Rap-rock done right, with a heavy leftist message. Aggressive, heavy, and groovy. Memorable bass playing that stands out but isn’t flashy, with Morello’s signature oddly effected guitar squealing and scratching on top along with plenty of heavy riffs. De La Rocha’s vocals are delivered with intensity and deep anger at injustice and really elevates the music. Vocals/lyrics aren’t the first thing I pick up in music, but he absolutely commands your attention. It kicks ass, it’s fun, it grooves, it sends a message - and it does it all at a high level.

Indie garagey rock with some jamming and psychedelia. There’s a loose feel to the music but the band is quite nimble, able to pivot quickly in and out of typical song structures and varying rhythms and riffs in instrumental jams. It’s an interesting mix for a recorded album, but it works well. The instrumental sections come rapidly, generally change the feel of things for a bit And then head out before outstaying their welcome. The interplay between the band works well, with guitar melodies that circle around your head while the fuzzy bass fills in melodic gaps locked in with competent drumming. The music is busy, but not overwhelming. I don’t know what the lyrics were and honestly don’t care, it’s not about that. It’s interesting and unique music that combines a bunch of interests into its own sound. Though I prefer the heavier, more complex, and jammier songs to the more acoustic and songy-er songs.

cant say I’m feeling this one. It feels more in the realm of disturbed ambience, rather than industrial (with some exceptions like Walls of Sound). A bunch of it is just noise that isn’t necessarily irritating, but it’s also not interesting. It didn’t get much reaction from me other than boredom. A couple of the actually “songs” remind my of Chrome…but again, not really interesting. Do people like this for the challenging and subversive nature, or do people genuinely enjoy the way these sounds are arranged? I’m pretty open minded, but this ain’t it. AB/7A is a pretty rad track though.

Why must I listen to this before I die? It was fine, some pretty good songs, but also very forgettable. Doesn’t seem particularly unique, influential, or important to make this list. Decent sound, some good hooks, but not a lot stands out to me about this albums. Decent enough listen, just low impact for me.

Not sure why this must be heard before I die. It’s pretty straightforward, and somewhat bland, rock with some folky leanings and some dramatic flair. Nothing stands out to me here as innovative, notable, or even interesting. It’s just there and essentially had no impact on me. At first I thought it was just boring, but eventually it got frustratingly boring.

This album came out when I was 12-13 and I was the perfect candidate for its sound and message. It’s had a lasting impact on me. It may not be perfect, but is always a fun and enjoyable listen and still sounds fresh 20 years after its release. Catchy songs, punk energy, expanded creativity and musical range, and an underbaked but relatable concept makes American Idiot a 5/5 for me.

Some of the best solo jazz piano you’ll ever hear. Great upon a first listen and gets better with every spin. Impressive, extended improvisations that don’t get dull or wanky. Excellent for active or passive listening.

Good Bowie, but not peak Bowie. Primarily piano or acoustic-guitar led arty pop rock (turning down from the harder rock of The Man Who Sold The World), with some solid and tasteful bass lines and perhaps the start of a distinctively Bowie sound. As always for Bowie, quality vocal melodies and performances. Has a couple of all time tracks (Changes, Life on Mars?, Oh! You Pretty Things) and a handful of fine/enjoyable songs, though somewhat unmemorable. Enjoyable listen all around, but not a high impact Bowie album. I don’t see myself contemplating this album in days to come or feeling that I need to revisit often. Some of these sounds and ideas are revisited and perfected in Bowie’s subsequent album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I’ve never quite understood the critical beliefs that this is one of Bowie’s best.

This pop rock album has some really strong sections interspersed with a few weaker tracks. There’s times when I’m really in it, but occasionally my interest drifts. Solid compositions/arrangements, quality performances (love the bass), nice groove, and great vocal melodies and harmonies. After a strong start, things begin to slow down a bit in the middle of the album. Mostly solid songs but the album is a bit long. My attention starts to wane a bit mid-side B through mid-side C, but then the album comes roaring back for a few songs. I prefer the uptempo rocking songs & sounds with a bouncy feel to most of the slower, ballad types. Overall, a good pop rock album in which the highs outweigh the lows. May have benefitted from being a bit leaner, but an enjoyable listen nonetheless.

This garage/art/dance punk album oozes energy and drips with attitude and coolness. It makes you want to move in some way or another. Karen O delivers a unique and memorable vocal performance and is a quality frontwoman. Riffs are simple but catchy. Drumming feels both loose and tight at the same time. Every move the band makes serves the song well. This album was made for the sweaty underground and hardly has a dull moment (most songs aren’t long enough to get bored, and there’s enough diversity between them to not get same-y), keeping me entertained fully through.

This indie pop record about love and loss knows how to let songs breathe. The parts are sparse and they make nice use of quietness and silence. The albums mixes electronic elements with simple basslines and reverb dripped guitar melodies. The dual female-male singers work really well and complement each other nicely, delivering emotional lyrics with a quiet shyness to it. This is a well-made record, but the songs just don’t hit me that hard. I enjoy listening while it’s on, but don’t find myself thinking about it later or feeling like I need to go back.

This was a pretty strange album and tough to digest in a way. Sometimes experimental and weird, but also feels somewhat accessible (I’m pretty sure it’s not actually accessible). Wyatt’s voice is simultaneously haunting and comforting. Some interesting musical ideas that can be very psychedelic, but not always in a typical way. Some songs, or parts of them, occasionally lose my interest. Certainly a unique album that has plenty of diversity throughout but feels cohesive. I like it and it could grow on me over time, but hard to say.

A mix of orchestral and psychedelic funk and soul. Only a few songs have Hayes’ butter smooth vocals, but the rest are well-composed and well-played material. Some strong grooves with more mellow tracks interspersed. While I dig the album overall, it sometimes feels like background music (which it is for a movie) and doesn’t necessarily require intensive listening - though close listening can also be rewarded with the details of this excellent instrumentals. The almost 20 minute “Do Your Thing” stands out as a rocking jam that moves through several grooves.

This R&B/hip hop album with a bit of reggae flavor is ok, but not really my thing. Some nice beat variety throughout, though beats within songs are pretty repetitive and don’t move much. Some thoughtful lyrics, while many are just ok. Dy-Na-Mi-Tee is a pretty rad and catchy song, but that’s the only one that’s sticking me from this album. I don’t actively dislike it, but it’s not leaving a memorable impact and I’m unlikely to go back to it.

Decent hip hop album with a group trading off raps. Some nice diversity in tone, flow, rhymes, and beats. Beats are easy to groove to, and sometimes quite funky. Very old school vibe, somewhat surprising to hear that this came out in 2002. Overall, this album is really about the sound -the groove and vibe. While lyrics can be clever, I’m not really sure what they’re rapping about most of the time or that they really have much of significance to say. Enjoyable listen but not a significant impact on me.

One of the best hip hop albums of all time by one of the best groups to do it. Super creative, fun, and groovy. The beats are genius with a lot of diverse samples and keep you want to dance or nod your head. The raps are clever and will keep a smile on your face, with some laughs. Rewards repeated listening, which this album has earned. I really can’t say enough positive things about this album - one of my all time favorites. Absolute classic.

A combination of folk, rock, and country…a great example of cosmic country. Phenomenal songwriting - the lyrics are thoughtful and timeless. The music it’s set to is interesting and well-played. A comforting album to listen to with a cohesive sound but never gets boring. Vocals from several different members gives the songs different feels, and there are some beautiful harmonies here. Some all-time songs that are truly moving, like Ripple, Brokedown Palace, and Attics of My Life, and also some fun rockers, like Sugar Magnolia and Truckin’. One of the best of all time.

Occasionally interesting indie/art pop rock, but this one mostly misses for me. Vocals seem to be a decent quality but I just don’t particularly enjoy the dramatic sounding style. General music has some entertainment value (some cool guitar sounds), but not enough to make me particularly enjoy this album or want to return to it. Not particularly bad or annoying, just not really my thing.

This trio of vocals/guitar, acoustic bass, and drums lives on chill vibes, moving between hip hop, alt rock, blues, and jazzy sounds. It’s really all about the feel, less the content and meaning or moving instrumentals. Songs are alright - most have a nice groove but pretty insignificant lyrics or catchy melodies. The vocalist is also alright, he has a smooth casual delivery but doesn’t do much to impress. This band sounds best when they fall apart a bit and sound like shit. Somewhat enjoyed this but it also didn’t impress either. Runs a bit longer than it needs to. Not sure if I’ll come back to it, but if I do it’ll be more as background music than close listening.

This pop record covers and blends music from many different genres. It has a great and pretty consistent groove, making you want to move. Bass playing is consistently strong, vocals are impressive (he’s really got a great voice), with fairly interesting instrumental flourishes throughout the songs. For instance, a close headphone listen if Don’t Stop ‘Til You Get Enough (standout track) revealed more musical density and brief interesting lines than I had ever heard in the song before. Pretty fun album that I enjoyed more than expected, even if it’s not where my main musical interests lie, though the slower songs are a bit dull. There’s enough ideas and groove to keep me entertained.

Decent album. Not a bore but also didn’t grip me. Somewhat standard indie rock for the time with sometimes interesting instruments, lyrics, and themes. Has some nice moments like the end of No Cars Go. Good enough of a listen, but also not a standout to me.

This very 80s-sounding pop album is not for me. The opening track, “Faith”, is decent enough and pretty catchy…but then it’s downhill from there. The 9 minute “I Want Your Sex” was kinda cringey to me (“I’m not your father, I’m not your brother”) and ran on very long. Monkey was a ridiculous song. He’s a good singer and the music is decent, but doesn’t really hold my attention. I have no doubt that George Michael is very talented, just not very entertaining to me.

This album was something unique and pretty cool! The singer is great and the backup vocals are great complements and make interesting environments for songs. There’s an intriguing African flavor and culture to it while it remains very accessible. Songs range from fun/joyous to sparse and beautiful. Instrumentation is fairly minimal but sets the stage for the vocals nicely.

Solid soul album with progressive and psychedelic flavor. The rhythm section creates a nice pocket groove - which amazingly was all played by Shuggie Otis! He’s got an undeniably smooth voice and is a talented musician and singer. The addition of strings and brass to some songs fill out the arrangements and set the mood. A few nice instrumental tunes. Enjoyable album overall.

Given their trajectory, it’s easy to forget that Coldplay were initially a decent alternative band, blending soft and space/atmospheric rock elements. The first few songs are enjoyable and have some nice guitar work. Chris Martin can hit a good falsetto. The album sounds really clear and smooth, it’s produced well. My interest waxes and wanes throughout. High Speed sounds like it could be a Radiohead jaint. It’s decent music, but they have no edge at all. Liked it more than I thought, but also nothing that’s leaving a major impact on me.

R.E.M. sounds uniquely like themselves, always identifiable - particularly Stipe’s voice. Generally good songwriting here - some good lyrics, solid hooks, enjoyable music. Some fun, some tender, serious, silly, upbeat, slower. It shows nice range in the band. Couple of excellent songs, couple of misses. It’s a well made album and enjoyable listen, but I’m not sure if the album sticks with me long-term. I was grumpy on my first listen and thought that colored my view but a later revisiting didn’t change much.

Holy shit, this album rips! This is rock n roll baby. Jerry Lee Lewis sets the piano ablaze and breathes the smoke through the microphone, and the band is right there with him. The energy never relents and the tempo only does for one number. How much speed was Jerry on this night? Very difficult not to move, or at least tap your foot, to this music. This is what the early days of rock were about.

Evil? Evolution? Either could be used to describe the dissonant sound of this album that finds Sonic Youth applying their no wave roots to a form that will develop into their own unique sound of rock. Cacophonous, but masters of their craft Sonic Youth never lose control or slip into the random. It’s organized, thoughtful chaos and noisiness. Very creative rock, with a unique guitar duo aiming for texture as much as riffs. A simple, driving, almost primal sounding rhythm section supports the guitar assault. Songs involved periods of quieter ambiance and crescendoing power. Album closer, “Expressway to Yr Skull” is SY at the top of their form and one of the best songs across their career.

Queen, another band that had their own very unique sound that I guess you can call prog pop rock if it needs definition. The band’s talent shines and diversity through on this album. The vocals are stellar (both lead and backing), strong guitar playing (with May’s signature harmonized riffs), interesting bass lines, tight drumming, and solid production to hold it all together. Songs are well written and arrangements are always interesting, ranging from thoughtful/more serious to very quirky, whimsical, and jaunty. They show off their full range here and every moment seems carefully thought through. Obviously, Bohemian Rhapsody is one of the most iconic songs of all time. It’s a fun album, but a couple of ok songs and my lack of complete enthusiasm for Queen’s schtick (I like it, but don’t love it), prevents it from being a 5 for me.

Solid piano rock with progressive tints from Elton John again. Some elegant arrangements here, sometimes including strings and an interesting accordion (?) solo. The first two songs are Tiny Dancer and Levon, creating a pretty strong emotional 1-2 punch, and generally storytelling and somewhat visual lyrics across the album. Vocal melodies and harmonies are well-designed and performed. I was surprised to hear this came out before Goodbye Yellow Brick Road (an early assignment for me), because the arrangements generally seem more developed and complicated. Started zoning out a bit as the album got to the back half.

Exciting live blues from the main Muddy Waters. Everything is quality here - Waters is a commanding frontman and him and the band supply plenty of energy. Playing is tight all around. Songs range from raucous to slower and more somber blues. It’s all good stuff.

I love this album. Long, dramatic songs with a great groove and room to breath. This is innovative, progressive/psychedelic soul at its finest. Stellar instrumentals (tasty ass guitar licks, bass in the pocket with solid fills, strings and brass for added effect) and classic smooth delivery from Hayes. “Walk On By” is a phenomenal long journey (sampled in some great rap) that hits an exciting climax. The tempo picks up for “Hyperbolic…” but the tight groove sticks around. “One Woman” is the most classic sounding soul track, but a high quality one. The album ends with “By The Time I Get To Phoenix” which can only be described as epic, story telling in a song. Just a great album that rewards close listening. What other soul album could have 4 tracks take up 45 minutes and never get dull?

Competent glam rock, but nothing that really excites me. Good playing, some decent hooks, but just overall not really a standout album to me. Sounds like a less interesting version of stuff Bowie was doing at the time. Decent listen but not long-term impactful to me.

Competent glam rock, but nothing that really excites me. Good playing, some decent hooks, but just overall not really a standout album to me. Sounds like a less interesting version of stuff Bowie was doing at the time. Decent listen but not long-term impactful to me.

I didn’t save my initial review. Sinatra js a quality singer with a good band, which makes this release entertaining enough. But the songs sound similar and the album drags a bit for me. A couple of classic songs but not doing anything special for me

Track 1 “yours is no disgrace” comes out swinging and shows the quality musicians that the Yes guys are. Howe and Squire stand out to me on guitar and bass (great bass tone!), but keys, drums, and vocals/harmonies are all quality. This is all pretty classic prog rock - strong musicianship, bending songwriting, solid arrangements. But Why do they need to sing so high all the time?

Bowie’s death album - it’s hard to decouple this album from that. The album is haunting, the effect to which is enhanced by his passing. This album gives songs room to breathe, but still has interesting production/arrangements and nice flourishes to fill out. Drums on this album make some interesting beats and stand out more than other Bowie albums. Singing is often slower, longer, and with lots of vibrato. The title/first track “Blackstar” is a standout that brings the listener along on its journey, and that and “I can’t give everything away” are phenomenal bookends to the album.

This album mostly sucks other than the Rollin’ songs - which it’s hilarious to have 2 different versions of the same song on one album. Those songs kind of suck too, but can be partially enjoyed. It’s overly long for how similar the songs are - maybe this would be tolerable at half the length. I don’t vibe with Durst’s tough guy schtick, and his melodic range is severely limited…but not like his rhythm or lyrics are more impressive. He’s the worst aspect of this band, as some of the music is decent and Wes Borland’s guitar parts are occasionally interesting. There’s much better nu-metal out there.

Why must I listen to this before I die? It was fine, some pretty good songs, but also very forgettable. Doesn’t seem particularly unique, influential, or important to make this list. Decent sound, some good hooks, but not a lot stands out to me about this albums. Decent enough listen, just low impact for me.

I dig this noisier, indie, less poppy, more lo-fi Blur. This is a band I never really got into, but dig this album. As a big Gorillaz fan, can hear some of the music moving in that direction a bit. The album may be a little longer than it needs to be, but is full of interesting ideas and sounds.

This disco album doesn’t really do it for me. The singles are solid dance music that can get the masses on the floor (“We Are Family”, “He’s The Greatest Dancer”). The rest/slower songs don’t add much value. Some quality funky/groovy instrumentals - particularly the bass. There’s good quality across this album, it’s just not really my thing.

Peculiar, unique, and bizarre psychedelic/experimental folk music. Love it or hate it - it’s undeniably an intriguing listen. I’m somewhere in the middle, it’s not going to be a favorite album of mine but I certainly didn’t dislike it and overall enjoyed the experience. Unconventional song structures a a variety of worldly string instruments makes this album sound like no other. Worth a listen and wouldn’t mind coming across it in the future, but probably not seeking it out often.

Decent 60s psych/garage record. Some songs hit pretty hard with the fuzz tones (Too Much To Dream) while others have a cleaner, dreamlike feel (Train For Tomorrow). Enjoyable record, but nothing mind shattering here - though perhaps it was seen that way more at the time. Some nice use of effects (fuzz, trem, reverb/echo) to create a psychedelic feeling without relying on the effects to make the song. Couple of weird choices that are duds and break up the feel of the album (Toonerville Trolley).

Good Smiths album, but not my favorite (that would be The Queen Is Dead). Girlfriend in a Coma is great though. It’s still very Smiths-y with a little more flourished instrumentation (making their music sound as dramatic as their lyrics), with the typical Morrissey-isms and Marr-isms. The songs and lyrics don’t hit me as hard as their previous release, but not sure if that’s due to the quality or me being less familiar with them. Still a strong album and good listen, just not their top in my opinion.

This rootsgbpop album from Springsteen is considered an all-timer, but doesn’t hit me that way. He sings stories of normal, working-class people played with competent musicians. It catches my attention at times for some more picturable stories and moments of pleasurable music, but overal doesn’t majorly appeal to me. Some great songs and segments (Glory Days -> Dancing In The Dark), but the record as a while doesn’t majorly move me. A little too sleek sometimes and would benefit from a sloppier, more raucous feel. Something id potentially revisit with time, but didn’t hit me hard the way it seems to for many. Not sure I feel the major appeal of this, though I’ve never really gotten into Springsteen. The musicians are competent, the lyrics tell some stories I can picture, but overall the songs don’t resonate with me in a strong way. It’s got a pop roots feel that doesn’t do much for me. I can understand why this may appeal to others, but it’s not something I’m wowed by personally.

my review got deleted…solid honky-Tonkin country blues from the Stones. Solidnkeith Richards playing throughout. An album thay hits opposites - fun and serious, tight and loose, precise and sloppy, rockin and quiet.

interesting, somewhat traditional (I think) sounding Indian album. Very different in instrumentation, rhythm, and flow from Western music. I enjoyed listening, but think this one would take me repeated, deep listens to really fully grasp. Had some amazing moments and cool and trippy sounds, but didn’t fully hook me the whole time. Will probably revisit, but not a top standout for me immediately.

Definitely not impressed with this one. The woman singing was pleasant enough, but then the guy comes in after a few songs and kills the vibe - he just doesn’t have an impressive or interesting voice. The grooves are ok, but nothing that truly gets me moving. The songs don’t build, progress, or generate excitement. Not sure what is significant about it overall. Wouldn’t care if I never heard this again, just not really digging it and find it boring.

Raucous, sleazy, fun, and energetic glammy garage rock that set the stage for punk to launch. Great riffs from the legendary Johnny Thunders and David Joahanssen up front brings an inspired trashy energy to the vocal delivery and whole band. Just a top notch record all around with a persevering influence.

pretty catchy 80s new wavey synth pop rock type stuff, the blends and melds a bunch of influences into its own sound. Appreciate that the band is led with simple but memorable, melodic basslines. I knew 3 tracks already from covers (Rio - Goldfinger), not realizing it was Duran Duran (hungry like the wolf, also covered by Reel Big Fish…what’s with ska bands and Duran Duran?), or the David Lynch tribute concert (The Chauffeur), which were the standout tracks to me. Liked this more than I would expected… don’t think it will go on to crack the regular rotation, but could be worth revisiting.

a classic - the start of a fruitful collaboration between Neil Young and Crazy Horse that I thoroughly enjoy. Nice blend of hard and raw rock with some country and folk influence. Starts with the powerful but groovy riff of Cinnamon Girl, a few folky ditties with nice harmonies, and some excellent longer form jams with Down By The River and Cowgirl in the Sand. Some great lyrics throughout. Solid guitar playing and the band just has the right feel - loose, grooving, interesting but not showy… it feels both rehearsed and improvised. They just sound the way a great band should sound. Excellent album.

Pretty catchy pop rock with good music and solid hooks. Lovefool was a huge hit, but a lot of solid songs that I didn’t know - including a bizarre but cool laid-back psychedelic tinged Iron Man cover. The vocalist has an alluring voice that fits the music well. Some cool basslines - sparse but a little funky and hooky. Not too many boring moments but also not too many peaks - a generally entertaining and fairly consistent album.

My favorite Smiths album. It comes out roaring with the drums and bass of the title track before going into the bouncier Frankly Mr. Shankly. Nice guitar work from Marr throughout, ranging from aggressive to jangly. Good basslines throughout as well. Some classic songs here, particularly “There Is A Light That Never Goes Out.” It’s got sad boy emo but also silliness and lightheartedness to it. Morrissey actually has a good sense of humor here with a tinge of self-loathing. The Smiths at the top of their game.

germs are certainly legendary and influential as an early hardcore punk band. Darby Crash is a wild front man. There’s no melody - just growling punky poetic lyrics. His voice and timing kinda sucks, but that’s why it’s so punk. Lorna Doom (couple of cool basslines) and Pat Smear do what they can to hold the band together - sometimes they do and sometimes they don’t (again, very punk), though the drummer is pretty competent and quick. These songs spill energy, chaos, and aggression. Some top notch, some okay. It’s a huge album in punk that I appreciate and enjoy, but not a 5 star level for me.

a premier example in sample-based beats. Experimental, innovative, somewhat psychedelic, but also just a ton of fun. The sonics here are outstanding and the music is as essential to this album as the rapping. Samples come from a wide variety of sources and really make this a particularly interesting and unique album that’s both insanely dense but also smooth and not overwhelming. The Beastie Boys are in top form on this one - some people may not like their sound but if you do, this album hits all the right notes. Plus, it has 5-Piece Chicken Dinner. An essential album for anyone who enjoys hip hop. It’s great on a first listen, and the appreciate and respect just grows the deeper you dive - infinitely rewarding.

Johnny Cash, the master of the prison live album. This may not reach the highs of Folsom Prison, but is still a kick ass performance of outlaw country. Cash’s voice sounds great while his band smokes and shuffles behind him. Cash has discovered some way to convey sadness and humor, seriousness and carefreeness, heaviness and lightness- all in the same line. There’s just a magic in the air here that makes it an excellent listen. The album is short and contains a repeat which reduces my enthusiasm a bit…but the legacy edition contains an extended concert. 4 for the regular release, 5for extended.

a dreamy, soundscapey pop album from the Cocteau Twins, who I never really got into. The instrumentals are pretty nice here - they’re lush and have that floaty vibe to it. The vocals aren’t as enjoyable. Sometimes they add to the floating, sometimes they pull me back down. Plus I have no idea what they’re saying. Overall, it’s fine - don’t love or hate it. Some moments are pretty pleasurable but also can get a bit boring or just feel like it’s missing something. Or maybe it’s me who’s missing something…there are aspects of this that make me want to revisit, but the music just leaves me wanting something more.

synthesize me cap’n! Need to spend more time with this one but cool soundscapey, kinda ambient but kinda in your face synth album. Interesting listen.

My reviews keep getting messed up.l, but this was a snooze fest. Some kind of soft pop with smooth instrumentals, but not a good smooth (more of a sterile smooth jazz). Music you would hear your weird aunt listening to when you were young and/or the theme song to a cancelled pilot about a boring family with a dog named Benny. Not for me at all.

Amy winehouse has a sound that calls back to original soul and R&B while still managing to sound contemporary. This is an album that covers tough relationships - both boyfriends and alcohol. It’s a well made album with evocative lyrics, a strong vocal performance, and solid instrumentals to back it. The title track is a hard hitter, with a lot of guilt, pain, and regret throughout the album, but also some independence and power. Overall a solid album that I generally enjoyed, but unsure how much I’ll come back.

Not my favorite Sabbath, but a strong effort nontheless. Their cocaine album. Carries their signature sound with some evidence of development and maturation in their songwriting. The album is definitely heavy, but still had more sensitive and lighter moments. Lots and lots of riffs. As per usual, they’re great riffs and playing across the board. Iommi and Butler light it up, Ward holds it all together, and Ozzy does his Ozzy thing.

An interesting album that mixes sounds and genres to make something unique in the indie/art rock realm. The drumming stands out as driving the songs, along with strong vocals that fit in with the rest of the music but also seem to be outside of it? The music can be dense at times, tying in some interesting electronics too. A lot of different directions, but it fits together into a cohesive sound.

a truly unique sounding post-punk band. Singer David Thomas delivers his high pitched vocals sounding fairly deranged, and the music is right there with him. Bass playing is right out front and finds some solid grooves with the drums. The guitar, synths, and sax squeaks and squonks around the rhythm section to build the atmosphere. Quite out there overall. It can be grating or groovy depending on your preferences, those who really like it will find some of both and be pleased with the result.

Folky, indie rock with Mexican flavor. Arrangements and added strings almost give it a cinematic feel at times, somewhat reminiscent of music from a Spaghetti Western. Has some good moments but overall not findings songs that I find very memorable or impactful.

Timeless classic. Not much more else needs to be said.

Paper Tiger is a straight ripoff of Serge Gainsbourg’s Histoire de Melody Nelson, but it’s well done. Nice arrangements here throughout that are sparse and breathe but include tasteful additions to build the song. The strings really fit the feel and bring some sophistication and drama. It gets cool when they’re paired with synthy sounds like the end of Lonesome Tears. Otherwise, just some mellow, sad guy Beck. Decent album that’s a bit slow at times, but I prefer weirdo lo-fi Beck…I should revisit his discography.

good singing, but the soft alternative rock sound isn’t really doing much for me. Nothing specifically to criticize about, just not a salient sound to my ears.

Amazing psychedelic pop record with experimental flare - a must listen for any fan of the genre. This album is weird, unique, and a lot of fun. It just exists in its own space (with maybe a bit of Beatles and Beach Boys influence). Very varied instrumentation with great instrumental parts and lots of cool bass and vocal melodies. Effects galore all over these tracks and a lot of interesting production choices (in a good way). Overall, it’s densely packed with sounds and ideas and rewards repeated listening. So much zaniness, a terrific album if you can really appreciate imagination in songwriting. It really feels like Rundgren did not give a fuck here and just made an album he thought it would be fun to make - and the results show in the best of ways.

the jams where both guitars are soaring are the highlights of this album (e.g., keep on growing). People pay too much moms to Clapton and not enough to Allman, who is a monster player and shines often. Solid tunes and playing throughout - some great songs and some alright. Could take or leave it overall, but this album certainly has its moments of power.

solid, energetic bag of tunes falling in the rock/pop realm. A couple of great tracks, the title track being one. I don’t think I have much to say about this one, just an enjoyable record overall.

Not sure that this blend of lower-level prog with 70s pop is really doing it for me. The first track, School and the final track were pretty decent, but the majority of songs didn’t hold my attention.

Eclectic mix of folk, rock, psych, country, blues, with some jazzier moments. Their sound is blended well, with none of these elements standing out as not fitting. Respectable musicianship throughout and a few enjoyable instrumental breaks with occasionally ripping guitar and bass (On Sir Francis Duke, Beautiful). pretty consistent quality throughout, though few songs jump out as majorly memorable (except Darkness, Darkness). Solid listen overall.

decent thrash, but doesn’t make me want to run through a brick wall. The guitar work is phenomenal - rhythm, leads, and solos ( particularly Bad Omen). All of the musicians are skilled (and like to show it). Can be corny at times, but also nice that they don’t take themselves too seriously. A little more melody and variety in sound would have went a long way. Overall it’s fine, but not a top of the genre (and maybe not my favorite of this band).

cant say I’m feeling this one. It feels more in the realm of disturbed ambience, rather than industrial (with some exceptions like Walls of Sound). A bunch of it is just noise that isn’t necessarily irritating, but it’s also not interesting. It didn’t get much reaction from me other than boredom. A couple of the actually “songs” remind my of Chrome…but again, not really interesting. Do people like this for the challenging and subversive nature, or do people genuinely enjoy the way these sounds are arranged? I’m pretty open minded, but this ain’t it. AB/7A is a pretty rad track though.

the best at their soft/jazz/pop rock blend. The songs are well composed and the instruments are expertly played. A few great songs, like Reelin’ In The Years and Do It Again - but a bunch of the lot aren’t too memorable for me. I think I enjoy a Steely Dan best hits over their individual albums, and I always thought they were better with higher energy/intensity (and a rippin guitar) than the laid back stuff. Overall it’s quality stuff, some of which is great and some fine.

Excellent experimental/improvisational jazz fusion around a simple concept. Some of the best musicians that will ever sit in a room together take us to places unknown. Toes the line of getting out there without going too far out there. Beautiful textures. Each person uses their own space while leaving plenty of room for others. For the amount happening here, there’s little clashing or feeling overwhelmed. Just an excellent record. Feels like an influence on some later genres like post-rock.

Something new - Senegalese folk music. There’s a beauty and calmness here…the musicians move at their own pace and play things as long as they’d like. There are some wonderful guitar lines that again have a soothing calmness to it. Interesting listen, but also somewhat repetitive and a little overlong - making it an enjoyable album but not a top rated one for me.

a southern rock/alt-country kinda album about the duality of the South (esp Alabama) that provides some interesting descriptions and tales of Southern culture - generally through the context of Lynyrd Skynyrd… The lyrics/vocals and the guitars are what stand out to me, with a raw sound that’s both serious and fun, and often powerful. The 94 minute runtime is a lot to take it, but this is an interesting record to share the perspective of the good and bad of the South. Disc 1 is solid but drags at the end (should have ended with Three Great Alabama Icons) Disc 2 is the opposite - starts a little boring but the later songs bring the heat.

Blues rock with a psych tinge led on guitar by Jeff Beck. Strong guitar as one would expect. The first 2 songs start off really strong (though the single Happenings Ten Years Time Ago is the best), but my enthusiasm begins to fade after. Jeff’s Boogie brings me back in, then it happens again. The rest is just fine - not amazing, doesn’t stink, some solid riffs. Some rhythmic & melodic bass lines, but doesn’t shine often - otherwise just holding it tight with the drummer.They would benefit from a more powerful/raw singer. Just a decent album overall that was probably more innovative and fresh at the time than it appears to be now.

unexpected to have multiple Amy Winehouse albums here, and not sure that it’s really necessary. This album is a bit jazzier but not as powerful or memorable as Back to Black (which I gave a 3). the majority of songs are about relationships and/or sex. It just doesn’t grab me and more washes over me. You can see the talent is there and nothing is bad, but a lot of the songs are just whatever.

One of the best psych/baroque pop albums of all time. Great arrangements and vocal harmonies. Catchy melodies and solid instrumentals with some prominent bass and piano/organ. Toes the line between delicate and powerful. Just a great record that’s really a pleasure to listen to.

If you ain’t dirrty (the intro to that song is ridiculous, why are we throwing elbows?). …i grew up around this music, so it’s interesting to hear it again as an adult. This is an overly long pop album that covers sounds from an array of genres - hip hop, rock, jazz, Latin, r&b, etc. Xtina is a solid singer. A handful of the songs are catchy pop tunes or soulful ballads, but a lot of it isn’t memorable. Would have been better at half the length - this seems to be a throw it all at the wall and see what sticks approach (which isn’t bad, just too much stuff thrown). Wouldn’t care if I never heard it again but I didn’t feel the need to turn it off the whole time. A fine (but too long) pop album, but not really my thing.

this is my first real listen to Gary Numan. Interesting synth-based music that probably leans closer to art rock than synth pop. Feels heavily inspired by Kraftwerk and Eno. The first track Airlane is a great album opener that absorbs you into the sound from the start. Some great textures here that are somewhat soothing but still grab my attention. Singing is somewhat odd and off-kilter, but it also fits nicely.

British folk rock reminiscent of Jefferson Airplane, including both originals and old folk songs. Sandy Denny’s voice stands out - I enjoy her sound and style which fits the music and grabs my attention. The musicians are strong throughout and play these songs in interesting ways. I dig the bouncy feel of the bass (which is very prominent) on Marty Grove - which goes from classic folk song into a solid jam. Overall, this band can do some great things on an instrumental.

Melodic…I’m not sure why but this classic album just didn’t so much for me this time around. Will need to revisit in a few years.

huge and majorly influential gangsta rap album. These dudes are pissed and let you know it. Some songs actually have a reasonable or even valuable points (Fuck Tha Police, Express Yourself), but messages of violence, misogyny, and homophobia ring throughout (the latter 2 being whacker, but also potentially representative of N.W.A.’s experiences). There are a range in beats showing Dre getting started - some are pretty basic with a little funk in there while some are stone-cold classics (Express Yourself) and both they fit the sound well and are likely a step up from what else was happening at the time. A picture into a culture that has faced inequity and injustice, are pissed at the world, and will take it out in anyone in their way. The albums comes out blazing but doesn’t quite maintain those highs, but still a solid listen that provides an interesting snapshot of LA street life.

Interesting alternative hip hop beats that veer into psychedelia, some lead the songs whil others support Ladd’s rapping. Ladd’s raps are hard to keep up with and keep you guessing - surprising cadences and strange rhyme schemes with lyrics teetering a border between academic pontification and psychotic ramblings. There are some really cool moments that immerse me, but not always consistent and interesting enough to hold my attention. I’d need to revisit this one more and I think it will grow on me - there’s a lot to unpack here.

solid album, the first 2 songs fucking rule. Can’t mistake the sound of Tom Waits. Waits has weirdish moments here but is still largely sane…but maybe seeing some bridge between the older/jazzier and more experimental music to come. Some respectable ballads. Just a master storyteller of life in the gutter.

Knopfler has one of the best (mostly) clean lead guitar tones in the history of recorded music. Dude is just a monster and nimble player, whether it be rhythm, little licks and fills, or full out ripping solos. Despite knowing the phenomenal Sultans of Swing, I never dove into Dire Straits albums much. This debut incorporates elements of rock, blues, folk, and country. Knopfler is the star here. His guitar is front and center and his vocal delivery is somewhat reminiscent of Bob Dylan, but less nasally. The rhythm section holds down a tight beat, but doesn’t stand out for flashiness - they really support Knopfler. The fidelity and overall sound is excellent, with songs ranging wonderful to good. The songs have room to breathe without feeling boring or empty. Just a solid band and record overall.

A great story-telling album. Switches moods around a lot from somber to raucous fun. Cool to have the recurring theme/sound that it weaves in and out of on a continuous journey through the album. Overall, it’s very immersive and flies by.

Slow, funky, soul jams with some hints of psychedelia and some long tracks (some overstay their welcome a bit). Casual, infectious grooves. Solid bass, nothing too flashy. Rad organ. Just a playing it cool vibe going on here. Solid listen but doesn’t stand out as next level. I mostly can’t decide whether it’s worthy of repeated close listen or just really excellent background music. I don’t love the pacing - the 3 long tracks in the middle start to drag a bit.

Might be the weakest I’ve had so far. Just a ridiculous sound, super dated, ridiculous, cheesy, sometimes annoying. What is this and why is this here?prank?? Heaven is rough. Jericho is a wild ride that I’m not sure if I love or hate. I hate it but it also makes me smile and will probably be stuck in my head? What is happening… trigonomics?? Completely ignorable with only replay value being revisit f a song or two to say “did that really happen? Did I actually hear that right??”

Wonderful and influential post-punk album. Melodic, memorable, but simple bass lines help drive the sound while Ian Curtis does his depressed, almost monotone singing type thing over it all - which makes it all the more exciting when he really gets into it. Guitar sound is often grinding and grating and serves an interesting counter to the melodic basslines. Touches on sounds that resemble gothic and industrial rock. Brooding sound. Iconic album cover.

Idk what this mf is saying, but the emotion and drama of the music is easily felt. Pleasant arrangements with an orchestra with a sweet accordion. Started cool - Amsterdam is a great track - but I lost interest as it went on. Probably would enjoy more if I understood the language…

Pretty dark, grungy music. Fuzzy, repetitive guitar riffs bring an almost doom/sludge quality to it, while leads are often wahed and create a sort of psychedelic hard rock board wring on metal. Vocals are interesting here - sometimes they’re great and sometimes they can be a bit off putting. Some weird vocal harmonies that are cool. I like a lot of the components and there’s a few songs I really enjoyed (Them Bones, Rain When I Die, Sickman, God Smack), but the others don’t do much for me. Decent album but could never get majorly into this band, just not enough consistent enjoyment for me.

a true blend of rock, blues, and psychedelia of which Hendrix is a master. His guitar playing dominates the album, co-started by his tight band and experimental/psychedelic studio effects. Phenomenal tone, particularly his lead fuzz tone. Pure wizardry throughout. Not my favorite Hendrix album, but a revelation nonetheless. Length could be cut a bit, but also don’t feel like this is an album that drags too much if you keep an open mind. A handful of classic songs - Watchtower, Voodoo Child, Gypsy Eyes, Crosstown Traffic - while the rest show off other impressive and fun aspects of the band.

The whole funk metal thing has never been my area other than a few bands like Primus, Bad Brains, and Fishbone. Living Colour writes good songs with good grooves and solid musical talent. This is hard rock! Guitarist is a shredder in solos and gets some crazy sounds from his axe. Really Strong rhythm section. Powerful vocals. They’re not afraid to be both conscious and silly. I don’t have a lot of specific criticisms of this album, but it’s also just not something I care to listen to much. A few solid songs, just not super memorable to me. Surprising Talking Heads cover.

Metallica + symphony. Could be cool - it works nicely to elevate the music in some places and less so in others, muddling it up a bit or just not adding much. Really enjoyed The Call if Ktulu, but just thought it didn’t hit as well with Master of Puppets (except in the bridge section). Works well in One. It continues that way throughout. I never really explored Load/Reload, so those songs weren’t as interesting to me (other than Fuel). Cool idea with decent execution, but it doesn’t always land. A Metallica enthusiast might love it (might also not…) because it’s best if you know the songs well to better grasp what the symphony contributes. Would have been much cooler in person. Appreciate the attempt and it just makes me want to go listen to other Metallica albums.

I can appreciate the new direction taken here by the White Stripes, largely swapping out guitar and in piano (and riffs for more chords) and losing some of punky intensity for perhaps a more mature sound. At the same time, that is why it’s among my less preferred WS albums. There’s still plenty of great songs (blue orchid, my doorbell, little ghost, denial twist) but the album doesn’t hook me as strongly as White Blood Cells or Elephant and I don’t revisit with much frequency.

Pretty much a perfect album, everything about it just fits together exactly as it should. It has such a consistent sound across the whole album that unites with a pretty loose theme about an alien guy coming to earth and rocking out or something. The instrumentals are phenomenal, the musicians just seem to play off each other perfectly and give songs room to breathe. The bass lines across the album are phenomenal. I really don’t know what to write here, it’s an amazing album that’s one of the top of all time. No bad or boring songs - sure a handful stand out at the top, but the “lesser” songs are still of super high quality.

Sam Cooke sings! I mean he really belts it out here. Him and his band play with a loudness, intensity, and degree of grittiness that wasn’t present in pop or soul at the time. The recording has an immediacy and urgency that makes you feel like you’re right there in the club with them. And Cooke’s voice just grabs you, sucks you right in, and keeps you there until he’s done with his set. A masterful live soul album.

Not Bowie’s best, but still an interesting effort with some good songs. The album starts with 3 strong tunes, particularly album opener and Heroes. This album sees Bowie experimenting more, along with collaborator Brian Eno, to make something a bit more experimental and electronically influenced. The main problem here is the lack of cohesiveness. Side A is typical Bowie affair of unique and danceable pop tracks. Side B is pretty much an ambient album. Don’t get me wrong, there are some really nice soundscapes there…but having Beauty and the Beat/Heroes on the same album as sense of Doubt/Moss Garden just seems like a strange fit. I’m never sure when I want to listen to this album because of those disparate feels; and thus I usually only listen to the front or back end depending on what I’m looking for.

Unique samples crafted into hypnotic beats give a gritty and grimey sonic palette to this album, often giving the feel of a cold night in the projects of New York City. They give from for GZA to show off why he’s called the genious with tight flows and rhymes at an easy going pace that makes it easy to digest the pictures he’s painting lyrically. Manages to straddle the line of gangsta and philosopher, but to me the gangsta aspects aren’t necessarily glorified - just a necessary reality for some. There’s an Intelligence here that isn’t always found in similar music. Title track is a phenomenal start to the album, with Gold, Cold World, and Killah Hills being some other top tracks. No songs that stand out as particularly weak. Pretty consistently high quality throughout and among the top of the Wu Tang solo efforts.

Floaty dreamy psych rock/pop. There’s a bunch of songs here I really like, but some of the quieter ones don’t do much for me. At first I didn’t see what was particularly interesting about this, but it grew on me throughout the day. Would need to listen a bit more to write a really quality review, but I enjoyed this. It’s just nice and comfortable.

Phenomenal pop punk album that blends the two element excellently. It still feels organic and real and a little snotty with some grit, but super hooky and getting more polished. Just a fun (yet slightly depressing) album about being a bored and anxious burnout loser. The strong title track Burnout sets the tone for the record. “im not growing up, I’m just burning out.” Other standout and popular tracks include Longview (that bass line!), Welcome to Paradise, and Basket Case, but there’s not a single bad song here. The trio keeps the music pretty straight, for a consistent and cohesive sound of distorted chording and punchy bass fills. Their major label debut, which turned a lot of people onto the sound and helped push it into the mainstream. One could argue that’s a good or bad thing, but I’m happy if people are hearing music they enjoy that could help usher them further down the punk pipeline. 20 years from now, you’ll still remember some of these choruses.

I dig jazz but never quite got into jazz singers. Nina Simone is very talented though. She pours emotion and soul into these songs, you can feel the mood in each word. Her delivery is impressive and varied, she can hold a long still note or go into an intense pulsing vibrato. Her tone conveys the message of the song deeper than the lyrics. Still, I don’t see myself revising this much but I’m glad I heard it. A handful of strong songs and a couple of ok ones.

I don’t care for hair metal and glam rock is hit or miss for me, so a revival that draws on those isn’t doing much for me. It contains a lot of what I don’t like about rock music - over the top vocals, ridiculousness/excess, meh songs with power guitars. They’re a decent enough band - the performances are good, the guitar players likes a flashy solo, the songs are decently written (though I don’t like most of them)…it’s just not something I enjoy. But it’s probably fun for those willing to give it the time of day, but I find it mostly annoying. I Believe in a Thing Called Love was a hit and is a pretty good song, otherwise the only other memorable one for me is Givin’ Up. Happy to be done with this one.

This feels like an album that needs to sink in…I don’t feel quite ready to review after a day. I’ve come across Sufjan plenty and checked him out a bit - always thought it was fine but didn’t quite get the hype. But I’m enjoying a close listen of this. I like him best when being Maximalist and grandiose, as opposed to the sparser/folkier arrangements (more art rock, less indie folk). Melodies are plentiful from any instrument willing to sing one. Really covers a lot of instrumental ground here and the arrangements are varied and interesting. Still the album feels very cohesive. He’s got a fairly soothing voice too. Its not an instant classic for me, but something I’d like to explore further.

Robert Pollard is a man who is not short on ideas. And ideas are exactly what he presents, rather than fully-developed songs that have been labored over - and that’s ok! Seems like he gets a little hook and riff in his head, presses record on whatever is lying around…and that’s what ends up on the record. It’s not easy to digest even though it’s only 41 minutes long because of the sheer volume of ideas. Some are great and some are out of your head as fast as they were in it. Most of the songs longer than about 90 seconds are really enjoyable. Lots of poppy hooks (many seem Beatles-influences) hidden beneath the lo-fi sonic experimentation.

Elliott Smush is a great songwriter. He delivers meaningful lyrics with a voice that sounds just right, and often manages to convey sadness, pain, or lost through poppy hooks. The msuic fits the lyrics well, and though not showy he’s a very competent guitarist - particularly with his thoughtful and fluent fills on an acoustic between chords. While I’m enjoying this album, I don’t find it as moving or emotionally resonant as earlier efforts like his self-titled.

I find this to be one of Bowie’s less interesting and necessary albums. It’s got a couple of good songs (Fame and Young Americans are great), but overall I just don’t find this as particularly stimulating, notable, or memorable. It feels less inspired than other albums. The hooks don’t wiggle into my brain. Bowie’s vocal performances are still strong, just not impressed with the album as a whole.

Jagged, buzzing guitars. Punchy bass lines. Vocals somehow both droning and passionate. A dark brooding sonic template. Both noisy and airy/spacious. Certainly influential, a lot of this was key to the formula of post-punk and gothic rock moving forward. No doubt it’s a good record, but I question if it’s a great one. I enjoy it while I’m listening, but it’s not something i see myself coming back to much (with evidence: I’ve known of this band and been into post-punk for over a decade, but have only heard this album a few times). Perhaps it was more vital at the time, but now it feels like other bands have warped and molded this sound into other music that I prefer.

What is this hard-to-classify album? Melodramatic, folksy show tunes with intricate symphonic arrangements. Unique vocal deliveries that switch up cadence, emotion, and intensity that can sometimes soar. Sometimes quiet and somber, sometimes bursting with grandiosity. The lyrics and music deliver emotional pictures of small-town/rural/western(?) American life. Montana Song is an epic film delivered in a 10 minute package. This album is unique and quite bizarre, with no indication of a time, place, or scene where it was made. I respect the hell out of this dude for making this behemoth album, but I find it more interesting than enjoyable to listen to.

Masterpiece. A true elevation from things that came before it. Beautiful, catchy melodies. Transcendent harmonies. Complex, clever, symphonic arrangements that elevate the songs. It can sound simple if you want to hear it that way, and it can be endlessly rewarding with deeper listens and analysis. It changed music forever and is one of the most influential albums of all time. It changed how I listen to music forever. Perfect, no notes. An all-time favorite.

Solid album but not the best this band put out. They’re at their best with high energy efforts (I zombies, cities, life during wartime), though the slower and more standard songs don’t bore (Heaven). There’s just something f about this that leave it out of the top tier for me.

Historic and influential album, though Sabbath’s best work came in the next few. Deep, heavy, sludgy riffs with a stellar rhythm section and Ozzy’s dark and mystical lyrics propel this album along. No really weak tracks, but none that propel to the heights of songs from Paranoid and Master of Reality. A strong start to an critical band along the ascent to their peak.

Pop music with an original sound (though quite 80s) and a unique vocalist who can impress and perplex. Kate Bush is somewhat new to me - I’ve browsed a few albums but never dove in deep. I’m not sure how to take this as a whole, there are a few cool songs and wonderful moments but a few that I don’t care much for here as the album started to drag a bit as it went on. Her vocal delivery requires close listening to really tease apart the melodies. But I can appreciate the novelty of what she’s doing and the strengths of this album. There seems to be a surface and deeper layer to this music that can reward casual and repeated listens. Just not sure I really see myself coming back to it much.

I dunno, man. I had 2 very different experiences with this in 1 day. The first listen I found Some fun, jubilant moments. Pretty well written songs, particularly vocal parts. Inspiration from a variety of cultures. But it still don’t love it. It’s decent. My second listen left me contemplative, Inspired, and happy. I listened as I ran along the beach in Sag Harbor, NY (not too far from Simon’s solace in Montauk). I pictured Simon preparing to leave LI, searching for collaboration to fulfill his inspiration. I thought of myself - a scientist, a musician, a human - and how I seek inspiration and hope to synthesize that seamlessly with who I am and what I know. When does inspiration come? Where does it come from? How do we integrate it into ourselves? These are serious questions, but I finished the album with a sense of joy and fulfillment. Inspiration is there when we’re ready for it. When we find it, it comes out through a contagious exuberance and joy. We feel that in this record…but there’s still a few meh tracks.

Post-hardcore of the highest qualify. Music thay makes you want to run through a walk and punch a CEO right in their stupid face, and then teach someone on the street how and why to do it. The rhythm section bulldozes forward, the guitars buzz down anything in their path, and the lyrics and dual vocal attack bite and sting as they attack sociopolitical topics with intensely open eyes and a critically ethical lens. A major development in the genre and huge influence on what came after. Phenomenal album (and still probably not my favorite Fugazi), though the first half is a bit stronger than the back, which is still really good).

This is an album of ambition, contradictions, and competing influences. Jazz synthesized with classical, with some avant-garde experimentalism on top. Composition with improvisation. Tight and organized with freedom and expression. Makes use of a big band to make some experimental sound, with the instruments interacting in a unique way. Certainly an interesting album that I need some time to sit with. My first listen wasn’t super impressive, while my second listen started to come around. Not sure that many melodies will get stuck in my head but it makes me want to do a silly dance.

No doubt that these radio-friendly pop tunes are infectiously catchy. That’s not really my style, but still this album was more enjoyable than annoying. A handful of song are clear hits, but most songs are in the same vein but don’t always land as strongly. A pretty cohesive sound for an album of this sorts. Better than I expected, probably an important and strong modern pop album. It’s still probably not something I’ll revisit frequently, but may not be so quick to change the channel if Taylor Swift comes on. I may even enjoy a song or 2. She set out to make a fun, catchy album and generally achieved that, but the lyrics about tall guys with nice hair gets stale after a bit.

Poetic folk + blues rock from the master Bob Dylan. Hard to contextualize that this album came out almost 60 years ago, as it still sounds relevant. Dylan spits his wordy, visual, lyrical stories while the musicians serve the songs perfectly - contributing and enhancing the songs without being flashy or distracting from Dylan’s ramblings. A monumental album for the future of rock music. All good songs, some brilliant songs, that mesh well together to make a cohesive and innovative album.

Pulsing synth pop. Often bouncy. Annie Lennox has something unique about her vocal style that I can’t really identify, and it doesn’t quite move me. Certianly not displeasurable and some catchy songs and interesting synthy parts, but it doesn’t excite or inspire me. It just didn’t leave much of an impression.

Wooooo fucking Dark Side baby! A classic among classics and it’s hard to state the impact this album had on music, culture, and me. Every song serves its purpose on our journey through space and human psyche, with the whole being greater than the sum of its parts. One of the best ever, but is it even my favorite Floyd album? It was for a long time and sometimes still is. Not much to say that hasn’t been said, this album fucking rules.

This is an ok punk album. Plenty of hooks, some of which heavily focus on “woahs.” Some decent social commentary, but doesn’t take itself too seriously. Not bad but there’s much better out there.

This album still sounds fresh and relevant; I was surprised to hear it came out in 1976. Psychedelic-tinged funky Afro-samba may be the best description. It feels like it almost has a hip-hop influence, but I supposed it’s just the blending of Brazilian/african/funk rhythms and sounds. Really enjoyable grooves and beats from the percussion and bass. Hard to not want to move to this album. Some catchy vocal lines over the top, even if I don’t understand them. There’s a spirit and light-heartedness that shines through the music. Solid album.

Funky pop soul acid jazzy dance music. Plenty of energy here. The rhythm section stands out and makes the album listenable through incessant grooves. The bassist, in particular, writes nimble and funky lines without getting too complex or wanky, leading to memorable bass parts that keep my foot tapping and loop in my head. You can hear the bass influences of Larry Graham, Bootsy, and Jameson. There’s brass, woodwinds, strings, and probably more! There’s conscious lyrics! There’s a white Englishman who might have some soul! But I really didn’t care for most of that other stuff, just the bass. Would prefer to hear this as an instrumental group.

Very musical softish pop rock made by a very talented songwriter. Songs are solid with good arrangements that give instruments space but also work together. Piano is featured often and serves the songs well without ever being over the top or virtuosic. Similar for bass…that seems to be the theme here- well written, arranged, and played songs where everything serves its purpose.

Very musical softish pop rock made by a very talented songwriter. Songs are solid with good arrangements that give instruments space but also work together. Piano is featured often and serves the songs well without ever being over the top or virtuosic. Similar for bass…that seems to be the theme here- well written, arranged, and played songs where everything serves its purpose.

Excellent singing and musicianship in one of the biggest pop albums of all time: MJ is in great form here. The upbeat pop songs here are instantly catchy and danceable, while the slower soul songs are good efforts but don’t hold my attention as well. A lot here has stood the test of time.

A savage rap album from one of the masters of the art. Interesting the way this album can cross between fucked up/ shock rap, while also covering some real shit and making you think and reflect sometimes. Why do we like Shady’s music? Perhaps it’s morbid curiosity. What’s he going to say next? Will I laugh, will I feel sick, will a sneer? will I nod to the beat no matter which? There’s some musically identifiable reasons - it’s technically impressive, sometimes catchy, cohesive, it tells dark horror stories of a psyche affected by poverty/violence/mental illness. Somethings are harder to put your finger on, but this is a really fucking good album.

A collection of sparse and casual rock songs with folk and pop leanings and a somewhat lo-fi ascetic. Lennon yells raucously, he introspects, he acts silly, he proselytizes. There’s a balance of heaviness and levity, quiet and rocking- all very dual nature yada yada. There’s a quirkiness or something odd going on here. Maybe it’s the music the band lays down; which grooves but feels off at the same time. Maybe it’s the haphazard and sudden sound of the album. At the end of the day, a few great songs, few good songs, few forgettable.

This kinda funky new wave album is ok, but doesn't impress me much (and I’m a Talking Heads fan). It’s got some good songs and moments, but overall feels forgettable. The playing is good, I’m just not sure most of the songs are really that good.

Side one is good. Side two is excellent. Side three is pretty good. Side four I could mostly leave behind. Unmistakably Zeppeliny. Great individual musicians and better as a unit. Some hard rock, some blues, some flirtations with psychedelia, some traditional, some loud, some quiet, some come in hot, some slow burns. This has a handful of great songs and a handful that are decent but not impactful. Cut it to an hour and you got a stew goin.

A masterfully atmospheric proggy/arty rock album. These guys are truly greater than the sums of their parts (which are all great in their own right. Wright really shines with his synths here, making beautiful soundscapes that fit the songs perfectly. Mason is restrained and calculated with his drums - never flashy, but always playing exactly what’s required without an extra hit. Waters plays bass similarly. Gilmour has the perfect tone with soaring leads that sound brilliant without relying on speed or tricks - just smooth proficient playing. Shine On Your Crazy Diamond(s) are the perfect book ends, while the middle is filled with electronics, kinda funky rock, and an all time classic tender song. In competition for Floyd’s best and an all around wonderful album.

This hard rock band can really wank! These guys are capable and deserving of their wankery (esp Blackmore), but sometimes it goes a tad too far. The guitar and organ really drive the exciting aspects of this band while the drummer beats the hell out of his kit and the bassist trades off simple static lines with more complex melodic ones. The wanking is energetic and heavy sometimes, and other times just goes on to be too self-indulgent that I lose interest (like when the guitar and vox circle jerk each other). I fit firmly in the middle here - sometimes I want to rip someone’s face off and sometimes I want to rip my own face off. The parts that rock fucking rock! But some of it just doesn’t work for me and I zip my brain pants back up.

Danceable breakbeats with a punky feel and a side of psychedelia. A somewhat darker, rockier, edgier feel to this dance music. It’s got a lot of attitude. I like a good amount of what I hear, but few songs that are good enough for me to remember them. Some good highs, but not quite ultimate peaks. A reasonable floor, no real bad songs - just some that are less interesting or don’t really develop. It’s a decent album, but I’d rather listen to the Chemical Brothers. It could grow on me over time, but for now it’s fine.

Just not really sure what to make of this one. It’s theatrical and dramatic. Not for me, but Who is it for? There’s plenty of vocal, musical, and compositional talent. I just have no desire to listen to it. Lied von der Deutschen Mutter caught my attention though.

Some really great songs and an eclectic mix of sounds here. Speakerboxxx is a great rap album. The Love Below is a solid pop/weird soul funky kinda album. They each are enjoyable and solid on their own rights, but not sure the sum is better than the individuals here. Put together it’s a little too long with a bit of filler. But still a solid album with a bunch of top tier tracks.

Biggie delivers his raps with a smooth, understandable cadence and a deep, full tone that makes his lyrics easy to follow and engaging. A lot of it is your typical gangsta rap fare - guns, drugs, sex, misogyny, streets. Occasionally it gets into something deeper, particularly when it gets deeper into BIG’s emotions, history, and attitudes. A few great songs, a few good/ok songs, and a few crappy skits. Important album with important songs in rap history, but overall not sure it fully stands the test of time. It’s good, but it’s not a marvel.

This is a killer hard/blues rock albums. Each individual component is solid on its own - Page’s dirty shredding, Jones’ fluently melodic and rhythmically driving bass, Bonham’s pounding drums, and Plant’s over the top wailing and moody blues singing. The whole is even stronger here than the components. Every song is a contender for best song on the album. A pinnacle of classic hard rock.

I like the general idea of noisy, guitar-driven indie rock/post-hardcore. I just fail to see what’s special about this album. It was fine, but didn’t make much of an impression on me. I preferred the energetic, noisier songs versus the more brooding, melancholic ones. Some good riffs and nice guitar tones, but overall just an ok album.

Percussion-driven expertimental/arty bedroom pop…Interesting album that was released at a unique time in world history. There are 2 key aspects driving this album: Apple’s vocals (sound, delivery, lyrics), and unique percussion/beats. Otherwise, relatively sparse arrangements involving piano, bass, and some other instruments - but random percussion instruments is the main musical focus. It strikes a balance between conventional and unconventional. Lyrics are sung vs spoke. Some typical poppy melodies, and some are somewhat strange and make ya go huh? (But cool). She quips humorously, sometimes aggressively direct. Some traditional percussion and rhythms, some random objects and odd arrangements. Super professional and somewhat amateurish at the same time. It’s a unique and empowering album that's certainly worth a listen.

Good ole fashion 70s outlawish country that comes and goes quick. One of the types of country I’m down with. Good singing, lyrics, playing. A tight band with a loose feel, providing a solid rhythmic backing without becoming the main attention. Decent album but only a few songs stood out much. Good enough listen, just didn’t hook me in.

Glammy, arty, proggy, fantastical. Some crazy arrangements and strong playing. Lyrics about queens and ogres and shit. Harmonies galore - vocal, guitar, you name it! No doubt that these guys are insane musicians and talented and clever songwriters. I can respect it more than I really enjoy it. For all the styles they cover and twists and turns they make, it’s a pretty cohesive album. Not many songs stand out here, which can be a good thing for the album sake but also makes little pop for me to want to revisit. Overall it’s fine - enjoyable listen but not something I’ll go back to much.

Is it post-punk? New Wave? Pop Rock? There are moments that remind me of the Cure and Robert Smith, but more optimistic about love and sad about war, instead of just sad. The drummer really likes his hi hat. The bassist holds a fine rhythm. The Edge does his Edge thing, but a little less Edgy and a little more edgy. It all actually works well together and is a college sound than I expected. I’ve mostly known U2 to being annoying (really Bono) and kinda lame/cringy, but this is pretty good and has a general sound more in line with what I’d listen to. It’s better than I expected but nothing groundbreaking to me - there are no soaring highs here. As with many albums, some good songs, some ok, some meh.

Minimalist electro beats with somewhat experimental pop leaning vocals - pitch modulations and unconventional but still kinda catchy melodies (but not always). The music seems to lack energy and vitality - it feels cold, detached. That’s not a problem per se, but nothing here really gets me excited, hooked, or stands out as notable. It just didn’t make me feel anything.

Not sure why this must be heard before I die. It’s pretty straightforward, and somewhat bland, rock with some folky leanings and some dramatic flair. Nothing stands out to me here as innovative, notable, or even interesting. It’s just there and essentially had no impact on me. At first I thought it was just boring, but eventually it got frustratingly boring.

Bad Brains diversify their sound but maintain a punk feel. There’s more variety melodically, rhythmically, and tempo wise than their hardcore beginnings. It’s funkier, it’s a bit more metallic, the instruments interact more. It still has that charging forward like a bull feel and attitude, but they’ve grabbed the bulls horns - it’s more controlled, more restrained. I prefer their more chaotic earlier material, but this is still good. And this band still rips, and each member is still talented.

Just a wonderful, straightforward soulful blues albums from one of the masters. A delight and joy to listen to, ironically. The singing, guitars, harmonica, piano, rhythm section are all in prime form. It’s got a loose, live jamming feel to it. Muddy’s vocal delivery is right on point - finally, rhythmically, melodically. . It all works together so well - it doesn’t need to be complex, innovative…it’s just good music by a good bandleader and band.

An old school hip hop classic that integrates more rock influence. Definitely an influential, landmark album, though I’m lukewarm on it. The first 4 song run of Peter Piper - it’s Tricky - My Adidas - Walk This Way is a powerhouse, though the album doesn’t hold my attention nearly as much after that. Beats are slim but some catchy - mostly a computerized (or just very 80s-produced) sounding bouncy drums with some turntables or occasional guitar. Some decent raps but nothing to write home about, though they do the 1-2 MC punch well. Innovative for its time, but just feels ok now.

Pretty catchy country (kinda indie ish feel sometimes) pop with more sound authenticity and maturity than many others in the country pop realm (I.e., bro country), occasionally drawing influence from other sounds and genres. Songs, often love songs, have decent lyrics, good melodies and light and simple but well-serving music arrangements. It spans from quiet and more reflective to fun pop music. There’s more to enjoy here than I expected. It isn’t groundbreaking or anything, but it’s nice to listen to.

South African vocal music. The vocal harmonies are excellent, and that’s 90% of what the album has to offer. The sound is very pleasant and actually quite astonishing. There’s a peace, a beauty, a serenity in this music. It’s calming, it’s soothing. There’s much talent here, but it’s also kind of boring. Maybe that’s my problem…a tendency to enjoy instrumentation or wanting to understand lyrics in a Capella album. Appreciate more than enjoy…Might be nice once in a while but I’ll forget about it by tomorrow.

Long. This is tough to evaluate in a day. Lots of good stuff, some decent stuff, not much bad. Side A ruled, and I enjoyed the rest but my enthusiasm dropped off. Was it the song quality or my attention? Not sure, but if it’s my attention it might be because, while this has a nice sound, it might be almost too consistent for the length…mix it up a bit more man. You can definitely hear the Beatles aspects to George’s songs, but can also hear the wider ideas and influences he had. A lot of folky, bluesy, but also hard rock with a spiritual tinge. A diverse group of talented players keep the music strong throughout. The ending jams, which I am a fan of jams, are ok for a listen but don’t sound inspired enough to really enjoy repeatedly. Hard for me to say if this is good, great, or wonderful, but it’s length makes it a serious investment to find out which.

Rootsy, swampy, bluesy, soulful, rock album at a lean 33 min. A couple of classic songs in Born on the Bayou and Proud Mary. Forgerty seems to drive the ship and really elevates the band. A loose jammy feel to the music. But other than a handful of moments, nothing really pops here. It’s all fine, but doesn’t seem particularly special. This band has better efforts.

Rootsy, swampy, bluesy, soulful, rock album at a lean 33 min. A couple of classic songs in Born on the Bayou and Proud Mary. Forgerty seems to drive the ship and really elevates the band. A loose jammy feel to the music. But other than a handful of moments, nothing really pops here. It’s all fine, but doesn’t seem particularly special. This band has better efforts.

A kinda Brit poppy indie rockish thing with some spacey influences. Feels in the same trajectory of earlyish Coldplay but a little trippier (maybe I’ll even give Radiohead in their more exploratory efforts), maybe with some Blur mixed in. Lots of atmosphere, reverb, and some psychedelic sounds mixed in over fairly simple but catchy guitar riffs and poppy vocal melodies. Decent listen but didn’t really hook me other than a few standout tracks (Words, N.Y., Caught By The River).

Fun album. I wish I could understand the languages, as after reading about him it seems like he’d have some interesting things to say. Some infectious grooves that bring the energy (sometimes party energy, sometimes moshy energy with lighter instruments), and some more laid back tunes (somewhat reggae ish). Respectable musicianship that serves the song but isn’t flashy, with particularly prominent bass and acoustic guitar. But overall not leaving a huge impact on me.

Creative ambient techno that’s valuable for setting a vibe or close listening. Short bursts of melodies come and go and blend together over looping beats. Everything melds together and washes away in a haze.

A powerful hard rock band. The guitar, bass, and keyboards combine to really drive the music and make it heavy. Talented musicians, ok songwriters. This certainly has some classics songs and some solid solos from each member. Singer can be a bit annoying with his high pitched yells. Important in the early progression of heavy music, but overall just a fine classic rock album.

Pretty good debut but they had much stronger work ahead of them. Garagey and arguably proto-punky, but also melodic and somewhat pop. Plenty of flashes of the brilliance and potential of this band, showing what’s to come without fully hitting their stride yet. Solid band, good album with a few great songs - but not one I revisit in full often.

Quirky British pop rock that draws from arty, garagey, and psychedelic sounds. Pretty brief, catchy, silly, fun songs. Decent collection of tunes, but it’s not totally consistent strong material throughout. Good album and towards the early side of many more strong albums to come for the Kinks.

Like much of the madchester scene, this band feels like 1) their live show doesn’t fully translate to record and 2) you had to be there. Druggy, dancey, funky, punky, trancey. They cram a lot into these songs, several of which are busy and cluttered which sometimes works, but not always. It grows on you as you fall into the repeating grooves, but it just doesn’t fully translate for a guy on his couch in the US whose ecstasy and ketamine days are 10+ years behind. Shaun Ryder is a legend. Bez is a legend. But legendary performances doesn’t mean all the songs are well-written or memorable, and a good groove and some trippy noises can only take you so far. At the end of the day, I’ve checked out the Happy Mondays several times but never really stuck with en. Cool ideas, legendary live performances, ok albums.

Mostly sets a mood and feel (“late night after hours” they say) but kinda boring other than a few songs, though even the songs I liked weren’t particularly memorable. Fire Suite was actually a cool start to the album with a trip hoppy kinda riff. Just felt like things never took off from there, though Lost Souls was pretty weird. The vocalist is a bit poppy and falsetto-y for my taste, preferring when the vocals are more effected and reverb-soaked. Inoffensive, just didn’t really have any impact on me. I prefer The Last Broadcast, and that I thought was ok.

This guy has a really solid voice that can be smooth or gritty. Otherwise, everything about this seems like pretty typical soul/R&B. It doesn’t stand out to me as notable or essential. It’s all pretty decent, musically competent, and a decent listen, but there’s nothing particularly special about it.

This guy has a really solid voice that can be smooth or gritty. Otherwise, everything about this seems like pretty typical soul/R&B. It doesn’t stand out to me as notable or essential. It’s all pretty decent, musically competent, and a decent listen, but there’s nothing particularly special about it.

Paul doesn’t give a shit anymore! This album sounds like he wanted to step away from the intense production and creativity of The Beatles, and just jam out and enjoy fucking around at home. He doesn’t give a shit if the songs are half baked or could be more elegantly arranged. He doesn’t for a shit if there’s a good hook (which there are still some excellent melodies)! He’s just a guy writing songs and having fun! Is this a possible influence on layer bedroom/lo-fi-ish pop…maybe! It’s cool to hear and there are plenty of gems, but plenty of fluff and not much that really stands the rest of time. Fun and charming listen that ultimately isn’t super memorable.

Long and mostly boring. Songs all sound similar and just kind of blend together. for a 70+ min album, this gets quite monotonous. Never been a Bruce fan or hater - he has his place but isn’t really my thing…but this just really didn’t work for me. For a lyric-driven artist, he does little here to make me want to actually hear what he has to say.

Living up to their Sad boi indie rock darlings reputation. Dig the drumming which feels uniquely busy/involved for the vibe of the music, but it works to bring a somewhat post-punky feel to some of it. Songs feel somewhat down but often build to some type of exciting or emotional payoff. I like the bits when they’re on their noisier side. Enjoyable album thay I need to spin a few more times.

Wonderful folky country rock album from thee Neil Young. Neil is a great lyricist, you can see what he’s seeing and feel what he’s feeling. A lot of great songs here - some queiter and lonelier, some emotional and loving (or heartbroken) and some that just rock. He’s also got a unique and wonderful voice (though it’s an acquired taste), with a gentle vibrato and haunting quality. Beautiful vocal harmonies support simple but effective melodies. Just a great album all around.

Somewhere at the center of r&b, folk, soul, jazz, pop, and soft rock is Van Morrison’s Moondance. Interesting sound here, as it’s a pretty sparse and mellow band that also features horns and occasional winds. Poetic love songs sung by a guy with an excellent voice and unique sound. Plenty of little ear worm hooks that get lodged in the brain. Pretty good record that certainly has classic status but won’t crack my regular rotation because it just never really gets me where I’m going. Easy to listen to but doesn’t grab me.

The Beasties are at it again, this time mixing their psychedelic jazz sampling with live instrumentation and rock and punk elements, even veering into brief moments of hardcore. Vocals are what we’ve come to expect from them but again, they occasionally pick up the intensity (and use lots of filter effects). Solid rap-rock album that does both sides right but it doesn’t grab me as heavily as Paul’s Boutique.

The funky punk Chili Peppers develop their more melodic side and become more approachable. The approach is a bit more diverse than previous endeavors. Still plenty of energy here, but they're learning to control it, modify it, and use it better. They’ve simply matured as songwriters and as a band. I don’t really care for all the sex lyrics, but some songs can still be fun vocally. The silly and downtrodden lyrics are what I prefer here. The music of this band does the heavy lifting for me - particularly the interplay between Flea and Frusciante. Man those guys can play…they have interesting lines and interactions throughout the whole album. I loved this album when I was younger but don’t revisit much, often feeling I’ve outgrown the content matter. Given that I don’t care for most lyrics (or actively dislike them) it’s still hard not to rock and funk out to a lot of these songs.

These long-form jazz jams pull a lot of different sounds, making it hard to classify. Repetitive Grooves, ranging from somber to infectious, have a spiritual/soulful tinge and seem to draw influence from a variety of jazz forms like cool, bop, fusion, and others. Piano/key solos really stood out to me as a strength throughout. There’s some great moments in here, but not every tune hits and most melodies slip from my memory quickly. It feels a little too long to hold my attention consistently, but I also will need to revisit this one and digest it a bit more. So a 1-day appraisal leaves me in the middle of the road, but this could be one that grows on me with time or fades to be forgotten…

Little Richard can belt it with the best of them. This is some OG Rock n Roll with lots of heart and soul. An r&b band with some swing backs Littke Richard as he rips quick, blocky, unsyncopated piano line - which along with his voice - is the real source of fury. It feels like they didn’t know how to appropriately capture the intensity and volume of his singing. Some solid, classic songs, but also not everything stands out here as unique or memorable…it’s all a bit samey sounding and only the best rise to the top. But what an innovator and influence in the history of rock.

Creedence probably at the peak of their Creedency powers. Swampy bluesy rockabilly sounding with a tinge of psychedelia delivered by hippies turned country. A lot of great, and several classic, songs on this one, and a few ok ones. Fogerty soars. Solid album.

I’ve never really cared for Aerosmith’s brand of raunchy blues/hard rock. Everything they’ve done has been done better by the Stones and Zeppelin. I don’t really care for Steven Tyler as a front man and vocalist. But the Bass and Guitar are excellent here, and their riffs and fills drive this to be a listenable record. But overall, this is mostly forgettable for me other than the hit songs and an extra decent track or two.

An absolute pleasure to listen to. It’s hard to go through this album without a smile. Sample intensive (to say the least) dance m music of really high quality. The samples of different sounds, eras, locales all weave and flow around each other in harmony. The music is dancing with itself while you’re dancing to it.

What a peculiar and unique album that mostly defies categorization. Experimental but still pleasant (some decent instrumental hooks) with a lot of emotion depth, just a unique way form of musical expression. Violin, cello, keys, and other instruments play around each other, occasionally against each other, sometimes in song form, sometimes out in space. They sweep you up in their tornado and bring you along for a ride. Occasionally they lose me or I drop attention for a bit. But overall it’s interesting music that rewards a deep listen but would shit a background nicely too. Appreciated hearing something with a different and unique sound…my morning listen was a 2 but I’m glad I had time to hear it again and bump it up - I experienced it more strongly the second go. There some other unique albums from this list that I didn’t love, but they still stick out to me and I like to revisit them to try to better grasp these new ideas (looking at you, American Gothic)…does that make it good? Probably just makes it something I need more than a day with.

This album just doesn’t grab me. The songs are well crafted, solid arrangements with some interesting uses of orchestration for an indie rock/pop band, some thoughtful lyrics, honestly a pretty well designed and out-together album. Despite that, there’s nothing that really excites me or is particularly memorable to me. It’s fine to listen to, it just leaves no impression on me.

Poppy electric blues rock with light flakes of psychedelia. Catchy hooks, catchy fuzzy/overdriven riffs. Auerbach’s smooth falsetto. Decent groove to it. Pretty repetitive songs and ton of variety in sound - which makes the 55 min run time drag a bit. Not much soars, but it’s very listenable and pretty broadly appealing.

Didn’t particularly enjoy this, but there are some solid basslines. Definitely not sure why I had to hear this before dying…sounds like a typical cheesy 80s soul record. A little overproduced, a little over sung. Feel like he occasionally said some stuff that made me do a double take.

Electronic dancey techno music that failed to have much impact on me. Some moments pulling from more atmospheric/ambient sounds. I didn’t dislike it, but I barely remember specifics enough to describe it. Feels like something I would need more than a day with (or the proper setting), but I’ll most likely just forget about it.

Artier side of glam rock. Comes out firing with the first song with some fire and a powerful but nimble bass like. Ferry is a unique singer that can be captivating at times. The musical interplay, which is an interesting combo of guitars, bass, violin/strinfs, synths, brass or oboe or something? - was more interesting than the songs necessarily. there are some pretty strong instrumental moments. Overall a decent listen but not too impactful to me.

Guy sings jazzy r&b pop with a big band (or strings) and adds some little piano ditties. Great voice, just a nice feeling tone and real emotional expression. Has some great songs but the songs don’t do enough to distinguish themselves from each other. Decent listen but not something I expect to revisit much. It’s nice but doesn’t get to the next level for me.

The Cure do a wonderful job of creating an atmosphere on this album. They drag you into their haze and it envelopes you. Twinkling guitar riffs over shimmering synths and brooding bass lines, with Robert Smith’s reflections echoing and reverberating all around. But it’s not just atmosphere, there are good songs and melodies, though there are many extended instrumentals too. It’s gloomy but it’s its quite warm and beautiful. It sounds like you were sad and took a little acid laying alone in your bed wrapped in a cozy blanket.

Pleasant enough whimsical 60s British pop tunes that are completely forgettable. The identity was tough to follow here, some very straightforward pop, occasional tinges of psychedelia, a weirdly experimental vocal jam…I’m just not sure what they were going for other than Beatles knockoff. A handful of fine songs, but an album that I’ll forget about by tomorrow and probably never think of again.

Some cool stuff and wonderful singing here. Prominent bass in many tracks, almost sometimes jazz fusiony parts while otherwise more MPB and bossa nova. Some really great energy for the more upbeat songs. The slower songs show some emotion but don’t captivate me as well. Decent listen worth further exploration - connected with some but not all of it. This is often how I respond to a variety of Brazilian music - I like it but it doesn’t always resonate, probably because I’m not an educated consumer of it.

I respect Gabriel’s penchant for experimentation and unconventional leanings, while still maintains a few moments of accessibility (only when he really wants to). This is a dark sounding and diverse record, which seems to pull influences from many places but is completely its own thing. It lives in its own space. It’s unsettling at many times, creepy, unpleasant, but also can be captivating.. Though the songs were interesting, I didn’t really love or even like all of them. Cool ideas and execution, but it only partially lands for me. Peter Gabriel seems cooler and weirder than I ever knew and makes really interesting music, but it’s also music that I don’t strongly connect with immediately but could with time.

Solid debut from Led Zep with a few top tier songs. It’s set the tone for the Zep sound of hard rock and blues with a little psych sprinkled on and the occasional acoustic number. A handful of powerful songs, whether it be speed (communication breakdown), riffs (good times, dazed), or more emotional & arrangement (babe). The straight blues tunes are fine but don’t do as much for me. But this is a strong start to a great band, showcasing all their members strengths - powerful but nimble rhythm section, Page’s heavy messy riffs, and Plant’s wailing. The highs are as good as anything else they’ve done, but as a full album isn’t as consistent as some later efforts.

Bowie. Berlin. Sober. Eno. Art. Ambient. Visconti. Weird cool drum sound. Some avant-poppyish stuff and some soundscapes, which are actually quite good. Pretty enjoyable overall, influential no doubt. First half doesn’t quit have the consistency for me.

Truly unique manic expression of experimentalism. An avant-rock masterpiece, strange outsider music, total bullshit? That’s for the listener to decide. I consider myself fairly open-minded, but even I need to get over that initial reaction of “what the fuck is this shit!?!” When Frownloand comes on. But if you can get past that, there some truly interesting stuff here. Closely listening can be intensely stimulating, potentially overstimulating, as you try to keep up with what’s going on. But when you lock in on the right places, there can be amazing things found…I think. Or does it just feel amazing because you had to work to find it? There’s also shit that makes no sense. These dudes certainly made their own album in their own uncompromising way and I respect that. There’s a lot of talent behind this chaos. But it’s also deeply challenging and that’s a lot for 78 fucking minutes…now at this point this is probably my longest review and I still don’t know where I stand on this album.

Groove/nu-metal thay integrates Brazilian influences (particularly indigenous) in a thoughtful and pretty seamless way. It particularly does a lot to spice up the rhythm on this heavy album, which is pretty heavy for metal that’s still somewhat accessible. Downtuned Riffs galore. A few standout tracks, but a bunch just blow by well enough but without much thought. Enjoyable album overall and seems notable in the genre, even if it’s not my typical thing. I’ll probably think about this album more than I’ll actually revisit it though.

Prog rock with punky/post-hardcore energy, with some Latin influences and doses of freak-out psychedelia, and it works phenomenally and fucking rules. It’s tightly controlled chaos that feels like it can lose its grip at any moment, but always hangs on. Every member of the band can weave in and out of this frenetic and smooth energy. Angular guitar riffs that make your head spin (with some rad solos), a super tight rhythm section with complex, nimble drumming, and Cedric’s wailing on top of it…it all fits like a glove. This is prog with real energy and it feels authentic , not pretentious or wanky.

A darker sound for a new wavey/synth pop kinda thing. It’s decent crafted and can set a mood, but overall was a bit dull and little stood out to me.

Ok, mid-70s rock and roll. Doesn’t feel like it breaks new ground or improves on anything before. It doesn’t really have any edge, it’s a bit dull and vanilla. It’s just decent songs from a decent band. Something you can put on anywhere, except my own headphones. Listenable but mostly forgettable, with a song or 2 that have a particularly catchy hook. I also hate this album cover and his stupid face.

Mark E Smith and The Fall are certainly one of a kind. Wiry guitars, prominent simple repetitive rhythmic bass, synthy key flourishes, and the off-kilter atonal mad ramblings put this album firmly in the early post-punk scene. They can capture both the tempo and energy of classic punk as well as the longer, repetitive, dronier post punk explorations. A lot of it blends together and not many tracks stand out as particularly special - it’s a good album and the start of an interesting career, but not a personal favorite.

Rap-rock done right, with a heavy leftist message. Aggressive, heavy, and groovy. Memorable bass playing that stands out but isn’t flashy, with Morello’s signature oddly effected guitar squealing and scratching on top along with plenty of heavy riffs. De La Rocha’s vocals are delivered with intensity and deep anger at injustice and really elevates the music. Vocals/lyrics aren’t the first thing I pick up in music, but he absolutely commands your attention. It kicks ass, it’s fun, it grooves, it sends a message - and it does it all at a high level.

Bjork: Beautiful, delicate, and intimate music made of odd electronic rhythms and bizarre melodies. A truly one-of-a-kind artist that carved out a unique sound and style, both on this album and on basically everything she’s done. Not every song stands out, or has a memorable hook. But the album stands as a full piece with a cohesive sound that will sweep the listener away, if they allow it to. The album as a whole stands out and is memorable. It’s got a mood, feeling, and atmosphere to it - it feels like cooking dinner with a lover in the wintertime.

Hugely ambitious hip hop project with thoughtful expirations of politics, black culture, among other important social concepts. Great instrumentals and beats drawing from diverse influences of funk, jazz, soul, r&b, other hip hop (like g-funk). Conscious and thought-provoking, experimental and challenging, but not at the expense of fun and enjoyment. Despite its length and ambition, it’s a pretty cohesive feeling album that also includes a lot of great songs. There’s an insane amount of depth it - it’s great on first listen, but will continue to reward repeated close examinations of the music and lyrics.

Elvis is ok. It’s complicated.

Well-crafted soft/pop/folky rock songs exploring personal themes, particularly related to love and it’s failing. Good songs, great sounds, with the use of several quality singers and strong vocal harmonies. Some infectious melodies. Solid album all around, though I’m not on the “this is one of the best albums ever” train.

I’m diggin this late 60s Elvis mix of soul, country, blues, r&b, and pop. More interesting and developed songs and arrangements than the earlier Elvis album I heard 2 days ago. The bass playing on this album fucking shreds! It’s a bit overproduced and excessive on the strings and horns and such, but that’s the fun of it.

Decent folky/light rock album with a few great songs. Starting to apply some more diverse influences that flesh out more on later albums. Solid melodies and songwriting, for an overall alright album.

Garage rock with a waning blues influence. Just guitar, drums, vocals, and some piano. Big rock n roll energy. Simple, catchy songs with some fuzzy riffs slapped on it. Feels somewhat haphazard and thrown together, which is the way it needed to sound. Not always consistent (first half is a good deal stronger than the second half), but the best songs are great and the worst songs are still fun.

The Libertines ran so the Arctic Monkeys could run a little slower behind them. British Indie garagey post-punk revival with a rawer intensity than I remembered. A lot of good songs with appealing music that can range up to a noisy organized chaos, but not enough so to reduce its general appeal. Prominent, simple bass lines pair with active drumming to create a danceable beat, while guitars can be a bit more choppy/spastic or laying down a catchy melody, along with clear vocals with singable melodies on top that draw attention. It has a really good sound, each instrument can be heard in isolation but they all mix together well. The sound is consistent, which also makes it a bit repetitive, which makes the weaker tracks skippable because they’re not bringing anything new to the table. Solid album that I intend to give more chances now that it’s come back up.

Pop singer makes indie folk-pop album w/ guy from The National, and results are pretty decent. Still contains pop elements in a subtler way. A pretty quiet, Wintery album. Songs have both a softness and sparseness but also moments of musical depth and lushness. I can understand her talent as a lyricist here, writing picturable stories of different characters. Fine album overall, I’m just not really the target audience and feel her truer pop music packs a bigger punch.

New Order leave some of their post-punkiness behind in favor of danciness (a bit brighter, more synth) but their unique sound is still there. That applies in particular to Hook’s basslines, which are a highlight melodically and rhymically, often driving the song (as per usual). The album is fine and pretty fun, some good songs but not hugely memorable to me.

Indie garagey rock with some jamming and psychedelia. There’s a loose feel to the music but the band is quite nimble, able to pivot quickly in and out of typical song structures and varying rhythms and riffs in instrumental jams. It’s an interesting mix for a recorded album, but it works well. The instrumental sections come rapidly, generally change the feel of things for a bit And then head out before outstaying their welcome. The interplay between the band works well, with guitar melodies that circle around your head while the fuzzy bass fills in melodic gaps locked in with competent drumming. The music is busy, but not overwhelming. I don’t know what the lyrics were and honestly don’t care, it’s not about that. It’s interesting and unique music that combines a bunch of interests into its own sound. Though I prefer the heavier, more complex, and jammier songs to the more acoustic and songy-er songs.

A touch less proggy and a little more mass-appealing hard/glammy (but still some proginess to it). Queen does their usual over-the-topness and theatrics. All of their music displays that they’re immensely talented songwriters and musicians. Plenty of fun to be hard here, but just a fine album overall.

Good Radiohead but not transcendent Radiohead. Rock instruments, electronic instruments, energetic songs, atmospheric spacey songs, Thom Yorke’s voice, Greenwood’s perplexing riffs - it’s all here folks.

This feels like it should be more interesting and fun than it really is. I felt like I should be experiencing emotions, but wasn’t. It provoked the concepts of exuberance and joy without delivering them: Some long songs, but they don’t really change or develop or progress much. So while there are some interesting - guitar riffs, vocal melodies, rhythmic grooves, random fusion-y toned bass, cheesy synthy horns, unique instruments and sounds - to catch my attention, but it was rarely enough to hold it.

Very competent musicianship and quality pop songwriting merge in this funk and soul album with some jazziness to it. The instrumentals on some songs, particularly the more up-beat groovy ones, are simply delectable (mmm bass). The slower are more soulful songs are all well-done, but I just prefer their higher energy fun side. Overall, I appreciate this as a musician more then I care to listen to it for enjoyment - it’s well-done but it’s not all for me.

Somewhere at the center of soft pop, folk, and smooth vocal jazz. She has a tender, soothing voice that’s soft but emotional. The album feels like it should be played late night at a “jazz club” full of middle class middle aged white people or a pseudo-hipster coffee shop (and neither of those are slights). The instrumentalists backing her are talented but subtle and don’t get much room to shine here as Jones’ voice is the primary focal point. The moments they do aren’t tasteful. Not a lot of diversity (sound, pace, tone), so it all starts to blend together and get a bit repetitive. Not a highly memorable or impactful album, but some good songs and a pleasant voice.