I've ever heard one. It's sprawling and anthemic and a bit labored. I'm glad I've heard it, because I never would have otherwise, but I'm not sure I'll revisit. Someone somewhere will absolutely love this thing. Highlights: Ullswater, Boxing Day, Shortcomings

What an interesting, varied, exciting listen. Wasn't expecting texmex or folk music at all; it touches on a lot of different genres while still being cohesive and unpretentious. A hidden gem for me. Highlights: Black Heart, Not Even Stevie Nicks..., Across the Wire, Güero Canelo, Crumble

One of the finest Beatles albums, but not their best. That's yet to come. Still, a big step up in their body of work. Bob Dylan was right to call it their first "grown up" album. There are some all-timers on here. Highlights: Norwegian Wood, Girl, Think For Yourself, I'm Looking Through You, In My Life

I initially balked at the runtime and average track length, but was glad to find the songs are patient in their sprawl and compelling. It's a beautiful record. I'm glad to have begun cracking my Cure egg. Highlights: Pictures of You, Lovesong, Lullaby, Fascination Street

Parts of this are almost kind of interesting. "Clint Eastwood" is close to being a banger. It's just too repetitive. It's like they knew when they had a good hook and needed to remind us many, many times. Bit of a slog, if I'm being honest. Highlights, I guess: Clint Eastwood, Double Bass

I really wanted to like this. I didn't. It's kind of proto-slowcore? Give me some texture, please. Some dynamics, even. Not for me. Highlights: Madeleine-Mary, Today I Was An Evil One, Raining In Darling

Before listening: I can't think of anything I want less than an hour-long Bee Gees concept album. Get the hell out of here. After listening: An unmercifully long listen. Really, truly, thank goodness for disco. This is intolerable Beatles mimicry. I can't even pick a nadir track like I usually do.

An interesting benchmark for seeing how this genre has evolved over the past 40 years. So it's obviously influential and seminal and stuff. And capital-D dated.

My expectations for this album were pretty high, so maybe this is my fault. I think if every song (I mean it, all of them) were at least a minute shorter, this would be more digestible and thus easier to appreciate and enjoy. She's got a great voice and this record is produced well, but it's too bloated for me; it gives me too much time to notice things I don't like. It doesn't help that most of the songs are paced similarly and some of the top line melodies are indistinguishable. I guess I'll have to listen again another day. Highlights: Doo Wop (That Thing), Everything Is Everything, Can't Take My Eyes Off of You - (I Love You Baby)

I didn't realize how long a 32 minute album could feel.

This album is twice the length of the one I got yesterday and much more compelling. Thank goodness. It's been a rough streak. Highlights: Cherub Rock, Today, Soma, Mayonaise

A well-written and occasionally country-tinged rock album that doesn't overstay its welcome. Highlights: Feel, In The Street, Thirteen, When My Baby's Beside Me, Watch The Sunrise

Mixed feelings here. I really like the arrangements and texture. The lead vocal performance and writing is not my favorite. I think I liked it? I also might not have liked it that much. I can't call it a middle-of-the-road experience because I liked the production so much, but some of the lyrics had me rolling my eyes. I winced a few times at the singing. It does sound like a forward-thinking album; it came out in 1999 and sounds like it could've come out in 2015. Highlights: Race for the Prize, The Spark That Bled, What Is The Light?, Sleeping on the Roof

I mean, it's nice to hear a hip-hop record from this time that isn't an hour or longer. The beats are strong and his flows are good. So I was enjoying it, but then I was grinding my teeth through all of "Da Bichez" and couldn't get the taste out of my mouth for the rest of the album. Why would I listen to someone that raps about women this way? The more of these older rock and hip-hop albums I hear, the less tolerance I have for them. "I'd body slam her, but I'm not a misogynist." You absolutely are. Fuck you, man.

A subtle feat of musicianship that doesn't take itself too seriously. It's fun and funny and lush. There are a lot of tracks and the runtime made me nervous, but this flew by and kept me engaged. 3.5/5, but I'll round up because I'm trying to be a more positive person. Highlights: Captain Stupido, Lava Lamp, Walk On By, Jameel's Space Ride, Them Changes, Where I'm Going, Drink Dat

I can't overstate how uninterested I am in listening to Metallica for an hour, but here we are. "Enter Sandman" is a banger but its lyrics really take me out, which is generally true of Metallica songs. Thankfully Hetfield is difficult to understand most of the time. "Don't Tread on Me" is straight-up corny. "Nothing Else Matters" surprised me with its sincerity and relatively gentle arrangement. I really like the sonic embellishments in the latter half of "My Friend of Misery" and how the guitar textures layer over each other. The guitar solos are some of my favorite parts, which is unusual for me when I'm listening to metal. I liked it fine, so I shouldn't be so snide. I probably won't revisit in full again, but I do have to admit that this is great driving music. However, it is certainly redundant and could use some paring down. Highlights: Enter Sandman, Wherever I May Roam, Nothing Else Matters, My Friend of Misery

Oh this is BRITISH British. Highlights: Blue Skinned Beast, Primrose Hill, Mr. Speaker, Madness (Is All In The Mind) Nadir: New Delhi

Prog for the modern era. Something something "sprawl," something something "ethereal." Something something "long." It's quite pretty, I guess, but I feel like it insists upon its own beauty or something. A relaxing, immersive listening experience that I'm glad I had, but not one I plan to revisit. Highlight: Hjartað hamast (bamm bamm bamm)

Oh there's like, outsider music on here too? Is that what you could call this? I didn't love it-love it, but I was certainly charmed and enjoyed it more than I expected based on the first song. He touches a lot of rock genres here and does it all confidently. Not all of it has aged super well, but that's true of several albums on this list. 3.5 if I could, but I'll round up for being pleasantly surprised and actually entertained. Highlights: My Old Man, Clevor Trever, Blockheads, Sex & Drugs & Rock & Roll

I was familiar with the hits from this album, so I didn't realize what a solid debut this is. Steely Dan has been memed a bit recently (is it the jazz rock?), so I was expecting something sillier. It's a good record boss. Also, the production and engineering sound fantastic. Highlights: Do It Again, Dirty Work, Midnite Cruiser, Reelin' In The Years, Brooklyn (Owes The Charmer Under Me)

One of my personal favorites. I'm glad I had an excuse to spin it again. Highlights: Gotta Get Up, Driving Along, Early in the Morning, Down, Let The Good Times Roll, Jump Into The Fire (!!!)

Lighthearted, loose, quietly lovely, and very British. In other words, classic Kinks. Highlights: The Village Green Preservation Society, Picture Book, Village Green, Starstruck, All of My Friends Were There

Kind of what I needed on a chilly morning. It maintains the muddy late-60s mix despite the remaster, but I can still hear individual instruments and his voice sounds great. I wish I was listening to it on a cabin porch or something. Highlights: Clarice, Alegria Alegria, Onde Andaras, Superbacana

Well, he has a lovely voice and the production is strong. It's a bit maudlin and indulgent for me to really get excited about. I do want to give Van Morrison's 'Astral Weeks' another shot now.

What a trip. I can't believe this came out in the 70s.

This represents a line between "Before" and "After" in pop music, so I resisted entering this listen with too much "Poor Britney Spears" energy. I see why her legacy persists to the modern crop of pop stars. What a charismatic lead vocal performance; I didn't know she could sing like this. The songwriters and producers were firing on all cylinders here too. It's all sunny, well-crafted late 90s tunes and bangers. It really is a blueprint for (at least) the next decade of pop. It's of-its-time and a little too long, so I don't think I'll revisit in full, but I certainly glad I listened to it. I wish the culture had been kinder to her. Highlights: ...Baby One More Time, (You Drive Me) Crazy, I Will Be There, The Beat Goes On

Absolutely beautiful, front to back. An album that reminds me how much I love music. Highlights: Rolling, Hero, Final Days, Solid Ground

A handful of truly lovely songs and great harmonies across the board; otherwise it's just another early Beatles album in my opinion. Highlights: A Hard Day's Night, If I Fell, And I Love Her

I was going to be more generous because the title track is such a banger, but every song sounds the same. And boy, is it diminishing returns. I've had a bad case of the blues for the past few weeks and haven't had the energy to write comments, but I had to come out of hibernation to justify what a slog I thought this was.