Interesting mix of punk and prog rock, with arpeggiated distorted guitar riffs, punchy active bass lines, and shiny reverb drums. Vocals are flat and uninspiring, and melodies are barely present and muddied with nonsense lyrics and distracting backing vocals. Album really shines in the middle as the sound focuses more on driving beats and clear guitar work. I don’t understand the R.E.M. hype, but an enjoyable enough listen. Stand out tracks include “Disturbance at the Heron House”, “It’s the End of the World as We Know It”, “The One I Love”, and “Fireplace”.

A masterpiece fusion of pop, R&B, jazz, and rock, this album is smooth ride through the threat of nuclear Armageddon. Each instrument is a masterclass in taste, pushing out of the mix for ad-libs and solos, then pulling back to blend seamlessly with the track. Fagen’s lyrics and melodies inspire visions of mid-century optimism and Cold War nihilism, all backed by an absolutely airtight band. This album can be enjoyed by a casual listen or hyper-analyzed by the nerdiest music freak. Stand out tracks include “I.G.Y.”, “Green Flower Street”, “The Nightfly”, and “The Goodbye Look”.

The debut album from the definitive vocal supergroup of the 60's and 70's. Crosby, Stills & Nash showcase their incredible songwriting and unworldly tight vocal harmonies, pulling flavors from their previous musical forays into a perfect blend of folk, blues, and rock. Obviously, lyrics and voices are front and center on this album, but there's also some subtly awesome instrumentation backing them, including iconic acoustic guitar, mesmerizing organ, and respectable bass and drums. A fantastic breakout album, and a taste of more great music to come. I'm very biased toward this album for personal reasons and familial history. It could have been 40 minutes of screeching brakes and just "Helplessly Hoping" at the end, and I still would give it five stars for that track alone. Stand out tracks include "Suite: Judy Blue Eyes", "Marrakesh Express", "Guinnevere", "Lady of the Island", and "Helplessly Hoping".

The absolute peak of Southern Rock. These Skynyrd boys have it all, from rock solid bass and drums to beautiful piano and crunchy organ, not to mention their three-guitar army and killer southern vocals. The band stays mostly in the rock and blues genre, but crafts songs with surprising diversity and intentionality; no two songs sound quite the same. Even in their wildest moments, the band never gets sloppy or chaotic; all guitar solo work is carefully planned and expertly executed. Simply a joy to hear. Also, "Free Bird" is a masterpiece; How a band can get three guitarist to arpeggiate in harmony for that long is beyond me. Stand out tracks include "Tuesday's Gone", "Gimme Three Steps", "Simple Man", "Mississippi Kid", and "Free Bird".

Entirely too much moaning. Adamson’s album, styled as a soundtrack to an imaginary movie, works well when it leans into the instrumental aspects of a score. The spy/noir jazz is smooth, deadly, and bombastic, and definitely worth listening to again. However, some of the more experimental tracks are too avant garde for the casual listen, and are deeply creepy and/or sexual. Overall, a tongue-in-cheek, darkly comedic noir soundtrack that lands in some places and misses in disturbing ways. Stand out tracks include “The Vibes Ain’t Nothing But The Vibes”, “In A Moment of Clarity”, “Vermillion Kisses”, “The Big Bamboozle”, and “The Sweetest Embrace”.

An all out R&B and soul jam medley, front-to-back, that must have been life changing to witness live. James Brown is truly the "Hardest Workin' Man in Show Business", and you can hear the physical effort of his hot singing style as he belts out, wails, and croons with his signature raspy vocals. The band is absolutely cooking on this recording as well, with tight brass jabs, gainy guitar work, and killer backing vocals. My favorite part of this record is the audience reactions as they scream in excitement, respond to Brown's calls, and shout at him during the show; just so much fun. Stand out tracks include "I'll Go Crazy", "I Don't Mind", "Lost Someone" and "Night Train", as well as all of the Instrumental Bridges.

This is the most 80’s album, crammed with typic synths and effects used later in the decade, along with haunting experimental instrumental and vocal effects and choices. Drum tracks are bombastic, driving, and unapologetically odd. Vocals are dissonant, harmonious, and raw, but with a glamorous sheen. Lyrics feel ancient and chanting. This album sounds like Stone Age people got their hands on synths and a taste of 80’s Metropolitan Life. Standout tracks include “I’ve got An Angel”, “Sweet Dreams (Are Made of This)”, “Jennifer”, and “This City Never Sleeps”.

Interesting mix of punk and prog rock, with arpeggiated distorted guitar riffs, punchy active bass lines, and shiny reverb drums. Vocals are flat and uninspiring, and melodies are barely present and muddied with nonsense lyrics and distracting backing vocals. Album really shines in the middle as the sound focuses more on driving beats and clear guitar work. I don’t understand the R.E.M. hype, but an enjoyable enough listen. Stand out tracks include “Disturbance at the Heron House”, “It’s the End of the World as We Know It”, “The One I Love”, and “Fireplace”.

A pillar of blues rock records, this album communicates everything beautiful and groovy about the genre without uttering a single word. Loose, collaborative playing that is antithetical to today’s trends of laser-precision tracking, the MG’s are both intimately human in their music and untouchable legends in their influence. Drums are minimalist, tight, and effortless, bass is bossy and limber, guitar is brash, reckless, overdriven, and bad ass, and the organ is insanely bluesy, smooth, and dexterous. That’s it, that’s all they needed. Generations of children have been conceived to this album. Stand out tracks include “Green Onions”, “Twist and Shout”, “Stranger on the Shore”, “One Who Really Loves You”, and “Comin’ Home Baby”.

A masterpiece fusion of pop, R&B, jazz, and rock, this album is smooth ride through the threat of nuclear Armageddon. Each instrument is a masterclass in taste, pushing out of the mix for ad-libs and solos, then pulling back to blend seamlessly with the track. Fagen’s lyrics and melodies inspire visions of mid-century optimism and Cold War nihilism, all backed by an absolutely airtight band. This album can be enjoyed by a casual listen or hyper-analyzed by the nerdiest music freak. Stand out tracks include “I.G.Y.”, “Green Flower Street”, “The Nightfly”, and “The Goodbye Look”.

A progressive grungy alternative record strait from the pit of toxic relationship despair. The Afghan Whigs use heavy breakdowns, punchy picked bass, screaming fuzzed-out guitars, gritty and grinding organs, and unpolished angsty vocals to paint the very image of a broken romance. Topics swing wildly from regretful musing of hurt, defiant pushes against entrenched relationships, and confused confessions of romantic addiction. In the end, it feels like we started exactly where we began. This was my first introduction to the Afghan Whigs, and I really liked what I heard. Stand out tracks include: When We Two Parted, What Jail Is Like, My Curse, and I Keep Coming Back.

A landmark album in the hip-hop genre, The Blueprint still holds up against more modern entries from both coasts. Jay-Z's lyrics are brash, boastful, and effortless as he spits over some of the best production of the decade. The real highlight of this album for me are the beats. Each track stands out musically from the next, with deep cut samples, enhancing backing instrumentation, and iconic drums loops. The lyrics are hot, but change little in focus and theme; Jay-Z's constant bragging and dissing grow stale by the end of record. The Blueprint is more a collection of heavy-hitting singles rather than a cohesive album. Stand out tracks include "Takeover", "Izzo (H.O.V.A)", "Heart of the City (Ain't No Love)", "Never Change", and "Blueprint (Momma Loves Me)".

Man, I love Neil Young. His vocals suck, his guitar work sucks, and his band is sloppy, but something about all of the elements together is pure folk magic. The poetry and melodies are timeless, beautiful storytelling, backed by some of greatest singer-songwriters of the generation. My dad introduced my to Neil Young when I was young, so this album will always have a place in my heart. Stand out tracks include: “Heart of Gold”, “Old Man”, “Alabama”, “Needle and the Damage Done”, and “Words”.

A smooth, soulful, groovy album filled with R&B and Gospel engery. Al Green's gentle-yet-captivating vocals shine bright, with plenty of improvisational singing and falsetto runs. Band is collaborative and jammy, featuring some of the great session musicians of the time. The organ and horn parts in particular help define the brassy and warm sound that permeates the whole record, giving it a slightly gainy sound that is rich and classic. Guitar work is surprisingly dynamic, and accents Al Green in a special way. This album is a smooth listening experience. Stand out tracks include "Let's Stay Together", "Old Time Lovin'", and "How Can You Mend a Broken Heart".

A weird, experimental work that uses repetitive grooves to showcase oddball vocal samples, to lackluster results. In a way, this album is a precursor to sample-based music genres like instrumental hip hop, trip hop, sound collage, and plunderphonics, but does not fully capture the dynamic sound and composition of future albums in this vein. The percussion is interesting in an academic fashion, and there are respectable bass, guitar, and key riffs littered about, but any admiration quickly fades in the first minute of a song as the groove is repeated without change or derivation. The samples are interesting and sometimes chopped for variety, but do little to improve upon the tedious backing tracks. This album may have been groundbreaking upon release, but has since been surpassed by much more interesting and beautiful records. Stand out tracks include "Help Me Somebody" and "The Jezebel Spirit".

Missy Elliot proves she can straddle two genres with this sensational blend of silky R&B singing and fluid rapping. Her rapping style is laid-back, conversational, and playful, transitioning effortlessly into soulful vocal hooks. The album includes a large roster of features, some better than others, that give the record a collaborative party vibe. Timbaland's tight production, employing classic drum samples and suave instrumentals, compliments Missy Elliot's vocal styles well, adding to the relaxed conversational vibe. Many tracks sound similar, and while more variable energy would have made the album more interesting, I can't fault the artist for sticking to her smooth guns. Stand out tracks include "The Rain (Supa Dupa Fly)", "Beep Me 911", "Best Friends" and "I'm Talkin'".

A fascinating R&B fusion record that incorporates storytelling, singing, and samples to communicate honest perspectives on a range of modern experiences. Frank Ocean has impressive vocal capabilities, jumping from tenor to falsetto range for acrobatic dynamic control. The beats are mostly minimal, but serve as a driving vehicle for the vocal hooks and verses, which are impactful and catchy. Frank Ocean weaves his lyrics nimbly between humor and solemnity, and his guest features match the tone. A genre-bending triumph of a concept album. This was my first official foray into Frank Ocean, though I recognized tracks along the ride, and I really enjoyed it. The interlude tracks were a highlight too, and the features (Andre3000 and John Mayer especially) contributed a lot to the story. Stand out tracks include “Thinkin Bout You”, “Super Rich Kids”, “Crack Rock”, “Pyramids”, “White”, and “Bad Religion”.

A fun, no-strings-attached power pop album. Populated by high-powered gainy guitars, driving 70’s drums, shimmery keys, and multi-tracked delayed vocals, the eponymous debut record by The Cars very much paves the way for future electrified bands in the 80’s and beyond. It still stands on its own, however, as rock-forward, guitar shredded, surface-level lyrical experience. It did not redefine or awaken any great love in me, possibly because The Cars sound exactly like the kind of band Spinal Tap mocked, but still a fun listen. Stand out tracks include “Just What I Needed”, “Don’t Cha Stop”, and “Moving in Stereo”.

A drunken masterpiece of an album, told from the perspective of the dregs of society. Objectively, Tom Waits has a very grating and difficult voce to like, but somehow, through all the phlegm, his outstanding melodies swim through. There are so many beautiful tracks on this record, stories told with jaded, hurt, and mournful tones, that his voice just kinda works. Almost like the drunk fisherman at the bar is telling you his regrets over grog. Instrumentation is mysterious, odd, and cool, especially the muted marimba and varied percussion. The horn work is great to, fully capturing the spirit of traditional jazz and New Orleans funeral processions to give the album a timeless vibe. Waits touches a lot of genres here, from trad jazz, bossa nova, and blues, to county western, alternative rock, and folk, with plenty of weird mixing in between. I really can't say why this album moved me so much, but the drunken teetering from song to song somehow did. Stand out tracks include "Clap Hands", "Jockey Full Of Bourbon", "Time", "Midtown", "Gun Street Girl", and "Downtown Train".

An onslaught of repetitive 90's French house music that is almost interesting. Beats are grating, cyclical, and way too long. Daft Punk is a respectable pillar of the techno genre, but their later efforts are much more listenable in a casual setting. This album as clearly meant to be experienced in a club, not in my office on a rainy Monday morning. Stand out tracks (actually listenable) include "Da Funk", "High Fidelity", and "Alive".

The Legendary 0-3-5 Progression that all guitarists know! Deep Purple shines brightly in this album with overdriven and fuzzed out guitar, grainy and gainy rock organ, tight and precise bass, simple but clean rock drums, and a literal Jesus Christ Superstar vocal talent. The band relies pretty heavily on classic blues rock chords and shapes, but dials the intensity up with trading solos, churning eighth-note rhythms, and wailing lyrics. Deep Purple manages to translate a live-feeling performance onto a record without getting caught up in jam purgatory or sloppy musicianship. I only knew two tracks coming into this listen, but was blown away by the talent hidden in the rest of the songs. Plus I felt like a total Highway Star blasting it in my work truck. Stand out tracks include "Highway Star", "Pictures Of Home", "Lazy", and "When A Blind Man Cries". Ironically, "Smoke On The Water" is strongly outshone by most of the lesser-known tracks.

Nick Cave & the Bad Seeds would be an amazing indie or folk punk band if they dropped Nick Cave. Haunting background vocals, passionate raw drumming, and aggressive acoustic and electric guitar, cinematic strings, and lush organ lay a solid, fever-dream landscape that sounds every bit like a intimate stage-play, only to be absolutely ruined by the lead singer. Cave’s vocals are melodramatic, pitchy, and unimpressive; moreover, they are mixed with short-decayed delay/reverb, giving the impression that he’s doing an awful karaoke cover of his own music. I’d love to listen to a Bad Seeds instrumental album, but something tells me Nick Cave couldn’t resist yelling his nonsense over that too. Stand out tracks include “Papa Won’t Leave You, Henry”, “Brother, My Cup Is Empty”, “John Finn’s Wife”, and “Loom of the Land”.

A flurry of breakbeats, looped soul hooks, and outrageous vocal samples, Fatbot Slim delivers an in-your-face instrumental hip hop album that doesn’t take itself too seriously. In many ways, this album is a masterclass in sampling, as vocal hooks are introduced, developed, remixed, chopped and screwed, bent beyond recognition, then triumphantly resolved over break-neck break-beats. In other ways, the tracks are repetitive and a little too similar, using almost identical drum breaks and often overstaying their welcome. I enjoyed the energy that Fatboy Slim brings, but didn’t necessarily need an entire hour of it. Stand out tracks include “The Rockefeller Skank”, “Soul Surfing”, and “Praise You”.

Beautiful mournful melodies and pensive lyrics paired with western acoustic guitar and lush strings. Beck perfectly encompasses all the angst we collectively felt in the 2000’s, without ever raising his voice. Excuse me, I have to peer out of my bedroom window and wonder if she could possibly love me. Stand out tracks include “The Golden Age”, “Lost Cause”, “Already Dead”, and “Side of the Road”.

A Honky tonk country collection of musings on love and life. George Jones wails in a rich voice over a classic Nashville backing band, prominently featuring amazing slide guitar work. Jones is able to communicate everything above love, loss, and life in under 3 minutes, a timeless brevity that’s welcome in an era of extended albums and long tracks. Country music nowadays is dying, partly because folks like George ain’t around no more. Stand out tracks include “The Grand Tour”, “She’ll Love the One She’s With”, and “She Told Me So”.

High-energy, kick-butt new wave and pop punk album from the Go-Go’s. The all-female band brings an overall tough sound with crunchy guitar, agile and punchy bass, and pounding anthemic drums, but the keys and chorus vocals shine with pure 80’s pop. This is a really fun album, and certainly paved the way for future punk offerings. Stand out tracks include “Our Lips Are Sealed”, “How Much More”, “Fading Fast”, “Skidmarks On My Heart”, and “Can’t Stop The World”.

This album confounded me in many ways, the greatest of which is how much acclaim it has garnered. On my first listen, I was unimpressed with the loose and sloppy sound, especially the thrown-together-on-the-spot feel of Bowie's lyrics and melodies. The ambient back half of the album was a surprising relief from the disorganization of the front half, and the mostly lack of vocals allowed me to focus on the excellent synth, bass, and solo instrumental work. When I researched the album afterwards, however, I learned that much of this album was indeed improvised on recording, include the lyrics, and that pretty much tanked the record for me. I will gladly concede that I am not the best interpreter of abstract and experimental art, and I was willing to write off my lackluster first listen as my own misunderstanding of premeditated artistic greatness. But when I learned that my inklings of sloppy improvisation were confirmed, I lost interest in appreciating the music. It may be lauded by many as the pinnacle work of Bowie's career, but to me it sounds like an artist got bored by their 12th album. Stand out tracks include "Heroes", "V-2 Schneider", and "Moss Garden".

The Smiths delineate a departure from synth-dominated 80's new wave, and a return to guitar-focused British rock. Their simple yet effects-tinged guitar sit nicely on top of a classic indie rock rhythm section, with bright bass and brisk drums, foreshadowing the genre but not quite defining it. The lyrics on the album are a real standout, mixing dry British humor with achingly profound statements, often in the same breath. The vocal melodies are a little lackluster, and tend to wander without firm doubling or emphasis, resulting in a blurring across the album. Ultimately, I enjoyed and appreciated the record, but it's genre-transitional timing and nature place it in the huge shadows of artists before and after. Stand out tracks include "Frankly, Mr. Shankly", "I Know It's Over", and "Cemetery Gates".

A very unique fusion piece that blends traditional Senegalese music with some western flavors, pulling instruments from both. The album features clean and snappy guitar riffing, traditional percussion elements, and piercing vocals, mixed into long, droning, sometimes pulsating tracks. It can be tough for the western mind to step outside of our musical normality and appreciate other approaches to melody, rhythm, phrasing, and instrumentation, so I challenged myself to enjoy the album as intended by the musicians, not as I wanted to hear as a typical American music listener. I appreciated the artists’ exploration of genres and the novelty of folk influences I had not heard before, but by the end of the album I was also ready to be done. I think listening to the original 8-track release (instead of the 12-track remaster on Spotify) would have been a gentler introduction to Maal and Seck. Stand out tracks include “Muudo Hormo” and “Djam Leelii”.

Witty, experimental funk/soul rock that spans multiple genres and is defined by none of them. Vocals are diverse and captivating, from soulful gentle hooks to almost-rap to alternative indie rock, and lyrics are clever, catchy, and meaningful. Instrumentation is all over the place in a fun, creative way; N.E.R.D feels less like a serious attempt at art experimentation and more jovial exploration and flexing of musicians who have nothing to prove. Not what I was expecting, but happy to be proven wrong. Stand out tracks include “Jump”, “Wonderful Place”, and “The Way She Dances”.

Mark Knofpler is one of my all-time guitar heroes. His finger-style playing ranges broadly from chicken picking to blues rock, but he also has crazy dynamic control with his phrasing. The way he bounces between singing and playing emulates a conversation, and his constant “ghosting” of notes on the strat makes it seem like a breathing entity. So much sass and emotion! This album is a great example of slight genre variety while sticking to your tonal guns. Dire Straits is an awesomely tight band, and their debut album puts their best in display. Stand out tracks include “Down to the Waterline”, “Six Blade Knife”, “Sultans of Swing”, “In the Gallery”, and “Wild West End”.

Entirely too much moaning. Adamson’s album, styled as a soundtrack to an imaginary movie, works well when it leans into the instrumental aspects of a score. The spy/noir jazz is smooth, deadly, and bombastic, and definitely worth listening to again. However, some of the more experimental tracks are too avant garde for the casual listen, and are deeply creepy and/or sexual. Overall, a tongue-in-cheek, darkly comedic noir soundtrack that lands in some places and misses in disturbing ways. Stand out tracks include “The Vibes Ain’t Nothing But The Vibes”, “In A Moment of Clarity”, “Vermillion Kisses”, “The Big Bamboozle”, and “The Sweetest Embrace”.

The Jam offers upbeat punk and fledgling shoegaze with their effects-laden guitar, tight vocal harmonies, and active bright bass. The majority of the album is high energy distorted rock, but is punctuated by a few experimental elements, such as recordings of a city transit train or passenger ship, to surprisingly good affect. The real surprise for me, however, were the tracks when The Jam went acoustic, singing simple yet hauntingly beautiful melodies. My first album with these English rockers, and I was impressed. Stand out tracks include “To Be Someone (Didn’t We Have A Nice Time)”, “Mr. Clean”, “English Rose”, “In The Crowd”, “Fly” and “Down In The Tube Station At Midnight”

The irreverent, angsty, emotional anthem of Generation X. High-gain, distorted guitar and bass, smashing and blisteringly loud drums, and surprisingly melodic vocals crash together in a giant middle-finger to the establishment, while also embracing some pop tendencies of the time. Cobain's vocals are either mumbled or shouted, but are always slurred and unintelligible. What can be discerned of the lyrics is a sarcastic, surrealist wasteland of barely-caring, too-much caring, and mocking one-liners that sum up the zeitgeist of the time. I respect Nirvana and the monumental influence they had on music in the 90's, but there were parts of this album that I struggled to understand, both literally and metaphorically. I guess you had to be there. Oh well, nevermind. Stand out tracks include "Smells Like Teen Spirit", "In Bloom", "Lithium", "Polly", and "Something In The Way".

Flashy and smooth collection of rhymes from LL Cool J, backed by classic yet heavy-hitting production by Marley Marl. This album is very much a transition from the hip hop of the 80's, exemplified by simple echoing drums and lighthearted, basic rhyming, to the rap of the 90's, with sampled drum loops, complex lyrical flows, and R&B hooks. LL Cool J is a charismatic lyricist, mixing humor with seriousness, to communicate life lessons and poetic gymnastics. Stand out tracks include "Around The Way Girl", "Mr. Goodbar", Farmers Blvd. (Our Anthem)", "Mama Said Knock You Out", "Milky Cereal", and "6 Minutes Of Pleasure".

Loretta Lynn weeps, wails, and sings her way through a collection of country classics. Her voice is a treat, mournful but not whiny, and powerful enough to push the gain on her tracks. The backing band is a tight, minimalist country ensemble featuring some excellent slide guitar work. Song selection is very focused on heartbreak, troubled love, and threats of leaving, which does get repetitive, but that may be more a product of the genre at the time then conscious curation. Stand out tracks include "Don't Come Home A-Drinkin'", "I Really Don't Want To Know", "Saint To A Sinner", "The Devil Gets His Due", and "I Got Caught".

The Who have always felt like a pot about to boil over, just on the cusp of totally wrecking their instruments and exploding mid-set. This debut album prominently showcases that wild energy that made them cornerstones of the heavier subgenres of rock, but lacks the musicality and refinement of their later work. Vocals and guitar are driving and fuzzy, bass is picked and pounding, and Keith Moon is unhinged in his over-playing, all-fills-all-the-time style. The lofi recording quality also adds an element of nonchalance and nostalgia, but also feels sloppier then the band's later titanic, anthemic rock sound. In this album, the band mainly sticks to blues rock and typical 60's UK Invasion songwriting, sounding a little bland and indistinguishable from other acts of the time. Later albums will see them spread into prog rock, hard rock, and other synth-driven greatness, but these beginnings are still loudly humble. Stand out tracks include "My Generation", "The Kids Are Alright", and "The Ox".

He's an angry elf! Eminem comes out of the gates swinging with his typical lyrical bombardment, but focuses on intentionally disturbing, violent, and taboo topics. I always love Eminem's rapping style and flow, but his fury and irreverence on this record are more than a little unsettling. As a casual listener, I much prefer the refinement and "caged rage" feel of his later work, circa 8 Mile and beyond, then his open threats and absurd honesty in this initial album. The production, largely by Dr. Dre, is fire as always.

Aggressive prog rock and New Wave stylings, interlaced with aggressive, heady lyrics and multi-layered vocals. Rhythm work is hilariously 80’s, and synth hooks pepper the album with MIDI-aggression. Not a bad work by any means, but the bad-ass performance The The was going for is dramatically overshadowed by actual bad-asses of the time and genre. Appetite for Destruction was only a year later, so this mercifully stands as a bit of a last-hurrah for the New Wave sound. Stand out tracks include “Infected”, “Out Of The Blue (Into The Fire)”, and “Sweet Bird of Truth”.

My right ear hurts. An atonal mess of an album, with no redeeming tracks. Screeching, tinnitus-inducing effects layered over below-mediocre guitar, sung by a goofy, mumbling horse-man. Bass and drums are adept, but every other instrument sounds like it’s being played for the first time by the horse-man. Samples of cheering crowds are interspersed throughout the record, presumably so the band can pretend people like their music. I’m all for experimental rock, but it requires the rock to actually be good to balance out the weird stuff. Pere Ubu, when they are actually playing music in earnest, sound slightly worse than the stock rock tracks included on MIDI keyboards. By the end of the album, I was laughing along to what I thought might have been a great spoof, or some satirical effort, but I think they might have been serious. This album would be perfect for some sort of a pain tolerance challenge. Stand out tracks include when the album stopped playing.

A monumental album in the classic rock genre, and an import turning point in AC/DC's sound and style. Brian Johnson screams onto the scene in a huge way, his raspy and piercing vocals soaring over the tight mid-boosted saturated distortion of Angus Young's trademark SG, and mixing well with the scooped EQ of Malcolm Young's Gretsch. Bass and drums are tight and punchy as always, but the band departs from their pub-rock goofiness and catapults directly into the stadium-rock sound that's so emblematic of their later years. Songs don't have a ton of diversity, mostly repeating the title track as a chorus and letting Angus drop-kick a solo, but AC/DC has never needed more. Personally, I'm a bigger fan of the band's Bon Scott era, and miss the irreverent Australian humor and bagpipes that came with him, but the band's recovery and forward movement after his untimely death is incredible. This album is the first step on that journey, and it's a perfect record in that regard. Stand out tracks include "Hells Bells", "Shoot to Thrill", "Back in Black", "You Shook Me All Night Long", and "Have a Drink on Me".

A dark, gloomy take on 80's rock, gothic and brooding in it's instrumentation and lyrics. Drums are relentlessly pounding, with lots of eighth-note tom/snare grooves. Bass is dark and picked, guitar is saturated in chorus and overdrive, and synths are 80's and MIDI. The band is almost into New Wave, but still too moody and glum for proper pop. Vocals are whiny and emotional, and lyrics are pretty dark. This album felt very one-note to me, good at what it did but relentless and repetitive in the execution. Stand out tracks include "The Hanging Garden", "The Figurehead", and "Cold".

The debut album from the definitive vocal supergroup of the 60's and 70's. Crosby, Stills & Nash showcase their incredible songwriting and unworldly tight vocal harmonies, pulling flavors from their previous musical forays into a perfect blend of folk, blues, and rock. Obviously, lyrics and voices are front and center on this album, but there's also some subtly awesome instrumentation backing them, including iconic acoustic guitar, mesmerizing organ, and respectable bass and drums. A fantastic breakout album, and a taste of more great music to come. I'm very biased toward this album for personal reasons and familial history. It could have been 40 minutes of screeching brakes and just "Helplessly Hoping" at the end, and I still would give it five stars for that track alone. Stand out tracks include "Suite: Judy Blue Eyes", "Marrakesh Express", "Guinnevere", "Lady of the Island", and "Helplessly Hoping".

A late 90's melting pot of an alt-metal record, bringing in elements of funk, hip hop, metal, and punk, for a deliciously funky and rocking experience. Incubus swings pretty wildly around with genre, tempo, and tone, but they manage to pull it all off. Their highest moments are more traditionally alternative or metal, with picked effect-saturated electric guitar, limber and fresh drumming, and deep and nasty bass, but their more experimental choices, including trance-like synths and record scratches, land really well and sit great in the mix. I think this album is a great summation of 90's alternative, incorporating all of the best elements into an album that still sounds innovative and new. Stand out tracks include "Nowhere Fast", "The Warmth", "Drive", "Battlestar Scralatchtica", "I Miss You", and "Pardon Me".

God Save the Queen! …but sarcastically. A fun, high-energy record with awesome high-gain guitar work, and impressively loud rhythm. Vocals aren’t really sung, just cheekily shouted in a thick British accent. Enjoyable for what it was, but ironically, not revolutionary. Stand out tracks include “Holidays in the Sun”, “Liar”, “Problems”, and “God Save the Queen”.

A laid-back and lazy alternative rock album that feels melancholic and bittersweet in some parts, and downright low-effort in others. Pavement fluctuates between the dear intimacy of a sleepy, whispered confession and bored dudes making noise for the sake of it. Guitar work is pretty good, with arpeggiated overdriven lead lines and eighth-note builds, but can be sloppy and garage jammy. Rhythm work is solid. Pretty great music for a boring, low-effort summer afternoon. Stand out tracks include "Silence Kid", "Stop Breathin", "Range Life," and "Fillmore Jive".

Something of a transitional album for soul giant Stevie Wonder, bridging from his early pop work into more complex songwriting, both musically and thematically. This album shines bright with the typical soul elements such as drums and bass, but also plays successfully with synths and electric pianos. Some tracks are a little experimental in their melodies, but the lows definitely don't detract from the highs. Stand out tracks include "Visions", "Living for the City", "Higher Ground", and "Don't You Worry 'Bout A Thing".

A solid indie-prog record that stumbles over itself. Super Furry Animals has a wonderful lead vocalist/songwriter in Gruff Rhys, and he has some truly beautiful and haunting melodies on this album. The lush, vibrant backing vocals and instrumentation really soar and carry the vision of the music at times, but there are plenty of moments where the "experimentation" of the band gets muddled, jarring, and just unpleasant. The record unfortunately falls into the 90's/2000's trap of ambitious, noise-making nonsense that mars the simple heartfelt moments. Stand out tracks include "Sidewalk Serfer Girl", "Shoot Doris Day", "Miniature", "No Sympathy", "Presidential Suite", and "Fragile Happiness".

No single Beatle is better than all the Beatles, and that includes George. Some of my favorite Beatles songs are written by Harrison, but his solo work on this album is pretty generic late 60’s jam psychedelic. There is some awesome guitar work on this record, and some really great country-inspired slide work, but other songs are pretty basic blues progressions that lack the musicality of previous Harrison melodies. Also, two hours is way too long; there’s a solid album in here somewhere that could’ve benefited from some discerning curation.

A rock-solid debut album from grunge/alternative giant Foo Fighters. In many ways, it’s easy to trace the Nirvana pedigree with frontman Dave Grohl’s style and songwriting, but the Foo Fighters are any but derivative in their instrumentation, genre-sweeping style, and musicality. Lyrics and melodies are easy to comprehend and stick in the brain, without compromising on the heavy-hitting distortion so prominent throughout the record. I was pleasantly surprised too at the variation of guitar work, from expected-but-awesome overdriven tones to clean, melodic jingles and acoustic intros. Dave Grohl makes it clear that he was born from Nirvana, but is growing into his own, arguably better force. Stand out tracks include “This Is A Call”, “Big Me”, “Good Grief”, “Floaty”, “For All The Cows”, “X-Static”, and “Exhausted”.

A gritty and dark grunge album from Hole, filled with violence, sex, and high gain guitars. Front woman Courtney Love has impressive vocal range and variety, from guttural bellows to cutesy ad-libs. Bass work is aggressive and driving, and drums are smashing and hard. Stand out tracks include “Violet”, “Plump”, “Doll Parts”, “Credit In The Straight World”, “Gutless”, and “Rock Star”.

This album makes me (M31) feel like a natural woman. Stand out tracks include “I Feel The Earth Move”, “So Far Away”, “It’s Too Late”, “You’ve Got A Friend”, “Where You Lead”, “Smackwater Jack”, and “Natural Woman”.

This has got to be the sexiest album ever recorded. Volumes have been written about Gaye's artistic direction on this record and the pivotal impact it had on funk, soul, quiet storm, R&B, and rock, so I'll refrain from adding to the noise. I do want to point out that Gaye barely sings a cohesive verse or chorus on this entire album. None of the songs follow a typical poetic pattern or rhyming structure; indeed, most songs are just Marvin absolutely crooning and crushing ad-libs over the most sensual Motown backing band ever assembled. It would not work for anyone except him, and frankly, I'm surprised there is only one background moaning track. Stand out tracks include "Let's Get It On", "If I Should Die Tonight", "Distant Lover", "You Sure Love To Ball", and "Just To Keep You Satisfied".

Classic West Coast underground hip hop that has rightfully enjoyed mainstream success. Jurassic 5 is a textbook example of a 90's/2000's hip hop group done right. The rappers bounce off of each other and overlay their verses in an organized chaos, always giving the listener the feeling they are part of some greater cause, while still maintaining the effortless flowing style typic of many of their LA contemporaries. The sample-based production is also insane, with great variety of style, including a couple sample-only DJ scratch tracks. The album does begin to drag a little as the tempos slow toward the end, and could have benefitted from cutting a couple tracks from the official album to mixtapes or deluxe editions. Still, a fantastic record that exemplifies the best of the LA underground scene. Stand out tracks include "Freedom", "Break", "React", "Remember His Name", "What's Golden", and "After School Special".

Repetitive rock music after the fashion of Dylan, but without his charm and folk influence. Costello makes interesting hooks and sometimes interesting lyrical one-liners, but fails to strongly differentiate between songs, and seems to try to cram as many words as possible into each track. There’s a couple stand out spots in this album when things slow and soften, with some genuinely bluesy flavor, but by and large it’s full of decent-yet-forgettable music. Stand out tracks include “Tokyo Storm Warning”, “Home Is Anywhere You Hang Your Head”, “Battered Old Bird”, and “Next Time Round”.

I really enjoyed this listen, because these guys are laughably bad. Terrible poetry confidently stated over boring, unskilled punk rock. John Lydon thinks he has something profound to say, but his ravings are offensively mediocre and bland. This record is grating and horrible in none of the ways the artist intended, with anti-establishment lyrics at home in a teenager's diary and stupid hooks played by tween-level guitar skill. Inexcusably repetitive and derivative, influential only in that later bands unfortunately learned they didn't have to be good to be popular, thus founding the post-punk genre. How anyone can think this music is anything but unskilled swill is beyond me. Also, another reviewer compared Lydon's voice on the last song to Carl Wheezer from Jimmy Neutron, which sent me in stiches for the entire track. Stand out tracks include "Religion I", and "Fodderstompf".

The absolute peak of Southern Rock. These Skynyrd boys have it all, from rock solid bass and drums to beautiful piano and crunchy organ, not to mention their three-guitar army and killer southern vocals. The band stays mostly in the rock and blues genre, but crafts songs with surprising diversity and intentionality; no two songs sound quite the same. Even in their wildest moments, the band never gets sloppy or chaotic; all guitar solo work is carefully planned and expertly executed. Simply a joy to hear. Also, "Free Bird" is a masterpiece; How a band can get three guitarist to arpeggiate in harmony for that long is beyond me. Stand out tracks include "Tuesday's Gone", "Gimme Three Steps", "Simple Man", "Mississippi Kid", and "Free Bird".

A soft, meditative, relaxing blend of alternative rock and electronica, with a pleasantly sleepy British vocalist to round out the sound. There are some high-gain moments in here too that jump out from the acoustic and beat-based background, but the album mostly runs together. A cool record by it's own merit, but nothing about it stood out to me as notable or memorable; it probably deserves more listens that I will unfortunately not be able to give. Stand out tracks include "Lion Thief", "Wonderful", "Rhododendron", "Liquid Bird", and "Pure For".

Probably the greatest studio jazz album ever recorded, at least post-big band era. The Davis Sextet is everything great about bop and modal jazz: tight melodies and hooks quickly transitioning into extended, tasteful solos that ooze effortlessness and cool. Also, the mix of Davis, Coltrane, and Adderley, not to mention Evans, Chambers, and Cobb, is as unfair as it is magical. The skill of these musicians cannot be overstated; their ability to make the runs and solos they do, all at a laid-back and chilled clip, is unparalleled in modern music. A true sampling of incredible, authentic musicianship that extends far beyond the confines of their genre.

We could use all sorts of adjectives to describe this work, but honestly, "Hot", "Buttered", and "Soul" are the most accurate. Isaac Hayes brings his absolute smoothest and hottest vocals to this monster of a soul record. There's only 4 tracks on the entire album, two per side, but man oh man, each one is a total journey. Hayes is unafraid and unbothered by the conventions of a radio-friendly song; he has a story to tell on each song, lyrics and instrumentals all included, and you're gonna sit there and ride with him. The last track takes over 8 minutes to get to the first sung lyric, and the slow build is simply incredible. Hayes utters or sings every word like it's worth gold, and the sparseness and spaced nature of the vocals make them so much more poignant and sensual. This record laughs in the face of quick and catchy pop; like a good lover, it takes it's sweet time. Stand out tracks include "Walk On By", "One Woman", and "By The Time I Get To Phoenix".

There's a lot going on during the playtime of The Yes Album. Tracks pivot constantly, changing tempo and style on a dime, and often include multiple movements. One song is a live recording of bluegrass/folk/ragtime acoustic guitar piece, while others are fledgling prog rock. Yes's genre is hard to pin down, as they drift from classic rock to ragtime, singer/songwriter acoustic to prog rock, featuring some pretty incredible guitar and bass jams. Pretty eclectic work, but the band's musicianship is undeniably good and their abrupt transitions lend to the master working of the record. A super enjoyable ride, especially as you let go of understanding and just appreciate the music. Stand out tracks include "Yours Is No Disgrace", "The Clap", and "I've Seen All Good People".

NOTE: This is one basically one album, but recorded in both English and French with some track difference. It is streamed as a single work, so unclear on which I Must Hear Before I Die. I'm reviewing them together. A suave and powerful pop record that sounds decent in English, but phenomenal in French. Christine and the Queens belts incredible vocal lines and murmurs softer melodies over a dynamic mix of retro electronic and disco sounds mixed into modern piano and beat production. Songs are fresh and captivating, and the album has a cohesive, punchy flavor that travels well on upbeat and downbeat tracks. I initially approached this work with trepidation, given the hour and a half runtime, but began to comprehend once I was halfway through the French recording. I understand why these two are lumped together on streaming services, given the difference in language and track listing, but the albums are close enough that it's difficult to conceive them as a continuous work. I did enjoy the English recording, but the album(s) really came alive in the French language. Christine and the Queens has a wonderful flow and phrasing style in her native language, and though I don't speak French, I much preferred that version. Still, there's a track on the English version that I liked that isn't on the French version, so I've included it on my stand outs too. Overall, a great listen, just wish I had been more prepared of the meta of the record, a fault not of the artist. Stand out tracks include "Damn, dis-moi", "La marcheuse", "5 dols", "Follarse", "Feel so good", and "Les yeux mouillés".

A low-stakes, fun, adolescent pop punk offering with some decent melodies and a goofy tone. The album started pretty fast-paced and punky, sounding rather generically Brit-pop with some notably good drum fills and bass work, but softens over the album to include nice keys and acoustic parts. Sort of base-line good, not spectacular or ground-breaking, but certainly not inoffensive. Stand out tracks include "Alright", "Sitting Up Straight", "We're Not Supposed To", "Time", and "Time To Go".

A diverse and tasteful pop rock album from Dire Straights that builds on their previous work, but still feels solidly true to the band. Their tone evolved pretty drastically from the blues-rock of their debut to the synthy, echoing 80's production displayed here, but a myriad of instruments like jazz trumpet, synth pan flute, Latin percussion, and resonator guitar provide a really cool timelessness to the record. Pretty much every song is unique, and there are a couple really beautiful slow moments to contrast from the harder rock moments. As always, Knopfler is in peak form with his lyrics and effortless guitar work, trading phrases with himself and ripping iconic solos. Stand out tracks include "Money For Nothing", "Walk Of Life", "Your Latest Trick", "Why Worry?", "Ride Across The River", "The Man's Too Strong", and "Brothers In Arms".

Joni Mitchell is a whimsical, playful, elf like folk legend, and this album pretty much puts that on full display. The bear bone instrumentals do a great job of backing her melodies, while still providing a very intimate feeling and a wonderfully 70s folk flavor. Mitchell’s singing style is a lot of head voice soprano, with fast, conversational runs and esoteric lyrics. In a way, her signature style is her greatest strength, but a tough challenge for the enjoyment of this album. Many of these songs are a little too poetic to really settle into a memorable groove or a poignant statement. Beautiful, singing, amazing instrumentals, but the lyrics are a bit jumbled and distract from the final product of the album. Stand out tracks “All I Want”, “Carey”, “California”, and “River”.

Gunfights, hangings, and acres, Martin Robbins croons melodies and weaves stories about a fantasy world of the American West. The album features minimal but incredible instrumentation with country western staples, such as flamenco guitar, early electric guitar, upright bass, a bare bones drum kit, and the lush country vocals of the Glaser Brothers. Robbins is a good storyteller and a decent singer, making each track a warm, nostalgic romp through a fictional past. Themes are obviously pretty unvaried, and some songs certainly have aged better than others, but this record feels like a piece of memorabilia or a museum piece. The audio equivalent of a Louis L'Amour novel. Stand out tracks include "Big Iron", "They're Hanging Me Tonight", "The Master's Call", and "El Paso".

Moody, chill, ambient alternative rock that feels very much like a millennia-transitioning work. Radiohead leans pretty heavily into the abstract, sampling computers and using synths, horns, and guitar effects to create interesting sonic landscapes. A pretty far departure from previous Radiohead albums, but very interesting and relaxing in a mournful, eerie way. This is a great example of ambient music that is flavorful and fresh, and stays dynamic-yet-digestible throughout the runtime. Stand out tracks include "Everything In It's Right Place", "Kid A", "How to Disappear Completely", "Idioteque", "Motion Picture Soundtrack", and "Untitled".

Amazing how much a band's sound can change in three years, and not always for the better. While Radiohead has some interesting ambient instrumentation and drum work on this record, the vocals have taken a significant noise dive from their previous works. Whining, repetitive, slurred, uninspiring nonsense for 14 tracks. I wish the rest of the music was interesting or enjoyable enough to make up for the bad singing, but sadly, not quite. Stand out tracks include \"2 + 2 = 5\", \"Sail To The Moon\", \"There, There\" and \"Myxomatosis\".

To my slight embarrassment, my introduction to this album was the 2007 video game "Rock Band", which included the opening track "Gimme Shelter" as a playable song. Even then, I played that song over and over, struck by the blend of psychedelic, blues rock, and soul. Glad to finally hear the whole album and learn that the good vibes continue through the whole record. Stand out tracks include "Gimme Shelter", "Love In Vain", "Let It Bleed", "Midnight Rambler", and "Monkey Man".

I’m just gonna lead with this: I think Queen is goofy and melodramatic. Musically, they are legendary, especially Brian May’s guitar work, and Freddie Mercury is as talented as hyped, but the band’s consistent over-the-top vocals and songwriting is a little too much for a full album. Each track is impressive in isolation, but the record as a whole is overstimulating and over-produced. I generally like Mercury’s approach to multi-tracking his vocals, but the technique lost its shimmer early in the album. Still an enjoyable listen. Stand out tracks include “Brighton Rock”, “Killer Queen”, “Lily of the Valley”, and “Stone Cold Crazy”.

Groovy, loop-based jams with a gritty tone and rhythmic, almost spoken-word vocals. Different that other Beck albums, but loads of fun to bump while cruising in the sunshine.

This is a perfect album. Start to finish, simply impeccable songwriting and musicianship. One of my all-time favorites. Stand out tracks include “Time”, “The Great Gig in the Sky”, “Money”, “Us and Them”, and “Eclipse”, though really the album needs to be listened to and treated as a single continuous movement.

Eight tracks from the masters of the funk soul genre. The whole ensemble is magic, but the brass section and the bass are particularly electric and captivating. Pure enjoyment. Stand out tracks include “Shining Star,” “Happy Feelin’”, “Yearin’ Learnin’”, “Reasons”, and “Africano”.

Whimsical, magical, eccentric alt rock that sounds as much the passion project as it was intended to be. The back half is good but not great, but the front half is stupendous. A clear example of the musical quality that’s achieved when bands make music for themselves instead of a label or an audience. Standout tracks include “Holes”, “Tonite It Shows”, “I Collect Coins”, and “Opus 40”.

A mellow psychedelic rock album that is unapologetically lofi. For the most part, the laid-back recording and songwriting on this album sound pretty bland and mediocre. There’s not much talent on display here, and it’s no surprise that the record failed to chart. However, there are a few notable tracks where the intimate, unproduced style is beautiful and hauntingly gentle, and saved the album for me. I’m not sure why folks really like the Velvet Underground; I don’t find Lou Reed to be a good singer or songwriter and the rest of the band just sounds like a garage jam session. They must have been novel at the time and influential to others, but this record is pretty middling in hindsight. Stand out tracks include “Candy Says”, “Pale Blue Eyes”, and “After Hours”.

Bluesy distorted indie rock with neurotic vocals and pissy lyrics. Some tracks are pretty cool, but much of the album sounds the same, and the style wears out it’s welcome. However, “Maps” is a fantastic staple of 2000’s indie, and weirdly a big tone shift in the album, so I ended the listen with a favorable view. Stand out tracks include “Date With The Night”, “Black Tongue”, “No No No”, and “Maps”.

This sounds like a record made by British people for British people. Mostly goofy sounding songs led by a honky piano, with cheeky lyrics sung in an English accent. There’s some pretty cool horn work on this album, and drumming and bass parts are surprisingly dynamic and tight. An interesting album, but like beans on toast, it doesn’t appeal to my American pallet. Stand out tracks include “Tomorrow’s (Just Another Day)”, “Primrose Hill”, “Our House”, and “That Face”.

A fresh blend of funk, new wave, and early hip hop that makes liberal use of loop tracks. Sounds very much that a prelude to Eno’s later instrumental forays, though the Talking Heads deliver lots of character through vocals, guitar, and especially bass to keep songs interesting. Very cool exploratory album that still sounds exciting today. Stand out tracks include “Born Under Punches”, “Houses in Motion”, and “Seen and Not Seen”.

A German woman chanting tuneless poetry over minimal avant-garde clean electric guitar, strings, and aggressive flute. Not gonna lie, this was a pretty niche and odd album experience. Like many records on this list, the listening experience would have been greatly improved if the vocals were omitted; the instrumentation is really cool folk orchestral led by deftly picked electronic guitar. Nico herself seems to be an acquired taste, but she kinda sounds like a goofy Bond villain to me. Stand out tracks include “The Fairest of Seasons”, “These Days”, “Chelsea Girls”, and “Wrap Your Troubles In Dreams”.

Groovy Americana jam music that sparks pure joy. The Band has a way of sounding like a loose live performance that invokes nostalgia, intimacy, and camaraderie that draws in the listener. I particularly appreciate their imperfect vocals, limber drumming, and piano forward instrumentation. Some really unique compositions on this album, but as always the lyrics are timeless. “The Night They Drove Old Dixie Down”, “Up On Cripple Creek”, “Whispering Pines”, “Rockin’ Chair”, “Jawbone”, and “The Unfaithful Servant”.

Decent 90s house music with some interesting loops and vocal samples. Sort of fall into the trap that most house music does, it’s hard to listen to casually. Regardless, better than the other electronic and techno records On this list so far.

Muddy Waters is a blues superpower, and this album is nothing but the grittiest, stankiest, soulful-est sounds. Love the harmonica and guitar work, and vocals are simply iconic. Such an important piece of musical history, and Waters delivers.

A monotonous, boring onslaught of melodramatic rock garbage. Song after song of the same arpeggiated, chorus-laden electric guitar and echoing drum beats, with tuneless, whiny singing. It’s not technically bad, but it sure is exhausting. I had to check my phone a couple times to make sure I wasn’t on song repeat; just absolutely no variation, improvements, or change at all. Once a song starts, it takes about 15 seconds for you to know how the rest of the song is going to sound. Uninspired and unremarkable, like the rest of The Cure I’ve heard. There can be no stand out tracks if all track sound identical.

Some of the corniest, sappiest, over the top hippie folk rock I’ve ever heard. This record is a jumble of Renaissance fair medieval music mixed with every 60s folk instrumentation used in the genre. Buckley’s vocals are trebly and minstel-esque , and his lyrics are eye-wateringly 60’s. And yet, though I should hate this album on paper, I couldn’t help but enjoy myself while listening to one of the most unique records on this list. I found a favorable, only because of its utter audacity. Stand out tracks include “I Never Asked to be Your Mountain”, and “Goodbye and Hello”.

Cool mellow beats, with oddball screechy vocals and lots of voice modulation. Not a particularly pleasant listen, especially with all of the mouth noises, but I found myself grooving along with the dark instrumentation.

Smooth, relaxed, amazing 70’s jazz. Birdland alone makes the album, but the rest of the tracks were filled with awesome and diverse jazz movements. Worth multiple listens.

The quintessential pop album of the 2010s. Swift has crafted a pure, nostalgia tinged mood with this record that perfectly captures the zeitgeist of the decade. There are no filler tracks on the album, all great hits that can be listened to again again. Definitely my favorite Taylor Swift album

A pretty good example of musical experimentation done well, incorporating a wide array of world influences and synthesizing them into a fun, listenable record. The heavy use of Afro and Latin genres lend the album a joyful, festive sound, and the use of record scratching and samples predicts later artists in the vein of J Dilla and Madlib. I also particularly liked the radio show interludes that tied the record together into a pseudo radio program. Note: this review is for the actually music only, which was performed by amazing musicians from diverse backgrounds. Malcolm McLaren himself is an exploitive pedophile with no musical chops to speak of, and his contributions to this record make it worse. This album should be re-released with the proper credits and stripped of that creep’s name.

Standard punk fare with slightly more cussing. Not much variety, but some cool guitar work toward the end of the record.

Gain, gain, and more gain! Eddie Van Halen is a guitar deity, and will be respected as such. To be honest, this record was more bluesy than I expected, but the insane tapping and shredding still carried the experience. My father-in-law would kill me if I gave this anything less than a perfect score.

Love Love Love this album. I love this album. I looooove this album. This album has all of my love. A pivotal and monumental record in the neo-folk/folk rock/alternative genre. Fleet Foxes capture a vibe that sounds ancient and haunting, rootsy, peasant, and timeless. This album could have come out in 1608, but it still sounds so fresh. Songwriting and instrumentation are incredible and wandering, without sounding like a cheesy ren-faire, and the vocal harmonies are angelic. Simply a unique masterpiece. I remember hearing this album for the first time in 2010 and falling in love, and clearly, I've been smitten ever since. It's been hugely influential to my own musical style too, and helped inspire me to start my guitar journey.

Really great hard rock/metal album that's surprisingly dynamic and melodic. Ultra-saturated guitar/bass are great with some really cool solo sections, and drumming is hardcore and blast-beat, but the real standout on this record are the vocals. Skunk Anansie brings a powerhouse of a female vocalist to the record, and her melodies and harmonies are lush and soulful. She can go hard into scream, or pull back into clean soft head voice, and everything in between. Really dug this album as a whole, and appreciated the genre variability across the tracks to keep the experience fresh.

Fun synth pop with a cool dual-genre concept. Lots of groovy keys and slapping bass, with pretty classic 80's drumming. Vocals are good, not great, but song concepts were pretty grounded and worldly, if not skewed a little cheesy by the new wave/pop arranging. I liked the pop "Penthouse" side more than the new funk "Pavement" side.

Fantastic rock album with strong Americana and blues roots. Ryan Adams taps into the hallmarks of the mid-20th Century American sound, creating tracks with fresh lyrics but a distinct classic sound. Lot of moments that remind me of Dylan, Springsteen, and the Band, but Adams is still very much a legend in his own right. Will definitely revisit.

Elvis is a bit of a mostly positive mixed bag for me. This album is classic and still sounds great today, and his vocals and musicianship in the backing band totally still hold up. He gets a lot of flack for not writing most of his music, which I think is unfair given the trends of the times, where most crooners and singers worked with songwriters or a standard songbook. However, his sound and style are very much built on the backs of uncredited black musicians, and his white washing of the blues genre for the white audience is undeniable, and unfortunately tainted his legacy. Still, I think his actual music does hold up , as problematic as its origins might be. I’d say I like Elvis, but I prefer the black musicians that he emulated.

Great classic rock!

Eccentric, Super-smooth, groove-laden, funky-fresh. Love all the thick, muted bass work, the mix of midi loops and drums, and the suave keys. The falsetto singing just works, so tight and glassy, and the lyrics are witty and hilarious. Tracks are pretty short and to the point, which allows for a rapid shuffling of ideas before anything gets too stale. The featured artists are a real treat too, fit perfectly with the tone and feel of the album. Couldn’t take my stanky face off the whole record.

Last night, I sat with my newborn son for an hour, rocking him to sleep with his little white noise machine on in the background. Listening to an hour of white noise was an interesting experience; it wasn't intended as music, but it conveyed a feeling of peace, calm, and security in a way that music often does. In short, pure audio static managed to wring out a small emotional response from my tired mind. This album felt like the remix to white noise, but worse. The artist somehow managed to mess up the simplest form of noise. They could have just fuzzed their guitars for an hour, and I probably would have like it twice as much. Still better than most punk though.

Really cool example of a fusion album working well and staying fresh throughout the play. Loved the trance Eurobeat feel laced with traditional Latin instrumentation, it felt like the pinnacle of everything 90s trance was trying to do. Really refreshing to have a non-English speaking album again too. Felt like it should be in a slick penthouse bar on New Year’s Eve 1999 .

Monk is a captivating jazz artist, bringing his distinctive quirkiness and atonal proclivities into the already technically intense bebop genre. This record isn’t just smooth easy listening, the intensity and aggression of the piano work and tight horn work demand consideration. Great record that makes you participate intellectually with the jazz.

The Boss for a reason! Springsteen and the E Street Band have crafted a classic record that is both enduring and powerfully of its time. I particularly love the tasteful use of synth on this album, coloring lead lines but otherwise staying out of the rhythm and background. It gives the album a charming 80s tone without over saturating the record in decade gimmicks. These songs are classic, poignant, and paint a complex and accurate picture of American Experience.

Somewhat tolerable for a post punk album. The real stars here are the bass and drums; growling bass lines and some tight technical drum work that’s somewhat of a precursor to the Red Hot chili peppers. Vocals are entirely forgettable, monotonous, British drowning that adds nothing. Guitar work is standard, fuzzy punk, very little flavor or skill, just kind of existing to make the music sound angrier. I feel like there could be a pretty cool alt funk record in here if you deleted everything except for the rhythm section, but unfortunately, we got a mediocre punk record instead.

Relaxed ambient alternative album featuring same great male/female vocal duets. Tracks flow into each other with ambient instrumentals for a seamless, trance experience. I think I would have been into this in college.

A melodramatic journey through a selection of songs by artists I don’t really like. The orchestra music is pretty good, lots of great string tracks on here, but anytime anybody is singing I was just annoyed. Also, it feels weird to include a album full of covers on this list. Mostly cover albums don’t bother me from earlier singers like Sinatra and Elvis, but by this time it feels like we need to be including original material.

Rock in its purest form!! Love the flippant, single-brain cell stylings of AC/DC, and Bon Scott is definitely my preferred lead singer (no disrespect to the might Brian Johnson). Lots of cool variety on this record for the limited instrumentation. Finally a good record for working out!

Solid early 90's hard rock, featuring some really catchy hooks and great lyrics. A lot of fun!

A monster indie rock album packed front to end with 2000’s bangers. Love the lyrics and vocals, and the rest of the band goes unbelievably hard. I’d heard many of the more radio-loved tracks, but was pleased to find the alternative magic spanned the whole record.

CSN is already a songwriting harmony factory, but throwing Y in the mix, however brief, is pure folk legend and magic.

Paul Simon is a musical folk madman. Incredible diversity of genres on this album, and Art Garfunkel’s vocals bring a haunting beauty to the whole record. My one gripe with this record is the mixing/production is all over the place, making some songs hard to listen to. Still very enjoyable!

Hard to believe this is a 90s record. With many of the cinematic, orchestral stylings of 2000s rock, this album feels very much ahead of its time. There’s a lot of really cool ambient and Shoegaze elements in this music as well. I listened to this record while driving the California coast, and it was very fitting.

Sloppy, unremarkable punk mess. There is some interesting drum work on this record, and occasionally the guitar plays a riff that’s memorable before quickly diving back into screechy garbage noises. The vocals are flat, unintelligible, and detract from the record. Also, the bass is mixed entirely out of the band, leaving the record screechy and high heavy. I get the feeling there’s some ironic humor to be had on this album, but I certainly don’t get it.

I’m not sure what else I expected from the genre “Noise Rock”, but….yeah, there’s both noise and some form of rock. Some playful guitar licks sprinkled amongst the cacophony, and the drum work is heavy in a cool way, but make no mistake: this is an exhausting, over-stimulating record made for people who can’t feel anymore. I’ve been there a few times in my life, and I probably would have enjoyed this album during those seasons as sort of a “white noise” sensory overload, but not now. I’m in my sensitive acoustic phase, and this is too scawy.

Loving the Frank/Antonio collaboration!

A beautiful collection of samples painstakingly stitched together into an awe-inspiring sonic dreamscape. DJ Shadow pioneered a whole genre with this album, yet it’s still among the best examples of trip hop and sample based production. Just a cool record!!

Lots of really cool alternative rock ideas on this record. Did not capture my imagination or attention in the way I had thought it would, given the mythical acclaim this album holds, but I still enjoyed it.

Ridiculously fun, oversaturated blues rock. Every instrument on this album is mixed so thickly, it’s really crunchy and full. Such a cool sound!

Bob Dylan at his peak folk. What else to say?

Crazy and irreverent, but still fairly palatable for the modern ear. Probably pretty edgy for its time, but sounds kinda goofy and kooky now. Guitar and bass work is tight and gritty, but the organ is so so campy, kinda love it.

High energy indie rock with a sardonic flavor. Enjoyed the doubled vocals and the snappy lyrics, as well as the driving instruments. Lots of iconic 2000’s riffs in here!

Classic hard rock sound where every song sound like it should be shouted in a football stadium. Had a lot of fun with this record, love the lead singer’s energy and the background vocals. Guitar work is impeccable and pure rock greatness.

Grungy, lackadaisical, and apathetic, as Nirvana is famous for. Definitely not as good as Nevermind, but consistent with the grunge rock sound they were lauded for. I found myself bored on this record, really only need one Nirvana album in my life. Sad this is their last album before Cobain’s death, it would have been interesting to see if the band could have developed out of the grunge scene and evolved in their sound.

Groovy confluence of indie, electronic, and ambient. Reminded me a lot of some of the midi electronic indie of the 2000s in a good way. Also, the transitions on this album are pretty stellar, very atmospheric.

Classic Motown sound! Enjoyable listen, but nothing especially new or revolutionary on this record. Solid R&B vocal leads and harmonies with an immaculate backing band.

Jangly pop rock, I guess? Instrumentation is more diverse and produced than previous Smiths records, which I believe improves the sound. But Holy Smokes, Morrissey sucks big time. Just an absolute bland, tuneless, nothing voice, singing like he’s making it up as he goes. The lyrics are equally lackluster, subtracting from the record. How does this guy have so much representation on this list?

Middling 90’s rock. “Gospel Plow” was fun.

Decent 80’s pop, but sounded a bit dated for 1990. I ended up listening with prejudice.

I dug the disco/funk vibes, but many tracks suffered from repetitive hooks and a lack of development. Also, songs tended to drag on longer than needed, usually simply looping the instrumental backing track without vocals, sometimes including a lackluster guitar solo. Didn’t age well in the genre, considering its contemporaries.

Coolness abounds indeed!

Is it a avant-garde and genre-defining, or talentless and bland? Always hard to tell with the velvet underground. I understand this record is super inspirational for a lot of musicians, but I just don’t see the artistry here. Also, anything I listen to with Nico is just cringe and bad. Some cool ideas on here, and the poetry is somewhat interesting, but certainly did not live up to the mythical hype in my opinion. Also, I dislike the trend of musicians, banging on their instruments in a sort of musical tantrum, it doesn’t sound artistic or emotional, just sounds like the band didn’t know how to end the song. Or an album.

Waaaaaaaay too horny and kinda rapey. Seriously, bro needs a cold shower and a re-think of his life choices.

Pretty fun, and cool to see the origins of the ska punk that dominated the 90’s and early 2000’s.

Wet laid-back, relaxing cowboy folk music. Nelson is the master of this genre. Country isn’t typically my favorite, but I did quite enjoy this listen.

Some of Wonder’s best and most popular work, for good reason. Lots of song variety too, which felt fresh. Two discs felt like a lot, but still a great album.

Soul crushing, heartbreaking, tear jerking, and impossibly smooth blend of folk and jazz. Nick Drake is a mastermind, and gone too soon.