Motherfucker. Kanye West is an awful human being but he makes music too good to pass up. HIs debut is magnificent. Everything he made until JIK is magnificent. I hate this man. The only songs I'd drop from TCD are Never Let Me Down and maybe Get Em High. Besides those two? Untouchable in its icon status. I wish he'd shut the fuck up. But thank you for making Family Business.

The nose line on Andy's Chest is generational.

I went in with pretty low expectations, figuring that Just What I Needed, a song I adore, would be the only real highlight, but to my shock and pleasure this is really fucking good! To begin with, I forgot about Good Times Roll and My Best Friend's Girl, two songs I don't frequently play but still dig a lot. Those, combined with the aforementioned brilliance of JWIN, made for a severely underrated opening three track run. The deeper cuts didn't disappoint either; I'm In Touch With Your World and You're All I've Got Tonight were splendid, and the groove on Moving in Stereo (not a deep cut based on YTM play counts but still one I forget about often) is absolutely amazing. The only track that didn't really click on first listen was Don't Cha Stop, and I wouldn't be surprised if that changed with time. Very impressive listen. Several classic hitters of the early new wave scene, a song that scratches my favorites list, and a VERY tight runtime make me a very happy camper. I might have to poke around some more of the group's work sometime.

This is way too boring to be so popular, what the hell is going on. Blitzkrieg Bop is a decent opener right up until you realize that's the only song on the album. A 29 minute runtime is a grace from God. If I was in the 80s and this was the only album I had, I think I'd not give a fuck about music.

Didn't realize James Brown was active so early, for some reason I thought he was mainly in the 70s. I'd like to say I enjoyed this more than I did; unfortunately, most of this didn't catch me. I hope James has other records that catch my ear more in the future.

I've never been fully on the Rush train, even during the height of my prog fandom. I enjoy 2112, and I overplayed Tom Sawyer for myself in high school (still have yet to recover), but when I tried some of their other stuff (namely Hemispheres and A Farewell to Kings), it didn't leave me chomping at the bit for more. Now, though, I'm years removed from being all prog all the time, and I think I'm in a healthier spot to fully love these guys. This album is a stellar listen. Production is excellent from front to back, which makes total sense for the perfectionists that were Rush, and the performances from all members make me wanna go back to my old proghead self. Tom Sawyer, as mentioned before, has not yet restored its position for me, but I can still see what makes it so beloved, and I can respect the fuck out of it. I also was reminded that Limelight exists, whose hook is timeless in how complex yet understandable it is, really brought together through Geddy Lee's iconic voice. Red Barchetta and Vital Signs were my other favorites from this record, just great performances for both. Every song on here is at least good, though some definitely stood out more than others, and I think The Camera Eye could have earned its runtime a bit better, especially given this is the band behind the 2112 overture. Pacing gripes aside for that one song, this is a splendid listen that I can very easily see growing on me in the future. I don't think this will send me into another prog phase, but it will hopefully stay in good rotation for a long time.

I much prefer the cuts I've heard off of Disintegration to what is presented here, but this album's brevity is certainly to its advantage. I never felt particularly bored listening, and tracks like A Reflection, which reminds me of certain pieces of the Fate/Stay Night OST, and the biggest hit on the album A Forest were definite highlights. However, I don't think full records of this post-punk/new wave sound (WHAT is even the difference man) are my cup of tea. I hope the inevitable Disintegration appearance can change my mind.

While hardly an unpleasant listen, and having a collection of standards on a list like this makes sense, I really don't see myself returning at all. Bye Bye Love is the highlight for me, though moreso because I recognize it from Simon and Garfunkel's cover on Bridge Over Troubled Water.

Elvis is an important enough musical figure to necessitate a spot on this list, despite how controversial his legacy is. That said, I'm not head over heels for what's been picked here. Wearin That Loved On Look, Power of my Love, and Any Day Now are my personal highlights, though I have less to say about them than I do my least favorite cuts. The Glen Campbell cover was a vast downgrade for one of my favorite songs I found last year, and Very White Man Elvis playing a song called In The Ghetto leaves a bad taste in my mouth even disregarding his past of allegedly stealing from black artists (I don't know the reality of the situation and I don't want to say something definitive one way or the other while uninformed).

Very watery mix which threw me off. Cinnamon Girl was good, and some of the 8+ minute songs were solid, but I'm not overly excited by it.

This is the exact type of album I think I struggle with the most: lyrically dense chamber pop. Albums like this take way more time to digest than just 1 or 2 listens, so 1 day is not enough for proper judgement. That said, I understand the good in the album, and One Day Like This is a standout wonder. I'll have a more complete idea of my opinion on this record in a few months, right now I don't feel right putting too hearty a rating on it like with some other records I've seen so far.

I'm in the middle of my LCD Soundsystem obsession as we speak, and while I'd heard American Dream is a long shot from Sound of Silver and This Is Happening, I was still hopeful American Dream wouldn't disappoint too much, and I was kinda right. There were some very enjoyable cuts, though I definitely see why many were left disappointed: it's not bursting at the seams with exciting new ideas like it's predecessors, and it meanders more than even the self titled. emotional haircut and change yr mind were two personal highlights, though I'm sure further listens will shine more light on the best parts of the LP.

This used to be my 100% favorite album of all time, and while it's title is up for grabs with like 5 other albums likely on this list, I still fucking adore it. Near perfection.

A nice little alt-country record. It wasn't a complete wow-fest, and there are other country projects I'll go to first, but I would listen again at some point for sure.

I was surprised how much I ended up enjoying this record. I had tried it a few years back and didn't stick with much besides the iconic Take Me Out, but with a few years of growing I finally found something to love. It's not a perfect record, as there were a few songs with lukewarm hooks, and the version of This Fire on the album pales in comparison to the rerecording, but I enjoyed my time overall. Dunno if I'd call this a must-listen, but I see myself returning on occasion.

A very pleasant album. Van Morrison has a very uplifting voice and he knows how to write songs for it. I sometimes found myself tuning out, but tuning back in was easy and I never disliked what I heard. I'll definitely be returning to this one.

A decent listen, though my not speaking the language and the samey instrumentation makes this a bit of background music. Bonde was a solid one that I'll come back to, but I don't think this will stay on rotation often.

Before anything else, Bohemian Rhapsody deserves its status and no one will ever convince me otherwise. For the rest of the record, I think it's important to remember that Queen was never an album band. The two songs that stick with me, BR and You're my Best Friend, are the songs EVERYONE comes back to, and while there's nothing wrong with just pumping out banger singles, it does make the record feel like a bit of a waste. Most of this is just typical classic rock with some slight elements of the Queen songs you know and love. The only "deep cuts" I dig are the opener, Death On Two Legs, and The Prophet's Song, and the former gets a lot of its power from me knowing the backstory due to Mic the Snare's Deep Discog Dive series. Besides those two, I'm kinda disappointed. Bohemian Rhapsody's presence makes it so I can't hate this record, but I really think we could have gotten something more.

First new album I've heard that left me genuinely excited to hear more from the artist. Janelle Monae is a huge artist that I never bothered trying, and I'm kicking myself now because this was excellent. I'll absolutely be returning, and I hope the rest of her work is as good.

I enjoyed this way more than I expected based on cover art.

There are like 5 albums I can name off the top of my head that are infinitely more inventive than this dullard of an LP, yet didn't make the list. I get the inclusion of Elvis and Ray Charles, but I've never heard someone talk about Ray Price like that, and it really makes this list feel so much weaker.

A perfect merger of the sounds of both artists. I look forward to this growing on me as many projects by both Eno and Byrne do.

Before anything else, TIME SWEEEEEEEEP. For real though, I do respect this album a lot despite preferring the follow up. Turn to Stone, Sweet Talking Woman, Night in the City, Jungle, and of course the ever-enduring Mr. Blue Sky are all fantastic listens. This record handily deserves a spot on this list, and I wish ELO got even more love.

R.E.M.'s debut is exactly what I expected from the group, and even though it's exactly what you get from their later catalogue, it's still a lovely listen. Sitting Still is one I see myself looping often.

A better listen than I expected, though this type of album needs more appropriate weather than the foggy day I got. I also just prefer other acts from this genre and time (specifically Alien Ant Farm).

I was just thinking this morning about how much of a shitbag Morrissey is, imagine that. Yeah I don't like this in the slightest. The Smiths have some lyrical powerhouses, but Johnny Marr's songwriting prowess is always what I came for in the end, and without that, even the best Morrissey lines fall flat over this dull 80s soft rock. Also, Everyday is Like Sunday gives me retail flashbacks, so it's all in the gutter for me.

This is way too boring to be so popular, what the hell is going on. Blitzkrieg Bop is a decent opener right up until you realize that's the only song on the album. A 29 minute runtime is a grace from God. If I was in the 80s and this was the only album I had, I think I'd not give a fuck about music.

I understand that Eminem being homophobic was supposed to be part of the Slim Shady character, but I will never get behind the use of the f-slur here. With that aside, a quite solid project. Well produced, and it's Eminem at his most Eminem. When I'm in the mood for Eminem, this and TES are exactly what I want. I think I just prefer TES because it has more of the hits, and Eminem is an artist I'll proudly be a hitrider for.

I don't think I'll ever like the Clash. Every song from them that I listen to just meshes together. I'm sure London Calling is on this list, and maybe that will end up speaking to me more, but as we are I've yet to find a Clash song I want to return to.

Definitely sits in the upper echelon of classic rock. It doesn't try to do anything more than what it is and benefits for it. Straightforward while still having its own flavor.

I don't know if this is where modern country truly got its roots, but it has a lot of the worst hallmarks of it, so I'm pointing my barrel it's way anyway. Did not enjoy this in the slightest. Dwight's voice was pretty damn annoying and none of the songs hooked me. Once again, there are like 10 albums absent from this list that deserve the spot more than this record.

Motherfucker. Kanye West is an awful human being but he makes music too good to pass up. HIs debut is magnificent. Everything he made until JIK is magnificent. I hate this man. The only songs I'd drop from TCD are Never Let Me Down and maybe Get Em High. Besides those two? Untouchable in its icon status. I wish he'd shut the fuck up. But thank you for making Family Business.

An excellent listen. No more comments, I just enjoyed my time overall.

Heartland rock isn't something I can ride with for a full album, but the cuts I enjoyed were stellar. Definitely worth a listen.

Hard Luck was okay. The rest was the rest.

Lovely listen I look forward to returning to.

Overstays it's welcome. There's no reason this needs to be nearly as long as TPAB. Definitely a "one and done" type of album, where I find the tracks I like first listen and then return to those and those alone.

The ONLY complaint I have for this album is that To Zion is too early in the tracklist. Besides that minor gripe, yeah this album is flawless.

These motherfuckers have made one song their entire goddamn careers and the only times it worked were on their first song and their second song.

Great cuts off of this one, I personally prefer H61R for the generally stronger hooks, but there's some solid stuff on here. Shelter from the Storm, Simple Twist of Fate (thanks Graydon), and Buckets of Rain are my favorites.

I've heard better early metal records, but this is a great entry in the music canon, and definitely has that feeling of "these guys have potential to be big".

This is the first album here I'm listening to on vinyl! I got this one for free from my old job because someone said it didn't play right and returned it, but it looks and plays fine. Thank goodness it plays good, too, because the music is great. I've never paid too much attention to CCR, but I thoroughly enjoyed this listen. I had a hankering for some good ass blues rock, and these boys delivered. Wouldn't be surprised if this stayed in regular rotation when I need classic rock.

I've never been in the mood for this album. I respect it and REALLY like Somebody to Love, but that's all.

The most straightforward sunshine pop ever made. I do not much care for sunshine pop.

Barely beating the "one hit wonder" allegations, this is the closest any artist on here has come to the title. I think they were a consistently big deal in Europe, but over in the states it's Human and Don't You Want Me. I generally don't like synthpop, so by extension I don't care for this album. It's not awful per se, and I've definitely heard worse, but I can't say I'll come back to anything that isn't Don't You Want Me.

The most beloved Beatles solo album, I've been meaning to sit down with this one so I'm glad I got forced to. It's very long, even longer than White, and it lacks the variety of that album. I very much doubt I'd come back to it, but I'm glad I listened, as there were several songs I enjoyed.

Decent jangle pop that barely treads above water. Wasn't a fan of the first two tracks, but Tonite and Lust to Love have some pretty solid hooks that locked me in for the rest of the record. Not going back to it but not mad I gave it a shot.

Not my favorite S&G album, but still serviceable. Scarborough Fair is a classic, as is For Emily, but many others failed to leave much impression.

First 6 tracks are bona fide classics, and I love the deluxe track Quixoticelixer. Rest is just alright, but when you have Scar Tissue and Otherside back to back (the latter being one of my all time favorite songs), you can't go below 4 stars.

Enjoyable dance music that you couldn't pick out of a lineup. I hate being that guy, but it does astound me that *this* makes the list while Discovery doesn't.

Tamed Bowie, and I mean that as a compliment. Way more standard than a Bowie album, but I love it all the same. Surprise hit for me.

With all due respect Ms. Fitzgerald, I'm not listening to 3 hours of your music. I'll take the 12 track best of. Very glad I didn't go for the full cut because I was bored with the short one. This is not album music, and more than 1 or 2 tracks of this stuff wears on me quick. I imagine most albums pre-65 will have me feeling this way.

Ooooooo boy First off, fuck these zionist twats Second off, it's not even top 3 in their discography I don't know if I'm in deep enough to fully understand and love this record, but the songs that hit HIT. Paranoid Android, Electioneering, Let Down, Climbing Up the Walls, and of course the ever-flawless No Surprises. I don't love it as a cohesive project just yet, but what I respect is there.

Most of this record is just trying to recapture the magic of Relax, with mostly middling results. There were a few tracks that turned out alright, but this project is nothing without Relax frankly.

I wasn't even particularly in the mood for funk when I heard this, but I can still recognize how great this record is. Will definitely be coming back to this.

Probably the dreariest record I've heard so far on this list. Knowing Cohen was on death's door during its making explains that. This isn't the kind of music I can bump endlessly like most of the other stuff on this list, and I have to be in a very particular mood to properly enjoy it, but I know this will hit me hard when I do find myself enjoying it.

One of the most dad albums I've ever heard. I do love some dad rock, but when I call this one dad rock, it's in the derogatory sense. Title track is a classic, despite a pretty mid chorus, and Life in the Fast Lane is like half a guilty pleasure. Besides those two, though, I can't say much here left an impression. There's better yacht rock that deserves more hype.

Bowie albums take time to grow on me more often than not. This might be 5 stars someday, but right now it's just pretty good.

Proficient in every genre it tackles. Unfortunately, I don't care for enough of the genres to fully love it. I can still respect the hell out of what I heard, but it's missing a lot.

I think I'm gonna hate dad rock as much as the other music snobs by the end of this list. I didn't mind the last two tracks.

Deserves every inch of hype it receives. Though it lacks my #1 Tribe song, Award Tour, it has more than enough undisputables. Verses from the Abstract, Check the Rhime, Scenario, Excursions, Buggin Out, all god damn classics.

Probably my biggest guilty pleasure. I grew up on Paradise City thanks to the GOAT game Burnout Paradise, and despite my disdain for other hair metal acts, I've always loved GnR's offerings.

One mediocre song from perfection. The coolest music around. Take Heartbeat off and it'd top every list. Incredible soft rock album. There are 4 songs on here in contention for my all time favorites list. I wish I could speak more effectively my love for this record, but it kind of speaks for itself. It chases and perfects a vibe.

A quite enjoyable selection for a genre I'm typically not fond of. Very well composed and a lot of tasty sounds. Enjoying this more on first listen than Pet Sounds, though that album has a LOT of hype around it that may have influenced my first impressions.

Of the 5 albums in Stevie's Perfect Run, this is the one I'm least familiar with. The other 4 all have a few songs I was hooked on for a time, whereas I never found that song on Fulfillingness. There are a lot of good songs on this record; Heaven is 10 Zillion Light Years Away, It Ain't No Use, Creepin', and Boogie On Reggae Woman are standouts for me. However, it also has some of the weakest pacing of any Stevie album I've heard. Despite being the shortest of the Perfect Run, it feels so slow in some places. They Won't Go When I Go is a strong example of that. I don't hate this record, but it's definitely the weak link in an otherwise immaculate run for Stevie in the 70s. Still, a poor 70s Stevie album is better than most music, and despite my negativity, I would easily listen again and again.

Damn good listen. Industrial jazz isn't something I ever considered, but I'm hearing it and I'm loving it.

Feels like it was only really picked for Where is my Mind. The rest is fine but nothing too special. I'll probably change my mind after I go through a phase with WimM, but as is this record didn't do much for me.

The kind of album that makes me wanna pick bass up again. Incredible.

It's clear everyone on the record had more fun making the album than I did listening. I sincerely doubt I'll ever return to this one, I guess it's a popular early Post Punk record so good for it but I'd just rather listen to something else.

Pleasant dorky rock. The big hit was unexpected yet appreciated, and the rest was nice to hear. Might spin this one again someday.

Reggae needs to catch me in the right mood usually, which is just what happened this morning. Splendid listen, and I wouldn't be surprised if I started becoming more of a Reggae fan eventually.

There's a very good argument that this is the best hip hop album ever made. Incredible production by Trilogy-era Kanye and the late J Dilla, fantastic writing throughout, and some of the most powerful songs ever made in general. Thank you to Ruff Criminal for putting me on to both this site and this beautiful album.

Aerosmith is very much a "big hits" artist for me, and this album reinforces that for me. Besides Walk This Way and Sweet Emotion, which are probably the two biggest hits here, nothing caught my ear. It's not dad rock I grew up with so it has a high wall to clear.

An excellent listen that I see myself falling in love with more each listen.

Nothing like any other post rock album I've heard, which is exactly what the genre should be going for at all times. Score is reflecting where it'll be in like half a year most likely.

Pretty sure this is the first repeat artist that I actually listened to. And much like Opera, this wasn't super enticing. It unfortunately doesn't have a Bohemian Rhapsody to bring itself up so.

The first Beatles album I'm reviewing is pretty boring as a listener in 2024. Play a song off of this one next to one of the Beach Boys or Monkees tracks I reviewed previously, and I couldn't tell one from another. It's gonna take till projects post-Help pop up for me to really start digging these boys.

The Grammy's are Racist. I'll be honest I was content after Hello, every song beyond is just a test of my patience. The only other track I can even remark on is Million Years Ago, it has a "fantasy tavern" sound that was kind of neat. Not enough to return to though.

I went in fully thinking "haha funny toy story man" but no, this was a surprisingly engaging singer-songwriter album. It won't be a playlist boon, but I'll definitely be coming back to it when I'm in the mood. The opening title track is probably my favorite.

Too tropey for me I think. I like some Depeche Mode songs, but these don't make the cut.

I have heard Oasis compared to the Beatles a few times before, both in status during the 90s as well as in general songwriting. I won't touch on the former, but good god I can see the latter so blatantly. The songs I click with the most are, funnily enough, the songs that feel the least like the Beatles: the infamous Wonderwall, the of-the-time-yet-still-holds-up Some Might Say, and the grand Champagne Supernova. I won't say I disliked listening, but this one will take some time to stick fully. I might come around to the rest of the record eventually, but for now it's got some growing to do.

One of the albums I've heard previously that you wouldn't expect looking at the rest of my taste. Now a full album listen isn't really my cup of tea, and I respect it more than I enjoy it for the most part. However, Can I Sleep In Your Arms is a showstopper of a track. One of the most tender guitar parts I've ever heard, a powerful vocal and lyrical performance from Willie himself, and some stunning harmonica work make this track a healthy contender for one of the all time greats. If you try any song from this album, make sure it's that. Okay overall, but that beautiful ballad brings it up a few notches for sure.

Pretty engaging throughout, but I'll have to try it again to get more out of it.

I forgot just how many hits were on this one. Title track, Man in the Mirror, and Smooth Criminal are all classics, with MITM having been my favorite Michael song for a while. The non hits are pretty decent too: there's more that I dislike compared to Thriller, but that album is a small miracle in the density of quality, so I can let it slide. One little thing I wanna mention is that it's kinda humorous that two of the most popular songs on here, Smooth Criminal and Dirty Diana, are songs I prefer covers of to the original. Alien Ant Farm's version of SC whoops so much ass and I'll never apologize for that, and The Weeknd's cover of DD on Echoes OF silence is fantastic. Great listen overall, not my favorite from Mike but it's still fantastic.

There isn't much to say about Ziggy, it's just that good. It reaches this level off of a lack of faults.

Your bag of tricks ran out years ago, Lars. Stop trying to hide it.

No grand impressions. It's just kinda there.

To be honest, the only thing I knew about PJ Harvey going into this is that they were shouted out by E-Dubble on Be a King. Turns out that's due to him sampling The Last Living Rose off of this project. Unrelated but that's my favorite song here. Rest sounds good but it's gonna be a grower if anything.

I swear, I do really enjoy Simon and Garfunkel, I just think their best moments are individual songs and not full projects (outside of Bridge). This album hosts two of my favorites from them, the ever-popular Mrs. Robinson and the underappreciated A Hazy Shade of Winter. Besides that, though, nothing ever hooked me here. It's just a bit too slow for my taste.

The hits are the definite highlight: Money for Nothing is a bizarre yet endearing track, and Walk of Life, a song I once hated for overuse in medicine commercials, is probably my favorite on here at this point. This time, however, there are "deep cuts" that I actively enjoy, which is more than can be said for the self titled. So Far Away, Why Worry, and The Man's Too Strong are some great listens.

There's an alternate world where I love this entire album like my own son and not just the biggest hit off of it (Maps).

Despite my lack of interest in other heartland, this one hooked me. I'm very glad I gave this a shot.

Greatest grunge album ever made. Rooster is a contender for all-time greatest song. Absolutely incredible listen front to back. Quintessential.

Sick ass funk house. Drags in the middle somewhat but ends pretty well. Definitely see myself enjoying this more with time.

Incredible front to back. One of the best finds so far. Musically inspiring.

Underwhelming and unengaging.

I grew up with many of these songs, so it's somewhat surprising how little I can stand them at this point. Any soft spot I may have is more tumorous than endearing.

Didn't realize James Brown was active so early, for some reason I thought he was mainly in the 70s. I'd like to say I enjoyed this more than I did; unfortunately, most of this didn't catch me. I hope James has other records that catch my ear more in the future.

I'm not a U2 hater like the rest of my generation, but I was still surprised with this one. Lots of great stuff.

Stardust is great. I tend to prefer concept albums, but I think I like this more than Red Headed Stranger.

A rather solid listen, though I didn't get much out of this that I haven't heard from the group's contemporaries. I will say I'm surprised to hear songs like Goddess on a Hiway on a late 90s album, this would slot cleanly next to Supertramp in my mind.

The last R.E.M. album I got from this list, Murmur, introduced me to one of my most streamed songs of the year, Sitting Still. This had no such luxury. Not a bad listen, but there was no individual song that jumped out and won me over this time.

Dark But Just A Game is pretty cool! Don't kill me suburbia

Every Kraftwerk song I've heard has been splendid but I'm a bum and keep forgetting to listen to more that just The Man Machine. While I didn't enjoy this one as much as TMM, I think it was still a good time. It just had higher expectations.

Given Syd's condition at this point (kicked out of Pink Floyd and rapidly spiraling due to drug abuse), I was expecting something much less coherent, and honestly more in line with his weird cuts from Saucerful and Piper. Instead, we have quirky Beatles rock. Maybe it's the Pink Floyd fan in me taking over, but this is some of the finest Beatles-esque rock I've heard. Syd has a lot of character in lyrics and delivery, and it helps the songs stand out. I genuinely really enjoyed this, though I can only hope it stays great on repeat listens. Highlights include No Man's Land, Octopus, and Golden Hair.

One of the finest live albums. Brimming with personality that makes otherwise standard classic country tracks shine much much brighter.

Even removed from the context of Bowie's legacy and his passing the weekend after its release, this is still an incredible jazz rock album. Combined with those things, it earns its spot as one of the decade's best releases, and one of the finest send-offs that popular rock music's most eccentric figure could have asked for.

Of the 3 King Crimson albums I've heard from the original run, this is definitely the most welcoming. Where Court feels cold and Red feels straight up evil, Larks feels warm and inviting. This is the first time I feel like King Crimson are making music because they want to make it and enjoy doing so. Court and Red feel ordered by God, and Discipline, as much as I love it, feels like it was asked for by an exec to an extent. Larks though? It was made by the humans of King Crimson. It still feels like a King Crimson album, and many elements of Court will show up, but it's framed more positively, and it benefits greatly. I really enjoyed this. I looked over it too often, since it stands next to such monoliths, but even in their shadows it shines.

First thing's first, that fucking Comfortably Numb cover. Bee Gees on Floyd is an unholy pairing, but I can respect it. I can't enjoy it, but I can respect it. If nothing else it made me appreciate how odd the Comfortably Numb chorus is as a hook: I don't think it works in this disco setting whatsoever. Rest of the album is decently fun. Lovers in the Backseat feels foretelling of the Strokes output from the 2010s, which is fun to see as a 2010s Strokes apologist. I also heard MGMT in some of the later tracks. Wasn't expecting such an influential record today, but I'm glad I got to it.

I find most of this album very very boring. Most of the tracks do nothing for me, and I think for that it should be at 1 or 2 stars. That said, Sultans of Swing is one of my favorite songs of all time, and it'd be ridiculous for me to not give the album it belongs to a decent score. Congrats self titled, you're being hard carried.

I enjoyed the self titled quite a bit, yet this one left me underwhelmed. Most likely just wrong album at the wrong time, but it's still decently made. Definitely better than some other metal shit I've heard on here.

Wore quick.

Shakes itself up too much for me to stay invested.

Outrageous in its influence. It's not higher only because Electric Ladyland exists.

I got the point by the end of disc 1, this doesn't need to be a double LP. I'm sorry, I respect the Stones and they have Gimme Shelter, which remains one of my favorite songs, but 90% of their catalogue does nothing for me. I could probably count the number of songs by them I come back to on 2 hands. Tirade aside, this isn't obnoxious like a certain other legacy act with massive unearned presence in pop culture. Metallica's music is legitimately annoying outside of Hit the Lights and The Four Horsemen, whereas the Stones are pretty digestible, just low calorie (outside of a handful that I love). Big props to Shine a Light on here too, dunno why it clicked but it did.

Corporate. The exact point where U2's style became lame. Words is neat but the rest is unenjoyable.

Honestly thought this was just a /mu/core gem, didn't realize real humans knew it. Very funny that this isn't my least favorite listen thus far.

I've only ever known of Rod Stewart as the butt of jokes, so I was surprised when this record was not only very serious, but seriously good. Maggie May, Tomorrow is a Long Time, and even Mandolin Wind clicked hard. This won't be a frequent return, but I'm glad I heard it.

Just earlier this week I listened to Exile on Main Street, which I reviewed and bemoaned the Stones for only having a few tracks I enjoy. Just a few days later, I pull a second Stones album, and wouldn't you know I like a lot of it. Sympathy is an obvious classic, probably my second favorite song from the band, but tracks like No Expectations and Jigsaw Puzzle also impressed me. Again, I've tried Stones records before, and their most beloved (Sticky Fingers and Let It Bleed) didn't do much for me. I guess I was just listening to the wrong ones.

Actually surprised Bjork popped up, given how much classic rock focus the list had. For how unconventional her style of singing gets, Bjork is a very comfortable listen. She enters this album knowing the style she wants to go for, and she nails it pretty damn well. My only hangup would be the instrumentals: none are bad, but it can feel just a bit too campy for me at times (Aeroplane being the best example of this). For the more typical 90s dance that you hear on the album, though, it sounds fantastic, and Bjork knows how to work it. Bjork has another record on this list that I definitely prefer, but her first outing still remains a great one.

Depraved as all fucking hell. Fun as fuck to listen to though.

Still don't like punk.

Surprisingly solid.

I really wish I liked this more.

Solsbury Hill is the best song here, the rest is too campy for me. I didn't mind Humdrum, but SH is the only one I'll be coming back to with any frequency.

Surprised at how much I dug this one.

The Who doesn't do much for me outside of a handful of tracks (mostly just Eminence Front), so while this wasn't *awful*, it wasn't super pleasant. Cash at Folsom was a much more interesting live listen. Respect for the My Generation medley though, it was a pretty alright jam.

I've been hooked on this album since I tried Seventeen Seconds earlier this year. That album was just alright, had some great tracks but a lot that didn't stick with me. This one though? Front to back, larger-than-life magic. Pictures of You is one of the most cinematic songs of the 20th century, Lullaby is straight up one of my favorite songs, and even some of the deeper cuts (Untitled, Fascination Street, Closedown, Prayers for Rain) hit like a fucking truck in the right place and time. Disintegration is one of my favorite albums I heard this year. Some albums are placed on a pedestal, but this one strutted in to sit on the throne. Robert Smith and company are some of the only people who can make me believe in such grandiose.

As it's own album, it's whatever. The bongos were, despite being the headliner, the least interesting part of the record for me. Taking into account its influence, given it helped the Sugarhill Gang, and hip hop as a whole, gain traction? Second to none. So many samples from throughout hip hop history come from here. This is probably the album I respect the most in this whole list thus far.

Some of the better Punk I've heard here, and Personality Crisis really clicked, but Punk is Punk, so it can only go so far.

Daft Punk if they ate McDonalds

It's albums like this that suffer the most from this "1 a day" format. I enjoy what I hear on this project, but it's weird enough that it's gonna take time to grow on me. I haven't heard much Zappa beforehand, but that which I have is easily surmounted by everything on this record. I do look forward to liking it more. Also, second Fantano 10 I've run into on the list. First was The Miseducation of Lauryn Hill, and while I can definitely pick my favorite from a hundred miles out, this is still a solid time

The Eternal Question of every Beatles listener: is Revolver their best, or Abbey Road? Today, I'm willing to stand with the former. For No One, Taxman, Here There and Everywhere, Eleanor Rigby, and of course the guffaw-inspiring, I-cant-believe-this-is-from-1966 Tomorrow Never Knows. Wall to Wall classics on this project. There are even days when I can put up with Yellow Submarine. Phenomenal, and as previously stated, top 2 from the beatles.

FUCK YEAH SHOEGAZE WOOOOOOOOOOOOOOOOOOOO This is my #2 project in the genre, behind Ixtab by My Dead Girlfriend. That EP is probably perfect, and this album is close too. Suffocating soundscapes trap you in a kaleidoscopic headspace from the first seconds of Only Shallow, and through When You Sleep, Come In Alone, and my personal favorite I Only Said, the record guides you through a prismatic lazy river. Soon is the only way to let you off the ride, and it demands you come back for more. Fantastic album, hugely important, and I'm not looking forward to having to hear Souvlaki.

I like Jim Morrison's voice a lot, but the only two songs that really did anything for me are the last two.

It's pretty basic, but damn if it ain't hit me right sometimes. Am I Blue is a beauty.

Decent enough country.

Fine for what it is.

Incredible. Feels like there's a million unopened doors that will take hundreds of listens to open.

I might actually like post hardcore?

Worst band name of all time, damn good tunes.

Delightful.

Really cool that Keith is getting recognized on this list. There are other underground rap legends I would have gone for personally, but any presence at all is a shock when I'm sure the makers of the list were itching to put six more Who live cuts on. Production by Dan the Automator kicks some fucking ass, and Keith is fantastic on the mic. I'm not super familiar with his work, though, so I was not prepared for all the porn samples, an apparent staple of his work. A name like "Dr. Octogonecolygyst" probably should have tipped me off, but tracks like Girl Let Me Touch You are relentless. In spite of this, the album never lost me. It's undoubtedly uncomfortable, but it's engaging.

I definitely prefer mainline Marley, but this record was still solid.

Incredibly influential, and just good to listen to in general.

One of my favorite golden era hip hop records. Just plain fun to listen to.

There are only a handful of White Stripes songs I really enjoy, and none of em belong to this album. It isn't bad, but if I'm in the mood for White Stripes, I'm listening to the hits and moving on.

I mean it's no Finally Rich but it's pretty good

Not super hot on this compared to other Bowie. Of the projects by him I have heard, this would probably be my least favorite. There are tracks I enjoy (Lets Spend The Night Together and Drive-in Saturday come to mind), but overall it doesn't do much for me.

Nothing I wanna come back to again and again, but there's some decent stuff here.

Freaky. Excellent. Would be 4 stars if it didn't have the farts.

I was pretty content well before it ended, but it's not bad. Spoonman, Black Hole Sun, 4th of July, the title track, Fell On Black Days, all very good songs. I won't return to the full thing too often, but I respect it, and if I'm in the mood for grunge, this will be a frequent option.

Led Zeppelin is a complicated figure in popular music. They lifted a LOT from black artists without due credit, and owe a lot to people who never saw just compensation, but at the same time I consider many songs of theirs my favorites. Most of those fall on LZ4 and Physical Graffiti, but LZ3 has some good stuff. Hell, I'd say LZ3 is almost better than LZ4 due to the more well-rounded nature of it. That "almost" comes from Immigrant Song. I could never hear the song again and it'd be too soon. I overplayed this song to hell and back, and I feel less than nothing hearing it now. Besides that, though, there's a lot of solid cuts. Celebration Day and Out on the Tiles are the two highlights I found, but pretty much everything that isn't Immigrant Song was a good time. Solid listen overall. If it had a Kashmir or a When The Levee Breaks, it might go even higher, but as is it's just an occasional runback.

I may have gotten more out of this if I'd ever heard a Frampton song in my life.

I KNOW YOU AND YOURE JUST A LITTLE BITCH

A delight.

The nose line on Andy's Chest is generational.

Very strong start, though it kinda lost me by the end.

Perfectly acceptable.

Cool cool jazz.

Apparently this is the Metallica album worth a shit. Orion was okay. I shall be merciful.

I actually enjoyed the front half quite a bit, but Chemical World and Oily Water butchered the pacing for me.

Maybe I just hate James Hetfield specifically

Unfathomably beautiful. Always leaves me a little more hopeful.

Can't explain why, but this was much more fun than other rock n roll records of its time.

Better than Apoc but still not SUPER into Public Enemy.

Bitter Sweet Symphony is one of those all time classics, but the rest of the record is wayyyyyyyy too long for my tastes.

Excellent vocal pop.

Deserves more conversation than AYE honestly.

Unremarkable.

Supreme dadness

If I never heard a sex interlude for the rest of my life it would be too soon.

Varied in genre, yet consistent in atmosphere. Very enjoyable throughout, will definitely keep this in rotation.

Exactly what it say on the tin. Nothing groundbreaking but a pleasant listen all the same, with the brevity being a big plus.

Very strong start and I can easily see how it influenced folk going forward. Wish the back half was stronger, but there's still a lot of goodies.

My introduction to and favorite from Kraftwerk. Kicks me right back to high school when I'd loop this in my car daily. Even though I listened so much, I'm only really tired of The Model, but even that is still a great tune. I won't try to decide how it stacks up with the rest of the musical canon, all I care about today is that I fucking adore every minute of this one.

ANYBODY CAN GET IT THE HARD PART IS KEEPING IT MOTHERFUCKER

Darker than any Common project I've heard previously. It's weird, it's baked in Soulquarianism, it's a beautiful work. I expect to love it even more as time goes on.

Hardly exciting but perfectly digestible.

One of my favorite metal albums. Every cut here hits, even if it isn't as hard as it was in 70.

Currently in a bit of an overplay era with this album, but even that can't keep me from calling it one of the best pieces of music ever made. When Doves Cry and the title track alone earn it that mark, but then the rest is just as good. Wonderful listen, quintessential for anyone who invests any time in music.

It's post punk so I'm more inclined to like it, but it's still punk.

I've heard this is considered the father of the 80s sound with those gated snares, and I can respect that. There's also more tracks I'm willing to return to than Car, so I'd consider this a step up for Mr. Gabriel. I still prefer his Genesis stuff I think, but this is still great.

The thief in the title refers to Israel, whom Thom and Johnny both support in the illegal occupation and outright genocide of the Palestinian people. I love Radiohead's music, this album is solid and Kid A is one of my favs ever, but it's getting harder to enjoy the music knowing the people behind it support genocide so wholeheartedly.

First disc didn't do much, but after Who Is It things picked up for sure. Psycho Killer is an obvious classic, but tracks like No Compassion and Pulled Up are also splendid.

Black Sabbath

One trick ponies, and the singer's voice really grates on me after a few tracks. I'm slightly merciful because I kinda enjoy Been Caught Stealing

I Don't Care What Any RYM Using Fantano Loving /Mu/ Denizen Says

I prefer later goth records that really turned up the dramatics.

There are a handful of songs I truly love here. Pitch the Baby, Iceblink Luck, the title track, and Fotzepolitic are all stunning, and I wouldn't say any individual song is that bad. However, this album is rather tiring for only 37 minutes. If the song clicks, I love it, and if it doesn't, it can feel like a drag. The best way to enjoy this album is by picking a few tracks at a time. Any more and my patience wears. If I liked it as a full listen, I might bump another star, but as is I feel like it's lacking.

The last album Cash released in his lifetime is likely the strongest studio LP of his whole catalogue. With the jaw dropping cover of Nine Inch Nails' Hurt and the closer We'll Meet Again, it really shows that Johnny knew his time was coming, and was ready to mourn and celebrate in the same hand. Beautiful list of covers and standards throughout. The aforementioned Hurt is one of those covers that basically belongs to the artist who coveted it now, which is impressive given how Reznor's original is already a fantastic song. In My Life, while not totally eclipsing the Beatles original, is definitely a preferable listen to my ears. The only song here that makes me scratch my head is Personal Jesus. It's not a bad cover technically speaking - Cash does well translating the electronic-heavy Depeche Mode original to acoustics, and his voice is as good as any of his late-career work - but Personal Jesus is written for and boiled in the electronic aesthetic, such that stripping that away makes something feel missing. Additionally, Dave Gahan's vocals are pretty intrinsic to the song, and Cash can't compete in the dramatics. I wish Streets of Laredo, Tear Stained Letter, and I Hung My Head would get more love from the public as well. Can't say much more, I just love them and listen to them often outside of the context of American IV. Excellent project through and through. Even the Bridge Over Troubled Water cover is good, a rarity for me since I think the Simon and Garfunkel original is nearly perfect. Cash sent himself off in the best fashion one could wish for.

Otherworldly in every sense of the word. If there is such thing as rebirth, this is what the process will sound like.

Instrumentally sound, but Ian's vocals are genuinely unbearable to me.

Didn't enjoy this one as much as C'est Chic, mostly because it didn't have an anchor song like Le Freak. Good Times is solid but nothing else stood out to me.

One of the better early Beatles albums I've heard, though still a far cry from the later stuff.

Haunting and beautiful.

I've listened to this record a few times previous, but now is the first time I truly feel like the music lives up to the cult legacy. Absolutely foundational for the biggest post-rock acts of the modern day, and worth digging into on its own. I'm not 1000000% on the train yet, but I won't be surprised if I get there in time.

The voice was a coin flip on whether it worked for me, but it was pretty beautiful instrumentally.

I could see this album growing on me in the future, but it's pretty boring on first listen. Only a handful of tracks I'd say stuck with me.

I went in with pretty low expectations, figuring that Just What I Needed, a song I adore, would be the only real highlight, but to my shock and pleasure this is really fucking good! To begin with, I forgot about Good Times Roll and My Best Friend's Girl, two songs I don't frequently play but still dig a lot. Those, combined with the aforementioned brilliance of JWIN, made for a severely underrated opening three track run. The deeper cuts didn't disappoint either; I'm In Touch With Your World and You're All I've Got Tonight were splendid, and the groove on Moving in Stereo (not a deep cut based on YTM play counts but still one I forget about often) is absolutely amazing. The only track that didn't really click on first listen was Don't Cha Stop, and I wouldn't be surprised if that changed with time. Very impressive listen. Several classic hitters of the early new wave scene, a song that scratches my favorites list, and a VERY tight runtime make me a very happy camper. I might have to poke around some more of the group's work sometime.

This is definitely the highlight of MGMT's career, their most consistent and generally best batch of songs. It doesn't really wow me too much though, besides the delightful and emotional Kids, as well as Electric Feel (which is about a handjob :trueing:) and Time to Pretend. Basically, I am a singles merchant with this album. I feel like I should like this record more than I do.

A late classic from first-wave prog. The first two songs are definitely the highlights, with the Overture being the majority of the album and A Passage to Bangkok being a great radio banger, but the rest of the tracklist plays great support. I think I prefer the project to Moving Pictures, but they're at similar levels overall.

There are certainly some cool ideas here, and it feels very close to being ahead of its time, but it just doesn't stick the landing for me.

Slowly realizing Talking Heads might just be a hits band for me.

I'm left as unimpressed by this record as any of its contemporaries. This brand of "critically acclaimed by default pop rock album with chamber elements" does nothing for me at all.

Okay Brazilian metal I see you...

I don't know what it is about this one that clicked, but I actually dug a punk album.

This album is a trap. Many young music listeners such as I were introduced to The Wall at a young age, and without much other musical experience, we falsely believe The Wall is the greatest piece of music ever created. We obsess over it and get into arguments to defend the honor of a record that does not need its status defended. Finding this record too soon in one's life can be disastrous for your musical journey. Fortunately, I was able to escape The Wall, and I've heard so much more great music that can stand alongside the wall. After years away from my obsession, I can appreciate the greatness of the album while still recognizing it's sore spots, namely the second disk. Yes, it has Comfortably Numb, the In The Flesh reprisal, and The Trial, but many other tracks just feel so insignificant. The pace of the record as a whole drags in the middle, and while it does eventually pick up again, it's still not perfect. Still, though, disk 1 is nearly flawless. The run from In The Flesh? to Mother is jaw dropping to this day, and later tunes like Young Lust and One Of My Turns keep the good times rolling. None of this even mentions the concept and plot of the album, AKA the biggest reason young tweakers like myself find it so immaculate. Some people call it heavy handed, I remind them that they're listening to a rock opera. If you can't handle The Wall, you can't handle that medium in general. I still love this album. I've reached the other end of the bell curve where I know so much music and can still find a place for The Wall. Issues aside, it deserves its status. They can never take Comfortably Numb, Mother, and Part 2 from me. P.S. this album is making me really mad about only having a 5 point scale, it's like a 9/10 for me which is dead between 4 stars and 5 stars.