707
Albums Rated
3.33
Average Rating
65%
Complete
382 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
2010
Favorite Decade
Country
Favorite Genre
US
Top Origin
Wordsmith
Rater Style ?
99
5-Star Albums
24
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Atomizer
Big Black
|
5 | 2.73 | +2.27 |
|
Chris
Christine and the Queens
|
5 | 2.82 | +2.18 |
|
Shadowland
k.d. lang
|
5 | 2.87 | +2.13 |
|
Psychocandy
The Jesus And Mary Chain
|
5 | 2.95 | +2.05 |
|
The Last Of The True Believers
Nanci Griffith
|
5 | 2.96 | +2.04 |
|
Music From The Penguin Cafe
Penguin Cafe Orchestra
|
5 | 3.01 | +1.99 |
|
Exile In Guyville
Liz Phair
|
5 | 3.02 | +1.98 |
|
Done By The Forces Of Nature
Jungle Brothers
|
5 | 3.04 | +1.96 |
|
Before And After Science
Brian Eno
|
5 | 3.08 | +1.92 |
|
The Holy Bible
Manic Street Preachers
|
5 | 3.14 | +1.86 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Layla And Other Assorted Love Songs
Derek & The Dominos
|
1 | 3.39 | -2.39 |
|
Urban Hymns
The Verve
|
1 | 3.36 | -2.36 |
|
You've Come a Long Way Baby
Fatboy Slim
|
1 | 3.34 | -2.34 |
|
Ace of Spades
Motörhead
|
1 | 3.29 | -2.29 |
|
Live At The Star Club, Hamburg
Jerry Lee Lewis
|
1 | 3.27 | -2.27 |
|
Beautiful Freak
Eels
|
1 | 3.27 | -2.27 |
|
Pyromania
Def Leppard
|
1 | 3.14 | -2.14 |
|
Too Rye Ay
Dexys Midnight Runners
|
1 | 3.12 | -2.12 |
|
Youth And Young Manhood
Kings of Leon
|
1 | 3.1 | -2.1 |
|
Electric
The Cult
|
1 | 3.02 | -2.02 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Radiohead | 3 | 5 |
| Nirvana | 3 | 5 |
| Pink Floyd | 3 | 5 |
| Beatles | 6 | 4.33 |
| Prince | 3 | 4.67 |
| The Who | 3 | 4.67 |
| Stevie Wonder | 3 | 4.67 |
| Marvin Gaye | 3 | 4.67 |
| David Bowie | 7 | 4.14 |
| Kendrick Lamar | 2 | 5 |
| Belle & Sebastian | 2 | 5 |
| Johnny Cash | 2 | 5 |
| Fiona Apple | 2 | 5 |
| Kate Bush | 2 | 5 |
| Led Zeppelin | 3 | 4.33 |
| Bob Dylan | 3 | 4.33 |
| Bruce Springsteen | 5 | 4 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Dexys Midnight Runners | 2 | 1 |
| Bee Gees | 2 | 1 |
| The Fall | 3 | 1.67 |
| Motörhead | 2 | 1.5 |
| Def Leppard | 2 | 1.5 |
| Kings of Leon | 2 | 1.5 |
Controversial
| Artist | Ratings |
|---|---|
| Curtis Mayfield | 2, 5 |
| Captain Beefheart & His Magic Band | 1, 4 |
| Amy Winehouse | 5, 2 |
| Bruce Springsteen | 2, 3, 5, 5, 5 |
| Miles Davis | 5, 2, 4 |
5-Star Albums (99)
View Album Wall
Popular Reviews
Sleater-Kinney · 9 likes
4/5
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
Nanci Griffith · 4 likes
5/5
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
Dr. John · 2 likes
2/5
I wanted to like this. I'm unfamiliar with the artist and it's certainly unique. Here are some unsorted thoughts and then I'll call it a day:
His vocals were recorded terribly. The popping and peaking at first seems like an aesthetic choice, but it doesn't work for me. It's like he's right in my ear, and not in an enjoyable, intimate way. The backing vocals are mixed great (and he is generally out-sung by them), so I don't think it was because their equipment was dated or anything.
"Croker Courtbullion" was both the most obtuse and the most interesting track on the album.
Repetition in songs can reinforce melodies and build tension. Here I found it difficult.
I'm curious about the process here, but I don't plan on revisiting and didn't really enjoy it.
Jerry Lee Lewis · 2 likes
1/5
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
Echo And The Bunnymen · 2 likes
5/5
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
4-Star Albums (206)
1-Star Albums (24)
All Ratings
Tears For Fears
4/5
A solid, big-sounding 80s pop album worth revisiting. Some of the songs are a little too long.
Muddy Waters
3/5
Live blues is my favorite kind of blues, and Waters sounds great here. I'm unsure if I'll listen again.
Simon & Garfunkel
3/5
Some absolutely beautiful songs, but as a whole didn't wow me.
Beatles
5/5
Dude, I've heard Abbey Road a million times. It's ingrained in the folds of my brain. Five stars.
Ramones
4/5
This is a lean, mean, bite-sized piece of punk. Catchy and concise. Music to crash your car to.
Bob Marley & The Wailers
4/5
Wilco
5/5
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.
Iron Maiden
3/5
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.
Neil Young
4/5
This album is bleak and damn good. Even the nearly-nine-minute closing track flew by.
Gary Numan
2/5
This sure is new wave.
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.
Crosby, Stills & Nash
5/5
One of my all-time favorites. An unimpeachable record.
The Bees
4/5
Pulp
4/5
Pixies
3/5
David Bowie
3/5
There are some high points here, but there are Bowie albums I love more.
T. Rex
3/5
Kendrick Lamar
5/5
Big Brother & The Holding Company
4/5
What a party record; what a voice.
Queens Of The Stone Age
2/5
😴😴😴
Willie Colón & Rubén Blades
4/5
What a warm, fun, delicious record. I haven't listened to really 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.
Weather Report
2/5
You know, maybe jazz fusion isn't for me either.
Curtis Mayfield
2/5
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.
Snoop Dogg
3/5
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.
Cornershop
3/5
Neil Young
4/5
Throwing Muses
4/5
"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".
Dexys Midnight Runners
1/5
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.
This is an over-produced, over-sung, overstuffed but uninteresting record that annoyed me start to finish.
ZZ Top
3/5
I enjoyed this much more than I thought I would.
It scratches the some nostalgia itch for me. Maybe 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.
It gets a bit samey in the back half. I'd give this a 3.5 if I could.
Blur
3/5
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".
Cowboy Junkies
3/5
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.
Highlights: Blue Moon Revisited, Dreaming My Dreams With You, Sweet Jane
Television
5/5
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 fault it. It's well-written, well-performed, premium 1970's NYC punk rock.
Highlights: See No Evil, Marquee Moon, Guiding Light, Prove It
Simon & Garfunkel
3/5
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 tracks with my overall experiences with Simon & Garfunkel albums.
"Mrs. Robinson" is an all-time banger though.
Randy Newman
4/5
Janet Jackson
4/5
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
Radiohead
5/5
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.
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
Grant Lee Buffalo
3/5
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
Sonic Youth
3/5
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 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
John Lee Hooker
3/5
I think I'm more compelled by the blues when hearing them live.
Highlights: I'm In The Mood, Sally Mae, No Substitute
Wilco
4/5
I'd give this a 4.5 if I could. I am glad I heard this album before I died.
Eurythmics
4/5
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)
The Prodigy
2/5
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
Boston
3/5
Cheesy? Maybe. But "More Than A Feeling" does make me 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.
Anyways, nostalgia and joy give this a decent score. But not quite a great score.
Nina Simone
5/5
Elastica
3/5
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
Gotan Project
3/5
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.
Beastie Boys
4/5
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
Elvis Costello
2/5
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.
Prince
5/5
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
Various Artists
2/5
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.
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)
Motörhead
2/5
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.
De La Soul
4/5
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.
Missy Elliott
3/5
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.
Beatles
4/5
Paul Simon
2/5
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
Bruce Springsteen
2/5
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.
You may have noticed I've spent more time writing about the album's context than its music.
This album does itself a great disservice in its runtime. Cut a few MOR or saccharine tracks, hack off a minute or two from the long songs, and this would maybe (big 'maybe') be a Springsteen classic. Honestly, 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
Janelle Monáe
5/5
Top ten favorite album of all time. What a delight to see it on this list.
Primal Scream
2/5
🤷
Highlights: Movin' On Up, Damaged, I'm Coming Down
Led Zeppelin
4/5
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.
Fairport Convention
4/5
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
JAY Z
5/5
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.
Miles Davis
5/5
So beautiful. The title piece is particularly stunning.
Röyksopp
3/5
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.
Aretha Franklin
4/5
What a voice. Powerful and gritty and soulful. There will never be another like Aretha.
The piano playing kicks ass, too.
The Birthday Party
2/5
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.
Highlights: The Dim Locator, Several Sins, Kewpie Doll
Talk Talk
2/5
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. 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
Sleater-Kinney
4/5
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
Pixies
4/5
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.
Kim Deal's 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
The Temptations
4/5
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
5/5
I love this record. 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
David Bowie
5/5
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.
Blood, Sweat & Tears
5/5
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. Some of it reminded me of musical theatre. 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
The Black Keys
2/5
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
GZA
5/5
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.
The Verve
1/5
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
David Bowie
3/5
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
The Slits
3/5
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
Stan Getz
3/5
This album makes me want neat bourbon and a cigarette.
Highlights: The Girl From Ipanema (both versions), Desafinado, Corcovado
Q-Tip
5/5
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
The Offspring
3/5
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?
Van Halen
3/5
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 really 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.
Highlights: Jump, Panama, I'll Wait
Van Morrison
4/5
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
Emmylou Harris
3/5
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
Country Joe & The Fish
2/5
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
R.E.M.
3/5
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
David Bowie
5/5
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
Sonic Youth
3/5
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 voice. 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
Youssou N'Dour
3/5
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 and post punk.
Highlights: Pitche Mi, Taaw
The Who
5/5
This makes me feel like my head is being split open, I'm drenched in sweat, and the third beer is hitting. 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.
The Cult
1/5
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.
Highlights: YEAH YEAH YEAH YEAH YEAH
Slipknot
2/5
I don't know. I guess it's not for me.
Highlights: Wait and Bleed, No Life
Dolly Parton
4/5
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
Jamiroquai
2/5
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
TV On The Radio
5/5
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
Björk
3/5
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 sounds 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 alone.
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
Frank Zappa
3/5
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
Van Morrison
2/5
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
Manic Street Preachers
3/5
A pretty good rock album. Inoffensive, enjoyable, and easy to move on from.
Highlights: Enola / Alone, Everything Must Go, No Surface All Feeling
Queen
3/5
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 like more.
Highlights: Some Day One Day, The March Of The Black Queen, Seven Seas Of Rhye
Spiritualized
3/5
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 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
The Stooges
5/5
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
Miles Davis
2/5
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
The Stone Roses
3/5
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
Duran Duran
3/5
This 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. 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
Everything But The Girl
2/5
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.
Tracey Thorn has a beautiful voice. The opening track is a lovely; she sounds great, and the guitar sounds warm and sweet. I am wary of an album that opens with a cover.
Some of the 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. 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
Depeche Mode
4/5
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)
Jacques Brel
3/5
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
Saint Etienne
3/5
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
Talking Heads
4/5
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
Siouxsie And The Banshees
4/5
I've never listened to a Siouxsie record, but I've read a fair amount about their influence on alternative music and contemporary goth culture. And I'd heard "Happy House" before. I was looking forward to getting a bigger picture.
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
Belle & Sebastian
5/5
Talk about a hyped album. I've never listened to Belle & Sebastian before, but a lot of ink been spilled about them and their impact on music, particularly the indie scene I once found so vital and precious. 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
3/5
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
A Tribe Called Quest
4/5
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. 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
Iron Butterfly
2/5
There's a Taylor Swift song where she sings the lyric "Now that we don't talk I don't have to pretend I 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
Antony and the Johnsons
4/5
Beautiful and well-performed. I'll be revisiting.
Highlights: My Lady Story, You Are My Sister, What Can I Do?, Fistful Of Love, Spiralling
OutKast
5/5
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
Eminem
3/5
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 incensed by what Eminem raps about or how he raps about it. I can deal with 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, Guilty Conscience, '97 Bonnie & Clyde, My Fault, Bad Meets Evil
Metallica
3/5
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
2/5
"Go ahead and talk shit/talk shit about me."
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'd be 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.'
I admire the audacity of including "Outro."
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 and being silly.
Highlights: My Way, Getcha Groove On, Take A Look Around, Rollin'
Stevie Wonder
5/5
Listening to 'Talking Book' after getting Limp Bizkit's opus 'Chocolate Starfish...' yesterday feels like 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 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)
Johnny Cash
5/5
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
3/5
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
Miles Davis
4/5
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
5/5
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
Captain Beefheart & His Magic Band
1/5
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
N.E.R.D
2/5
"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
Nirvana
5/5
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
Roxy Music
4/5
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?
Jimi Hendrix
3/5
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
4/5
I didn't realize so many of U2's heaters were from the same album.
Highlights: Where The Streets Have No Name, With Or Without You, Bullet The Blue Sky, Running To Stand Still, One Tree Hill, Exit
The Go-Go's
4/5
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
Paul McCartney and Wings
4/5
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
Elliott Smith
3/5
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
Frank Sinatra
3/5
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
Yes
4/5
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
The Rolling Stones
3/5
I'll give them this, "Sympathy For The Devil" is a perfect rock song.
Highlights: Sympathy For The Devil, Parachute Woman, Street Fighting Man
Ali Farka Touré
3/5
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
Rage Against The Machine
4/5
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
Michael Jackson
3/5
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 (a perfect pop song, lukewarm review aside), Man in the Mirror, Dirty Diana, Smooth Criminal
Morrissey
2/5
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)
Sister Sledge
3/5
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
The Everly Brothers
2/5
I don't want to hear Boomers complain about how vapid modern music is ever again.
Napalm Death
3/5
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.
Siouxsie And The Banshees
4/5
Glad to get another Siouxsie record, and for it to be another good one.
Highlights: Pure, Jigsaw Feeling, Carcass, Nicotine Stain, The Staircase (Mystery)
The Strokes
4/5
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.
The filter on the vocals gets old.
Highlights: The Modern Age, Someday, Alone Together, Last Nite, Hard to Explain, Take It Or Leave It
Dr. Dre
4/5
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
Sade
3/5
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
Elliott Smith
5/5
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
Nitty Gritty Dirt Band
4/5
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)
Frank Black
4/5
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
Marty Robbins
5/5
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
The Smiths
2/5
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
The Isley Brothers
4/5
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
Aphex Twin
4/5
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
Derek & The Dominos
1/5
To my ears, this is unimaginative, overlong, boring 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 good musicians, but I was ready to pay my tab and go home about forty minutes ago.
Highlight: Layla
The Afghan Whigs
4/5
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
Tom Waits
2/5
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
Talking Heads
4/5
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
Deep Purple
3/5
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
Echo And The Bunnymen
5/5
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
Todd Rundgren
4/5
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
Deep Purple
3/5
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)
Nick Drake
4/5
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
Magazine
3/5
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
Jimi Hendrix
5/5
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?
Janis Joplin
4/5
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
Funkadelic
5/5
"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
Captain Beefheart & His Magic Band
4/5
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
Jerry Lee Lewis
1/5
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
Black Flag
3/5
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)
Echo And The Bunnymen
3/5
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
Roxy Music
3/5
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
The Rolling Stones
3/5
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
Beth Orton
4/5
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
Lorde
5/5
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
Curtis Mayfield
5/5
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
Orbital
2/5
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)
Frank Ocean
5/5
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
Teenage Fanclub
4/5
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?
The xx
4/5
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
Fun Lovin' Criminals
2/5
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
Belle & Sebastian
5/5
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
ABBA
4/5
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
Arcade Fire
4/5
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)
The Thrills
2/5
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
Linkin Park
2/5
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.
Beck
2/5
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
Cocteau Twins
5/5
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
The Teardrop Explodes
1/5
"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
The Clash
3/5
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
Slade
3/5
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
Brian Eno
5/5
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
The Yardbirds
3/5
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
The White Stripes
4/5
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
Beastie Boys
4/5
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
Guided By Voices
4/5
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
Led Zeppelin
4/5
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
The Divine Comedy
2/5
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
John Grant
4/5
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
The Smashing Pumpkins
4/5
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)
Nick Drake
3/5
Very pretty, but not as spellbinding as Drake's other albums.
Highlights: Three Hours, The Thoughts Of Mary Jane, Saturday Sun
David Bowie
4/5
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
Deee-Lite
3/5
"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),
Sly & The Family Stone
3/5
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
David Bowie
4/5
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
Malcolm McLaren
3/5
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
KISS
2/5
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
Garbage
5/5
"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
The Kinks
3/5
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
Dexys Midnight Runners
1/5
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
Led Zeppelin
5/5
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
Christine and the Queens
5/5
"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
Sheryl Crow
3/5
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
Tricky
3/5
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'
Taylor Swift
4/5
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 are here. "Style" is a perfect pop song.
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
Leonard Cohen
3/5
Bee Gees
1/5
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
Crosby, Stills, Nash & Young
4/5
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
The Saints
2/5
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
Ride
4/5
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
Dinosaur Jr.
3/5
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
Stevie Wonder
5/5
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
Nanci Griffith
5/5
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
Brian Eno
4/5
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
Coldplay
3/5
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 have a special place in my heart for "Clocks".
Highlights: The Scientist, Clocks, A Rush of Blood to the Head
The Doors
3/5
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
Neneh Cherry
3/5
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
3/5
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
Pixies
5/5
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
Simple Minds
3/5
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)
Wu-Tang Clan
4/5
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
Cat Stevens
4/5
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
Roni Size
2/5
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
Emmylou Harris
4/5
I love her voice. It's clear and full of feeling but never shrill or overwrought.
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
Creedence Clearwater Revival
3/5
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
The Velvet Underground
5/5
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
Judas Priest
4/5
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
Beatles
5/5
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 (!!!!)
Eagles
3/5
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
Big Black
5/5
Holy shit this fucking rips.
Highlights: being atomized
Björk
3/5
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
Bob Dylan
5/5
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
Ray Charles
3/5
"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
The Doors
3/5
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
King Crimson
3/5
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
The Pogues
3/5
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
Kanye West
3/5
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.
Taylor Swift
4/5
'Evermore' was a turning point in me becoming a fan of Swift's work, and it's still my favorite album of hers.
"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
New Order
4/5
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
Nirvana
5/5
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
John Prine
3/5
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
Leonard Cohen
3/5
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
Marvin Gaye
5/5
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)
Isaac Hayes
4/5
What a voice.
This 12-minute cover of "Walk On By" is special. 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
The Flying Burrito Brothers
4/5
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
fIREHOSE
4/5
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
Metallica
3/5
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.
Still not really feeling the lyricism.
Highlights: One, Harvester of Sorrow
The Pharcyde
3/5
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
The Electric Prunes
2/5
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
Sam Cooke
4/5
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
Jeff Beck
4/5
No thoughts boss. It's good rock music.
4/5
Christina Aguilera
3/5
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
Thin Lizzy
3/5
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
Gang Of Four
4/5
Tori Amos
5/5
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
N.W.A.
3/5
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
Erykah Badu
4/5
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
The Fall
2/5
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.
Soft Cell
3/5
"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
Ella Fitzgerald
5/5
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
Destiny's Child
3/5
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
Otis Redding
5/5
Air
4/5
X-Ray Spex
4/5
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
The Who
5/5
Listen to Tommy with a candle burning and you will see your entire future.
Dusty Springfield
4/5
Beautifully sung, well-produced, and surprisingly sexy.
Highlights: Son of a Preacher Man, I Don't Want to Hear It Anymore, Breakfast in Bed
Hookworms
3/5
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
Calexico
4/5
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
Beatles
4/5
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
The Cure
4/5
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
Radiohead
5/5
Gorillaz
2/5
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
Bonnie "Prince" Billy
2/5
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
Bee Gees
1/5
I can't think of anything I want less than an hour-long Bee Gees concept album. Get the hell out of here.
An unmercifully long listen. Really, truly, thank goodness for disco. This is intolerable Beatles mimicry.
Run-D.M.C.
2/5
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.
Al Green
3/5
Lauryn Hill
2/5
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)
Elvis Presley
2/5
I didn't realize how long a 32 minute album could feel.
The Smashing Pumpkins
4/5
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
Tom Petty and the Heartbreakers
3/5
Big Star
4/5
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
The Flaming Lips
3/5
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
Jeru The Damaja
2/5
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.
Thundercat
4/5
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
Metallica
3/5
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
Madness
3/5
Oh this is BRITISH British.
Highlights: Blue Skinned Beast, Primrose Hill, Mr. Speaker, Madness (Is All In The Mind)
Nadir: New Delhi
Sigur Rós
3/5
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)
Count Basie & His Orchestra
4/5
Iron Maiden
3/5
Ian Dury
4/5
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
Steely Dan
4/5
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)
Harry Nilsson
5/5
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 (!!!)
Fats Domino
3/5
The Kinks
3/5
Charles Mingus
3/5
The Kinks
4/5
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
Caetano Veloso
3/5
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
Tim Buckley
2/5
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.
Kraftwerk
4/5
What a trip. I can't believe this came out in the 70s.
Britney Spears
3/5
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
Elis Regina
3/5
Michael Kiwanuka
5/5
Absolutely beautiful, front to back. An album that reminds me how much I love music.
Highlights: Rolling, Hero, Final Days, Solid Ground
The Zombies
5/5
Bob Dylan
5/5
The Byrds
4/5
Parliament
3/5
Elvis Presley
3/5
Scott Walker
3/5
The Boo Radleys
4/5
Bruce Springsteen
3/5
Bobby Womack
3/5
Steely Dan
3/5
A Tribe Called Quest
4/5
Coldcut
3/5
Thelonious Monk
4/5
The xx
3/5
Stan Getz
5/5
Beatles
3/5
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
Coldplay
3/5
Elvis Costello & The Attractions
3/5
Motörhead
1/5
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.
MGMT
4/5
Amy Winehouse
5/5
Suzanne Vega
3/5
Norah Jones
2/5
Herbie Hancock
4/5
Tom Tom Club
2/5
Red Snapper
2/5
Aretha Franklin
4/5
Femi Kuti
2/5
Alice In Chains
3/5
Kendrick Lamar
5/5
2/5
The Fall
1/5
I didn't know post-punk could be this tedious.
I was leaning towards a higher rating for what bits I did enjoy, but as I found myself checking how much of the album was left more and more, I had to concede that I really just don't like this. If I was drunk at a live show in someone's basement this would probably hit, but I'm sober in the daytime and think this is fucking boring.
Aimee Mann
3/5
David Bowie
5/5
Maxwell
3/5
Goodness gracious this is smooth. Smooth as satin. As silk, even.
It does all blend together a bit, but it's too good across the board for me to dislike it.
Favorite: Whenever Wherever Whatever
U2
3/5
Amy Winehouse
2/5
Red Hot Chili Peppers
2/5
I'd never listened to an RHCP album in full before. I'm more familiar with their general musicianship, and Frusciante, Flea, and Smith do sound pretty good here. I'm partial to Flea's bass work in particular.
I had trouble with the vocal performances and the writing, unfortunately, which is big for me. The rapping is rough, man. Like, embarrassing to listen to. Dated.
The top line melodies blur together and there aren't a lot of middle-eights.
I was a little surprised to see that three songs from this thing have over a billion streams.
Not abysmal but not great. A 'not for me' album from what is more than likely a 'not for me' band.
Other reviews mention them having better albums, so I guess I'll wait for BSSM and see.
The Gun Club
3/5
Peter Gabriel
3/5
AC/DC
3/5
One of my closest friends loves AC/DC so I feel a little bad that I don't really like this. It's certainly unpretentious, rollicking, no-bullshit hard rock. It just gets same-y and oversung. Apparently this is the second best selling album of all time, which kind of surprises me. It also smacks of sexism a bit, but I can write that off as sex-idiot rock flavoring, I guess.
An AC/DC song on the radio once in a blue moon is a treat. A full 45 minute album of AC/DC wears out its welcome.
That all being said, the title track slaps stupid hard.
Arrested Development
3/5
The Rolling Stones
2/5
Not sure what The Rolling Stones' underwhelming debut album adds to the conversation here.
Songhoy Blues
5/5
Oh hell yeah. That's the stuff.
American Music Club
3/5
I went into this listen feeling snide for whatever reason, so it is begrudgingly that I say that I liked this. It's brisk and breezy and almost painfully sincere. Call me a sucker, but it works for me.
3/5
There might be something here. It is, at least, a change of pace and unique from many other albums on this list. I'm unsure if I enjoyed my listening experience or not. I was engaged, which is something, so I can't hate it. I can't recommend it either.
Some of the riffs kind of knock? There are interesting sonic ideas? A few songs are plodding instead of dynamic. "Hold Hands And It Will Happen Anyway" is probably my favorite. For what that's worth.
Public Image Ltd.
2/5
An endurance test. I wish I liked it more.
Tracy Chapman
4/5
The Beau Brummels
3/5
Machito
4/5
5/5
I was going to give this a four because I'm trying to be more discerning and honest, especially for albums I'm already familiar with, but then "A Day In the Life" started and I just couldn't do it.
Highlights: Sgt. Pepper's Lonely Hearts Club Band (and the reprise), With A Little Help From My Friends, Lucy In The Sky With Diamonds, Fixing A Hole, When I'm Sixty Four, A Day In The Life
10cc
3/5
Kitchen sink-type rock music. They are doing the most. Sometimes it works, sometimes it doesn't, but it is consistently interesting to listen to.
Madonna
3/5
It's good! Definitely exceeded my expectations. The production is tight and she sounds great.
I wish this was trimmed down to, say, the 45 minutes; I think it'd be stronger for it. Most of these songs are a minute (or even two) too long.
Highlights: Ray of Light, Skin, Sky Fits Heaven
Joy Division
4/5
A lot of interesting sonic ideas, especially in the rhythm section. The drummer was earning his paycheck on the first song. The songs are carefully composed but don't strike me as labored. The different guitar tones are great at setting the mood.
Curtis' voice isn't for everyone, but I like that it's unique. He sounds conversational, earnest, and desperate.
It's a dark album but I didn't find it to be a dour listen. ("The Eternal" is pretty bleak though.) I'd like to spend more time with it.
Highlights: Isolation, A Means to an End, Twenty Four Hours
Arctic Monkeys
4/5
A strong debut album, especially for rock music from this era. Tight and catchy. I didn't think I'd like it as much as I do.
Air
3/5
Atmospheric and stylish. I could work to this or throw it on at a party; might not be for me for close, repeated listening.
AC/DC
3/5
Man oh man is the title track a towering banger. AC/DC is good for that.
Unfussy and raucous hard rock. Listening to 'Back in Black' a while ago primed me to enjoy this previous album more.
I still don't capital-L Love it, but I did have fun. Maybe I just like Bon Scott's voice more? Rest easy.
Stevie Wonder
4/5
His 17th (!) studio album that's smack in the middle of his imperial era. It's almost unbelievable how prolific and consistent he was, but I've heard enough Wonder albums now to believe it.
It's more somber than the albums that bookend it.
Some of the production choices might be a little dated, I guess, but the engineering sounds fantastic. Every instrument is crisp and clear - you can hear anything if you focus on it.
Love
3/5
This is fairly lovely and gentle listening, and I'm glad to hear an album from this era that's unfamiliar to me, but the album didn't otherwise grab a hold of me.
The guitar on the opening track is gorgeous and I love the arrangement on "Old Man". The vocal layering and rhythm on "Live and Let Live" stands out too.
Nightmares On Wax
3/5
It’s not difficult listening, but not exciting either. I don’t want to rate it any lower because this would make for good party or work ambience I guess, and it didn’t bore me. Skillful and inoffensive.
R.E.M.
4/5
I'm closer to "getting" R.E.M.
Production sounds great, songs are strong, and I find Stipe's vocal performance compelling. Great closing three-track run. I can hear why other alternative rock bands that came after point to R.E.M. as a kind of godfather.
Portishead
4/5
Casts an atmospheric and bleak spell. I wasn't sure I'd like it after the first few bars, but got caught up in the current. Lowkey but intense, in its way.
"Strangers" is a crazy banger.
Nusrat Fateh Ali Khan
4/5
I absolutely would never have listened to without doing this list.
I don’t speak the language and am fairly unfamiliar with Sufism (so obviously have never listened to qawwali before), but the devotion does translate. I don’t plan on listening to all of this again (it’s 90 minutes long), but truly appreciate the experience.
Lives up to the name: a deeply devotional record. It’s hypnotic and surprising, and he has an unstoppable voice.
Foo Fighters
2/5
I can appreciate that Grohl did everything here, but this thing bled together into one big 90s rock soup. Gave me the snoozes.
That said, I enjoyed "For All the Cows" a lot. It was distinguishable from the rest of the tracks.
Sufjan Stevens
5/5
Singular and special. Nobody does it like Sufjan. I hadn't heard this in full in a long, long time and was kind of skeptical, but it really moved me.
Billy Bragg
4/5
Serves as both a loving tribute to Guthrie and a strong piece of music. Nice to hear Natalie Merchant pop up here and there too.
Tim Buckley
3/5
I didn't get a lot out of 'Happy Sad', so I was relieved to find this tight, more focused, and lovely. He has a great, emotive voice. I would revisit.
Leonard Cohen
4/5
The production style and horniness caught me by surprise. Bleak in an honest, often funny way that I enjoy. It's my favorite Cohen record I've heard so far.
Jeff Buckley
3/5
Gorgeous voice, and there are some truly stirring moments. The "Hallelujah" cover holds up, and I enjoyed the "Corpus Christi Carol" despite myself. I appreciated "Eternal Life" waking me up in the back half.
As a whole, I was hoping to come away more moved. Sometimes it comes off as overwrought.
The Chemical Brothers
4/5
Enjoyed this way more than I expected to, given my track record with electronic, beat-focused albums. "Song to the Siren" is super cool. Dynamic, bottom-heavy, and dark.
Blur
3/5
Enjoyed this more than 'Parklife'. I like the variety of sonic palettes they use and pop-minded structures. Fun but not sugary. They're a band looking forward and around them, but I don't know what it says about them personally as musicians.
Supertramp
4/5
I don't know jack about Supertramp. I sure didn't think they were a prog band. Something about their name had me expecting glam rock, I don't know.
I didn't expect to enjoy it this much either.
Def Leppard
2/5
"One part love/one part wild/one part lady/one part child."
Gross. Bad start and I don't like my horny 80s jams to surpass the five-minute mark.
1980s excess, for better and for worse. I enjoyed the more pop-minded songs, like "Animal". And "Pour Some Sugar on Me" is a classic dumb fun sex jam that I can't hate. The production is so polished it shines.
I feel like this wants to be cool, and maybe it was, but a good portion of it comes off as corny (see: "Rocket"). The love ballads strike me as silly and insincere given the way objects of affection are addressed elsewhere (which is to say, as objects).
It's meat-headed, often lyrically nonsensical, and way, way too long, but it's everything a fan could want in an 80s glam metal record and fun enough.
Oasis
4/5
It doesn't reach the same heights as 'What's the Story', but this is a great debut. Their sound and attitude is fully formed and assured.
Robert Wyatt
2/5
Obviously creative and the result of considerable skill.
It’s not uncompelling, but I have to concede that overall I don’t get it.
FKA twigs
3/5
Abstract pop with mercurial production and vocals. The drum programming was my favorite part.
Hard for me to grab onto and had me wishing that 'Magdalene' was on this list instead.
Elton John
3/5
"Tiny Dancer" and "Levon" are both bangers that are a little too long. The next two songs are pretty good and also a little too long.
"Indian Sunset" is one of the most jarring, bewildering listening experiences I've had in a minute. And it's too long.
Taupin will write some evocative, interesting lines, but I found a lot of the lyrics on this album opaque and strange as a whole. Elton gives it his all on vocals and piano, although I'd like more variety in the instrumentation.
And almost all of the songs are too long.
The Beta Band
4/5
Had absolutely no idea what to expect and am glad to say that I really enjoyed it. Varied but focused and fantastically produced. Another one I never would've checked out and plan on revisiting.
Sonic Youth
2/5
I promise I am really trying here.
I like the guitar across the album and the songs are, for the most part, tight and thoughtfully composed. The drums sound great. I was a little frustrated that some of the same feedback tricks they used on previous albums are also here with nothing new to contribute.
This is my third Sonic Youth album the list has presented me and I'm still oscillating on how I feel about the vocals. They're an acquired taste apparently, and I've seen some people say that the unconventional vocals are part of what draws them to Sonic Youth. Call me a normie for not getting it, I guess.
All of this to say, I think I understand what made the other Sonic Youth albums I've heard singular and required listening, but I'm not sure what is special about this particular LP. Maybe I just finally have to admit that Sonic Youth doesn't excite me.
Eels
1/5
This is mean, but I found the lyrics across this whole album embarrassing and sometimes condescending. "Life is hard/and so am I"? Get the hell out of here.
"This paint by numbers life is fucking with my head once again"--I've heard too much (better, more exciting, more thoughtful) music about the drudgery and isolation of modern life to accept this as some profound admission.
There's no real vulnerability here. I think it's lazy. 'Urban dream or urban nightmare, amiright?' type of shit. Angst that doesn't reveal anything about the interior life of the writer besides the things that bum him out. "Flower" is particularly egregious.
"And one day I'll come through/My American dream/but it won't mean a fuckin' thing." Dude, whatever. Join the club.
The instrumentation and melodies are fine, but not interesting or dynamic enough to elevate this album to something I'd be interested in listening to again.
I'm doing my best to not keep harping about the writing. I could go on all day. It wouldn't be so bad if it didn't take itself so, so seriously. I couldn't even enjoy the song from Shrek.
Bruce Springsteen
5/5
A blockbuster album. Rightfully so, in my opinion. The band sounds great, and the pop-minded approach works wonders for Springsteen's songwriting. The affection for the early days of rock and roll is obvious across the album. The title track is a full-throated protest anthem that's both bold and despairing. "Dancing in the Dark" is a long-time favorite of mine; he was asked to write a single and struggled, then ended up with a towering banger about writer's block and imposter syndrome. It's great. I'm glad I have the gene that allows me to enjoy Springsteen's music.
Lloyd Cole And The Commotions
2/5
Bloodless, middling, early 80s guitar pop. Sounds weirdly insincere to me. Felt longer than its 35 minutes.
The "Forest Fire" instrumental outro was my favorite part of the album. I liked the chorus melody of "Charlotte Street".
The lead singer's voice reminds me of Dexys Midnight Runners with a splash of Morrissey, which is not good.
Tito Puente
3/5
Lush, joyful, and you can dance to it. It is brutally cold where I live right now, but I could appreciate that the sun was out while listening to this.
The Who
4/5
In 1967, Robert Christgau called this the hardest rock recorded at that point. A lot of time has passed and music has changed since then, obviously, but I think that's important to keep in mind. I personally think this albums bangs.
One of the few cases where I prefer the US edition. 'The Who Sings My Generation' takes off that underwhelming cover of "I'm a Man" and replaces it with the pretty good "Instant Party (Circles)" at the end, bumping "The Ox" up higher in the track list where it belongs.
Thank goodness for the careful remixes and sonic facelifts this album has gotten over the years. The original mix was straight-up bad: tinny, muddy, and flat.
Entwistle and Moon's musicianship were already evident here, and Townshend's songwriting is beginning to bud if not quite bloom, although he's more concise and straightforward here than in the future (for better or worse).
Daltrey will improve as a vocalist in The Who's future. His performances on songs like "My Generation" and "The Kids Are Alright" feel true and sound good, but he struggles on the covers and the low notes on "The Good's Gone" and "Much Too Much".
I'm biased towards this band and think this album would earn its spot on the list with "My Generation" alone, but it's also a blueprint (maybe the first) for what would become punk rock.
Circle Jerks
3/5
15 minute album real?
Fleeting, but I had fun listening to it. Bruising and curt. I'd listen again.
Dr. John
2/5
I wanted to like this. I'm unfamiliar with the artist and it's certainly unique. Here are some unsorted thoughts and then I'll call it a day:
His vocals were recorded terribly. The popping and peaking at first seems like an aesthetic choice, but it doesn't work for me. It's like he's right in my ear, and not in an enjoyable, intimate way. The backing vocals are mixed great (and he is generally out-sung by them), so I don't think it was because their equipment was dated or anything.
"Croker Courtbullion" was both the most obtuse and the most interesting track on the album.
Repetition in songs can reinforce melodies and build tension. Here I found it difficult.
I'm curious about the process here, but I don't plan on revisiting and didn't really enjoy it.
Christina Aguilera
3/5
Solid, and I enjoyed most of it, but it is just too damn long and suffers for it. If this was trimmed down to even 50 minutes, I'd be inclined to call this a classic of its era.
It probably still is, but a 77 minute runtime has a way of wearing one down. At some point I was hearing her, but not really listening.
This is more consistent than 'Back to Basics', but I enjoyed the highs of that album more than this one.
Van Halen
3/5
Massively influential, charismatic, and explosive. It's not music that personally moves me, but it's fun and I understand why people like it.
Nick Cave & The Bad Seeds
5/5
I'd never listened to a Nick Cave album before, so I was a little intimidated by an 82-minute double album being my introduction to his music.
Although it is dense, it's also stacked with truly great rock songs. I wasn't bored at all; at worst, indifferent or not present. I wanted to revisit to absorb what I'd missed during this first listen. I like his stately, deep voice and writing style, and the band sounds great. These songs are carefully composed without being fussy or labored.
I'm relieved to say that I'm looking forward to the next Nick Cave album.
Minutemen
4/5
Enjoyed this far more than I expected, given both the length and the genre in tandem. These are lean, direct punk songs, but the musicianship isn't sloppy. The bass work particularly stands out. It's unapologetically and clearly political, but also funny and cheeky. It sounds like they had a good time making it.
The Jackass theme blindsided me.
I don't know, it's a good album. 74 minutes across 43 songs that don't feel bloated is a feat to me.
The Beta Band
2/5
I liked 'Hot Shots II' a lot, so I was expecting to enjoy this as much (if not more, since it came out later.) I didn't hate it, but felt kind of let down. Their mix of rock and electronica is interesting, but the production this time around doesn't feel as inventive or fluid. It sounded like someone trying on a bunch of different suits and none of them fit quite right.
'Hot Shots II' was focused and interesting; this sounds meandering, forced, and lost. I'm unsure why 'Heroes to Zeros' is included here, to be honest.
Massive Attack
3/5
I was expecting something more explosive, but this was pleasant enough and artful. This kind of music just isn't my cup of tea, generally.
Hearing Tracey Thorn's voice was a highlight and I enjoyed the Tricky features.
Mudhoney
4/5
This is good rock music! I don't really have anything articulate or thoughtful to say, except that if I heard this at a show in someone's basement or garage I'd be impressed. More melodic and interesting grunge than I've heard from this time.
Franz Ferdinand
3/5
"Take Me Out" is a banger of its time that holds up. The segue into the riff still excites me.
Early 00s rock with clean lines, affection for disco, and hook-driven tunes. It's a strong enough debut, but it didn't blow me away. I do hear the influence this had on indie rock that came after it. I can also hear FF's influence all over their sleeves, however, so there's no great reinvention of the wheel going on.
The Flaming Lips
4/5
Dreamy, bright, creative, and lovely. The bass and bottom-heavy parts of the production are especially striking.
The writing has greatly improved from 'The Soft Bulletin', which I liked instrumentally but was underwhelmed by the lyricism and lead vocal performance. Those problems are gone here and the arrangements are even better.
I dig a concept album too, even if the story is really only apparent on the first few tracks.
Sunny day music.
Dagmar Krause
3/5
Dramatic to the point of being confrontational, and unique among the list. "Bombastic" would be an appropriate description. I don't think I'll revisit, but I appreciate it as a kind of document.
These songs are clearly difficult to sing and I think Krause has the chops for it. I don't necessarily enjoy most of the melodies, but I'm impressed by her performance.
Not cacophonous or anything, but not an easy listen. I'll round up my score for at least being interesting. (I certainly couldn't pay attention to anything else while this was on.)
Moby Grape
4/5
My second album in a row where I had to go crawling off to YouTube to hear the thing in full.
I was pleasantly surprised at how good this is. It's unfortunate that it's not more accessible to a modern listening audience. It's concise, strong late 60s rock music. I like the layering of the vocals and the lead guitar performance, and there's enough sonic variety to keep me engaged. I can hear the San Fransisco on it, especially on tracks like "8:05".
A shame this band didn't get their due. I wish the sound quality was better. Some enterprising engineer should get to work on a remaster. And get it away from YouTube's awful audio compression, please.
Peter Gabriel
3/5
Forward-thinking, proggy rock-ish music. Ambitious, mercurial, and full of texture. Maybe a little obtuse, but I'll still revisit.
Peter Gabriel
4/5
My second Peter Gabriel album in a row and my third in so many weeks. And man, this is a towering pop album. Still interesting but not as slippery as 'Peter Gabriel 3'. The sonic palette of the 80s is all over it but it doesn't sound like a capitulation to me.
"Sledgehammer" is an all-time banger. Even if it's probably just about his dick. That happens sometimes.
The songs are a little long I guess, but that doesn't really bother me here.
Rufus Wainwright
2/5
What a strong, enchanting voice, even if he gets a little mush-mouthed sometimes.
The writing is strong, but the songs themselves felt sometimes tedious. I thought it was too self-serious, then read the lyrics and found them often funny or at least tongue-in-cheek. I'd missed it because the words and melodies were so drawn out.
So it's a great showcase of his voice, but not so much his songwriting. I wanted to enjoy it but ultimately couldn't wait for it to be over.
Sugar
1/5
Snoozefest.
All the sounds and tropes of its genre's contemporaries blended up and boiled into bland 90s alt-rock soup. The vocals are indiscernible and I swear most of this is in the same time signature. I don't hate all the melodies or anything, but damn dude this just does not move me.
Ear fatigue, intravenous. Foo Fighters without the charm.
The Jesus And Mary Chain
5/5
This album kind of kicked my ass. Great sense of mood, thoughtful use of noise, and the obscured vocals work. I feel like I'm in a different place when I listen to it. And damn, they can write a hook--they have a 60s pop, Spector-minded approach to their arrangements that really works for me.
Shack
2/5
I was close a few times to liking this. What I enjoyed reminded me of other bands I like more. I also had trouble with the vocals.
The instrumentation and melodies were what I enjoyed the most, and there were moments where I wondered if this album was actually really good. That would be followed by songs where I wondered if this album was just derivative and bad.
Tedious, sometimes grating, occasionally compelling.
Bruce Springsteen
5/5
When I'm feeling bad I listen to Nebraska so that I can feel even worse. I love it.
Pet Shop Boys
3/5
Engaging synth work; the instrumentation and production were my favorite part.
Some of the songs are maybe stretched past their tearing point.
I do wonder how this sounded to the original 1990 audience. Was it dated already by then? Was this still the prevailing sound of pop music? Makes me wonder, I guess.
Buzzcocks
3/5
Robust, tight punk rock. It sounds like they're having fun, which isn't always true of punk bands; I'm not picking up on a lot of anger here.
The rhythm section really holds it down and pumps it up.
It's a strong debut studio album, but it also kind of washed right over me. This just usually isn't a type of music I choose to listen to for like, recreation. Still, there are definitely some standout tracks I'll revisit (like Fast Cars, Fiction Romance, and Orgasm Addict).
Fugazi
3/5
Managed to make me miss house shows, which is really saying something because post-hardcore generally does not work for me these days.
Ahead of its time and devoid of bullshit. Through no fault of the album, I still can't say that I'll revisit in full.
John Lennon
2/5
I've never listened to this album in full before, but I'd heard a few songs--including "Imagine", obviously, which I find harder to tolerate as years go by. I feel embarrassed when people have an emotional response to that song. I've seen grown men cry to it! But it's hypocritical and pretentious and perhaps the least self-aware song Lennon ever wrote! And boring and simplistic! It's incurious and preachy! Have you seen the video in his home for that song? It's ridiculous. I wish he was being ironic when they shot it, but it's sincere. Maybe he thought he was being vulnerable.
I'm harping about the title track because I think it's emblematic of everything that doesn't work for me about this album. It contains all of my least favorite impulses in Lennon's songwriting. The Beatles may have needed him, but he also definitely needed the Beatles.
Also, I am truly mystified by the popularity of "Jealous Guy". I guess it points towards some kind of self-reflection, but the melody sucks, the strings are ridiculous, and the production is plodding. Not to mention the content. 'I treated you like shit because I'm insecure, baby! I'M in PAIN! I didn't MEAN to hurt you!' And then he fucking whistles.
Lennon is responsible for some of my favorite songs ever, which makes me feel all the more venomous towards this album as an exercise. I'm going to go listen to 'Revolver' again.
The Sabres Of Paradise
2/5
Notes before listening: Kicking screaming crying I do not want to listen to another electronic album from the 90s that's over an hour long. No no no. You can't make me. I am stomping my feet.
Notes after listening: It's fine and usually interesting and sometimes pretty fun, but god damn did it need to be over 70 minutes long?
I'm sincerely happy for people who enjoy this; I wish I could join their ranks.
Little Simz
4/5
What a performance from Little Simz--dynamic, honest, and focused. And the production absolutely knocks.
Dire Straits
3/5
The guitar work (and production/mixing on said guitar work) is fantastic. This album sounds great--everything is crisp, clear, and mixed exactly how it should be. Fine toothed comb type of engineering work.
I'm not super taken with the songs themselves (except for "Sultans of Swing", obviously, a timeless banger), but I appreciate this as a kind of exemplar of rock craftsmanship.
Tom Waits
2/5
I want to be hip and "cultured", I guess, but I have to say that I don't get it. I did like it more than 'Nighthawks at the Diner'.
Have you seen Waits act? He was great in 'Buster Scruggs'.
Adele
3/5
Man, it's been a long time. This was the zeitgeist when I was a teenager and I did listen to '21' in full fairly frequently, but it's been at least ten years. I was curious to see how it holds up. No one was making pop music that sounded like what Adele was making, and she still stands apart from her peers.
That voice is still earthshaking after all this time. God damn can she sing. Some of the songs have lost their punch after almost 15 years of radio play. "Rolling in the Deep" and "Set Fire to the Rain" were on constantly back in 2011/2012. Consequently I'm drawn more to the album cuts, like "Don't You Remember", "I'll Be Waiting", and "One and Only".
A legacy breakup album, but it's polished to the point of losing character. The production style means this isn't dated, but it doesn't grab me either.
I was glad to revisit, but also kind of wanted to listen to '30' instead. She has room to get messy on that one.
"Rumour Has It" still bangs.
The Darkness
3/5
Unserious (but not insincere), catchy, sturdy rock music. It's kinda fun that a band was making glam rock like this in 2003. It didn't move me, but I had a good time listening to it. "I Believe in a Thing Called Love" is a crazy banger, which helps.
Van Morrison
3/5
The crowd sounds rapturous. I am merely pleased. This is very well recorded and the band is tight, and Mr. Van is giving it all on vocals. But it leaves me a little cold. I've heard explosive live albums, and this isn't one of them.
The Libertines
3/5
I don't know, it's competent and fun rock music. It doesn't astound me, but it doesn't offend me either. I had a fine time listening to it, will take the songs I particularly liked with me, and move on.
Simply Red
2/5
The album cover made me worried this was going to be some Dexys Midnight Runners shit. It does have the 80s sophistipop thing going on; this thing touches a lot of genres and runs them through the sonic filter of the time.
I'm really not sure what to make of this one. It didn't bother me, but I was a little baffled by it. I don't know anything about Simply Red as a band after listening to this, except maybe what they grew up listening to.
I'm not trying to say that artists can't explore a variety of sounds, but this sounded like throwing a lot of stuff at the wall and not bothering to see what stuck. There were moments I enjoyed, but as a whole I'm unmoved and a little cold about it.
Michael Jackson
4/5
It's a treat to listen to this back to front, which I hadn't before. It's stacked with all-time bangers. A cohesive, blockbuster pop statement. Exploding with charisma. The production is razor-sharp too; "Billie Jean" in particular is just perfect.
(I can't get into it about Michael Jackson every time one of his albums comes up, so I won't. Death of the author and all that.)
I do have to say, did not enjoy the cutesy dialogue at the end of "The Girl is Mine".
Ice Cube
3/5
Flows together well and avoids bloat. The production is of its time and maybe a little stale by the end of the album, but I largely enjoyed it. Cube is confident and fun to listen to, but this isn't the most dynamic rap performance I've heard on record.
I'm astonished to say that I don't mind the skits.
Obligatory "hey this can be pretty misogynistic" knock.
Yes
4/5
This is the third Yes album I've gotten from the generator and I think I'm a Yes fan? I never would've guessed. Their approach to prog rock just works for me.
It's not often I describe a 9+ minute song suite as a "crazy banger," but "Starship Trooper" is a crazy banger.
Manic Street Preachers
5/5
Bleakness can be very compelling to me. The melodies, production, and lead vocal performances are staggering. I really dig the work on the remaster; the bass particularly sounds great. This blows the other MCP album I've heard from this list out of the water.
I can hear this influence this had on musicians like, say, Laura Jane Grace, or even Green Day.
Grateful to have a new (to me) album to turn to when I'm really in the pits. Music to drink alone to. "Archives of Pain" indeed.
Neil Young & Crazy Horse
3/5
Unfussy, muscular garage rock. Long, I guess. I like Neil Young so I like this, you know?
I'd throw it on at a party or on a sunny day at the cabin, but I don't know if I'd do a close listen again.
Syd Barrett
3/5
"Wouldn't you miss me at all?"
Occasionally brilliant, sometimes difficult, overall kind of a bummer given its context. His ear for melody is unique and I did enjoy a lot of it. It eventually becomes a document of a musician's unraveling. The songs towards the end in particular border on unfinished. It does have a kind of proto-outsider music energy going for it.
The outtakes included in the extended edition (which is the only one available on Spotify for some reason) do it absolutely no favors, and I recommend skipping them in favor of the standard tracklist.
The La's
2/5
Whatever.
"There She Goes" is good, but it's not enough to justify this whole album being required listening.
CHIC
4/5
Obsessed with the bass. Repetitive because it is dance music, after all.
Feels good to listen to. "Le Freak" goes crazy.
Let CHIC into the rock and roll hall of fame.
The Undertones
4/5
This band walked so pop punk as we know it could run, and it is a pretty brisk walk. These guys know their way around a hook.
John Martyn
3/5
Kinda fun and freaky, but in a polite British way. I enjoyed the guitar work. “Couldn’t Love You More” is very sweet.
It didn’t bowl me over, but I had a fine time with this one.
James Taylor
3/5
Lovely, concise singer-songwriter fare. There are a couple of songs I loved; otherwise this was simply pretty. He has a good ear for melody and I like his conversational singing voice.
"Fire and Rain" is a classic, but I could do without the strings.
Cocteau Twins
4/5
Who else creates songs like this? Holy smokes, what a group of singular musicians. Atmospheric melding of dream pop, shoegaze, and 80s sounds.
I'm fully onboard the Cocteau Twins train.
The Cramps
3/5
The sneering punk take on rockabilly put me off at first, but I came around as the album went on. It helps that "I Was a Teenage Werewolf" is such a banger.
Still, it almost felt like a novelty record. I'm not sure I'll revisit.
Pentangle
3/5
Folk rock that's also kind of prog by way of often sounding like medieval court music.
I preferred the more "traditional" songs, like "Springtime Promises", "Sally Go Round the Roses", and "Train Song". The other stuff made for a deeply uncanny listening experience. The lead female vocalist sounds great, though.
Sepultura
3/5
Why yes I'll have some Brazilian funk metal, thank you.
I've never heard a metal album quite like this, which feels like a high compliment. I could see myself actually revisiting.
Like many albums from its decade, it's at least 20 minutes too long.
Bill Callahan
4/5
First off: the production is great. Varied texture and great use of instruments. Adorned but not fussy; thoughtful and engrossing.
I can see his voice being an acquired taste, but it has gravity and sounds conversational to my ears.
It's no party record, but I found it moving and affirming in its sincerity.
The Charlatans
2/5
This wants what the first two Oasis albums have.
Soundgarden
2/5
Underwhelming and bloated.
It wasn't difficult or challenging or anything, and I didn't want to rate this too poorly, but 70 minutes is a long time for an album to do nothing for me.
Supergrass
4/5
Thank goodness for some '90s British alt-rock that distinguishes itself from Oasis. Britpop with a punk rock sheen, strong hooks, and dynamic production.
The Kinks if they would spit on you. (This is complimentary.)
The Cure
3/5
Moody and immaculately arranged, the work of The Cure establishing their signature sound. It's a sturdy sophomore effort from a band onto bigger things.
"A Forest" is a gripping piece of work.
Overall it didn't compel me quite like, say, 'Disintegration' did, so I'll rate accordingly.
Fatboy Slim
1/5
Long electronic albums from the 90s are hurdles I continue to encounter here. I'm doing this list to broaden my taste and deepen my understanding of popular music (catch-all term there) and its evolution, so I'm trying not to whine about it.
That being said, I feel like at this point I can safely say this isn't a genre for me. Then again, Aphex Twin knocked me on my ass, so what sauce does he have that isn't here?
Well, I don't hear a sense of adventure, it's not very dynamic, and I would not say it conveys atmosphere. I thought it would make good music for working, but it annoyed me too often. The use of spoken samples, spliced and repetitive and self-satisfied, particularly bothered me.
"Check it out now, funk soul brother!" Oh please.
"Gangster Trippin"? You were raised in Surrey, man. Get outta here.
This is the first album where I've truly been tempted to not finish it.
Johnny Cash
5/5
Has to be on the Mt. Rushmore of live albums.
"I shot a man in Reno just to watch him die" is one of my favorite Cash lyrics, and hearing a crowd of prisoners cheer after he sings it gets me so, so excited to hear the rest of the record.
And the band is tight and his voice sounds great.
What a landmark.
Tortoise
4/5
Textured, fresh, and actually kind of moving, which is not something I would expect to feel listening to instrumental post-rock.
A pleasant surprise.
TV On The Radio
3/5
Dark and bottom-heavy, baby, just how I like my alt-rock. Atmospheric and creative. Some of the songs are a little bloated.
It didn't knock me over like 'Dear Science' did, but this is a sturdy debut.
Steely Dan
4/5
Production sounds great and the musicianship is unquestionable. This is my third Steely Dan record and I think I could tentatively call myself an enjoyer. This isn't as hook-y as 'Can't Buy a Thrill', which is still my favorite, but it left a better impression on me than 'Countdown to Ecstasy'.
Dad rock maybe, but good, smart dad rock.
Earth, Wind & Fire
4/5
Lush and joyful. Top-shelf soul music that isn't too adherent to its genre.
Verdine White does stunning work on bass.
Genesis
3/5
I thought the opening track was exciting, but this slowly wore on me. There's doing the most and then there's doing too much, which is always the line to ride in prog. This crosses over into "too much" for me, but there are absolutely moments of brilliance and I'd understand why someone would love this album.
The Byrds
2/5
I expected to like this more. This overall felt slight and I’m not really taken with their voices. There’s no tension or urgency anywhere. The production and mix aren’t doing them any favors–the harmonies, one of The Byrds selling points, often sound muddy.
The opening cover is nice enough.
Elvis Costello & The Attractions
2/5
There's something that doesn't work for me about Elvis Costello. His voice, maybe? His production choices? Is it the songwriting itself, which I've tried insisting to myself is good, actually? I do generally enjoy his dense, direct lyricism (left-field slur notwithstanding), but the retro-rock pastiche bothers me.
It all just kind of rubs me the wrong way.
The Adverts
3/5
An English punk album that means it. Not as spellbinding as The Clash at their best, but not as sloppy as Sex Pistols. It's just good punk rock. Nothing too shiny or undercooked.
Ice T
3/5
It's good! I like the production and Ice-T holds it down. He's funny, ambitious, confident, and observant. I managed to stop thinking about Law & Order after the first couple of songs.
My usual gripe with albums from this time: too long.
Also, not the biggest offender of its genre, but the skits don't do it for me (aside from "First Impression", which I thought was actually funny).
Relieved at the lack of overt misogyny.
"Midnights" goes crazy--the sample work is great, building atmosphere while Ice-T tells the most intense story on the album.
It's sweet of him to shout-out his favs on "M.V.P.s" :')
Queen Latifah
3/5
An early, cornerstone rap record that's actually fun to listen to. Engaging and concise. This sounds less dated than albums that came out shortly after.
Queen Latifah is as compelling a performer and writer (if not moreso) as many of her contemporaries. As someone who grew up seeing her as largely an actress, it's cool to see that she's the real deal.
Queen Latifah comeback album when.
The Allman Brothers Band
5/5
RIPS
Everything But The Girl
4/5
Liked this way more than 'Idlewild'. Atmospheric, hypnotic, and textured.
Electric Light Orchestra
4/5
This ELO album is 70 minutes long? Hello?
They were doing Beatles pastiche decades before Oasis. I must say that most of it absolutely slaps.
Maximalist, glittering, nostalgic pop-rock. The orchestral swells add welcome lushness without veering into corniness, a real danger of adding strings to rock music.
The Style Council
2/5
So this is what Paul Weller got up to after The Jam. Sophisti-pop.
The jazz and soul infusions were fine, sometimes smooth and enjoyable, sometimes smooth and wishy-washy. I cannot and will not condone the rapping on "A Gospel", holy shit. The swerve into 80s dance on the following "Strength Of Your Nature" was strange as well.
"My Ever Changing Mood" holds up.
Frank Sinatra
2/5
I don't know. Sorry that happened to you, man. She's just not that into you.
There’s plenty of good musicianship on this album and obviously, of course, clearly, Sinatra can sing.
This feels like someone at the bar (who keeps insisting they haven’t had that much to drink, really) slowly hashing out their post-breakup laments to you.
It’s moody, and then it’s boring.
The Shamen
2/5
Another day, another hour-plus 90s electronic record. Consider my horizons expanded, I guess.
Chicago
2/5
I’m having trouble articulating exactly why, but this didn’t work for me. Maybe it’s the bloat, maybe the arrangements are too busy, maybe the melodies are underwhelming.
I should probably give this album at least one more shot, but I simply do not want to.
The Hives
2/5
Kind of made me roll my eyes.
Felt longer than its 28 minutes, and not in a good "oh this is substantive" way. Garage rock revival is great and all and it sure sounds like The Hives are having fun, but I am not.
The Human League
2/5
Somebody had to lead the way on new wave, I suppose. This is a sonic artifact. Like, "Don't You Want Me" still kind of bangs (and I enjoyed "Seconds"), but the rest of this sounds so rudimentary it borders on crude.
I appreciate the genre-defining, pop-pioneering action going on here, so while I can't say I enjoyed my listen that much I am glad I've heard it.
Mott The Hoople
2/5
I’ve been on a negative streak, so I was hoping to really like this. I liked the opening track and that’s as far as I got.
The “Violence” punnery with the violins in the background does not do it for me.
They should’ve taken “Suffragette City” from Bowie.
Competent rock music that doesn’t move me.
Nico
2/5
I've said before that I have a hard time with Nico's voice. On 'Chelsea Girl' she is often completely buried in strings or orchestral flourishes that don't do her or the songs any favors.
Jackson Browne's writing and guitar playing are my favorite parts of the album. "These Days" is devastating regardless of who's performing it. (I did go listen to Browne's version of the song after the album was over as a palette cleanser.)
Again, too bad about the singing and the strings.
Unbelievable as it seems to me, the eight-minute "It Was A Pleasure Then" was my favorite track. Her vocals worked with the sonic freakout and her high-pitched "ooo"s were effective.
LCD Soundsystem
4/5
Sprawling and beat-driven. Thankful to have enjoyed this more than I expected after glancing over the tracklist and runtime. Not immediate maybe, but it kept me engaged even as the songs kept unfolding (there's only one song shorter than five minutes, and that's only by three seconds).
There's something urgent and earnest about it and I plan on revisiting. I'd love to dance to this in a concert crowd.
Rod Stewart
3/5
Could someone get this guy a glass of water?
The Vines
2/5
A lot of garage rock revival from the generator lately. I liked this more than The Hives, but not too much more.
Honestly, I enjoyed the Britpop-leaning tracks (well, maybe just "Homesick") more than the straightforward alt-rock ones, which were just not very interesting.
I'm surprised to read that The Vines were compared to Nirvana of all bands. I can maybe hear a bit of that on “In the Jungle”, but it’s too polished and careful. Just get a load of those perfectly-mixed hand claps and that "All right! Oh yeah!" declaration.
Björk
4/5
Okay cool, I think I'm finally getting on the Björk train.
I was surprised at how dance-y a lot of this is. Her ear for experimentation mixes well with the structured beats. I could see her voice being an acquired taste maybe, but I like that I could recognize her singing anywhere. And she always sounds like she means it, you know?
I'd like to go back to the other albums of hers I've gotten so far and see what I get out of them now. Her discography seems like it's most rewarding to listen to chronologically.
Ladysmith Black Mambazo
4/5
Another one I never would've come across without the generator. I guess this was the group that collaborated on 'Graceland' and I remember coming away from that listen wanting to hear more from these singers.
I did get more, and it's beautiful and hypnotizing. I actually felt at peace for a whole 46 minutes.
George Harrison
5/5
My favorite Beatles solo album. It's a towering achievement, and a kind of flex: listen to all these great songs that certain people didn't want on Beatles albums. Sometimes I remember that scene in 'Get Back' where they're rehearsing "All Things Must Pass" and McCartney is clearly bored and I get mad all over again. God forbid a song has pacing. I digress.
It's too bad about the copyright drama around "My Sweet Lord". It's one of the few pop pleas of faith and devotion that strikes me as moving rather than corny.
Usually when I give this a spin I skip the final instrumental sides, so this listen was the first time I'd heard those jams in a while. They're like, fine. I'm probably in line with most people when I say this already long album could do without them.
My head says this should probably be a four-star review given the album's flaws, but my gut and heart say this is five stars, baby. I'd have it anytime.
Bad Brains
4/5
Finally some lean punk rock that isn't bloodless or boring. This is dirty, no-bullshit, and ahead of its time. Moves fast and takes you with it. Unpolished but not at all sloppy. The bass guitar work goes crazy and I really enjoyed the lead vocal performance.
Echo And The Bunnymen
3/5
Didn’t knock me over like ‘Ocean Rain’, but I did like it more than ‘Crocodiles’.
Psychedelic, dramatic, and fairly dark. I enjoyed the melodies and guitar textures (see: “Clay”) throughout.
A dire Thatcher-era pop record. I’d give this a 3.5 if I could, and usually I would round up, but because I was so astonished by one of their other albums I feel like I have to be more critical. I will say I could see myself revisiting and forming a more positive opinion, because there were parts of this I thought absolutely smacked.
Rufus Wainwright
4/5
“Oh, what a world my parents gave me, always traveling but not in love. ”
I say again: what a beautiful voice.
I don’t know if this is more “accessible” in some way or if I’m just in a better mood, but I liked this way, way more than ‘Want Two’. (I liked this enough that I feel I should give ‘Want Two’ another shot.)
His writing is sharp and often funny, the melodies are lovely, and the production is lush and deft. Maybe opulent to the point of being divisive.
Afrika Bambaataa
2/5
I probably should’ve said something like this when I reviewed that first Run-D.M.C. album, but I guess I can say this now:
It is interesting to chart the course of a genre; how it started, how it’s going now, how it got there. Time isn’t always kind to firsts. You can hear it in the evolution other genres, too, like rock and roll. Those early, seminal recordings that shook the world sound pedestrian and dated later on. It’s not a knock on those who did it first. It just happens.
All of this to say that ‘Planet Rock’ does sound pedestrian and dated to me, but that doesn’t make it less important. This was groundbreaking then and is worthy of respect now. But I would not consider my listen recreational and feel no desire to revisit.
Bad Company
2/5
Inoffensive, competent rock music. Nothing that gets me going or moves me.
Not to sound like a straight-up hater, but I always find it corny when a band has a song named after them. This one is especially egregious. "Six-gun sound is our claim to fame/I can hear them say/bad company." Yuck.
Violent Femmes
3/5
Way ahead of its time. 90s alt bands must've loved this album. Full of verve and personality. The bass and low-end guitar work is my favorite part.
Would probably grow on me with future listens.
Mudhoney
4/5
Solid rock music I would have gone nuts for in someone's basement. Brief and assertive. I can dig it.
The Go-Betweens
3/5
Pleasant enough. Not as dated as I was anticipating and the melodies, production, and performance are nice. Not exciting, but nice.
I agree with the streaming data: “Love Goes On!” and “Streets of Your Town” are the clear highlights.
The Blue Nile
3/5
I enjoy the texture and atmosphere of this a lot. The synth work is interesting and I like the bass when I can hear it. The lead vocal performance is my primary gripe, but I don’t love how the drum programming sounds either. I wish more of the melodies had some bite.
The second half is stronger.
The Beach Boys
4/5
Rest in peace to Brian Wilson. I wish this life had been kinder to him. What a legacy to leave behind.
I hadn't heard this in full before and was surprised at how exploratory, weird, and dark it is. The Beach Boys do prog and it's pretty interesting, but the closing three tracks are the real kickers here. What a staggering closing run of songs.
Could do without whatever Mike Love is up to on "Student Demonstration Time". The production is fine, but his vocals sound terrible and his, like, history report is embarrassing and feels insincere. Insincerity and Mike Love are often holding hands.
Anyways, whatever about that guy. "Surf’s Up" steamrolled me.
Miriam Makeba
4/5
Holy smokes, what a voice. Warm, vibrant, and beautifully executed by all musicians on deck.
I'd like to check out more of Makeba's work. Reading up a bit on her, she sounds like an absolute titan.
Emerson, Lake & Palmer
2/5
So, so prog that it basically becomes jazz. The musicianship is staggering, particularly the keyboard playing.
I respect this deeply and do not plan to revisit. This kind of experience is just not really what I'm looking for in my music listening.
If you like prog, you'll like this. If you do not, this will not help.
Elvis Costello & The Attractions
4/5
I guess fourth time's the charm. This is the most I've enjoyed a Costello album so far.
I'm not exactly sure what's different; obviously, I know I like more of the songs. The hit rate for me personally is simply higher. There's not really any of that rock'n'roll-throwback sound from his other records. His voice bothers me less. I don't know, it's just better. The studio-rock really works here.
Arcade Fire
2/5
It's going for Springsteen-style catharsis, but it comes off as a little much. (I guess I could call that "trying too hard", but I think trying is a good thing and am loathe to look down on it.)
Some of the sonic embellishments are more annoying than effective. There's a baffling 'ding' sound throughout a lot of these songs that irked me, and "Black Wave/Bad Vibrations" has this string motif that was also bothersome (and the female vocals on that song are mixed like she's singing at the end of a padded hallway). "(Antichrist Television Blues)" is a straight-up Springsteen impression in a manner I do not find charming.
I feel like if I heard this when I was much younger I'd be into it, but unfortunately is seems like this kind of labored, classic rock-indebted indie rock rarely does it for me these days.
Sinead O'Connor
5/5
"All I want to do is just sit here/and write it all down and rest for a while."
I was only familiar with a couple of songs going into this (the stunning "Nothing Compares 2 U" cover, obviously, and "Black Boys on Mopeds", which guts me every time I hear it), so I didn't realize the range of sound and feeling on this album. O'Connor is maybe unmatched in conveying emotion with her voice. Every word, I believe her and am right there with her. It's one of her greatest gifts.
It's a generous, vulnerable, honest, tough record. I loved it.
Another artist that I wish had a more peaceful, happy time on this earth.
The Chemical Brothers
4/5
Apparently The Chemical Brothers make electronica that I enjoy. I might even like this more than ‘Exit Planet Dust’.
A pleasant surprise. Bangs start to finish. Repetitive enough to enjoy the hooks but dynamic enough to keep from getting boring or annoying.
New York Dolls
4/5
Foundational punk rock that’s actually fun to listen to. Swaggering, dirty, and well-produced without being polished.
Rush
3/5
The 20-minute opener rules.
The second track starts with the “oriental riff” and pulled me right out of my reverie. I understand it was the 70s, but I find that kind of musical shorthand lazy. This is post-“Kung Fu Fighting” for fuck’s sake.
That aside, this is pretty good prog rock that thankfully sounds like prog rock. (I’m still recovering from that EL&P album.) I enjoyed it more than I expected.
Marvin Gaye
5/5
“There’s nothing wrong with me loving you.”
Lush, romantic, and just lovely. The all-timer title track (which is so good it has a reprise) is well supported.
Brian Eno
2/5
Genuinely experimental and atmospheric. I’m surprised to see the ‘81 release date. This is truly ahead of its time. Slippery, strange, and a bit long.
Innovative and all that, and I’m glad I listened to it, but I won’t be revisiting. It pains me to give a score this low to artists I admire, but I have to be honest about my personal enjoyment and listening experience. It's interesting but not listenable and I found myself wondering who this was for besides the people who made it.
Drive-By Truckers
2/5
I am, generally, the target audience for long rock concept albums. I am not sure that I am the target audience for this.
The vocals are produced kind of strangely. They’re a little too quiet and fighting for space between the multiple guitars. I can hear effort towards gutsy, earthy performances, but they come off as strained and a bit hokey.
The Skynyrd worship doesn’t work for me because it keeps reminding me how much more compelling a Skynyrd album would be.
The songs are usually fine, occasionally almost good, never great. Damning for an album this long.
Turned into background music, which in turn irritated me because this thing seems to want to make some sort of statement about the career arc of Skynyrd and the Alabama mythos in general.
Sabu
3/5
The guitar work rules, I like the call-and-response vocals, and of course the conga playing is impressive. I have no experience with rumba and while I’m not sure I’ll revisit (it’s a lot of conga drum) I’m appreciative of the listen.
Marilyn Manson
1/5
Monotonous industrial rock that's trying very hard to shock me. I'm not shocked, but I did start nodding off at my desk.
I guess given the state of the world that I shouldn't be surprised that this album made everyone lose their minds back in the day, but I just find it anodyne and exhausting and not provocative at all. Had to be there, I suppose.
Crowded House
3/5
Pleasant and uncompelling.
Elton John
4/5
I listened to this album a lot with my dad growing up, but it’s been a while. There’s less filler than I remember, but I do think this juggernaut would be greatly improved with editing.
Just for kicks, these are the songs I’d cut:
- Jamaica Jerk Off (there seems to be universal agreement that this song sucks)
- I’ve Seen That Movie Too (snooze)
- Dirty Little Girl (this is just “Bennie and the Jets” but not good and kind of gross)
- Roy Rogers (snooze)
Still, most of this record is truly great. The 11-minute opener kicks ass, the hits hit, “All the Girls Love Alice” made me queer, and “Harmony” is a lovely closer. I agree that this is probably Elton John’s magnum opus, but I wish it was unburdened from the weaker tracks.
Kid Rock
1/5
So, so long, marred by mystifying production choices, and stuffed with so much posturing it’s kind of embarrassing. I’d compare this unfavorably to Beastie Boys and even fucking Limp Bizkit.
It’s groundbreaking, you say? Oh, it has the first “country rap” song? That “Cowboy” track? Sure, okay. Right. Sounds good man. Whatever you say.
To be clear, I didn’t not enjoy this because I think Kid Rock personally sucks. I didn’t enjoy this because I thought it was bad. It’s overstuffed, lyrically incurious, and still has the audacity to be boring while touching on multiple genres. It doesn’t work as rock, it doesn’t work as rap, it doesn’t work as metal, and it certainly doesn’t work as country. Had to be there, I guess?
Additional, obligatory “this is kind of misogynistic” knock.
Hugh Masekela
3/5
Excellent musicianship (particularly the piano), arrangements, and overall sound. I appreciated my listen but I don’t plan to revisit in full; it didn’t grip me like other jazz albums have.
Fairport Convention
3/5
Sandy Denny had such a sweet, moving voice. This is lovely electrified-trad-folk fair. More traditional than their previous album, which I liked a bit more than this. Still, the arrangements, melodies, and thoughtful delivery of traditional folk songs works for me just fine.
PJ Harvey
4/5
Rocks. Uncompromising, gritty, and raw: those kinds of adjectives. Picked up as it went on to the point of steamrolling over me.
SAULT
3/5
An unapologetic document of The State of Things that also knocks. Atmospheric, lovely vocal performances, and the bass work rocks. It is a little too long and I'm not a fan of the ASMR-style vocals interspersed throughout.
I'm trying to not write about global reviews too much anymore, but people here saying this album is "trying to make [them] feel bad for being white" truly embarrass me. You are out of your mind if you think people were not talking about race 15 years ago, c'mon. If an album by Black musicians about being Black and proud makes you mad and defensive, that's on you, man. You can just say it's not for you and move on lmao
The Temptations
3/5
The funk and psychedelic-leaning tracks are stronger than the straight-Motown tracks. Their voices are consistently lovely. The sound of a group moving forward.
Faust
3/5
Sprawling, experimental, sometimes catchy, a little strange, often a bit repetitive. Bends riffs until they break.
The kind of listening experience I’m appreciative of but don’t need to have again.
The Damned
4/5
A lean, blistering serving of punk rock. My listen flew by. I’d like to revisit and wrap my ears around all the guitar and drum work. Catchy and bullshit-free.
Louis Prima
4/5
Sounds like a great party in a packed, humid room. I love his voice and the horns sound great. The ballads aren't too drippy either.
Eagles
3/5
The opening three-track run is staggering, even for a blockbuster album like this: the title track is mythologizing and more than a bit self-serious (an Eagles trait), but it’s so immaculately arranged and performed that I get into it anyways whenever I hear it; “New Kid in Town” is bitter (another Eagles trait), breezy, and lovely; and “Life in the Fast Lane” just straight up slaps.
The rest of it is alright. “Wasted Time” was not good enough to warrant the orchestral reprise. The closing track “The Last Resort” is this overwrought dirge about California (well, L.A.) as a colonized promised land, and that’s where the self-seriousness finally edges into being silly.
Mike Oldfield
2/5
Well, I suppose it is a feat that this was done by a 19-year-old mostly by himself. Consider me impressed. I am also not at all interested in revisiting this.
The guitar work around the 18(ish?) minute mark of the first track was my favorite part.
Scritti Politti
2/5
Sugar-coated, gleaming, peak-80s pop. There are some interesting moments and turns of melody, but a lot of the songs and performances felt like name-brand Michael Jackson or something. Not to use a cop-out adjective, but it’s all a bit cheesy.
Apparently there’s a narrative on this album too, but I couldn’t hear it over the drum machine.
Baaba Maal
3/5
The production and guitar tones sound great and the vocals are strong.
This is a listening experience I wouldn’t have had outside of the list and while I appreciated it I don’t think I’ll revisit. It was pleasing to the ear but not very dynamic. Didn’t engross me.
Little Richard
4/5
WOP BOP A LOO BOP A LOP BAM BOOM
Sometimes old school bedrock-era rock and roll is corny and pedestrian to my modern ears, and then other times I’m reminded that it was once the gutsiest, horniest, most banging shit ever put to record. This is good stuff. The energy is infectious.
Willie Nelson
5/5
A benchmark for the country genre and rightfully so. An album to listen to when you’re feeling lonely but don’t want a pity party. The arrangements are tight and as dynamic as a classic country album can get. At the center of it is Willie, of course. What a singular voice.
Pulp
3/5
I respect the ambition and scope of sounds. There’s an excellent, maybe perfect, album in here somewhere. The songwriting is strong, but I think this is stretched kind of thin as a whole.
I wished the lead vocals were mixed a little louder.
Ministry
3/5
Sidebar: I felt like a huge dork listening to this at my cushy office job, like I should be catching snakes or welding to this instead or something.
“Jesus Built My Hotrod” is a banger, I liked “Scare Crow”, and the rest is alright. I was expecting something more transgressive or challenging, I guess. I feel like “Psalm 69” was going for that but it’s too tedious.
It’s still full-throttle industrial metal, but I felt pretty numb throughout my listen. Props to the engineering work though.
People who really like this genre should get a kick out of this.
John Lennon
4/5
Has some of the pitfalls of 'Imagine', like the pretension and self-regard, but the raw emotion and more rough-and-tumble production makes this the superior album. The fresh bitterness of the Beatles break-up is tasty, to be honest. And the songs are simply stronger.
Barry Adamson
2/5
A strange listening experience. Certainly unique. I'm not sure how well this would work actually set to film. Kind of gave me a stomachache.
k.d. lang
5/5
Goodness gracious what a beautiful voice. After the first track I settled in to enjoy it and ended up loving it. She has complete control over her voice and imparts emotion like a true country crooner. Glad I can add this album to my rotation.
Animal Collective
3/5
Maybe patient zero for the 2010s indie resurgence. I definitely remember “My Girls”.
It’s inspired, ambitious, and careful, and consequently labored and a little precious. There are strong hooks in here that get buried in all the reaching for psych-pop. All the songs are bloated by at least 30 seconds to a minute as well, which makes me less charitable.
Not as experimental as I remember people saying it was back in the day.
William Orbit
2/5
Didn't bother me, didn't move me, didn't compel me. Clearly this project is the result of experimentation and dedication to this genre, but it just doesn't do it for me. Fell completely to the background no matter how I managed my attention.
Public Enemy
4/5
A classic of its genre and it’s not corny, super dated, or boring. The beats knock and the performances are no-bullshit, high energy, and uncompromising. I was relieved to enjoy it as much as I did given my track record with other hip-hop cornerstones
.
Unfortunately still not above a bit of the timely homophobia/whatever social ills, but it’s not as egregious as some of its peers I guess.
Liz Phair
5/5
“I want all that stupid old shit/like letters and sodas.”
It's like having an extremely candid conversation with a close friend. Her writing is sharp, honest, often funny, sometimes truly heart wrenching. And what an ear for melody.
The track list is long but it's absolutely stacked. It's been a minute since I listened to this one, but I'm as taken with it as I was the first time. Thanks Liz.
The Fall
2/5
I think it’s just not for me. This kind of post-punk doesn’t engage me, and then in turn I become unfairly irritated by the legacy around this band. This was the dark, dangerous, acidic rock everyone was falling over themselves for? Am I just lame?
There are moments that are interesting to listen to and even some highlights on the track list (I did like “Two Steps Back”), but as a whole it leaves me cold and annoyed. Whatever charm there is from the rough-and-tumble songwriting style is spoiled by pretension.
I liked it more than the other two The Fall albums I’ve gotten, I guess. Their music seems to be just a few degrees removed from music I love, but it’s a few degrees too many.
Black Sabbath
5/5
Ozzy died yesterday. Just over two weeks after the farewell show too. He’d said in the past that he wanted to die onstage and he came as close as he could.
I’d never listened to this in full before and I’m astonished at how ahead of its time this was. This is heavy, dark shit. Towering riffs, blistering arrangements, and a commanding lead vocal performance. They even have a song with the same name as their band and it’s not corny!
The first true heavy metal album ever made and it holds up, which is high praise. Maybe I’m being extra generous because of Ozzy’s recent passing, but I think this fucking knocks.
Jane's Addiction
3/5
On the fence here. I enjoyed the arrangements and production; the drumming is clean and the guitar work is strong, and I love me the bass. Lead vocal performance is bold but difficult for me to enjoy. The first half felt uniform, but the album opened up and became more dynamic as it went on (consequently I enjoyed the second half much more).
Overall I’d say I respect it but don’t love it.
Carole King
5/5
A soulful and warm benchmark for this kind of singer-songwriter album. Quietly brilliant. King doesn’t have a big voice, but she really goes for it.
Billy Joel
5/5
Sometimes it’s a little bit much, but the middle run of songs from “Scenes” through the end is staggering. Production is lush and Joel lays it all out there. Full of stories and feeling. I come back to certain songs on this album a lot.
Paul Weller
2/5
The riff that pops up about halfway through “Sunflower” really works for me, then comes some welcome fuzz and drum fills (but not too much). Still, my corny alarms were warming up for a ring.
Paul Weller is, as far as I know, a talented musician and songwriter, but this album fell completely flat to me. Outside of some momentary highlights (like the riff mentioned above, or that warbling synth on “Shadow of the Sun”) this was sonic wallpaper. I’m not sure what makes this album required listen outside of it being made by Weller, which feels like a disservice to all parties.
I was leaning towards three stars because it’s not unpleasant to listen to, but I’m becoming less and less generous with boring albums as time goes on.
(And his voice kind of bothers me. Not to be mean, but it’s giving folky buttrock.)
Elbow
3/5
Enjoyed it well enough. Like Radiohead but more grounded and less transcendent. “The Bones of You” knocks. There’s some cool guitar work and production choices. The lead vocal is good and dynamic. The runtime is a little bloated.
I have to take an aside to talk about “Grounds for Divorce”. It crashed through like an American truck commercial. It sounds like a fucking energy drink advertisement. I instinctively waited for the “Skip Ad” button to appear. What the fuck happened there. I know 2008 was a while ago now, but god damn has that kind of stomp-clap rock orchestration with the fuzzy riffs aged like milk. I cannot emphasize the whiplash that incurred enough.
The Rolling Stones
4/5
“Brown Sugar” has a kicking riff and strong chorus hook, but the lyrics have aged so poorly it’s hard for me to imagine that they were kosher even at time of release. I’ve never been big on “Wild Horses”, but hearing it in context of the record warmed me to it more. (That and it makes me think about Bojack Horseman.)
“Can’t You Hear Me Knocking” is an all-out smack-down ripper of a track. Holy shit does that song go. “Bitch” also slaps in a more straightforward way. The closing two tracks are lovely in their way too.
It’s probably the strongest front-to-back Rolling Stone record I’ve gotten from the generator so far. (But it’s still no ‘Exile’. Waiting on that one.)
The Band
3/5
It’s good and nice to listen to but doesn’t get me full-throttled. The musicianship is solid: I particularly like the horn work (when present) and the conversational barroom vocals. Even though it didn’t knock me over, I am looking forward to ‘Big Pink.’
This would rip live at an outdoor venue.
Common
3/5
It’s bloated and has some of the pitfalls of its time (homophobia, which apparently Common regrets, so thanks I guess man), but otherwise what a solid, well-produced, thoughtful record. The soulful sound has aged great and Common’s performance is passionate and controlled. I’d revisit.
Throbbing Gristle
2/5
It’s certainly not like anything else I’ve ever listened to. Credit where it’s due there. I am curious how they made this. It’s groundbreaking, so good for them.
I have no idea how to rate this. It’s a challenging listen but it’s more interesting than some of the throwaway post-rock or Britpop I’ve been presented with.
That could also be me being dishonest with myself, because ultimately I have to pull a ‘Trout Mask Replica’ and say that I am not enlightened enough to enjoy this.
I do have a feeling that evangelists for this album have a different attitude towards music than me, to put it diplomatically.
I’m glad I listened to it, but I won’t revisit and will be skeptical towards anyone who puts this on the aux.
Ozomatli
2/5
Somehow has a kitchen-sink approach to its very 2000s production while also being monotonous. I started off kind of liking it and cooled off as it continued. The genre-bending comes off as scattered and the songs buckle under the weight.
Not to say it’s no fun at all, but not a listening experience I relished.
Dwight Yoakam
3/5
Sturdy late-80s country fare that isn’t too dated. Makes me want a light beer at a small town bar after fishing at the cabin.
Not sure if I’ll revisit, but I enjoyed it fine. He has a rich voice, the guitar work is classic and unfussy, and the writing is mostly* pretty good. (*Hearing anyone wax poetic about "Rebel pride” is weird and off-putting to me.)
The Avalanches
3/5
Really interesting sample work here. Creative, dreamy, and, dare I say, full of vibes.
I’d give it a 3.5 if I could, but we’re dealing in absolutes here. An hour is a long time for a vibes-based album, so I must rate accordingly, although I do think this is very well made and nice to listen to.
D'Angelo
3/5
What a voice. This kind of neo-soul/R&B is slippery and hard for me to dig into, but this was a lovely listen and certainly not hard to get through. I’m curious about D’Angelo’s other albums now as well.
Jurassic 5
3/5
Had never heard of this artist or album and was overall pleasantly surprised. It’s pretty good. Not the most earth-shattering hip-hop record I’ve ever heard (from this list or otherwise), but it was a sunny listen and I enjoyed it for what it was. Not sure about required listening, but it does have an old-school approach that someone might really like.
Ute Lemper
2/5
Kind of a strange listening experience. It’s like an out-of-order tracklist for a musical I haven’t heard of. I respect the performances and arrangements but this is just not for me.
Billie Holiday
3/5
Her singular voice is in rough shape by this point, but her phrasing and sense of feeling remains. The orchestra sounds great and I particularly enjoyed the trumpet work. I respect Lady Day deeply and my listen was nice enough, but I don’t think I’ll revisit in full.
50 Cent
3/5
It’s a little too long (and consequently gets same-y in the back half) and steeped in the early-2000s sound, but I wouldn’t go so far as to call it “dated”. It’s pretty fun. The Dre beats are the highlights, although I like Eminem’s work here too. I don’t think 50 is the best to ever do it or anything, but this is a strong party record and a classic of its time for good reason. Sounds to me like the first stones in the bridge between gangsta rap and the 2010s pop-minded rap around the corner.
Neil Young
4/5
A solid, often solemn singer-songwriter album. Thoughtful, tender, sometimes pained. Feels longer than its runtime in the good, hearty sense. Laying on the floor on a rainy day music.
Sebadoh
3/5
Early indie rock with some whiffs of emo on it, although I don’t know if either of those genre terms were kicking around in the 90s. There’s even some hardcore elements in here. It’s ahead of its time in its own way.
A lot of interesting moments scattered across this album. I came close a few times to really enjoying it, but found myself having to work hard to stay engaged. The vocal delivery is often dulled, which didn’t help. It does pick up as it goes on, but nothing really stuck to my ribs.
Fiona Apple
5/5
As far as I’m concerned, this is THE pandemic album. I remember listening to it for the first time: I had just graduated college and was having a terrible time trying to find gainful employment (for obvious reasons). I was laying in their backyard, sprawled over some old blanket in the sun where my childhood swing set used to be. I think I listened to this every day for the rest of that brutal summer. It kept me company.
Honest, rowdy, singular, and sometimes strange. Captures a huge scope of emotion: longing (“I Want You To Love Me”) resilience (“Fetch the Bolt Cutters”), frustration (“Under the Table”), gut-wrenching pain (“For Her”), self-assurance (“Shameika”), depression (“Heavy Balloon”), even some good old-fashioned annoyance at lame dudes (“Rack of His”).
It’s her finest work and she released it exactly when we needed it. Thanks Fiona.
The Cardigans
4/5
I liked this more than I expected I would. Her voice put me off initially, but the melodies and blunt, focused lyrics pulled me back in. The arrangements and production spill over traditional pop fare into something bright and dynamic. I feel like there are several contemporary indie pop bands who owe this band some flowers.
I couldn’t remember “Lovefool” despite it being the big hit. Then the moment it started I went “Oh, this song. That’s right.”
Ryan Adams
1/5
Pre-listen whining: Opened the generator today and said “Oh, fuck Ryan Adams.” Then I saw that this is 70 minutes long. I have to listen to this fucking guy for over an hour? For fuck’s sake, for what? And that’s without the additional 20 minutes the label made him cut that are apparently included in re-releases, so for once I can be thankful for record label meddling. Could you imagine? Jesus Christ.
Alright, open mind. Listening and learning.
Post-listen whining: I really did try and I didn’t like it. All of these songs remind me of another, better song. The affectation in his singing voice is obnoxious: I can see him in my mind’s eye singing with his eyes closed, near to the mic, lifting his lips in a light sneer as a display of sincerity and authenticity. Passable but uninteresting guitar work. Springsteen without the guts or lyrical acuity.
This is not difficult to listen to, but it is so invariable that it completely collapses under its runtime and becomes a slog. It all sounds the same. If this was 45ish minutes like a normal album I’d maybe (maybe) be more generous. The fact that his vision for this album is the fucking double-disc 90-minute version is unforgivable to me after my listen and I feel for people who chose that version for this project. If he wanted those five songs included on this album so bad, he could’ve started by cutting the nearly-ten-minute nothingburger “Nobody Girl”.
I’m a bit mystified by this album’s inclusion and can only guess that it’s important for its… influence? Citation needed.
Incubus
2/5
“I feel emphatic about not being static/And not eating the bullshit that's being fed to me no more/Cause now I'm full.”
Ugh.
This kind of rock music just doesn’t do it for me. It’s a combination of the weakest parts of its parent genres: the flatness of metal and the labored, pained lyricism of alt-rock. It’s bewildering to me that this is labeled as “metal” at all.
There are some interesting production choices and turns of melody I guess, but it’s just so overwrought and uniform that I could not enjoy it.
Eminem
4/5
“I guess there’s a little Slim Shady in all of us.”
Mean and masterful. Defiant, willfully offensive and misogynistic, and ultimately a character study. Shock rap that is actually shocking. He’s still doing the “I don’t care what you think” schtick, but it doesn’t bother me here as much as it did on the Slim Shady LP.
I would be lying if I said I didn’t rock with this. His performance is astonishing, the hooks are bulletproof, and the beats knock. And, as violent as it is, it’s also a vulnerable record. There’s a reason Em is still held up as one of the greatest to touch a mic even after the recent string of bad albums. Despite myself and the truly objectionable content, I dig this record. I also would probably agree with most people who hate it. I acknowledge that I’m being a massive hypocrite by rating this so high.
“Stan” is perfect and gains relevancy by the day. I’ll also know every word to “The Real Slim Shady” until I’m in the ground.
The Jesus And Mary Chain
4/5
Melodic and moody. Still a lot of interesting production ideas and textures, but not quite as adventurous or encompassing as ‘Psychocandy’.
That being said, this represents some of the best of what the 80s pop sound could do for your rock and roll. It’s also well-written and kind of bleak, so obviously I dig it. I’d give this a 4.5 if I could.
Buffalo Springfield
3/5
Loose, country-kissed, and subtly strange. I dig the guitar work and collaborative energy. The songs that are good are really good and the rest are alright to not good. An enjoyable but uneven listening experience.
Young’s work is the strongest. Stills puts in respectable song-craft too. I don’t care for Furay’s songs, but “Good Time Boy” was closest to appealing to me.
Bob Dylan
3/5
Dylan at some of his Dylan-est and it’s alright. There’s strong writing here and the music itself is like, fine. But I’ve heard truly great Dylan records and this one just doesn’t move me like those do. It’s pretty dense and would reward close listens, but it’s quite long and I’d rather listen to ‘Time Out of Mind’ again honestly.
Ash
2/5
Wall of sound and shredding with some hooks sprinkled in. Definitely a post-Nirvana record if there ever was one.
There are some cool moments and good songs (“Girl From Mars” is an obvious highlight), but as a back-to-front album it falls flat. Almost all the songs feel bloated and longer than they actually are. By the end it’s gotten old.
Daft Punk
3/5
Historically I’ve had a lot of trouble with long electronic instrumental-focused beat-forward albums. I didn't have a lot of trouble with this. It’s danceable and banging and even a little gritty. It’s still quite long and I don’t think I’d sit down and listen to it in full again, but I’d definitely put this on at a party, or while gaming, or if I for some reason ever get into drag racing.
Even if it’s still not quite my cup of tea, I can see why they’re so acclaimed and am looking forward to the next Daft Punk record.
Around the world, around the world. Around the world, around the world. Around the world, around the world. Around the world, around the world.
The United States Of America
3/5
An experimental rock record that actually means it. There’s no shiny guitar licks or sprawling arrangements with “psych rock” slapped on it here. This is actually bona fide weird 60s shit. LSD is a hell of a drug. Tons of ideas and textures here. I’m impressed it holds together as well as it does. The engineering choices are really interesting as well. That being said, there are definitely pages from The Beatles playbook here.
Kind of a curiosity. I’ll have to revisit it to really get my teeth in there.
Burning Spear
4/5
This is great. Full-throated and serious but not dour. The band is locked in and these grooves are tight.
I don’t listen to a lot of reggae and I guess I’d say this seems a bit polished, but it seems like that wasn’t the bands decision. It’s too bad. I would’ve liked to hear their original vision.
Prince
5/5
I mean, it’s Purple Rain. It’s electric. It’s lush, singular, euphoric, all those kinds of adjectives. Prince’s vocal and instrumental performances burst with passion. It’s also a precise record: there’s not a note out of place and the song transitions are seamless.
David Holmes
3/5
Not the most bothersome or boring of its genre, but not the most compelling either. It’s breakbeat that didn’t bother me at work, so I’ll take it. I’d give it a 2.5 if I could, but there was enough that I enjoyed to round up.
The Monks
4/5
Freaky percussion-forward garage rock. Crunchy and dark but not dour. I also dig the organ work. It’s a fun listen. Reminds me a little of Captain Beefheart at their least confrontational (complimentary).
I tend to think it’s a bit of a shame when a creative, unique album has fallen to the wayside, but maybe the underground-ness is part of the charm and legacy. Call me a convert because I think this album rips.
Anita Baker
3/5
What a lovely voice, what a very 1980s ballads album. It’s huge, romantic, glossy, and fun to listen to, but also homogeneous in tone and production. It has its moments and I appreciated my listen, but I didn’t find anything revelatory in it.
R.E.M.
3/5
Another R.E.M. album, another pretty good listening experience. I think I am understanding what made them so ahead of their time and influential, even if I’m not totally compelled myself. It’s a sturdy record that doesn’t blow me away but I can respect.
Also, in an appreciated change of pace for this band, the engineering sounds great.
I forgot how many words “It’s the End of the World as We Know It” has.
Queen
5/5
Queen’s hottest album has everything: hard rock diss tracks (“Death on Two Legs”), prog adventures (“The Prophet’s Song”), boundary pushing mini-operas (“Bohemian Rhapsody”), vaudeville showtunes (“Seaside Rendezvous”), earnest love songs (“You’re My Best Friend”, “Love Of My Life”), twinkling folk about space exploration and the passage of time (“‘39”, one of my all-time favorite Queen songs). Multitudes, truly.
A fun, boisterous, flamboyant album that’s also experimental and often totally rips. It’s a great example of the studio as an instrument itself.
High hit rate and thankfully nothing I’d consider filler, which dogged them as their career continued.
Def Leppard
1/5
A slog. Liked this even less than ‘Hysteria’, which at least had a pop music sheen and good hooks. This is just bland and tedious and comes off as self-serious. Unimaginative guitar work and flat melodies. I am mystified that this album was as successful as it was. A different time I guess.
The opening track would work if it was intentional self-parody instead of accidental self-parody. I think I just really dislike it when a bad rock album uses “rock” and “rock and roll” verbiage in their songs too much. I understand the “just have fun” vibe, but am I not having fun.
The Good, The Bad & The Queen
3/5
Has all the marks of alt-rock that came before and 2010s left-field indie rock to come. I wonder how influential this actually was. I’m between being into it and dismissing it altogether. I’ll have to revisit, which isn’t a bad thing. It just went right through me.
Man, Alborn is all over this list.
Django Django
3/5
Great textures (especially in the percussion) and a lot of cool ideas about marrying inorganic and organic musical sounds. The lead vocal performances are a little bloodless, but the rhythms and production choices are engaging. Experimental and sometimes pretty Beatles-y. Some of the songs wear out their welcome (“Zumm Zumm” was difficult for me) and as a whole I think this album would benefit from concision, even if it was just by five minutes.
UB40
2/5
Call me an uncultured swine (I probably am), but each song is indistinguishable from another. I don’t think they were phonies or anything, but this was too long and redundant for me to enjoy.
Suede
2/5
Apparently patient zero for Britpop as we know it. The hallmarks are there: soaring choruses, layers of guitar, opaque lyricism, Smiths homage. It would probably really work for someone, although that person isn’t me.
The Zodiac sign breakdown in “Sleeping Pills” was one of the only discernible lyrical moments for me which is not great.
Morrissey
4/5
Ah fuck, I like this. It’s not as flat and dreary as Morrissey’s other solo stuff I’ve heard so far. The beefier, heavier rock sound supports his melodies and writing well. There’s even a fun rockabilly moment on here. Damn it all to hell.
Creedence Clearwater Revival
3/5
I continue to be surprised that CCR albums are just alright.
Haircut 100
2/5
Shiny funk-lite pop that doesn’t really do it for me.
Not sure what makes this album essential listening.
Creedence Clearwater Revival
4/5
A cut above the other CCR albums I’ve listened to. It’s higher energy and got some real muscle in it. Also less uniform overall. The production and mixing is a lot better here as well.
ZZ Top
3/5
As a whole I think this is simply pretty good. The album is constructed completely around and in service to the guitar work. Riffs and solos you can sink your teeth into. “La Grange” slaps like crazy.
Jah Wobble's Invaders Of The Heart
3/5
Not what I was expecting. This was a pretty fun, creative, sprawling listen. Sunny beats and the mixing is great. It didn’t knock me over or anything, but I enjoyed my listen fine. This would be good listening for for a sunny lakeside hang.
Paul McCartney
4/5
Surprisingly unfussy and straightforward coming from McCartney, which in my opinion is when he is at his best. It’s sweet and melodic; goes down easy. I generally like McCartney’s songwriting so I like this, you know?
Nirvana
5/5
“What are they tuning, a harp? I thought we were a big rich rock band.”
I have to admit that I hadn’t listened to this in full before. If I may be so bold, I think this is the secret sauce that solidified and guaranteed Nirvana’s legacy. ‘Nevermind’ was a monumental success, of course, but this collection of deep cuts, a couple of hits, and a bunch of covers puts their musicianship, ethos, and personality on full display. I would even recommend this to someone who’d never heard a lick of Nirvana before as an entryway. Kurt’s performance is magnetic.
The Sugarcubes
4/5
Fun and thoughtfully constructed, and Bjork gives it all on vocals as always. She’s definitely the standout performance. This manages to marry ideas from New Wave, pop, and post-rock in a way that doesn’t feel forced. It’s a good record. I wasn’t expecting to enjoy it as much as I did.
Kate Bush
5/5
“Let’s exchange the experience.”
This is boundless, life-affirming pop music. Her vocal performance is stunning, of course, but the percussion really got me too. I expected each song to be a step down or something (especially after the all-timer opener “Running Up that Hill”), but it just continued to be fucking great. There’s a pulse and deep sense of movement across the whole thing.
I don’t know of another singer who composes and constructs their melodies quite like this. “Cloudbusting” in particular is astonishing.
The conceptual side two about drowning kicks ass.
Frankie Goes To Hollywood
3/5
That was a long welcome to the Pleasuredome. High-energy and fun but kind of exhausting. This has no business being over an hour long. It’s an artifact of its time that I can understand the popularity of but will most likely not revisit.
I didn’t really review the tracklist before listening so the covers kept jumpscaring me. The “War” cover mystified and surprised me. The “Born to Run” cover also had me say “What the fuck?” out loud when it got started. The covers overall are fine, I guess, just startling.
Nick Cave & The Bad Seeds
3/5
Powerful sense of mood and strong in its concept. It’s not as riveting front to back as the other Cave record I’ve gotten, but it has its moments. The addition of featured artists helps keep things fresh and introduce other perspectives. It’s also very serious and more than a bit indulgent.
It’s a dense record and I’d need to revisit to really take it in, but it’ll be a bit before I get around to it.
Girls Against Boys
1/5
This is a big “not for me, pal.” Unremarkable production, annoying mixing choices, and incomprehensible vocals - just generally a slew of musical choices I’m not a fan of.
It’s not the worst thing I’ve ever listened to but I also could not wait for it to be over, so I must rate accordingly.
Steve Winwood
3/5
I don’t know, I got kind of a kick out of it. It’s breezy on top of this yacht. I also kept thinking about Dennis Reynolds.
Julian Cope
3/5
A strong enough collection of songs. It’s a bit incoherent and not helped by its runtime. There plenty of bright spots, but 75 minutes is a long time for meandering and throwing various stuffs at the wall. I don’t want to hang around forever to see what sticks.
I see Cope was in The Teardrop Explodes, who made that ‘Kilimanjaro’ album I didn’t like. Interesting. I do like this a lot more than that at least.
The Residents
2/5
Fresh and freaky and trying so, so hard to be. It’s the kind of wacky shit I expected the list to introduce me to but I almost wish it was more abrasive than it is. It gives me indie guy pick-me energy. Fun music to talk about but I would roll my eyes if someone put this on in the car or at a party.
Jimmy Smith
4/5
Soothes my haggard soul. Glad I heard it and can save it for later. This would pop off on a rainy day. Or a sunny day with the chickens, for that matter.
Nick Cave & The Bad Seeds
4/5
Grief and heartbreak on record. Cave sounds like he is on the verge of tears the whole time. I’m not even sure how to rate it - it’s so obviously a document of a terrible time in his life that I’d feel weird either acclaiming it or dismissing it. When I have the spirit I’ll revisit it in full. I did appreciate the lush production, textures, and atmosphere very much.
Venom
3/5
Listening to early iterations of metal like this help me understand the genre’s appeal. I had a pretty good time with this even if I don’t plan on revisiting.
The mix is weirdly subdued.
Morrissey
4/5
Pre-listen whining: I’m so sick of it dude. Unfortunately I did really like the last Morrissey album I got, so maybe I’ll have to justify enjoying this one too.
Post-listen whining: alas, I liked this as much as ‘Your Arsenal’ and must rate accordingly. You win another round, Morrissey, you bastard. The production is great and his writing and melodies are razor sharp.
Hate the album cover though. Don’t look at me like that. That’s a face that makes me leave the bar if I see it coming my way.
Blue Cheer
2/5
Fairly uniform all-volume no-dynamics 60s hard rock. Meandering and bloated. The heaviness is the only remarkable feature.
Cheap Trick
3/5
A totally fine live album. The big hits standout and the rest is pretty good. Enjoyed it enough and don’t plan on revisiting.
Fred Neil
4/5
Subtle folk-country album anchored by his voice. Subdued but not boring with strong songwriting across the board. I even enjoyed the eight-minute instrumental closing track.
Kanye West
4/5
Sorry, this is a fantastic album. What an assured, finely crafted, charismatic, explosive debut record. What a fucking waste. Production knocks and he sounds hungry and fired-up.
I’m so mad. I DO miss the old Kanye. I will crawl on my belly over broken glass as penance.
Thankfully I can at least begrudge this a perfect score because it is about 15 minutes too long and some of the engineering choices haven’t aged well.
Public Enemy
4/5
It’s a shame we’ll never hear sample work like this ever again. Often it’s like an audio collage.
Vital and angry and still fun to listen to. It’s also classic hip-hop that holds up.
Small Faces
3/5
Quite British. Started out sounding ahead of its time and ended up like a rougher Kinks record. Respectable performances and songwriting, and there are some fun ideas, but it didn’t rock my world. The heavier rock songs work for me better than the novelty ones.
Dead Kennedys
4/5
No-bullshit, political, blistering punk rock that also isn’t sloppy, embarrassing, or boring. I can see Biafro’s vocals being an acquired taste, but his unique tone and impassioned delivery works for me.
Pink Floyd
5/5
“Is this not what you expected to see?”
Please allow me to unpack my bias here: the first concert I ever went to was with my dad to see Roger Waters’ first solo tour of The Wall in 2010. I was 13. I grew up listening to classic rock, Pink Floyd included, but I hadn’t actually heard The Wall front to back before.
After the first act of puppets, spectacular lights, social commentary, graphic anti-war messaging, and erecting the literal wall brick by brick came to an end, my dad turned to me and said “I need you to know that most concerts are not like this.”
“Yeah dad,” I said. “I’ve seen concert footage before.”
Later on when we got to “The Trial” we both flipped our lids.
The spectacle and big-feelings of it all really stuck with me. The Wall in all its scope and flaws and fraught legacy has a special place in my heart. The music gets me going and I’ll know every word until I die. As I get older the themes of childhood trauma coming home to roost, isolation, and anger resonate more. I’ll be white knighting for The Wall forever.
Also, “Comfortably Numb” is a perfect song and that second guitar solo kicks my ass every time.
Hawkwind
1/5
Not sure if I really listened to this or if it just happened to me. There’s some competent, even fun rock music happening in here, but there’s so much of the same things over and over for a very long time that it obscures the highlights. Whatever works about this album buckles under the weight.
I’m sure this goes hard live or on a psychoactive substance (best with both probably), but left me feeling impatient and unsatisfied just listening to it. For something that seems to be reaching for strangeness and experimentation, it’s not very dynamic. It feels a little unfair rating this so low but I just did not have a good time with it at all.
I have a positive Pavlovian response to “Beautiful Day” because they play it at Target Field when the Twins win. (So it’s been awhile since I’ve heard it. Har har.)
The rest of it is alright to pretty good. It’s the sound you think of when you think U2, for better or for worse. A lot of space and big melodies and subtle guitar adornments. It's also a little bloated.
MC Solaar
4/5
I’m obsessed with the “Inner City Blues” sample flip on “Armand est mort”. It’s so good.'
I don’t speak French so I can’t attest to the quality of the lyrics, but his performance is locked in and the production rocks. This album is over 30 years old and doesn’t sound dated in the slightest to me.
Kraftwerk
3/5
It’s good! Definitely ahead of its time. I think ‘Man-Machine’ was more compelling overall, so I’ll score accordingly. But boy did these Germans know how to synth.
Kacey Musgraves
3/5
Ah yes, her honeymoon record. This album was a big deal around when I really had my finger on the proverbial pulse, so it’s strange to realize I hadn’t listened to it in full. Seven years late is better than never I suppose.
She has a lovely, classic-yet-contemporary country voice and her writing is usually strong. Production is understated but not undercooked. Too bad about the marriage itself I guess, but what it's a good record.
Sonic Youth
3/5
Pre-listen whining: Oh good, a 70 minute Sonic Youth album. I’m sure all of that time is well-used.
Post-listen whining: Once again I have heard a pretty good art rock album burdened by pretension and runtime bloat. If this was 25 minutes shorter and less indulgent this would probably be my favorite Youth album of the bunch. It feels like every song ends with the same meandering minute of guitar plus feedback. Alas.
The Rolling Stones
5/5
“May the good Lord shine a light on you, make every song your favorite tune.”
Stacked with blues rock bangers and grit. A rowdy, fun listen that’s occasionally even a bit moving (“Sweet Virginia”, “Shine a Light”). Everything I want in a Rolling Stones album. Bobby Keys does fantastic work and the band is locked in. I often complain about records being too long, but when a double album is this good front to back it’s a real treat.
The Mamas & The Papas
3/5
A few great songs and lovely vocal performances throughout. Production and instrumentation aren’t really anything to write home about - it’s warm late-60s folk pop fare. It’s a little slight and also feels longer than it is, but it’s a good record.
The Cure
3/5
It’s not my favorite Cure record I’ve listened to, but it maintains their strong sense of atmosphere and the drums are quite cool. Viva la goth rock.
Nitin Sawhney
4/5
Haven’t listened to anything quite like this, although it pulls from other genres and sounds that I guess I’m familiar with. It’s lovely and emotional. It’s also aged really well; I was surprised when I checked the date and saw 1999.
I wasn’t expecting to enjoy this as much as I did. It really engrossed me.
Stereolab
2/5
This didn’t do it for me. I wanted to appreciate the kind-of-freaky take on French pop and marrying it with krautrock, and all the various synth sounds, but I ended up finding it tedious instead of interesting. I understand this came out about 30 years ago, but I don’t enjoy it when an album tries to surprise me and bores me instead. A matter of taste, I suppose.
Kings of Leon
1/5
I’ve heard too many classic rock albums at this point to hear this as anything other than pantomime. Nothing fresh or transformative to speak of here. Also, holy smokes is that singing affectation obnoxious–mush-mouthed and weirdly English. They’re working so hard to have an Authentic Rock Sound, Man that it wraps around into phoniness.
“The Southern Strokes”? I don’t think so. The Strokes have hooks and charisma and interesting ideas.
Penguin Cafe Orchestra
5/5
Oh this SMACKS, thank goodness. The electric guitar and strings (cello in particular) lift and enhance each other’s parts. They find and expand on melodies without repeating themselves. Another gem I would’ve overlooked without this project. It’s pretty and exciting (and sometimes ominous). Forward-thinking without pretension.
Also, I love the album art. I want it in my house. Preferably in the kitchen.
Skepta
4/5
A great time that I would absolutely revisit. Confident and jagged. Shoved me around in a good way. Skepta is one hell of a performer.
I thought the Pharrell feature was corny at first and ended up kind of charmed by it.
Glad to see UK grime represented on the list.
Baaba Maal
3/5
It’s an enjoyable enough listen but I’m not sure I’ll revisit. I enjoyed the vocal performances and percussion the most. Has a lot of 80s synths and other sonic markers despite its release date; there’s a lot of talent here, but the production choices were distracting and obviously dated.
The Sensational Alex Harvey Band
2/5
“There ain’t nothing like a gang bang to blow away the blues.” I guess somebody had to write a rock song about group fucking. Might as well be Mr. Harvey.
It’s a fun enough rock album, but it didn’t move me. I assume its inclusion is due to its influence on rock juggernauts AC/DC and as a representation of the Scottish 1970s rock scene. One of the times I wish I could read the book blurb for some context.
“The Faith Healer” is kind of cool.
Adam & The Ants
2/5
Kind of bugged me. A lot of repetition and hammering of musical ideas until they break. A mishmash of genres that’s very 1980 and also weirdly out of time. I think this is supposed to be fun, so I feel like a wet blanket saying that I think this is annoying.
John Cale
4/5
A pleasant surprise. Sweet, concise, subtly ornate and understated. The title track is a beauty.
Yeah Yeah Yeahs
4/5
I’d heard a couple of songs from this record (like the immortal and moving “Maps”) but hadn’t ever listened in full. I’m glad to see that it rocks top to bottom. Great production and Karen O’s versatile, charismatic vocal performance hits the mark more often than not (it does sometimes miss). Nothing complex or overdone here - it gets the job done.
Beck
4/5
Liked this way more than ‘Sea Change’, thankfully. Catchy and weird and grabbing from various sounds of its time. Some songs overstay their welcome a little bit. The rhythm section work were my favorite parts.
The Associates
1/5
Overproduced and histrionic; there are some stirring moments and cool ideas here, but it’s melded together by a post-rock and 80s pop fusion that doesn’t work for me. I have to respect the vocal performances even though they often annoyed me - they were really going for it.
I listened to the original UK tracklist and couldn’t bring myself to listen to the US/Europe exclusive songs. It already felt longer than its runtime and I think I got the idea.
The Jam
4/5
Brisk, muscular, sometimes pretty power pop revival. A little Clash-y, but I suppose they were contemporaries. It’s good stuff.
Goldie
2/5
Good music to have on in the background, which is to say I didn’t enjoy it but wasn’t aggravated by it either. It’s an almost-two-hour collection of (I can only assume) well-constructed drum and bass and it doesn’t do anything for me. Box checked, horizons expanded, moving on, thank god.
The 13th Floor Elevators
3/5
A totally fine 1960s rock album made required listening by being one of the first psychedelic rock album to hit the public ears. Electric jug as an instrument is very fun. I am glad I listened to it but probably will not revisit. Progenitors get the short end of the stick like that sometimes.
Metallica
3/5
A cool idea lushly realized, but I often found myself wishing I was listening to the original tracks. It gets a little crowded and stuffy. The crowd sounds like they’re loving it, which boosted my enjoyment.
Terence Trent D'Arby
4/5
A pleasant surprise. Passionate, soulfully sung, and carefully arranged. Full of the sounds of its time so I guess it’s “dated”, but it didn’t bother me this time around. Some of it reminded me of Labi Siffre’s work, like “As Yet Untitled”. I would revisit.
Joni Mitchell
4/5
Singer-songwriter fare if it was also kind of prog. It’s sprawling and sometimes jazzy and, as always with Joni, well-written and sung. It’s cohesive and pretty dense - I’ve never listened to this one in full before and I’ll have to revisit to really get my mind around it. Mitchell is a GOAT as far as I’m concerned, so I’ll take a challenging, mercurial listen from her over another British post-rock LP any day.
Donovan
3/5
“Sunshine Superman” and “Season of the Witch” are slap-daddy all-time bangers, so it’s no wonder that those are the two that have stuck around. The rest of it is pretty good 60s pop, idiosyncratic but listenable. Nothing that really knocked me over.
M.I.A.
4/5
Sounds both homemade and polished at once; it’s an impressive debut. All the embellishments and noises are exactly where they should be.
Would be great at a party or in the car. Felt a little weird sitting down and listening to it at the office.
The Streets
1/5
I might be too American to enjoy this.
He raps so conversationally that it sounded more like spoken word much of the time.
Concept albums are cool and I like a good story but man, this did not work for me. I acknowledge its ambition but will not revisit. The critical rapture around this album is actually baffling to me.
I guess some of the hooks are fine. But boy howdy are the raps rough and beats inert.
Slint
3/5
Ahead of its time. Subdued and moody. I like contemporary bands that do this sort of thing, like La Dispute, so I felt like I should’ve enjoyed this more than I did. I appreciated the guitar work and sense of atmosphere and respect the impact this album had on post-rock as we know it. I’m unsure if I’ll revisit or not.
Black Sabbath
4/5
Absolutely bananas that “Changes” is a Black Sabbath original. I had no idea. Lovely song with a great, earnest vocal performance from Ozzy.
Rips pretty damn hard. I’d feel comfortable calling myself a casual Sabbath fan at this point. A cut above the hard rock of its time.
Jethro Tull
3/5
My knowledge of this album going in was limited to “rock music with flute”. I did realize I’d heard the title track before.
And you know what? The flute rips. It’s a fun, unique rock album. There should be more woodwind shredding in popular music.
XTC
3/5
I was expecting another throwaway mid-80s British pop-rock record and got something a cut above the rest. Enjoyed this much more than I expected. More interesting ideas and deft execution than some of its peers. Flows together beautifully. Bits of it (“1000 Umbrellas” comes to mind) reminded me of The Beatles without being outright mimicry. It could be leaner. I’d revisit.
Suede
3/5
I was pretty skeptical and ended up enjoying it. The rock songs are catchy, lush, and dense. The ballads are less compelling. Maybe a little bloated, but I had a good time with my listen and would revisit.
Mercury Rev
2/5
I can hear the influence this had on the indie of the future. Reminded me of Neutral Milk Hotel but less enjoyable. Good ideas and seeds for melody, but made a lot of instrumental choices that bothered me and I don't love the lead vocal performance. The production is scattershot and unfocused as well.
Ramblin' Jack Elliott
4/5
This just works for me. I like old school folk and that's what this is. What can I say - I like his voice and guitar work and the first-take feel of the recordings.
Joni Mitchell
4/5
Put simply, I like Mitchell’s voice and songwriting so I like this. I hadn’t heard it in full before and appreciated the breadth of sounds and her unusual melodies. Dense for its brief runtime.
The Byrds
3/5
Another Byrds album that is lovely but not astounding. Vocal harmonies and stacking continue to be their strongest aspect. I liked this more than ‘Mr. Tambourine Man’ and less than ‘Younger Than Yesterday’ so will rate accordingly.
Prince
4/5
Sprawling, perfectionist pop. You could tell Prince knew which way the wind was blowing with the production choices. It’s a bit unwieldy, but still full of banger instrumentals and great melodies. It’s another achievement among his many.
Justice
4/5
Music for running headfirst into walls (complimentary). One of my favorite electronic releases this list has introduced me to (although I was familiar with “Genesis”; glad to hear the rest of the album is worthy of such a banging opener.) Fun, lush, and hard-hitting. Great driving music.
Public Image Ltd.
2/5
Well, this was definitely more listenable than ‘Metal Box’ to me, but I still didn’t love it. Post-rock is a hard pill for me to swallow and this might’ve been the first of its kind.
Bass work still rocks though. I’d give it a 2.5 if I could.
Megadeth
3/5
The engineering and mixing is razor-sharp. With how heavy this can be it sounds clear and balanced. The moments of vocal layering and musical flourishes were truly cool (“Take No Prisoners”, for example). Otherwise this didn’t do it for me. Not the fault of the album itself really, this just isn’t a genre that stimulates me. Technically proficient but not personally moving.
Can
3/5
Hypnotic and ahead of its time. Not something I’ll revisit in full anytime soon, but I enjoyed the forward-thinking arrangements and sprawl while it lasted. The vocals being mixed so low is a stand-out choice. I’d be interested in learning how they approached making this record, especially the 19+ minute closing track.
Joan Baez
3/5
Well, she has a beautiful voice and the guitar work is solid. I respect Baez deeply and I enjoy a collection of well-performed folk songs as much as the next person, but this was a bit monolithic and overlong for me to outright love.
Moby
3/5
Okay, so long instrumental electronic albums have been bumps in this road for me since I began this project, but every once in a while one of them works for me. Sometimes something is dynamic and catchy enough to override my prejudice. I think the blues and roots music samples were what did the trick. That shit is pretty cool.
Still, it overstays its welcome by at least ten minutes and can sound dated.
The Dictators
3/5
Another album that was forward-thinking and probably went nuts live in some tiny punk club or basement; another album that is enjoyable but not exciting. Apparently one of the first examples of punk rock and it sounds fairly similar to the rock of its time, maybe a little filthier and funnier. It has guts and personality but I don’t plan on revisiting.
The covers are fun, especially “California Sun”.
4/5
Whisked me away during its runtime. Fantastic performances across the board and lovingly produced. Prog soul. Lush and effortlessly cool.
Grateful Dead
4/5
I’d always taken Grateful Dead for granted. They’re so ingrained in American classic rock canon and discussion that I never really bothered to check them out. They were just some jam band with extremely dedicated followers.
I’ll put my clown nose on now because this album is really good. Solid songwriting and sweet, breezy performances. Everything just fits together. I can dig it.
Nine Inch Nails
5/5
It’s been a minute since I listened to this back to front. I had a suspicion it would still be an easy five-stars and I was right. Boy does this beast hold up. Bleak, abrasive, and brutally honest. An archive of suffering that you can mosh to.
Lucinda Williams
4/5
Vivid, patient, and unapologetically Southern. Intimately sung and produced. There’s some Springsteen and Mitchell in here too. Evolves into a breakup album in the heavier, faster-paced second half. Rewards a close listen.
Kings of Leon
2/5
“Slow night, so long, she’s frenching out the flavor/she’s 17 but I done went and plum forgot it.” Rough start! I was enjoying the instrumentation before the vocals came in, too. Man what a tough singing performance to tolerate. This is mean, but sometimes I wondered if he’s actually doing a bit or something.
The rest of the music is fine, I guess, but it’s still uninspiring rock songs with melodic ideas that are too weak to survive lyricism and singing.
The Magnetic Fields
3/5
Like it says on the tin: 69 love songs. Spans the spectrum of falling in love, being in love, and losing love, and anything that could fall in between. It felt like watching a play made up of disconnected scenes about different people, which I appreciated. The songs themselves are melodic enough to be listenable but simple enough to keep the writing and stories at the foreground. It’s a huge creative feat (and listening commitment) that I do plan on revisiting at least in part. A long, life-affirming, often funny record.
Kate Bush
5/5
Man I can’t believe I hadn’t listened to any Kate Bush albums until doing this list. I’ve been missing out.
More straightforward than ‘Hounds of Love’ but still loaded with great melodies, sonic ideas, and production (percussion in particular, holy smokes). Bush is a one-of-one songwriter with a singular, expressive, joyful voice.
Koffi Olomide
2/5
I guess it’s not for me. It’s already almost an hour long and felt longer. It’s clearly the result of skill and artistry but it didn’t do it for me. Maybe I’m not versed well enough in this genre to parse what makes this special; a lot of this sounded the same to me. Also seems a little dated for a 1992 release.
Grandmaster Flash & The Furious Five
3/5
Is “It’s Nasty” the first track to sample “Genius of Love”? It’s gotta be towards the top of the list. It’s actually pretty transformative as far as that sample goes.
Legacy rap that’s also fun to listen to. Obviously it doesn’t sound a lot like what rap these days - it’s pretty indebted to 70s funk and R&B and early 80s pop (even some gospel) - but you can hear the genre evolving by the song. The title track in particular is a cornerstone.
Marvin Gaye
4/5
Marvin Gaye was 24 when he married Anna Ruby Gordy, 41, sister to Berry Gordy, founder of Motown Records. Maybe mercenary, maybe naive, maybe love, probably all three. They adopted a baby. He sang “How Sweet It Is (To Be Loved By You)”. They were both cheating on each other by the end of the marriage. Gaye, a self-admitted chauvinist, knocked up 16-year-old Janis Hunter in the 70s. He fought tooth and nail against paying alimony or child support to Gordy during the actual divorce proceedings.
It’s just a huge, bitter, hot mess. This album is also a huge, bitter, hot mess, and in my opinion that’s what makes it remarkable. It’s deeply personal and more nuanced than I remembered. There’s still pettiness and anger, but also fear and hope and grief. You know, divorce stuff.
The music itself is classic Gaye. Not as tight as his masterpieces (‘Let’s Get It On’, ‘What’s Going On’), but musically and vocally everything that made Gaye great is here. I guess I could do without the eight-minute “A Funky Space Reincarnation”, but it is kinda funny that it’s there.
Quicksilver Messenger Service
2/5
Who/When/Where/How/Which/Who (again) plus love is a fine naming gimmick for half your record I guess. I wish I found the songs more interesting.
On a positive note, this is a tight live performance. Maybe you had to be there.
Depeche Mode
4/5
Dark, melodramatic turn-of-the-decade electronic rock you can dance to. These synths mean business. A bottom-heavy record that still maintains its balance.
I’ve probably heard “Personal Jesus” at some point over the course of my life but this is my first time really listening to it and holy smokes what a smack-down banger.
Really loved this, maybe even more than ‘Music for the Masses’.
Cream
4/5
Man, it’s been a while. Plenty of good songs here. “Sunshine Of Your Love” is a stone-cold classic, sexy and a little dark and lead by passionate performances. Features some of my favorite Clapton guitar work across the record. I think it’s still my favorite Cream record.
Ginger Baker’s composition “Blue Condition” is pretty bad, but the rest of the record is so good that it becomes kind of charming. Fuck it, let the drummer write one.
Dolly Parton
4/5
Bright and lovely. Feels like a big hug even though many of the songs are about romantic strife. Sometimes you can hear the late 80s on it, but mostly it’s just a solid, beautifully sung country record. I’ll revisit, especially in the spring.
Pink Floyd
5/5
“Did they get you to trade your heroes for ghosts?”
Professional frustration and personal grief entwined on record with each band member at their best. I would readily call this album perfect.
Prefab Sprout
4/5
I am surprised at how much I enjoyed this. I was anticipating another throwaway mid-80s pop-shlock album, but this is lovingly produced and the songwriting is solid. I particularly appreciated how the female backing vocals sounded. Catchy melodies and interesting changes in direction throughout. Subtly soulful. I didn’t know it was possible for sophistipop to be this enjoyable. I’ll revisit.
Public Enemy
3/5
Ahead of its time. High-energy, but its high-energy the whole time. There’s not a lot of dynamics in their actual delivery or flows. The beats are also both the most interesting and sometimes most annoying parts of this album. Some great sampling and DJ work weighed down by repetition.
Nick Cave & The Bad Seeds
4/5
Okay, yeah, the Nick Cave thing has fully clicked for me now. What a voice, what a way of writing, what songwriting. It’s diverse, passionate rock music with stories to tell. It’s directly up my alley. One of my favorite Cave albums I’ve gotten so far. (It’s still edged out by ‘Abattoir Blues/The Lyre of Orpheus’.)
Gene Clark
4/5
Not what I expected. I guess I’d call it a country album, but it dips into rock and roll and even some psych rock. Clark has a classic warble in his voice that imparts vulnerability and earnestness. I like this solo record as a whole more than the Byrds albums I’ve gotten. Production is of-its-time but not outright dated; it’s pretty forward-thinking and creative. Clark had the sauce, apparently. I’m surprised to read that this album was met with outright hostility and rejection by the music buying public when it first came out.
Fiona Apple
5/5
“My fever burns me deeper than I’ve ever shown to you.”
What a confident, smart debut album. That first track is scorching.
I’m not as familiar with Apple’s first two albums as I am with the rest, but it’s great to hear she was always this sharp, honest, and self-confident as a writer. It’s refreshing to hear her sing about trauma, romance, and personal disappointments with so much self-respect. The production uses her piano chops and rhythm arrangements that seem clearly hip-hop inspired; it makes for a timeless sound that anyone could identify as Apple. And, of course, what a voice.
King Crimson
3/5
All hail the prog progenitor. Ahead of its time and mostly enjoyable - it’s still recognizable as rock music, but I did get annoyed around the halfway point of “Moonchild” at what sounded like directionless noodling. A lot of compelling moments though.
Pet Shop Boys
4/5
Unapologetically pop and brimming with hooks. A little dated I guess and it took a few songs for me to adjust to the vocals, but the runtime flew by and I was surprised at how much I enjoyed it. Would revisit.
2/5
Quite British and even more Beatles-y than their last record I listened to (‘Skylarking’). I also think I liked that one more than this - this isn’t quite as fresh and some of the production choices are annoying rather than charming. (“Greenman” and “Fruit Nut” are good examples.) Not to be too harsh, but it sounds like a group running out of ideas and trying too hard to be cute.
Traffic
3/5
A fine enough rock album with some jazz ideas. Solid enough musicianship but nothing that knocked me over. I’m about as down the middle on this as I can get. The remaster does sound fantastic though.
The Lemonheads
3/5
Enjoyed this more than I expected to after the first song. It’s breezy, subtly sweet, of-its-time rock music. Felt like hanging out with an old friend in board shorts. I’d give it a 3.5 if I could.
Robert Wyatt
3/5
Went into this extremely skeptical and then the opening track called me a fool. Then the second track moderately challenged me. Then the third track soothed me. This cycle persisted in some variation over the course of my listen.
90s art rock that in turns sounds both classic and fresh - this could’ve come out in 1975 or 2025. Some really lovely guitar and string work across the board. I’d give this a 3.5 if I could.
Pink Floyd
5/5
I hold with the general consensus that this album rocks. I don’t think it’s the best in their catalogue (that might be 'Wish You Were Here'), but I do think it’s great and moving. I grew up listening to it (so I’m biased I guess) and whenever I put it on again I go “Yep, it’s still really good.” Proclamations of overrated or overplayed do not budge me.
Spiritualized
3/5
Obviously the product of tremendous collaboration and effort, but some of these are truly exhausting songs. The individual pieces of them work, but those pieces essentially on loop at length for 70 minutes is a tedious listen. Some paring down would make this an outright bangerfest. Had some mid-late 1960s music stylings that I enjoyed. I may revisit.
Jane's Addiction
3/5
“Everybody’s so full of shit!” You’re telling me.
I liked this more than I expected I would. “Jane Says” is the obvious hit but I could do without the steel drums. Some of this album reaches for something grander and poignant but doesn’t quite grasp it (“Ted, Just Admit It…”). Succeeds in its more classic rock-minded moments. Engineered and mixed beautifully.
Super Furry Animals
2/5
Went right through me. It’s fine I guess, but I’m not sure what makes this notable alt-rock music among other stuff that was coming out around this time. Welsh rock representation? It’s a little psychedelic and genre-curious sometimes? Musical ideas inherited from the 1970s? Citation needed. I generally was not impressed by the songwriting or performances so I must rate accordingly, even though this was listenable enough. Maybe that’s a deeper insult than I intend.
Skunk Anansie
3/5
What a voice, holy smokes. Sharp and strong and tightly controlled. Shout out to Skin: I was not familiar with your pipes.
I also wasn’t familiar with this group at all and was honestly a little put off by the album title (Isn’t that just called “afterglow”?). I cannot say that the album reflects the way I personally feel post-coitus, but I did have a pretty good time listening to it. Alternative metal that’s not embarrassing. Strong instrumentals and deft production all anchored by Skin’s fantastic vocal performance.
Like many, many albums of its time, it’s too long and would benefit from some editing.
Alexander 'Skip' Spence
3/5
Reminds me in many ways of Syd Barrett’s ‘The Madcap Laughs’. A collection of some strong, some middling songs by a talented musician in the midst of unraveling. I was interested to hear Spence’s work after listening to Moby Dick for the first time months ago and saw he was also in the original Quicksilver Messenger Service lineup, not to mention he played on Jefferson Airplane’s debut. A storied career cut short. I appreciated my listen and much of it was lovely, but like ‘Madcap Laughs’ it also felt sometimes unfinished and a little voyeuristic to listen to. These were originally recorded as demos and you can tell.
Serge Gainsbourg
2/5
This is one of those albums where I feel like it happened to me rather than I listened to it. The arrangements are nice and the vocal performance is fine when he’s actually, you know, singing. I didn’t mind my listen but can’t see myself revisiting.
Apparently this spins some Lolita-adjacent tale that also misses the point of the original Lolita? The 15 year old girl “consents” at a hotel and then dies in a plane crash? More research needed. 1971 was a different time I guess. Maybe it’s for the best that I don’t speak the language.
I have no real idea how to rate this so I will follow my heart, which says “be honest with yourself and just give it a fucking two, dude.”
Robbie Williams
3/5
Solid pop music infused with glam and full of personality. I had heard of Robbie Williams but hadn’t actually heard his music (to my knowledge; or Take That’s music for that matter). He definitely has vocal presence and sings like he means it. Production is polished but not too glossy. Nothing earth-shattering here, but I think it’s a good record. 3.5 if I could.
Dinosaur Jr.
4/5
Foretelling the distortion and sludgy sound of grunge to come. It’s a coarse, bruising record that still sounds earnest and weepy to me (this is complimentary). Hard rock for the sad. I can think of at least a dozen artists and their albums this must’ve influenced. Edging my rating up because it makes me feel like a teenager going to house shows again, and I enjoyed it more than ‘Bug’.
Sidebar: I really like the cover and the title is evocative.
Bauhaus
3/5
I don’t know, I thought I’d like it more. Moody and sometimes catchy. An attempt at fusing post-rock, goth rock, and pop music that sometimes succeeds and sometimes falls short. Competent but doesn’t excite me.
Peter Tosh
4/5
Great reggae record. Mixed beautifully and I like the variety of guitar tones. I don’t know if I’ll revisit in full again soon, but I enjoyed my listen and got stoned accordingly.
Fleetwood Mac
5/5
“You will never get away from the sound of the woman that loved you.”
Justice for “Silver Springs”! I think this album is perfect but would have swapped “Oh Daddy” for “Silver Springs” in a second. I don’t blame Stevie for freaking out in the studio when they said it wasn’t going to make the album. If I’d written a song like that and learned it was getting cut I’d go apeshit too. I always include it at the end of my listen when I revisit this album.
Glad to finally get ‘Rumours’ and glad to hear that it’s still an all-timer. Mess doesn’t always make for good art, but sometimes it does make for great art.
Sparks
2/5
I wonder if I’d like this more if I’d heard it first when I was younger and my brain was more elastic.
I’m impressed with Russell Mael’s vocals. I had to double-check during the opening track that there wasn’t a female guest vocalist. A range and flexibility I respect, but I admit I don’t really like his voice.
The instrumentation and songwriting is most compelling when it leans into the rock side of glam rock, like “Thank God It’s Not Christmas”. The ersatz pop stuff here can hit my ears wrong. I didn’t really care for “This Town Ain’t Big Enough For Both Of Us”, this album’s big hit, for that reason. “Talent Is An Asset” almost worked with it chugging bass but the repetitive vocal hooks undid that goodwill.
The Jam
4/5
Post-punk that is actually smart, sharp, and catchy with a sound that manages to be both precise and explosive. Paul Weller believes this is the band’s best and I can’t disagree. Banger after banger. “Set the House Ablaze” is when it really won me over. The do crib The Clash a bit, and “Start!” is an obvious bite of The Beatles’ “Taxman”, but I’m not upset about having another song that sounds like “Taxman” in the world.
Common
4/5
I liked ‘Water For Chocolate’; I love this. It’s a lean, confident, smart record and Common’s performance and writing is supported by great production*. It’s a life-affirming listen. Glad to add this to my rotation, with one reservation:
Ye jumpscares abound. *It’s also full of classic Kanye beats. Yes, I do miss the old Kanye. Chop up the soul Kanye. This record is a perfect example of what made him so special as a producer. I say again: what a fucking waste.
Neu!
4/5
Not what I expected. Like a krautrock space adventure. Sprawling but not overstretched; almost all of the songs are on the long side, but they keep it moving. No slogging or loss of momentum (The almost 10-minute “E-Musik” is a good example). Prog you can dance to, who’d have thought.
Jungle Brothers
5/5
This album seems to have been scrubbed from streaming entirely, so I must again begrudgingly say thanks, YouTube.
A lot of fun. Fresh and creative, eclectic sample work. Thoughtful but definitely not bleak and often funny. Not nearly as dated as some of its contemporaries; the fusion with house music actually keeps it sounding pretty modern. A hidden gem from the golden age of hip-hop (from my perspective, at least. I’d never heard of this group or album before now). I’ve used this phrase a few times across my list journey, so forgive me, but I really mean it: ahead of its time.
Traffic
3/5
A totally fine MOR classic rock album that I moderately enjoyed and most likely will not listen to again. The Winwood compositions are a little more interesting, I suppose.
OutKast
4/5
A towering, fraught classic longer than some feature films. That happens when you make two solo albums share a “get along” shirt.
It is really good and would perhaps be excellent if it was, say, 40 minutes shorter - maybe normal double album length. But you can hear what makes OutKast great as individuals. ‘Stankonia’ is better for hearing what made them great as a duo.
The Incredible String Band
3/5
People seem to really hate this one. I’m not sure where the hostility is coming from. It’s unusual, sure, but I didn’t think it was unlistenable or grating. It’s Celtic folk meets 1960s rock with some ambient sounds in there. Wandering but inspired. I kind of had a hoot and a holler listening to this.
Massive Attack
3/5
Ahead of its time and probably a defining trip-hop record. Mixed beautifully; feels cool to listen to. Sometimes lowkey to a fault. I’m not chomping at the bit to hear it again, but I could see myself revisiting.
Orange Juice
2/5
Hmm. Some things I liked and things I didn’t. It’s an interesting intersection of new wave and post-punk rock. The bass usually worked for me and I enjoyed some of the hooks. There were also production choices that grated on me, especially in the first song. I also had trouble with Edwyn Collins’ voice.
It’s cute, I guess.
The Velvet Underground
3/5
Fun and freaky like a good art rock record, but it pales in comparison to their debut. Feels a little unfocused instead of just more difficult. The first and final songs were the highlights.
John Coltrane
5/5
I am an extremely casual jazz fan; this is best illustrated by my not listening to ‘A Love Supreme’ until undertaking this project. It lives up to the hype. The band is locked in, Coltrane gives an unbelievable performance on the sax, and the album overall is tight and exciting. A great example of one of the truly American art forms.
Red Hot Chili Peppers
2/5
Pre-listen whining: Whyyyy is it so long why are all of these 90s albums so looooong why why why. Maybe CDs were a mistake
Post-listen whining: I think I liked this more than ‘Californication’? This is long enough to repeat some ideas and I’m still really not crazy about the rapping, but the production is strong and I really dig Flea’s bass work and Chad Smith’s drumming. Guitar sounds good too. As a whole I understand the RHCP “thing” way better after this album than ‘Californication’. Elevated butt rock.
I agree with streaming data: “Under the Bridge” is an obvious hit and the strongest thesis statement for the RHCP sound.
The title track did elicit an “oh, yuck” from me.
Underworld
4/5
I was not looking forward to another hour-plus electronic album and now have to admit I enjoyed myself an amount. Inspired beats that sound like they pull from breakbeat, ambient, and rave music. The vocals are a welcome addition. Soothed my soul at the office. I could actually see myself revisiting, thank you and god bless.
I’d give this a 3.5 if I could, but I’m going to round up for once because I was so pleasantly surprised.
Kraftwerk
4/5
Man, I wish I could drive on the autobahn. I’ve heard it rocks. Maybe someday.
Once again I am impressed and transported by a Kraftwerk record. Forward-thinking synth work. Prog you can dance and even headbang to.
Astrud Gilberto
3/5
Sounds like how smoking indoors at an airport must’ve smelled. Nice enough arrangements and her voice is lovely and conversational, but nothing knocked me over. Enjoyable but underwhelming.
Could've done without "Parade (A Banda)". Felt like a weird interlude.
Radiohead
5/5
It’s been acclaimed to the moon and back but man, what a fucking record. It’s atmospheric and immediate and just strange enough. Perfect cold weather music. Makes me feel alone and understood at the same time.
Death In Vegas
2/5
Jagged and crunchy and dark. Too repetitive to be truly compelling; I need more dynamics and change-ups in music like this to enjoy it. I wanted to like this more because there were some genuinely interesting moments of instrumentation, but the songs buckled under their runtimes.
Jimi Hendrix
3/5
I didn’t realize this album was so long? It’s full of blistering, spectacular guitar work, but it’s also almost completely front-to-back blistering guitar work. It’s impressive and Hendrix was obviously a singular talent, but hearing this much pure shredding on record doesn’t do it for me. It’s a testament to his talent but probably not a record I’ll revisit in full again. The band-forward tracks were closer to the mark for me (“Little Miss Strange”, the eternal cover of “All Along the Watchtower”).
Screaming Trees
2/5
It’s totally fine and moved me not at all. Didn’t bother me, wasn’t grating, just did not hit any spots or strike any chords with me. Mid-90s rock soup.
Dion
4/5
An admirably strange and diverse record from a legacy artist. I have a friend of mine who’s a big Dion guy and I get it now. Second-degree Spector’s production touches are often cool and sometimes unwelcome. I guess Dion himself wasn’t pleased with this after it came out, but I think it’s a record to be proud of. Lots of guts and personality in his voice.
Bruce Springsteen
5/5
“I wanna know if love is wild, I wanna know if love is real.”
His star-making record and I see why. It kicked my ass. Obviously I’ve heard (and love) the title track and I was familiar with “Thunder Road” (maybe his best opening song ever? That first minute of writing is vivid and astonishing and heartbreaking, god damn), but I hadn’t listened to this in full in a long, long time. Surprise surprise, I loved it. When his songwriting is firing on all cylinders, it’s unstoppable.
I know Springsteen’s voice is divisive, but I like his conversational verses and big, impassioned bellows. He can carry a tune and has character; there’s not much more I can ask from a rock singer.
This album also sounds huge, which works for this set of songs, but it makes me appreciate his future stripped-back efforts even more.
Elvis Presley
3/5
Obviously an important album and definitely required listening for anyone who cares about the history of popular music. It’s brief, charismatic, and enjoyable enough, but there’s too much distance between then and now for me to truly appreciate it.
It’s interesting to hear how different his voice sounds from track to track, even between verses. Sometimes he sounds like The Elvis, other times he sounds reedy and Holly-like. Production and recording style sound different between songs too, which makes me more curious about the making of this thing. Thanks for that.
Fantastic album cover, though. Iconic in the strictest definition.