How did I already get another Stevie Wonder album from such an exhaustive list? This one was too slow and cheesy for me, should've been called Blabbering Book. Superstition is good but not enough to carry the rest of the setlist. Maybe alright for chillin' in a lounge but not my cup of tea (too much honey).
Given the subject matter of many of these songs, how does it still manage to feel so white and wimpy? I found this one a bit boring, they've gotta have better albums than this because they have a handful of good songs and they aren't on here. A Hazy Shade of Winter is good but is cancelled out by At the Zoo (elephants aren't even dumb). Not enough good ones to justify a higher rating or a relisten.
The first song and the last song are good, the entire middle of the album is meh. Bowie is great but this album is a pass for me.
Kate Bush was way ahead of her time and it's pretty sad that it took a feature in Stranger Things to even be heard of in the US. This is her best album but everyone should give her others a listen. She's magic.
This holds its own as a debut release but I kinda wish I didn't hear the 2015 Remaster and could listen to the raw original. It's solid for the time but also pretty typical as far as lyrics and guitar riffs go. I won't judge it too hard because I actually like metal, but its too "rock" for me.
This album will always hold a place in time for me and listening to it really brought me back to the early 2000's (but maybe not in the best way). Every angry teen grasped the vulgarity and senselessness at the time but listening to it now felt yuck at times. All of the stupid skits and the overly violent, misogynistic, dark songs I once loved were just too hard to stomach this time around. That being said, Eminem is still a beast and the music hits. There's some great songs on this album that I do love, but I will play them individually henceforth.
This album is from 1967 and it shows. Some interesting use of of background sounds (was that wind blowing? a blacksmith?) that give off psych-rock vibes and can hear a jazzy influence but it's just too folksy for me. This one didn't age well. That being said, T-Buck does have an incredible vocal range and gift for expressing emotions. This might be for you, if wispy tones and wailing are your thing ::cue pan flute::
I thought I liked Sinatra but this was pretty hard to get through. This album has a lot of songs (spoiler alert: they all sound the same) but thankfully they're all relatively short. This one is too much "dim the lights, pine over lady, sad jilted lover" vibe. His music will always be reserved for Christmas songs for me.
I like the experimental and ambient feels of this album but altogether it's pretty drab. Jesus, Etc. is the standout for me. Jeff Tweedy's voice has that Americana raspiness you gotta love, it gives me Neil Young and Dylan vibes (whom he as both opened for and played covers of). I like Wilco but much prefer their collabs with Mavis Staples. I'm glad this album was in the list though.
Once in a Lifetime is obviously great and Crosseyed and Painless had me tapping my pen. A few of these songs got me going but overall the album didn't do much for me. Some songs felt chaotic and thrown together. I think there's probably better albums of theirs out there and I'm happy to investigate further.
I liked listening to this album and really should have checked them out long ago. Like everyone in the entire world, I only knew of Song 2 and that's rather unfortunate because its not even the best song on this album. Death of a Party for the win. Will revisit.
Classic opening song but should have ditched it halfway through the album because the rest of these songs probably aren't getting much play. The album is smooth and soulful but nothing I'd write home about. I like his groove but not the one he left on his wife's face.
Listening to this entire album all the way through is a journey for sure. There's a lot of good songs but there's also a lot of bullshit. Altogether its eclectic and lacking quality control (do we really need 30 tracks here, guys?) Some of them are borderline circus piano and I really disliked Bungalow Bill (probably because I feel like I know this person). What did you kill? My ears, ghat. Did I enjoy this? Not really. Does it below on this list? Absolutely, yes.
I think people are pretty hard on Coldplay to the point where one might even be embarrassed to say they like them. Thankfully, I'm not in that boat but I can admit they have a few good songs. My biggest pain point is they seem like they aimed low and didn't take any risks for the formula they're working with. They have a recognizable sound, good hooks, and Chris Martin has a great voice but they just fall flat. This album is dull and designed to capture the ears of mass quantities of boring, simple people. I forgot it was even playing and I hate the cover art so rounding down here. See, its fun to hate Coldplay.
Although it took me by surprise, I really like the change in main vocals on this album. I previously thought no one can top Stevie's voice but then a Buckingham song comes on and I had myself a great debate. I think the draw of this album is that manic, disorganized feel that it does really well. It goes from lo-fi and mellow to banging on a shed and I love it for that. No other band could do this better so caps off. 3.5 stars because I love Fleetwood Mac.
I enjoyed this album, it starts out strong then sounds the same but I'd be lying if it doesn't make you really want to understand Spanish. BVSC is much better than most other bands in this genre. Very smooth, very playable as background music.
I love that "krautrock" is even a genre and was actually impressed this album was as listenable as it was. Some of the songs are too long and a bunch of them sound the same though. I had fun listening to it nonetheless and def appreciate their bizarre material.
I've never heard of this band and now I know why. Pretty BUMMED this album even made this list. It sounded like they recorded this underwater. Very mediocre and forgettable. Dare I say some of the tunes/cadence/riffs sound like they were "borrowed" from other songs by other artists (who incidentally do it much better). I will never listen to this band again.
You expect to see albums like this on the list and it deserves to be here. There's no doubt this was groundbreaking at the time but I do think you had to be there. He's a firecracker for sure, but it's 1 or 2 great songs repeated 10 times just with different lyrics. But it's Little Richard and he's classic, woo!
This is a solid album but it's just too damn long. I had to break it up over two days. There's some really good classics on here and also some skips. This would have been way better if cut down to one disc. I hated the harmonica song at the end and the sound effects in the background of people talking and moving shit around really bugged me. It did not add any charm and the album art is some of the worst I have ever seen. I thought I sorta liked this but after reading my review, downgrading.
I liked this album quite a bit despite its muffled, unpolished, gritty sound. The guitar really shines here and there's something about the whole thing thats very carefree. Maybe they didn't give a fuck how it sounded and that's what's good about it. The fact that it came out before "grunge" and "garage rock" were even a thing is pretty monumental. It feels dirty and natural, like you're there just hanging at a jam session with friends. There's no golds on here but it's full of truth and passion. Worth a listen.
This album has a lottt of filler and I'm surprised it makes the list because her only popular song is a cover. She has a good voice but this feels like "white people soul" and, aside from Son of a Preacher Man, I don't care for it.
I don't like the band name but I liked this album. It gave me Jethro Tull vibes with the organs and flutes. It's very mellow and makes you want to chill out and smoke a joint after dinner. Very solid, will listen again.
This album was really revolutionary in its day and holds up so well. It sounds as good now as it did 30 years ago. Massive Attack basically invented trip-hop and I love them for it. This album has a lot of great tracks before they really found their signature sound. I like some of their other albums better but this is a masterpiece as far as debut studio cuts go.
I get that Elvis is an icon but this album was so uninspired and mind-numbing, I couldn't wait for it to end. There's a few earlier Elvis hits from other albums that are tolerable but I found nothing redeeming about this collection.
This felt very caught up in the 90's and I didn't hate it but I also didn't like it. Some good horns and melodicals in the backgrounds but not really vibing with the singer's voice. I don't need it, farewell.
I want to like this one more than I do. I was the sweet spot for when this was released and it is definitely feeling nostalgic. Missy undeniably deserves to be on this list, just not for this album. Still pretty solid so 3.5.
Not sure why I have actually never heard one iota about this man, band, album. Really enjoyed it and will listen to more by him. Def channeling the boomer era and giving me dadvibes, but enjoyable through and through. I dig his voice WELLER enough.
How did I already get another Stevie Wonder album from such an exhaustive list? This one was too slow and cheesy for me, should've been called Blabbering Book. Superstition is good but not enough to carry the rest of the setlist. Maybe alright for chillin' in a lounge but not my cup of tea (too much honey).
Finding a way to listen to a full Neil Young album online is like some sort of quest now but it's so worth it. This album is marked with all his signature melancholy and withdrawn vibes of post-Harvest, it's a hidden gem for sure. See the Sky About to Rain is incredible, many good ones on here. I loved this whole album and I miss hearing him come up on a Spotify playlist.
The album title makes a big claim and Ray doesn't back it up. Too much orchestra, not enough country. I'm not sure why this is scoring so highly elsewhere, it's monotonous, repetitive, long, and boring. Dear Album: Put These Chains Back On My Heart because I Can Stop Loving You.
Very cliched but very fun. This is all the things you want from glam rock: ridiculous, poppy, sonic, silly. I bet it's even better in a huge stadium full of people with headbands and glitter. I knew a lot of the songs on this album, but wasn't familiar with the title track (which is actually quite good). The whole thing is so satisfyingly bad, that it's actually good. Though it could be cut down by about 20 minutes.
This was an interesting listen for me and I didn't completely hate it. I sorta liked the songs that brought in the more tribal aspect and give them props for creativity here. Blending any other genre into demon shriek metal has got to be tough, nevermind adding indigenous drumming and chants, bravo. By the end, I thought this was the soundtrack for a movie like Apocalypto or 10,000 BC.
This album might be alright if you're 85+ years old or currently standing in an elevator. Listening to a recording of live, improvisational jazz will never stand up to being there in person so a lot is already lost there. This type of playing takes a lot of focus, adaptation, and listening on the musicians' parts so I'll give it that. I did like that there were no horns and the bass was a star player at parts throughout. However, this was just too boring and repetitive for me. Meh 1.5.
Decently mediocre as usual, some good ones but not my faves. Solid listen, not mad at it, just never really been a big Stones fan. I like the album art and I did find one track that made me go "oh yeah" so high 2's.
Despite the wide variety of tracks, this album was downright annoying to get through at way too many points. I don't like the main guy's voice and the vocalist changes are no reprieve either (they're actually worse). Is this whole thing a joke? Not for me at all.
Starts good then lost me. I didn't like the super long intro on the last song (By the Time I Get to Phoenix) and 2 out of 4 on here are remakes. Doesn't do it for me.
You hear one minute of this album and just wonder how the hell am I going to get through 40 more? ::Cue early memories at Nanny and Grampy's house:: The beginning is pure cacophony, like a moving truck full of instruments just flew off the road to avoid a puking cat. Then (almost exactly halfway through) the madness lines up for a few brief moments and it leaves you wondering if you're really just missing something, not understanding it or appreciating it. I'll admit the last half only improves by a small margin and listening to the full album gave me a physical stomach ache. But I can respect the free form style, the fast-pace, and the experiment. It's actually quite difficult to drum this unrhythmically and to make a saxophone squeal like that. I found myself referencing the minute's time to see which "song" I was on (and make some kind of correlation) which made it slightly more tolerable. My ears don't even really know what to do with this. It's like death-metal but make it jazz. It's either a 0 or a 5, no doubt it will be polarizing. I guess I'm glad I heard it but I would never put it on.
This is a great album, I knew all of these songs and didn't realize they were all on the same one. Every track is listenable with Our House being the weakest (however, still good as it shows their range and works on this set). Neil's voice is so good with the rest of the band, I of course like them better when he was involved. Very solid 3.5.
This album is soulful, smooth, and a classic but it's way too long. It's full of covers (many with several remasters and various versions) and it's just not really my taste. He's great at delivering emotion and his voice has it but after 2+ hours I was done. The horns started having too much of a big band sound and I just wanted it to end. Knocking points off for the length since it left me feeling annoyed.
This album is just ok, nothing spectacular. I enjoyed the harmonica in a few songs, however any good feelings and enjoyment were promptly erased by Bitter Sweet. I couldn't stand that song, demoting.
I had high hopes for this album because I really only know her hits and wanted to give her a fair shot. Much too long and did not dig the cabaret circus-vibe that showed up on a few. I was even more disappointed to find out this was mostly produced by DJ Premier. It's mediocre at best but she does have an impressive voice and is more talented than just a pop bop so I'll give her that. Nothing I'd go back and listen to.
I've been a fan of New Order long before this album so I was excited to see it on here. This isn't my fave by them but it does showcase their mix of styles. Sooner Than You Think is a really good song. This album feels dark and moody but is also somehow upbeat, so that's New Order for ya.
This album is full of great songs but nothing that pushed the boundaries of what she's capable of. She has mass appeal and a wide audience (is there anyone who really doesn't like her?) so this might be why she doesn't stray from what works. She's authentic, she's classy, she's a powerhouse. This album deserves praise and is really solid, her voice is incredible. Pretty hard to pack this many hits on any album nowadays. Just wish she really gave it to us, try something off the menu.
This album was much better than I expected going in since I only knew "Bang a Gong" prior. It has a similar vibe throughout, a bit repetitive but listenable. I didn't really know what kind of music T. Rex was making but I wouldn't really consider this glam rock. It's fine.
This is a cleaned up, sober, mediocre version of The Doors which explains why I've never heard of them. I rather liked the last song, despite the length. The rest feel like what comes up on Pandora when you type in "The Doors" and really want to hear a specific song but have to wade through all this other stuff to get to the payoff. The band name is very lame and the singer's voice isn't doing it for me compared to Jim.
This is everything you want from heavy metal and I can appreciate the major influence they had on the genre (basically creating it). The lyrics are a bit too theatrical for me, maybe revisit some tracks on Halloween, though I did like it a lot more than expected. Good: rapid drumming, can actually understand the lyrics, no overuse of growling. Bad: recording quality, Teacher's Pet.
This album surprised me, although not timeless, it's pretty decent (it's definitely stuck in the 90's). Good beats, good mix of sounds, good ambients. I liked the female vocals too. However, a lot of the songs are repetitive with no real standouts. It was good as background music while working.
Fantastic. Impressive number of singles on a debut album and holds up really well. I thoroughly enjoyed the whole thing and knew nearly every song. Even went back to "Eruption" for a couple more listens, legendary playing. I didn't love "Ice Cream Man" but very solid.
This doesn't have the typical Stones feel in my opinion and I think I liked it better. Maybe I'm not old enough to be a real fan. This album has a way more bluesy, folk-rock feel than I expected but the production is terrible. One great song and then a bunch of ok ones.
I recognized the first song and like it so I thought the rest would be pretty good. But it ended up feeling too sappy and a bit boring to me. It sounds like just another record from this time and isn't soulful enough. Too vintage, too much love, and too weak overall: 1.5
There's a lot about this album that is done well and I enjoyed it, although the double-solo-album format makes it much too long. Speakerboxxx has a lot of P-Funk influence which I really like, it shifts through several different styles pretty seamlessly. Top scores for creativity and depth on disc 1. The Love Below however, is a bit of a letdown. I really love Andre but this was just indulgent and juvenile. It takes the album down a notch, regardless of all the hits. There are good songs but I don't like the character skits between them all and I wouldn't play disc 2 again. Still gotta appreciate their individual talents and this avant-soul concept. Not as bad as ya'll made it out to be.
This album is great through and through, he has such a talent for painting stories for the working class. It's very New York (before the internet), it's like memorabilia from a more innocent time (all the feels). How is "Vienna" not a bigger song? I love everything here. In fact, if you don't like this, you're not American.
This album is pretty sleepy and ho-hum for something called "Night Life." It also didn't age very well, the sounds are a bit geezer for me. It also had a hint of Beach Boys meets Sinatra that I didn't really dig. That being said, Price does have a quintessential country baritone voice and I liked the spoken intro, that was a nice touch. No doubt he makes the list for his tempo change to 4/4 and his pal Willie Nelson doing backing vocals and bass here. But if I'm doing country, I want all the tropes (rusty tractors, old dogs, and tears in beers) not seedy nightclubs, cigarettes, and depression. This was like an alcoholic blues album for a very lonely old person who sits in a rocking chair and smokes pipes. Tarantino should remash this as a movie soundtrack. I didn't hate it, there's a time and place perhaps.
My ghat, what is that buzzing sound? The recording quality of this album is abysmal to the point where it's actually distracting. Is that why it's considered "garage rock"? Because this beach-y piano says otherwise. The originals are slightly better than the covers (also too many of those). I can see how people think this influenced early punk but I'd say more The Black Keys really. This sounded like it was from the 50's and was just ok. Service Announcement: You aren't punk if you button the top button on your collared shirt and please stand closer to the mic next time. Oooph, there won't be a next time.
This is like the Beatles crossed with Dylan, with a lot more jingle-jangle and harmonized singing. It's not unpleasant but it's not something I'd play either. Why are there so many albums full of cover songs on this list? The darker, more ominous ones like "Here Without You" and "It's No Use" are a smidge better. It's easy to listen to but you can also forget it's there, middlin.
I think this album is pretty good, especially for coming out in the 90's. It stands out as different for its decade and definitely inspired Sufjan Stevens, Rilo Kiley, and The Shins to name a few. I like his whispery vocals and introspective lyrics. Very vulnerable and melancholy, also a little haunting given his life story. This album is for anyone trying to cope with something, especially a moody teen. It holds up well, very emotive and beautiful. I dig it.
Starts off good then tapers off, some interesting sounds and fusions going on throughout. Pretty easy to listen to, groovy but nothing super exciting. At least it's composed and not freeform, very 70's. Jazz and synth are hard to mix well so I'll give it that. I like the eclectic use of various drums. For perspective, if this were in my living room it'd be phenomenal.
This album started off strong but couldn't hold it all the way through, there's just too many tracks and some are too sleepy. Although, each one is it's own journey (and some are only 20 seconds long). I did really like "Um Girassol" and, unsurprisingly, a lot of the songs have "Estrela" in the lyrics which caught my ear. It's a diverse assortment of styles, very progressive, and I enjoyed the listen. Portuguese is a beautiful language and this band is better than most I've heard in this genre. Solid 2.25.
This album is poetic and emotional, but it has a specific sound that I'm not sure I can fully appreciate ::cue several very high vocal key changes here:: It's a bit like someone reading their diary aloud in the voice of Mary Poppins but make it Canadian. She's definitely unique but the tone and sound just aren't for me. I mean, she's playing a dulcimer here, that sums it up enough. It's not about to make you jump up and sprain an ankle from jiving.
This album is so 80's it hurts. "I'll Wait" is the best track but I wasn't impressed otherwise. I'm not a huge fan of "Hot for Teacher," the song itself bugs me and the track title sends it over the top. Don't even get me started on "Drop Dead Legs," I despised everything there. I like the album art and there's some good guitar riffs but this felt mundane and a bit cliche'. Some classics but not enough to warrant a higher rating.
Given the subject matter of many of these songs, how does it still manage to feel so white and wimpy? I found this one a bit boring, they've gotta have better albums than this because they have a handful of good songs and they aren't on here. A Hazy Shade of Winter is good but is cancelled out by At the Zoo (elephants aren't even dumb). Not enough good ones to justify a higher rating or a relisten.
I def dig Prince but a lot of the songs on this compilation came off as a little cheesy to me, like a bad 80's video game backing track with some hip thrusts thrown in. There's a lot to unpack here so it warranted a repeat listen and was better the second time around. Still, a lot of sound effects and little melodies that tack it permanently to the early 80's (not necessarily a bad thing) that I didn't need. It's a lot of electro synth and drum machine for 9 minutes at a time and all those little beeps and pops sorta overshadow his guitar talents. By the end, you feel like your toes have been licked and your splattered in his sweat (also not necessarily a bad thing). Rounding up because Prince.
This album is tolerable, it has some good harmonica, up-step banjo, and their voices are perfect for the genre. A more fitting album name would have been "This Circle is Never Broken" because it's like a run-on, never ending loop of knee-slaps. It's way too long and very repetitive. It's fine if you're a pilgrim, have a rag designated for cannonballs, and know anyone with "belle" at the end of their name. I didn't hate it but I wouldn't play it again.
Fatboy Slim has a recognizable sound and this album is a fun listen (even more fun if you get the title). That being said, I don't think he's a standout in this genre, just more recognizable and consumable to the everyday goer. Even if you aren't grinding your teeth while listening to this (and therefore don't get the title), this setlist is still great in the background while you're doing other things, like if you need to take a shower but are in a hurry for example. "Give the Po' Man a Break" had me smiling but "Michael Jackson Tina Turner" was a bit silly. Still not a bad take and I presume there's another FBS album on here, because this isn't his top work.
Drum rolls, looming electric bass, heavy power chords, and the simplicity of Ozzy. What's not to like. This album is very solid, even the deeper cuts are good. This must have been bone-shattering when it came out in 1970. I wish I saw it. I can't imagine having to listen to other music afterwards. These riffs are off the charts, I loved it from top to bottom.
First listen through a full Pixies album and it's ok enough. You hear people rave about them all the time so I had high expectations. I know some of their songs and do like their sound but this didn't move me like I wanted it to. The songs I know and like weren't on here but there were a few good ones I'd revisit. I think the album is good as a whole and better than a lot of other things that came out in the 90's. It's like experimental surf rock for people who wear jeans and black hoodies to the beach. I liked it just enough to be curious about another full album by them (which I'm sure will appear). They managed to age pretty gracefully, stay out of taglines, and are still somewhat relevant today so props on that. Go Beantown.
This album is pleasant enough, good for a spring day outside, but overall pretty forgettable. Most of the songs are too long and sound more like drafts of songs than full fledged compositions. The whole album is just a 2-string backing track with Van mumbling over the top (and he has a mouthful of mashed potatoes 85% of the time). This felt a bit too improvisational with some wailing and horns thrown in for my likes. It's still better than a lot of other albums in this list though.
I finally feel like this is what 1001 is for as it's pretty unlikely I would have heard this album otherwise. I really liked it, like a lot. Great listen all the way through. Worldly, tribal, traditional, chanting, energetic, relaxing, it has it all. The songs are beautiful and the whole project is mesmerizing. Check out Tinariwen if you're into this.
I don't really know how to process this album. One minute you're sitting there tapping your toes and the next minute you're wondering if you just witnessed a murder. A lot of the songs sound the same, although I did recognize In The Pines from Cobain's reinterpretation (also much better). I get that it's from the 50's but still too much sexism and too much Jesus for me. Ya'll can keep yer murder ballads, thanks.
This gets top billing for #1 sad boy album and feels like the soundtrack to every college kid's melancholy phase of the '90s. The tones are eerie, his voice is haunting, and he's very talented. It's beautiful and full of emotion, just not the emotion I'm feeling at this point in my life. I do like it, I just don't want to feel sad right now. But you can't help but think about the tragedy of it all when you listen to this front to back. I'm not crying, you're crying.
I sum this album up as "old feels." It's pretty bland and sounds like a continuation of basement tapes because it's a bit all over the place. Some boring noodling, a bit of jingly jangly, throw in some Americana and here we are. It's ok but nothing stands out.
This album is super experimental and ahead of it's time (like all her work IMO). It's far better than a lot of other stuff that came out in the 80's but it's a bit too theatrical for me. I like a lot about it (except Suspended in Gaffa) but it also reminded me of a really dark Disney soundtrack with little muppets popping out everywhere with hisses and chants. You're transported on this wild journey for sure and it's no surprise that Bjork cites this as a fave or that it took KB 2+ years to craft (she's obviously talented). I really like the variety, from witches to bagpipes, she pulls it off. Night of the Swallow is brilliance but not for the mainstream. In the words of Uncle Ronnie... "fricken bizarre." She's taking big chances and they're working.
I have no doubt this band would be fun live but this album is just so all over the place I didn't like most of it. It's way too silly and honestly made me laugh at a few parts before I realized they were serious. The fusion of so many styles is just not working. I like a little more cohesion throughout an album and this was really the worst of all worlds. Tacky vocals, heavy metal guitar, outdated synths, politics, and some horn toots slapped over the top, no thank you. I wish they had a clearer style and literally never uttered the words "Ghetto Soundwave" together again. Their attempts at ska and hardcore are very weak. This album is as dead to me as Freddie, please leave it in 1987.
I've listened to Animal Collective before so I welcomed this entry on the list. They have a very recognizable sound, super complex and ethereal. I love their mashup of various sounds, autoharps, synths, sequencers, samples, piano keys, household objects, etc. Their signature feature is probably the repetition of vocals that are harmonized into delay pedals (read as ::mid-word pauses::). They put the art in "artistry" and have really carved out a little niche in lo-fi indie rock. Their deep lyrics and hypnotic loops are so euphoric, it's almost like they wrote these songs while experimenting with psychedelics (wait a minute... ::side eye::). Keep doing what you're doing AC.
The sampling, beats, collaging of styles, and energy here all deserve high marks. If there were an instrumental version of this album, I'd love it because the Dust Brothers crush it. That being said, Mike D.'s voice is so f-ing annoying I really can't take much of it. For this reason, I've never really liked the Beastie Boys. I can't get past a bunch of white boys shouting nonsense rap burns at me repeatedly. Truly a shame because they definitely have some good points and are very original. I liked some tracks on here better than their usual comedy rap ballads so I'll give them that.
I listened to a lot of Arcade Fire in the early 2000's but am not super familiar with their later albums. I remember when this one came out and recognized a couple songs right away (which is always fun on this list). The opening track combo is super strong and, although they can stand alone, this album is definitely better digested as a whole. Sprawl II is excellent (especially for fans of Blondie) and there's some other standout tracks too. This project is much tighter and more concise than their previous works. I almost missed the madness but really liked it overall. AF somehow manages to evoke a feeling of nostalgia but also distrust for the future. I'm a fan and I suspect there will be more AF on this list because they are pretty powerful.
How do you go from "Without You" to "Coconut," this is bonkers. I did like "Jump Into the Fire" and the album art. There's maybe three good songs and then a bunch of snoozes. A lot of it reminds me of kid songs, it's also too schmaltzy. Not a fan of this Harry.
This album was the pinnacle of 90's grunge-alt in all the best ways. The timing was right for me, it felt like a defining era and I will always love Incubus. I don't get why people hate on them. There's so many good songs on here, I don't care what people say. "Stellar" is just that, meet me in outer-space baby. Hearing this album again made me realize how much "I Miss You" Incubus.
How does Morrissey manage to sound so morose on top of these light-hearted rockabilly guitar riffs? They have a recognizable sound but, aside from a few songs here and there, I've never really been that into them. I do like that they purposely never used synths (at a time when those were dominating) but I don't really need politics and anti-establishment in my jangle pop. I'm glad I listened to a full album by them but a lot of it sounds the same. Morrissey is too pretentious, the lyrics are weak, and nothing stands out here. This album is too centered on corporal punishment and controversy for me, it needs more protein.
I think Kendrick's note on the cover art "A Short Film" rings true as this is a more immersive hip-hop album than usual for the genre; it illustrates a full storyline in a cool way and is better listened to all the way through. He overcame immense challenges (hood life, a full stutter, murders, homelessness, etc.) and changed hip-hop forever (in a positive way). His lyrics are progressive and socially conscious, his songs actually have melody, he uses complex rhyme schemes, and he can actually sing. I think it says a lot to be in this genre and not be offensive or raunchy and still manage to be mainstream. I give him a lot for that and this album slays. Bitch, This is My Vibe. Solid 4's.
Comes out the gate strong but then falls off. I didn't like the song "Girlfriend" or the other slow ones but I can see that this was probably a disco bop rager when it came out. Not his strongest work and not really for me.
This album is typical early 2000's pop and I'm not really the demographic for it. There's some good beats and the production is fine, you can really hear the Pharrell, Timbaland, and Janet touch on a lot of it. I thought it was ok, nothing stood out and was a bit long. I like some JT songs but they weren't on this setlist. The slower boy band songs scattered throughout are too cheesy and take it down a notch.
Did this guy lose a bet? The whole album is too theatrical, overly dramatic, and campy for me. It completely creeped me out and I couldn't wait for it to end. Who is this bizarre sleaze ball and how do I get as far away as possible? If there's something to like here it was definitely missed on me. In one song he's just screaming "bang, bang, bang" into my ear and in another he's turning frogs into cows. Not for me at all.
As far as BrittRaga goes I'm not at all familiar with UB40 (but I do like The Specials). They sound pretty similar and I enjoyed this album. The heavy dub-vibes surprised me a lot (wow, 1979). Very strong bass lines, cool incorporation of keyboard sounds (something no other reggae was doing), and good use of horns create a very likable set. I will be revisiting this one for sure.
Some of these songs sounded familiar but I couldn't tell if they just sounded like something else or I've actually heard them before. I did like how a few of the songs build over time but a few of them are also too long so it cancels out. The singers voice goes with the music nicely and I like the fast song/slow song combo throughout. Nothing super memorable but nothing bad either. I enjoyed it and could hear more by them. Terrible band name though.
I haven't listened to Jethro Tull in a very long time and hearing them again made me realize how good they are. This album showcases all of their talents and is rock solid. They have such a unique thing going, I was impressed with how well this one held up. Even the songs in between the hits are good.
This was an assault on my ears. A bunch of random noises + some electronic beats + eclectic cymbals + static + cat screech = this album. The lyrics are complete nonsense and I didn't like the chanting vibes and repetition.
This album surprised me because I didn't expect this sound for something from the 90's. I like his twangy voice and the 12-string guitar. Overall it doesn't feel as deep emotionally as I think it could be for this vibe but I liked it well enough. I listened to "Stars n' Stripes" a few times because of his mention of a "handycam" which I absolutely dug. I think once you warm up to this it gets better. It's a bit sublime and melancholic but also grungy somehow.
This noisetrash for music really grated on me and I struggled to find something, anything, even a little tiny bit redeeming but could not. I don't mind some distortion and effects if used right but this whole album just bothered me. Everything is drowned out and the singer sounds like he's singing from underneath a very plush (and badly stained) basement sofa. Please stay there.
The only song that really stood out to me was "The Cross" which I liked a lot. The rest was pretty typical and this album is way too long. There's a lot of filler and a lot of squeaking. I get that this double disc set was attempting to showcase all of his variety but I just couldn't get into a bunch of it.
How is there already another Ray Charles album in the list? I didn't like the first one and this one is only slightly better. It doesn't age well, this big band stuff will always sound dated. Not for me.
This album is just a drunk Brit singing pub rants to his mates. There were a few good moments but it just kept dragging on and on. I liked the energy but it's pretty noisy and not well produced. There's much better early punk and this could use a bit of polishing.
This album is often overlooked due to Led Zeppelin's other massive hits but it deserves a serious re-listen (LZ fan or not). It's the most varied in style and the song "Tangerine" truly belongs on their top list. The blues vibe and build up on "Since I've Been Loving You" is so good you're just dripping in emotion by the end of it. I also really dug the more acoustic and folksy songs on this album that I previously forgot about. You can feel the passion throughout. This is real music people.
This album will keep you engaged from start to finish and you'll never tire of listening to it. You hear something new each time through and it's as good as everyone has always said it is. It's atmospheric, moody, foreboding, and layered. It's also upbeat and promising at times and it aged very well. So complex but not overly produced, Radiohead does it again. You will see more from them on this list. Solid.
I've never heard of this band but this album is actually pretty good. I don't love BritPop but this was better than the usual. It's fun when they sing "bruvah" innit. Upbeat and jammy all the way through. Simple formula but it works for them, good for 1995.
This man is a force to be reckoned with and it shows. Less than a minute in and you just know there's something special here. Very strong full album, fun listen, really enjoyable, and not even too long. I just convinced myself that this album alone can convert someone into an Elton fan. It fucking slays.
I was a little confused by this album, it sounded like a muddy Jeff Buckley. I only gave it a re-listen after reading the insane backstory (which is likely why it even made this list). It's a lot of fragmented ramblings of a mad man but there's something interesting about his voice and the way you literally hear the breakdown and agony as the recording goes on. It's pretty incoherent by the end but that's all part of the madness.
This album is iconic in so many ways, from the opening riff to the very last note. It's a landmark achievement that successfully bridges different worlds (music, art, fashion, multiple generations) and is also a feat in graphic design for the time. It will always be great, it will always be at the top of lists, it will always be impactful, it's The Beatles!
This guy has an interesting voice but aside from that this album didn't really strike me as anything memorable. His music sounds like how he looks and his name makes me go "blahh-arrgh." It's downbeat, depressing, and a bit haunting. It doesn't stand out against the other sad boi albums we've had in the list but I did check out some of his other work, which was better. He's ok.
I get that this was the 60's but this album is too singy-songy for me, it sounds a bit hokey overall. They have some nice harmonies but they sound too much like the Beach Boys and other groups of this time to really stand out on the list. There's one great song (obv "CA Dreamin") and a few other decents but it's not enough to carry the rest. "Straight Shooter" should be named "Straight Ripoff," I've never heard it before but somehow I have (because it's def a copy of some other band's song). Minus points for the typos and the toilet on the cover. Bye boring white people.
This is dad-rock but with actual talent and I love it for that. We heard this a ton growing up so it will always be special. The instrument playing is absolutely stellar, the energy is fully there, the album art slays, and the song themes tell priceless stories we can all relate to. The Who really has it all, they can woo you with a slow tune and then belt out an absolute banger and you'll love em both. The tracks are littered with priceless little gems (I'll gladly lose me to find you, 1 and 1 make 1, etc.) This is a damn near perfect album, if anyone people tell you otherwise... they're all WASTED!
This album will get you ramblin, the simplicity is it's allure. It feels very pure, handmade, and heartfelt. Great guitar work, Bert's skill really shines in "Instrumental Medley" but a lot of songs on here are good. Channel your inner hobo and go hop some trains with this one. Enjoyed it.
This album has a lot of variety and comes together pretty well. Neil makes this band and is the star of this album (as with all his projects). All the stronger songs on it are noticeably his. They're dispersed in a way that gets you through the poorly written tracks. It hits a lull towards the end and would be totally missable except that Broken Arrow is really strong and brings you back in. I enjoyed the listen, but not the strongest, and not super memorable. I'd play all of Neil's song individually but I don't know if I'd go back to the album as a whole. 2.75
I can see that this likely had some influence on a lot of post-punk sounds but the way she sings is a bit frustrating. It's like she's trying too hard to not care (bc caring would be uncool); it lacks emotion, fire, and comes off a bit flat. Overall, lackluster album for me. Some sounds and the compelling beat were decent but then some parts sounded like a jam session at my house (see piano interlude on last few minutes of "Staircase"). I liked the weird percussion opening on "Hong Kong Garden" but anytime you say "chicken chow mein" as a lyric you completely lose me.
I don't know how I feel about this album, it's pretty inconsistent but it surprised me. I was never the biggest fan of The White Stripes but I do like The Raconteurs so I can't really put my finger on what it is. The variety of instrumentation and the creativity in the songs on this solo project didn't go unnoticed. This album is good but there's nothing exceptional about it. Maybe I'm annoyed by his voice, maybe it's the circus overtones, I'm not sure. 2.5ish.
This album is pretty solid, it had most of the tracks I recognize from FBS and was a fun listen. It does get a bit repetitive and some tracks are a little too long but that's to be expected in this genre (considering it was designed to be digested on a stimulant-induced dance floor). Given that, it still translates to other settings pretty well like driving, working out, or vigorously cleaning your floors. I don't know if we've come a long way in terms of sound, but the fact that this was recorded and produced with an Atari and some floppy disks is absolutely insane. Rounding up on that, high 2.65.
This is a solid rock album with more hard guitar on it than expected. I like the variety of styles but could do without the silliness (ie: remove Leroy Brown). It's a fun listen and it definitely puts you in a mood. What's not to love about Mercury's operatic voice? He's an icon and Queen being on this list is indisputable.
Ok, I did not expect that at all. The opening track has an 80's sax solo and then chants "Mother Russia" for 3 whole minutes and somehow I'm into it. This album is so goth it burns you, but like in ice. I didn't know I needed to hear this but I'm glad I did. It's moody and upbeat at the same time, it's dark but has good energy, it's borderline silly but also serious. It's like the vampire version of David Byrne joined Depeche Mode. Very intriguing.
This is a more positive spin on rap and was an enjoyable listen. That being said, it doesn't always deliver and I didn't like every song. Sometimes the beat machine sounded corny but that's the 1992 of it. Most of the tracks are good though, the last few being the strongest. Really liked "Washed Away" and a little surprised I've never heard of this group. Solid.
What's with this crazy piano playing? I thought I was on a Bowie album not in a jazz bar at a carnival. Ok, it's glam and it's jam but it's not cohesive at all. This album is not my fave but the cover art is so iconic. It really makes you rethink an album art's importance overall and I wish I liked this record more. This was a miss for me because I don't even like "Jean Genie."
I really liked the top hits from this album when it came out but I don't know if I listened to the full album very often (or at all). It sounds good today but I guess it's not that memorable. I don't know if I'd really put it on necessarily, the indie rock genre is so oversaturated. But I will say, when you hear one of these songs you instantly know it's Franz Ferd. Their simple formula works and it sorta made me miss that time when a band like this could even be popular on the radio. Points for the time warp and for the manifesto-vibe.
I'm surprised by how much of a struggle it was for me to get through this whole album; it's actually quite long, very repetitive, and downright annoying at times. My memory of them was better than it is after this listen. I understand the impact, the social commentary of the time, and the importance of this album for hip-hop but I no longer believe the hype. Time was not good to them at all, this sounds hella corny and weak in the 2020's. It's not raw, it's whack. Flava literally says "chicka chicka" over a high pitch squeal while someone mashes a keyboard beat machine for an hour. It's a "No" for me dawg.
Marvin has a signature sound for sure but I'm not that into Motown. I also never realized every single one of his songs is about the same thing, broaden the subject matter man. This album is smooth but you have to be in the right place at the right time to really appreciate it. Some good funk influence on here but overall too horny and too doo-wop.
This was probably really exciting in 1978, but gets a bit repetitive. They have a good sound but a lot of it is the same. I liked a few songs but I became a "bored teenager" part-way through the album. No song realyl stood out, pretty decent but mediocre.
This is Zep's best selling album for a reason, it's stacked with so many classics and is a damn near masterpiece. It has both variety and cohesion, is polished but also raw, stacked with absolute bangers but also delicate acoustics. Individually they are all masters but together, this album touches on virtuosity. It's glorious.
I like the end of this album better than the beginning but it's decent all the way through. Not their best but they play up the funkiness and weirdness here and it works. Seems to be a lot of Talking Heads in the list but I'm not complaining. You either like their quirkiness or hate them. The forward momentum on this album worked for me, very fun. 3.5
I like The National and what they've done but I keep waiting for their tone's equivalent of a banger (like a sorrow-banger if that can be a thing). Just anything you havvve to listen to, love to hear, play on repeat, something like that (it doesn't have to be happy). I really dig their sound but it always just ends up being mood music I put on in the background. I can't name a single song of theirs but I do think they are talented. I liked this album mainly because it's recognizable as theirs, Matt Berninger's voice is great for this. It feels well-thought out, precise, and meant for whole-album consumption. It has emotion but it just doesn't grab me as much as other bands of this ilk. I will ALWAYS go to Band of Horses and then probably Grizzly Bear but I'll be sure to give the older albums (Boxer and Alligator) an attentive listen. Bloodbuzz Ohio is the best track here. Upgrade for anything mentioning "bees."
There are constant references made to Nick Cave in the music world but I don't get what all the buzz is about. Maybe his other work is better but this album is not fantastic and I couldn't really get into it. It has good elements: folk-rock-country vibes, paints a visual picture, and great guitar strumming. But too much of it felt theatrical and overblown, like dark Broadway (listen to him pronounce "viper" and cringe). I could see something like this growing on you over time but I don't think I have the time. I don't like this one too much but I'm willing to give his other stuff a shot.
This album is groovy but all the songs are very similar. It would be great while cooking arepas or sitting in a taqueria but didn't make me want to jump up and dance. It's an enjoyable listen, very upbeat, passionate, a bit slanderous. In terms of Latin music, this is a more accessible and fun album but mambo isn't really for me. I can say, it is well recorded and has a great vibe for coming out in the 50's. Though, I feel like this was just ticking the "World Music" box for the list.
I like the atmospheric quality they've added to their repertoire here. I actually enjoyed some of the deeper cuts much more than the hits on this album. Disintegration feels raw but also well-crafted, it's moody and borderline ambient mashed with shoegaze. The vocals are added in a way that you sometimes understand them or don't at all and they just blend into the orchestral quality of the production which is brilliant. I think this is peak The Cure. The instrumental parts also really shine. "Lullaby" is a great song if you can get past the creepy spider lyrics, I dig it. Forget everything you think you know about these guys and give this album a listen, very good.
A triple LP, GTFOH. I can't say I enjoyed this, the entire middle is total rubbish and many of the front and end songs aren't polished or good enough to revisit. How did Billy Corgan even become a singer? Are there people who actually like this voice? Everything he touches feels contrived. He's trying too hard to be dark, he's trying to write meaningful lyrics and they fall flat, he's not trying to grate off all your skin with his vocals but he does. I don't like this album because I don't even really like their hits. The title also sucks. My chore is complete.
Sweet Baby James really laying on the sweet with this one, I don't like the album title or the cover art. I felt like I was in Mr.Rogers' Neighborhood in a way that this might be fine for a specific age group but I am definitely not it. It felt hokey, tepid, and overall weak. There's a few classics on here but even those are just ok. People talk about James Taylor as if he's some Americana Folk God but he doesn't feel genuine and deep enough to me. This deserves to be off the 1001 list for "Steamroller Blues" alone, don't even get me started on "Oh, Susannah." The more I write this review the more I'm disliking the album... ::a hefty hunk of steaming junk:: jingles in the background.
This is such a change-up from my prior Goldfrapp experience (all of which has been good) and I really liked it! So ethereal and chill, her voice is so distinct and the tempo of the whole album is perfect. So airy and lush, what a pleasant journey I will gladly embark on again and again. If you've been sleeping on Goldfrapp, wake up.
This album rocked hard in 2006 and it still does now, it's supermassive, supersonic, supergood. Full of big sounds, it's edgy and a little bizarre but it also has all the good elements of serious rock. I really loved the song "Starlight" when I first heard it, there's a lot of good ones on here and no real misses.
I am somewhat familiar with Jurassic 5 but they fell off my radar in the late 2000's. I think a lot of people forget about them so this was a fun revisit. I have "Thin Line" in a playlist so it comes up sometimes and is always good. "If you Only Knew" and a couple other good ones on this album but not sure I'd put it on. Chali 2na's voice brought me back and I like their sound overall. Good use of breakbeats and incorporation of other instruments but some of it sounds too 90's for me. Still pretty enjoyable and a solid listen.
This album came out before I was born so Springsteen always seemed like music your parents listen to. But on this latest listen he's actually not as bad as I thought and I found myself rethinking this album and The Boss in general (maybe it's because I'm approaching my 40's and am now also a parent so it's ok). Also, if you've ever set foot in NJ you're obligated to like him so here I am. "Cover Me" and "Downbound Train" are actually good songs. On some others he sounds like he's straining but "Going Down" has an effortless and sloppy sound that just works. I like the darker and less put-together tracks over the hits, "Glory Days" is too corny but overall this is a good package. It ends strong with "My Hometown" and is such a complete vibe. I feel like a 60 year old dad and I like it. I think I need to give Bruce another chance and revisit his deeper cuts.
To drum at this speed, with this repetition for 6+ minutes straight is a feat in itself and I can respect that. What I don't respect is why this album has to be heard before one dies. I don't like the call-and-respond format of the vocals, a lot of it sounds like Speedy Gonzales yelling to Chiquita Banana Lady. There's a few songs where the rhythms are decent and somewhat primal but I'd rather just be playing the drums myself. Interesting listen but not putting it on.
Right out the gate this album manages to establish that its going to be complete chaos. It jumps around all over the place and has zero cohesion. It has some interesting points and you'll start getting into the riffs right when the bad Elvis impersonator with schizophrenia comes in with a "yeah" and ruins everything. It switches from ok to annoying every 5 minutes for the entirety but somehow its still not the worst album on this list.
This album starts off strong and I liked it the first time through but after subsequent listens it's very similar from start to finish. I tried to pay closer attention to give it a careful listen but kept drifting off and coming back in about 4 songs later and thinking it was still the same song. I don't like that about it but there is something interesting going on here. Her vocals are soft and layered over very lush, sonic productions. I like the sound effects of cars driving off, high heels, snaps and clicks. It's very dreamy and an enjoyable listen but it's not touching greatness. What I do like is that she knows how cool she is and part of that rubs off on you by hearing this and knowing her name. I'll round up.
This album is a classic and deserves to be on the list. You can feel the genuine anger and the attitude is a whole vibe that can't be faked, what a time. I wish I was there to hear this in the 70's. Full of anthems, grit, and raw energy. Actually liked the take on "Police & Thieves" too. This one is timeless and a fun listen.
This album hits pretty hard for a band with such a bare-bones approach. Some of the bass lines from the bigger hits are iconic at this point but there's still something that annoys me with this duo. Jack White (actually Jack Gillis) is the talent here and there's a lot to like but I'm not fully sold on him, I don't know exactly what it is (maybe the talk-singing, maybe not). I do like the loud, crunchy, unpolished vibe here. "Ball and Biscuit" is great for it's dirty blues feel, "In The Cold, Cold Night" is also great for being different than the others, but the last song is terrible and just brings me back to contemplating what I don't like about them.
Tricky is better as part of Massive Attack and unfortunately the same goes for Topley-Bird. That makes this debut album just ok. I'm a big fan of Trip Hop and this just wasn't as memorable as the greats. The things that do stand out are not all positive. The song "Hell is Round the Corner" is a straight ripoff of Portishead's "Glory Box" which is far superior. I hated "Abbaon Fat Tracks" for the overly sexualized (and way too direct) lyrics, please be more TRICKY with that one boy. "Black Steel" was a bit better for its exploration of rock guitar over driven beats but it skips all over the place after that. I did not like the MJ samples and 90's noise on "Brand New You're Retro" and "Strugglin'" was just that, a struggle to listen to. Overall this falls short and just feels too grimy for me.
Four snazzy vampires write some art-rock from their crypt ::enter Bauhaus::. It's so bizarre it's brilliant. It's like very strange, dark, dance music that you hear thumping up from the floor below in your rundown Portland apartment. Goth, glam, funk, experimental, it's somehow embodies all of these. I fully intend to blast this one on Halloween.
Neurotic and uncomfortable are somehow made accessible and even catchy by Gordon Gano with the Violent Femmes. This album deserves a lot more credit than it gets, the deep cuts are better than the hits we all recognize from radio play. It's acoustic punk if there could be such a thing, it feels dangerous and dirty, even a bit deranged (but in a good way). It's defiant, rebellious, and unique (xylophone solo, yes please). It's pure honesty and speaks to all ages, high praise for 1983. I do have to add that I love "Gimme The Car" added to the tracklist after the original press.
Jimi has so much talent, charisma, and swagger it's impossible not to love him. It's also impossible not to give this album a high ranking, the fact that it's his debut is even more nuts. It's stacked with top tracks and the whole thing is fantastic. His guitar playing is genius level and his lyrics paint vivid scenes, what a sound overall. So much gold here.
Starts out strong with the first two tracks, couple other good ones scattered throughout, a few stinkers. If this Doors album made the list there's going to be more of them on it. They deserve all the praise and credit but this is not my favorite of theirs. It gets a little "merry-go-round/carnival-esque" at parts but I do like the return to blues. A fun journey and a decent listen.
I'm a sucker for melancholy violin and this album came at the right time, very emotive and interesting overall. I'm not familiar with Tango so I don't know what New Tango does differently, but I enjoyed it. It's good background music, it could be the soundtrack to a section of Fantasia made by Pendleton Ward and Tim Burton. "Nuevo Tango" stood out, "Laura's Dream" is a whole mood (very moving). The set runs a little long, but it's like a ballet for blind people so it gets away with it. It's the best you're gonna get from a xylophone paired with a giant accordion. I actually listened to it several times through.
This album was oddly intriguing and I can't say I'd ever hear it if not for the list so there's that, it could be the soundtrack on a video game for all I know. It contains moments of decent artistry before it goes back to sounding like they're just making it up as they go along. It's a lot of guys on synths doing interpretations of what a UFO sounds like. It was a fun listen and no doubt even better live but it's a bit too much "noodling" and not really my style to ever revisit.
This album sounds very industrial and even features a goth robot as the vocalist on a few tracks. There's definitely something interesting going on, between the futuristic background sounds and the scratchy production they've managed to blend metal, atmosphere, techno-dub, and garage punk into something that sorta works. I liked a few songs and I do think this was ahead of it's time in the 80's. But I don't really like the band name and some of it feels repetitive. Didn't stand out but decent.
Enjoyable soft rock on the surface, complex and sophisticated song crafting below. Steely Dan crushes it with this debut. Between a handful of classics, there's really not a bad song on the set. Uptempo, swaggy, LA vibes throughout. They have such a specific sound, even the songs I'm not familiar with would be easily recognizable as theirs, and they do it really well. I'm a sucker for good yacht rock and this is very strong.
Is Simon actually better without Garfunkel? I never gave that any thought, but here this album is to test theories. What a weird exploration in zydeco, African drumming, and tribal chanting. I can see how this was monumental at the time but there's a few flaws. I don't like the weird fart bass, something about the overall sound feels too island-y, and I'll never get over Simon's talk-sing delivery (like he's just reading a poem). I also don't fully get the album art (15th century Ethiopian manuscript stored at the Peabody Essex Museum) and the album title itself is a bit irksome. This combination of styles already feels like a middle-aged white man doing cultural appropriation, why pay homage to Elvis (a literal middle-aged white man who popularized black music)? In spite of all this, I somehow don't hate it (but I also don't love it).
This album is too long for it's own good, even after reading the album summary about it telling Rael's story (a very pertinent detail actually) it's still too long. "Counting Out Time" was an ok song until the terrible kazoo solo in the last minute, on the contrary the entire first half of "The Waiting Room" is unlistenable until the instrumental in the last two minutes. The whole album jumps back and forth like this between beautiful and grating for it's entirety. The good moments are only that, moments. Even though I love Peter Gabriel, I found myself wondering if the whole thing would just be better off as an instrumental. The lyrics and delivery make it too convoluted. I get that it's an artsy concept album, but it's too whimsical and strange. It does pique my interest though because I didn't know Genesis was capable of anything but "That's All" and "I Can't Dance."
Listening to this album from start to finish was very nostalgic. I knew a bunch of the songs but my childhood brain never put it together that they were from the same album. Man, was I missing out, this album is stellar. So poetic and effortless, Van's signature tone really delivers on this one. Great storyteller, fantastic songwriter, excellent blend of folk, blues, and jazz. I love all of it.
There's some head turning moments throughout this album and I don't think anyone needs to hear it before they die. Satire just doesn't translate well in this medium and this album did not age well, in fact it's horribly offensive (and you can't really play it anywhere). Newman's attempt at wit and edginess just comes off wrong to me (I'm not sure if this social commentary was even well-received in 1974). There's some nice piano playing and brass arrangements but not amazing. Anything good is immediately cancelled out by Mr. Pixar so effortlessly slinging slurs. Not for me.
This is somewhat boring and even with only five songs, it drags on a bit. That said, it's still one of the better jazz albums on the list. Based on the title, I wanted it to be a bit more funky. Turns out it's too "easy-listening" for me and the sax is the real star even though Jimmy plays the organ. I'll round up because they put a doggo on the cover but this is missable overall.
This is not their strongest album by any means. It's good but I don't think it belongs on the list (especially compared to their other albums). It's a little too alt-rock for me, generally pretty ho-hum with a few good tracks. There's good sound layering and their signature atmospheric tone, but then a heavy out-of-place guitar riff has me thinking "this is classic rock" and I am not liking this look for them at all.
The production on this album is distractingly poor, I get that it was 1966 but this didn't age well. Clapton's guitar work on here is undeniable but Mayall singing about "being my little girl" is miffin' it up too much for me to like. The instrumentals with harmonica were slightly better but I got bored with it even though there's so many songs in the list. It just felt like it was hitting all the tropes of standard blues rock and I think others just do it better (with more passion and grit). This combo isn't working for me.
This album stands up to the passing of time, a very solid, fun listen. All 3 band members compliment each other really well and this blend of styles works for me. I love Sting, he's a skilled songcrafter and musician. I think a few of their other albums are stronger but this one puts their post-punk vibes on display and I dig it.
Ok, what actually is this? Are these even considered "songs"? When would someone play this? Maybe a high school kid trying to piss off their parents, I'm not sure. I'll give them props for the sheer diversity: prominent feature of barnyard sounds, some crickets, squeak toys, Iron Man's voice, clowns laughing. But it's too weird and unsettling for me. Half the time it sounds like you're playing a tape backwards, the other half is somehow even weirder. It's wild and very avant-garde, but not in a good way. It's like bad drug trip that won't end, this is the sound of your nightmares. This is puking and shitting at the same time. Pure chaos but somehow not as bad as some others on the list.
This album was monumental 30 years ago and is still so good, absolutely iconic. It's so much more than the predecessor to Cobain's truncated legacy, it's deep and relatable but also apathetic, it's dark and irrational but also redemptive and just completely rocks. I wouldn't cut a single track or change a thing, near perfect album. I've listened to this album so many times it's honestly hard to be objective.
It took me a minimum of two full-listens to give this a fair review (I felt very conflicted after just one play). I get the cultural significance of being the first real rock-opera but on a purely auditory level it's really not that enjoyable (and on a lyrical level it's absolutely bonkers). I personally wouldn't play any of these songs individually so you really have to consume the album as a whole (which is daunting). The entire thing feels like a "you had to be there" moment. I respect the ambition but it could have been cut down a bit. Too much Townshend on vocals and his lyrics are borderline creepy, how is he already such a cynical grouch at age 24? I don't like musicals but I'd be down to give the movie a chance.
This is a socially significant album full of raw energy and it absolutely made waves in 1977. It's still good today but because we're numb to the offensiveness it once stood for it doesn't really hit as hard (we're also not wankers). I watched the FX miniseries "Pistol" about a year ago and liked it way more than I thought I would. It's a great story and going into this album I had a greater appreciation for the band and members in general. There's some classics on the setlist but a lot of them sound the same. Still a solid listen and rounding up because of all the shoite I now know about them.
This album is fun and the hits are really catchy; it was the shit when it came out so I'll give it that. I also remember loving the cover art when Fan had the cassette. But all of these accolades are rooted in the past, I don't like it as much now as I did back then. It's too pop (really isn't even punk at all) and a bit too surface-level. There's also too many songs that don't stand out, overall pretty one-dimensional. I'm good for a few songs, but not a whole album of it. Too generic and commercialized for me but not denying it's sweet-spot in 1994, what a time!
The runtime and pace of this album are great, it burst out the gates strong. The first track just walked up and punched you in the ears, the guitar solo in the last minute is impressive and very technical. They manage to ramp it up even further on "Hangar 18" and pretty much uphold this energy for the entire album. "Tornado of Souls" is relentless but I don't love the evil-theater voice at the end of "Dawn Patrol" or the pirate in the title track. I think they do thrash metal well, in a way that makes it more accessible than most but it's a little too thick on the dark arts for me (cobwebs, bowels, rotten egg air of death, etc.). You gotta give it to them with this ridiculous cover art though.
I get why this is on the 1001 list ("Walk This Way" alone) but there's a reason I've never listened to a full Run DMC album before. Cheesy sound effects, weak beat machine, corny-ass rhymes, super repetitive and annoying. There's some ok moments ("It's Tricky & My Adidas") but everything after the first 4 tracks just blends together into an annoying cacophony of 80's sounds. Honestly, I expected more masterful wordplay and better raps from this duo. "Stupid as can be... breakdown!"
Beardy blues not bad (also not great). This album strips it back to basics: your stale-beer pub, a dusty Harley, ride off into the sunset type of shit (and it does it well). I only recognized "La Grange" but there's a bunch of other good songs mixed in here (with the right amount of mild salvation). Big props for never once singing about love or romance. This might be the only good thing that came out of Texas.
I think you have to be in the right mood (or a teenager) for this one because I am not getting it at all. Maybe it was avant-garde in the late 80's but it just sounds like a bunch of discordant, gritty noise now. It has the elements to be good like really leaning into the edginess or surreal sound but it just falls short on all accounts. Female vocalist is annoying, nothing stood out, it's bad without a "Shadow of a Doubt."
This album surprised me (how can there still be something this good that I have literally never heard of) and it actually didn't feel too long. I think the length fits the type of music, very ethereal and otherworldly. I listened to it a few times through and it just got better and better. Diverse range of sounds, beautifully produced, very raw and ambitious, I loved it all. Consider this one officially entered into "Saved" repertoire.
This album has a vibe but a lot of it is the same and doesn't really have any teeth. Maybe I'll revisit when I don't have any either. Overall, it's a bit too snoozey and lackluster. The songs with the female vocalist are better but still missing something. The album is old and somehow it put that on display (the sax even sounded furry). I'll blow the dust off this one in 40 years, it probably sounds better through hearing aids anyway.
A gritty, filthy, darkly tinged pop-folk album that was very far ahead of it's time (in 1967), different than anything else in this era for sure. Reed's snide lyrics paint a world both terrifying and beautiful, it's truly fascinating. You can see how this influenced indie rock for ages to come. Trend-fuckers love this shit and I probably would have been all over it too if I were in my early 20's when it came out. It's the right combination of music, art, sleaze, poetry, drugs, and design; a culmination of New York minds that exists on this one specific album at this one very direct time.
Prior to this listen, I never realized their biggest hits are not only on the same album but that album is also their debut release so I'll give 'em that. This is a very solid first release but it's a lot of screeching guitar and screechy singing and I've never been a big fan of them. I do recognize that they can shred and the cover art is fun but this isn't really for me.
Aside from his bigger hits, I always find it hard to like Tupac (both as a person and on musical efforts). It's not only the East v. West rivalry although that definitely contributes (East Coast rules). He's just a shit person in general and so much of his stuff all sounds the same. This album was too long and sounds like the 90's. Meh.
There's an interesting exploration of genres going on here but it comes off a bit incohesive over the whole album. I actually thought at one point there must be another band named "Blur" because this can't be the same guys who put out "Song 2". Overall, it's a fun listen, it's fine but not amazing.
This album stands out for the concept behind it and not for the actual musicality. I'm here for the weirdness of it but you wouldn't put on one of these tracks and jam out. That being said, it does manage to accomplish a lot in just 54 minutes. It's very evocative and thought provoking, each background effect a perfectly placed clue, a hint to a deeper plot full of smoke, suspense, and moral dilemmas. It's success rests purely on the fact that there is no accompanying movie (it wouldn't even be on this list otherwise). This gives it meaning, an audio "movie" that allows the listener to construct their own plot, although I do wish the short story from the liner notes could be found somewhere. I think this is a pretty interesting piece of noir art and the fact that it's 35 years old is also impressive. (excerpt: “I wake up in the arms of a beautiful girl who takes me in her eyes and we / fly over the city for a few centuries both ways / Death is for the birds who don’t notice the sky…”)
The Strokes helped shape the sound of the early 2000's with this debut and it will always bring me right back to that time. It feels a little young now but it holds up well enough. They have a simple formula but it works, pretty solid track list, slightly vintage feel on the distortion. They were in the right place at the right time with this one.
I've always liked their sound which I'll describe as one part foggy-shoegaze, one part catchy-hook, one part synth-instrumental, and one part repeat-repeater. There's a bunch of big hits on this one and even the lesser known tracks are good. I like the darker tinges and the insane music vid for "Kids."
Please explain to me how this is considered an "essential" album, anywhere, anyway, anyhow? At first I was like "ok, sure, not my fave but let's go" but by the end it was so repetitive and draining (not to mention every song is 7 minutes too long). This isn't doing anything monumental, there's nothing interesting, there's no redeeming quality. I don't even hate drum n' bass but this had me hating. You Brits can keep Roni Size.
The Prodigy somehow found the sweet spot for beat-driven music with the right amount of lyrical and sound effect flare. They incorporate a ton of background sounds that work really well and they do techno in a way that's...dare I say..."catchy." I enjoyed this album, there's def some memorable bangers on here that transport you back to Fan's giant cd binder. I will date them (and myself) by describing this as "phat."
When I saw the name of this album I thought I was in for Yoko Moan-O but thankfully her dogshit is not featured here (they only named their solo albums the same, aw cute/not). There's some decent songs on here, I actually have "Hold On" saved to a playlist and always smirk at 1:05 when he does "cookie" (as Cookie Monster). We see a more rough and raw version of Lennon emerging on "I Found Out" and thereafter. This feels very much like John's "therapy session" put to a recording but what better way to overcome your traumas than to face them head on, I'll give him that. I don't really like the voice inflection on "Well Well Well" and don't even get me started on "God" (dissing The Beatles is in poor taste, the whole song is pretentious). But this album is alright, it has anger but also hope, it's somewhat depressing, but also encouraging at times. It's ok.
It's Amy Winehouse, I can't even rate this objectively. The only bad thing is that she can't make any more records like this sadly. She modernized this sound so well, her witty lyrics combined with this retro vibe are a masterpiece. She's authentic and talented to the max. There's no bad songs, the whole album is a stunner further immortalized by her early demise. It only makes the whole thing that much more powerful. If you aren't bewitched by her then I know you're no good.
Familiar with the hits but lots of filler here (by the 11th album there's gonna be a bunch). All the songs blend together and therefore sound the same, a weird choice to do that on purpose IMO. Also, the backstory isn't readily apparent (letters from Vietnam) and doesn't really add anything for me either. I get that the political commentary and emotionally charged messages were on par with a lot of people's sentiments at the time but I just wasn't there. I think he has a good voice but he should lean more on the groove and less on the shoulder of Christ. Holy God Mercy Save Me. What's Goin On? Not much really.
I don't know what genre of music this, I don't know this guy's original name or his new name, I don't know why his career didn't take off, and I don't know if I recognized some songs or not. One thing I do know: this album is dripping in terrible 80's production effects. There's something really catchy here but it's just so stuck in time. It's a shame because based on this debut, he had really high potential to make it big. Instead, no one's ever heard of him. I don't know what happened in 1987, but I liked a few songs here and overall it's pretty good.
This scores very high marks (bc it's LZ) but for a debut album it absolutely wrecks it. I would have loved to witness the reception when this first hit the airwaves and literally broke peoples' heads right off. So just to summarize, an unknown quartet rises from the ashes of The Yardbirds in late 1968 and 3 months later releases this mighty beast changing music and human's inner ears forever. Cool, got it.
I don't think this album is bad per se, but I don't think it's "For Airports" or the 1001 list. It's really mellow (like fall asleep mellow) and it'd be better as a sound bath or meditation backing track. Some points for coming out in 1978 before those were even a thought. I think Eno himself describes it well with "as ignorable as it is interesting." 1.5
The allure of this album is that you can tell they're just vibing and having fun, but that's also it's downfall. Why is it so damn goofy? Although I do like The Kinks, it's hard to take this one seriously as a whole. There's some good tracks buried among all 65 of 'em but the album is really incohesive. There's a lot of different styles being explored but it doesn't serve the project well. "Phenomenal Cat" made me laugh but I really couldn't stand the cheese-ball "All My Friends Were There" with it's circus tones. Then "Wicked Annabella" brings you back in right before it completely loses you again talking about Monica's nose. This album is the happy, playful version of The Beatles with more clapping and "la, la, la." I do like the title track (it hits), but the rest doesn't work on my brain.
This album is timeless, another I find it hard to be objective on as I know every song here. I get that reggae may not be for everyone, the genre lends itself to a lot of repetition but Bob just does it so well. He manages to evoke super revolutionary ideas without really saying that many words. Just simple lyrics and chill grooves, no skips here at all. Incredible from start to finish.
This is not my first foray into MK's music, I have several other songs by him saved to playlists. He's a modern take on soul music with a dash of Ugandan backbeats and I really dig the whole sound. This album is full of emotion and true expression, drip some of that honey-voice over it and it's great. He's an artist in the purest sense. I listened to this full album several times through and never got bored.
It seems like Nick Cave is appearing quite a bit in this list and I'm still not sold. He sounds like he's straining his voice and the music is generic. It's not wowing (and I really want it to), I mean is this man really singing about "hankies"? Yes. There's a few good songs on this album but I can't get past the weird voice affect and none made it to saved playlists. I'm on the fence so I'll keep trying with Nicky but O Mamma his time is dwindling.
There's nothing bad to say about this one, not even the long runtime on all parts of Shine On is negative for me. Nothing else needs to be said. Stellar.
Johnny Cash has a few decent songs but I'm generally not a big fan and this album was no game-changer. I didn't like how the "explicit" words were so blatantly (and poorly) bleeped on this set but I did sorta dig the prison crowd sounds and Cash's banter. You got a good feel for the vibe but it sounds pretty dated and I don't need to revisit it.
Solid album, short and sweet. Couple big tracks that are always good. "Born on the Bayou" is a classic but also misleading, these dudes are from San Fran. Compared to most other takes this is a decent version of "Good Golly Miss Molly" but I just don't like this song ever (or the word "Chooglin").
This album is tight and short but I'm not really sure if it deserves to be on the 1001 list. The two best songs are right at the beginning. Back in the Saddle is a classic and I dig the bass line on Last Child but it's on a downward slope from there. The rest is pretty mid.
I knew there'd be some Grateful Dead on this list and I went in with open ears since Jon has been to some shows. I can def appreciate the improv-jam format but I think other people/groups/bands are doing it better. The Dead's formula seems almost too easy and this album felt a bit limp and maybe even phoned in. How were these the best takes from so many different concerts? It completely lost me on "Feedback" and I only reconfirmed what I already thought. Meh.
More glam rock pop ballads that I could never really take seriously. This album didn't impress me. The only memorable part was realizing that Offspring's intro on "Pretty Fly" is actually from "Rock of Ages" (and is completely made up words).
I was relatively familiar with a few songs on this album due to insane radio play but I never bought into the hype. The popular songs aren't really that good and the unheard of tracks are bland and missable. Her attempt at rapping is super annoying. Still I'm even more annoyed that she thinks she owns the moniker "Queen Bee." I expected more from this and didn't enjoy it overall. Even the song with Frank Ocean was meh (which is insanely hard to do).
I get that this album isn't for everyone but I've always enjoyed Norah Jones. Her voice is soft and unique and the blend of jazz and pop here is quite successful (walk into any coffee shop and prove me wrong). Light piano melodies, lullaby quality, relaxing vibe. Just add some rain outside and a good cocktail, I don't think you can go wrong here (+ Ravi Shankar) = 3.95.
Nina Simone is a recognizable name in the jazz world but I found this to be a bit boring, even with her unique voice and tone. It's slow, dated, and a little too gospel-theater for me. The only take away was finally placing the sample from "The Story of OJ" by Jay-Z (it's from "Four Women"). The title track is one of the worst on here and the cover art is a flop. Low 1.35.
This album is really incoherent as a whole, it skips back and forth between instrumental jazz and cheesy soft rock (and then goes even more bonkers). There's a decent song in there somewhere but what a mess. I expected a lot more from "Dropping Bombs on the White House" and what in the love of god was happening on "A Gospel," was that a Paul Weller rap? I can't go over a 1.45 here.
I didn't recognize a single one of these songs as covers and also didn't know that Willie has this many albums (this being his 22nd). Off the bat this sounded way more jazzy and schmaltzy that I expected for him but I still didn't really need to hear it. It's not terrible but it's not good either. It's a weak, old, light 2.15.
At first I was a tiny bit intrigued, but as it went on I just disliked it more and more. I don't think I liked a single track on here, although I could instantly tell "Numbers" featured Pharrell before even checking the list. Low 1.25.