Haven’t heard this whole album before. It’s nice. A subtle mix of styles. It sounds like the late 80’s, but not in an embarrassing way. I like the idea of folk/protest music that is melodically interesting. Bob Dylan should take some notes. 3.5

Great album and it landed right when it was most needed. We were coming off the hair-band era and needed some southern rock that everyone could get behind. I was never a big Chris R fan in the day, but his scoopy vocals really add character and grit to their otherwise clean sound. 4.0

TIL that UB40 released music prior to Red Red Wine. That's a good cover, but it's too bad that it's what they're best known for in the US. The politically oriented songs from this album are much stronger. The wikipedia version of how they recorded this is pretty interesting. Goes to show you don't need a bunch of high-end equipment and facilities to produce a solid album. 3.4

This has a post-apocalyptic feeling to it. Like any minute, there’s gonna be slow moving zombies staggering about. I don’t hate it! The song with the reed instruments bellowing like dying geese?I couldn’t help but chuckle. There was 2 straight minutes of that! Fully committed. There are moments where it’s right in the pocket and it cooks. And then it’ll abruptly pivot to some chaos, making you long for that pocket moment again. I guess that’s their trick. 2.8

Forgot about Sad But True \../ Metal ballads are silly Not my genre, but still good

Talking Book has some of my fave singles, but this album really takes you on a ride. 4.5

First time listening to this. It’s uniquely “of a time” while still feeling current. 3.8

Quintessential stadium rock. I don’t personally love it, but gotta give them credit for a whopper of a first album. 3.8

I mean, I know they’re iconic, but I just don’t like most of their music. It grates. I blame Robert Plant. And also, songs are too long, album is too long. Dislike.

Great album for a long car ride or for getting out of a shitty mood, but the last 3 songs are kind of stinkers. 3.7

I felt like the EQ was all off. I was constantly adjusting the volume. But I don't know why I bothered. No melodies 1.4

The song Elegia made me think of Stranger Things, which speaks to how much their music shaped the sound of the 80’s. Yet, I think I prefer Joy Division. 3.0

Cult of Personality was a cool song at the time but the album sounds dated and overall meh. 2.3

I hate this kind of music. But, the playing is very precise, which isn’t easy to do at these tempos. 2.6

I like it. I think T.Rex does glam rock better than Lou, but if I listened to music regularly, I’d probably include this album in a rotation. Walk on the Wild Side, c’mon! 4.2

At first listen, I thought it was fine, but I suspect this is more of a grower than a shower. Her voice makes the album feel cohesive. I’d like to listen again. 2.7

This is serial killer music. Oh, and one ukelele song. Wtf, was that?! I listened to the whole album, but I didn’t want to. 1.0

Is this trance music? I don’t hate it. There were some good hooks. I don’t think smackin’ bitches is ok to do anymore, thankfully. I shared it with Selim and he loved it, as expected. 2.7

I quite like their lush, textured production. It’s a vibe I can get behind. That said, the songs don’t have very memorable/sticky melodies. 3.5

Legendary. This recording has a raw, live quality that makes it feel genuine and energized. The piano is a touch out of tune. Love it. 4.7

I’m not smart enough to fully appreciate this type of jazz, but I do appreciate it. It’s definitely winter music. Not suitable for summer unless you’re a PI. 4.0

It was cool to hear what I assume is the traditional version of “Suliram” and “The Lion Sleeps Tonight.” Surprising this album is from 2012. Initially would have guessed the 50’s. I like it. 3.7

Sonic Youth should have been more a part of my coming of age, but it just wasn’t. I was too busy listening to musical soundtracks. This album in particular doesn’t resonate for me. 2.7

I tip my hat to the musicianship, but this is just not for me. The pivot from track 1 to 2 was so abrupt and the songs are too damn long. Moonchild, so boring. They take themselves very seriously. 2.0

Produced by Jack Antonoff, which tracks. Millennial women love Lana, but as a gen Z, I only like her ok. All of the songs blur together for me. Nice, but the same. 3.2.

His slightly hoarse vocals made me long for the smooth effortlessness of his studio recordings, but regardless, this is solid gold. Wish I could time machine myself to this concert. 4.7

Such a great album. From the top to the bottom, my cup overfloweth. 5.0

This has more of a roots/bluesy foundation than I was expecting based on Moby’s radio tracks. I was surprised to like it a bit. Some of the songs are underdeveloped IMO. They’re more “riff” than “song”, but I feel that way about most electronic music. 3.5

I liked the overall feel of Innervisions better and felt some of the songs were too long, yet this album deserves its classic status. TIL that Gangsta’s Paradise sampled a Stevie song. How did I not know that?! 4.2

The vocals crack me up. They sound like SNL characters. It’s not for me, but I get their significance. I didn’t know they harmonized so much. That was nice. 2.6

I had it on while we were doing Christmas stuff so I wasn’t focused on it, but it didn’t really register as unique in any way.

Skater punk isn’t really my thing, but the songs are catchy and fun and fit well together as an album. 3.2

There’s a lot going on here thematically, sonically, lyrically- I’d have to listen a few more times to take it all in. It’s impressive. I’m glad I took the time to listen. 4.0

Where has this album been all my life?! A few songs have a Talking Heads vibe. Each track is unique while still fitting together as an album. Are some of the songs a little silly? Is the singer’s voice a little silly? Yep, So fun! 3.8

I dunno. I just don’t connect with his music. I liked aspects of many of the songs, but they didn’t leave a lasting impression on me. 2.8

I was late discovering Billy Bragg, so I wasn’t familiar with this album. What a treat! I appreciated the light touch taken on production. Just folk music being folksy. 4.0

What is this? Some songs are borderline electronic, others made me think of U2 and The Rolling Stones… while others were just sleepy and use ill-fitting instruments like sax and pedal steel. Some of the songs in isolation have a groove, but as an album it’s disjointed. 2.3

I suspect they were influenced by Tribe Called Quest. I hear similarities, though this doesn’t lean into jazz influences as strongly. I like this kind of HipHop and enjoyed this album. 3.5

I had heard (and stared at the album cover of) Voodoo, but not this earlier album. An amazing first album, made even more impressive given that he was responsible for nearly every aspect of it. Such talent. I’m not a regular R&B listener, but I could get into this. 3.8

It’s crazy how some music can really make you FEEL the time it came from. No confusing it with music of any other era. This is too meandering for me, but you have to appreciate Isaac’s ability to thoroughly create a mood. 3.0.

My very first thought was, “This should have been a rock musical.” Turns out, it is! It premiered in 2017. Haha, not on my radar. It’s not serious music, but it has a driving beat and has some catchy melodies. 3.0

Several of the songs are very Beatle-esque, which I didn’t expect. I love the Beatles so that endears me to their sound. But, it begs the question- how much of this album is simply mimicking popular sounds of the times? Hmm. Enjoyed it regardless. 3.2

In think I like that this veers out of the realm of jazz a bit. It drives more than it roams and I like that. Props to his band. What a collection of badasses. 4.5

This doesn’t sound like 2002. The songs with organ give it a 60’s vibe, while some of the other songs lean into a gypsy/ Gogol Bordello type of sound. I like it fine, but it seems like a stretch for it to be included in this list. 3.3

I didn’t realize how cool Chrissie Hynde was until listening to this album. I mean, I knew people thought she was cool, but now I think she’s cool. She had the “Beat It” jacket 3 years before Michael! 44 years later, this album still sounds fresh and relevant. 4.0

I prefer The Beatles in their later years, but can’t argue with the album’s place in history as one of the best albums of all time. On this listen, the harmonies of “If I Needed Someone” made me think of Crosby, Stills, & Nash. It’s a great album that gives all of the Fab4 a chance to shine… but as a listener, I’ll admit I get impatient waiting for the album to give me a bit more meat on the bone. 3.8

I love The Smiths but nearly every song sounds like one of their other songs. Maybe this album represents the first pass at the other songs to come. In any case, it’s a great album and I always love the mood created by Morrissey’s voice and melodies. 3.8

I’ve never heard this album. I was too cheap to buy music when I was young, so I only knew radio hits. Shameful. I would have loved it. You can really hear the Prince influence in some songs. Don’t know if it’s aged well but my remaining 1989-era brain cells likey. 4.2

Despite her voice not being what it once was, her interpretations are full of feeling and nuance. I don’t think any voice can compare to her originality and heart 4.5

They have to be the kings of funk. It’s fun to listen to and I appreciate it, but it’s not go-to music for me. 3.5

This is one of B&S’s most beloved albums and I think it perfectly reflects the sensibilities they’ve projected in their albums in the nearly 30 years since. It doesn’t sound like 1996, or any other time for that matter. Original melodies, peppy rhythms, and simple but lovely production. 4.2

Patti is an icon and an amazing writer and poet. It’s crazy that she made this album with little previous musical experience. I don’t fully connect with all of her music but admire her confidence and artistry. 3.8

Sure, ok. I suppose to French folks, this guy is like Frank Sinatra. Maybe I’ll be able to answer random trivia questions correctly after listening to this album, but it was nothing special for me. 2.7.

Nice retro-sounding moments mixed in with a contemporary Beyoncé-meets-Mary. J Blige vibe. Some of those lyrics though- I Blush! I’d need a few more listens, but I bet in that time the album would really stick with me. 3.4

Found it on YouTube, but didn’t make it through the whole thing. It made me think of Schoenberg and his use of Sprechstimme, which I don’t enjoy. This album could be the soundtrack to a movie version of Slaughterhouse Five. 2.5

I’m not a big Elvis fan, but you gotta give the guy credit. He was one of a kind. I was surprised by how much I enjoyed the country/gospel mashup of this album. Long Black Limousine sounds straight out of church. In the Ghetto! Suspicious Minds! Solid gold. Maybe I’m an Elvis fan now. 4.4

I really enjoyed the tutorials. Always been a fan of the tabla, but I really tuned into how it transformed the music from formless (to my ears) to structured. Ravi is obviously a sitar icon. I appreciate him making this album to help westerners appreciate eastern sounds. 4.2

He got a lot of traction out of this album. The songs with the electronic elements really feel like the late 90’s/early 2000’s, but otherwise, it’s standard singer/songwriter stuff. I liked it better back when it came out then I did this time around. 3.0

Blues is one of the few genres that hasn’t evolved much over time. Veer too far from the original formula and it’s no longer blues. There are bands playing these songs at bars all over the world today, trying to replicate the energy and character that Muddy brought to them 60+ years ago. Timeless! 4.5

Love the funky 70’s-ness of many of the songs on this album. Superstition alone would make it worth 5 stars, but “I Believe” might actually be my favorite Stevie song. The darkness of the verses juxtaposed with the beautiful optimism of the chorus- which ultimately wins out. Gah, I’m dead. 5.0

Their messy, bassless punk is fun, but their vocals are too affected for my taste. All-female punk band: into it more in principle than in practice. 3.2

The album cover is fitting. The guy had a lot of ideas and decided that all of them were good. I admire his self-esteem. It was just too much clutter for my taste. 2.0

Am I wrong to wish he had a better singing voice? The lyrics are masterful and the accompanying instrumental tracks are lovely. But his vocal melodies are almost monotone. I would love to hear this entire album done by Jeff Buckley (RIP). 3.4

I never really gave their music a focused listen before and in my memory it sounded much more thrashy than it actually does. Also, I didn’t pick up on the political messages back then, which are astute and still relevant today. I kind of like it. I don’t think it’s something I’ll come back to, but I’m glad I have a new perspective on it. 3.2

I’m impressed by any band that can create new, relevant music for multiple decades. With Green Day it’s especially impressive because their style is so specific. I think Holiday is my fave GDay song, which is interesting given that it came out later in their career. Overall enjoyable album. 3.4

I wonder if this album would be as highly regarded if it had been their first. It seems like it’s appreciated more for its departure from their typical style than for how it stands on its own. The lyrics are more notable than the music. Overall, I find it ordinary. 2.8

Wild that there were only 2 singles released from this album, given that nearly every song is widely known now. Love this album and The Beatles. LEGENDS! 5.0

I have a strong opinion about this album. The first two KoL albums were awesome. Raw, gritty southern rock. Lightly produced. I’m less familiar with the third, but this one, ugh. It was a break-out album for them, but to me, they jumped the shark. Admittedly, some of the songs pull me in, but the mainstream over-produced quality of this album waters down what could be a classic. 2.9 P.S. “Your sex is on fire”?? Such stupid lyrics.

Ah, Elliott. The reedy double-tracked vocals are unmistakably him. The production somehow sounds both simple and lush. When the drums and synthy-strings hit in “Everything means Nothing”- it gets me. It’s a lovely album by my account. 4.0

Totally tracks that this came out the same year as Sgt Pepper’s. I think this is what Todd Rundgren was shooting for, but he missed the mark. This album requires one’s attention. I don’t like that about it. Overall, it’s too trippy for me to fully enjoy, but there are some interesting things going on throughout. 3.2

I expected this to be an “emperor’s new clothes” kind of album, but I actually liked it. The texture of the instruments blended with and complimented his raspy vocals. The organ gave the songs a mysterious, vintage quality. Loved the tone and mix on the bass. Basically, I’m a bigger fan of the production than the songs themselves. 3.3

I can’t listen to this album with fresh ears. It was my indoctrination to the musical tastes of my Austin crew and I treasure it. It’s atmospheric, yet melodic. Each song, a little symphony. Lyrically grand and prescient. 4.6

The first track made me think of Meatloaf, which is interesting. I appreciate that he isn’t precious about every note being perfect. I’m not hugely drawn to Bruce’s music, but when I listen closely, it sinks in. He really puts his heart into it. 3.7

The songs on this album all sound like they’re from a scene in a movie where the main character is f’d up on drugs or alcohol and everything gets blurry. The music is so sluggish and odd. It’s not offensive but I don’t really care for it. 2.6

This sounds like I imagine I’d feel if I spent some time in Iceland. I’ve heard some of their later stuff and liked it, but sitting with a whole album is something else. A bit disconcerting at times. Songs like Starálfur help break that up though. I like it, even if I don’t see myself returning to it. 3.5

Love Nick Drake. This album is described as English folk but somehow that doesn’t quite get to it. The orchestrations are rich and sometimes unexpected. His guitar sound borders on classical. Once you hear his voice, you’ll recognize it anywhere. Remarkable musician. 4.3

I’m guessing Axel decided to use his voice that way after hearing AC/DC. I don’t get metal, so to me, it just sounds ridiculous. That said, many people love it and there are plenty of ear worms and hits on this album. It’s not lacking in creativity or musicianship. 3.0

I loved this album in ‘92 and enjoyed it again with this listen. Three very solid hits. It definitely sounds like the 90’s though- all of the record scratching! It was pretty original in its time and even now, really. I didn’t listen to any of their subsequent albums. Curious how their music evolved over the years. 3.8

Trying not to be bitter at this album for making them mainstream. It has some good jams, but some songs lack a discernible chorus and land a little flat for me. That said, overall it’s a cohesive and enjoyable listen. 3.6

Bahahaha, bless. On several songs, the singer is painfully out of tune. Some songs have no real melody against sparse instrumentation. Sex Dwarf…oddly, one of the catchier songs of the album, but Clutch My Pearls, the lyrics! I think you could go to jail for that in todays’s America. Their take on Tainted Love was quite fresh, so good on them for that. Otherwise, this album is a stinker. 2.3.

I was excited to see this pop up. A standout album from the 90’s British wave that included Oasis, Blur, The Stone Roses and others. I think it holds up pretty well. It’s great multitasking music- it doesn’t distract you but offers enough to keep you engaged. That said, I’ll always crank up Bittersweet Symphony anytime it comes on. 3.8

I was expecting less blues and more classic rock- like what comes after the first few songs. It’s entirely too much jamming for me. I can’t argue with their talent, but ungggh, I hate a jam band. It’s just not for me. 2.6

Man alive, I played the heck out of this album back in the aughts. IMO, it includes no duds. The instrumentation with additions like organ, strings, and harmonica is thick and gives you more than the average singer/songwriter fare. The Americana vibe and poetic lyrics strike a lovely balance. Ryan has turned out to be a grade A prick (Team Mandy and Team Phoebe forever!), but this album is indeed gold, if I do say so myself. 4.6

My favorite Radiohead album, even if it shows its age a bit more than OK Computer. High and Dry is everything a rock ballad should be. Some amazing guitar riffs on this album, which is saying something, since I don’t care much for guitar riffs. A classic. 4.6

The backup singers and interjections of brass and funky sounding keys make this album for me. Overall, I’m probably too uptight to enjoy more than a little of his music in one sitting, but I appreciate his political messages and that he brought reggae to the US. I definitely enjoy its influence in popular music. 3.5

It’s really wild to hear the journey Hip Hop has gone on, from this to the Kendrick Lamar album we heard previously. So different, but still connected. I love the Yin and Yang of Chuck D and Flavor Flav. Chuck gets you thinking and Flav gets you smiling. The layers of sound in the production is really inventive. I can see why these guys were so influential on hip hop. Yeah Boiiiiieeeee! 4.2

I gave this a very distracted listen, so I have minimal insights. It didn’t sound like the mid 90’s to me, which makes it fairly evergreen. My ears perked up a few times- for example- Sir Rockabilly sounded kinda cool. I’d listen to it again. 3.0

So good. The whole album is a groove. The song transitions are 10/10. It’s all so smooth. None of the harsh record scratching and short stops of a lot of other 90’s rap and hip hop. The date rape song…don’t love it. Everything else is excellent. 4.5

It’s unclear to me why this ABBA album made the cut. It doesn’t include any of their super hits, nor is it much of a departure from their formula. I dislike the tinny synth sound throughout the album, but enjoy the layered vocal tracks that give every chorus a boost. They know how to write catchy songs, but I don’t think this album is the best example of that. 2.7

So much to say. As an album, it makes no practical sense. Songs styles are all over the place. This would never work for any band but The Beatles. And maybe that’s because they do every style so well. Paul’s voice! How can he sing both “Helter Skelter” and “I Will” and sound perfect for both? Same for John. “Yer Blues” and “Julia” - so different! I’d be curious to learn how they landed on a song order. They don’t try to transition the listener smoothly from one song to the next. Maybe that’s the secret sauce of the album. The fact that there were no singles from it?! Mind blown. So many classics. It’s a masterpiece. 5.0

This music is too mathy and precise for me. I’d argue that Ska shouldn’t sound so perfect. Several songs sound like they belong on a soundtrack for a zany comedy from 1989. I bet they all went to Berkeley school of music or some such place. The bass. Ugh, calm down. They’re good musicians, it just wears me out.2.5

I’d never listened to an entire Stones album until now. It had much more of a rootsy blues/honkey tonk vibe than I was expecting. I listened in the car and there were a few songs where they made some fun choices about which speaker instruments would come from. For Country Honk, I wonder if they took a note from the Beatles’ “Revolution”, by including a scaled back acoustic version on the album, but releasing a more rock version for the single. The singles from this album are enduring classics, but the rest would take me some listens before they stood out in my mind. 3.5

Again, some very lovely and lush orchestrations backing Nick’s folk melodies. This album feels more time stamped than Five Leaves Left. Some of the melodies brought to mind Dan Fogelberg song, “Longer,” which I haven’t thought about or heard in decades. The album is nice, but after one listen, I didn’t have much to take away. 3.0

Great album that really feels like an album- not just a random collection of songs. The way the electronic elements are mixed in with the acoustic really does give it an other-worldly feeling. I love how they make the bass lines so melodic. I could listen to this 20 times in a row and hear something new each time- and never tire of the title track. A really unique and creative work that, delightfully, doesn’t take itself too seriously. 4.4

I like it. For me, the first side is more compelling than the second. The jangly, bluesy honkey tonk keeps the songs driving forward. Certainly, his lyrics are the primary driver, and yes, they’re inspired. Mr Tambourine Man paints vivid images. But truthfully, I could have lived with fewer verses on some of the songs. 3.9

There’s so much going on. Never all at once- but collectively, this album is doing a lot, and I’d argue doing it well. Several of the songs sound more like jazz than traditional Beastie- but somehow, when they layer their vocal tracks in, it just works. There’s a ton of talent and creativity represented here. It won’t be a regular go-to for me, but I’d listen again. I’ll skip that throat singing song though. Too much. 4.0.

There is nothing about this album that sounds unique by 1998 standards. It may have been influential in Norway to the average Sven, but certainly, people who were into music had access to similar sounds long before this. It’s all derivative and I’m annoyed it was included on this list. 1.5

Finally, a country album! It was a really progressive idea to play at prisons, even by today’s standards. I love the energy of this album- the music and the banter. His band is so solid- following him as he adds and skips time here and there. The title track really hit home. An iconic moment in musical history. 4.5

I always enjoy a little bossa nova. This is a nice album. The words that come to mind for the production are tidy and tasteful. The balance of instruments is very controlled. This album seems fitting to hear at a spa. I enjoyed it on my Saturday stroll, but it isn’t something I’ll likely listen to again. 3.3

It’s perfectly respectable folk/country. It neither dazzles nor disgusts. His work with The Birds is much more compelling, which goes to show that 1) a meh song can be great with the right arrangement, and 2) a truly great song doesn’t need bells and whistles to show its greatness. 2.8

What stood out to me was that it still sounds current. The instrumental backing tracks have a nice groove and I think are what take it out of the 90’s. The songs that feature Lauren Hill are definitely stand outs. It could be because of my own bias toward melodic hip hop— and I mean, she’s an amazing singer— but even the songs where she’s rapping have a sparkle the others don’t quite have. 4.0

The opening song is so peppy! I don’t like any of the synth sounds they used. So dated it gave me the giggles. I’m not the best judge of jazz, but I have a hard time imagining someone hearing this for the first time in 2024 and thinking, “Now THAT is fresh!” I will acknowledge that there is some adept musicianship on display and being successful as a jazz band for many years is quite an accomplishment. It’s just not for me. 2.5.

I bet seeing The Band live was awesome. Listening to this album made me want to watch The Last Waltz again. Their music just makes me feel good. The harmonies, the piano and guitar licks, and their loose jangly sound make the music approachable. I wouldn’t have thought of this as a concept album without it being explained as such, but I can hear it. Great stuff. 4.2

As excellent as the last one. I love the samples they use and the way they use them- just little pieces here and there instead of it being the basis of the entire song. 4.5

Several songs have an island vibe that hints at what’s to come on Graceland. I found the opening track “Allergies” lyrically stupid (perhaps it was a metaphor, but it sounded pretty literal to me). It improved from there, thankfully. I hear some Talking Heads influences at times. There are some moments that feel stale (like the Seinfeld bass tones and some of the melodic choices) but I liked it overall. 3.6

I have respect for The Stooges and can get into it in the right context, but it’s not music I’ll put on for myself. I’m sure they put on a helluva show back in the day. It’s interesting how often the bass and guitars (and sometimes sax)are playing the same rhythms at the same time. It starts to feel almost like a drone. Those sax features were wild. Sounded like a human screaming. I draw the line at LA Blues though. I don’t have that kind of angst. 3.4

Saw them play this album live about 15 years ago. Good show. It’s a well-loved alt-rock classic that I think holds up. It’s not an album that would blow minds if released today, but it was ahead of its time for 1989. Kim Deal’s background vocals definitely brought something different and compelling to their sound. 3.5

I can’t relate to the guns-n-drugs era of hip hop music. Subject matter aside, the words go by so fast, granny can’t keep up. The backing musical tracks often aren’t really doing much either, so I just start to zone out. Some songs like “The World is Yours” and “One Time 4 Your Mind” have a bit more groove and a hook. I know this album was critically acclaimed and influential, and I can’t dispute the brilliance of the rhymes, but I can’t get super into it. 3.2

I couldn’t find this album on Spotify so I had to listen one song at a time on YouTube. I can’t handle the ads, so I didn’t get far. That said, I get what it is. Classic funk. I’ll give it a lightly-informed 3.3

The setting: A decrepit gothic cathedral. Dark, lit only by candles as a rolling fog obscures the moonlight. The crowd of emo babies stir as they hear the chimes foretelling the symbol crash of “Plainsong” that invites a dim stream of light to shine on the altar where Robert Smith stands. Kiefer Sutherland and his gang of vampires mill through the crowd, searching for their next meal as the band plays “Lullaby.” The storm clouds break open and unleash a torrent of rain (the candles stay lit, don’t worry about it) and “The Same Deep Water as You” begins. The opening chords of “Untitled” beckon the sun to slowly rise. With each ray of light, the band fades until all that remains is a lone harmonium on the altar. It is a VIBE!! 10/10 no notes. Wait, one note. The songs are entirely too long.

I was familiar with her radio hits but not the whole album. Her vocal style launched a trend in female voices that lingers today in voices like Billy Eilish. Hearing the whole album, it's clear she had a genuine affinity for 60's soul - it wasn't just a gimmick. It's a good album, but if I want to hear that genre, I'm more likely to turn to the classics. 3.8

I think of Arctic Monkeys as an indie band, but listening to this album. It has a lot more of a punk sound or influence then I picked up on with just the radio singles. I like the driving beat of the drums, and the overall loose, but tidy way they play. I’m on the fence about the lead singer’s voice. Sometimes I think I like it, and other times I think it’s too much. 3.5

I wasn’t in the mood for another hip hop album but this was good. The laid back tempos, his smooth voice, his story in rhymes, and the backing tracks all fit together to deliver something that still holds up. I’ll say, I was surprised to read that One More Chance was released as a single. Man, some things have actually changed for the better since 1994. 4.0

I love this friggin album. Every song could have been a single. What a debut! The distortion on the guitars and vocals, the driving rhythm - so good. Not sure how they mixed the drums, but to me it’s absolutely perfect. Feel good dance music. 4.8

Not my cup of tea, but inventing a spooky genre is pretty cool. Ozzy’s voice earns points for uniqueness and power. You can definitely hear the blues influence. 3.0

I don’t get what this is, really. It’s folksy at times, psychedelic other times, schmaltzy, and sometimes silly. I don’t care for it. 2.5

Haven’t heard this whole album before. It’s nice. A subtle mix of styles. It sounds like the late 80’s, but not in an embarrassing way. I like the idea of folk/protest music that is melodically interesting. Bob Dylan should take some notes. 3.5

I don’t think any ambient music is music I need to hear before I die. And this music in particular is nothing special. If you have a basic understanding of music theory and a synthesizer, you could compose this. 2.3

I really hated the first track. The second had a Gypsy vibe I could tolerate. Third- “Yellow jokes come out of your mind.” Nonsense. Song 4 made me feel itchy, so I gave up. I can imagine life in Germany (east or west) in the 70’s was complicated and that’s certainly reflected here. Not my cuppa. 2.3

Some great jams on this one. The title track is a personal fave. I never get tired of hearing it. That said, I think a double LP is too much EJ for me in one sitting. And I like him! It just felt like a lot of the same sound. I could hear echos of Benny and the Jets in several other songs. 3.8

Musically, it’s interesting enough, but it’s a stupid concept to base an album around. And, there’s something off about the mix. It sounds like a cassette. The bass is muffled and sounds far off. Overall the album is fine, but I’ll pass. 2.7

It’s interesting. Some of the songs are straight-up appropriation, like “Please, Please, Please” and “I’m a Man” while others are more original like “My Generation” and “The Ox.” Then there are the songs that just sound like other popular music of the era. It’s a decent album, but they hadn’t yet found their identity as a band. 3.0 Side note: I find “My Generation” to be ironically prescient given they’re of the Boomer generation. Poor Booms have been disparaged since day 1!

Yesss. To me, this is their strongest album in terms of cohesiveness. “Yellow Submarine” belongs on Sgt Pepper’s and of course, in their typical fashion, you have chamber music mixed in amongst experimental (and brilliant) numbers like “Tomorrow Never Knows.” Yet somehow, it flows. “For No One” is definitely in my top 5 of fave Beatles’ songs, so I love this album special for that. 4.5

The album title gives you a pretty clear picture of what you’re in for. I like it. It was delightfully old-timey even in its time and still delights. 3.0

I know Depeche isn’t for everyone, but this is a great album. It’s electronic music I can get behind— really creative instrumentation,, songs that have a memorable melody sung by a capable vocalist with a unique voice. 4.2

Serious question: Did Scott Walker compile this album list? I suspect he’s a trust fund baby who paid a bunch of experienced studio musicians to write some songs. Then he came in and improvised the lyrics. Those lyrics are ridiculous! But my favorite part is when he scats. 1.9, but 1.8 of that goes to the studio musicians.

I like that the songs are short and punchy- some vestiges of punk, I’d guess. There were times when his voice reminded me of Bono, but a bit darker. It’s interesting that the guitars take a backseat in nearly every song. The bass is more prominent and even though there are two guitars, they’re both just playing rhythm. Fine by me. I could live my whole life without hearing another guitar solo. This band always makes me think of High Fidelity, https://youtu.be/0eBh6xipKYk?si=gs546mPglvQzt-15. 3.9

It’s like The Doors and The Velvet Underground made a baby. Most songs sound earlier than 1976. I like it. 3.2

I’m familiar with a few songs from this album, but have never given the whole thing a real listen. I didn’t realize it was a concept album about Illinois. (Seems obvious in hindsight.)I like it. The orchestrations with the childlike backing choir and religious references give it a slightly culty vibe that intrigues. 4.0

So, I like Morrissey’s vocal style, but he’s such a jackass. The best songs on this album happen to be the ones where the lyrics are especially eye rolly. I also missed the rest of The Smiths. The instrumentation was only so-so. 2.8.

Nice swinging beat. If there were a club around here that played this type of jazz all the time, I’d be a regular. 3.8

Great album and it landed right when it was most needed. We were coming off the hair-band era and needed some southern rock that everyone could get behind. I was never a big Chris R fan in the day, but his scoopy vocals really add character and grit to their otherwise clean sound. 4.0

I like it, but probably more than I would if this were some random person’s album. Imagine is definitely the stand out song. His writing style is pretty straightforward and understated, which I like, but his celebrity and history definitely helps to differentiate his music from others’. 3.6

I appreciate what she’s doing, but it’s just not for me. I think the songs are too sparse and her singing is off key sometimes. 2.8

I mean, you cannot have been a college-aged woman in 1995 and not love this album. We all loved it. It’s a classic. Musical hooks, edgy lyrics, strong vocals. I don’t know what it would sound like to someone hearing it for the first time today, but for me, it still slaps. 4.3

TIL that UB40 released music prior to Red Red Wine. That's a good cover, but it's too bad that it's what they're best known for in the US. The politically oriented songs from this album are much stronger. The wikipedia version of how they recorded this is pretty interesting. Goes to show you don't need a bunch of high-end equipment and facilities to produce a solid album. 3.4

I have slightly less affection for the songs on this album than I do for Violator, but my comments are pretty much the same. Super solid electronic music. 4.0

This guy. His music has absolutely no edge, and the true me is 100% into it. He wrote “Coconut” and put it on an album without any fear of ridicule. Which, brilliant foresight. It’s a silly song, but awesome. I adore this album and would love to meet Harry someday. I imagine he’s still wearing that robe. 4.0

There’s a lot going on here, stylistically. There’s the expected classic rock sound, but with auxiliary percussion that shifts things into a Latin feel for a few bars; bluegrass; country gospel, some experimental synth sounds; touch of funk, and of course those tight CSN-style harmonies. It’s good and I like it, but it would take repeated listens before I really got into it. 3.6

Gah, I love it. It’s been a while. I listened to the remastered version with headphones while out on a walk and I swear, I was smiling the entire time. The organ on I Want You, the guitar and strings on Here Comes the Sun, the bass always, the harmony on Because, the bass drum on Come Together. All of it. So great. 5.0

It kicked off with “Take it Easy” and I thought this album would be a solid 3.4. But other than the radio hits, I didn’t like it. In fact I actively disliked “Most of us are Sad” (what sadsack BS is that?), Earlybird (that bird sound about made me insane), and “Train Leaves Here” (just a frumpy, lame song). The rest were ok. People loved this album then and still love it now, so maybe I was just in a mood. I did appreciate the harmonies. 2.9

I like it. The Afro funk is injected with an earthy feel by the Latin percussion. The horns are used minimally but add just the right amount of kick when they come in. There is some kind of prominent, rhythmic wind instrument in many songs that often sounded like a bird. At first I thought it was cool, but after a while it was all could hear. Perhaps mimicking the sounds of the Amazon? Idk, but my brain hyper focused on it. 3.5 (PS- Portuguese is a wild language)

Ok! That’s an album with a crescendo. The first few songs- all acoustic, very sparse and folksy- brought Dylan to mind. But also Daniel Johnson, who has a similar vocal quality. I liked it fine but perked up when Emmylou chimed in with harmonies. It started cooking from there. Sedan Delivery had an Iggy Pop feel in parts. And the final song, a reprise of the opening with loads of distortion on guitars and bass, reframed the lyrics, “there’s more to the picture than meets the eye.” Good job, guys. 3.9

So, this album hasn’t grown more sophisticated over the years, but it was a huge deal in its time and Brit has certainly suffered the consequences of its success. I’d listen to this a hundred times over before I listened to that Led Zep album once. Also, she had more vocal agility than I’ve ever had, so kudos to her. 3.0

I liked the classic rock/ blues inspired songs as well the experimental instrumental stuff. The goofy Brit stuff was a bit lost on me. That said, Ian McLagan lived in Austin later in his life and had a standing Tuesday night gig at a bar that’s since closed. He spent an hour or two chatting with me and a friend one night. Great guy. RIP. 3.4

I didn’t listen, but have listened before. I was a pretty big fan when they first came out, but I’ve fizzled since. I liked this album, but it didn’t excite me the way their first one did. I think maybe their sound is so specific that their new music stopped sounding original to my ears. 3.7

Listening to so many albums from the late 60’s really underscores what a creatively progressive and experimental time it was. There’s too much chaos, distortion, and spoken word for my taste- and it’s entirely too long. But I can see how this album sparked the punk movement and influenced a lot of well-formed artistry to come. 3.0

An impressive and pleasant debut album. I didn’t look into their history, but these guys obviously had some musical training. The music is very tight and precise. I imagine a live performance would sound almost exactly like the recordings. And the recording quality here is exceptionally good, especially when you compare it to another album from around that time, the Small Faces, which sounded like they recorded it on a cassette player. I would not listen to this by choice….but if it came on while I was on a yacht, then yes. Go back jack, do it again. 3.5

Jesus Christ. There’s nothing absolutely terrible about this, but there’s nothing notable about it either. I haven’t liked plenty of the well-known and loved albums on this list, but I’m fine to listen bc they have significance. This is just, ugh. Excuse me while I go listen to the new Taylor Swift. 2.7

I like the mix of things happening here. Some songs would make for a great bar band number, while others are more kitschy and then others are a bit trippy, in a fun-house kind of way. And of course, there’s ska in the mix. But it never feels jarring. Each song seems to lead to the next. I could do without the female vocalist, though. She’s out of tune and just singing in octaves vs harmonizing. 3.4

It’s not a bad album. After the first song, I would have gone so far as to say I liked it. By the last song, I liked it less, though I’m not entirely sure why. Each song on its own is solid. But you put them all together and it kind of leaves you going, “ok, enough already.” The vocal melodies are somewhat bland and drawn out. Maybe a stronger, fuller voice could have pulled this off successfully. Unrelated, the album cover neither matches nor compliments the music. Not a great artistic choice there, IMO. 3.0

To me, Keep the Car Running is a perfect pump-you-up song. The beat makes me want to do calisthenics. There are some other good songs, but that one is a stand out. There are other times where I feel the vibe is too dramatic and overwrought. Overall, I like the album, though it’s not on regular rotation 3.9

This is not the welcome back I was hoping for after a lengthy pause from this list (should have come back for Elvis Costello). It’s aggravating music, but I don’t entirely hate it. The songs have a form; they’re not pure chaos. There are detectable melodies and rhythmic patterns, making each song feel distinct. Not my bag at all, but it’s sorta interesting. 2.6

Early Beatles are delightful, but half of the delight is knowing how different they’ll sound in just a few years. That said, George Harrison’s intro on Roll Over Beethoven is kinda terrible. And I was surprised there were so many covers. I wonder if musical copyrights didn’t come about until later? Of the original songs, All My Loving is a standout. Great song. Not a fave album by any means, but still noteworthy. 3.6

Confession: I haven’t really listened to Steve Earl. Boy, have I been missing out. This is exactly my kind of country music. No gimmicks, just straight up. His vocals on this album remind me of Ryan Adams, who I suspect listened to some Steve in his youth. The only song on the album that shows its age a bit is the ballad, Little Rock ‘n Roller- due to the dumb synth tones. Other than that, this album totally holds up and I’ll definitely listen again. 4.2.

What I love about Radiohead is their ambition to do things totally outside of the mainstream and well ahead of the times. I’d describe the album’s timbre to be like a singing bowl in space. But there are also some jams- “Everything in its Right Place” and “Idioteque” are chef’s kiss. This is not exactly a relatable album, but it explores a lot of ground sonically and keeps me tuned in and/or meditative for the duration. 4.2

It never sunk in my memory that these were all Woodie Guthrie lyrics. Cool. The album has a refreshingly folksy feel overall, but there is certainly a rock influence that bubbles to the surface on a few. Good stuff. 3.8

I listened to this right after Mermaid Avenue. The difference in sensibilities was quite jarring! Electronic music is just not for me. Maybe because I’m not a dancer. This isn’t the worst, but I find electronic music to be tedious for the most part. It should make me want to dance, but it does not. Some of the beats and patterns are interesting, but I get bored of them so fast. Each song should be 30 seconds, max. 2.4

Great harmonies, feel-good classic 70’s sound.

Hmm, I don’t like it. I’m not really interested in music that cares more about making a statement than being music. It’s a dreamscape soundtrack, but not in a good way. The female vocalist was decent, though. 2.3

There’s a consistent formula at play here. Intricate rhythmic foundation, spoken word or vocal melodies being introduced on top, followed by layered vocal harmonies to take you out. I’m here for it! This is about as mathy as my musical tastes go, but there is so much delight delivered here, it’s like a spoonful of sugar to make the math go down. 4.0

Not for me. Punk-metal often sounds contrived to me, but there is something sincere sounding about this. I still don’t like it, but points given for seeming genuine. 2.5

Something about his voice timbre and/or the forwardness of his voice in the mix doesn’t really match the instrumental sound. Or maybe it’s that he doesn’t really sing so much as talk. I mostly liked the instruments (3.0)and mostly disliked his singing (2.0). 2.5

“Razor face” is gonna be my new nickname for someone. I truly do like how openly gay those lyrics are. I’m sure it wasn’t easy to be so open in 1971. Some songs, including the title track, didn’t hit for me. His voice sounded shrieky at times in his high register. The radio hits and a few other solid songs saved this album from being a stinker. 3.2

It has some similarities to Tribe, although I prefer those albums over this one. There are some nice grooves to be found here and the pacing of the rhymes is right in the pocket for my taste. Several songs have melodic riffs in the chorus, which I appreciate. And D’Angelo, yes please and thank you. 3.4

I’d never listened to this album and it had more radio hits than I realized. Just the sound of Michael Stipe’s voice fills me with feelings of nostalgia. To fresh ears, the album probably wouldn’t sound relevant today, but for me, REM is all about the feels. Night Swimming! Great album. 3.9

I remember The Libertines being the indi darlings of 2004. Their retro punk with its bawdiness and driving beat felt fresh and exciting then and is still gripping now. They keep it loose but tighten up when it’s needed. Some of the slurring and pitchiness of the vocals has lost its charm for me, but overall, I think this album holds up. 3.9

How frustrating for Kate to have to wait 37 years for a song on this album to hit #1. She has one of those very identifiable voices that you recognize instantly as hers. I like most of the first side and some parts of the second, which is otherwise too spooky and witchy for me. I’d like the whole album more if it weren’t so earnestly dramatic. All in all, though, pretty cool and original. 3.2

I don’t know how I’ve never heard of this band before. It makes me think of Cherry Bomb era Joan Jett. A lot of their two-part vocals are sung in a monotone or out of tune, intentionally. Somehow, it works. The bass lines are fun and their songs are pithy. I like it. I didn’t listen to the remastered version, but might give that a try. 3.9

Wikipedia says this album was experimental and influenced by post-punk. I sure didn’t hear that. There are several nice songs, but overall it’s unremarkable. Unremarkable enough that I think they could have trimmed it down by about 20 minutes. 2.9

Very interesting mix of sounds. The sitar was unexpected. Some songs lean more jazzy while others lean more…Ren fair. I liked it but I don’t think I’ll ever listen to it again. When is one in the mood for renaissance jazz? 3.4

Classic funk with purpose. The original bom-chicka-bom-bom. If I had a record player, this would be one of my picks to listen to on vinyl. 4.0

The melodies and chord structures of sound surprisingly western but with the vocals layered on top, it’s another sound entirely. I don’t know what the stringed instrument is with the tone of a guitar mixed with a sitar, but it’s nice. The drone gives some songs a trance-like feel at times. The upbeat songs appeal more to me than the trancy ones. And the bluesy ones are my favorite. 3.5

The opening song is a snooze IMO and an odd choice to kick off the album. There are other more fun songs, but overall I’m meh about it. I’d have to listen a few more times to really get it, but without having any substantial historical significance, I’m not inclined to listen again. 2.8

I’m a Damon Albarn fan. I think he’s made some really cool music and was way ahead of his time with the inception of The Gorillas. Plus, he’s a bit of a crooner. This album sounds quintessentially British- I mean, a whole song about Bank holidays! - which is obviously why it was so successful over there. I really like the mix of song styles here and find this album to be a really fun listen. 4.0

Whenever I hear this band’s name, I’m unable to associate it with a particular sound or song (except maybe an organ?) I read their Wiki page and saw that there have been dozens of different band members, so maybe that’s part of the reason. I liked it but it doesn’t stick with you. If I hear this album somewhere 6 months from now, I’m pretty sure I won’t be able to identify it or the band. Even the hit, Stepping Stone, I identify with the Monkees rather than them. Regardless, I did like it, so it’s a 3.0.

I don’t know any of these songs, though I have heard some of Bob Mould’s other stuff. Despite that, this album took me back to college. Or back to Door County, living in a pop-up camper and waiting tables. There’s an early Foo Fighters sound to it. It’s dense and solid, and/but very much of its time. 3.0.

One can’t argue the significance of this album. But if I’m honest, I don’t really love it. Some of the songs are iconic and in that way, I appreciate them. Others are just noisy and sloppy. Bless Nico for giving the ear something to relax into. I’m not a tastemaker though, and quite obviously Lou was. So, 3.9

It’s a solid 2.5. Not a style of music I’m interested in, but it didn’t really offend me either. It all sounds like a lightly polished improv. Most of the songs are 8 bars repeated for 5 minutes with some instruments getting louder or cutting out for a while, or embellishing on the original 8 bars for 8 more bars, and maybe sometimes changing up the rhythm. I often had a hard timing hearing the spoken parts, so those didn’t add much for me. 2.5

Great album. Angel voices singing in harmony is definitely my scene. The 60’s were such an eclectic time, musically. It makes no sense that Scarborough Fair would appeal to the masses, yet it did. I find it amusing that the one song Art sings lead on has no harmonies. Paul would rather not participate than sing harmony! Desultory Philippic was new to me. Cute! I wonder what Dylan had to say about that. 4.2

I really like this album. It’s clever and complex, but more than anything it’s fun. Lots of good grooves and each song is unique. Ms. Jackson is such an earthworm. One critique is that the album is tad long for my 2024 ADHD. 4.0

It was nice to listen to this again after so many years. She had a lot of force and power to her voice, but balanced it out with lightness. The hit cover doesn’t really fit in with the rest of the songs. It’s very different from her writing and makes me wonder what kind of career she would have had if she hadn’t covered it. 3.4

There aren’t any big surprises here. It’s classic honky tonk with songs that are still played the same way today. His voice is super smooth and pleasant and I especially loved the Willie song for him. 4.0

This album cover is eye rolls. I’ve recently decided Andy Warhol was a hack. Anyhoo, love the Billy Preston contribution to this. I don’t love the songs with lengthy improvisations, though. And songs like “You Gotta Move” make me scratch my head. It smacks of appropriation today, though that wasn’t on the radar in 1971. I prefer a song like “I Got the Blues” that is certainly very bluesy, but they’ve put a distinctly Stones spin on it. “Dead Flowers” is my fave song on this album. I like them best when the blues influence manifests as honky tonk. 3.8

I’m all about lounge life. It’s so smooth and calming. Sinatra really was one-of-a-kind. Such a voice. There is no effort involved and it always swings. What a wild time, 1967, to have this album and Sgt Peppers going head-to-head for the Grammy. I mean, how do you compare them? It’s like comparing Serena Williams and Simone Biles. They’re not playing the same game. Great album. 4.0

Wowsa. You can really hear the weight of empathy he carries for humanity and all of its struggles. The raw demos are so intimate without the energy that gets infused by the band. Hats off to him for having the confidence and vulnerability to release them as is. The Boss for President in 2024! 4.4

Gosh, I didn’t know his name at all, even though I recognized some songs and his voice. Keely Smith was also new to me. As a fan of the Andrews Sisters, this was right up my alley. So fun and expertly mixed and produced. Will definitely add this one to the swing rotation. 4.5

This has a mix of styles: rootsy blues, classic R&R, singer-songwriter, and tastes of CSNY. I didn’t really connect with this album, though. Neil’s singing is so bad at times (Mellow my Mind), it distracts. He can obviously sing- he manages those CSNY harmonies, so I don’t know why he chooses to not be on pitch. I’m sure with subsequent listens I’d get more into it, but I just don’t think there will any. 2.9

What an origin story! Getting connected with guys from The Strokes, Blur, and the Yeah Yeah Yeahs is quite an introduction to western audiences. Looks like they played at ACL a few years back. The blues riffs at faster-than-standard-blues tempos on top of the driving persistent rhythmic patterns makes it feel both familiar but not. It’s all very tight and precise. The production quality is high without being overdone. I enjoyed it! 3.8

The instrumental aspects are pretty decent. They’re dated for sure, but I mostly liked the sound fine. I didn’t like the vocals and lyrics though. I couldn’t understand a lot of what he was saying - his pronunciation was so odd, which could be contributed to the Welshness. But mainly, the way the lyrics fit with the melody often felt clumsy. The melody seemed like an afterthought. 2.6

Queen = Elton John + Black Sabbath. There’s no reason that should work, yet it does. It’s slightly jarring to go from the epic “Stone Cold Crazy” to the hymn-ish “Dear Friends.” And what is “Bring Back that Leroy Brown??” It defies genre. I guess all of that goes to show their range and agility as a band. Some of this leans more metal than I would like (gimme that operetta!), but it’s bold and creative and I can see why love of their music has endured for so long. 4.0

I’ve never heard this band and I’m surprised. It reminded me of Flaming Lips and, though I’m not sure why, New Pornographers, while the singer’s voice brought Damon Albarn’s to mind. Stylistically, it dabbles, so as an album, I don’t really detect a connecting thread other than that every song sounded somehow spacey. Like they made this album in 2000 on some other earth-like planet. I like it and probably would have liked it quite a bit in 2000. 3.8

When this album first came out I tried to like it bc all of my indi-rock/pop-loving friends were ooohing and ahhhing about it. I wasn’t so in love but I got tickets to see them play, which is where I decided I hate this band. The music isn’t hate-worthy really. It’s atmospheric background chill vibes, which is decent enough. But OMG, do they take themselves seriously. Their affected vocal style combined with the single beam of light focused on whichever one was singing made me want to punch faces. To this day when I hear this band, my dislike is renewed. Fine songs, annoying performers. 2.6

This has a post-apocalyptic feeling to it. Like any minute, there’s gonna be slow moving zombies staggering about. I don’t hate it! The song with the reed instruments bellowing like dying geese?I couldn’t help but chuckle. There was 2 straight minutes of that! Fully committed. There are moments where it’s right in the pocket and it cooks. And then it’ll abruptly pivot to some chaos, making you long for that pocket moment again. I guess that’s their trick. 2.8

George, what a voice. Amazing control and musicianship. I was prepared to be blasted with sounds from the 90’s with this album, but wasn’t really. There’s jazz, some raggae beats, and the croonery stuff that all give this a timeless feel. I like the upbeat, tambourine-heavy songs better than slow melancholy songs, but I think this album holds up. 3.6