I made it. Album numero one hundredo. One hundred albums that I have successfully listened to before I have died. The dev of this website sells the process of listening to all of these albums as a journey, and I'd certainly agree. From the familiar peaks of some of my all-time favourite albums to the comfortable "reprieve" albums to the shocking swings and misses, I feel like I've already been through a lot despite only clearing a tenth of the list. While I don't exactly have the most positive rating average, I can say with certainty that I've loved every second of it. I've developed somewhat of a fascination with checking user profiles over the course of working my way through this list. I've noticed that the majority of users either peter out after 20 - 40 albums (as did I, initially), power their way through this list or find ways to slowly keep clawing ahead. There's a sombre, meditative quality to slowburning my way through this 3-year project. So many lives and people that I will never know beyond the faceless blocks of text that populate these pages. At the same time, I can't help but look at how much time this process demands. Will I be a changed "music appreciator" come the end of this list? Will I be happier and more fulfilled than I am now? I hope so. In the time since I initially gave up on this project in January of 2024 and picked it up again in October of the same year, my appreciation for music has changed dramatically. What once was another hobby of mine has grown into becoming one of my few current interests. As a way of counterbalancing the albums on this list that I don't care for, I've started listening to music that personally interests me on the side, which results in a metric shitton of my time being dedicated to music listening. Out of the hundred albums that I've listened to thus far, there are two new albums that have entered my rotation (A Wizard / A True Star and The Stone Roses) - none of which I've had the foresight to rate above a 3. If I end up with 12 new albums that I really like by the end of this list, I'll consider that a win. Anyways, moke sweed erryday ganja 420 I love injecting crackarooski crack rocks into my system that's some mighty darn fine KUSH!!!! I LOVE WEED!!!!!!!!!!!!!!!!!

Never heard of these guys before. I'm not sure what the minimum runtime for an album should be in order to make the list, but these guys are definitely pushing it on this one. I wonder how long the shortest album on this list will be. It's just more 60s rock, which is a make of album that I fully expect to be numbered into the mid-hundreds by the end of this list. It's pleasing enough and pretty easy to listen to, though there isn't anything on here that makes me want to return. Creedence Clearwater Revival are surprisingly really popular for a band that I've heard absolutely nothing about. I can't complain about them being on this list for no reason.

Pretty bumpy listen. I was excited to be given something more contemporary to listen to and thought the package design of album was pretty neat, but I became quickly dismayed with the album when I hit play and got confronted with just how ass the first track was. The remaining tracks managed to reel me back in a bit with some alright instrumentation, but I continued to get smacked over the head with some incredibly baffling choices in instruments. At the very least, I'm grateful for the experience.

She just can't hit those high notes

Third strongest mole? Second strongest infant? Are embryos gonna start ranking each other by strength next? No clue where or how this album is breaking new ground, but I thought it was pretty cool and is definitely in the key of music that I enjoy. My only real gripe is the overambition. You have to be pretty confident in your material to go for songs that are over seven minutes in length, and I didn't feel like any of the ones on this album had enough substance to justify their long runtimes. The sterile and stagnant nature of this music is a double-edged sword, however, as I can see myself putting this on when I want to relax or get into a flow state. I'll have to see where the cards fall in the future.

I quite like the heavy production - it's certainly a far harsher sound than I was expecting from this genre, though something about it fails to land with me. All the tracks blend together and the crooning vocals keep this from being something I'd want to come back to.

Listening to this while waiting for the train after a Christmas shift is something that I'm sure will become a nice memory somewhere in the not-too-distant future. To my non-American musical sensibilities, however, I must admit that I find the songs on here to be about as unsynonymous with the holiday season as humanly possible. What really offends is how indistinguishable the vocals and instrumentals are between songs, save for some of the hookier parts of the choruses. This album screams 'produced' to me more than any other album I've heard, with how little of a vision there is and how corporate the nature of it's existence is. Can't say I agree with the decision to lump this in with many of the greatest albums ever made sheerly for the modicum of cultural relevance that it has. ==================== Edit (8th of July, 2025): Okay, I was a little grinchy with my initial assessment of this album. It's perfectly fine. I just hadn't considered how long the 1-star list would be on my summary page if I rated every album that didn't interest me one star. Original rating: 1 star Amended rating: 2 stars

Never been able to get into metal, likely because the hardcore image that I have in my head is betrayed by all the repetitious, indistinguishable crunchy guitar riffs and tepid vocals. This album is no exception

First blues album, and one of the very few live albums I've ever bothered to listen to. I imagine this is more gratifying for those familiar with the discography of B.B. King, as sonically it does nothing to break the blues mould and has an appeal entirely reliant on the charisma of B.B. King and the chemistry of the audience. It's not half bad, just painfully samey.

It took 4 years and an entire website to get me to listen to the Baba O'Riley album, but I'm somewhat appreciative for finally getting around to it. The main draw is lightning in a bottle, but what lightning they were able to catch!

I can kinda get into the songwriting and instrumentals, though Little Richard's voice is far too abrasive for me.

She just can't hit those high notes

Some pretty great instrumentals in here despite the majority of their short runtimes, and it fulfils the purpose of a live album pretty well, with lively and significant the occasion feels. Vocally and lyrically, however, I must admit I'm not at all moved by this

Surprised to see such a recent album on this website. Did this actually make it into any of the books? I enjoy these midsummery, daydreamy kinds of albums, though none of the genres featured on this one resonate with me all that much. The experience of listening to this was much snoozier than I would have preferred, though it may be possible for me to come around to it on my mandatory relisten

Some pretty interesting genres on this one. The admittedly listenable first half of the album becomes increasingly indistinguishable as it goes on. It's possible that there are some interesting lyrics on here, though as someone ambivalent to the grassroots flair of singer-songwriters, I didn't care too much about listening keenly

Finally. An album I like.

The White Stripes are kind of an anomaly to me. Apparently they're an acclaimed act and apparently this is one of the best albums of the 2000s, yet I never run into anyone who claims to be a huge fan of the band, and I've never been recommended any of their music. I'll chalk it up to them simply being outside my sphere of interest. Pretty unremarkable stuff all around, but it's at the very least listenable. The gimmicky nature of the band makes for some pretty banging music videos, at the very least. Update: I somehow appreciate this much less on my second listen than I did on my first lol

Iconic ass cover. Glad I could finally get around to listening to the album that it hails from. At the expense of giving anyone reading this complete whiplash, I don't think the 80s and I will ever get along, especially when it comes to new wave. All of the music is pretty indistinguishable and bog-standard to me, and the vocals are just horrific.

This site really wants me to get my fill on live albums. Can't say I complain. Like all of the other live albums I've listened to, I think it's pretty hard to get a feel for these songs when I have no prior experience with the studio versions. To a non Thin Lizzer, and with zero audience interaction or any transformation of these songs that I can gleam, this album was excruciatingly long and boring for me. On the bright side, I had no idea that "The Boys Are Back In Town" was an Irish export. That's pretty cool

I'm of the persuasion that there are no good songs under two minutes in length (with the notable exception of You Gave Your Love To Me Softly), so this was more than a little challenging for me, to say the least. On the bright side, this did resonate with me more than the other albums I've listened to on this website. I may appreciate it more on a second listen

Knew it wouldn't be long before I encountered my unofficial official favourite band of all time on here (I'm in a permanent love affair with Modest Mouse - it's complicated). Gotta be honest, I've never really been much of an In Rainbows guy. It's a damn good album, but I find it to be more than a little sterile coming off the back of HTTT and all massively conceptual albums that precede it. There are definitely some good cuts on here, though. I can't deny that.

>Badass mushroom cloud album art >Look inside >Boring jazz music

It's nuts hearing this after listening to the milquetoast Songs of Leonard Cohen. 80s synth music is shockingly bad. Sorry not sorry!!

I've only recently become privy to how overproduced modern country is becoming. One would think that autotune and all of the other modern pop sensibilities would run contrary to what the genre represents. Still, as an enjoyer of musical junk food, unplugging my mind to this one wasn't all that bad. Whatever slot that this album occupies could have very easily gone to Emergency & I. No, I'm not being a petty asshole because one of my favourite album didn't make the list

Another band that I just don't get. Live Forever is palatable, but the remaining songs are a sludge of washed out instrumentals and horrible vocals.

Oh my God, it's September band!!!!!! I'm a huge fan!!!!!!!!!!!!!!! It's alright, though I can't see what differentiates this album from the other funk albums of the time, or the other albums in Earth, Wind & Fire's discography. Still, pretty alright. That 6-minute ballad from midway through the album do be suckin, doe

Brits trying to be yanks... How sordid

The camp factor is off the charts with this one, which I enjoy. I'm just not that much of a soul/funk guy.

I'm a big enough man to admit that me and Joni got off on the wrong foot. This is pretty alright now that she's dropped the screeching harpy act from Blue. Very pleasant lyrics and instrumentals.

Pleasant enough. Fast car is the the obvious highlight, and the remaining songs are listenable, albeit derivative.

Another darn done diddily live album. I'll probably drop to the ground from oxygen deprivation as a consequence of saying the same things over and over again before I get through all of these. LIGHTING ROUND, BAYBEEE!!!! It's pleasant enough. I'd enjoy any live performance in-person, but think the experience is stripped back when listening to it on a record. I find it hard to appreciate live albums when I have no familiarity with the artist's main discography.

Spaced out a lot during this one, but it's still listenable. I kinda enjoyed the guitars. Maybe funk isn't for me, doe

S'alright, which is a more than glowing endorsement when it comes to hip hop for me. I quite enjoyed the instrumentals on these tracks, and I found myself warming to some of the vocal performances and lyrics. The Kanye track was my favourite, which surprised me as I have next to no familiarity with his discography. I may give some of his albums a listen when I clear my current backlog

These tags should work for me, but they don't. The songwriting is really weak, the vocals are tepid and uninspiring and the instrumentals put me to sleep. Still, glad to be more cultured on my favourite genre of music by listening to this (alternative rock)

The only thing I know about these guys is that they gave me an album that was impossible to remove during my brief stint as an iPhone owner. I tried every trick in the book to delete the thing and it would be back in my library flashing it's smarmy, homoerotic cover at me the following week. Oh, yeah. This isn't that. It's vaguely within the key of music I'd enjoy, but it reeks too much of the decades that precede it. Can't say I'm a fan.

Really didn't like this one. There's something uniquely insulting about how boring it is.

I think I finally understand why so many people became fed up with disco in the 80s. All of these tracks are perfectly serviceable as lone experiences, but become a bit of a drag on one another when paired together. I was quite surprised to discover that We Are Family contains the We Are Family song. It never struck me as being a disco track in my vague recollections of the song

Appreciate the opportunity to listen to something which is far outside my comfort zone and comes from a country that I have no interest in exploring the musical history of. Aside from that, this music is pretty tepid, uninspired and drawn out

Quite possibly the worst album I've listened to thus far. It's derivative, indistinct and inauthentic, yet somehow manages to offend me in ways that it's thankfully short runtime can't atone for.

Pretty bumpy listen. I was excited to be given something more contemporary to listen to and thought the package design of album was pretty neat, but I became quickly dismayed with the album when I hit play and got confronted with just how ass the first track was. The remaining tracks managed to reel me back in a bit with some alright instrumentation, but I continued to get smacked over the head with some incredibly baffling choices in instruments. At the very least, I'm grateful for the experience.

Pretty cool - I'll have to give this one another listen sometime in the future. While a lot of the songs are too long for their own good, the strong instrumental and vocal performances more than compensate for the lack of brevity ==================== Edit (8th of July, 2025): If I had the time to amend my shitty lil first impressions of this album, I would. This album is absolutely fantastic, though you don't need me to tell you that. Phenomenal album. So many different sounds and emotions, yet none of the tracks falter. If anything, "I Wanna Be Adored" only gets more exciting with future listens when you consider how hard these guys smashed it out of the park on their first outing. Original rating: 3 stars Amended rating: 5 stars

Unlike most of the other albums I've listened to on this website, I can see clear as day where this album innovates as well as the impact that it has on popular music. I just don't think that the genre it belongs to is all that good. Most of the praise I've heard about Amy Winehouse is linked to how personal and sassy/funny her music is. Maybe I got off on the wrong foot by starting out with this album instead of Back to Black, but these lyrics are all incredibly boring to me.

How exactly this albums breaks into "greatest of all time" territory beats me, though I'm not complaining. It's very nice lyrically, instrumentally and vocally. Thank you, one thousand and one albums generator dot com.

My unofficial, official favourite album of all time, and I don't really know what to say about it. The hidden booklet was pretty cool. The Kid A blips and all of the other associated artworks are some of my all-time favourite pieces of visual art. Cuttooth, one of the early songs from the Kid A sessions, is the best song I've ever heard. Okay, okay. It's the most subversive, most textured album I've ever listened to. There's always a new melody or instrument that I'm able to isolate and pick apart whenever I put on this album. Listening along to the lyrics is one of the most unique experiences I've had with an album, where the words only really carry meaning and emotion when looked at in isolation. The title track is my favourite song off this album, which is a somewhat controversial one if I recall correctly. The muffled vocals are one of Thom's most unique vocal performances, it's one of the more stylistically diverse offerings from the album and the lyrics are beautiful and tragic in an abstract and nondescript way, which serves as perfect summation of the album as a whole. As far as truly ambiguous and interpretive lyrics go, you can't beat How to Disappear Completely. I've always looked at the song more positively than most, where the desire for Thom to disassociate is curtailed by the instrumental becoming more burdened and intense as it goes along, beautifully illustrating that no one is truly alone or beyond help.

I like weird shit. Can you blame me?

Deathly, deathly boring. There's not a single good tune in this album's jewel case

This website has been busting out the heaters lately. The second half lacks what the first gets right and has songs that are stretched a little too thin for my liking, but on the whole this is quite good. One of the few albums that I'm likely to return to once this entire list is behind me.

Pretty good. If there's one thing I've learned from my passing familiarity with psychedelic music, it's that I need to buckle down and listen to more of it. I'm grateful for the opportunity that this website has offered me. I really enjoy the instrumentation and texture that these songs have. I can't speak with certainty as a newcomer to the genre, but I find it hard to imagine that there are other artists with a sound quite like this one. My only real quibble with the music is that I find it hard to engage with the songs that are under three minutes in length. On an aside, the album cover is hideously kitsch and ugly. If I ever wind up downloading this album I'll probably end up setting a different image as the cover. ==================== Edit (8th of July, 2025): I have not been able to shut up about this album in my reviews in the time since first listening to it, and with good reason. A Wizard / A True Star is an absolute masterclass, completely tearing down and rebuilding my understanding of music with each subsequent relisten. I feel like I've really come to appreciate the inner workings of music over these past couple of months. While this change likely stems from my increased interest in reviewing music, in my eyes the sheer creativity that is showcased on this album is the culprit, permanently expanding the size of cranium and adding an extra hundred digits to my IQ. In some ways I'm bitter for having already listened to what is likely my favourite album on the list (this was album #59), but in other ways I'm grateful. Had this album not broken boundaries and expanded my musical intellect, I feel like there would be a great deal of other albums that wouldn't come around to. Original rating: 3 stars Amended rating: 5 stars

Probably the best new wave album I'll ever hear, though that's not saying much.

Just when I thought the sub-3 star albums was where the good stuff was, I got hit with this one. I could feel the seconds of my life leaving my body as this album went along. Incredibly bone-dry instrumentals complemented by equally tepid vocals and lyrics. In all fairness it's not the worst thing I've heard, but it's pretty far from what I'd consider good.

I've heard about this one before. I was quite surprised to discover that such a relaxed sound belongs to one of the coolest dang album covers I've seen in my life - I was half expecting this album to be grunge or sludge metal going in. The first half is quite good, but those remaining tracks pump the brakes and blend together a little too much for my liking. I've listened to this one twice now, and I'm inclined to give it more listens down the road. It was a good time all around.

It's crazy how every new wave song sounds the exact same regardless of nationality, singer or year of release. It's hard work sitting on my ass listening to the creative endeavours of others five days a week. I think I'm gonna kick my feet back, give the rest of this album a spin and see if the power of rock music is ᵃᵇˡᵉ ᵗᵒ ˢᵃᵛᵉ ᵐʸ ʷᵃⁿᶦⁿᵍ ᶦⁿᵗᵉʳᵉˢᵗ 😴😴😴😴😴😴 ˢᵉᵉ ʸᵒᵘ ᵍᵘʸˢ ᵗᵒᵐᵒʳʳᵒʷ 😴😴😴😴😴😴😴😴😴😴😴😴

My mum is a fan of ABBA's earlier music. Feels good to have an extra topic of conversation that I can kinda sorta talk about with her now. The first half didn't really do much for me, though I'm interested in seeing how this album aligns with the rest of ABBA's music. I wasn't expecting my first exposure to this band to be as dour and ominous as this album wound up being.

Third strongest mole? Second strongest infant? Are embryos gonna start ranking each other by strength next? No clue where or how this album is breaking new ground, but I thought it was pretty cool and is definitely in the key of music that I enjoy. My only real gripe is the overambition. You have to be pretty confident in your material to go for songs that are over seven minutes in length, and I didn't feel like any of the ones on this album had enough substance to justify their long runtimes. The sterile and stagnant nature of this music is a double-edged sword, however, as I can see myself putting this on when I want to relax or get into a flow state. I'll have to see where the cards fall in the future.

I've come to accept that I will never fully appreciate or understand hip hop, though I do have a respect for the stuff from the 90s. It's the only time where the genre was innovating with creative sampling and deliberate songwriting, and this album only adds to my case.

Oh no.... The first jazz album has dawned upon my list......... What terrors could possibly be entombed within this record..................... It's pretty nice. I wasn't expecting the more uniform jazz albums to be getting a spot in the book, so I was pleasantly surprised when I put this one on and was able to quickly fall into it's relaxing atmosphere. Despite my raging hate boner for avant-garde jazz being quite sizeable and desirable to the ladies, I don't actually want to be a hater of the genre. Maybe these two artists will end up being my gateway to jazz music. I definitely feel compelled to check out more of their stuff.

Expected this one to be more hardcore than it wound up being. All of the songs blend together and lack the kick that I was expecting them to have. There's no irony lost on me that the anti-establishment, countercultural band would end up being both part of the establishment and part of the culture

I've always been fond of "nocturnal" music but have only found Self-titled by Gorillaz and Machine Says Yes by FC/Kahuna truly fit that bill. Glad to have another album to add to the pile, and for the new addition to potentially be better than the ones I already know. As someone who is generally antagonistic towards hip-hop, this album feels like it was made for me. Trip hop is the only hop-adjacent genre that I'm partial towards, I've always had a thing for plunderphonics and the muffled lo-fi sound is the cherry on top. I'm impressed by how cohesive and immersive the listening experience is with how off the wall it can be at times. I'll need to give this one another listen - preferably while cruising down a highway in the middle of the night.

Tried to like this one, but it just didn't go far enough for me. The vocals are generally off-putting and the overall direction is a bit too abstract for my liking. I enjoyed some of the lyrics, but wasn't invested in listening too closely

Pretty cool album cover - can't really say the same about the music. I can't differentiate or name any of the instrumentals on this album for the life of me, and the vocal performances are all pretty unpalatable. The lyrics seemed alright, though I didn't care about listening too closely

I'm incredibly sad to admit that I've come off of this album in the years since I first listened to it. It's no doubt one of the best, most revolutionary and subversive rock albums of all time, but I just don't feel it the way I used to. I wouldn't say my music taste has "evolved" per se - I've just come to value different things in music. I'm giving this album four stars because of the historical significance it has had it converting me into a fan of music. The music from Jet Set Radio piqued my interest, the soundtrack to FLCL sustained that interest and OK Computer was the one tipped me over. I can't imagine there being an album to do that job better than this one. All that being said, I've been slowburning my way through the OK Computer minidiscs over the past couple of months and have come away with a newfound appreciation for what this album does. There may be a second wave of enjoyment for me sometime in the future.

I sharpened me boots an' bludgeoned me eye for these tales of nautical nonsense. The voyage to the corner of the globe was a real trip, but I wouldn't say it was worth going without one kiss of your lily white lips, or that it compares to the words of the golden eel or the tale of the whale with the polka dot tail. If this album were my captain, I'd be his Jonny on the spot but wouldn't fill up his glass to the rim - I'm sure he'd be fine accepting only fresh brine. If I found this album in the sandy ground emulating the ocean's sound, it wouldn't speaketh of the trinity, gaze at the sun with it's wandering eye or summon the queen that turns fire to steam. Yarr... This pink eye (on my leg) is making me wave my dick in the wind once again. When the mist lets the sun through, I think this album did alright by me and you. I'll try and keep that in mind when I'm dancing in the show tonight.

I mean, it doesn't even have a Wikipedia page. Come on, bro.

Very interesting. I'm somewhat familiar with post-hardcore music due to being a huge fan of the Dismemberment Plan a few years ago. I've always pinned the genre as walking a delicate line between unbearably annoying and thoughtful/considered songwriting, and this album consolidates my interest in the genre with how all over the place it is tonally. I enjoyed having the time to kick my feet back on this album, even if I don't think the songs earn their long runtimes. I'm interested in giving this one a closer listen sometime in the future. The lyrics seemed pretty interesting, though I'm not interested in blowing my ears out with the loudest guitars and drums known to man just yet.

The best of the \"reprieve\" albums that I've listened to thus far. This definitely only made the list because of Madonna's immense popularity, though I can't deny an album this pleasing. Downtempo trip-hoppy pop music from the 90s is one of the more sugary sweet guilty pleasures that I have.

I'm less than a tenth of the way through this list, but I feel as though I can pretty confidently call this the biggest swing and a miss that I will ever encounter on this website. I think I've consolidated what I don't like about this in my other reviews, so I'm gonna lay it out real quick in bruhllet point form 🗿https://youtu.be/Oc7Cin_87H4🗿 Live albums are near-impossible to appreciate from the perspective of a non-fan and do not belong on this list. They aren't popular, don't showcase a pivotal point in music history and don't capture the experience of listening to music live. 🗿https://youtu.be/Oc7Cin_87H4🗿 Long songs are for the artistically suicidal. Unless we're talking about one of the greatest anthems of all time - a song that will reverberate in the eardrums of millions for centuries to come, trim it down. 🗿https://youtu.be/Oc7Cin_87H4🗿 Jazz is shite, especially the freeform stuff Please load up your digital audio workstation of choice and play three vine boom sound effects together in my honor

Very mixed bag. In some areas this album is really unique and off-the-wall, but in others it plays things way too safely. I generally enjoyed the instrumentals, but Costello's vocal performances are too far on the tepid side for me. Same goes for the lyrics.

Yeah, this is a million, billion trillion percent not for me. It's hard to want to listen to this when that one frequency is constantly piercing through my eardrums and violating the innermost depths of my soul. Rather than bitching and moaning, I think I'll make this review as pasty as possible. It's hard to say with certainty since the game's from Japan, but I'm dead sure that "Imprinting" from The World Ends With You (https://youtu.be/sYHtqyJirgU&t=58) borrows the chorus from A Nigga Witta Gun but alters the lyrics to be less vulgar. Funny that they would choose this album of all things. I wouldn't say that this tidbit of trivia justifies the listen, but it's definitely a silver lining to know more about one of my favourite works of fiction.

I can't remember a single thing about this album, and I listened to it twice! I'd normally say that I'm grateful for the experience of listening to new music, but it's hard to when I never even had an experience to begin with.

Pretty interesting as far as genre-blending albums go. This is one of the few albums to truly fall into that middle ground between two, three or however many music genres that this band intended to mesh together. I'm pretty confident in saying that I'll never hear another album quite like this one. However, did it stick the landing? Uhhhh...

I'm really not a fan of the era and genre of popular music that this album belongs to - it's the most manufactured and commercial that a countercultural movement has ever been. All of the kinks that would be on an album like this have been completely smoothed out, and everything else is shined to the point of having nothing to latch onto. It's admittedly pleasing, though only superficially. On a positive, this album definitely belongs on the list. I can't think of a more popular album that I've skimped out on listening to.

Previously on me reviewing music or something idk what to call this. "...On a positive, this album definitely belongs on the list. I can't think of a more popular album that I've skimped out on listening to." Wasn't expecting to come full circle so soon. When I first started out with listening to music I didn't have any bands that I was definitively into, but really wanted to be able to talk about music. The result was me briefly latching onto this band and album as a way of proving that I knew my stuff. The thing is, I had only listened to a snippet of Smells Like Teen Spirit and knew next to nothing about Nirvana, which resulted in some of the most embarrassing conversations that I've ever had in my life. To this day I've refused to touch this band and album out of shame. So... Now that I'm finally listening to it... I can say with confidence... That it's alright. The big hits are pretty good, but everything else drags super hard, especially during the second half. While I've criticised some of the other "hardcore" albums I've encountered on this list for not being nearly tough enough, I thought the restrained and pensive sound of this album was quite neat. I'm interested to know more about what the lyrics are getting at in the future - I couldn't make out what Kurt was saying half of the time.

Simultaneously too much and too little. The long tracks go on for days and a lot of the shorter ones finished without grabbing my attention. There are some good points to this album. I enjoy how weird and experimental the sound can be - particularly on "Chance Meeting". Would, by the way. For your information. In case you might like to know. For your perusal. As a matter of fact. Truth be told.

Of all the things I thought this album cover would be, I never could have guessed that it was a flower. This album is more than competent from a musical perspective, but the vocals and lyrics don't do much for me. I'm surprised by how recent this album is, even if it does bare a few musical tropes that were popular at the time of release. Hope this album means I'll be getting more stuff from the noughties - I've been drowning in 90s music for the past couple of albums. I enjoyed this more on my second listen. The vocals are pretty alright once you get used to them.

It's alright. Definitely listenable, but I didn't really feel as though I got anything from listening to this one outside of a few songs that I've heard in passing. The spread of genres is pretty interesting. If the R&B/funk roots were trimmed I could see myself liking this one.

The Rolling Stones are kind of anomalous to me. I know that they're one of the most popular music artists of all time, but I've heard absolutely nothing about them. I've crossed paths with all of the other artists that Wikipedia considers to be the most commercially successful, but still haven't heard a positive word about the Stones despite their music vaguely being within my sphere of interest. Let It Bleed was insultingly bad to me with how inauthentic the pseudo-American vocals were. This albums is a massive step up simply due to not being that, but I'm still not sold on this band. All of the songs blend together, and the vocals are pretty subpar across the board.

A loveable mess. I will forever die on the Hail To the Thief hill as being the last truly great album from Radiohead, and their high point in a few respects. Having initially listened to their discography in a mostly-chronological order, I can't express how gratifying it was to hear Radiohead go full menace and paranoia, being a sound that I had been teased oh-so-graciously by with songs such as Street Spirit, Climbing up the Walls, The National Anthem and all of Amnesiac. From a lyrical perspective, this is easily the highlight of Radiohead's discography, even if some parts are rightfully infamous. The themes of docility, terror and subversion are about as relevant to today's age as they were when this album released, and there's an artfulness to the symbolism and metaphor that I really dig - it's perfectly suited to Thom's wistful and intense singing voice. From a musical perspective, this is quite possibly their most ambitious album in an ocean full of heavy hitters. It lacks the fidelity and ambition of the albums I consider to be greater than this one, but it mangles, stomps and blends their sounds together into a gloriously diverse and robust package (with a generous helping of kraut rock, to boot). As an aside, I would like to say that I quite enjoy the B-Side material from this era of the band. Paperbag Writer became an instant favourite of mine with it's gloriously skittish and ungratifying sound. I am Citizen Insane and Where Bluebirds Fly are interesting curios of a post-Kid Amnesiac Radiohead and the remaining songs are all really pleasant and nice. A great break from how full-on the rest of the album's material is. It's way too long and there may be a few songs that are potentially, quite possibly, bad, but nothing can break my love for this album. It doesn't deserve to be the lowest rated post-Pablo Honey King of Limbs non-inclusive album on every music cataloging site.

Wasn't expecting an old country banger to have this generous a helping of man ass on the cover. I thought the hat in his back pocket was either a hot water bottle or whoopee cushion until I put it under closer inspection (not because I was scrutinising his ass I am straight I am not a homosexual) It's pretty good, even if it's appeal is a little fleeting. I used to think the mixture of singer-songwriter with pop songwriting was a more contemporary thing, but I guess there's always been music like this. Cool to know that there's meat on the bones of these lyrics, though I was never compelled to give em a close listen.

Out of all the new albums I've listened to thus far, this is the one that I've tried to like the most. There's an elegance to the instrumentals on this album that separate it from virtually every other prog/hard rock album that I've listened to, and the lyrics are pretty great on the whole. Not to mention the fantastic album cover - it really is a complete package. This album just doesn't click or resonate with me as much as I would like it to. I'll keep this one on my radar. I've listened to this two and a half times already, so I'm partial to giving it more listens down the road.

Really caught in the middle on this one. I vowed to rate all of the albums I like in some capacity a four out of five to counterbalance the growing number of one stars on my list, but also to avoid another A Wizard/A True Star debacle (seriously, what the hell was I thinking giving that album only a THREE out of five???). However, was this really an album I liked? It's pretty good instrumentally - way above the standard for new wave, but the lyrics and vocals are incredibly shit. I'll take the gamble. It's good, but not nearly good enough. I think the parts I dislike about this album will permanently gatekeep me from ever liking it, and it isn't nearly as conceptual as all of the other albums that I've lowballed in the past. That being said, this is quite possibly the only new wave album I'll ever like. Uhhhhh. Okay, I'll heads or tails it. Heads is a 3 and tails is a 4

Oh no... The second jazz album has hit the list, and the first Miles Davis in what I assume to be a millionty billion forthcoming avant-garde jazz albums. It's going to be a bloodbath. My list of one stars will be so lengthy that I'll be left wondering what the point of even sending these albums is. What sordid, unimaginable horrors could possibly be entombed within this record... Okay, upon further research and after actually listening to this album I've discovered that it is not Miles Davis that I have a problem with, but Charles Mingus. And that Mingus only has one album in the book. And that this isn't even avant-garde jazz. And that I enjoyed this. This review is a disaster. I'm incredibly snobby when it comes to longform music, and it is for this reason that I've had a storied history of absolutely hating the shit out of jazz. It throws a complete curveball to the way that I traditionally assess music, which is to average out a score based on how long a song holds my attention, the emotions that it draws from me and the components of it that I admire or view as exceptional. I have no problem with rating ambient music on the pretense of it being something that isn't meant to hold my attention, but I can't bring myself to engage with jazz in the same way. I've always got an air of cerebral and distinguished songwriting from the way that people discuss jazz, which is completely invisible to me whenever I put on a jazz album. It all blends together, and in the case of the more experimental stuff, becomes a completely insulting cacophony of noise. It's because of this experience that I have a natural skepticism towards non-musicians that claim to fans of jazz. I can't understand how people can point to a specific song or moment on these albums that is exceptional or groundbreaking if they don't understand music theory or the way that these albums go against the proven formula. Anyways, to get back on track and to make up for the fact that I can't say anything specific about this album: Do I remember a specific moment of this album? Fuck no, but I can't remember any part of this that I explicitly disliked, either. Did I feel anything while listening to this album? Is there anything I admire about it? No, and no. Have I gone above and beyond in writing my longest review at two o'clock in the morning? I think it might be time to turn a new leaf with jazz - I feel more open to it now than I ever have previously. I'll just have to separate myself from all of the discourse.

I wanted to like this album. I thought the album cover was pretty cool, so I definitely had a favourable impression of this music going in. However, whatever merit these songs have on an individual level is destroyed by how excruciating the album's length is and how much the songs blend together. Really didn't feel this one.

I was keen to give this a listen after being given Steely Dan's debut album a little over a month ago. I haven't listened to anything from these guys in the time since then, but they have been firmly lodged in the back of my mind as an artist I should give a good, fair shake to once this list is behind me. I was dismayed to discover that I like this album way less than the preceding one. I wish I could give Can't Buy a Thrill another listen to compare the things that I prefer from that album over this one, but I just don't have the time. I remember their previous album having much stronger vocal harmonies and a more vibrant sound, which I preferred, despite having instrumentals that came real close to blending together. I appreciate the effort in making songs that stand out more on this album, but I think a lot of the material on here is stretched pretty thin. I'm not one for decimal points, but if I were to delve into half-digits like I am now I'd give this album a 4.5/10. Yet, despite being the closer score, I can't bring myself to give this a 2/5. This band is undeniably pleasing, even if the approach they took on this album doesn't appeal to the more critical side of me.

I have a massive, pulsating, throbbing hate boner for many of the live albums on this list, but this one actually has merit for being a little bit of a musical curio. Never in all of music history did I think that there would be a live album that outsells the main discography of the artist that it belongs to, has singles released, is inducted into the library of congress and launches the career of the band in multiple countries. It's also performed in wholesome and based Nihongoland or something I don't know. Usual criticisms of live albums apply here. It's tough to appreciate this album without being a fan of the artist's discography. It isn't influencing the future of popular music or advancing music as an artform and it doesn't really capture the experience of listening to music live. However, it is popular. It's also pretty funny hearing a bunch of Japanese girls going absolutely batshit over this random ass yankee hard rock band, so I guess that's a plus, too. This album has the weird and rare phenomenon of being super backloaded - I'll assume that it has to do with these songs being ordered chronologically. Just when I'd completely checked out I was struck by the electric atmosphere of "I Want You to Want Me" and the appeal of the album kinda just clicked with me from then on. Never review these albums when you're actively listening to them, I guess. Gave this album a relisten and the whole thing is pretty alright. The second half remains much, much better. I'll retrieve this album from the designated "live album" pit that I threw it into earlier, where it is currently waiting to be incinerated. These fellas are rocking with "At Folsom Prison" now.

I didn't know that women became menopausal at 24. My thoughts and prayers go out to Kate Bush ❤️❤️❤️ Okay, in all fairness she definitely deserves a place on this list and more credit than I am presently giving her. I've always thought that Kate Bush existed as a sex symbol with how many times I've heard her described as an icon of traditional femininity, which is why it's nice to know that there is a craft and meaning to these songs. It's just a shame that she forgot to make them sound good. I do respect this album for daring to be whatever the hell it's trying to be, which is why I am graciously saving it from the one-star slot. I can't imagine there being a worse place for me to start out in her discography, which is why I'm gonna keep an open mind with her other albums in the future. I gave this one a relisten and I appreciate it more on the second go. The "heavy" production on these songs is pretty good for the most part, and her vocals are at most tolerable. I have no clue how to precisely articulate my thoughts on a vocal performance, but that fluttery, rolling thing she does with her voice is just terrible. Same goes for all the random screech-shouting. On an unrelated note, I'm going to my first-ever live concert on Sunday and I don't have weekend albums enabled. One of my all-time favourite bands is playing one of my all-time favourite albums, which just so happens to be included on this list. I'm going to cast all of the psychic and cosmic energy within me out into the universe so that it can force this website to recommend Yoshimi Battles the Pink Robots as tomorrow's album. I have about a thousandth of a chance of this coming to fruition, but I'm confident in my luck. Please shield yourself from the incoming wall of unicode. This is powerful sorcery. ━━━━━★⋅.˳˳.⋅ॱ˙ ˙ॱ⋅.˳˳.⋅ॱ˙ ˙ॱᐧ.˳˳.⋅. *･｡ﾟ✧⁺⋆˚⊹ ⟡ ݁₊ . .݁ ₊ ݁⟡ ⊹˚⋆⋆｡༄⋆˚⊹✧ ˙✧⋆⭒˚｡⋆⊹ ۪ ˑ ִ ֗ ִ ۫ ˑ⊹ ۪ ﾟ｡⋆☾ ִ ֗ ִ ۫ ˑ｡⊹ ۪ ˑ ִ ֗ ִ ۫ ˑ༄.ೃ࿔࿐໋✧˖°.˚. ✦.˳·˖✶ ⋆.✧˚.˚ ༘`✦ ˑ ִֶ 𓂃⊹ ˖ ✦ ‧₊˚ ⋅. ݁₊ ⊹ . ݁˖ . ݁♡.˳·˖✶𓆩𓁺𓆪✶˖·˳.・.ೃ࿔:･♡⋆⭒˚｡⋆°‧⋆.｡.∗⁕☆*:✧★✧:*☆⁕∗ Σ(O口O ) The algorithm getting btfo'd by my epic magic ⬆

Previously on me writing about albums: "On an unrelated note, I'm going to my first-ever live concert on Sunday and I don't have weekend albums enabled ... I'm going to cast all of the psychic and cosmic energy within me out into the universe so that it can force this website to recommend Yoshimi Battles the Pink Robots as tomorrow's album." My magic isn't as powerful as I had hoped, but I've heard good news from the people who taught me. Sometime within the next 992 days, Yoshimi WILL be recommended to me. A truly amazing display of power, if I say so myself. Anyways, I'm not really digging this one. It's superficially pleasing, but doesn't really have much else going for it - a trend that I am slowly beginning to view as synonymous with funk and soul. There's some good moments. I like the piano ballads, but none of these songs really squeeze as much as they can from their better parts.

It's been forever since I was last recommended a true oldie. Glad to finally be given another one. I was pretty surprised to discover that a girl who goes by the name of Dusty Springfield was British rather than American. I'm guessing the stage name and appearance was meant to broaden her appeal to the American market, though it didn't really seem to pay off. Albums like these make me wish I had the book on hand as I have no idea what makes this album exceptional aside from being the debut work of an iconic musician. This beckons the question as to why this album is on here over the Beatles' debut. I'm not a diehard Please Please Me fan, but it's just curious to me that this is included over that album when they're so similar in content, yet so different in popularity and influence. I think I'm beginning to understand why Americans complain about the book having a strong English bias.

Pretty alright. I recognised two of the songs on this list despite 80s music being pretty far outside the music that interests me. It's from the 70s? That's nuts. Definitely ahead of the curve and deserving of the place on this list. While I'm not crazy about this album, I respect it.

I made it. Album numero one hundredo. One hundred albums that I have successfully listened to before I have died. The dev of this website sells the process of listening to all of these albums as a journey, and I'd certainly agree. From the familiar peaks of some of my all-time favourite albums to the comfortable "reprieve" albums to the shocking swings and misses, I feel like I've already been through a lot despite only clearing a tenth of the list. While I don't exactly have the most positive rating average, I can say with certainty that I've loved every second of it. I've developed somewhat of a fascination with checking user profiles over the course of working my way through this list. I've noticed that the majority of users either peter out after 20 - 40 albums (as did I, initially), power their way through this list or find ways to slowly keep clawing ahead. There's a sombre, meditative quality to slowburning my way through this 3-year project. So many lives and people that I will never know beyond the faceless blocks of text that populate these pages. At the same time, I can't help but look at how much time this process demands. Will I be a changed "music appreciator" come the end of this list? Will I be happier and more fulfilled than I am now? I hope so. In the time since I initially gave up on this project in January of 2024 and picked it up again in October of the same year, my appreciation for music has changed dramatically. What once was another hobby of mine has grown into becoming one of my few current interests. As a way of counterbalancing the albums on this list that I don't care for, I've started listening to music that personally interests me on the side, which results in a metric shitton of my time being dedicated to music listening. Out of the hundred albums that I've listened to thus far, there are two new albums that have entered my rotation (A Wizard / A True Star and The Stone Roses) - none of which I've had the foresight to rate above a 3. If I end up with 12 new albums that I really like by the end of this list, I'll consider that a win. Anyways, moke sweed erryday ganja 420 I love injecting crackarooski crack rocks into my system that's some mighty darn fine KUSH!!!! I LOVE WEED!!!!!!!!!!!!!!!!!

Another reprieve album. I like having the time to reflect and collect my thoughts before facing whatever big album lies in wait for me around the corner. I also enjoy likening these kinds of albums to emotions or experiences - it makes the process of listening to all of these randomly-generated albums feel meaningful and part of a greater narrative. This album is like trucking through a dark, single-lane country road in the middle of the night, waiting for a radio transmission to pierce through the dark, lonely veil that hangs over me. I also liken it to sitting alone in a motel bar alone with a smoke and a glass of gin while drifting in and out of consciousness - too tired to remain awake, but too pensive to fall asleep. I really came around to this album during the second half, which is usually indicative of me not paying enough attention to the first few tracks. I'm going to give this one a relisten tomorrow, as I do with all of the albums on this list (God help me).

Another one of these. I've been pretty bummed out by the selection of 2000s albums so far, and among my least favourite trends to come from the noughties was the popularisation of indie music. I admit that it's partly because I like belonging in a smaller pool of music listeners, but also because it brought a whole ton of wank bands that are indie in name but not in spirit. This album is the kind of music you'd bring up when talking with a work colleague. It carries an air of respect with it's cool, suave sound and flashy German name, but peek underneath the exterior and there's absolutely nothing going on. On a positive, I think Take Me Out is pretty good. I have a bad habit of thinking that the first 50 seconds of the song and the remaining ~3 minutes of music are two separate tracks, which is a contrast that I enjoy.

I'm interested in giving this one a listen. Ever since I sat through the Fugee's second album I've seen this album everywhere and have heard about how great and influential Lauryn Hill is despite only having three albums to her name. Listened to it and yeah, not a fan. I can understand where this album innovated if Lauryn Hill was one of the first people to popularise the "being shaken" style of singing, but that kind of vocal performance sounds like utter shit to me. It's an impressive display of vocal range and prowess, but I firmly believe that it belongs to the "for record producers only" category. Every song being sung in this style combined with the minimal instrumentals, lack of breathing room and hour seventeen runtime made this album a profoundly miserable listening experience for me. I wasn't compelled to listen to the lyrics too closely, but they all came across as pretty insipid and self-aggrandising to me. Which beckons the question. Why this is considered a concept album? There isn't really an arc to any of the discussed themes, and what is discussed falls vaguely within the realm of self-love or something. The entire experience is fruitless to me.

Let me just say that I feel like I dodged a bullet by listening to this one without headphones. It's an incredibly, incredibly ballsy move to start your album out with the infernal screeches of the guitars of the damned. I can see why it turned a lot of the people here away, but it succeeded at hooking me in. For better or worse, it's attention grabbing. I quite like the industrial aesthetic that this album has going on. I have no clue how some of the sounds on this album were made, which makes the way in which they were utilised doubly as impressive to me. I had absolutely no clue what any of the vocalists were saying, but in all fairness who can understand a britbonger-they're American???? I listened to this one twice and I don't really have any opinion on it other than that I liked the opening track and thought that Sentimental Journey was funny. There just isn't nearly enough meat on the bones of these songs to justify their long runtimes, and the entire thing feels like it drags it's feet as a result. This is yet another album where I wish I had the documentation on why it made the list.

Another contemporary one. The 2010s really aren't my decade at all, but it's comforting to return to the kinda-current year every now and then. I've heard about LCD Soundsystem in passing. Nothing of note, mind you. I've just heard their name. I'm expecting this one to be an electronic album, which is usually within my music-appreciating wheelhouse. Lookin' forward to giving this one a go. This was simultaneously exactly what I was expecting, yet also nothing like what I was expecting. Very minimal, but with a little bit of a groove going on. The lyrics and vocal performances are generally pretty insipid and all of the songs are scandalously long, but once I tuned all of that out this album became tolerable enough to me.

Brian Eno!!! I know of him because of the um err um MGMT song (I'm not a plebian, I swear). I've seen this album around before, though what I've heard about it doesn't really come to mind. It's a pretty good album cover. Definitely an iconic one. Gotta be honest - the minimal, ambient approach doesn't really do much for me. There are some good moments when the piano is the center focus, but the songs based around percussion and guitars are all pretty thoroughly unmoving. I have no clue how to describe those electronic tones that appear on some of the songs (particularly St. Elmo's Fire), but I quite enjoyed them and haven't heard a similar sound elsewhere. They definitely give the album a reason for belonging on this list

This was a surprisingly tough album for me to get through. The strangest part being that this album is pretty standard when it comes to runtimes and was competent on the whole. However, for some inexplicable reason, I'd tap out almost immediately whenever I'd try to put this on. Led Zeppelin are one of the bands I've had in the deepest reaches of my backlog and this isn't a very promising start, I must admit. On the bright side, these guys singlehandedly invented my favourite make of song: the 5+ minute-long rock epic, so I'm still open to giving these guys a go. I definitely have to as far as this list is concerned. Immigrant Song is a track that I've become pretty familiar with in passing, though I was expecting the song to be a lot more substantial than it wound up being. Maybe throw in a sick minute-long guitar solo and an epilogue as the invaders move towards new pastures and we'd be talking, but I was pretty shocked to discover that it ends abruptly after 2 1/2 minutes. Regardless, it still stands as the best song on the album by a wide margin. The rest of the album is comprised of tolerable acoustic tunes that all blend together, which was a twist I was not expecting.

Hey! I've listened to these guys - a once-in-a-blue-moon occurrence for anything released prior to the 90s. Ghost Town is one of those songs that I really like but have never listened to enough of. How tragic that I will never be able to sing my praises about that song on this list given it's status as a non-album single. I'm favourable to ska when it's intersected with other genres, but I don't think I'll ever sit through a ska-centric album that I've come away from feeling anything more than ambivalence towards. It's a very restrictive genre to work with, and while there are little musical nuances and some competent vocal performances throughout, I can very confidently say that I'll never return to this. The most entertaining part of this album is that it was produced by Elvis Costello. I don't think I'll be escaping him if the sordid tales that I've heard through this site are anything to go by.

I was ready to bestow the much-appreciated "rest album" moniker on to this album, though I'm not so sure whether it qualifies. It lacks both a relaxed and emotional component for me to truly feel rested after listening to it. I thought it was pretty alright, though this kind of dance music is very tough for me to engage with. It's flat and sterile, but not in the cool, aesthetic, minimalist way that I usually get down with. It's very mild and my opinion of it is worsened by how lengthy it is. I think this is the longest album that I have listened to so far. It may very well be the longest album on the list outside of The Beatles' White Album. Getting to the title track and hearing a few artist names that I've listened to as a result of this list was pretty cool. I kind of wish I got recommended this one later into the list so that I could see how how big that figure would be. Out of the 58 artists mentioned in the song, I've listened to 8 as a result of this list and 10 in total. I am 13.8% more cultured on music as a result of going through this list, a figure that means absolutely nothing outisde of this one random ass song. Y'know what? Fuck it. I've got time to kill while I wait out the rest of this album. If this were the last album I was recommended on this website, I would be able to say that I have listened to 27 of the artists on this list, or 46.6% of the total list... That's... a much weaker figure than I was expecting. Better to knock this one out of the way sooner rather than later, I guess.

I know "Perfect Day" because of the Puhskinti Day 2019 song and I first heard "Take a Walk on the Wild Side" through a health insurance commercial. I have been introduced to this album in the worst possible way twice without knowing it. There's a good reason why I, the perpetually blind to any music released before the 90s know these songs and it's because they're pretty good on all fronts - they're pleasing and unique in both a clever and understated way. There's a major drop off for me in the other songs, though. They're equally weak on an instrumental, lyrical and vocal level, and the entire album felt like it dragged it's heels despite their being some better-than-average songs on it.

From listening to Who's Next and now My Generation through this site, I've discovered that I like the image of the Who as a classic rock band more than their actual music, which I suppose is true for a lot of the bands from this time period. There are two songs on this album that feature a very noticeable Beatles influence, and I wouldn't be surprised if the remaining tracks wear their influences on their sleeves, either. So, why the one-star? There's something off-putting about this album that I have a hard time explaining. It's by all means listenable, though I felt a great reluctance to sit through this one and didn't want to give it a relisten. The only part that I remembered was the "talking about my generation" bit, and that's like five seconds in a full thirty five minutes of music. It's interesting that psychedelic rock is listed as a genre on this album when I didn't notice any psychedelic influence whatsoever. Maybe it's an error.

Never heard of these guys before. I'm not sure what the minimum runtime for an album should be in order to make the list, but these guys are definitely pushing it on this one. I wonder how long the shortest album on this list will be. It's just more 60s rock, which is a make of album that I fully expect to be numbered into the mid-hundreds by the end of this list. It's pleasing enough and pretty easy to listen to, though there isn't anything on here that makes me want to return. Creedence Clearwater Revival are surprisingly really popular for a band that I've heard absolutely nothing about. I can't complain about them being on this list for no reason.

I'm always surprised whenever I find a soundtrack album on this site - I forget that there are soundtracks that have actually managed to be critically and commercially successful. I'm doubly as surprised to discover that this album is so similar in style and context to Shaft by Isaac Hayes, though I can't complain - Superfly is a fraction of the length Shaft is and about twice as good. It's very pleasing on the whole with an impressive level of audio fidelity and nuance in the instrumental department. My only real gripe is that the songs create a strong first impression, but fail to sustain my interest. I chalk it up to two things. Soundtracks are easier for me to engage with than band music, but it generally helps when I have a familiarity with the source material, as the memories I have of a media property are the main seller in my enjoyment of soundtracks. I also don't think that a lot of these songs go anywhere.

Pretty good. It's been forever since I was last recommended an album that wasn't from the UK or the United States, so I'm grateful to finally be given another. A lot of this music feels vaguely familiar, especially Eple. This band is surprisingly quite popular, so I must have heard them at some point or another. "Sparks" is very reminiscent of the Lo-Fi hip hop genre with it's sampling and subdued, muffled sound, which is one of the few hop-adjacent genres that I enjoy. "She's So" is my favourite song on the album, blending a spacy, atmospheric sound with a fantastic, ethereal sax. I've noticed that I've become quite favourable to "cosmic" music of late, and I think that this album captures that aesthetic very well. It's relaxed while also maintaining a deliberate, considered approach to the songwriting I'm conflicted on busting out a 3 or a 4 for this album. It doesn't carry an impactful, genre-defining kick to the music industry and I'm partial to this music without being crazy over it. It is, however, very watertight. There aren't many loose ends on here and I'm interested in listening to more Röyksopp as a consequence of hearing this album. In my heart of hearts I think I already know the answer, though I'm gonna bust out the coin of indecision to do the heavy lifting. Heads is me giving this a 4 Heads. In to the favourites list you go, lil buddy. I am downloading more Röyksopp as I am writing these words. I am officially a member of the ksopperhead army ksopperhead nation.

It's been about twenty albums since I was given a landmark, challenging one. Glad to finally have another. I actually listened to half of Closer ~5 years ago, though I don't remember a lick of it. I've somewhat avoided it in the time since then. I find it pretty offputting how a lot of people in the music community romanticise and obsess over death. I want to try and "get" this album, but after listening to it twice I'm not sure whether I do. I like the heavy production, but those vocal performances push me away - they're all thoroughly unmoving. It was very difficult to make out the lyrics on the album, though I didn't care much for what I was able to discern. "The Eternal" is my favourite song on here. I thought it was pretty alright on the whole. However, the song that succeeds it, "Decades", is awful. I was hoping that there would be grand climax to this album that made the listening experience worth it, but I came away with pretty sour feelings overall. Hello! Me after two *complete* listens here. It's good! I thought the first half in particular was strong, which managed to be gothic and macabre in some pretty unique ways. The synth is an unusual addition to an album of this tone and nature, but I thought it was used to great effect, especially on "Isolation". The sudden epiphany I'm having is not enough to save this album from the three-star slot after having one-and-a-half listens of not getting it, but I am more than open to giving this one another go in the future. I'm glad I could have this breakthrough. Just as an aside, I've always liked how ominous the title for this album is. "Closer" as in the final part of Joy Division's discography, but "closer" as in something getting nearer. The album cover is great too. Definitely iconic and I like how the lighting of the photograph elevates the dramatic tension of an otherwise barebones cover.

A pretty interesting mix of genres. The intersection of trip hop with 90s dance music is something I can confidently say I've never heard before. I've always been favourable to trip hop, but I think it's a genre that's very difficult to get wrong but also really hard to get right. 90s dance music is a different story. I can appreciate this kind of music when it's purely an electronic affair, but I think it gets pretty bad when more traditional instruments are thrown into the mix. That piano/keyboard sound which is present throughout this album and common in UK music at the time sounds horrific to me. Talking more broadly about the music itself, the album starts out solid enough, but gets substantially weaker as it piles on 5+ minute song after 5+ minute song. There are a few moments on the album that showcase a creative and effective use of electronic sounds, but these moments are few and far between. Foxbase Alpha was substantially more draining than it needed to be. I listened to this album twice - once with the US bonus tracks and once without. I can't say that the experience was much different other than that I was glad it ended sooner.

I was unsure going into this one. Britpop is one of those genres that I'm confident I'll never be able to "get", though I'll always be the first to defend it as a genre of music. Washed out instrumentals, strained vocal performances and heavy guitar distortion are a pretty unorthodox creative choice for a genre of music that is meant to be patriotic. I also quite like the air of distance that britpop has. It adds a pensive quality to the music when looked at in retrospect. The England of today is completely different to what I imagine it was like 20 years ago. "Bittersweet Symphony" is the highlight. Those string sections are very good, though I admittedly think that they pad out the song to being much longer than it needed to be. "Lucky Man" manages to be quite good as well in spite of the animosity I have towards the second half of this album. String instruments are among the most "feels-inducing" you can have in a song, and I can't complain about feeling every once in a while. The remainder of the album was quite different to what my experience with Britpop has been (all of two Oasis albums). The cleaner-sounding acoustic approach managed to produce some songs that I didn't mind listening to. Same goes for some of the more subdued tracks, which I think work well on an album released near the end of the millenium. It really does feel like the end of an era and the dawn of a brave new frontier in some respects. Despite having some merit, this album has a huge length problem, which is one of the most damning faults you can have in my eyes. I had to do a double take when I saw the hour fifteen runtime on this baby - I thought I had stumbled on to the deluxe version by mistake. I had already gotten my fill of the album by the time I made it to "Weeping Willow". so toughing out the remaining tracks (especially the fifteen-minute fuuuuuuucking closer) really hurt the experience of listening to this album.

I didn't like this album at all on my first listen, but I came around to it much more on my second go. The vocal performances and dated instrumentals were initially a big point of contention, but this became a non-issue for me on the second go. No clue what lead to such a dramatic change of heart, but I'm glad that I now "get" Abba in some capacity. I think my enjoyment of this album is due to the high number of piano refrains. You can never have enough of those, especially in pop music. It's amusing to me that this album was recommended immediately after "Urban Hymns" by The Verve as I distinctly remember listening to one of the guitar sections on that album and thinking that it sounded like "Dancing Queen". On the subject of that song, it's very good. It's not entirely up my cup of tea, but I can confidently say that it's one of those songs where all of the musical choices come together and work with one another perfectly. "Why Did It Have to Be Me?" and "Tiger" felt like they went on for way longer than they were in reality. I got proper whiplash when I checked the track listing and realised they were only three minutes in length. I think a lot of this album's appeal is hedged on the melody, as the music itself is very repetitive. Those two songs moving at a much quicker tempo definitely hurt them in my eyes. I'm favourable to the idea of giving this album another listen sometime in the future. I'll see where the cards fall.

Great album cover. I've heard good things about The Smiths, though I've never found the time to listen to their music. Glad to finally be given the opportunity. I have no idea what I was expecting going into this album, but I was prepared for it to be vaguely within this style of music. There are some pretty good guitar performances on here and the rockabilly influence is fun. There's a respectable level of variety as well. I like how the atmospheric "Well I Wonder" shifts the direction of the album in a more intricate direction. "Barbarism Begins at Home" was my favourite song on Meat Is Murder. It's less lyric-focused than some of the other songs on the album, but is carried by a great central guitar riff that somehow manages to justify the song's 7-minute runtime. The only real gripe I have with this album concerns the vocals. They're pretty weak and made me pay less attention to the lyrics than I perhaps should have. I'm open to the idea of them being an acquired taste, much like with some of the other bands that I now herald as favourites. There's a good chance that this album will grow on me with additional listens, which is something I have said about a few other albums in recent memory. I think I can confidently say that my appreciation of music is growing. For the longest time I have looked at 80s music with complete disdain, though there are now two albums from the decade that appreciate (the other being "The Stone Roses"). Coin of indecision time again as I'm unsure of whether this one will grow into a favourite. Heads. Into the 4-star category you go, lil buddy. I've heard that "The Queen Is Dead" is the best Smiths album, so I'm glad that I haven't even reached the apex of this band yet.

Another heavy hitter - this time 13 albums after the last one. According to my analysis of the 1001albumsgenerator.com economy, the popular, innovative albums that really earn their spots on this list appear once every 15 - 20 albums. That's not me complaining, as I like the slowburn journey and the opportunity to listen to albums that I would never listen to in a million, billion years across all alternate timelines and parallel universes. I've listened to Bowie years ago - specifically Ziggy, though I didn't like it. I've become more favourable to the album in the years since. I think this list is a good opportunity for me to re-evaluate my opinion on David Bowie. What better way to start than with what is one of his most acclaimed albums? "Heroes" is very competent on the whole. A lot of unusual melodies and an effective use of guitars. It's difficult for me to isolate specific aspects of this album that I like as all of the instruments work together like clockwork. However, I'm not yet sold on Bowie as a vocalist. His performances are certainly iconic, though something about his voice is uniquely off-putting to me. I wasn't interested in listening to the lyrics at all as a consequence. The second half of this album was a very big surprise. I don't have an exact hold on who David Bowie is as an artist or character, though I was expecting the album to be a purely pop rock affair. "Sense of Doubt" comes out of nowhere with an ominous, perturbed sound and "Moss Garden" takes the concept further with a stab at an ambient, atmospheric song. I really like the latter track for it's "cosmic" sound, which is an interest of mine that has been spurred on entirely by this list. I liked this album, but I'm not crazy enough about it to where I'd consider giving this a 4. I am also writing these words in public, where I don't have a coin of indecision to do the heavy lifting for me. I'm going to resort to dangerous, life-threatening measures that I may never recover from: racking my brain. 3. This is one of the most consistent albums that I've listened to through this site, but I'm undecided on whether this album will stick with me in the long run. I am favourable to giving this a relisten a little later down the line. Maybe when I'm recommended the next Bowie album through this site.

First Queen album. I'm surprised that this one released after Queen II. It feels like they were just beginning to get a hold of their defining operatic style with this album. There's an impressive display of variety and some pretty good vocal performances on Sheer Heart Attack though the lack of a strong creative identity really hurts this album, which is what I value most in music. "Misfire" is good. That lead guitar performance is very distinctive. I feel like I've heard it somewhere prior to listening to this album. "Bring Back That Leroy Brown" is also quite good. A nice vocal performance carried by a good percussion-heavy instrumental.

I was looking forward to giving this album a listen until I saw that ghoulish, ghastly runtime. Gorillaz were the first band that I really got into and while their music isn't in my rotation anymore I still have a great deal of respect for the Albarn-centric tracks from the band. Forgive me for being one of the unwashed masses that compares Gorillaz to Blur, but I do think it's interesting to look at some of these tunes as proto-Rillaz tracks. There are a few musical curios and unorthodox sounds peppered throughout this album that really do remind me of the Kong Studio-ers, especially during the Demon Days phase. "Death of a Party", "Movin On" and "Essex Dogs" are particularly reminiscent of this. I'm ashamed to say this, but I think I greatly prefer Albarn as a solo-musician when compared to his more collaborative ventures. This goes for everything that was released with his name before and after the debut of Gorillaz. I think he especially thrives when he is working with a low-fidelity, underproduced sound (i.e. self-titled Gorillaz and The Fall). Anyways, on to talking about the album at hand as it's quite interesting. I can't think of another non-American band that has aped this kind of washed out, abrasive indie sound. Pairing that sound with the off-key, quirky vocals of Damon Albarn works surprisingly well and is quite endearing. That being said, I think this sound is very indistinct and restrictive, which is especially damning during the second half as the album continues to pile on some very unambitious 5+ minute songs that sound near-identical to one another. Still, for what it is, it's perfectly listenable. Maybe I'm going crazy, but I recall there being a Blur song that was entirely instrumental with a short repeating melody that progressively gets quicker and segues into a barrage of clattering percussion. I'm going nuts trying to find that song - I can hear it in the back of my mind. It's probably from a Blur-adjacent band

Muse! I'm familiar with these guys because Radiohead fans are the most universally annoying people on the planet. I tried listening to the album that had the orange background but couldn't get into it. This may very well be the last opportunity I have to get into their music seeing that this is the only Muse album on the list. I'm open to giving them a try. The cover for this album is great. Another perfectly fine, listenable album. I'm not too crazy about "anthemic" music, so this album is trying to tap into emotions that I don't really feel. There are some pretty good instrumental choices on here. I like the growling guitars and genre-bending style of "City of Delusion". I also appreciate the Western influence on "Knights of Cydonia". The pulsing guitar riffs and electronic sounds that underscore the music carry the epic nature of the song quite well. "Supermassive Black Hole" was the biggest surprise of the album. Very groovy, yet it manages to work surprisingly well. "Starlight" is my favourite song as it's the only one on the album where the vocals fit with the music. If these four songs are indicative of Muse's creative direction, then I can understand why they have a sizeable following. As alluded to previously, the vocals are the biggest polariser for me. I understand the direction and intent, but I found all but one of the performances to be torturously slow and detached from the music. Very loud, too. Pipe down, Matt Bellamy,

Another "reprieve" album - something that's easy going and likeable. I'm very stingy with the albums that I consider to be reprieving, so I can't actually remember the last album I bestowed the moniker to. I guess "Melody A.M." from 10 albums ago, though I don't think that album qualifies because I genuinely like it. The reprieve album before that was "Heartbreaker", which was 23 albums ago. I'm well overdue for a break. I can commend this album for being ahead of the curve. The sweeter parts of this album are very reminiscent of the sickly-sweet acoustic pop/rock ballads that became popular throughout the 2000s. The electronic sounds that underscore some parts of the album were quite pleasant and nice. I genuinely quite like "Writing to Reach You" and "Why Does It always Rain On Me?". While I did appreciate this, I think the album loses itself somewhere down the middle. The more lively tracks on here (especially the hidden bonus track on the closer) didn't hook me. I'll see if I'm open to revisiting this in the future. I would say that I have no idea how this album landed on the list, but in the time since I last busted out that line I have upped my game by obtaining a legal copy of the 1001 Albums book that I robbed from the digital book store. Let's see. Produced by Nigel Godrich. The band started out in Britpop (a genre I have been absolutely inundated with as of late). Apparently it was the best-selling album from a British band in the UK in the year of 1999. That's the reason, bucko. The people on this site really aren't lying when they complain about the strong English bias. I would close out this review by reflecting on my experience and ruminating on the journey ahead, but I actually know what's in store for me, at least as far as the next 30 or so albums go. In Utero is two albums away. I vowed to give Nevermind a relisten when I got to the next Nirvana album, though I think I'll pass while I get my backlog in order. Two albums after that is Electric Ladyland. My first Jimi record. I'm curious to hear what one of the most iconic guitarists sounds like. Neon Bible. I listened to Funeral by Arcade Fire in my own time and really did not like that album, though I'm always open to second chances. Revolver. One of the Beatles albums that I'm less enthusiastic about. I'm keen to give it another evaluation. Paranoid by Black Sabbath. My second Elvis Costello album. A whole lot of nothing. Looking forward to it.

I've made peace with the fact that I will never be able to appreciate hip-hop for as long as I live, though I do have somewhat of a respect for the 90s stuff. My passing impression of contemporary hip-hop and it's adjacent genres has been that both styles of music are very feminised and neutered, with there being very little of a semblance to the older stuff beyond the vague notions of hedonism and staunch manliness. Say what I will about this album, but I can respect that it at least has the balls to be outwardly anti-white and homophobic rather than hiding it behind 50-minute psychological, slowburn racially-conscious critiques or whatever. The "skits" that were present on hip-hop albums throughout the 90s and 2000s are interesting to me. I may have mentioned it in one of my other reviews, but I wonder if it's a ploy to establish more of an identity for the artists behind these albums. Hip-hop artists seem to have a very ephemeral appeal, with most noteworthy artists having one big, critically-acclaimed album to their name and nothing else. If I'm to give one bit of praise to this album, it would be that the instrumentals are competent on the whole. Very threadbare and unambitious, but I could appreciate most of them.

Nirvana's third outing and apparently their best depending on which music-rating site you consult. I didn't know this album even existed until I encountered it on this website, so I'm glad to be getting some long-overdue cultural enrichment. I started to appreciate this album more during the tail-end of my second listen. The aggressive, rough sound is something I'm undecided on whether I like, though there's a subtlety to the tamer parts of the instrumentation and lyrics that I do like. I know I need to give this a deeper listen sometime in the future, but I don't have the time at the moment. When I finally get recommended the live album I'm going to have a Nirvanaganza, where I will relisten to this album along with Nevermind in one last hurrah. I have no strong feelings about grunge, but there's something about this band that I feel like I have the potential to appreciate. I like "Heart-Shaped Box". One song I like is all I need to warm up to a full album sometimes. With this album I have successfully listened to 66% of Nirvana's main discography. I wonder if another artist has an equivalent percentage of their discography on this list. The Beatles have a respectable 58% of their albums on the list. Radiohead actually has them tied, with 66% of their discography also being on this list. Many of the artists with the most albums on the list have gigantic discographies, so I think we may have a Radiohead/Nirvana stalemate.

More Creedence Clearwater. I don't actually remember anything about the last album despite "Bayou Country" only being 15 albums prior to this one. If Bayou Country was anything like Cosmo's Factory, then I think I may have been sorely mistaken with my impression of this band. Quite a pleasant listen. Some good vocal performances, songwriting and instrumentals. This album is a lot more melodic and cohesive than I'm used to with rock albums, which is far from a complaint. There's nothing on here that really grips me or breaks the mould, but there's a virtue in simply being competent and enjoyable sometimes. I have one more album of Creedence's to get through now that this one is behind me. If I like that one as well, then I think I might check out this band's full discography, which is surprisingly quite short. I was prepared to have a conniption over "I Heard It Through the Grapevine" and it's scandalously long runtime for a mainstream rock album, but it was surprisingly quite good. Glowing praise from the vicious, number one hater of "long songs". The time has come for the eternal question. I liked pretty much every second of this album, but I'm not crazy enough about it to give Cosmo's Factory a 4/5 under normal circumstances. Go forth, coin of indecision. Make my choices for me. Heads. Man, this thing really really wants me to bust out a 4 for every album I'm undecided on. Maybe the forces of the universe are trying to counterbalance my miserablebitchitis and make me like things for a change.

First "Only Built 4 Cuban Linx..." and now this... I am being properly bent over by the 1001albumsgenerator when it comes to hour+ albums. FUCK. Alright guys, I'm. I give up. I don't know when I'll review again. I really need to catch up on my 32 album backlog. I really wanted to exist in the present with the 1001albumsgenerator community. I've wanted it so fucking bad. *dog whimper* I just can't do it. I can't TAKE this shit no more, man. All I wanted to do was like I was fucking music-deprived I wanted to fucking put on some music have a good time have a good listen. I hate my life. I was curious to give this one a listen. I've heard good things about Jimi Hendrix, though I don't think I've heard a single song of his in my life despite being a big enthusiast of rock music. I'll chalk it up to him having a shockingly small discography for an artist of his stature and belonging to a decade of music that I don't really care for. I have to admit that I am getting off on the wrong foot with Jimi. I can only think of one hour-long album that I have viewed favourably in the past. It's already impossibly hard to make a single good song as is. The odds of compiling multiple good songs into a cohesive, collective body of music is infinitesimally small and the odds of those good songs making it onto a good hour-long album is pretty much never going to happen. I value brevity, which is what I'm trying to get at in the most unconcise possible fashion. I have been listening to this man for 57 minutes now and I don't really have a feel for his musical style or how he earns the "greatest guitarist of all time moniker". It all just blends together for me between all of the instrumentals that start out cool, intensify, then peel back in order to allow for Jimi's vocals to butt in. His compositions are very reminiscent of 50s/60s jazz, which is something I can understand the broad appeal of, but does not appeal to me as a general manager of disliking jazz music. The guitar performances are very confident, though they're far too subdued for my liking Because this album is so fockinggg long, I have taken to the lab in order to quantify the objective, perfect duration for an album across 14 releases that I hold up as favourites. The longest album on my list was an hour and 14 minutes, whereas the shortest was 33 minutes. The objective, scientifically perfect runtime for an album is 48 minutes and 57 seconds. Not far off from the hour mark, but it matters because it just does... Okay? I didn't notice until the last three tracks that I had been listening to this album entirely though my left ear - my other earbud died on me. Whoops. Uh, I'm not listening to this one again. Sozzo, Jimi. I will make sure my earbuds are fully charged and geared for music consumption when the next album rolls around. Those last three songs were a lot more engaging than the ones I listened to in left-ear mode.

Arcade Fire! I've actually listened to these guys before. I gave Funeral a try because last.fm said it was relevant to my interests, though I found the irreverent, "epic" atmosphere of that album to be pretty off-putting and frustrating - particularly the constant use of backing vocals and a very slow, plodding pace. This album is much more toned-down by comparison and way more listenable in my eyes (ears?). Some of the lyrics worked for me. Same goes for the instrumentals. I liked the more traditional instruments (particularly the acoustic guitar), but I found the background ambience and "fuzzy sound" that is on a lot of these tracks to be pretty alienating. I'm confident that I will never return to this album, but I can appreciate this album for what it is. I've heard that Arcade Fire are influential in the space of contemporary pop, which I can see. The huge, thundering instrumentals and alternative, hipster-y lyrics are definitely present in today's music. I wish I could consult the book entry to see what caused this album to make it in, but alas. I have the 2005 edition.

A reprieve album? Just 5 albums after the last one? In this economy? I guess I can take another day off. I ain't complaining. Quite an interesting album. I haven't listened to enough country to have an informed opinion on the genre, but I've always pinned country music as being an "island" in the music industry. The sonic stylings and themes of country music are largely confined to their niche and rarely spill over into other genres of music (that is, until recently with the increasing overlap between country and pop songwriting conventions). I've also always pinned country music listeners as being a walled-off community, with fans of the genre primarily listening to country and little else. All this to say that I think it's interesting that a country album has been merged with what I can only describe as a "downtempo" sound. It's takes itself very slowly, has a layered sound and is generally reliant on percussion. Yet, in contrast to the cold, electronic sound of downtempo this album is very warm and meditative - a marked shift from the music that I am used to. Vocal performances are a big point of contention for me on this site. There's rarely any that I enjoy, though I can proudly say that Emmylou nails it on this album. There's an impressive display of range and tone across all of the songs on Red Dirt Girl. It's very pleasing and well in line with the homely, warm sound of the album. While I liked this album the entire way through, I can confidently give this a 3/5 - no coin of indecision necessary. This is a looooong, loooooooooooong album. While there are some varied and dynamic compositions, this album is also very samey in a lot of respects. Despite feeling like I've listened to all of her discography with this one album, I've added Emmylou Harris to my list of artists to check out sometime. I'm not rushing to give her a deeper dive, but I'm looking forward to seeing where the road takes me

First ever Sinatra album. I am in no way familiar with the works of Frank Sinatra, though if I'm not mistaken a bossa nova album is outside of his usual wheelhouse. I'm familiar with Antonio Jobim through his song "Aguas de Marco", which I view favourably. I have a good understanding of how this album will sound, but I have no idea of how it will be sung. I'm not sure how I feel about this pairing. Sinatra's vocals are effective on some songs (The Girl From Ipanema), but on others he sounds lethargic and bored (Dindi, Once I Loved). This isn't to say that Sinatra is a bad vocalist. He has a very attention-grabbing voice, which I think runs parallel to the strengths of bossa nova. When I listen to a bossa nova album I want to fall into the atmosphere and mood of these albums, which often means I tune out the vocals in favour of the music itself. Instrumentally, this album is quite good. There are tons of great string sections and there's nothing more naturally appealing than the strum of those bossa nova guitars. The instrumentals are quite samey on the whole, though it's not like the 28-minute runtime causes them to overstay their welcome. Wait, 28 minutes?????? This cheeky Sinatra bastard thought he could pull a fast one on me. Maybe it's just me, but I think an album has to be more substantial than 28 minutes in order to qualify for the list. That length falls into EP territory.

My Mum likes this album. It's nice to have another point of commonality. The vocal performances on this album are very good across the board. Same goes for the pop songwriting. The instrumentals are where this album becomes more polarising. I appreciate the addition of instruments such as the pan flute, though I didn't think the piano instrumentals were varied or interesting enough to carry the full album. While I do appreciate this album for being a pleasant listen I don't really have much of an opinion on it beyond just being a good time.

Revolver! I've listened to this album before, so I don't need to enact the mandatory two-listen policy. Glad to finally be cut a break. I have somewhat of a history with this album. I first listened to it around 4 years ago as the second album in my Beatles odyssey. I didn't like it and my effort at getting into their discography ended prematurely with this album. I also used to really dislike this album cover for whatever reason, though I've recently come around to it. It's quite good. This is where the Beatles really clicked with a lot of listeners and established themselves as an innovative, critically acclaimed act. To be honest, I greatly prefer their previous venture with the tried and true, rock solid approach of Rubber Soul. There's a lot of experimentation with the sound of Revolver that I appreciate, but doesn't really appeal to me in any way. On the whole, this album is solid. There are no break out songs that really stand above the best of their later output, though Taxman and She Said She Said are songs that I return to on occasion. I won't lie - Love You To and Tomorrow Never Knows are polarisers. I do not understand that fascination that The Beatles had with Indian spirituality. Indian music is also a category of music that I'm confident will yield zero songs that I like should I ever explore it. I dread the six (?) Indian albums that are on this list. Every weekday I play a game of Indian roulette where the odds of the inevitable only get nearer. My current odds are 1 in 159, or a 0.6% chance of drawing a blank.

Pretty good. I knew I'd like this album because of the sweet jacket that Al is wearing on the front cover. I never looked twice at soul music prior to working my way through this list, though this album managed to catch my eye. "Let's Stay Together" is a lot more percussion-heavy than I remember some of the other soul albums on this being, which makes it a lot easier for me to slip into the relaxed sound of the album. There are some very good string sections on this album as well, which I am always favourable to. "How Can You Mend a Broken Heart" is especially good because of this. It's always a strange feeling to encounter the songs on this list that I'm aware of, but have no knowledge of their background. In this case, it's Let's Stay Together, which is easily my favourite song on the album. "Judy" is another song I like - particularly for whatever instrument appears at the beginning of the song. That section in particular reminds me a great deal of "A Wizard / A True Star" which I am, once again, mentioning. Past me shall forever stand in the court of my disapproval for daring to rate that album a 3/5. I'm tempted to add this guy to my "list of artists to check out" - even more so because this is the only album of his on the list. Apparently it was only up from here for Al Green. I've been adding way too many people to that list lately, so I'll see how I feel in a few weeks.

I humbly propose a new category of album to myself and anyone reading this, that of the "nowhere" album - any album that makes me check my fully legal, authorised, signed PDF copy of the 1001 albums book. I have no idea how this album made it onto the list or what I'm doing here, but where to go but with the flow? It's a good time. The guitar performances are distinctive and there's a strong case that can be made for the inclusion of lo-fi acoustic albums on this list. It's much easier for me to fall into the atmosphere of these albums, as they almost demand that you imagine yourself listening to them in-person. I can perceive the cozy, fire-lit room I am sitting in while listening to this music with a group of barely-illuminated strangers. Bert sits in front of the fireplace, the dim light bouncing off his dark silhouette and the sounds of his voice reverberating throughout the house during the louder parts. What a wonderful memory I will never have. My chief complaint with this album is how mentally exhausting it is. This album felt way longer than 38 minutes, which I chalk up with to having to engage with 15 different tracks - many of which sound identical to one another. Okay, let's have a lookee at what the book says. A mix of folk, blues and jazz. Lo-fi, amateurish production. Sold for cheap to a fledgling record company and managed to become a surprise success. Influential among other artists of the time. Certainly a bigger rap sheet than some of the other albums on this list, though I, an individual of esteemed taste, must object to the induction of such an album into the list. There are surely more pleasing acoustic/folk albums out there than this one.

An album that I happen to hold in very high esteem has an album cover with a large purple border surrounding a landscape image in the lower half of the album cover. This one could be promising (I am an ultra srs critic with ultra srs, objective reviews btw) The vocals are a very strange inbetween for me. They're at a crossroads between being pleasing and being obnoxious. Same goes for the instrumentals. There are moments that are competent and polished (the guitars on Adventures Close To Home) and other moments that are annoying just as regularly (the spoon-tossing on Newtown). Strangely, the songs on the album that lean more into the reggae/dub influence are a better listen to me than some of the more punky tunes. A lot less screaming and a lot more time for me to pause and catch my breath. The album held my attention for the entirety of it's runtime and I respect the ambition, which are the chief reasons for why I am giving this album with a gracious 3/5. This album also beautifully, poetically ended at the exact moment where I was beginning to feel fed up of it. I applaud these mud-caked vixens for reading my brainwaves and conveniently ending things on a good note. Almost 50 years after the release of the album, no less.

Time for a reappraisal. It's been a little over 100 albums since the last collection of tunes from Black Sabbath, with this album apparently being the last of theirs on the list. I remember disliking Vol. 4 for reasons that I may or may not currently agree with, though I don't actually recall having any opinions on their debut album. Fortunately, I've received word from my assistant that I do, in fact, like the title track of this album. We'll see where that takes us. Uhh. Not far. There's something deeply unappealing about the guitar performances of Black Sabbath that make it hard for me to get into their albums. There's a lot of "crust" on em, which is to say that they lack any bass and are completely blown out. The sheer amount of dead air on this album is staggering. "Hand of Doom" starts out promising with a cool bassline, but quickly devolves into the guitars that I find oh-so polarising. The track anticlimatically returns to the beginning of the song as if nothing happened, which didn't do much to win my favour, either. I also can't say that the long, annoying, pace-killing drum solos on "Rat Salad" appealed to me. On the bright side, the first half of this album is markedly better. I enjoyed the more melodic approach of "War Pigs", even if the song is way too bloated for it's own good. The aforementioned "Paranoid" is the highlight of the album. It's carried by a very good central guitar hook and is refreshingly concise. It's the kind of song I envision when I think of the "hardcore" appeal of metal, which is why I'm always disillusioned by how bloated and meandering metal albums wind up being. "Planet Caravan" is also pretty cool. I like the atmospheric, "spacy" sound, which I haven't really heard on other metal albums. I can finally concede to the fact that Ozzy Osbourne is a good vocalist. I remember feeling mixed and underwhelmed across the previous albums, though I can see how his voice and range is well-suited to this style of music. Adios, Black Sabbath. That being said, I may revisit this band in the future if I ever find the time to do a metal binge. I'm favourable to metal when it is intersected with other genres of music, though I've really struggled to find it appealing on it's own. The genre may grow on me if I expose myself to more of it.

The version of this album that I listened to had the track listing reversed and the first two tracks on the normal release absent for whatever reason. I listen to every gol-darn album on this list twice, with me jumping in at the second half of the album and rolling over to the first on my second listen. Nice of this album to do that job for me on the first listen, I guess. I'm not sure how I feel about this one. There's a virtue in being safe sometimes and as someone with an immense, soulcrushing backlog of albums to get through I appreciate the brevity. That being said, there's something deeply sterile about this album that makes it difficult for it to hold my attention. I blame the organ. It's cool in short bursts, though I don't think you can get an album's-worth of mileage out of it, especially when you're delving into organ solo territory. Something about the organ just sounds nauseating to me the more I'm exposed to it, like it's out of key or something. I don't think there's enough of a transformative element to the songs that are covered on this album either, though I admittedly have no familiarity with the original iterations. I need to check the book in on this one. "Booker T. and the M.G.s" is a band name that is vaguely familiar, so I shant classify this as a "nowhere album". Let's see. One of the rare instrumental albums to hit it big. Umm. A whole lot of nothing. 🚨EEEEEEEEEEE🚨 I am officially disqualifying this album from inclusion in the 1001 Albums You Must Hear Before You Die book. This is a red-alert situation. Grab your nearest white out and cover up this entry in your copy of the book NOW, as did I with my computer screen I don't actually know id I am typign sthis shit correctly can i gaet anonscreen nattator in here some thing it's too tark in the basement to see whether i;'m hitting the keys correctily

Won't you come out to play? We're ending a lot of multi-album artist sagas lately. Last ABBA album. Last Nirvana album (I don't think the yet-to-be-listened-to live album counts). Last Black Sabbath album and now the last TV on the Radio album. I don't recall much of Blood-Thirsty Babes. I remember it being very vocals-focused, which was damning to me as I didn't like the style of the singer. Will Dear Science (greet the brand new day) do much to assuage my doubts of this band? NnnnnNNNNNNNnnnnnn-Yes, actually! There's a surprising level of ambition to Dear Science (open up your eyes). The songs are intricate, layered and feature a wide array of instruments/electronic tones. "Shout Me Out" is a good example of this. It's constantly building on itself and is carried towards a great climax thanks to some pretty good songwriting. "Family Tree" is also good, but in a more subdued, sentimental sense. The string section at the end was particularly sublime, though I also liked the quieter, more emotional vocals. Despite being strong overall, the ambition of this album can be a double-edged sword. "DLZ" is a good example of a song where I thought too much was going on, making it difficult for me to a get a hold on whether I liked it. Other songs were completely dead on arrival due to lacking instruments that I cared for - most notably "Lover's Day", which I thought was a bit of a cacophonous mess. I'm currently undecided on Tunde's vocals. They're better than I remember them being, though there are only a handful of performances that inspire me. The same can be said about the album itself, really. It's about as much of a hit as it is a miss. Granted, the songs that do hit manage to land quite well and all I need to come around to a full album is one song that I like. I'll see how I feel about a relisten later down the line. For the time being, I am satisfied.

Another hour-longer? Fuck my fucking shitty musiccel life https://youtu.be/Hqaa4VY4v9o The Kuti lineage is in poor standing with me. Back in January I listened to "Live" by Fela Kuti, an album I ostensibly did not like. I considered it the worst album that I had or would ever receive from the list because of the general animosity that I held towards live albums, jazz albums (I guess it didn't really qualify) and longform music. That being said, I don't actually remember anything about the music itself. Preamblepreamblepreamble. Did I like this album? Uhh, yeah. The brass sections were very strong and not at all what I was expecting from something "exotic" and "ethnic". I also like the two kinds of percussion on this album, whatever instruments they may be. Femi Kuti is a good vocalist/songwriter and the backing vocalists did a surprising amount of heavy lifting. My problem comes from the fact that this album and it's songs are too fockingGUGGUGUDGGGgggg long. I wasn't just twiddling my thumbs with this one. I was quantifying new, expert techniques of twiddling that will no doubt revolutionise the twiddlympics once they roll around.

A completely rude awakening with this album. After Aha Shake Heartbreak I had become complacent with the idea that Kings of Leon were some nobody indie band that this book was intent on overrepresenting. Needless to say, I was shocked after being unwittingly smacked over the head with TWO hit songs back-to-back. Then, once I was crawling along the ground in desperate search of bandages this cheeky fucker decided to bust out one more. This album is listenable, but belongs to the lower echelon of listenable. It's the kind of album where I would give it's jewel case a long, discerning, slightly disapproving stare were I to hold it in my hands. I generally appreciate the lively tracks, though the subdued, pensive tracks are a mixed bag. They're good instrumentally, but are much more reliant on the vocals, which I am undecided on the quality of.

Okay, what is wrong with my reprieve album radar? I made the scientifically-backed, Nobel Peace Prize-winning claim that I, on average, get recommended an album which is easy to listen to once every 20 albums. However, I am now getting them once every... 10 albums. That's not as bad as I thought. I have so many albums in my backlog that it feels like these albums are way more common than they actually are. Nice album. I can't really ask for more than that when I'm contractually obligated to hear over 1000 of these doohickeys. This is also the only reprieve album to date that is reprieving to write about, as I don't have much to say about it. It's more of the same with every track and that same is fortunately pretty good. "Don't Know Why" is the only exception to the norm, as that track edges into very good territory. Norah Jones' voice is silky smooth and is paired well with those wonderfully intimate, longing instrumentals. I'm curious to see why this album is in the book - let's see. Sold well. Blend of Folk and Jazz. That's all you need sometimes. I won't knock the inclusion. I have about 20 minutes left on this baby, so I'm going to take it easy it the tub. Yes, I occasionally write these reviews while I'm taking a bath. The 1001 albums book describes this album as a "beautiful bubblebath of an album", so you're the weird one, actually.

Jeff Buckley is a vaguely familiar name. I definitely know of him, though I'm not sure from what. This album is vaguely within the style of music that I enjoy, yet something feels off. Jeff Buckley's voice is a polariser. I appreciate some of his more operatic showings (particularly on Corpus Christi Carol), though his performances on the more conventional 90s rock tracks do not move me. I can admit that his willingness to alternate between cool and "pretty" (I can't think of a better descriptor I am not GAY I do not find men attractive) vocals is a very ballsy move for a 90s rock album. They rarely move me and I think they make the songs too "busy" and unfocused, though I do respect them. The cover of Hallelujah is nice, even if the song kinda dicks around at the end. I'm surprised the album that the song originates from isn't on this list. Maybe Leonard Cohen really bombed with the remaining tracks on Various Positions. The instrumentation on this album is simultaneously too much and too little. I like the atmospheric, laid back tunes about as much as the lively, active ones, though I think they're bogged down by how long they are. There also isn't anything on this album that I haven't heard in other, superior 90s rock albums. The album sounds like three different genres of rock that are trying to assert dominance over one another. It alternates too much and I was left with a bad taste in the back of my mouth by the end of the album.

Nowhere album! Nowhere album! We got another one. I have absolutely no idea why this album is on the list and have never heard an utterance of "The Electric prunes" in my life. I actually couldn't find this album at first because it's on streaming under the title "I Had Too Much to Dream (Last Night)". Is this a hidden oasis of good music? Not really. The instrumentals are very of their time, though there are moments that manage to break the mold. I enjoyed the psychedelic influence on this album. The rippling sound of "Onie" is very appealing, and a continuing reminder that I need to check out more psychedelic albums. The vocals are a bit of a mixed bag. There are many times where they fail to grab me likely due to the instrumentals also being hit-or-miss, though there are other times where they managed to work quite well. "About a Quarter to Nine" is the best example of the style of these guys. The quirky, Beatles-esque songwriting also quaint and likeable. Despite there being merit to both aspects of the music and songwriting, something about this album bars it from really coming together in my eyes. It's all very "moderate" and isn't guided by a strong creative vision, which is what I like most in art. Let's take a lookee through the book. This isn't a UK act? Never would have guessed. The band got a record deal through pure chance. I Had Too Much to Dream was a successful single. The album was moderately successful. They were influential on early garage rock acts. 🚨EEEEEEEEEEE🚨 I am disbarring this album from inclusion on the list. It's not a popular album in current year and it isn't much of a good listen, either. Take notes, Dimery.

It's sad. I've listened to so many albums on this list, yet I feel no closer to being an authority on music. I remember nothing about the last Springsteen album and would have nothing to say about this artist were he ever brought up in a conversation. I need to find a way to rid my brain of all the useless shit floating up there so I can start making room for the things that really matter in life. I'm talking mild to severe brain damage. The small town, desolate setting of the album is very compelling and something I would like to return to in the future. "Narrative songs" are a kind of song that I sought out the most when I was initially getting into music, so I already have an appreciation for songs of this variety. Springsteen is a talented vocalist, though it comes with a catch. The way country songs are sung is very alienating and inaccessible to me. The pacing is generally very slow and the vocals are accented in a way that is somewhat difficult for me to follow. Once I'm lost, it's very difficult for me to regain my footing with these albums. The instrumentals are very humbling and nice. While the album was unrelentingly tragic and bleak, the delicate instrumentals convey a feeling of light at the end of the tunnel, or perhaps to emphasise the fragility of the characters these songs are centered around. The harmonica doesn't really work for me in country, though it's a staple of the genre and something I can respect. I'm going to give this album a 4, though mentally it is sat at a very comfortably 3. Hopefully I can make my way out of the backlog hole I have dug for myself, as I really would like to revisit this one. ==================== Edit (8th of July, 2025): Yeah, I haven't revisited this one in the time since first listening to it. I may in the future, but for the time being I think I'll withdraw this lil buddy from my summary page. Original rating: 4 stars Amended rating: 3 stars

"This sounds like Pikmin 2!!!!!! Epic underground dandorium moment or however the pokos are acquired" - My stupid ass prior to fathoming the full extent of "Broken Witch" Hmm. Hmmmmmmmm. HMMMMMMMMMMMMMMMMMMM. No sir, I don't like it. I have a penchant for weird, unorthodox, wackadoo bullshit and this is some truly weird, unorthodox, wackadoo bullshit. By all means I should like this. Experimental rock has been good before and the way this album samples sounds is endlessly creative (especially in the case of "Read the Book That Wrote Itself"). I like the mystical/folklore element and the lyrics are stupid in an endearing way. These elements are good on their own, though they don't come together into something that I can confidently say I like. My favourite tracks were "Broken Witch" and "There's Always Room on the Broom". Many of the tracks are limited by how minimal and repetitious the music is when you strip away the reverberating, blown out instrumentals, though these two tracks are surprisingly quite dynamic. The bird songs at the end of "Flow My Tears..." was a very clever way of closing out the album. I'm surprised other "nocturnal" albums haven't used a similar technique as it provides a very satisfying sense of closure. The nightmares are over. This album belongs in the book purely for how strange and out there it is - stick the kooky witch bitches on anyone that disagrees. That being said, I'm curious as to why. Let's have a looksee. Fearful and alienating. The band smoked a lot of weed. Dense and doomy. Not popular in the US, but better received in Europe. Yeah, about what I was expecting. That one squeaky, electronic loop on "They Took 14 for the Rest of Our Lives" was definitely sampled from "The Fucked Jam" by Ween. There's no way

It alright. Can't complain. Uhhhh, yeah. I've been sat here, arms folded in true music critic fashion for the past 10 minutes and the above word are the only ones that I have been able to muster. I'm not sure how I'd categorise this album, which makes it difficult for me to compare and understand it's strengths. I may be way off in my appraisal of this album, though the latter half strikes me as a halfway home between jazz and bossa nova, whereas the first half is more of a big band affair. Not sure if this combination was a popular genre of music during the 50s or if I'm even on the money at all, though I can't deny that this style of this music is distinctive and iconic. There are many great string sections in here, which is the aspect of this album that wins me over the most. The brass sections are also quite good. Ray Charles is a good songwriter and an equally skilled vocalist. I appreciate and respect this album for what it is without being crazy over it.

My computer darn done crashed on me when I was just about finished reviewing this album oh my fockinggg gorshhhhhh :v I put a curse upon this darn website for not having an auto-save Second album in the bleak and sordid Costellothon. I am now 33% of my way through the mind of this exceptional individual It's pretty good. I don't remember what the vocal performances were like on "This Year's Model", though I quite enjoy how they sound here. They're very confident and are heightened by the cool swagger that Costello has when belting out the verses. The songwriting is also quite clever, which is something I remember from This Year's Model. I like the sardonic, humourous style. The Instrumentals are mixed bag. There isn't much on this album that breaks the mold of music from the time, though it does have it's moments. I like the guitar hooks on "Miracle Man" and the dub influence on "Watching the Detectives" is pretty good as well. This album has "Alison", which is a track that I'm actually familiar with. Me pappy used to play it on the car stereo all the time, though I had no idea the song was by Costello. I enjoy being jumpscared by music that I recognise just as much as I dislike it in the "we're really doing this, are we?" kind of way. It's a great song and embodies the best qualities of this album. Fantastic songwriting, a great vocal performance and a distinct instrumental of high quality. My main criticism is that it's very fatiguing for a 36-minute album. I had pretty much checked out by the time that the second half of the album rolled around. The high-energy sound is fun in short bursts, but I value having a little bit of downtime in albums. The album cover/title is great for a debut work - I dig the confidence. I'm not very familiar with Costello as a person or artist, though I quite enjoy the exuberant, dorky persona that he has.

Literally who? Sorry, don't mind me. I'm just going through the motions at this point. I need to preface this review with a reading of the 1001 Albums book as I am the natural predator of 80s music. As a man blessed with a patrician's taste in music, these dolled up, shemale-wigged glam rockers quiver in fear at the visage of my shapely, well-rounded form, bold placement of stubble and sumptuous, lady-pleasing choices in headwear. Okay, let's see. Axl Rose liked them. Theatrical live performances. Precursor to hair metal. Charted at 87 on the British charts. That's it. Fortunately, this album has an important caveat, which is that it's Finnish. This may very well be the only Finlandian album on the list, which I respect as this is my first-ever exposure to the wonderful country of Finland through music and I think this list could generally do with some more "world" albums. There are some good choices in here. I like the melodies of "Malibu Beach Nightmare" and "Back to Mystery City". The "dark" sound in the background of "Tooting Bec Wreck" is also very good. However, something important is missing from these songs that ultimately makes them feel hollow. The vocals have no bite for this style of music and the lyrics/vocals leave a bad taste in my mouth. That's all I have to say, really. It's just vaguely offputting. Maybe I shouldn't have skipped 80s album leg day as this decade is definitely an oversight in my ability to critique music.

Joni's a rising star. I went from disliking Blue, to tolerating Court and Spark to now seeing the merit in Hejira. The sky is the limit with the next album. Yeah, it's nice. The acoustic guitar is the main saving grace of this album. It's consistently great and bounces between many unusual and distinctive performances. "Coyote", "Furry Sings the Blues" and "Song for Sharon" are especially good because of this. The pitch/tone is also very unique. I can't say that I've heard an album with this kind of sound. I enjoy a good narrative song, though I still think that Joni's vocal performances run contrary to their efficacy. The jumping between pitches and tempos is very disorienting. There are moments where Joni harmonises beautifully with the music, but getting to that point feels like trawling through the megahertz of an FM radio. This is a carried-over experience from my time with Blue, though my experience of this album admittedly wasn't as bad as that one. She's much tamer here and is carried by the instrumentals much more. I may be mistaken, but I didn't feel like there was much going on in these songs. Maybe there's some deep meaning beneath the lyrics, though that isn't really conveyed to someone who was only listening to these songs casually.

Another metal album. This one is much closer to what I'm after - some thumping percussion and and a ready supply of mile-a-minute guitar performances. There's a simple pleasure to this kind of music, though I think the musical stylings of metal make the genre very deeply restrictive. From the plebian ears of a non-metal enthusiast every song on here sounds exactly the same to me. Still, I can hardly complain about an album that is 29 minutes in length. The vocal performances on this album are very hard for me to follow at points - especially during the second half. Kinda disappointing as I appreciate the campy, gothic, medieval themes of metal.

Among the more shameful confessions I have about music is that I first listened to "The Weight" through a cover by Weezer. In retrospect it's an admittedly alright cover and stands out within their discography for being one of the non-Cuomo vocal tracks, though I can't fault myself for being uninterested in the original because of it. The more generic "country pop" stylings from Weezer don't do the The Band's vision of the song any favours. Oh me fockign gorsh. I was listening to this thing on shuffle the whole time. I was halfway through this album and now I suddenly have no idea what I'm talking about. Yes, I am including this unnecessary rambling in my review. Fuck you. Anyways, enough about shitty fucking Weezer. The sound of this album is distinctive and ambitious. I can respect it on those grounds, though I can't really say that it's "my thing". Some of these tracks are way too busy for their own good, such as on "We Can Talk". I'm split down the middle on the instrumentals and Bob Dylan's vocal performances because of this. It's difficult to figure out what this album is doing right when everything is demanding an equal level of attention from me. It's because of this that I was more favourable to the straight-laced, chill tracks such as "Long Black Veil" and "In a Station". There's a bit of a lo-fi streak to many of the sounds on this album, which is interesting. Sometimes it works like with the electric tones in the back of "This Wheels' on Fire" though most of the time I'm pretty unmoved, such as with the organs on "Chest Fever". I like lo-fi when it adds a muffled, smudged sound to the percussion and backing instruments of a song, though I generally don't like when it's added to the lead instruments, as it adds a sharp, abrasive quality to the sound. The only time where the "sharp" approach has worked for me was with Pinkert- uhhhh ermm uh. Never mind. "I Shall Be Released" is a wonderful song and an excellent album closer. I've heard this song somewhere before, but I'm not sure from where. That fact honestly adds more to the song. It's familiar to me in a cosmic, human way.

Had a distortion of reality moment while listening to this one. I had never heard of The Zombies or this album, yet "Beechwood Park" was familiar to me despite not knowing where it came from. I eventually came to the epiphany that I listened to this song years ago through a cover (https://youtu.be/Lp7uH4vhnt8) on some random ass compilation album. I then learned that this album is massively acclaimed, influential and well-respected among critics and musicians. Not for me, which is unfortunate as I am greatly interested in exploring psychedelic music. The androgynous vocals from Colin Blunstone rub me the wrong way, which is the biggest dealbreaker of the album. I'm also not fond of how this album is mastered. I'm not sure how to articulate my point, but some of the instruments sound too loud and clear whereas others sound muffled and "blurry". It sounds like I'm listening to this album underwater, but if the water was super oxidised and sound could permeate through ~90% more clearly... There's gotta be a better hypothetical for my point, but alas. The album is over and I shall move on thusly.

I've been pretty disappointed with the 2000s inclusions on this list, but the 2010s have somehow been an even more dismal year. This is my fifth 2010er after Kiwanuka, Golden Hour, Modern Kosmology and American Dream. Nothing but a whole lot of moderate tunes and dicking around, which I suppose is congruent with the existential quandaries of modern, postmodern reality, ya dig? Uhh, yeah. Yet another nowhere album. Dare I say that this album feels like a WOKE🗿🗿🗿🗿D🗿E🗿I🗿inc🗿🗿🗿lusio🗿🗿🗿🗿n🗿🗿🗿🗿🗿🗿🗿🗿 https://youtu.be/Oc7Cin_87H4 https://youtu.be/Oc7Cin_87H4 https://youtu.be/Oc7Cin_87H4. There's absolutely nothing remarkable about this album other than that the singer is twans. I guess this album also belongs to the time where every musician was jerking off to the 80s, but rehashing another genre of music isn't worthy of immortalisation on this vewy serious list that has NO duds whatsoever. This music is alright on the surface and is pleasant enough to listen to, but peek underneath the veneer of competence and there is absolutely nothing going on. The instrumentals are minimal and arrhythmic, which squanders whatever potential that the better instrumentation choices had. The vocal performances are decent and showcase a good display of vocal range, but are ultimately unremarkable. I came away with a bad taste (sound) in my mouth (ears)

I'm surprised that the "party like it's 1999" phrase was coined in 82. Prince was really planning ahead with that one. Solid album. It has a few good hooks and is pretty experimental, but this album makes the grave sin of being long as shit. I'm also not sure what context this music fits into. The long runtimes on many of the tracks and the club thematic leads me to believe that this album was intended for a DJ set, yet funk isn't really the standard when it comes to clubbing. When listened to within the confines of my own room and as actual music the album also doesn't hold up due to the immense amount of dead air. I guess it belongs in house parties? This album is surprisingly very subdued, which I guess plays into the decision to make this album the auditory equivalent of a marathon. It's cool, but not for me. The constant moaning also really kills the vibe, though it's exclusively on the long tracks, so I guess nothing much was lost in my eyes.

Pretty cool. "Turbonegro" is a great name for a band and I like the meaning that it has within their discography. "Apocalypse Dudes" is an equally badass name. Punk is yet another one of the genres that I am woefully uneducated in. It's hard for me to single out any of the moments on this album that may or may not be exceptional, though I imagine most of it is very by-the-numbers for a late 90s punk album, just with some europoor nonsense on the vocals. There are some pretty good creative choices in here. I like the hard rock influence. Same goes for the metal guitar riffs that are peppered throughout. I imagine that this approach is very unique for a punk album. "Age of Panparius" is where I think the "everything and the kitchen sink" approach works best, especially with that random jingle that occurs near the end of the song and the fake-out acoustic guitar at the beginning of the song. This album is way longer than it needed to be, which is where it loses points. The "long songs" on this album surprisingly aren't the issue, as I think they stand as the best on the album. It's the shorter, more indistinct tracks that I think blur together and overlap with one another. The vocal performances are also pretty uninspiring. The main guitar riff at the beginning of "Humiliation Street" is very familiar. It's reminiscent of the bass guitar on "The Less I Know The Better" by Tame Impala, though I'm confident that I've heard it before. Good song. I'm curious to see why this album is in the book. Let's see. A lot of instruments. A bunch of underground artists I've never heard of created a tribute album by the name of "Alpha Motherfuckers". The vocalist of Dead Kennedys likes Turbonegro. Can't knock the inclusion - these guys have definitely earned their stripes.

More Rolling Stones. I am now officially half of my way through the Stoneathon and I am on a nightmare blunt rotation, I'll tell ya hwat. Okay, I'll admit that I'm coming around to these guys. I knew of "Paint It, Black" prior to hearing this album because of some random ass Sonic parody from 15 years ago (https://youtu.be/i6GlLjWjhbE). Holy shit. Take me back. Much of this album is by the numbers and of it's time, though it's 60s rock. I can't complain and have never complained about such a category, especially now that I am coming around to it. "It's Not Easy" and "I Am Waiting" are pretty competent and enjoyable. I enjoy the "dainty" sound on "Lady Jane". Going Home egregiously violates my rule against 5+ minute songs, though the song is engaging enough to where it escapes my wrath. There's a surprising amount of variety on this album now that I think about it. "Paint It, Black" is the obvious highlight. Not because of my familiarity with the song, but because it's a genuinely great tune. Fantastic songwriting and one of the rare recorded instances where Mick Jagger's vocals work. The instrumental is very dynamic and free-flowing as well. I have still yet to hear anything at all about this band outside of the confines of this website. I'm gonna sit my ass down and do some research. That research being the 1001 Albums entry for this album. What is this entry? This shit makes no sense. Okay, the Stones had all of the pieces in place that would propel them to superstardom and this was their first album comprised of original tracks. You don't have to be so coy, Dimery.

First Metallica. I'm always surprised by how pro-metal this site is, though I guess it makes sense. You have to be pretty hardcore to spend an ungodly amount of time listening to music. I, admittedly, am a basic bitch. A medium plebeian. I like this album way more than the other metal albums I have listened to through this site, so much so that this album is able to get away with some otherwise egregious track lengths. In a surprise inverse when compared to the pitfalls of albums from other genres, the vocals of metal albums are usually good across the board. It's the instrumentals that usually fail at carrying the manic energy of metal across the finish line. This album is fortunately a jack of both trades. What mainly bores me with metal are long interludes where nothing happens and the restrictive nature of mile-a-minute guitar hooks, though this album makes the genius decision to have instant transitions between it's many segues and oodles of creative guitar sequences. "Battery" is fantastic. Some great leading guitars satisfyingly guide the song to a climatic guitar riff. "Master of Puppets" is iconic - at least, I assume so as I have never listened to the song in my life. "Disposable Heroes" is a great tune carried by some clever songwriting. Probably the best on the album. Coin of indecision time. I appreciate this album without properly liking it and I don't think there's room for that opinion to change. I actually used my old coin of indecision to buy a bag of chips because I had become too decisive over the past few albums. Brb gonna rob a bank. Back on house arrest. The feds thought they got one over me, though they never realised that I stole millions of dollars and maimed multiple bankers to throw them off the scent of the single coin that I had carefully shoved up my ass. Alright, let's go. Heads is a 4 and tails is a 3. Tails. Better luck next time, bubby.

First album in the Dylathon. I don't actually know where to begin with this guy, so I'm gonna check the book. A departure from traditional folk stylings towards the rockstar image Dylan would later build. Artful, literate. The vocals are shit. Like, really, really bad. There's probably some merit to the lyrics, though I'm not keen on listening to them when I'm constantly being rubbed down with the auditory equivalent of sandpaper. This, unfortunately, means that I am SOL when it comes to discussing this album, as I imagine that the lyrics and songwriting are the main draws. Instrumentally, this album leaves a lot to be desired. The harmonica from hell is the most egregious musical showing, though there are other baffling instrumental choices such as the organ and sub-par guitars, which contribute towards an overall displeasing sound. Pair this with the excruciating length of the song and you have a huge swing and a miss. I really did not like this album and I'm worried about the six future albums that I have yet to wade through.

I didn't have to wade through the full 56 minutes of this album because I read the Wikipedia page and realised that this album is bogged down by 20 minutes of bonus tracks added to later reissues 😏🧐 I definitely need to check the book on this entry. I respect the decision of the editors to keep this album in every edition of the book, even if I do think they pussied out by removing the equally esoteric "They Were Wrong, So We Drowned". Let's see. The songs are built around a theme of destruction and the album was intended to be as "unlistenable" as possible. They failed pretty disastrously on that second front, as I do dig this. The songs that are above two minutes in length are generally quite good. The problem I have with them is that I have absolutely no idea how to articulate what works about them. These sounds are well beyond my comprehension. The completely exploded percussion on "Tanz Debil" works really well and effectively introduces the "dark" atmosphere of the album. I enjoy the ominous ambience on "U-Haft-Muzak" along with what sounds to be the rattling of prison bars. "Kollaps" is surprisingly quite good for an eight focking minute track. The "percussive sound" in the background pleases my ADHD brain and manages to hold my attention for the entire runtime. "Abstieg and Zerfall" is also a good cut - probably my favourite on the album. Those electronic tones in the background are genuinely really good. It truly reminds me of the apocalypse. There are some misses, admittedly. Steh auf Berlin does not do much to win over the people who are skeptical of this album and is admittedly a little to much for me. The aforementioned <2 minute tracks during the latter half of the album also fail to leave an impression, even if they are pleasing. Fuck it, 4/5. I liked this album quite a bit and do feel compelled to give it a relisten. I have to check out Kollaps sometime in the future.

Another Eno album. This guy seems to be more of a musician's pick than a pick for music listeners, which beckons the question as to why so many of his albums are on a list of music that is imperative for me to hear before I die. Granted, I can't complain. I always appreciate the opportunity to culture myself on music history, which Eno is definitely a significant player in. According to the book this album marked the beginning of Eno's experimentation and informed the collaborative approach he would take with Bowie. The musical stylings of this album are also said to have been a big point of influence for new wave. I can see both of those, though I need to look into what Bowie albums were Eno-produced and during which years. It's hard for me to really give a consensus on the songs of this album as they are constantly experimenting and leaping between different ideas. I thought this album was very full-on at first - especially with "The Paw Paw Negro Blowtorch, though I quickly fell into the atmosphere of this album. The sonic territory that this album heads in is very hit or miss, though it rarely ever ventures into being bad. The title track was my favourite song on this album. Very irreverent, with that grandiose atmosphere managing to serve as a good form of closure to all the wacked out moments that precede it.

Removed Album #12 Ever since I learned of there being 1089 albums on this website I have been interested in the unfortunate 88 that have had their "must-listen" status revoked. Fortunately, I don't have to quander any longer as I have just now assembled a list of 87 albums that have been expunged from future editions of the 1001 Albums book (I can live with not knowing what the forbidden, spooky, antisemitic 88th album was). Here's the list for anyone interested: https://pastebin.com/cSThNiK9 Interestingly, no albums released prior to 1999 have been removed from the list, which is eyebrow-raising as I can definitely think of a few that are worthy ("Shake Your Money Maker", "Scream, Dracula, Scream!", "Rip It Up", "The Electric Prunes", "Back to Mystery City"). Seems like Dimery and co. are taking the easy way out rather than actually revising and updating the list. There's some strange albums that have been zapped from the list. Of particular interest to me is that every Kings of Leon album has been scrubbed, which is funny. They also hit every album from Christina Aguilera and Britney Spears, which I guess I can't fault. "They Were Wrong, So We Drowned" was also struck, which I strongly disagree with despite not really liking that album. "Gorillaz". I like that album, though I can agree with the removal. "Hail to the Thief", which is bullshit. Great album. "Frank" by Amy Winehouse. Both Beta Band albums, which I know this site isn't fond of. "The College Dropout" by Kanye, which is a surprising snub. I'm pretty sure that's one of the acclaimed ones. "Good Kid, M.A.A.D City", another surprise erasure. Holy shit, I need to shut up and talk about the album. It's alright. Mid-2010s indie and nothing more. Many of the songs start out with solid guitar hooks but lose themselves in the sauce as they're drawn out for longer and longer. Sometimes this loss of direction is nice, like with the way "Under the Pressure" lowers itself into some good reverberating guitars at the end, though most of the time these tunes go nowhere and leave me feeling frustrated. Some aspects of this album flat out do not work for me. The synth is a particularly big point of contention. I don't think it sounds good and serves as a detriment to the solid guitarwork. The vocals also aren't my cup of tea, though I do like how they're mastered at points with those wavy vocal effects. It's somewhat difficult for me to follow the lyrics of this album as a result - the vocals blur the line between being words and noise for me. Why was this album removed? I would need to know why it was on the list in the first place, which I do not. If I'm to take a shot in the dark, I would guess that this album was removed due to not being culturally relevant anymore. It's a very mid-2010s hippiecoded album, which is perhaps the most superficial movement you could ever be a part of. Would I save this piece of music from the album woodchipper? Have a nice slicing.

I'm surprised that I haven't heard anything about these guys when they have three whole albums on this list and appear to still be popular. Then again, I'm not a hip hop enthusiast so my ears aren't exactly inclined to discussions about the figureheads of this industry. It's pretty solid - quite possibly the best hip hop album I've listened to. There are many good verses and Chuck D's vocals are well-suited to this style of music. As mentioned previously, I think 80s and 90s hip hop are the only decades where this genre of music had any meat on it's bones and this is definitely an example of such. I like the instrumentals. I dig the turntable sound and booming percussion as well as the many good samples in here. My only real gripe is that this album gets real fatiguing after a while due to the constant high energy.

Damn. I got hit with the back to back hip hop album. This is pretty good. I said that the previously-recommended Public Enemy album was my favourite hip hop album, though I take that back. I think it might be this. There's a very satisfying level of ambition to this album. It samples a ton of different genres and instruments yet somehow manages to bring it all together into a satisfying package. The more relaxed moments of the album worked best for me. I think those songs bring out the best of MC Solaar, which is his suave. "Caroline" is my favourite song on the album. A great downtempo beat with some very nice strings in the background. The pivot towards a reggaeton sound during the latter half of the song is also an ambitious decision that I respect. The weakest part of this album was probably "La musique adoucit les mœurs". It's by no means a bad song, but boy does it drag on. Scratch that, it's probably "Ragga Jam". I'm not a fan of reggae, I gotta admit.

Knew I had to listen to this album some day. Glad this list finally gave me a reason to get off my fat ass and listen to this thing as I certainly wasn't going to do it on my own. I know all of the big hits, unsurprisingly. Yet, outside of the Thriller music video I've never actually sat down and given these songs a proper listen. In some respects I'm going into this album blind. It's good. The songwriting is top notch on the big hits with tons of hooks and quirks in the instrumentation that make it impossible for me not to bob along to the music. I'm more mixed on the non-headliners like "Human Nature" and "The Lady in My Life", though these are ultimately minor quibbles when the leading acts are of a consistently high quality. I had no idea that Paul McCartney was on this album, which is funny. It's amusing to imagine someone 16 years older than MJ going after his love interest. Michael Jackson is a talented vocalist, though his appeal varies with each track. There are moments where his voice is the core appeal of the song like on "Billie Jean" and there are others where I am indifferent to his performances, like on "Wanna Be Startin' Somethin'". He's ultimately suave enough to get by without a hitch, as I don't think there are any bad songs on this album. I'm interested in seeing why this album is in the book. "Most commercially successful album of all time" is a good enough qualifier, though I'm still curious. Apparently the editor (John Lewis) thinks this album is worse than "Off the Wall", which is surprising. Can't comment on the merit of that opinion. The title track is "ridiculously camp" and "drains the life out of the record at the end of side one". Damn, Johnny hates this thing. This is the only entry I've read that has expressed any negativity towards the included album. Maybe he's trying to temper expectations with all that has been said about this album, though he's not doing a good job. He constantly refers to MJ as "Jacko", which I don't think is a common shorthand. "Wanna Be Starting Something" plagiarised "Soul Makossa" by Manu Dibango. "Beat It" and "Human Nature" are good. "Billie Jean" is good. "Meticulously crafted" and without "a single note out of place". He came back in the second half, but this was a really shitty write-up, not gonna lie. I'd estimate that there are around 200 albums on the list that deserve a proper, irreverent write-up and this was one of them. What were they thinking?????? What a shitload of fuck....

I did not like this album on my first go, though I came around to it quite a bit on my second listen. I have a storied history of thinking that folk music is performative and a specific antonym of heteronormative, though I guess I can put this album down as one of the good ones. The biggest appeal of these kinds of albums are the lyrics, which is damning as I write about these albums while I'm listening to them and it's pretty goldarn hard for me to follow along with the ideas of these tunes while also attempting to form my own thoughts on them. Regardless, there seems to be quite a bit going on in these songs. I'll have to return to this album sometime in the future for a proper deep dive as this album has successfully piqued my interest. The second half of this album is much weaker than the first, which is unfortunate. None of the clever rhyming conventions, good songwriting choices or pleasing instrumentals are on that half of the album, which ultimately left me sitting on my hands and twidling my thumbs at the same time no less. It's possible that I could come around to those cuts on future listens. I quite like the vocals, though I just know that they're gonna be a polariser to the listeners of this list. They're very good at holding my attention and the way that they're paired with the minimal, stripped-back instrumentals works very well on a thematic level. They sound very "warm", which contrasts nicely with the cold darkness that is the instrumentals and lyrics.

Darn. This list has been absolutely strong-arming me with hip hop albums of late. First it was the second Public Enemy album, which I appreciated despite thinking it was a little too much. Then it was the Frenchy album by MC Solaar, which I heralded as my "favourite hip hop album" with it's subdued, downtempo sound. Finally(?), I have arrived at the J5. I have a bit of a history with this five-presenting sextet. I have historically been feared and revered as the ultimate destroyer of hip hop (their name, not mine). My scathing criticisms have brought the mightiest of rap figureheads to their knees. However, in my most judgmental of opinions lies the teeny-tiniest, closed-parenthesis admission that "Improvise" by Jurassic 5 is "pretty good, though". Despite this blasphemous admission of there being such a thing as "good hip hop" I have never actually thought of checking out their discography. How fortuitous that I have finally been given the excuse to check them out. I'd describe the vocalist quintet as a gimmick, though it works a little too well for it to carry that connotation. The way that these vocalists mesh and segue into one another is silky smooth and very impressive. Even more unlikely is that all 4 of the rappers are adept at singing, which allows for some intricate songwriting choices and strong vocal harmonies. When this works, it's very impressive. "If You Only Knew", "Thin Line" and "Sum Of Us" are the best examples of this thanks to some good lyrics and punchy instrumentals. There are weak points. I can't say that the instrumental closer "Acetate Prophets" did much for me, even if the song itself is competent and features some good samples/turntabling at the end. This album is also way too long. I had checked out by around the mid-point. It's competent from both a songwriting and musical perspective, though I never felt like these guys were venturing outside of their comfort zone. This ultimately made the hour-long runtime feel like an immense slog.

Talking Heads! Yet another artist that I have a history with. When I was starting out with listening to music I remember having a transfixed, neuroatypical hatred of 80s music. I don't actually recall why, as I have listened to a grand total of fourteen 80s albums of my own accord. I'm pretty sure it was because me mammy put me onto a bunch of 80s new wave bands when I first came out as a musicel, which was probably a little too much for me to take in at the time. In any case, I listened to Remain In Light and did not like it for reasons that are probably pedantic and overblown. Fortunately, me and The Stone Roses' debut album have since become buddy buddy and I am much more open-minded about 80s music, so I'm open to the prospect of giving these guys a fair shake. Sometimes it comes together, though this was really not the album for the job. I think "With Our Love" is the best showing on the instrumental front and is a good indicator of where the band would go. "Take Me to the River" is another solid enough tune, if only for it being a break from David Byrne's screeching harpy act. I'm not really sure what emotions Talking Heads are meant to evoke. The jittery instrumentals and strained vocals make me feel frustrated and restless, which aren't emotions that I imagine people ever want to feel while listening to music. I'd normally say that this is a me problem, though I think the ownace is on the album this time. Sozzo, it just sucks. Gonna check the 1001 albums book on this entry because I need some clarity. Collaboration between Byrne and Brian Eno, which I can definitely see as I just got off the back of listening to Eno's first album. Another lyrics album, which is an aspect I actively avoided because of the vocals. A "classical minimalism" album (I have no idea what they're on about at this point). The Eno-produced Heads albums rival the Eno-produced Bowie albums. Uhh, yeah. This thing is beyond my comprehension. Hope I roll Remain in Light when the next Talking Heads album rolls around.

No way - I know these guys. I listened to "Purple Mountains" a little over two years ago, which is the successor band to Silver Jews. That album was pretty good, though it's too much of a downer for me. This guy's vocal fried, sad sack voice gracing my eardrums again after all these years is a nice feeling. Welcome back. Comparing this to Purple Mountains leaves a bit to be desired, though in all fairness both albums have different things going for them. The biggest difference is that Bright Flight is the more emotionally complex album. BF is about as hopeful and affirming as it is desolate and hopeless, whereas Purple Mountains is much more resigned to fate. Berman's depressive vocals are sure to polarise, though for what it's worth, I think they're quite good. They're very good at holding my attention and it's pretty endearing when his voice occasionally breaks into a more positive tone. Instrumentally this album is quite similar to Purple Mountains, though I recall PM having a bit more of an atmospheric edge whereas this album is a lot more straight-laced in it's musical identity. Very old-country influenced, which I think works with the directionless, helpless feel of the music while also being pleasing to listen to. The electric guitars on these albums feel like a warm hug, and the acoustic guitar that pierces through it is equally as comforting. I'm privy to the idea of giving these lyrics a closer look sometime in the future. Silver Jews are officially on my radar. I added them to my little notepad file and everything.

Another twenty tenner. I would normally complain about the quality of the selections from this decade, but I'm feeling empathetic today. The 2010s really feel like a culturally stagnant decade, which in my eyes extends to the music industry. I can think of numerous albums from the 90s and noughties that are worthy of consideration for this list, yet I can think of very few tenners that I'd throw into the mix. "I See Seaweed" by The Drones was pretty cool. I'm surprised that album isn't on the list. "Purple Mountains" was also good. That's it. That's the list, buddy. One would usually chalk my inability to see the merit in anything up to miserablebitchitis, though I think there's a more sinister hand at play, that being hip-hop usurping rock music as the dominant form of musical expression. The hip-hop revolution and it's consequences have been a disaster for the rockist race. Anyways, the album. This is purely conjecture, though I feel like these "personal exploration" R&B/hip-hop concept albums were dime a dozen throughout the 2010s. "Sometimes I Might Be Introvert" is another album I have listened to which scratches this same itch. Granted, that's a 2021 album, though my point still stands. I think Kendrick was responsible for popularising this subgenre of music, particularly with "Good Kid, m.A.A.d City". It's difficult for me to say whether these albums fail to resonate due to lacking substance or because they belong to a genre of music that I don't like, though I'm inclined to believe the former. I don't understand why these albums have infinity interludes on them. They don't bookend any parts of the album or coincide with any themes, which just leads to them feeling like inconsequential wank. My experience of listening to this album was very dull overall, though fortunately the inoffensive kind of dull.

Another 80s album doing 80s things. I feel like I would really dislike this thing if I listened to it a year ago. I'm growing as a music consoomber. Definitely need to consult the book on this one. The book pins the music of this album as "psychobilly", which is apparently a real genre of music. Great name. Influential among noughties garage rock bands. I think this album is more influential to the "Rock and Roll McDonald's" guy. I can feel his soul emanating in these tracks (or the other way around, I guess). "some of the best American rock'n'roll ever recorded." Big call. "A huge array of influences". I guess I can vouch for the inclusion of this album. The weird shit is the good shit always and forever. I quite like it. The vocals are campy and well-suited to the wacked-out lyrics, which are well-suited to the old country theming. I can't help but feel like this exact niche of album is also occupied by "Fear and Whiskey" by Mekons, and this list ain't big enough for the two of these albums I'll tell ya hwat. It's strange to me that the 80s was apparently the designated decade for this style of music, though in all fairness this music doesn't sound like it belongs to any decade of music, really. I do not think that this album is "some of the best American rock'n'roll ever recorded" obviously, though I do think it's pretty competent. The more obvious rockabilly tracks are enjoyable in their high energy, such as "Ghost on the Highway" and "Goodbye Johnny". The more subdued, minimal "Cool Drink of Water Blues" was my biggest surprise. There's a very thin line between carrying an air of meandering through music and actually being meandering. I think this album did a pretty good job of landing in the former camp despite really pushing it with the long track length and screeching vocals. The obvious surf rock influences on "Sex Beat" and "Goodbye Johnny" was also pretty good - I quite liked those instrumentals.

As a sweet soul brother of several years, I was dismayed to learn that this album was, in fact, a funk soul brother's album. I have never felt such discrimination in my life. I'm vaguely familiar with this album and artist. Me pappy played "Praise You" once and I've heard some of the other songs on this album through the radio. The Jet Set Radio soundtrack was the first-ever body of music that I listened to of my own accord, so I also have fond memories of the "big beat" genre. All this to say that "You've Come a Long Way, Baby" should have appealed to me much more than it actually did. I'm not entirely sure what the Jet Set Radio soundtrack has which this album lacks aside from a greater level of variety. Many of these songs feel "flat" to me, which is a criticism that is very hard to articulate. There's a lack of fidelity. The electronic tones don't have any depth. The music inches along at a snail's pace and moves at a near-constant tempo. Uhh, moving on. There are some good moments. The looping on Gangster Trippin as well as a few other songs works well when the samples quickly repeat at the many climactic moments of the album. "Right Here, Right Now" is also good - my favourite song on the album. String instruments continue to be my music-listening soft spot and the layered, percussion-heavy sound is very good. My biggest gripe is that this album is long long loooooooooong. I can respect this album for having a strong enough identity to do it's own thing for an hour straight, though I really need something to break the pace when I'm listening to an album which is of a constant high-energy. All of these songs being 5+ minutes is also a real dealbreaker. To me, the appeal of sample-heavy music rests in the ability to harness and retool a vast array of sounds, not the same pool of noises being repeated for longer than they're welcome. This musical style is very unique, of-the-time and worthy of immortalisation within the book, though I'm still curious to see the exact reasons of inclusion. Let's see. "Exceedingly immature". A figurehead of the late-90s resurgence in club music. Multiplatinum seller. An alternative to the drug-fuelled haze of house music. A classic within big beat music. I figured there'd be more to this album other than selling well and becoming a classic within it's genre, though these are good enough reasons for me.

Final Cure album. I'm nearly a fifth of the way through this list, so I guess I shouldn't be surprised that I'm reaching the end of the line for many multi-album inductees. Still, it's strange. I thought I would have more time to know of these artists before bidding them farewell. Anyways, the album. It's more of The Cure. Very gloomy and macabre, with some artistic choices that I respect. The signature "heavy" production is back in full swing and more engrossing than ever. The synth is quite good - especially on Cold. I don't remember such a sound being prominent on the previous albums, so it does a good job of distinguishing Pornography from the rest of their discography. It's also very well-suited to the dark atmosphere of the album, as are the synths on Joy Division's Closer. The garbled, distorted guitars and occasional reverb are other aspects that I like, especially with regards to the title track. My biggest gripe with this album has been my biggest gripe with all of The Cure's albums - the vocals. They're tolerable when they're on the more straight-laced, focused songs like One Hundred Years, though the songs where his vocals are more "atmospheric" and strained do not work for me, like on The Figurehead and A Strange Day. I admit that Robert Smith's vocal stylings weren't as over-exuberant and intolerable on this album as I remembered them being on Disintegration. Maybe he's growing on me. Another aspect of this album which I disliked was the extreme length of the songs. These songs are all competent and have some good ideas, but they just fail to hold my attention due to being much longer than they needed to be. It's a sombre feeling to bid farewell to the first artist I listened to through this list (it's not really, but go along with it, mmkay?) Disintegration was the first album in my journey of 1089. I've honestly thought of revisiting it sometime in the future as I do remember there being aspects of the album which I liked. In any such case, I will give this album a proper sendoff by paraphrasing from the book. "best and darkest of all the early Cure records". I guess I can agree - I greatly preferred this album to Seventeen seconds. "perfect soundtrack for any aspiring goth". I know the vocalist of this band hates the comparison of The Cure to the goth subculture, so up yours, Robert Smith. "The Hanging Garden" was the only successful single of the album. I can't fault the inclusion of this album if it really is the best of their early discography, though I was expecting to be sold on it more with how critically acclaimed the band is.

Forgot that soundtrack albums were eligible for inclusion on this list. I find these kinds of albums to be as challenging as live albums when presented to me within the context of this list. I find it easier to engage with soundtrack albums when I have a familiarity with the source material, as I have a definite memory/emotion/whatever that it can be associated with. I've never seen or heard of the Virgin Suicides, so I am definitely boned in this instance Anyways, the album's alright. The "analogue" instruments are all pleasing and listenable, though the electronic tones that are peppered throughout these songs really hurt their appeal. They don't mesh at all with the other instruments, which really takes me out of the experience and hurts the merit of these songs. Dirty Trip is the best example of this. I assume the spoken word segments were taken from the movie, though the selection of snippets is rather strange. I doubt that the segment on The Word Hurricane is relevant to the movie and the schlubby-sounding guy on Suicide Underground really took my out of the album closer. Playground Love is the best song on the soundtrack. The strings are great, the jazz segments work surprisingly well and the subdued vocals are pretty cool. Bathroom Girl is another good cut - I quite like the soaring guitars on that song. In a complete subversion of what I have previously been bitching about, the almost fully-electronic Dark Messages is also quite good. The electronic sounds work pretty well when they're on their own Book time. Soundtracks are such an unlikely inductee for this list that I just have to check. Let's see. A graceful combination of sound and vision. A "gloriously sad suite" of songs. Carries a 70s Pink Floyd influence. "One of the most brilliant requiems in pop history". Nothing much that really sells me on this album, though I can vouch for it's inclusion. Soundtracks are by default an unorthodox pick. I prefer this to the Shaft and Superfly soundtracks that I listened to through this list, though I can't help but notice a recurring theme. They all seem to belong to the same genre of music, the name of which escapes me.

I enjoyed Markiplier's Let's Play of the Beatles, though MatPat still hasn't put out his game theory video yet. I feel like this spin-off may be a little over my head Trying to find a good resource about the Beatles, their history and their creative process is such an annoying task. I've looked before and every time I've been pointed to the Get Back/Let It Be documentaries, the Anthology book or random ass autobiographies about the guy who brushed up against Lennon in May of 1968, all of which don't help me to actually understand the band. However, if I have anything to gleam from the time that I've been a fan of The Beatles, it's that McCartney was my favourite of the bunch because he just is, okay? All of this to say that I feel incredibly under-equipped going into this album despite having a better-than-average knowledge on the subject matter. Wait! I can check the book. Thank you, Robert Demmerlist, owner of the Demsdale Demmerlist. The album came from adversity when McCartney got busted for toking gas station weed ((real) or maybe not? The only search results for a McCartney drug bust are from 1980). The cover art doesn't feature the actual band members on the run. I want all of my $0 back. A mostly-solo work from McCartney. Doesn't seem like there's a lot going for this album, though in all fairness it's a McCartney album. We had to get at least one on the list I enjoyed this album for what it is, though something definitely feels like it's missing here - a certain something that I don't have the time or knowledge to discuss. The instrumentals err on the side of feeling like they're a little directionless and "off", though this could just be the post-Beatles high speaking. McCartney's vocals are competent, though these are far from his best performances. There are some good cuts on this album. "Bluebird" was my favourite song - it's just a nice little tune. Other songs I liked include Mrs. Vandebilt and Picasso's Last Words. There's an impressive level of variety to this album, which I also respect. I like how many of the instrumentals undergo drastic changes. The blending of different genres across each song is also appeciated, particularly on Mamunia and 1985.

Stone Zone part 4. Out of the 900 odd albums that I have yet to listen to, this list seems really intent on recommending me these Stony Rollers. The last Rolling Stones album I was recommended was Aftermath, which had a bit of a silver lining. I liked "Paint It, Black", which I later learned was added to the US version and not the original UK pressing of the album. Not sure how I would feel about the album were that song not included in the version I listened to, though it's affirming to know that The Rolling Stones are capable of putting out quality music. This is quite good! I think I finally get The Rolling Stones, as this album is competent across the board. There isn't much to say more than that, really. It's of a consistent style and that style is consistently good. No Expectations was my favourite song on the album. I liked the more relaxed old country sound as opposed to the more lively tracks. Sympathy For the Devil, Parachute Woman and Salt of the Earth were also quite good. Mick Jagger's vocal performances are still something I'm not sold on, though they're not as much of a problem as I remember them being. In all fairness I started out with him on the worst possible note - listening to the pseudo-seppo vocals of Let It Bleed. Sometimes I need to filter Jagger's vocals out of the music in order to get the best listening experience (like on Stray Cat Blues), though for the most part he's pretty tolerable on this album. As a sextuple "must-listen album" award winner, I view it as mandatory for me to sit my ass down and read about what separates this album from the rest of the Stones' output. This album came from adversity. A return to form. Foreshadows a darker turn in their music - no clue what that's gonna sound like. Very successful in the UK and US. That's nice. It doesn't once explain that this album laid the groundwork from which the Stones would achieve superstardom, though I'm happy to do a little independent learning every now and then.

Another album in the hip-hopathon that has been suddenly inflicted upon me. Unlike the other albums I've listened to, I've actually heard this one before. I don't remember why. I'm pretty sure I had a sudden impulse to give hip-hop a fair shake back in 2023, which wasn't a success as I did not like this album. My opinion of this album has improved now that I have more music-listening experience under my belt. Nas is a pretty good vocalist. His voice is attention-grabbing and lends itself nicely to this tempo and style of singing. I couldn't listen to the lyrics as closely as I would have liked to, but what I was able to pick up was pretty good. Some good rhymes and choices of words, particularly on "Life's a Bitch" and "One Love". Musically, the album is a bit of a mixed bag. The instrumental on "The World Is Yours" is a particular highlight, even if it errs on the side of being too long-winded. "One Love" does a good job of holding my attention despite having a very minimal instrumental. Other instrumentals leave a lot to be desired, like "Memory Lane" and "One Time 4 Your Mind", which are very dated and weak in the percussion department. The first half of this album was pretty competent and distinct, though the second half really falters with a blur of songs that sound similar to one another. This ultimately killed my enthusiasm for the album, even if I can admit that the music itself is competent. I know this album is massively popular and a classic, so I'm not gonna quibble over whether it deserves to be in the book. Regardless, I am curious. "Proof that hardcore hip hop can move minds as well as feet". About Nas' experience growing up in the New York projects. He was 20 years old when this album released. Maybe I'm expecting too much from a book comprised of 1001 entries, but the write-ups for these albums never explain the history or impact of these albums, which I think is the biggest decider in whether an album is worthy of pre-mortem listening. Regardless, it's very impressive that Nas was 20 when this album released.

Iggy Pop! I know of this guy's name for some reason or another, though I'm confident that I've never heard a single second of this guy's discography. I'm not expecting to be jumpscared by some hidden bangers that I didn't know belonged to this guy- Scratch that! I've heard The Passenger. Good song. This album is pretty competent, though I think there's a severe drop in quality during the second half of the album. The beginning of the album establishes itself well with some fun, bouncy tunes that move at a quick pace (title track, Some Weird Sin). Starting tfrom Tonight and onwards the album slows itself to a crawl and sheds all of the clever hooks in favour of long, meandering songs that go nowhere. There's still some good moments to the instrumentals with the strong lead guitar performances on Success and Neighborhood Threat, though these are close to being the only things I enjoyed about that stretch of the album. Gonna check the entry for this album in the 1001 Albums book as part of my ongoing journey to educate my ass on music history. Let's see. "Godfather of Punk", which I guess is how I know of him. A return to form. Produced by David Bowie, I can very easily believe as hear the influence. Yeah, I guess I can vouch for this album. I always like when music artists pivot away and do their own thing after becoming established in a specific genre of music

While I've been exposed to the Bjorkiverse through Michel Gondry's music videos and her occasional run-ins with Thom Yorke, I've never been interested in checking out Bjork's music. The only thing of hers that sticks out in my memory is the music video for "Human Behaviour" largely due to how unbelievably shit the song was. Although this list definitely has some eyebrow-raisers, it's ultimately been a blessing with how it has loosened the gigantic stick up my music-listening ass. This is pretty close to what my ideal electronic album sounds like. It carefully tiptoes the line between being minimal and overly-busy with some good, deliberate musical choices. It's hard to grade the electronic sounds, though the harps, music boxes and other "chimey" sounds are top-notch, suit the electronic music and work well in establishing a pensive, meditative atmosphere. I feel like I'm frozen in time while listening to these songs, which is one of my favourite sensations when listening to music and also one of the rarest. The overall style of this album reminds me a great deal of the rest sublevel music from Pikmin 2 (youtu.be/YYXYniooums), which is one of my favourite ambient/electronic tunes. It's not a perfect comparison because the compositions on this album are a lot busier and more "otherworldly", but both works carry the same avant-garde spirit and general sound. 4. There aren't any moments on this album that I dislike, even if I'm not sold on the vocals. While I presently wish that someone would cut Bjork's microphone, it's likely that I will come around to her voice. Miho Hattori's vocals are an equally acquired taste and yet she belongs to one of my favourite bands.

It appears that my voyage across the ocean of a thousand albums has gone awry as I am now shipwrecked on a vast tropical paradise. The locals are nice - we've spent time splitting coconuts on the shore together. I might check out the no-doubt boobytrapped temple that is peeking out above the treeline. I could also pay tribute to the volcano god and mess about with the cheeky macaques that are all throughout the tropical rainforest. I do have an hour to kill here, after all. It's nice. A pleasing enough listen throughout, even if the songs are way, way longer than they ever needed to be. While the instrumentals are very samey and minimal they have enough of energy to where it keeps the listening experience fresh. I enjoy the "plucky" instruments on the songs - particularly on "Qui Cherche Trouve". I think the instrument is some variety of guitar, though I'm really not sure. I also quite like the marine ambience that hangs in the back of these songs. I have beyond-zero clue what the exact instrument is, but you get me right, right? I've got to check out the only map that I have of this place as I have no idea how I wound up here. I'm talking about the 1001 Albums book. Let's see. Most commercially successful artist in Africa. "The songs have a typically Congolese structure". They really weren't lying on that one - very formulaic. "His lyrics [...] are clearly the work of a poet". I wouldn't go that far, but then again I don't understand a lick of this album. Despite being stranded in the dead center of bumblefuck nowhere, I'm reluctant to bust out the "nowhere album" moniker for this album. I think world music occupies an important niche on this list and I enjoy the "exotic feel" of this album. That being said, I feel like there is probably a better showing from this genre, even if Koffi Olomide earns his stripes by being the most commercially successful African musician.

Never understood the psychotic hatred that people had for disco in the 70s. Admittedly, I didn't understand anything at all as I wasn't in existence yet, but still. This genre embodies many of the things that I traditionally enjoy in music - especially in the strings department. Outside of disco I can't think of another non-orchestral genre of music where strings take such a prominent and important role. This was pretty groovy. Good Times was the highlight. The guitar on that song is funky, the bass guitar down the middle of the song is silky smooth and the piano is divine. The strings, vocal performances and songwriting is also pretty neat. A well-rounded tune that manages to make it across the finish line despite having a ludicrous track length. Nothing else on this album manages to capture the spirit or focus of that song, though there are some miscellaneous good moments. The second half of My Feet Keep Dancing sees a very good application of strings, taking on an almost percussive sound. My Forbidden lover manages to capture the spirit of the first song in a more concise package. The swinging sound of What About Me is also pretty good, even if the song does admittedly lose me somewhere around the halfway mark. Educating my ass on music once again - I'm reading the book. A strong counterargument to disco music being vapid. The bass on this album has been influential in urban music/hip-hop circles. Well, we definitely need at least one disco album on the list and I think this album is a good enough candidate. That being said, I'm mildly favourable to this music without properly liking it, which is probably the exact reason why disco drove people nuts in the first place, come to think of it. Another mystery solved.

Second album in the Bowmeister chronicles. It's been a while since the last Bowie album, though I've been sidequesting in the bowntiful fields of his musical legacy in the time since then. I listened to the Bowie-produced Lust for Life along with Brian Eno's debut album, the style of which apparently informed Eno's approach with the Berlin trilogy. My first Bowie album - Heroes - surprised me with how quickly the pop rock sound shifted towards an ambient/electronic jig. I was also surprised to learn that this album... does the exact same thing. Is he like this on every release? For what it's worth, the ambient stuff is pretty competent, even if the sheer abundance of it loses me. "Warszawa" is a good song - I like the grandiose feel and the music is surprisingly intricate during the second half. I can see the Eno influence peeking through, especially on "Weeping Wall". Glad to know that this list is actually teaching me something about music. That being said, I think I prefer the ambient material on Heroes over the showings of this album - especially "Moss Garden". The beginning of side one is incredibly slow. The first three tracks slog along and don't really go anywhere thanks to their short runtimes . I do appreciate "Sound and Vision", however. That song was a good cut. "What In the World" is also a song I respect. The jittery sound doesn't quite work for me, though it's certainly unique. Gotta study for the millennium album pop quiz that I just know Mr. Dimery is gonna hit me with. That's right, I'm voluntarily committing time to reading the book like a true lame ass. Let's see. A left turn in his discography and an album which came from adversity. This was the album in which Bowie adopted a krautrock influence. Bowie considered it a high point. I mean, it belongs to one of the most famous "eras" within an artist's discography. I can't knock the inclusion of this album, even if the entry didn't do much to sell me on it.

Never in a million years have I heard of these musicians. Expand thine musical intellect, sir Dimery of Thousania. It's pretty alright. The guitar performances are strong and the length of the album is well-suited to the style of music. There's an ineffable campiness to the music that I also enjoy, which is probably owed to there being few lyrical sections on the album. It's difficult for me to single out any highlights as the general lack of vocals makes the album feel like one big song. "Singing Winds, Crying Beasts" was my favourite tune out of the bunch. The subdued guitars and jingling ambience creates a very clear image in my head. It feels like I'm wandering through an endless dune while the warm summer air blows across my body. "Incident at Neshabur" is also another highlight. The genre shift and "serene" sound that is present on the second half of the song is very pleasing. I also like "Hope You're Feeling Better". The cowbell is an instrument that I am admittedly very biased towards. It has a generally limited usage and there are many genres where it flat out does not work, yet it's easily the most "fun" instrument of them all. Nothing gets me in a better mood than some good cowbellin'. The closer, "El Nicoya", was also good. Whatever variant of drum that is present on this album is very pleasing, so it felt good to have a song dedicated to the drummer going bongo-wild. There are some shortcomings, most of which fall down the latter half of the album. I can't say I really cared for "Mother's Daughter" or "Samba Pa Ti", or that they delved into sonic territory that wasn't already firmly established by the first half of the record. That's not to say that I can't vouch for this album as it's certainly unique overall.

Another Springy Dustfield. This time the finale. I'm surprised ol' Dusty had another millennium album in her, though I guess it makes sense. An album comprised almost entirely of covers wouldn't make sense if it didn't belong to a greater picture. I've heard absolutely zilch about Dusty in the time since the last album, though I'll continue to assume in good faith that she was, in fact, an iconic musician. I did not like this album on the first listen, though I came around to it quite a bit on my second go. The pop songwriting is good across the board and the instrumentals are all pretty immaculate - especially on "The Windmills of Your Mind". I quite like Dusty's vocals. The sultry performances are very of-their-time while also managing to be pretty distinctive. It's impressive how airtight this album is. It's difficult for me to gleam whether Dusty's vocals or the instrumentals are the stronger part of this album as they're remarkably well-suited to one another. It's also difficult for me to pick a favourite song out of the bunch. It's probably "I Can't Make It Alone". The soaring instrumentals are a point of commonality across most of the songs, though I especially like how that song builds towards it's crescendo. The aforementioned "The Windmills Of Your Mind" was also a good tune. It differentiates itself nicely from the other songs on the album with it's bossa nova influence and the "rolling" quality that the songwriting has is also pretty nice. "Breakfast in Bed" is the best showing in the songwriting department. It's very effective at holding my attention - also due to the way in which Dusty's voice rolls and oscillates. Other highlights include the "plucky" instrument from the chorus of "I Don't Want To Hear It Anymore" and the strings on "Just a Little Loving" Book time. Let's see. This album was an attempt to recover Dusty's career after female vocalists and pop music got btfo'd by rock in '68. The album had a troubled history - Dusty went mental and dropped all of her Memphis recording staff into a vat of acid (real). Had a successful single and reviewed well, but failed to revitalise her career. Dusty hated the finished product and refused to listen to the album until a year after release. Looks like Dimery is throwing a bone to the critics and music historians by including Dusty. I guess I can't complain. I like putting on airs and holding my pinky up high when the time calls for it, though I'm doubtful as to how iconic Dusty is when her career died after five albums. That being said, I did enjoy this album and feel tempted to return to it in the future. I guess I'm grateful to have listened to this one before I cunk it. ==================== Edit (8th of July, 2025): This album has held up quite nicely in the time since first listening to it. No other pop album has captured an elegant and sophisticated mystique quite like Dusty In Memphis. An endearing relic of a bygone era. Original rating: 3 stars Amended rating: 4 stars

Fleetwood Mac! I know these guys are popular, though I have next to no familiarity with their music. It's surprising to me that the band only has two top-thousand albums on the list - they appear to have been on a bit of a hot streak throughout the mid-70s and late 80s if Wikipedia is to be trusted. Anyways, the album. I'm not sure what the exact image of Fleetwood Mac is in my mind, though they've always struck me as more of a mellow, easy-listening band. I'm surprised by just how firmly rooted this album is in a "sharp" sound with the lively guitars and the importance of percussion throughout the album. These songs are more than competent on their own, but smash 'em together into a 20 song slogfest and we have a problem. There's a very high signal-to-noise ratio. A lot of the songs sound very similar to one another with minimal variety to break the pace. All that being said, there are some pleasing songs on this album. "The Ledge" is a good tune. The buzzing guitar works quite well with the melody of the song. "Sisters of the Moon" is another good cut. The singer's vocals are quite pleasing, the guitar performances are among the more ambitious on the album and the percussion does a good job of moving the song along. "Honey Hi" is up there as another favourite. I like the percussion on the song - whatever instrument it may be. The vocal performances at the end of the song are also very nice. The follow-up track, "Beautiful Child" is also a good song with the delicate guitar and nice piano. I've heard fans of Fleetwood Mac describe the band as a reminder of family, which is a connection that I can definitely see being made. Gonna look at the book as my uninformed ass needs some educating. The most expensive album to produce at the time of release. That's surprising, especially with how often the album delves into a lo-fi sound. An older, wiser record following "Rumours". Didn't match the commercial success or critical acclaim of Rumours, but succeeded by going in it's own direction. I'm inclined to believe that Fleetwood Mac deserve more albums on the list with how enduring their popularity has been, so I definitely can't knock this inclusion.

Fantastic album cover. Whatever the hell this is going to be, I just know that I'm along for the ride. No way! No way! I knew this band rang a bell. The vocalist of the band (Lady Miss Kier) sued Sega for copyright infringement over the character of Ulala from Space Channel 5. The original SC5 is one of my favourite games of all time - easily within my top 20. If this album bears any semblance to the campy atmosphere of the game then I'm all for this. Towa Tei's name is also familiar to me after a brief stint of listening to shibuya-kei. Worlds are colliding so hard right now. I didn't like this album much on my first go, though I've come around to it a little more on my second listen. The biggest limiter for me is the dreaded piano. A staple of dance music from the time, I find the sound horrific. It just doesn't sound good and doesn't mesh with the other sounds of the album. Despite this, there are some good cuts on the album. The opener - "Deee-Lite Theme" is a good tune. The percussion was a lot heavier than I was expecting for an album of this make - it almost feels like jungle music. The follow-up track, "Good Beat" is also a good song. The instrumental was surprisingly quite dynamic and varied, even if the song is burdened by the weakest vocal performance from Miss Keir - very strained. "Groove Is in the Heart" is the obvious highlight. The use of the slide whistle is surprisingly quite effective and I like the "funky sound". It meshes well with the songwriting and Miss Keir's vocals. All this being said, the album does drag itself on for waaaaayyyy too long. Almost 50 minutes of music is near-overkill for an album which is both extremely dated and of a constant high energy. Curious to see what the book has to say about this album. "Groove Is in the Heart" is a common showing on compilation albums. The band is largely regarded as a one-hit wonder. The aforementioned "Groove Is In the Heart" was a smash hit across Europe and the West. An eclectic mix of genres. The book tries to make a bit more of a case for this album than I'm letting on, though I'm pretty dubious of this inclusion. The music is pretty competent across the board and is definitely out there, though it's also firmly rooted in dance stylings that were popular at the time. The aforeaforementioned "Groove Is In the Heart" appears to have a bit of a legacy within dance music, though I don't think there will ever be a song with such star power to where it necessitates hearing an album of otherwise meager tunes. It feels to me as though this album and it's associated band came and went with little influence. I think this album is worthy for inclusion as a representation of early 90s dance music, though I wouldn't vouch for this album were I going on the basis of mandatory pre-mortem listening.

Never heard of this guy, though every single album from his discography has surprisingly landed a spot on the list. Back when I listened to Nirvana's "In Utero" I speculated about which artist had the highest percentage of their discography on the list. I came to the realisation shortly afterwards that Amy Winehouse technically had her full discography on the list, even if "Frank" was removed from later editions of the book. Every Nick Drake album remains in every edition of the book, so I guess I've found the objectively best artist on the list if I'm to go by this hyperspecific, reductive reasoning. The guitar performances on this album are very impressive and dynamic. While Drake's vocals don't go the full mile in hooking me it's undeniable that they breathe a great deal of life into the music. This is best shown in "Parasite" - a beautiful song carried by a fantastic instrumental and some very good songwriting. "Pink Moon" and "Place To Be" are also favourites of mine. While not as powerful as the showing on Parasite, both songs have a "buoyancy" to them that I enjoy. "From The Morning" is another good cut and a solid closer. The upbeat instrumental contrasts nicely with the lingering, pensive slump that the album falls into during the latter half. Other songs like "Things Behind The Sun" and "Free Ride" show promise and are undeniably competent, but fail to connect with me. The lo-fi sound also doesn't do much to hook me. The music is solid through and through, which doesn't sell me on the amateurish, laid-back strength of lo-fi. A 28-minute runtime is also kinda pushing it. It feels like the thing concludes before it really gets going. I've never heard of this guy, but in all fairness I hear nothing of folk because it isn't a genre that interests me. Gonna look at the book... Stripped back when compared to his previous album. A point of influence to REM. Has an intimate atmosphere that comes from abandoning mastering and post-production. A tragic final album from a promising musician. Hmm. This guy seems cool - I like his style. Of all the folk albums I've listened to through the list, this one sticks out to me the most aside from Joni Mitchell's "Hejira" - also an album with very strong acoustic guitar performances.

Ay, I'm reviewing here, pal. Get this shit out of my earholes. Okay, okay. A little harsh given that I've listened to a minute of this album. I just have no idea how to introduce my reviews when I have no familiarity with the subject matter in question. I'm sorry, municipality of Boston. That being said, I get the impression that Boston are a band who don't demand much research into their background or craft as musicians. Rather, they're more focused on delivering some feel-good, rockin' hard rock tunes of a hard variety, which I can respect. There are some good moments in here. "More Than a Feeling" is competent on the whole, with some very good performances and vocals - the growling guitar hook during the chorus is especially good. "Foreplay / Long Time" is another good tune with some more great guitar hooks. The song is way longer than it ever needed to be, though I'd be lying if I said that the length didn't give the music an epic component. The organ on "Smokin'" and a few of the other tracks is also quite good. A notable victory considering that I usually have very little interest in the instrument. Yet, many of the songs on this album fail to go the full mile for me - especially during the latter half of the album. I think many of the songs on this album are much longer than they needed to be. I'm undecided on the place that arena/hard rock albums have on this list. On one hand they're immensely popular and are representative of the time that they came from, but on the other hand I feel like the influence of this genre is minimal, with the sound being much more commercial than creative. I also don't think that hard rock bands are "iconic" in the same respect that other popular musicians are, which I think is largely owed to the lack of an image or persona that these acts have. Still, as an archetypical (and an admittedly competent) hard rock album, I still think that there's merit to the inclusion of this album. It was massively successful, after all.

Hey! Another previously-listened-to-er. Me and this album go way back to five months ago, when I first listened to it on a whim through the last.fm recommendations. I really didn't like it. Something about the irreverent backing vocals and epic atmosphere of the album rubbed me the wrong way and came off as insincere. I don't negotiate with arsonists of shopping districts or game centres (I don't know which they're referring to - both are equally hipster), though I guess I can give these guys another go if the Dimermeister were to put me under duress. That guy's scary. Uhhhhhh. Maybe this one should have returned to me a little later as it doesn't sound different from when I last heard it. That being said, I can see the merit this time around. I like the guitar outro on "Une Anee Sans Lumiere". "Crown of Love" is pretty alright - the songwriting on that track is competent. I enjoy the way that the vocals flow together and the strings are very nice. "Wake Up" is a pretty respectable tune, which is significant since I had that exact song in mind while I wrote my previous paragraph. The crunchy guitars also give the song a nice bit of punchiness, so I guess the "epic" atmosphere is warranted this time around. The fittingly massive outro is decent as well. Harps/music boxes works surprisingly well with the song and I enjoy the change in tempo. Solid track. Man, I hate writing these reviews while I'm listening to the albums - especially when I change my mind halfway through the process of writing. There are some good cuts on this album, though I think a lot of the good material is being held down by one fatal grievance - the vocals. They're entirely shitty. "Neighborhood #2" is the biggest offender of this - a song which caused me to completely shut my brain off in order to get through it. Other victims of Win Baker include "Neighborhood #3" and "Rebellion", though all of the songs (minus the closer) are tainted by his presence. In all fairness, most of my favourite albums come from artists who I initially perceive as being shit-voiced, though I don't care enough about the music on this album to let it polish itself with future relistens. This is very narrowly escaping a 1 star, if only due to the instrumentals being competent and inventive. I had an entire character arc over the previous paragraphs, though I feel like I'm back to square one with this band. I need drink. Interestingly, the two other Arcade Fire albums that were on this list have been expunged from future editions of the book. I listened to "Neon Bible" a month or so ago and can't remember a single thing about it, so maybe that's for the best. That being said, I can vouch for this album as an inductee. I do know that it's both popular and influential. It's also pretty unique and dynamic, so I guess I'm grateful for having heard this one before I cunked it.

Removed Album #13 (List: https://pastebin.com/cSThNiK9) Ayyyyyy! Back-to-back previously-listened-to-ers. Yesterday was Funeral and today is Scissor Sisters. After checking the list it appears that there are 37 albums I have already heard which have yet to be generated for me, so I'm doubtful that I will ever get a second back-to-backer again. Maybe I should boost those chances in the meantime. I'll pick one album out of the remaining 862 that I have yet to listen to and will give it a go tonight. If that album is recommended to me tomorrow, then it must be an act of fate and my crush will ask me out tomorrow and I will have the best week of my life and I WILL inherit the wealth of that kind Nigerian prince. In any case, I'm living on easy street - I only have to listen to this album once instead of the usual twice. I listened to this baby 3 years ago during a brief stint of going through my Dad's mostly-legal music collection. This belonged to the scandalous, illegally-downloaded pile. In the time since juvenile detention I haven't thought about this band at all. All I can remember is that there was a very unusual cover of Pink Floyd's "Comfortably Numb" and a generally unpalatable rock sound. My musical taste has evolved a lot since those halcyon days, so I'm down to give this album a reappraisal. "Take Your Mama" is the best song on the album. The songwriting and vocal performances are very dynamic and engaging. I like the instrumental as well. Very jumpy, which complements the off-the-wall energy of the song. "Lovers In The Backset" is another good cut. I like the psychedelic sound, especially on whatever the hell that percussive instrument is meant to be. The album admittedly sags down the middle. "Mary" and "Tits on the Radio" are songs that really drag their heels and blend together, though the album manages to come back with a solid final quarter. "Music is the Victim" is good - largely because of my strong affinity towards cowbells. "Better Luck" is the best offering of the latter tracks - a lot of strong and catchy hooks. So, the cover song. There's a virtue in going your own way when covering another musician (especially when the music is as high-profile as Pink Floyd), though I don't like this rendition. The vocals are among the weakest on the album and the tempo completely kills my enjoyment of the song. The instrumental is something I'm equally mixed on. The electronic tones that come in around the chorus are quite good, though the jittery, looping guitar really does not work for me and puts me on edge. I also have a strong emotional attachment to the original song. So what? Isn't a man allowed to FEEL???? So, why was this puppy removed from the list? I'll have to check the book. Prominent 80s influence. A polished debut album from promising musicians. "Comfortably Numb" charted as a single. I'm pretty down the middle on this album. In some respects It's admirable in how unconventional it is and in others it's pretty by the numbers and of-the-time. Scissor Sisters haven't produced a follow-up which is as critically or commercially successful as this album, though they appear to have maintained a pretty respectable following since their debut. I would probably snip this album too, truth be told. It's alright, though nothing I'd point to as essential listening.

Hey! The Beach Boys! I've never listened to this band, though I know about them because of the Weezer song. This review was brought to you by the Pacific Daydream army Pacific Daydream nation. Pacific Daydream - available 8 years ago. It's been 10 or so albums since the last groundbreaking, landmark album and way longer in the time before then, so I'm glad to finally be getting another one of these under my belt. I imagine everything that can be said about this album has already been discussed in great detail, but I am both writing this on a computer and speaking from the perspective of someone who has heard next to nothing about this band, so the following review is the most original, sage and profound expression of wisdom known to man. Yeah, it's pretty alright. I've listened to this album twice and wasn't sold on either occasion, though I'm open to giving it a third opinion somewhere down the line. It is Pet Sounds, after all. "Wouldn't It Be Nice" is a very good opener. I've heard it before as I imagine everyone else has, though giving it a real, proper listen was very gratifying. There are a lot of effective choices in the instrumental and songwriting that I wouldn't have picked up on from hearing it passively. Just a rock solid track from beginning to end. "Don't Talk" takes the album in an interesting and strong direction. Very delicate with quite possibly the strongest vocal performance on the album. The strings are pretty immaculate, too. "I Just Wasn't Made For These Times" has a strong melody and a pleasing, if cacophonous, instrumental. The title track is another good tune, though it is heavily outshined by "Caroline No", which is fantastic. One of the very best songs I have listened to through this list. I've actually heard the song before, though I didn't know where for the longest time. I first heard it through a cover of the song by Doopees. I both didn't like the album that song came from and had completely checked out by the time I got to it, so I didn't know I was sleeping on auditory gold till this very moment. Okay, maybe I do like this album. It's definitely on my radar. 4/5 is a bit pre-emptive for me in this moment, but I am confident that this album will grow on me with time, so I'm fine taking the risk.

Man, another hip-hop album. There's like 30 on the entire list, but I am being absolutely bent over lately by having to hear one of these every ~10 albums. How will I ever deal with the perils of having to sit on my ass for an average of 40 minutes-OH MY GOODNESS THIS THING IS AN HOUR TEN. SIGNAL THE TENNER ALARM This album is delving into absolutely suicidal territory. I am a firm believer in it being mostly-impossible for an album to be good for a full hour without overstaying its welcome or taking serious auditory damage somewhere along the way. Yet this album has the absolute balls to go for the hour tenner. You never go for the hour tenner. Well, this was a very, very looooong endeavour. It's a pretty big ask to make me critically engage with 16 tracks and this album fails at doing so, though there are some decent cuts along the way. The rhythm and rhyme on "We Luv Deez Hoez" is pretty alright. It's my favourite song on the album despite it's general trashiness. The quirky electronic sounds on "?" and "Toilet Tisha" do a good job of setting this album apart by creating a unique atmosphere. "Slum Beautiful" and the title track are the best examples of this atmosphere - both songs have a very unique, "cosmic" feel. However, on other tracks I felt that this electronic approach worked against the merit of the music like on "Red Velvet", which is threadbare largely because of the instrumental. "Gangsta Sh*t" is another example of a track I'd consider threadbare, though I don't think it's entirely the fault of the instrumental seeing that there's some merit to the music. Maybe it's the ADHD percussion on the song or something about the vocalists. I've no clue. Something about this album is just deeply stale to me. Maybe it's due to the songs being way longer than they ever needed to be and having repetitive compositions. May as well check the book on this entry - I am blind as a bat when it comes to hip-hop music. Let's see. Ambitious and innovative. B.O.B. is "possibly the most ambitious rap track ever". A thinking man's rap album. Established a name for southern hip-hop. Quite the rap sheet. I have no real way of arguing otherwise, though this album seems to be a solid inclusion for the hip-hop genre - can't knock it. In any case, this album gets a 1 from me for how mindnumbing the experience of listening to it was. Fuckayoooou, Outkast.

Another end to a multi-album artist. I listened to American Idiot a few months back and wasn't a fan of that album, though I'd be lying if I said the possibility of a relisten didn't cross my mind. The historical context and the "Jesus of Suburbia" concept are both pretty interesting ideas to base an album around. Apparently the success of American Idiot failed to eclipse the success of this album, though I've heard next-to-nothing about this collection of songs in the run-up to it finally gracing my project. Uh, yeah. It's alright. I'm not a fan of this of-the-time, polished to a fault pop music, though I can see the appeal. "Burnout" is a solid opener. The vocal melody is good and I like the solid drum breaks near the end of the song. "Longview" has a very solid guitar hook and I enjoy the disaffected lyrics. "Sassafras Roots" is solid, with some good songwriting and an alright instrumental. Generally speaking, I think it's very difficult to make good music that is in and around the two minute mark. It's very unfortunate that nearly half of the album is comprised of tracks which fit this bill. If the two-minuters were condensed and refined into more substantial music then I likely wouldn't come away from this album feeling so bored and mentally exhausted. A lot of these tracks also have a bad habit of blending together. I'm very mild on this album, though I didn't dislike it the same way that I came away disliking American Idiot. I can kinda vouch for this album. teenybopper albums are very hard to come by and appear to be generally disliked by the curators of this list, so I think there's merit in this one making it into the book. Green Day are apparently very influential as well, though in what ways I'm unsure - they're pretty far beyond my musical interests.

Hoo boy, another album I have heard absolutely nothing about and would never have listened to in a million, billion other lives. You have my full attention, Dimery. This is what it's all about. "Hispanic Impressions" is alright. The main guitar hook is catchy, even if the idiosyncratic nature of the music loses me as the track goes on. "You Can't Quit Me Baby" is also alright - the growling guitars add a gratifying floatiness to the music. "I Was a Teenage Hand Model" is alright from a melodic perspective, though the 5-minute runtime and lousy vocals kinda kill the appeal (not trying to backhand complement - it's among the strongest songs on the album). But man if this album isn't stretched out the ass to infinity and beyond. An hour is complete overkill for both a debut album and an album comprised almost entirely of instrumental pieces. Too much, too soon. It also doesn't help that this album features a lot of extremely repetitive guitar performances, which only become more grating as I get deeper into the music. I'm gonna say it: this is a nowhere album. If the tunes of this album were a location I would be stranded wandering along a run-down paved road in the middle of a vast dune, the sand blowing all across my body and the warm summer heat creating visible ripples in the view ahead. It's been an exceptionally long time since I last rolled out the "nowhere album" moniker, which makes this one a special occasion. But it's true. I don't think that this album earns a spot on the list when a million and one more-deserving albums got shafted. I'm curious to see the reasons for why this album made it onto the list. Dave Grohl is on this album. A lot of guest appearances. "Distinctive sound" (I disagree). Uh, yeah nah. This one's goin in the album shredder. Hasta la vista, Queens. Your cave or whatever kingdom you rule is mine now.

Another previously-listened-to-er. Been getting a lot of these lately despite the sheer unlikelihood of it happening. I listened to Dummy a year or two ago after a brief stint of trying to get into trip-hop - I'm a fan of both Gorillaz' debut album and Cibo Matto. Through my explorations of the genre I concluded that while trip-hop is a difficult genre to get wrong, it's also a difficult genre to get right. There's a simple pleasure to this music. I'm a big fan of the Silent Hill games (of which Portishead had a big influence), so in some respects this album is right up my alley. "Sour" is a very good song - the chorus flashes through my mind on occasion. Among the best displays of songwriting on the album, with an instrumental that is resoundingly Silent Hill. "It's a Fire" is another song that I sometimes think about, though my opinions on it are more mild. It has a good chorus while the rest of the music kinda falters. The thundering atmosphere on "Strangers" is pretty good. I also like "Biscuit". The pensive atmosphere on that song is pretty solid. "Glory Box" is a great tune, though you didn't need me to tell ya that. It has the best vocal performance on the album with some gripping strings and nice guitar embellishments. While I appreciate this album for what it is, something about it just filters me. It's undeniably competent as far as the music and performances go, though I can't help but come away with a mild impression. It's probably due to the generally minimal compositions and repetitious song structure. The album also loses me quite a bit in the later stretch. I can't say I cared about "Roads" or "Pedestal". In any case, this album has a lot under it's belt as far as influence and success goes, so it's a solid pick for the list. Can't fault it.

...But they should. Millions must die. Billions, no less. Septenvigintillions. Entire galaxies must perish or however my shitty musicmaxxing chudcel life goes. Djed is the main draw of the album - a 21 faaaaarking minute track. I have a storied, vitriolic hatred of "long songs" as they were, though this one doesn't bug me. Is every second of the song deliberate and purposeful? Not really. There are many moments where my attention waned. Were there any good bits? Yeah. The backing guitars are consistently the best part of the song. The quirky electronic sound that comes in at the seven minute mark is pretty funky. The Another Green World instrument from the twelve minute mark is alright (I still have no clue what that instrument is) and I like the sudden shift towards a reverberating electronic sound near the end of the piece, even if that stretch of the song goes on for way too long. What can I say? I don't bother the track and this track doesn't bother me. The rest of the album doesn't really go anywhere, though there are some good moments. Glass Museum is nice - likely my favourite song on the album. After the extensive blueballing of the previous track it's nice to get a guitar-based track. I also enjoy the spacy atmosphere on Dear Grandma and Grandpa. That song sounds nice with headphones on. Let's have a lookie at the bookie. Uhhhh, nothing really of note beside them being hipsters and multi-instrumentalists. A cursory look at Wikipedia reveals that these guys are icons and pioneers of post-rock, which is a genre of music that I have a hard time identifying. I don't know how I'd categorise this album, really. It doesn't sound like much of anything. In any case TNT, the band's next album, was where they hit it big with the critics. I'm curious to know what these guys sound like at their best, so I've taken their name down and hope to give the album a listen soon. As for this album being in the book, I think it's a solid inclusion. No complaints from me. Post-rock is worthy of representation and these guys appear to have earned their stripes in the scene.

Wait, really? I'm surprised to see this album on the list. I thought it was generally agreed that The Beatles fell into a slump with "Beatles For Sale" and "With The Beatles". In any case, I'm keen to give this album another go. I don't give it a spin nearly enough, The songwriting and rhyming conventions are pretty barebones, though the album is pleasing enough if you just go along with it. The three opening tracks are decent, though none of the remaining home-grown Beatles songs do much for me. The album falters very heavily down the center, with songs like "Don't Bother Me" and "Little Child" leaving a bit of a sour taste in my mouth, though the album ends on a solid enough note with "Devil in Her Heart" and "Money". The original material isn't much different from the covers aside from them being of a slightly-lesser quality in the songwriting department. If I'm to look at this album optimistically I think that's part of the charm. If I want to lose myself in some very of-the-time pop rock music I can just put this baby on. It's remarkably consistent in that regard. It's very difficult to comment on the merit of the covers, though I doubt anyone else is busting out the old ass showtunes for the sake of authentically reviewing this album. I guess my opinion is as good as anyone else's. The aforementioned "Til There Was You" is one of my favourites of the album - nothing like a good McCartney performance. "Devil In Her Heart" is my favourite song on the album. Some nice vocals from George Harrison (though I could have sworn it was Lennon on the lead vocals - strange). Can't complain about "Money", either. It's a classic for good reason. So, why's this album on the list? I imagine it's due to "With the Beatles" being generally more competent than "Please Please Me". It was either one or the other for this band, though I'd probably side with this album, too. In any case, lemme check the book. First album to ever sell a million copies in the UK. Motown influence. A formative moment for many of the band members. I'd quibble and moan about this album not being good enough on objective merit, but it's the "debut" album of The Beatles, man. Of course it's mandatory pre-mortem listening.

Oh, brother. First we had Nirvana and now we have R.E.M. I can finally close the sordid chapter of my early music listening years. When I first started out listening to music it took an inordinate amount of time for me to come across bands I liked. Because of this I, rather hastily, pinned myself as a fan of Nirvana and R.E.M. to use as a point of discussion. The problem being that the total number of songs I listened to between both artists was a solid ~3. There were so many bad conversations I had throughout that period to the point where I never wanted to revisit either band when I finally found music I enjoyed. With Nirvana's main discography under my belt, I guess it's time to give R.E.M. a listen. The sound of this album is quite pleasing when it's good. The acoustic guitars are nice and make for a dreamy atmosphere when paired with the reverberating backing instruments of the album. This is the strongest aspect of the album. It's precisely because of this strength that the first stretch doesn't hook me. Tracks like Try Not to Breathe and The Sidewinder Sleeps Tonite are much too lively for me, though after Everybody Hurts the album mellows out in a nice way. Speaking of which, Everybody Hurts is good. I hate being jumpscared by songs I recognise and this was one of those situations - the intro of the song doesn't sound anything like it's iconic chorus. Everybody Hurts' lyrics are surprisingly quite minimal and sparse for such a mature instrumental, though I admit it's part of the charm. Instrumentally, the song has a lot of good musical flourishes, especially the deep, free-flowing strings that hang over the piece. The organ isn't half-bad, either. I say this as someone who feels an extreme antipathy towards the instrument. After this, the album branches out into the stuff that I enjoy more. Sweetness Follows is a very melancholic piece, though it easily has the best lyrics on the album and is paired with a very nice instrumental. Again, the organ is a nice inclusion and in this case is thematically appropriate. So is the spacy atmosphere and warm acoustic guitar. Monty Got a Raw Deal is good - some very solid songwriting. I also enjoy the accordion or whatever instrument is in the background. It works well with the more conventional instruments of the album. Man on the Moon is another good cut and one I'm certain I've heard before. The backing vocals are effective and I enjoy how the subdued verses contrast with the more lively chorus. It's placement in the album is also good, working well as a late-album track. Overall the album is a mix between tracks I care and don't care for, though the good stuff wins me over enough to where this album is deserving of three stars. May as well enrich my musical know-how by reading the book. A change in style and tone for the band. That's the long and short of it, really, Granted, I can't fault this inclusion. It's massively acclaimed and massively successful. A solid inductee into the list.

Second album in the Zepperled chronicles. This time I'm hopping in at the end of their included albums. Or, at least, I assume so. It's awfully convenient of this band to number their early releases. Led Zeppelin III was my previous album. I recall liking Immigrant Song, but felt ambivalent about the acoustic remainder of the album. This album appears to lean more into a hard rock sound, which is a genre of music that I have an even weaker track record with. In any case, I'm going in with an open mind. Holy fuuuck if this album ain't long. I've listened to a few hour-longers in the process of getting to this point, though none which have come out to an hour twenny too. Through the process of listening to double albums and other miscellaneous long-winders I have bitched endlessly about album length. I even went into the lab to scientifically deduce the perfect album length as dictated by my favourite albums. The result: 48 minutes and 57 seconds. To put a long story short, I greatly value brevity in music because of how unlikely it is for an album to have a single good song. There's only a handful of albums I like that skirt around the hour mark and only one that breaches the hour ten mark. The grooves in the grooves of this album have to be truly, unspeakably perfect to warrant the length. In any case, let's see. It's alright. Custard Pie is a solid opener. I like the jumpy guitars and swinging vocals. There appears to be a bit of a funk influence in the backing instruments, which is certainly an interesting choice. In My Time of Dying is a pretty good cut, but holy shit if it isn't way longer than it ever needed to be. The old country, rockabilly feel of the music is very solid. I like how the guitars soar and swing over the course of the track. The percussion gives the song some much-needed life and the reverb does a lot to capture the feeling of being out in the country. Repeat this a couple of times and that's the song. I can't complain as it's a pleasing sound, though I'd be lying if it didn't lose me somewhere along the way. The SpongeBob ass guitar riff at the very end of the song saved the track tenfold and it's actually a masterpiece by the way if that matters. Bron-Yr-Aur is nice. I appreciate having the opportunity to wind down after being bent over by the preceding 8-minuters. Down by the Seaside is a good follow-up - likely the best on the album. I enjoy the rippling sound of the guitars. It makes for a pretty interesting sound when paired with the old-country feel. The guitar riff in the middle of the song is pretty kickass, too. Scratch what I said about the previous song - Ten Years Gone is the best song on the album. The lead guitar performance rules and the way those growling guitars kick in during the second half is oh-so gratifying. It's the only song on the album which really justifies it's runtime. I must have checked out during the second half of this album on my first listen as the next song - Night Flight - is also pretty good. It easily has the best vocal performance on the album. I found myself really getting into the flow and grooving with Rob Plant's vocals. The songwriting itself is a little banal (as can be said about all of these songs, really), though that's far from the strength of the band. I've been positive thus far, though the much-moaned-about length is extremely mentally exhausting and there are a great deal of tracks that didn't work for me. Kashmir is an interesting tune and I like the thundering instrumental, though the song is extremely repetitious and loses me early on. The remainder of the songs have more merit to them than the latter track, though they also ultimately fail at holding my attention. It feels wrong to say that this album blends together as there's an impressive level of variety, though there's very little of this album that sticks out in my memory. It's Led Zeppelin. I won't for a second think of knocking this inclusion, though I'm curious to know why it's on here. I'm checking the book. Influential to heavy metal. A lot of experimentation. In My Time of Dying was created out of improvisation while the band were recording the album. Sentimental. Last great album from the band. I can see the merit in this one. Physical Graffiti is dramatically different from what I remember of III. A lot more anthemic, that's for sure.

We're going pet shopping again. I would say I'm impressed by how insistent this list is on recommending the music of Pet Shop Boys, though much to the credit of the band they're immensely successful and have enjoyed a long-lasting career of critical acclaim. I've always been subconsciously aware of these guys due to their offhand mention in The Office, so there's that goin' for 'em, too. My previous Pet Shop Boys album - Very - was an experience I didn't enjoy. I remember that album for it's Very of-the-time dance music and some ridiculously shitty instrumentation/vocals. In all fairness, if I were to give that album a go now I would more than likely come away with a less hostile impression. I'm no longer in the "early album blues" of my thousand album voyage. I've been out at sea for quite some time now. There appears to have been a bit of a mix-up at the album factory, as I'm surprised by the sound of this album. I'm by no means an aficionado of 90s dance, though I've always associated the stanky jank of Very with early 90s dance music and the subdued, ambient, atmospheric sound of this preceding album with late 90s dance music. In any case, it's pretty alright. Being Boring is a solid opener. I like the rave ambience that hangs over the piece and the miscellaneous, plucky electronic sounds that appear throughout the song (this is an electronic album. You'll just have to deal with my inability to describe anything). This Must Be the Place I Waited-geez this is a long ass title is a good follow up. The percussion on the track reminds me of another song. Wait, lemme turn this shit off for a sec it's on the tip of my braincell oh my gorsh what the fuck is it. Aha! 3:30 of the Glass Beach song "Dallas". Amazing what the mind can conjure. That album is one I haven't heard in ages and was one of the first I ever sat down and listened to. Takes me back to simpler times. Anyways, the bass guitar is a nice addition to the long ass title song, too. Moving on. To Face the Truth is an even better track. I have no idea how to describe the electronic sound or what works about it, but it's easily the strongest song on the album. The miscellaneous, thudding electronic sounds in the chorus are good. The relaxing vocals are paired nicely with the subdued, yet lively sound and the piano goes a long way in the giving the song a serene, undistilled vibe. I'd describe the song as "techno-tropical". It's very relaxing. How Can You Expect to Be Taken Seriously? (they SERIOUSLY need to work on their song titles) is another good song. It's likely the best showing in the songwriting department. That chorus is very strong. I also like the "trickling" percussion sound on "Nervously". The way the song builds and deepens over the course of the track is pleasing, too. It's difficult to say much about this album as it's pretty much the same thing across every track. Some basic songwriting and lyrics, too. I can't complain as it's ultimately a pleasing sound, though I can't say that songs like The End of the World and Jealousy did much to hold my attention. Truth be told this album does lose me somewhere along the way, though it's a solid inclusion. 90s dance was a unique and culturally dominant variant of music, so it's definitely worthy of being immortalised on this list. This specific album is a solid pick, too. I may return to it sometime in the future. =================== Album number 200! Just 17 more to go and I will have officially cleared a fifth of the list. The last hundred albums haven't been as kind to me as the previous hundred, though this period has marked a pretty significant change in my ability to appreciate music. Through the process of trying to articulate my thoughts on music I've become much more understanding of the genres that didn't work for me in the past. I've also found a bit of a passion in trying to review music. It's easily the most daunting of any artform to write about, which is definitely a challenge I enjoy. Out of the past hundred albums only one has managed to solidify itself as a favourite of mine: Royksopp's Melody A.M.. A little disappointing. The previous hundred consisted of two albums that I really enjoyed: A Wizard / A True Star and The Stone Roses. Maybe the next hundred will meet the quota by presenting me with three albums that I really like. There are other albums from this hundred that I like, though not nearly enough to warrant the "favourite" status. Meat Is Murder was pretty good - especially The Headmaster Ritual. Cosmo's Factory surprised me with it's quality. I was not a fan of Bayou Country, the previous album from Creedence. Kollaps worked quite well for me despite the abominable user score. Vespertine by Bjork finally made me get off my ass and listen to her music. It's quite good musically, though I'm still not sold on Bjork's voice or wacked out lyrics. Pet Sounds is the album I am most enthusiastic about revisiting. There are many good creative choices on that album that I hope will become more polished with time. Dusty in Memphis by Springy Dustfield was another good album. I didn't have the wisdom to give it a 4 at the time, though I would now. A classy, quality pop album from a time when those were on the way out. This hundred marked the end of many multi-album artists and the introduction of a few more. I listened to the final albums from ABBA, The Cure, Black Sabbath and Green Day. I also rolled the first Led Zeppelin, David Bowie, Queen, Jimi Hendrix, Metallica, Bob Dylan, Michael Jackson, Talking Heads and R.E.M. albums. Phew - quite a lot of introductions.. Let's see how many favourite albums are still in the trunk. Hopefully I don't exhaust my supply too early - many of the recent albums have been ones that I've already heard. The Beatles: 4/7 (-2 since last hundred) Eels: 1/1 The Flaming Lips: 2/2 Gorillaz: 1/1 Pink Floyd: 3/4 Radiohead: 2/6 Total: 13 albums remain

Man, I love opening up this site and being hit with a tangible feeling of "what the fuck?" whenever I see these kinds of albums grace my screen. This is yet another album I would not listen to in a million, billion years were it not for this site. Far be it from me to complain. There's a beauty in the sheer unlikelihood of these melodies ever gracing my ears. I'll cherish them. Liberty For Our Friend is the best song on the album. It's the only time where the vocals and songwriting really work. There isn't much else to say about the album, really. I think this may be the first time in the history of this site where I'm at a loss of words for what to say. The vocals and instruments never amount to anything beyond mildly pleasing. It's fortunate that this album is only half an hour as it would seriously overstay it's welcome were it any longer. That being said, for what it is it's listenable enough. As alluded to previously, I consider this a "nowhere album" - a term I have not busted out in a very, very long time. I usually have a clear image of the kind of "nowhere" that these albums occupy, though I'm not so sure with this one. I guess this album captures the feeling of walking barefoot along a paved road in the midwest, following the power lines as I wander through nature reserves and vast open plains. In any case, this album is not popular, acclaimed, influential or experimental as far as I can gleam. I'll do what I always do and consult the entry for this album, though it's not looking promising for this one. A precursor to grunge without being an influence of it. Uhhh, yeah. I'll skimp on this album. Adios, fROMOHIO. Into the record shredder you go. For your replacement I would like to humbly induct The Moon and Antarctica by Modest Mouse into the list.

Wait, really? I’m surprised there’s only one Pearl Jam album on this list. I was hoping Dimery would be put a gun to my head and force me to listen to every single Pearl Jam album under the sun, but I guess I'll have to listen to their full discography through the worst wall possible. Das rite. I’m talking my own perseverance and resolve. Oh, it’s grunge. Not gonna lie, this came as a curveball. From the name “Pearl Jam” I was expecting something more timeless and in line with classic rock conventions. Through my experience with Nirvana (whom I also listened to through this list), I think the music from this genre sounds kind of shit. In any case, I’ll go in with an open mind. Overall, this album is competent but very unbalanced. The instrumentals are unique, if a little samey. The songwriting, on the other hand, is very, very weak. However, while generally underwhelming, some of the tracks manage to come out alright. Even Flow is solid. The track moves at a good pace and has the best vocal performance on the album. Alive is a song I’m confident I’ve heard before – that chorus is very recognisable. It doesn’t go the full mile for me, but the better parts of the song are enjoyable enough. Oceans is a good track. I like the instrumental. The grand, thundering atmosphere is a good approach and is surprisingly easy to fall into. Release is a solid closer. I like the reverberating sound near the end of the track. The hidden track, Master/Slave, is my favourite on the album. I like the dense sound and it’s cool that the instrumental loops back to the first track (even if they messed it up with the fading but it’s the thought that counts, right?). Since this is more than likely the last Pearl Jam album I will ever hear I think it’s imperative for me to give their entry in the book a read. Let’s see. Grunge was the last “underground” music movement to overwhelm the mainstream. “A powerful new moment in rock’n’roll.” I mean, it's Pearl Jam. Of course this is a solid pick for the list. That being said, I’m doubtful that this first outing was their best showing. I’m sure there are later albums that are more emblematic of this band and their legacy.

Hoo boy. Another hip-hop album. Been rolling a lotta these lately. There’s like ~30 of these on the list, right? I’ll be through these soon enough, right? I’m not crazy, right, right? Just joshing. I’m benevolent and think all forms of musical expression are worthwhile. There have been some winners in the hip-hop scene lately. I’ve added four hip-hop songs to my 1001 Albums playlist. A respectable achievement given that I, rather fittingly, only have 101 songs on that playlist. It’s just that these albums are always so long. I was absolutely left for dead with the hour ten runtime of Stankonia and now I have to wade through another hour-longer. The movie samples are fun along with the pop culture references. There’s a nice underground atmosphere to some of the songs and I enjoy the mild Chinese theming, but this ain’t for me. I’ve bitched and moaned about hip-hop at great length, so I’ll just move on to the highlights. Shame on a Nigga is the best song on the album – very catchy with the best instrumental and vocal performances on the album. C.R.E.A.M. is pretty alright, too. I like the instrumental and the songwriting is very competent. Let’s check the book. I know Wu-Tang Clan are popular (if only due to my familiarity with the infamous Once Upon a Time in Shaolin), so as far as music history goes this is a solid pick. Unconventional subject matter. Eight-man band. Still timeless years later. Taking a peruse through the Wikipedia page reveals that this album is more influential than the book lets on. Can’t fault this one. Solid pick.

Another band I’ve heard about through the grapevine, though I don’t exactly know why. I’m surprised this album released in 1998. I was of the impression that Pulp were an 80s band, which I guess isn’t wrong despite only finding breakout success in the 90s Ah! I remember why I know these guys. My Mum gave me a CD of Different Classes when I first started out with listening to music. I don’t remember anything about the album other than it sounding kinda shitty, so I may as well be going into this album completely blind. This one deserves a relisten somewhere down the line as I thought it was pretty alright for the most part. It admittedly lost me somewhere along the way, though there’s a genuine craft to these songs and some pretty interesting lyrics to boot. Dishes is good. I like the delicate guitar performance that guides the song and the strings/organ that appear later in the track are also pretty good. Help the Aged is another good cut. I like the echoey, hollow sound in the guitars and the vocal performance is strong. I’m a Man is very familiar, especially the guitar performance at the beginning of the song. The songwriting is pretty good. I enjoy the malaise that is captured in the lyrics and the track has a very strong chorus. Equally enjoyable is the instrumental. I like the Planet Telex-esque guitar reverb, which pairs nicely with the vocal style. I can confidently say that this song is one of the best tracks I’ve listened to in recent memory. Sylvia is another great track. The vocal melody is fantastic, especially around the chorus. Complementing this is a very pleasing backing track. The synth during the less lively bits is admittedly a little weak, though the explosive percussion and guitars around the chorus are very good. Glory Days is another familiar one, though I think I may be mishearing it as another track. In any case, it’s very solid. This album has been full of tracks that build towards a loud crescendo. Frankly, I can’t fault these guys. They do it very well. Just to proudly wear my stripes, I daringly braved the ten-minute synth note at the end of The Day After the Revolution. After touring in the trenches of The Flaming Lips’ “Noise Loop”, getting through this one was a piece ‘a cake. I will gladly wear the “bahbah” as a sign of status from now on. I get the impression that this is a solid pick for the book, though I’m curious to know a little more as to why. Let’s see. A huge pivot within the band’s sound. “...a profoundly unsettling piece of work”. I always appreciate it whenever artists forego any commercial obligations and do their own thing, so I can happily cosign this inclusion.

Another artist to add to the pile of gazillions I don’t know a damn about. Guess there’s no way to introduce my review, so I’m gonna jump right into the music. Oh, wait. It’s the Steely Dan guy. Surprised I didn’t notice earlier. Can’t Buy a Thrill was pretty alright, though I haven’t revisited it in the time since my first listen. In any case, I’m keen to explore more of the Steely Dan discography. This is a good in-between before I clear out the second half of their included albums. A competent album, but one that blends together. The sound is polished almost to a fault. It’s good for some background listening, but whenever I lean in with a more discerning ear I can’t help but feel that there’s little going on. In any case, I can’t complain. The album has a pretty strong second half. I like the cowbell on New Frontier. Title track is my favourite of the album. The radio concept is neat and the funky instrumental gets me bobbing in all directions. The Goodbye Look has a unique and pleasing sound, whatever the lead percussive instrument may be. Donald Fagen is prolific and acclaimed, but is this album distinct enough to warrant a spot on the list? I’m unsure. The book says this album is built around an idealised 60s California and is heavily influenced by Fagen’s childhood. It also says that this album is more “modern” than any of Steely Dan’s output and was the first mainstream album to be recorded entirely with digital equipment. Eh, I’m willing to trim this one. Steely Dan are already well-represented, and I don’t think this album does enough to differentiate itself from the rest of their inclusions. In place of this album, I humbly submit Emergency & I by The Dismemberment Plan for inclusion on the list.

Holy shit, Public Image Ltd. A few years back I listened to The Flowers of Romance because I thought the album cover was cool (even if I didn’t understand what the hell it was depicting). In retrospect, that cover feels like one of those incomprehensible, upsetting AI images that people generate just to mess with each other. I haven’t thought about these guys in years and only have vague recollections of their music, so I’m willing to give these guys another chance. “Public Image Ltd” is a great name for a band, after all. If I were more into punk, I could see myself possibly, maybe, hypothetically enjoying this album. Where I currently stand, I feel more than a little underwhelmed by it. I’m all for wackadoo experimental bullshit, but this album kind of potters in place and does absolutely nothing. There are beyond zero things going on in the lyrics and the instrumentals are samey across the board. Albatross is a serviceable opener. It does an alright job at establishing the sound and atmosphere of this album. I don’t mind the guitars, though they become a much bigger problem as the album progresses. The bassy backing instrumental does a good job at holding my attention, which is the most consistent bit of praise that I have for Metal Box. I don’t mind Poptones. The guitar performance is, again, pretty alright. It gives the track a little bit of floatiness, which I enjoy. Graveyard is pretty cool. The guitar doesn’t do much for me as it’s way too shrill, but the heavy bass and more subdued instruments are quite good. I think my experience of this album is learning to tune out the shitty leading instruments and pray to God that John Lydon doesn’t get on the beat. This album has been massively acclaimed by critics, which is surprising. The book describes this album as “a measurement of torture”, which is funny. Do I think this album earns a spot on the list? I’m unsure. On one hand, I appreciate being given weird shit to listen to and on the other I don’t think this album does nearly enough to earn its “weird” status. It’s not like this music even gave me much of an experience, as I’ve already forgotten this band once over. Overall, I’m pretty unimpressed and frustrated by this one.

Been a good while since I last listened to a true oldie. Glad to finally have another. Okay, it’s only been 9 albums since the last 60s one, but way longer in the time before then. I’m glad I can kick my feet back and listen to some good, non-demanding chunez for a change. Like virtually every other artist from this decade I have no idea who Otis Redding is or why his picture on the album cover is making me feel some kinda way, but I guess I’ll figure it out for myself. Soul isn’t my thing and continues to not be my thing now that this album is behind me. None of these songs are interesting, which is more than likely owed to the overwhelming presence of cover songs. The Redding originals are the weakest of the album, doing absolutely nothing to hold my attention. In any case, there are some alright cuts on this album. “Change Gonna Come” and “Wonderful World” are listenable all the way through. That one guitar lick from “Down in the Valley” more than likely justifies this album with how pervasive it has been within pop music, but nevertheless I’m curious to know why it’s on here. I’m checking the book. “...a lush sound throughout.” Intense, emotional vocals. Okay, so it turns out that Down in the Valley is yet another cover and the iconic guitar lick is from “Love Is Strange” by Mickey & Sylvia. Still, despite not being my thing or doing anything particularly interesting, I support this album being on the list. I’m pretty sure the only other soul album I’ve listened to is Al Green’s Let’s be Together, so there’s definitely a lack of representation for this genre. Wikipedia also says that this is one of the most acclaimed soul albums of the time, so I get the impression that this is a solid soul rep.

Never heard of these guys, though the 120 million YouTube Music plays on “Child in Time” made my eyes bulge out of my skull in a cartoonish fashion. Guess this is another instance where I’m the uncultured swine. Understandably uncultured, however. I’ve never been one for metal. This album is about what I was expecting, though I can admit it succeeds at being competently predictable. If I were a fan of hard rock or metal, I could see myself getting along well with this album. However, from a milder perspective there was little going on in these songs which hooked me and many of them were way longer than they ever needed to be. Can’t say I enjoy the blown-out sound, either – especially with the organs on Hard Lovin’ Man. In any case, Speed King is a pretty alright opener. The breakneck speed of the song works quite nicely, and I enjoy the groovy guitars in the second half of the song. It’s interesting that the English appear to have pioneered metal. I was always of the impression that it was started by the Americans, though I guess it makes sense the more I think about it. Christianity is much more of a Seppo thing than a Pommy thing, which metal is kind of a direct antithesis to. That being said, I’ve encountered way more American metalheads online than British ones. Strange. In any case, I get the impression that this album is a solid inclusion for the book. I’ll check just to make sure. “A hard rock milestone.” A whole lot of nothing specific beyond that quote. Wikipedia has more to say in favour of this album, being an early innovator of hard rock and heavy metal. There’s a lot of praise for this album without it entering “greatest of all time” territory. Regardless, as an early predecessor to some popular and acclaimed genres, I think there’s merit to this one. I shall graciously spare it from the album shredder, even if I liked very little of it.

First I listened to McCartney’s Wings album and now I guess it’s time for ol’ Johnny. I know very little about Beatles lore, though I’ve picked up in passing that John was the creative spirit of the band and the rest of his crew were the ones holding him in place. I’m curious to see how Lennon fares on his own. While I didn’t like Band on the Run save for one track, Imagine is pretty alright from start to finish. You can’t go wrong with an album comprised almost entirely of piano ballads and subdued instrumentals. The title track is subversive, communist liberalbabble, though I can’t deny that it’s a good song – the best on the album. The piano is paired beautifully with the backing strings and the lyrics work very well from a songwriting perspective. Oh My Love is another good tune. Very reminiscent of Julia from the White Album, though I can’t complain. The song is very pleasing, and the addition of the piano goes a long way in differentiating the track from its predecessor. The fragile sound of it is beautiful. How? has a soft sound which I enjoy, especially as a follow-up to the more intense How Do You Sleep? I care much less about the tracks that I've left unmentioned, but overall this was a pretty worthwhile listen. Can't knock this inclusion.

Hey, Fun Lovin’ Criminals. What is likely to be the most niche act I know of on this list. I listened to their fifth album, Livin’ in the City, through my Dad’s CD collection a few years back. While I didn’t really like it, How It Be is a great song. Not one I return to regularly, but I always have a good time whenever it’s on. I don’t remember much about Livin’ in the City, but hoo boy if this album ain’t different from what I was expecting. Very rooted in hip-hop with some doofy mafia shenanigans in the background. Both aren’t my cup of tea, though I can’t fault this album for daring to be unique. The Fun Lovin’ Criminal is a solid opener. I like the rambunctious instrumental, especially that brass instrument from around the chorus. Passive / Aggressive is a good follow-up. The booming instrumental pairs nicely with the big city crime theming. Same goes for the looping electronic sounds that appear in the verses. King of New York is also pretty catchy. Other songs are kinda baffling. We Have All the Time in the World is the best example of such with its intimate sound and lyrics. Methadonia is another strange one, even more-so because it’s the closer. The second half of this album really suffers in quality, with there being an oversupply of tracks that fail to hook me. A lot of the instrumentals on this album also have a general muddiness to em that is pretty unappealing. I think this can be owed to the bass guitar, though I’m not entirely sure. I’m curious to know why this is on here. Book time or however the plagiarism goes. A whole lot in there about the eclectic blues/hip-hop/rock/gangster influence and little else. There’s very little about this album on Wikipedia, too. Yeah, I think this one can do with being snubbed. I respect the artistry and genreblending approach, though this album doesn’t have much of a timeless appeal in the current year. Very dated. In place of this album, I humbly submit The Lonesome Crowded West by Modest Mouse for inclusion on the list.

Yet another album I would not listen to in a million, smillion, gorillion parallel universes were it not for this list. Looking forward to seeing what’s in store-okay it’s the Sunshine of Your Love album. The mystique of the “nowhere album” has been broken – I'm familiar with this album some capacity and it appears to be decently popular. I really did not want to give this album a mandatory second listen for whatever reason. Very strange of me, as this album is pretty darn fine all things considered. The vocals are pleasing and I can get down with the groovy rock performances. Sunshine of Your Love is a good one. It’s not really iconic enough to the point of familiarity, though deep down I know I’ve heard this song somewhere before. SWLABR is another highlight. I quite like the swinging, crushing energy of the guitars. Same goes for Outside Woman Blues, which scratches much of the same itch. Mother’s Lament is a fun track and a good enough closer. I like the hackney bri’ish pronunciation and nonsense lyrics. I think this may very well be the first blues rock album I’ve listened to on the list. One of the first, at least. I get the impression that this pick is solid, though I’m gonna check nonetheless. A lot of stylistic influences. Innovative and influential. Inspired Jimi Hendrix. “...a vital snapshot of an unique era”. Yeah, I can cosign this inclusion.

Removed Album #14 (List: https://pastebin.com/cSThNiK9) Yes, seriously. For whatever reason, Good Kid, m.A.A.d City has been scrubbed from future editions of the book. I dislike the music of Kendrick Lamar and consider TPAB to be the worst album I’ve ever heard. But, even so, it’s shocking to me that this album was decommissioned. Kendrick Lamar’s second and third albums are the biggest things to have come from the music industry in a long, long time. I’d argue that nothing from the 2000s through to current year has measured up to the indelible mark that this album and its successor have had on popular music. Good Kid, m.A.A.d City is an album I’ve heard before, so I don’t have to give this one the two-listen treatment. While I have nothing but scathing criticisms for TPAB, I recall having a much kinder opinion of m.A.A.d City. I came away with the impression that I could one day like this album if I ever came to appreciate hip-hop. That day still hasn’t come, though nevertheless I’m still curious about giving this album another go. I don’t remember my exact opinion on the songs of m.A.A.d City, though I imagine I’m a little more favourable to this than I was previously. While I will always have my reservations about Kendrick’s vocal talent, the lyrics on m.A.A.d City are much better than I remember them being. It’s been a good while since I last sat down and read along to the lyrics of an album. As a non-Ebonics-user, there was also some novelty in trying to understand all of the hood lingo. Bitch, Don’t Kill My Vibe is a good start. I enjoy the instrumental. The lyrics kinda taper off early without really going anywhere, though in all fairness this song is one of the less narrative-focused ones. The Art of Peer Pressure tells an effective story with some good lyrics. I enjoy the tension of the song - something that is generally very difficult to capture within music. That’s kind of where my positive comments end. The album falls into a slump somewhere down the middle and never recovers. Many of songs are extremely repetitive and are stretched out for way longer than they ever needed to be. I think this is largely owed to the lyrics. With each track having a million verses, I felt that the sheer number of words on this album sabotaged whatever emotional impact could come from being concise and to-the-point. Some of the songwriting is astoundingly shitty, especially around the choruses. Backseat Freestyle is the king of this. I get it’s meant to be a vapid song, though that doesn’t salvage the track when it’s already so aggressively unlistenable. Swimming Pools and Sing About Me, I’m Dying of Thirst are other exemplars. I remember this album having more of a narrative arc than it wound up having. Most of the album rides on a slow downward tilt until the death of Dave, after which it suddenly bounces back without much rumination or reflection. There isn’t any real cohesion between the songs, either. Maybe I’m expecting too much from this album, but I’ve had it hammered into my skull that this is a concept album and, as such, should meaningfully explore a concept. Kind of disappointed that I didn’t have an epiphany with this album though, again, I think this is a worthwhile addition to the list. While only having a cursory knowledge of hip-hop, I can hear how Kendrick has single-handedly revolutionised political hip-hop. It’s much more emotionally resonant and personal than the acts to come before, which is perhaps what the genre really needed. Why was this album removed? Beats me, though if I’m to guess it would be due to TPAB being the bigger album and both albums scratching the same concept album itch, even if they are very thematically different from one another.

Oh no, no, no. After Highway 61 Revisited I never wanted to hear another Bob Dylan album. However, deep down, I knew that the Dylathon never ends. I am now two albums deep into the Bob Dylan heptalogy (yes, I looked up that word just so I could use it here). I don’t recall much about Highway 61 other than that I disliked the ear-bleeding harmonicas and Bob Dylan’s shitty vocals. Tombstone Blues admittedly pops into my head every now and then, so this one might not be that ba-OH MY GOODNESS IT’S A DOUBLE ALBUM. Red alert, red alert. I am endlessly neurotic about conciseness in music and the double album is an affront to all that is good in my eyes. I have endlessly bemoaned the “hour tenner”, an album length from which only one album has returned alive. It’s not looking promising for this album. In any case, I’ll give it a fair shake. From what I’ve picked up about Bob Dylan, I’ve heard that he has a knack for songwriting – a talent I’m continually dumbfounded by. There’s no craft or catchiness to this music. Bobby just dumps a bunch of random shit into these songs and desperately tries to pair his lyrics with bog-standard, overblown instrumentals. Out of this entire suite of songs, there are only two that I think are alright. I Want You has a nice instrumental and is the best-written song on the album. Fourth Time Around is also pretty alright. Very reminiscent of Norwegian Wood on a lyrical and instrumental level, which means the instrumental finally chilled out for a second. This album was indistinguishable from Highway 61, though I'm curious to know why it’s on here. I’m checking the book. Rock’n’roll’s “first masterpiece”. Poetic. “...voice of a generation”. Rock’s first double album (so it was Bob Dylan to blame, huh?). The first page of the 1001 Albums book has an image of Jimi Hendrix lisening to an album with a few vinyl albums strewn beside him, of which this was one. This is probably a worthwhile listen if its one of the first things I’m confronted with when opening the book. I hesitantly cosign this inclusion.

Never in a million, billion years have I heard of The Charlatans, though I like to think I have this recommendation on good authority. Guess I should just hop into it rather than meandering any longer. Not my deal. This album is very of-the-time, though I don’t think it does anything to differentiate itself from other competitor bands. I also don’t think the sound of this album is timeless or aesthetically appealing, either. In any case, there could be worse albums that don’t appeal to me. With No Shoes is familiar - I’m confident I’ve heard it before. I like the late 90s rock sound and all of the guitar reverb. How High is another vaguely familiar track, though I’m undecided on whether I’ve heard it before. Regardless, I enjoy the restless energy of the track and how the verses keep adding pressure to the song. At this point I’d check the book to see whether I agree with this album being in there, though for whatever reason Tellin' Stories isn’t in my first edition copy. Strange. It must have been added to a later edition of the book. Wikipedia says that this album was critically lauded and sold well, being seen as a stylistic and tonal shift for the band. It’s also regarded as one of the better Britpop releases. Eh. I think Britpop is already very well represented on the list, so I think this could do with a snub. In place of this album, I humbly submit Manamoon by Serani Poji for inclusion on the list.

Previously on me saying words at my screen about music or something of that nature: “When I finally get recommended the live album, I'm going to have a Nirvanaganza, where I will relisten to this album along with Nevermind in one last hurrah.” Ummmm, errrrrr, fuck. I don’t have time for the Nirvanaganza. Not after I activated weekend albums not knowing I couldn’t turn them off. Sorry, Nirvana. I’ll return to these albums sometime in the not-too-distant future. I promise. Yeah, this is pretty alright. The songs ultimately lose me as they go along, though I can’t deny that they’re competent performances. I don’t remember much about Nevermind or In Utero, but I appreciate Cobain’s vocals a lot more now that they’re in the foreground. The renditions of Come as You Are, On a Plain and Plateau are pretty good. Lake of Fire is another good cut. I like Cobain’s rockstar-esque vocals. Where Did You Sleep Last Night? is the best song and a good closer. I enjoy the build-up in tension – very gripping. The banter between the bandmates is pretty fun, too. I like the Lead Belly guitar story. I have been intensely anal about the inclusion of live albums on this list and shudder to think of how many I have left. However, I’m pretty sure this is the first time I’ve had the opportunity to consult the book about their inclusion. They made “...the album no one thought a grunge band ever could – an acoustic album”. A bit of an embellishment. The album serves as a strong indicator for where the band could have gone. That’s all there is, really. I think this album is a good listen and a respectable inclusion for the list. I understand the “where could they have gone” angle and I think Kurt Cobain’s impersonal, countercultural persona is worthy of being preserved in a more intimate way. It also helps to have a familiarity with this band’s output before I listened to this album. Anyways, farewell Nirvana. It’s been a short time in the grand scheme of things, but I will try to give em a proper listen sometime down the line.

Man, what is this album? Never have I ever heard of Cyndi Lauper in my life-okay. It’s the Girls Just Want to Have Fun album. I’m surprised I didn’t gleam that from the vocals of the first track. Yeah, it’s pretty good! Cyndi Lauper is a talented musician. I don’t mind the sound of this album, either. Extreme praise considering that I am the retired #1 hater of 80s music. Girls Just Want to Have Fun is the obvious highlight. Cyndi really stretches her vocals and the songwriting of the track thin, though it somehow manages to work in the end. The instrumental isn’t too shabby, either. I like echoey, clicking instrument that pops in during the middle of the track. Time After Time is a surprising pivot (and another song I’ve heard before – even more of a surprise), yet it’s a solid successor. The ambience hanging over the track is very pleasing – especially those backing guitars. It’s also a nice change of pace to have Cyndi chill out for a change. The dub/reggaeton influence on Witness is pretty neat, too. “Yeah Yeah” is really annoying, though. A complaint that would be entirely void if background Cyndi just shut the hell up. I’d normally consult the book to try and compensate for my blissfully ignorant musings about music, though I’m content with letting this one slide. I’ve listened to a good number of 80s albums through this list, yet I think this may be the first characteristically synthpoppy, non-new wave 80s album to reach my ears. Obviously, this music is worthy of preservation with how persistent the 80s sound has been within popular music. I feel like this is a solid rep for this kind of sound, too.

Holy shit. This album has the highest number of scathing top reviews I’ve seen to date. It can’t be that bad, right? Anyways, awesome album cover. No clue what to expect from this one, but I’m lookin’ forward to hearing it out. David Gray is an artist I’m confident I’ve never heard of, but there are some very high stream numbers on-goldarn it. If I had a nickel for every time I talked about being unfamiliar with an artist only to be immediately hit with a song I recognise on the second track, I would have a nice assortment of small change capable of buying half a gumball. It’s heartening to know that I do, in fact, have some musical know-how after all. Yeah, it’s a bit dull and dragged out for way longer than it ever needed to be, but I can’t bring myself to dislike this album. It’s just firmly rooted in “alright” for me, which is a respectable enough place to be. The opener is a good track. I like the spacy, electronic atmosphere, which does a good job at differentiating this album from the other singer/songwriter works that I’ve listened to. Babylon is the obvious highlight. I quite like the acoustic guitar and jittery percussive sounds in the background, which I hadn't even noticed in the times where I've passively listening to this song on the radio. The vocals and songwriting are the obvious highlights, however. It’s just a nice song overall. This Year’s Love is another good one. You’d have to be phenomenally bad at your job to fail at making a piano ballad. The ambience hanging on the back of the track during the second half of the piece works pretty well, too. Gonna check the book on this one. Revitalised the career of a struggling artist. Blew critics out of the water. Broke sales records in the UK and Ireland. Surpassed some of his contemporaries on the American charts. Wikipedia says this album failed at launch but picked up steam and became one of the longest-charting albums in the UK. I’m not an authority on singer/songwriter music, but this seems like a solid pick. Definitely a better album than “The Man Who” by Travis, which scratches the same late-90s optimism itch as this album.

Heyo, Tim Buckley. First, I listened to Jeff Buckley and now I guess it's time for me to work my way backwards. It’s neat that this book includes genetic lineages on the list. I wonder how many more I’m going to encounter. A lot of lengthy songs on this album. Can’t say that the length is justified, though for what it is it could be worse. Move with Me is a good opener and is likely my favourite song on the album. The chorus is solid, especially with the backup singers. Tim's vocals are mixed in a strange way, however. I get the impression that they should have been much more pronounced than they are in actuality. The performances themselves leave a lot to be desired, too. They’re generally pretty underwhelming. There are other decent moments on this album. Sweet Surrender has some very good strings and other experimental flourishes. I like the instrumental to Devil Eyes. Make It Right is a solid closer. I enjoy the strings and acoustic guitar. The book doesn’t have much to say about this album outside of its genre-blending approach and the Wikipedia page is surprisingly sparse, too. I'm unsure of how to feel about this inclusion. Tim seems to be a well-regarded artist, though his work appears to be heavily out-shined by the work of his successor. I’m inclined to let this one slide, though I think it occupies the lower end of the “must-listen” spectrum.

The Byrds. Hoo boy, it’s been a good while. 169 albums ago I referred to The Notorious Byrd Brothers as “...the worst album I've listened to thus far”. I don’t recall much about my thoughts on that album, though I’d probably disagree now. The worst album I’ve listened to through the list is probably Metal Box or The Chronic. Yeah, it’s pretty alright. I was right in my initial assessment of The Byrds as a derivative band, though there’s a quite a bit of their own flavour in here that I don’t recall being on Notorious Byrd Brothers. Maybe I just have less of a stick up my ass 169 albums later. So You Want To Be a Rock ‘n’ Roll Star is a good opener. It’s some very of-the-time 60s pop rock, though it's admirably competent and has some fun lyrics. Have You Seen Her Face is a good follow-up, though I don’t really have anything else to say about it. It’s just a solid track. Time Between is pretty good – I dig the smooth, country sound and unusual vocal style. Everybody’s Been Burned is an interesting pivot. The sound is pensive, though there’s a little bit of a bossa nova edge that makes the song quite relaxing at the same time. Mind Gardens has an influence I can’t quite put my finger on, though nevertheless it's quite good. There’s some vivid lyrics in there and I enjoy the general mysticism of the piece. Although me and these avyan bastards got off on the wrong foot, I’m willing to enrich myself with some much-needed learning. I’m checking the book. A very technical album from what I’m picking up – a lot of studio trickery and stylistic influences. Yeah, I respect this pick. There’s a lot going on with this one.

You’re just pulling my leg, right? I must have stumbled upon the deluxe edition, right, right? Well, fortunately with this album I can deploy my two-hour rule, where I only have to listen to albums longer than two hours once instead of my usual twice. I’ll think of this album as endurance training for the fearsome 69 Love Songs, an album that only becomes more probable with each passing day. Still. Man. Why do these hip-hop albums always have to be so fuuuuuuuuuuuucking loooooooooooooooooooooooooooooong. I thought Stankonia was padded out the ass. With that kind of track record, I’m expecting this double album to be entirely ass. DAY ONE: Speakerboxxx I usually write the preamble for these albums on my first listen and my actual thoughts on the second, but I guess I’m handling everything at once now. Here we go. GhettoMusick is a strange track - the kind of experimentation I’m not used to with hip-hop. I don’t think it pulls off whatever it's trying to get at, though I can respect the effort in being unusual. Unhappy is a better follow-up. I appreciate the mile-a-minute vocals and its undeniably catchy in some areas. The ska influence on the early songs is interesting, especially on Bowtie, The Way You Move and Rooster. Speakerboxxx falls into an extreme slump somewhere down the middle but somewhat recovers in the final quarter – Reset is alright. Overall, the experience is kind of lost on me. Disc one starts out competent and tapers off very quickly, likely due to my own mental fatigue setting in. I always sound like a miserable prick whenever I write these reviews for hip-hop albums. In all fairness I think these Outkast guys are adept within their niche and have the most artistic merit out of all the other rap artists I’ve heard through the list. Hip-hop just doesn’t appeal to me. DAY TWO: The Love Below Back again, this time with a lovely orchestral intro. I wonder what’s in store for me. Wow, what a pivot. I didn’t see this coming. Love Hater is a solid track. It’s strange hearing rap lyrics paired with a jazz fusion-y sound. The song is enjoyable, especially on the instrumental front. The bossa nova sound of God is a good follow-up... Just excuse the lyrics. Man, WHAT THE FUCK????????? Disc 2 had something going for it, then it was taken away from me. Oh well. Happy Valentine’s Day is belaboured and repetitious, though the electronic oscillating sound at the end of the song is pretty neat. Prototype redeems the album a little with a very nice, funky instrumental. No fucking way. This second half is full of surprises. Here I was, bored out of my mind listening to She Lives in My Lap and then, without warning, I get jumped by Hey Ya! Good song, though I would never have guessed that it came from a double album, or an early 2000s album, no less. There are some good instrumentals a little later down the line, but I’m kind of completely mentally exhausted at this point, so I’m just gonna list em out with no elaboration: She’s Alive, My Favorite Things and Take Off Your Cool. I respect the experimental first side of this album, though I greatly prefer the more relaxed sound of The Love Below. It’s a sound for sore ears. Gonna check the book on this one. A whole lotta waffling about originality. I can’t criticise – it definitely is unique, both in background and sound. As mentioned before, Outkast are the best of the hip-hop artists I’ve listened to through the list, so I respect this inclusion. I thought I’d be nearing the end of the hip-hop ladder with this megalodon album behind me, but alas. Of the top 20 hip-hop albums on this site, I’ve now listened to 8. I don’t know for sure how many hip-hops I have left in me, but I will soldier on nonetheless.

Man, this band sure loves to reissue this one album. Their YouTube Music page is made up of six different versions of “The Psychedelic <whatever> of the 13th Floor Elevators”, each with different album covers. I hope I’m listening to the right one. Anyways, psychedelic album. Gimme some more-a-those. A Wizard / A True Star is firmly poised atop the “best album I have listened to through this list” throne. I think another banger from this genre is the only thing capable of dethroning it. I didn’t like this album much on my first listen, though I’ve come around to it more on the second go. The mixing of this album is kind of abhorrent, though the actual songwriting and music is very interesting. The defining feature of this album is the rippling, flapping noise featured in most of the songs on this album, which is a sound I enjoy. As far as songs go, there are quite a few good ones. The surf rock influence on You’re Gonna Miss Me is quite enjoyable and does a good job at introducing the sound of the album. Roller Coaster is a surprising pivot, taking on a more tense and nerve-wracking sound. I like the oscillating vocals and quaint lyrics of Fire Engine. You Don’t Know has the strongest songwriting of the album, with some very catchy and surreal lyrics. Tried to Hide is a good closer. It’s very heavily doused in the flapping sound mentioned earlier, and I like the addition of the harmonica (a rare source of praise, especially after recently getting off a Bob Dylan album) A very strong 3/5. I'm not sold on this album enough to where I would bump it to a 4/5, though I can always do that a little later down the line. That being said, I'm curious to check out more of this band someday, even if this album appears to have been their only release of note. May as well do what I always do and check why this album is in the book. American band, which makes sense now that I think about it. First “acid rock” album. That’s pretty much it, though the vocalist of the band appears to have had a pretty successful solo career. I can vouch for this album. It appears to be a bit of a critical darling and has had an influence on other psychedelic acts. Solid pick

Man, what the hell is this... and why do I kinda dig it? It appears that my long-lasting disdain for 80s music has come about entirely from laziness, as I could see myself liking this album at the height of my eightiesphobia a few years back. The songs on here remind me a good deal of Cibo Matto – an act I herald as one of my all-time favourites. Yeah, it’s pretty alright. The album really loses its focus in the second half, though this music is undeniably competent. I quite like the quirky lyrics and subdued synths of Wordy Rappinghood. Genius of Love is a good follow-up. A bit of a reggaeton sound going on, which is interesting. The chirpy synth in the background is pretty good, too. L'elephant has some nice guitar riffs and percussion. The French lyrics are also a nice touch. As alluded to earlier, the second half is heavily dragged down by a slew of unengaging tracks, and my opinion of the album sadly falters as a result. Still, I respect this inclusion. Gonna consult the book for reasons why this album is in here. Spinoff album of The Talking Heads, which I can definitely hear now that it's been mentioned. “...one of the earliest influences on the hip-hop movement.” Somewhat improvised. “...sampled by just about every hip-hop or rap artist of note”. Wordy Rappinghood topped the singles charts in 17 countries. I’m not used to there being this much reasoning in these entries. I’m impressed. This album is definitely worthy of being included on the list.

Holy fuck, YouTube Music wasn’t lying when they said I was looking at the Super Deluxe album. Aside from the 50th Anniversary Beatles reissues, I can’t think of a longer body of music to come from a mainstream artist. Anyways, let’s have a lookie at the actual length of this thing. Fuck me. This cheeky Prince bastard just had to close out his inclusions with another double album. Oh well. Could be worse, though I’m pretty sure this is the first hour-twenner album to dawn upon the list. To echo my endlessly autistic ramblings about album length, 48 minutes is the scientifically deduced perfect length for an album. Albums longer than an hour take serious hits to their quality to reach that length and there is only one hour-tenner album that I consider to be good. The odds are heavily, heavily stacked against this thing being good, though I’ll give it a fair go, nonetheless. A weak and bleak send off to the Prince album lineage. There’s very little going on in this album and the songs are stretched out into infinity. Prince’s vocals are characteristically 80s, though I don’t think his approach works for me. The pitch is all wonky. Anyways, the title track is a respectable opener. I like the funky bass. The succeeding track, Play in the Sunshine, is a good follow-up. I quite like the instrumental, especially the bass guitar and the xylophone that appears near the end of the song. Starfish and Coffee is a nice track. If I Was Your Girlfriend is hilariously gay and uncomfortable for a song that I assume was meant to be sensual. The first half of ICNTTPOYM is solid, though the second half of absolute nothingness admittedly took me out of the track. I’m checking the book. The song “It” sucks, which is a funny thing to preface your review with. Released when Prince’s success was waning. Was intended to be a triple album. Stylistically diverse. Pushed the boundaries of music. Eh. Hmm. This album was much more successful than the list lets on and there’s an incredible amount of creative energy that went into making this album, but I think it could do with a snub. I get the impression that Prince is more of a singles act than an album act, which is a bad repertoire to bring to an album fight. In place of this album, I humbly submit Electro-Shock Blues by Eels for consideration on the list.

Live album jumpscare! Or, at least, I thought so. Great title for an album – I'm intrigued. I’ve heard about The Fall because they share the same name as my favourite Gorillaz album, though I’ve never actually thought to check out their music. I’m curious to see how this one pans out. Yeah, I like this album. The music is similar to Public Image Ltd, which is a big surprise as I think the music of that band is remarkably shit. Anyways, there are some good tracks on here. The breakneck energy of Crap Rap 2 / Like to Blow is pretty enjoyable. Rebellious Jukebox has some catchy hooks. I like the brooding guitar riff on Underground Medecin. The guitars on Two Steps Back are also pretty cool. That instrument definitely hogs the limelight of this album. Music Scene has many interesting parts, though I think the song is admittedly way too long for my taste. May as well check the book for why this is on here. “One of the most most distinctive and influential British bands ever”. Bold claim to start your review with. Recorded and mixed in two days. “...an instant success”. Continues to have influence in recent times. Yeah, this seems like a solid inclusion. The punk picks have been surprisingly lacking thus far, so I can agree with more of them being on the list.

Hey, another album I’ve listened to before. I only need to hear this album once instead of my usual twice. If I’m not mistaken, I’m pretty sure this is the second Australian album to reach my ears. I’ve always liked that my country is home to one of the most commercially successful bands of all time, though there’s a little bit of a complication: I don’t like hard rock. As an avid music lover this has, naturally and understandably, instilled within me a crippling sense of malaise and existential dread. In any case, I’m always down to give this album another go. Yeah. I mean, it’s AC/DC. Highway to Hell is a good track – very iconic. I can’t think of another song which is more emblematic of the hard rock genre. It may or may not be sacrilege, but I view Touch Too Much as the best song of the album. I enjoy the punchiness that the songwriting and vocals have, as well as the many kickass guitar riffs. Good song. Beating Around the Bush is a solid follow-up. Again, the punchy guitar hooks make for a nice listen, and I especially enjoy how the vocals harmonise with one another around the chorus. If You Want Blood does well to revitalise an (admittedly) weaker second half, and Night Prowler is a solid send-off with a sweet guitar solo. There’s nothing like an album closer being the longest track on the album, which works especially well here with how the song continually ups the ante. I came away with a dramatically improved opinion of this album, which is quite surprising. I guess trying to articulate my thoughts forces me to view these albums in a more favourable light. I’m gonna read the book entry for this album cus I love my country. Breakthrough album. An influence on metal. That’s about it, really. All things considered this is a solid pick. Massively successful and a representative of its genre. What else could you want from this list, really?

Another Stony Roller, this time the adhesive edition. It’s been a good while since the last Rolling Stones album, and I remembered liking their previous outing. Beggars Banquet had some good tunes and was the point where the band redeemed themselves in my eyes. The sky is the limit from this point forward. Yeah. I mean, it’s the Rolling Stones. I think this album is, admittedly, a bit of a step down from Beggars Banquet – I’ve never been much of a blues rock guy. Most of these songs lose me somewhere along the way and generally blend together, though there are some alright cuts in here. “Brown Sugar” is a good opener. Very characteristically Rolling Stones, fake-yank demeanour and all. “Wild Horses” is a great song, easily my favourite of the album. "Can’t You Hear Me Knocking" is a solid follow-up. I especially like the second half of that song. There’s a very gratifying build up in the country instrumental, and the songwriting isn’t half bad, either. “Bitch” is a solid track. I like the brass sections and building pressure that is placed on the song. As always, I feel like I owe it to myself to see why this album is in here. First album released on their own label. First album of theirs to top both sides of the Atlantic. The zipper on the cover used to work, which is a cool bit of trivia. Wikipedia says this album is a return to form for the band and is regarded as one of their best works. Yeah, this is a very well-received album. I’m down with this inclusion.

Second Nick Drake album. Make way for the must-listen-iest artist in the book. 100% of his main discography has been included on this list. I didn’t like my previous outing with Nick’s Pink Moon. I’m not much of a folk or singer/songwriter guy and the lo-fi approach didn’t do much to move me. In any case, I’m curious to hear more of a studio approach from this guy. That previous album of his appears to have been a deviation from the norm. Yeah, this is quite good. I’m a sucker for strings, so I was hooked by this album almost immediately. Like all albums, the appeal of this album obviously lies in the lyrics, which are fortunately quite good. Very intimiate and personal. Anyways, onto the actual music. “Time Has Told Me” is a solid opener. The country guitars give the song a pleasing, warm sound. “River Man” is my favourite song of the album. Fantastic track, especially due to those beautiful strings. “The Thoughts of Mary Jane” is another good one. Some great strings, and I'm always a sucker for songs about lost love. “Saturday Sun” is a good closer. Nothing like a good piano performance, and the lounge influence isn’t half bad, either. Gonna read up on why this is in here. I may as well check the book for such an esteemed musician. “...complex, introspective”, though very poppy as well. Some collaborators on this one, surprisingly. This is a good pick. Folk has been a pretty underrepresented genre thus far, so I think it’s fair to get another one of these albums in here. It also helps that I quite like this album and am curious to return to it in the future. It’s a great testament to the healing power of music.

No way. Already? I’ve arrived at the final Rolling Stones album just two spins after the previous one. To recap my experience across the Rolling Stones hexalogy. I didn’t like any of their albums until I landed on Beggars Banquet with my fourth roll. Their fifth, Sticky Fingers, was alright, but didn’t do much to advance my appreciation of the band. It appears that their debut work is the last chance they have at winning me over. I’ll just have to wait and see how it plays out. Yeah, it’s alright. Standard fare for the Rolling Stones, really. They’re remarkably consistent at being phony, pseudo-American rock’n’rollers. For fans of that music, I can see this discography being a good time. However, as someone who’s ambivalent, I’m left with something to be desire. Still, there’s some alright moments on here. I like “I Just Want to Make Love To You”. The heavy percussion and reverberating guitars of “Mona” are solid. “Tell Me” is another decent cut. I like the chorus. I shall send off this band with a eulogy from the book. Full of covers. Smash hit in the UK. The Rolling Stones found their footing and formula through putting a spin on these standards. Hmm. I still don’t know how I feel about albums full of covers being on the list. On one hand, it’s a good representation of where the music industry was at during the time and it’s not like the industry is much different in current year. On the other hand, I value creativity and definite impacts above all else, which is something you can’t really have when you’re playing from someone else’s rulebook. Still. As a smash hit, influential band, I think it’s worthwhile to hear where everything began. I begrudgingly cosign this inclusion.

Man, another wunnadeez. Ice-T is a name that vaguely rings a bell, though I think he's more of a commercial act than a critical act. I’m curious to know what I’m getting into with this album. Hmm. About what I was expecting. This album is a good representation of gangsta rap from the time, and it holds my attention more than some of the other acts on this list. If anything, the extreme controversy of gangsta rap makes it a notable footnote worthy of immortalisation on this list, but I dunno. I don't think there's any artistic merit to this genre, definitely none which is worthy of making it onto a best-of all-time list. Man, if this album ain’t LONG, a length that isn’t at all justified. While I was bored out of my mind listening to most of these songs, there’s some alright tracks in here. “Straight Up Nigga” is funny. “Midnight” is alright. The instrumental is cool and I like the chorus. “Body Count” is shit, but it’s funny hearing a hip-hop skit being used to shamelessly shill another album. “The Tower” is cool. I like the moody, menacing tracks the most, evidently. Gonna check the book entry for this one. “...a chilling masterpiece that ruthlessly illustrates the complex forces at play within a forgotten American black underclass”. Yeah, okay. Dare I say it, but I think Blacks are just as responsible for their problems as Whites. Besides, what complex forces are at play on this album aside from “fuck Whitey”, “I ♥ smashing box” and “I ♥ crime”. Gonna snub this one, obviously. In place of this album, I humbly submit Stereotype A by Cibo Matto for inclusion on the list.

Paul Simon. Never heard of this guy. At least, I don’t think I have. Guess I’ve nothing better to do than hop right into the music. Yeah, this is pretty alright. Very of-the-time singer-songwriter music, though many of these songs lose me somewhere along the way. That being said, there are some servicable tracks in here. I like the acoustic sound of “Everything Put Together Falls Apart”. “Peace Like a River” is a pleasing tune. The instrumental and songwriting is pretty good during the chorus. I like the gaelic sound of “Hobo’s Blues”, even if it’s a little short. “Congratulations” is a solid closer. I enjoy the muffled, soft sound. Gonna read up on why this is in here. Ohhhhhhhh, Paul Simon is one half of Simon and Garfunkel. I’ve never gone out of my way to listen to their music, so I didn’t know that the band name was just their surnames. Crazy to know that “Garfunkel” is a real name. I always thought they were deliberately channelling Frankenstein vibes with that one. Anyways, moving on. “...one of the best singer-songwriter albums of the seventies” More than half of this review is just talking about Bridge Over Troubled Water, which is kind of crazy. Guess that goes to show where the enthusiasm of this reviewer lies. I’m undecided on whether this album belongs here. Wikipedia says that this album was popular and acclaimed at the time, though I’m not seeing much in the way of a legacy. There’s a generally lack of singer-songwriting albums and I’ve been snubbing too many albums of late, so I think I’ll turn a blind eye to this one.

McCartney! Guess this is the end to McCartney’s included albums. At least, the ones that I’m not already familiar with. I could have sworn that Ram was also on this list, but I guess not. I was thoroughly unimpressed by McCartney’s previous outing with Band on the Run, though in retrospect that album ain’t all bad. Bluebird is a good tune, and I’m sure there’s some other good ones in there, too. Oh, I got ahead of myself and forgot to judge things the way they oughta be judged: by the cover. I’ve always appreciated this album cover in passing. It looks sharp, and I get the impression that it bears some thematic relevance to the “familial” sound of this album. Good stuff. “Every Night” is a good time. McCartney’s vocals are at their best, and I’m always down for some acoustic guitar action. “Junk” has a great sound to it. Again, I’m a sucker for those acoustic guitars. “Momma Miss America” is solid. Big fan of the reverberating sound and silky-smooth guitars. “Singalong Junk” is another winner. I like the meditative, innocent sound of the instrumental. “Maybe I’m Amazed” is by-the-numbers Beatles fair, but is elevated by a beautiful piano performance. That last song admittedly goes on for way too long, but the first half is primo stuff. Gonna consult the book for why this is in here. “...naive template for [McCartney’s] solo career.” “...[there is] some frankly embarrassing tosh”. Okay, yet another review where the curator criticises the album they’re writing about. “wistfully undercooked”. Damn, this guy hates this thing. “...a deliberate reaction to the smooth veneers of [...] Abbey Road.” “...full of touches that both enthrall and infuriate”. The critic who wrote this is obviously split down the road, and frankly I'd agree. There are some songs that straight up suck on this album, especially during the first half. Yet, I think that’s all part of the fun. As mentioned previously, this album has a very “familial” sound to it and isn’t trying to be anything more than it needs to be. Does this belong on a “must-listen” list? Probably not, though I’m favourable to the inclusion. I liked this one.

Man, wut da heeeeeelllll is this album? It appears to be massively acclaimed, though I’m dead sure I’ve never heard of Alanis Morissette or any of her music before. I hate feeling uncultured. Anyways, on to the music. Goddamn it. I got two track’ed again – I recognise the second song. Apparently, it’s a common industry practice for music producers to put the big single as the second track on an album, which is trend I’ve just now noticed. I can probably use that tidbit of knowledge to my advantage when I get back to exploring music the regular way. Okay, on to the actual music – for real this time. This album is certainly unique. Alanis has a unique persona and the songwriting ain’t half bad, either. As a long-dicked male, none of this music really resonates with me, but I respect the inclusion. “You Oughta Know” is good. I dig the vindictive, crazy ex energy. The building tension is fantastic as well – a common point of praise that I have for this album. “Hand in My Pocket” is a nice break from the high energy of the album. I like the muffled, subdued sound, and Alanis’ vocals are very nice. “Right Through You” has a great atmosphere. There’s an epic quality and a Bends-esque floatiness to the music that I enjoy. Admittedly, the second half of this album slouches very hard, though the first half is rock solid. I’m gonna say it: “Ironic” doesn’t have a single bone of irony in its body. I know this point of contention has been exhaustively pointed out by music critics over the years, but I came to this conclusion entirely on my own a few years back and felt smart at the time. I think that may have been one of the first times I ever took a close look at the lyrics of a song. Anyways, Ironic is the best song on the album. The songwriting is excellent, and the lyrics are a fun listen if you retcon the one infamous lyric to be “unlucky”. “Unfortunate” would be the more accurate title, but that’s unfortunately one syllable too long for the chorus. This album has some pretty big hits, though I’m curious to know a little more about why it’s in here. Even the book mentions the lack of irony in “Ironic”. Influential among female singer/songwriters. Yeah, this is an alright pick. I can’t remember the last time I listened to a wahmen album through the list, let alone a female rock album in general, so I think this is a worthwhile listen.

Hey, a country album. I’ve heard quite a few albums on this list that ape a country influence, though I think this may be the first true country album to grace my ears. It’s been a long time coming. I’m looking forward to hearing this one. Huh. This album is a mixed bag. The sound is inoffensive and likeable, but the music goes by real quick and fails to leave much of an impression. It’s also crazy to me that, despite already being on the shorter end of album runtimes, nearly half of this album is made up of five different versions of the same two songs. In any case, there are some good points to this album. I especially appreciate the atmospheric use of silence in some of these songs – especially on “Just As I Am” and “Can I Sleep in Your Arms”. On to the music itself. “Time of the Preacher” is alright. A very pleasing acoustic guitar performance, and I like the songwriting/vocals. The title track is good. The full version loses me a little, but I like the abridged version included earlier on the medley track. “Just As I Am” is a very nice instrumental track – likely my favourite song on the album. I enjoy the lonely and tranquil atmosphere, as well as whatever instrument kicks in at the end of the track (the name escapes me right now). “Down Yonder” is a fun jig. Can’t fault a little tavern music here and there. Willie Nelson is a name that vaguely rings a bell, though I don’t think I’ve heard a single song of his. His discography is nuts. I can’t think of another musical act that has 77 albums to their name on top of all the other wackadoo stuff that he’s gotten up to. I’d say he’s worthy of making it in here on those grounds alone, though I’m still gonna check the book anyway. A huge deviation from other country albums of the time. “...a loose concept album about a lovelorn murderer’s adventures”. A big player in the “outlaw country” genre. Yeah, this album appears to have its fair share of accolades. I respect the inclusion

Man, this album. The genre and time period of The Strokes is highly relevant to my interest in music, but something about this band has just kept me away. In my admittedly prudent ways, it’s probably the album cover. I just don’t like it, and my dislike of the artwork is only exacerbated by how iconic it is and how much I want to like it on those grounds. Anyways, it’s great that I’m finally getting around to hearing another landmark, big time album. The last one was Ten by Pearl Jam thirty albums back, so I like to think it’s been a good while. I’m looking forward to hearing this one, and I have a good feeling that I will come away liking it. Yeah, this music is competent. Quintessential early 2000s indie. I admittedly prefer the more artful offerings from this period of music as opposed to the commercial, harsh sound of this album, but I can’t complain. “The Modern Age” is good. I like the guitar riffs, especially during the guitar solo. The heavy percussion during the bridge is good, too. “Soma” is a solid follow-up. The weightless atmosphere of that track is immensely gratifying, and the guitar performances are, again, very good. Is This It goes out to lunch with the next couple of tracks, but comes back with “Hard to Explain”, which is solid. The electronic sound that peeks its head into the track is married nicely with the lo-fi guitars. Despite having so many harsh sounds, the song somehow manages comes away with a soft and mellow sound, which I appreciate. On an unrelated note, I’m pretty sure I’ve heard The Modern Age, Barely Legal and Last Nite before, though I’m not exactly sure. The harsh lo-fi sound kind of conceals how recognisable this music is, which is a phenomenon I’ve never had when listening to albums before. Gonna do my homework and read the book entry for this album. “...an exhilarating debut”. The rest of the entry is about the band’s many creative influences. In any case, I can’t fault this album. I’m unsure of the relevance that The Strokes have in current year, but it’s a very good rep for the time period and I’ve seen this album on the Internet quite a few times now, so I like to think this recommendation is on good authority.

Fuck my life dewddddddd. Another hip-hop album less than a week after the previous one. With this album behind me, I’ll have now listened to 9 out to top 20 hip-hop albums. We’re getting there. N.W.A is a name that vaguely rings a bell. The “Straight Outta Compton” title moreso. I get the impression that this is a solid rep for the genre, though I’m more appreciative of this album being on the shorter end of the hip-hop spectrum (I didn’t know when I wrote these words). Guess I have nothing else to do but get into the music. Shocker: I didn’t like the album. However, as I’ve mentioned previously, the older hip-hop music is, the better. There’s some merit to this music, but the repetitive nature and tepid lyrics are an incredible bore. As far as the alright songs go, “Gangsta Gangsta” is a solid opener. I like the guitars in the background, and the vocals/lyrics are solid. “8 Ball” has an interesting funk sound. That’s about it really. The lyrics are generally pretty boring and uninspired, which is unfortunate as they’re the only things that could have saved the minimal instrumentals. I don’t enjoy highlighting the songs I dislike in these reviews, but “Dopeman” was so agonisingly threadbare and boring. One of the more excruciating tracks I’ve heard through this list. The entire second half of this album kinda goes out to lunch, admittedly. Huh. For whatever reason, the version of this album that I listened to was missing the three big tracks. I never would have listened to ‘em if I didn’t have the premonition that this band made “Fuck tha Police”. “Straight Outta Compton” is okay. I appreciate the sampling and the iconic early 90s hip-hop sound. The aforementioned “Fuck tha Police” is an iconic track, though aside from a solid opening the song meanders and goes absolutely nowhere. “Express Yourself” is a crazy tonal shift. The squeaking sound in the background is kinda annoying, but the rest of the track is solid. I particularly enjoy the mellow sound, and the lyrics are an enjoyable enough time. Gonna check the book for this one. A whole lotta nothing in the entry. Wikipedia says that this album was the first gangsta rap album to break into the mainstream and is “...one of the greatest and most influential albums in hip-hop music”. In my review of “Original Gangsta” I said that there wasn’t much artistic merit in gangsta rap, though as the progenitor of the genre I think this album is at least worth considering. The album also appears to be pretty popular in current years, so I can begrudgingly turn a blind eye to this one.

Finale to the LCD Soundsystem entries. I was disappointed by the phenomenally milquetoast “American Dream”, but still have an open mind about this band. I’ve seen LCD Soundsystem being discussed a few times on the Internet and think there’s a chance for me to come around to this band. I can never have enough electronic albums in my rotation, too. Hmm. My criticism of American Dream continues to ring true. This album is, again, quite minimal – a style which doesn’t really appeal to me. Still, there’s some interesting sounds in here. “Someone Great” is the highlight of the album. There’s an interesting softness to the track despite featuring some harsh electronic synthesisers. I also enjoy the wavy cosmic sound during the intro and the xylophone/robotic tones that appear during the chorus. The songwriting and vocal performances are pretty solid, too. They really fired on all cylinders with that track. However, I also appreicate the successor track “All My Friends”. While admittedly a little too long, the lively, minimal piano and building tension on works pretty nicely. “Us V Them” is among the worst songs on the album, though as a cowbell enjoyer I’d be remiss to express my respect for such a bold, ambitious track. "NYILYBYBMD" is a solid closer. I enjoy me a little piano ballad, and the lyrics are a pretty fun listen. Wish I could check the entry for this album in the book, but alas! I can’t. I only have the 2005 edition of the book. In any case, I get the impression that this album is a respectable pick. It’s acclaimed, was commercially successful and is an early example of how the Internet has increased musical outreach. I suppose I can cosign this inclusion, even if I’m generally pretty apathetic towards it.

Hoo boy. I think I may have just arrived at the final boss of this list. A live double album comprised almost entirely of 10+ minute songs – three separate things that give me a very hard time whenever I’m listening to music. In any case, I’m open to this one. The cool, confident album cover has somewhat wooed me. Oh lawdy lawd. It’s a JAZZ album, which only adds to my pile of musical grievances. Thankfully not the avant-garde stuff as that would have really given me a run for my money. Anyways, this is pretty alright! There’s a little bit of a pensive and contemplative mood to this music, which is generally the stuff I prefer wherever jazz is concerned. Admittedly, these songs lose me a little more than they win me over, but there’s some pretty good moments in here. I could see myself putting this on in the background sometime in the future. It's hard not to get lost in the "live" atmosphere of this album, which is something I can't really say about most of the other live picks on this list. I should probably timestamp these songs if I’m to discuss them in any meaningful way. As far as Part I goes, I like the piano at around the six-minute mark, as well as the soft percussion added to the track shortly afterward. The rising and falling piano chords from around the eleven-minute mark are great and mark my favourite part of the song. The lonely atmosphere the song takes on around the fourteen minute mark is nice, and I especially like what it culminates into at the seventeen-minute mark. Part A of Part II is solid. Much more lively and less pensive. From the get-go, the pianos are quite good, carrying a feel-good sound. The other pianos that are injected into the song at around the two-minute mark give the song a nice kick. The rest of the song is kind of the same thing throughout for a majority of the runtime, which loses me a little. However, the song fortunately breaks away to more of that pensive sound at around the eight-minute mark, which is where the song builds towards its best point. The eleven-minute mark is especially good, though the climax of the song at the thirteen-minute mark is truly the best part, and satisfyingly so. Part B of Part II (he really couldn’t have spared to name these four tracks?) took a little longer for me to warm to and didn’t manage to go the full mile for me. If the mood of the first two songs are pensive and carefree, this song has more of a precarious sound to it. The rising and falling pianos at the four-minute mark are good, as usual. The seven-minute mark is the best part of the song, where a beautiful, building piano uplifts the track and carries it onto second half. The pianos only build in intensity, and I enjoy the thudding, ultimate sound they take on around the twelve-minute mark. Part C is a good send-off to the album, and it’s nice to finally be given a song which I can easily summarise. It’s not bad, but at the same time offers nothing which hasn’t already been explored by the previous tracks. The moment where the song breaks away around the middle of the track is pretty nice, and it drives the album to a nice finish. Gonna read up on this entry in the book. “Musical lightning in a bottle.” “...one of the greatest jazz albums and one of the greatest pieces of extended musical improvisation”. Wait, he was winging it the entire time? “...one of the most versatile and creative pianists of his generation”. Damn. I’m not used to this book giving such lavish praise. The rest of the entry describes the background of this album, which is pretty interesting. The moans throughout the album were also apparently Jarrett’s - I thought it was just some German drunkard in the front row. The album sold well, too. Yeah, this is a solid pick. I’m grateful to have heard this before showing that bucket who’s boss.

Man, what da heeeeelllll is this album cover? I have no idea what to expect from this. Oh, more British punk. I’ve never been a punk guy, and I think the ship where I could have become one is already far out at sea. In any case, I’ll try to be open minded. Maybe this album could cause me to start paddling after the cruiseliner. A pretty standard punk album all things considered, though maybe this one was ahead of the pack. I’m still not a fan of the jittery, offputting sound and sickly vocals of these albums, but I’ve heard far worse from the genre. There’s nothing in here which really sticks out to me, though there are some alright bits. I like the funky sound of “Not Great Men”. “I Found That Essence Rare” is alright. The songwriting is pretty solid and I, again, appreciate the breakneck instrumental. “At Home He’s a Tourist” has some some competent songwriting. Gonna consult the book for this one. “...groundbreaking sound is due to the tight funk rhythms”. Very left-wing, though that’s all of punk, really. Wikipedia says this album is a big player in the post-punk movement and has received its fair share of accolades. While I’m not a fan of this album, I can acknowledge that this pick is worthwhile. I cosign.

Sweet! Some trip hop. I’m down for a little R&R. I’ve been put through the wringer by these albums quite a few times recently. Trip hop is a genre I like to think I know decent bit about, and it’s for this reason that I feel like I can confidently call it the musical equivalent of cotton candy. I enjoy listening to it from time to time, though I usually need to pair with something more sumptuous or else I’ll burn out quickly. Still. For what it is, it’s near-impossible to get trip-hop wrong, which is perhaps its most admirable characteristic. Yeah, I enjoyed hearing this one. It’s admittedly on the lower-tier of trip-hop albums with how dated the sound is, though it accomplishes the mission statement of being a relaxing listen from start to finish. For this, I shall spare Smokers Delight from my pedantic bitching about album lengths. That being said, there are quite a few moments in here where I lost interest. “Dreddoverboard” has a nice spacy ambience going for it, and I appreciate the guitar loop. Very catchy. “Pipes Honour” is a good follow up. The dead silence around the middle of the song is very gratifying, and I quite like the lead guitar. I’m picking up a little bit of a Jamaican influence on this album, which is surprisingly appropriate for trip-hop and pretty unique. “Tha Journey” is the next good track. I like the heavy percussion. “Rise” and its reprise are sweet late album tracks. I dig the rhythm of it, and I like the jingly sounds that appear near the end of the track are a good way of closing out the track. Book time. “...instrumental electronica laced with down-tempo hip-hop beats and samples from classic soul and R&B”. This album doesn’t seem to be all that popular and I can think of quite a few better trip-hop nominations, but I won’t quibble. Been a good while since I last listened to an oddball pick, and I always enjoy the sensation of cracking these kinds of albums open.

Been getting a lot of 2000s albums lately. I can’t complain. It’s nice living in the somewhat-present once again. I’ve never heard of Gillian Welch, though she appears to have had quite a well-received career. I’m guessing I’m in for another singer/songwriter affair. Yeah, this ain’t bad. The tragedy of these singer/songwriter albums is that they’re all very lyrics-focused, and the part of my brain which focuses on writing these reviews can’t also support listening closely to the lyrics. In any case, I appreciated what I heard, though I must admit that this album doesn’t have a lot of variety and progressively loses me as it goes along - especially in the final quarter. In any case, there's some good cuts here. “Revelator” is a solid opener, featuring a very good vocal performance from Welch and a great, subdued acoustic sound. “Red Clay Halo” ain’t half bad. Easily the most “traditional country” song on the album, with unpretentious lyrics to boot. The instrumental is also pretty good – especially during the second half. “April the 14th” is a superior follow-up, featuring some very good lyrics and a great atmosphere. Book time. “...dark and hymnal country”. A lot of bloviating thereafter. Checking the Wikipedia page reveals that this album has been very well-received and has landed in quite a few “best-of” lists. Yeah, I think this is a solid pick. Aesthetically unique with a solid critic backing. What else could you ask for?

Man, another long as shit album. I’m grateful for having recently revised my two-listen policy as I would have probably blown my head off by now. In any case, I’m curious to see what’s in store for me, as I’ve never heard of Janelle Monae. Something electronic, if I’m to guess. Yeah, it's okay. A bit of an electronic/soul sound going on, with some very 70s guitar performances. On one hand this music is quite unique, though on the other hand the more contemporary production continually strikes me with feelings of deja-vu. Maybe this album laid the groundwork for all the electronic/pop music that came afterwards. The sequencing of these songs is also quite strange – I never felt like that the album was building towards something or going anywhere in particular. “Locked Inside” has a rock-solid chorus, and I enjoy the plucky instrumental. “Tightrope” has a solid instrumental – I like the bass, the wavy electronic sound that appears during Big Boi’s section and the strings near the end of the song. The songwriting/vocal performances aren’t half bad either, though I must admit that they lose me as the song progresses “Mushrooms & Roses” is a solid track, and among the more authentically “old” songs of the album. The pairing of the strings with the organ works surprisingly well, and I enjoy the lo-fi, crunchy vocals. “Say You’ll Go” is a solid late-album track. I dig the pensive sound and the way the vocals build on one another. The Clair De Lune during the outro was a nice touch, too. Can’t check the book for why this is in here as I sadly only have the 2005 copy, though Wikipedia should suffice. A concept album, which I didn’t pick up on at all. Compared to Bowie, Outkast, Prince and Michael Jackson – some big comparisons. Massively acclaimed and regarded as one of the best albums of 2010. Yeah, I get the impression that this is a solid pick. I guess I can cosign, even if I was kind of bored by this album.

Curious to see what this album is about. I’ve seen it in the lowest-rated category for a few of the people on this site. I also think my Mum has mentioned this band once or twice, though outside of that I’ve never heard of The Human League. May as well just hop into this one. Damn. Very, very 80s. Aggressively so. I’m fortunately out of my “senseless hatred of everything 80s” period, so I can see the appeal of this music. It’s definitely a grower – I was alienated by the first two tracks but was able to get into the swing of this album with the ones which came after. Maybe it was due to me becoming accustomed to the sound of this album in real-time, but the album really comes into its own during the second half, featuring some very solid tracks. Going into the songs themselves, "Darkness” is pretty alright. I like the synthetic sound as well as the deep, bassy noise which hangs in the background. “Do Or Die” is a decent follow-up. Some pretty interesting sounds packed into that track, especially in the jittery department. The bassy sound is rock solid, too. “I Am the Law” is my favourite song of the album. A very cool and unique sound, and I quite like the plodding pace of the song. The more whimsical offerings of the track are among the best, though the menacing sound near the end of the track is pretty neat, too. “Seconds” is a good follow-up. A very spacy, cosmic sound, which I'm always impartial to. In a continuing hot streak for the album, “Love Action” is also good. The melody is pretty infectious, and I enjoy the jingling sound of the music. Oh, hey! I’ve heard Don’t You Want Me before. Good song. I wasn’t expecting to be jumpscared by a song that I recognise on the last track. Book time. “...the biggest album in the world” - seems like a bold claim, even at the time. The female vocalists of this band were scouted in a club while they were still schoolgirls. Funny, if a little questionable. The last album a famous music critic heard before overdosing, which is an out-there bit of trivia. Wikipedia does a better job at substantiating this album. Massively influential within pop music, critically acclaimed and an international chart-topper. Can’t fault this inclusion.

I’m surprised this album came out in 1974 when the album cover and title are some of the most stereotypically 2000s things ever. I guess time really is a flat circle. I’m not familiar with Eric Clapton’s music, but I swear I’ve heard his name somewhere before. I’ve no clue what to expect going into this. Hard rock? Singer/songwriter? Anyone’s guess, really. Oh, blues rock. I never would have gleamed that. I’ve been given a few of these albums lately. The style isn’t for me and there isn't too much going on in this album, but I’m never above a little unpretentious fun. There are some good guitar performances here and I enjoy Clapton’s vocal style, but ask me to name one of these songs and I’d be sweating bullets. Anyways, onto the music. “Willie and the Hand Jive” is the first stand-out track of the album. The plucky guitar performance is the obvious highlight, though I also jive with the vocal performance. “Get Ready” is a good follow-up. I quite like the subdued sound and cool guitars, and the vocal melody is pretty catchy. “I Shot the Sherrif” isn’t half bad. It has a little bit of a Motown influence, which is a surprising pivot for the album. The groovy guitars and pianos are also neat. “Let It Grow” is an interesting late-album track. The sound errs between being optimistic and pensive, which is an interesting approach. The guitarwork is solid, and I like the vocal melody around the chorus. Reminds me a little of “Don’t Pass Me By” by the Beatles. Checking the book. Clapton was with Derek and the Dominos, which makes a great deal of sense now that I think about it. “I Shot the Sherif” was a chart-topper in the US. Hmm. I’m not sold on this yet – checking Wikipedia. It was critically acclaimed and topped many charts, but there isn’t much else in there of note. Clapton himself seems to be pretty esteemed and influential, though I’m split down the middle on this inclusion. Uhhh, I think it could do with a trim. In place of this album, I humbly submit Paddy McAloon’s “I Trawl the Megahertz” for inclusion on the list.

ZZ Top! I’ve heard of these guys before, notably for their role in a phony knock-off band of the Zombies. Hard rock affair, I can already feel it. I’m pretty far flung from being a fan of this genre, but I’m fine with a little easy listening every now and then. I’m definitely a fan of that runtime after all of the long ass albums I’ve been receiving lately. Not quite the sound I was expecting, but that isn’t me complaining. Yet more blues rock, right after Eric Clapton’s 461 Ocean Boulevard no less. I like the funky sound, and it's pretty competent from start to end. A little impersonal and commerical, but once I got into the swing of this album I was having a good enough time. I’d be lying if I said it didn’t drag it’s feet in a lot of areas, however. “Jesus Just Left Chicago” has a very characteristic blues/hard rock sound. I’m not sure whether ZZ Top coined the sound, but it’s enjoyable all the same. “Beer Drinkers & Hell Raisers” is a good follow up. I like the lead guitar performance, and the building pressure of the song makes for a good listen. The jumpy sound of “Precious and Grace” is a good time. Some very good guitarwork, and it’s difficult not to nod along contentedly to the song. The transformation during the second half of the song is also pretty good. Very smooth. "Have You Heard?" is a good closer. Pretty chill, and I like the mildly anthemic feel of the music. Oh, hey. I’ve heard La Grange before. The guitar riff is pretty iconic, and I like the quirky vocal style. The way the track builds during the middle is good, too. I’m a fan. Book time. I get the impression that this album is a solid pick, though I’m curious nonetheless. There isn’t much of note in here. Over to Wikipedia. The band’s breakthrough album. Had a humdrum reception at release but has been received more favourably in retrospect. There isn’t too much going for this album, but as iconic musicians I think this era of ZZ Top is worthy of being included. I cosign this album.

Hey, Manic Street Preachers! Great name for a band. I’ve never listened to these guys before, but I’m sure I’ve heard of them in passing. Curious to crack this album open and know what I’m in for. Man, the mastering on this album is kinda strange. I was wondering if my copy had downloaded correctly for a good while. Can’t say I’m a fan of the lo-fi sound. I think this album would have sounded much better had it been mixed correctly. I’m also not too big on the vocals, either. Sometimes they work, but for the most part the vocal performances push me away. In any case, this music is generally within my ballpark. I’m always down for a little 90s rock. It’s been too long since I last rolled one of these. “She Is Suffering” ain’t half bad. The instrumental is rock solid – especially around the chorus and during the solo. “Revol” is another pretty good track. Big fan of the aggressive sound on the instrumental, as well as how surprisingly dynamic the guitarwork is. “4st 7lb” is a solid follow-up. Again, the appeal lies in the guitars. They sound quite obtuse and unique in the beginning yet break during the second half towards a cool relaxed sound. Damn, the album really comes into its own during the second half. I’m not sure whether that’s me warming up to the album or the material being generally better. “Faster” is a good tune. The guitars give the song a breakneck energy that’s quite fun, but it’s the vocals during the chorus that really win me over. I’m a big fan of the confident sound. Gonna consult the book for this album. “One of music’s most emotionally lacerating albums.” A pivot from the band’s established sound – “...claustrophobic and abrasive”. I’m not sold on this yet – I'm heading over to Wikipedia. Underperformed commercially but has been very well received by critics. There’s a big, long section about the lyrics and themes of this album. I can’t speak much about the merit of the lyrics, but I’m leaning towards being in favour of this album being here. It appears to have a solid backing.

I appear to have wound up in the hard rock corner of this list lately. That, and hip-hop. I’m apathetic to hard rock and antagonistic towards hip-hop, so I guess it’s good to be getting these albums outta the way sooner rather than later. Never listened to Aerosmith, but I’m more than familiar with their name. Great title for a band. Anyways, onto the music. It’s more or less what I was expecting, yet it succeeds at being some better-than-average fun. The short runtime also left me coming away with a positive impression. Say what I will about hard rock, I’ve never felt like one of these albums have overstayed their welcome, which is one of the best things a piece of music can be in my eyes After the relatively conventional “Back in the Saddle”, I was surprised to have been hit with “Last Child”. Good song. The instrumental is a lot bouncier and punchier than the usual hard rock affair. “Combination” is another good track. The guitarwork is solid, though it's the vocal melody and the way the singers harmonise with one another that gets me. “Get the Lead Out” is a nice late-album track. The guitar hook on that song is pretty sick, and so is the solo. “Home Tonight” is a good closer and quite possibly the best song on the album. It has the best vocal performance and a very gratifying, anthemic sound. At this point I’d normally check the book to see why this is in here, though I think I’ll give it a rest this time. I’ve heard enough about Aerosmith to know that they’re one of the best-selling music artists of all time. I’m also confident I’ve heard of this album before, so I like to think I have it on good authority that this is a good pick for the list.

U2 the second. It’s been way, way too long since the first U2 album. 201 albums ago, to be precise. I don’t remember liking Achtung Baby much, but in all fairness I don’t trust the reviews I’ve written prior to my hundredth. U2 strike me as a very polished, strait-laced rock band, so I’m willing to give these guys a second chance. Yeah, what I said in the previous sentence is pretty much what this is. No-nonsense, rock-solid rock music, albeit with a bit of a grandiose atmosphere this time. This style of music is vaguely within my sphere of interest, though a lot of it admittedly loses me along the way. This site has inflicted me with way worse listens than this one, so far be it from me to complain. I’m pretty sure I’ve heard “The Streets Have No Name” before, but I could be mistaken. Standard U2 fare, really. In any case, it’s good. I like these kinds of songs that build and intensify. The guitar outro isn’t half-bad, either. I’ve definitely heard “With Or Without You” before, though I much prefer the succeeding song, “Bullet the Blue Sky”. The atmosphere of that track is pretty sweet – I quite dig the reverberating sound. “One Tree Hill” is a good tune. The lead guitar hook is pretty gripping, and I like how it devolves into a pluckier sound before eventually being engulfed by the great strings near the end of the track. I’m inclined to agree with this inclusion solely because of how massive U2 are, though I’m still curious as to why this is in here regardless. I’m checking the book. The album where U2 found their footing. A whole lot of waffling thereafter, though I think that single reason is good enough. I cosign this inclusion.

Sweet, some more Bowie. I know this album was a big deal at the time and I’m looking forward to giving this a listen – I always like when a music artist goes out on top. I know there’s a lot of hyperbole and hysteria around these just-before-mortem albums, so I guess I’ll just have to listen and judge for myself. Yeah, it’s certainly Bowie. Only this time much older when compared with his previous outings. There’s kind of a trip-hop/heavy ambience hanging over much of this album, which is the stuff I liked most about Heroes/Low. Pretty out there, too. I’m not an avant-garde jazz type, but when paired with the sound of this album it managed to work quite well. The album really drags during the middle, though. Not gonna lie. The opening track is pretty alright. I like the harsh percussion and the jazz stylings that occasionally rear their head, though it's the second half of the track which really impresses me. Quite a nice sound. “Dollar Days” is an interesting track. I can’t say it really worked for me, though I admired how out there it was. I did like the outro of the song, however. “I Can’t Give Everything Away” is a solid closer. The heavy percussion is, again, the strongest part of the song, though I also dig the electronic embellishments hanging over the track, as well as the sick guitar solo during the outro. I sadly can’t consult my edition of the book to understand why this is in here, though I fortunately have Wikipedia. Experimental. Bowie’s “parting gift”. International chart topper. Universally acclaimed. Multi-Grammy winner. Regarded as one of the best albums of the 2010s-okay, I get it. This is a solid pick. I cosign.

Hoo boy. Already? It’s only been a month or so since I re-listened to Good Kid, m.A.A.d City through this list, and now I guess it’s time for ol’ TPAB to get a reappraisal – an album I have long considered to be the worst ever made. Guess there’s nothing left for me to do but hit play It’s just so fucking long, dude. Do I really need to listen to this? Alright, here goes. Yeah, it’s still shit. Admittedly better than what I recall this being, but it still sucks mondo dick. Devoid of any meaning, torturously long, shit vocals with an ending that completely trivialises whatever merit the preceding tracks had. Is this truly the worst album ever made? Probably not, but you could torture me with this thing regardless. “King Kunta” has an alright flow, even if the lyrics make my eyes roll into the back of my skull. I don’t like the instrumental overall – there's way too much going on, but it has some good components. The guitar outro isn’t bad. “u” isn’t half bad. Kendrick's vocals toe the line between being unique an immensely annoying, yet I can acknowledge the merit. I love me a good “in shambles” tune. The song is stretched out to oblivion like all of the-okay, okay. I’m trying to be optimistic. Yeah, I can’t be optimistic. The middle of this album through to the end is just nothing. ~5 minute song after ~5 minute song, paired with completely vapid songwriting and droll, painfully boring instrumentals. On m.A.A.d City I could at least feel the passion of Kendrick, with there being some adept songwriting and competent instrumentals. With this album, I can’t help but feel like he’s phoned it in. There isn’t even a coherent theme/story to this album, at least from what I've picked up along the way. I don’t have the edition of the book which includes this album, but even if I did, I wouldn’t think of consulting it. Cultural phenomenon, left an indelible mark on hip-hop, yadda yadda. This is a worthwhile inclusion.

Phew. After TPAB I needed something I could wind down with. Aside from The Soft Bulletin, I can’t think of an album which fits that purpose better than this one. Wish You Were Here was one of the very first albums that I listened to. While I was never crazy over it like I was with OK Computer, I’ve always had a great respect for this album, even if I’m a little dubious of its sincerity. Anyways, on with the music. Yeah. After all these years, it’s still pretty dang good. I can’t think of another album which captures this kind of irreverent atmosphere and sound, and I don’t think there'll ever be one which comes close. The cosmic sound of this music is pretty sweet and gives the album a timeless appeal, though what I really like about it is how effortlessly the album hops between different moods and sounds. It’s oppressive and tragic for the most part, yet there’s a real sense of journey and progression here, which I adore. “Shine On You Crazy Diamond (1 – 5)” is excellent – my favourite song from Pink Floyd. I don’t recall liking the dark synth in the background as much as I now do, and the effortless, directionless guitar solos at the beginning of the track do a great job at setting the scene. The middle part of the song where the guitar riffs kick in is also pretty great, and so is the organ in the background. Not to mention that the lyrics, which are fantastic. I can still sing along to this song years after I last heard it, which is perhaps the best testament to how memorable this song is. The sax outro is beautiful, too. What can I say? This track has everything going for it. One of the few “long songs” to make the format work. The title track needs no introduction and is another song I can’t help but sing along to – great lyrics. I don’t think there’ll ever be a song cooler than “Wish You Were Here”. I’m a big fan of the grizzled, yet very polished and earnest sound. “Shine On You Crazy Diamond (6 – 9)” has been a bit of a slowburn for me over the years, but I’ve come to appreciate it. It loses points for treading the same ground as its predecessor, yet it’s a good song all the same. I like how it takes the same ingredients from SOYCD 1 – 5 and uses them to create an almost entirely different atmosphere. Very epic and grandiose, with a little bit of a rockabilly sound going on. Where it really wins me over is with that excellent break in the song down the middle and the awesome sound it transitions into – very funky. I can’t think of a better send off to the album, really. Man, I’ve been having it easy lately – I don’t need to check the book for why this is in here. It’s Wish You Were Here by Pink Floyd. One of the most successful and critically acclaimed albums of all time. Of course it’s worthy of being on the list.

Removed Album #15 (List: https://pastebin.com/cSThNiK9) Oh, joy. Another wunnadeez. I’m greatly interested in the albums which have had their “must-listen” status revoked, and this time it’s Beck who’s up on the chopping block. I remember liking “Loser” a few years back, though I’ve never actually sat down and listened to one of his albums. He’s an interesting character from what I recall, though I don’t remember him being much of an influential or massively successful figure – just someone who is well-respected. Oh well, onto the music. Yeah, not bad! An interesting album – there's a bit going on here, though it doesn’t go all the way in hooking me and loses me heavily during the second half. Still, it’s fun for what it is. “E-Pro” is a good opener. I’m not normally a fan of the lo-fi, abrasive guitar sound, yet it works quite well here, and I like the general punchiness of the music. “Que’ Onda Guero” is an even better follow-up. The sampling is quite interesting, as well as the unique flow that the song has. I dig the trip-hop percussion quite a bit as well. “Broken Drum” ain’t half bad. The piano is pretty good, and I like the spacy, reverberated atmosphere. Why was this removed? I’ll consult the book for why it was in here in the first place. A whole lot of nothing beyond how experimental this album is. Moving over to Wikipedia reveals that this is Beck’s best-selling album and was well received at the time. Ehh. Uhmm. Yeah, I’d probably save this album from destruction. I have a limited supply of replacement albums, and this album was better than a good number of the one’s I’ve heard through this list. Congrats, Guero, you're saved.

Spooky, sordid Elvis Costello album #3. I am now half of my way through the mind of this exceptional individual. I remember liking some of the bits from my previous outing with Costello, notably “Welcome to the Working Week” and “Alison”. There’s always been good bits within Elvis Costello’s albums, so I’m feeling optimistic about this one. Yeah, it’s more Elvis Costello, though I’m not sold on this new musical approach – a lot more abrasive and stripped back than I’m used to. I enjoy Costello’s wit as a lyricist, but that’s about as far as my praises for this album go – it's pretty boring. There are some good parts. “Tokyo Storm Warning” has a neat, almost surf rock sound. “Blue Chair” ain’t bad. I like the instrumental and the way the chorus builds. That’s about it, really. I can’t say the stripped back approach really worked for me. Book time. A deviation from Costello’s previous albums. A whole lotta nothing beyond that, though. Wikipedia reveals that this was Costello’s lowest-charting album with some unsuccessful singles. Panned by critics at the time but regarded as one of Costello’s best in retrospect. Yeah, this shit’s gettin snubbed. In place of this album, I humbly submit Weezer’s Blue Album for inclusion on the list.

Blur the second. It’s more than a little self-aggrandising to categorise Britpop as a “must-hear” genre, but I’ll bite. I don’t recall liking their self-titled album all that much, which is unfortunate as I like Albarn for his work on Gorillaz. Maybe this one will be the one to win me over. Hmm. I like Albarn’s quirky vocal style, as always, but there’s a whole lotta nothing spliced between the better cuts of this album. The stylistic approach is pretty restrictive – there’s only so far you can go with these kinds of guitar riffs and sounds. However, on a more optimistic note these lyrics seem to be right up my alley. I may give this album a closer listen sometime in the future. “For Tomorrow” ain’t bad. I like Albarn’s vocals, and the guitar riffs near the middle of the song are pretty sweet. “Colin Zeal” has a good rhythm, and I enjoy the lyrics. I like the layabout energy of “Blue Jeans” - the weary instrumental sounds quite nice. No way! I knew the outro to “Chemical World” was a Blur song, but I wasn’t entirely sure. I like that bit of the track, though I don’t care much for the main song, admittedly. Gonna check the book. Considered Blur’s best by many. A time capsule of England during the 90s. Laid the groundwork for where Blur would go. Yeah, this seems to be a decent pick. It’s nuts to me that only the first Gorillaz album landed on the list (before being subsequently removed from later editions of the book). I can cosign this inclusion on the basis that the list can do with more Albarn representation.

This album cover is vaguely familiar. I think I may have seen it around before, though I’m confident I’ve never heard a Lucinda Williams song. Guess I have nothing else to do but get into this album. Yup, country. About what I was expecting. That, or midwest emo. This album is a good enough time. Very easygoing and stripped back, though there isn’t too much going on under the hood. Williams is a decent vocalist and the instrumentals are competent across the board, yet there’s something deeply stale and “rigid” about this music which fails to resonate much with me. On to the music. “2 Kool 2 Be 4-Gotten" is an insane title for a country song, but it isn’t half bad. I like the guitars in the background, and Williams’ vocals are pretty alright. Very dreamy – I like em. “Drunken Angel” has a very 90s vocal style, though I’m not complaining. The instrumental isn’t good too, especially around the chorus. “Joy” is a fun song. I dig the songwriting and vocals. Checking the book for why this is in here. “... as flawless a work of songcraft and record production as has appeared in the last ten years.” Biiiiiiiig call. An album that gets better with repeat listens. Consulting Wikipedia reveals that this album is massively acclaimed, decently successful and won a Grammy. Hmm. Not convinced by this inclusion. I think I’ll give it the snub. In place of this album, I humbly submit The Magnolia Electric Co. by Songs: Ohia. A good example of a modern, kickass country album

First Stevie Wonder album! Ever, mind you! I’m grateful to have the opportunity to hear this. It’s been a good while since the last “big” album hit my project and I guess the time has now come. Yeah, it ain’t bad. Very polished with some pretty good tunes, yet something about it failed go the full mile for me. I’ll chalk it up to this music generally being outside my sphere of interest. When taken within it's genre I'm sure this album is a well-respected classic “Too High” is pretty cool. I like the subtle, funk sound which underscores the album. “Visions” is pretty good. Very midsummery, which is one of the better moods a song can embody. The acoustic guitar is pretty great, and I like the ambience which hangs in the background. “Golden Lady” is a strong contender for the best song on the album. A rich tune. I dig the percussion, and the synths in the background are quite nice, too. “Jesus Children of America” features some very good songwriting. I like the wobbly, funky sound in the background as well as how Wonder’s vocals work around it. The way his voice deepens throughout the song is the real star of the show, however. “Don’t You Worry ‘Bout a Thing” is an interesting pivot towards a Latin American sound. Big fan of the cowbell – one of the greatest instruments of all time. It’s paired nicely with the piano, and I enjoy the break in the song down the middle, even if where it leads lost my interest. Checking the book. One of Wonder’s most ambitious albums. Political. That’s all she wrote. Moving over to Wikipedia reveals that this album was a pivot from Wonder’s usual sound. “... hugely influential on the future sound of commercial soul and black music”. Strong commercial performance. Universally acclaimed. Yeah, this is a slam dunk from the curators. Solid pick.

Removed Album #16 (List: https://pastebin.com/cSThNiK9) Poor old Chrissy A. An artist who has had both of her entries scrubbed from future editions of the book. Granted, it could be worse – she could be Kings of Leon. I’m confident I’ve never listened to an Aguilera song before, but given her status as a mega millionaire pop idol I’m sure one of her tracks has wormed its way through the radiowaves. Anyways, I’m looking forward to hearing this one. The last contemporary pop album I listened to was Ray of Light, which was precisely 180 albums ago. All I need to do is sit back, relax and-OH MY GOODNESS IT’S A DOUBLE ALBUM The absolute bane of my existence. I hate the vast majority of albums which cross the hour-ten mark, but I can only piss my britches and throw temper tantrums so many times. I’ll sit my ass down listen. This kinda retro, pseudo-soul sound appears to have been in vogue during the mid-2000s, but it doesn’t move me all that much. I feel like Amy Winehouse should be the only rep for this genre, assuming this music is worthy of immortalisation in the first place. Still, for what it is, it’s a good time with a remarkably solid second half. Pop music is engineered to be as accessible and listenable as possible, and this album was just that. “Ain’t No Other Man” has some good rhythm and vocal sections, though the material is admittedly stretched very, very thin by the time it reaches the end. “Oh Mother” is a polished pop tune. Aguilera’s vocal performance is among the best on the album, and I like the brass sound which underscores the vocals. “Still Dirrty” is pretty good. I dig the funky instrumental and the vocals aren’t half bad. Fun lyrics, too. The album comes into its own near the end of disc 1, which came as a surprise. “Here to Stay” has a good vocal melody, and I dig the funky, swing sound in the background. There’s a bit of a lo-fi/instrumental hip-hop sound on “Thank You”, which I dig. I like the plucky sound. It’s understated, yet gives the song a lot of energy and is paired nicely with the songwriting. The sampled voicemails are a nice touch, too. Best song on the album, dare I say. Disc 2 rockets off with “Welcome”. Big fan of the strings in the background, which go a long way in heightening the grandiose atmosphere of the song. The carnival theming is fun too, though the song kinda hits the crescendo and ends abruptly, which was a little jarring. I’ve definitely heard “Candyman” before. Good song – very energetic. “Nasty Naughty Boy” is seductive, I’ll admit it. Sex appeal within the music industry is usually pretty vapid and unnatural, but this song tickled my fancy. “Hurt” pairs a solid, morose piano ballad with a very good vocal performance. It has those great strings too, covering almost all of my musical weak spots. I can’t check the book for why this was in here as I sadly have the 2005 edition, but I can suffice with Wikipedia. “...Wide range of producers”. Prominent 20s – 50s influence. Sample-heavy. Topped the charts in over 15 countries. Well received, though not really a smash hit with critics. I wasn’t expecting there to be this much going for this album. When reviewing these kinds of contemporary pop albums, I think the question of whether this album belongs here has more to do with how iconic and recognisable the musician is, rather than the quality of their music. As someone who does not care about celebrity culture I am fucked at this juncture. However, if I’m to offer my input these 2000s pop idols may as well have been constructed on a conveyor belt with how identical they all are. I’m thinking this one gets the snub. In place of this album, I humbly submit Daisies of the Galaxy for inclusion on the list.

Cool album cover. I’ve never heard of Shack before. This looks like an indie rock affair, if I’m to judge by the cover. Wow, not quite what I was expecting. I was ready for more of a sea shanty affair, not something this dreamy or aspirational. It ain’t bad, though it ain’t all that good, either. Still, for what it is, I enjoyed my time with this album. I’m always down for some well-meaning optimism, and this album gave me my fill. “Pull Together” is alright. I like the reverberated sound, and the cowbells during the chorus are a much-appreciated addition. I also like how the vocal delivery continually builds on itself. “Captain’s Table” is another decent cut. The guitarwork is quite intricate and I like the hymnal vocals. Checking the book. The album came from hardship. That’s about it for the entry, really. Heading over to Wikipedia reveals that this album was warmly received by critics, but not much else, really. Yeah, this could do with a snub. In place of this album, I humbly submit Velocity : Design : Comfort by Sweet Trip for inclusion on the list

Man, my list has been treating me well. First, I got hit with Wish You Were Here and now it’s time for Abbey Road. This was the first Beatles album I listened to, and the last for many years. I didn’t get it at the time, which I think is owed to me not understanding its significance. To my plebian ears I felt like this album was throwing shit at the wall and trying to see what stuck, especially during the medley on side B. I was ignorant of this album being largely based around the dissolution of the band, and the band members trying to get the last of their ideas on this record. I’m a big fan of this album now, though I’m looking forward to lending it my critical ear regardless. Yeah, I still like this. It’s still all over the place, though that’s part of the fun, really. Of all their albums, this is where their pop rock sound was the most polished, featuring a very nice, bassy guitar underscoring many of the tracks. Man, I feel so self-conscious writing about these songs like they haven’t already been discussed at great length. “Come Together” is a great opener and was my favourite track for a good while. The cool confidence is pretty enrapturing, and the dopey lyrics lend themselves nicely to some pretty dynamic songwriting. “Something” is a great pivot, featuring an excellent instrumental – particularly during the latter half of the track. The strings are much appreciated, too. “Oh! Darling” was a song I didn’t like for a good while, but now I can’t resist psycho singing during the intense bits of the song. Crazy to think that I was, in fact, the bigger psycho when I didn’t like this tune. “Here Comes the Sun” is a classic. A very nice acoustic sound, though it’s the wavy, synthy sound at the minute mark of the song that really wins me over. Very nice lyrics, too. We don’t have this kind of optimism in music anymore. “You Never Give Me Your Money” is my favourite song on the album. Excellent track. I love the beautiful piano number, and the way that McCartney and Lennon harmonise with one another is fantastic. The way that the song continually transitions into different styles is also something I greatly enjoy. It gives the song an electric level of scope and scale. “Sun King” is a great song on its own, though I’ve always appreciated it as a pacebreaker and as a way of easing the album into its medley. There couldn’t be a better song in its place. “Golden Slumbers” is another great track, even in spite of its short length. It’s hard not to be moved by the piano, and McCartney’s vocals and the strings are just beautiful. No contest on whether this album belongs here. It’s Abbey Road. No other album has disrupted pedestrian crossings quite like this one.

The Doors! I remember listening to the album with the guy’s shadowy face on the cover a few years back, though I never finished it – I just couldn’t get into the sound. I was hoping that this list would give me the opportunity to return to some long-scorned bands for a second opinion, and this is one of them. Yeah, it’s not bad. Definitely what I was expecting from this band – a cool, subdued blues rock album. I’m not too big on blues rock as the last handful of albums have made blatantly clear, though this was a better-than-average outing. I think I just like Jim Morrison for being an iconic musician. Not a bad way to spend the night, all things considered, though I think there’s too many moments on this album where little to nothing is happening or the songs trail on for way longer than they ever needed to be. “Been Down So Long” has a nice sound. “L.A. Woman” is a song I’m confident I’ve heard before. That, or Morrison is too recognisable for his own good. In any case, the song is good. The subdued, bassy sound is among the best on the album, and I enjoy the aforementioned vocal performance. I also quite like the piano number in between, too. Man, this album waited until the last possible moment to hit me with a song I recognise. “Riders On the Storm” is the best song on the album by a pretty wide margin. Again, it’s all cool confidence. Big fan of the rain ambience midway through the track, too. It meshes surprisingly well with the music. I’m gonna check the book. A whole lot of nothing in there, really. Wikipedia picks up the slack by revealing that this was Jim Morrison’s last album, the album charted well and is regarded as one of the Door’s better works. Yeah, this seems like a decent pick.

Here we are. Another hip-hop album in the recent gauntlet that has been inflicted upon me. This isn't in the top 20, so I remain at having heard 10 of the best hip-hop albums on the site. I know Ice Cube was with NWA, though I'm not too knowledgeable about his contributions to the band, or what his voice even sounds like. Guess I'm going into this one blind, though if I'm to take a guess I'm expecting more gangsta rap. Hmm, yeah. Not for me, though I can appreciate the instrumentals. Very early 90s, turntable sounds and all. As for everything else, the lyrics are generally pretty eyeroll-inducing and the songwriting drags in many places, making the listening experience slow to a crawl. I'm also not too fond of the vocals. The shouting, bombastic tone is very much in-line with the style of this genre, but it's a little too much for me. There admittedly isn't much which sticks out to me about this album. I like the brief interlude on "Endangered Species". "Who's the Mack?" has an interesting sound. I wasn't expecting the album to pivot toward a funk sound, though it works well enough. I also dig the pan flute whichappears in the middle of the song. "It's a Man's World" is amusing, I won't lie. The lo-fi sound at the beginning of the track was quite nice. It hurts that it was so abruptly taken away from me, but in all fairness that's part of the fake-out. I'm gonna consult the book for why this is in here. Produced by Public Enemy's longtime producer. "Cube often belies his talent as a lyricist by writing gangsta garbage". Not sure how to feel about that comment. I'm not sold on this yet - I'm switching over to Wikipedia. Very warmly received by critics, with many placements on "best album" lists. This album also appears to have had an influence on other rap artists. I'm no authority on hip-hop, but this seems like a decent pick. I can cosign this inclusion.

Oh, sweet. This album. "I Want to See the Bright Lights Tonight" is a great name for an album, though I've no clue what sound that name would encompass. A live album? Big band? Guess I just need to crack this one open. Yeah, I should have expected something folky. This isn't bad, though I'm not much in the way of a folkehead. Linda's a pleasing vocalist, I like the intimacy of the husband/wife dynamic and the gaelic/medieval influence is quite interesting. There just isn't much about this which holds my attention in the long run "Withered and Died" is pretty good - I appreciate the mock-country sound. The title track has some nice punchy guitars and I like the musical embellishments, particularly the band segment and the trumpets during the chorus. "The Little Beggar Girl" is a fun jig. The lyrics are pretty good, and I enjoy the sweet accordion solo from midway through the track. Book time. There's a whole lot of nothing in this entry, though Wikipedia reveals that this album has been warmly received by critics in the years since release. I can cosign this inclusion. It's pretty unique for a folk album and appears to have a solid critic backing.

Hey, the Kinks. Of all the "the" bands in the world, there isn't a better word you can append to your band name than "Kinks". It just has a great ring to it. Strokes is a solid second place, and I often get the two confused due to my lack of familiarity with either band. What was I talking about? Oh yeah, music. If I'm to guess, this will either be a pop rock or psychedelic affair. This album was pretty good from start to finish. Some inventive and infectious pop songwriting. Ray Davies is a very talented vocalist. I enjoyed all of the different styles and tones he was able to capture over the course of this album. I wasn't sold all the way on the instrumentals, but there are some gripping quirks here and there. "Do You Remember Walter?" is a good tune. The piano/percussion combo is gripping, but it's the vocals/songwriting that really do it for me. The "rolling" quality that they take on during the middle of the song is fantastic. "Picture Book" is a good follow-up. Great chorus, and I enjoy the chord progression on the guitar during the verses. "Animal Farm" has a very interesting sound. I like the heavy acoustic guitar and the vocals are, again, very pleasing. "Starstruck" has a nice, feelgood energy. The strings in the background are pleasing, and I enjoy the bassy guitar which underscores the song. Book time. "timeless". That's about it, really. Nothing much in the way of impact or influence, but I don't need much convincing. I quite liked this - it's been way too long since I was last hit with an album I enjoyed. I cosign this inclusion

Another artist I've heard absolutely zilch about. Guess I have nothing else to do but get into this one. I’m teetering between a soul or jazz album with my prediction. He has the jazz getup in the album cover, but Waters’ poise is giving me more of a soul energy. Ah, blues. I should have known. I’m far from a fan of this genre, and this album doesn’t do much to assuage my prejudice. The dreaded harmonica from hell is on full display, and the songs generally sound pretty messy and thrown together. Muddy Waters’ vocals are well-suited to this genre of music, but they don’t resonate with me. There’s nothing about this which really sticks out, admittedly. There’s no room to breathe with how aggressive that blown-out harmonica is, though there’s some alright bits. I especially enjoyed the acoustic guitar sound on “I Can’t Be Satisfied”. It’s a good breather I’m gonna check the book. A late-career album. I think those generally make for interesting picks, so I’m already favourable to this one. Warmly received by critics and won a Grammy. The instrumentals on this seemed like they were different from the status quo of blues, so I guess I can cosign this one. It seems like a solid pick. I spent most of this album picking at some food which was properly lodged inbetween my teeth, and only during the last handful of songs did it finally come out. Best feeling of my life. I think I might love this album, come to think of it.