- I am somewhat astounded that I have never heard of this group before. A hard rock/punk/metal band with a queer black female lead singer (who describes the group as "clit-rock"), interesting guitar work, a black bassist, that (on the whole) does not shy away from experimenting, going headfirst into political themes, or punching their critics in the mouth? I am disappointed that I could not worship Skunk Anasie at 21 and now am learning to embrace them at 35. Seems like they did not expand from Britain very well. - Do I love every track on this album equally? No. "Secretly" is divine. "On My Hotel Tv," "Lately," and "Cheap Honesty" slap. But even the tracks I am not thay invested in are great to have on. I think "Charlie Big Potato" is a bizarre choice for an opening track (and a single for that matter) but whatever. - First group that feels like a gift delivered to me by this list.

- Strong concept album that works much better as an album than as individual tracks. - Discovered that I like "Time," just not the opening. - Also discovered that "Time" and "Money" are both on this album, both have annoying starts, and rediscovered that I do not care for "Money."

- The haunting, somewhat jaded version of Elvis Presley that I prefer. Most of his sound that I like is contained in this album. - I do believe that the history associated with the album is arguably better than the album itself.

This album is a lot of fine with a couple of great songs mixed in. A bit too soft rock for me all-around. (Also impossible for me not to see The Dude being annoyed.)

- The middle of this album, i.e. Thriller, Beat It, and then Billie Jean, is possibly the best back-to-back tracks ever released. - The rest does not quite live up to that.

- Knew absolutely nothing about this beyond Frank Zappa's name. Wow...had me almost immediately and did not let go. - Personally found Son Of Mr. Green Genes to be a true banger, but I could see almost all of this pumping me up. - Interesting, energetic, and often deep.

- Started strong. Not an EDM fan, but I can see the appeal - This high wore off...multiple tracks were tough to get through. - Continually reminded me of where Daft Punk would eventually end up, but that just made me want to listen to that music instead.

- On the one hand, I like the sound. I would argue that it is a generic psychedelic rock sound, but this is probably because Quicksilver Messenger Service is foundational to that sound. - But the first half of this album is one jam session that goes on for 30 minutes...I am admittedly done after five have passed. - It may be important. I found it boring.

- First half of the album is strong. Very entranced by the back-and-forth of slow and fast tracks. - Second half of the album is near perfect. The stretch from "Golden Slumbers" to "The End" is some of the best work the Beatles ever did. This part is so good that I am tempted to bump the whole album to 5 stars. - God, I cannot stand "Maxwell's Silver Hammer." On the flip side, "Octopus's Garden" is an extremely fun jam.

- First album I have been given that had a cultural \"impact\" that I noticed in my lifetime. I saw Muse live the year after this came out (at a festival...they were not the only act) and it was very obvious that their American fanbase was growing. They would be much bigger five years later. - Some fantastic tracks (some of which I had never heard), but the album does feel a bit same-y throughout. - No doubt a fun listen. But I also do not necessarily feel like anything is being pushed. The sound is largely quite safe.

- Pleasant. The Byrds' sound is nice and peak 60s rock. Nice to listen to. - On the flip side, it is just that: pleasant. Do not feel anything challenging here. It sounds a lot like earlier work from the Beatles, but a few years behind.

- Initially concerned because this album is over two hours of country. - While it is not what I would usually listen to, I have to respect the improvised nature of it all (which was apparently accurate), the craft on display, and the blending of generations. - Personally found "Nashville Blues" and "Tennessee Stud" to be fun, but the best track was probably "Dark As A Dungeon." - Did I mention it is long? Found myself ready to tap out in the second half.

- This is so Irish it practically bleeds green. Fun, but it can be a bit much at times, particularly on the faster tracks. It is hard for me to get entranced when the rhythms are so constant and some of the instrumentation feels stereotypical. - Mix of traditional Irish folk, country western, and some punk? (The punk is arguably more of an influence and attitude than a sound, which I find somewhat disappointing.) - A few of the slower tracks are more impressive to me; \"A Pair of Brown Eyes\" is particularly nice.

- Pretty quintessential Stones sound throughout; there is no mistaking who this is. - \"Wild Horses\" is one hell of a track. - Would definitely listen to this album again, even if it does not continually grip me throughout.

- Hella eclectic at times. Fair amount of creativity, though I could do with less keyboard (and pan flute?). Instantly dates the sound at moments. - Do not know Yes well. Appreciate how heavy the bass is. (The bass in "Yours Is No Disgrace" is solid.) - Some of these tracks are very long. Works well for some, not as much for others. ("Perpetual Change" becomes laborious, despite the rather melodic vocal bridge.) - The organ in "Your Move" does a lot for me.

- Never heard of this artist, but intrigued; instantly gives the vibe of being post-Björk and a more moody and experimental contemporary of Teegan and Sara. (In fact, their vocals are indistinguishable from the latter at times.) - Great vibe all-around. Easy to turn on and soak in. Not sure if any of the tracks stand out, per se. - Glad to have a break in genre and style on this list (I was getting so much 60s rock). Wish I knew how much music was like this was on the list--if it is standing alone, it deserves 4 stars for just that.

- Oh wow. I am actively annoyed by almost all of this immediately. - "The Seventh Seal" sounds epic, but the meandering lyrics and Walker's refusal to rhyme makes it all seem lazy. - I find "The World's Strongest Man" and "Hero Of The War" plesant? And "Boy Child" has some interesting backing? - I am legitimately confused how this even included on this list. Because this is a super rough listen.

- I appreciate that this is one of the first albums I have had that seems to have some heavy non-white influences. Somewhat annoyed when I found out that the duo is indeed white, though. - Found the first half more engaging than the second half. I do not feel like I have a good read on electronic music. Nothing was bad. But nothing stood out either.

- Okay...I get it now. First Radiohead album I have listened to in full. And now I respect why people like this band so much. - Looking it up, this was apparently considered an experimental departure for them. I hope this is the vibe of more of their albums, because I feel for it hard. - Adore "How to Disappear Completely" and "Motion Picture Soundtrack." Was worried when "Optimistic" came on (did not jive for me as much), but it was not much of a departure and the album quickly veered back to where I wanted it to be. - Listened to the album two more times over the weekend.

- Nothing "new," but these classics are classics for a reason. The Chairman of the Board could croon, no doubt about that. - All are relaxing to listen to, even if 90% of the tracks are essentially identical. - Between the album title and a couple of the track names (lookin' at you, "Makin' Whoopee)...a lot of immature giggles.

- Not that familiar with Wainwright, but I can see the appeal. - The instrumental backing is the most impressive part here--saw one critic call it luscious and I can see why. Bombastic, fun, and rich. - Wainwright's voice does not quite live up to his ambitions and many of the songs were a bit "same-ish", but fun all the same.

- Engulfs me for two tracks then loses me for two tracks. Repeat. - "Venus as a Boy" stands out and I am very entranced by the classic feel of "Like Someone in Love." - Not a fan of her British dance/electronic hits. Just not my thing.

- Did not know this group. I will admit that I am not very enticed to learn more. - It is...fine? I am probably being too harsh, but I found this largely unremarkable. - Looking up the album, there is a lot of praise for the lyrics...considering that I listen primarily for overall sound and vibe, I am not shocked that this did not click for me.

- Fun sound in general, though it does get somewhat same-y after awhile. A couple of tracks drag. - Ears perked up when "In the Morning of the Magicians" started. Like much of this one, but it is the only one that teuly catches my attention.

- The first segment of this album (from "Gasoline Dreams" to "So Fresh, So Clean" to "Ms. Jackson") is as engaging as any hip-hop album I have listened to. - I do feel that the latter half of the album sags, though "B.O.B." is phenomenal and a few others almost reach the height of that first chunk.

- Apparently the New York Dolls walked so that KISS could run? - Fun sound, but nothing truly jumps out and I am not sure why this particular album is being cited for being noteworthy. I guess just how early this sound was emerging?

- My actual answer? Probably a 3...maybe a 2. While I am not the biggest fan of Manson, I get the appeal and this is essentially his classic stuff. - That being said, I felt gross even playing his music given all of the allegations against him lately. So automatic 1.

- Pure early grunge, though also early enough to have a whole lot of diversity of sound. - "Ted, Just Admit It..." is a bit more interesting and has some interesting thematic qualities. And "Jane Says" is fairly iconic.

- I see why people like this and I especially see how it was somewhat groundbreaking in the 80s. This album is eclectic and oftentimes bizarre. - Unfortunately, it just does not do much for me. I do like "Once in a Lifetime" and see why this particular song pops up often.

- Love "Walk On By" and Hayes's voice is indeed "Hot Buttered Soul" personified. - Why are all of these tracks so long? - Started to lose me with the rest of the album. Fun, but very prolonged.

- Fresh, clever rhymes delivered with energetic, bouncy rhythms by young, passionate dudes that seem to be reading their raw, sincere bars off the notebooks they scrawled them into. Totally into this. - Not dated...honestly feels quite innovative for 1989. - Unfortunately, a couple of the singles (of which there were 8? Why?) stand out way more than the rest. - "The Magic Number" is frenetic and captivating. "Eye Know" is quietly confident and pulsating. I also like "Me Myself and I", but way more for the mixing than any of the rap.

- All of the slowest, most brooding tracks are solid 5s. This includes "Peace Go With You, Brother," "Rivers of My Fathers," and "Song for Bobby Smith." Each is engaging, melodic, and haunting. - Some of the other tracks felt like more generic soul. - "H2Ogate Blues" is fantastic and sadly just as relevant now as it was in 1974. - Gil-Heron's voice is unique, even for soul. Smooth, but with enough of a rasp to give it some weight. Usually 100% with it, but some of the more prolonged notes start to feel pressed and approach being out-of-tune.

- Unexpectedly really into this groove. Am really into the first four tracks as well as "Heatwave" -- not feeling "Easter Parade" as much, though I like it more than the other versions of this type of track I have heard. (Feels less pretentious?) - Adore "Tinseltown in the Rain" and "Stay." These synthesizers and other electronic elements, including the percussion, are mesmerizing. - This had to have been an influence on The Killers (especially Brandon Flowers).

- I am by no means a jazz aficionado, but I at least know that 1) Charles Mingus was incredibly influential in the jazz world and 2) that this jazz is not in any way generic or boring. - I did like the second half (tracks C and D) more. There were more unusual moments sprinkled throughout these that caused me to perk up.

- I know this album was incredibly important, specifically in bringing gangsta rap into legitimate mainstream consumption, and I have a lot of respect for that...but I do feel like it becomes repetitive after awhile. One of those artistic achievements wherein I believe being "the first" is a more important piece than the actual quality of the product. - The first four tracks are solid. But, I think diminishing returns are found almost immediately. The opening track ("Straight Outta Compton") is so goddamn electric. And even if "Fuck Tha Police" is not quite as kinetic, the thematic material boosts it. But, I find myself wanting to tap out about halfway through it all.

- The guitar work is delightfully crunchy and strong (no surprise there) and there is no question that Cream was bringing a new psychedelic sound to the table. - Actually more entranced by the one blues track ("Take It Back") than I was by much of the rest. A cool sound overall, but this album does get repetitive.

- Unfortunately, the "We have the Beatles at home" of bands. The Youngbloods are trying things, but it is all fairly uninspired. Album is all over the place, but not in a captivating way. More just confusing and jarring. - "Sunlight" is a genuinely touching song. Very heart-warming. - Also found "Ride the Wind" interesting; apparently I find the more "easy listening" tracks to be a better direction for the Youngbloods. - Found some of the more gimmicky tracks ("Don't Let the Rain Bring You Down") downright annoying.

- Admittedly not a fan of the titular song given that it involves hunting down and killing a woman in her sleep for having the audacity to leave you for another man. - I do not enjoy, or even love, a ton of country. But this all sounds....fine? Somewhat generic. I feel that very little of it stands out at all.

- With regard to lyricism, a solid 5/5. - Unfortunately I just find Nas's rap style to be...fine? A true lack of variety on that front, given that his diction, rhytms, tempo, and cadence are all fairly monotonous. I found myself more engaged during AZ's verse and choruses of "Life's a Bitch" than anything Nas was directly producing.

- Mainly know Dire Straits as the band that produced "Sultans of Swing." Apparently almost all of their music sounds almost exactly like that one track. - A super cool guitar riff starts the album. And the persistently syncopated rhythms are fun. But everything really does feel like the diet version of "Sultans of Swing."

- Never heard of this group; they have the smallest Spotify presence of any group on this list I have seen so far. - Very generic new wave pop-rock. Most of the songs sound extremely similar. - In general I find Lloyd Cole's vocals (a bizarre mix of Bob Dylan and flashes of Linda Perry from 4 Non Blondes) to be hard to tolerate. - Super interesting backing on "Are You Ready To Be Heartbroken?" If everything was this caliber, it might merit a 3 or higher. - Not offended...but why is this album included?

- I am somewhat astounded that I have never heard of this group before. A hard rock/punk/metal band with a queer black female lead singer (who describes the group as "clit-rock"), interesting guitar work, a black bassist, that (on the whole) does not shy away from experimenting, going headfirst into political themes, or punching their critics in the mouth? I am disappointed that I could not worship Skunk Anasie at 21 and now am learning to embrace them at 35. Seems like they did not expand from Britain very well. - Do I love every track on this album equally? No. "Secretly" is divine. "On My Hotel Tv," "Lately," and "Cheap Honesty" slap. But even the tracks I am not thay invested in are great to have on. I think "Charlie Big Potato" is a bizarre choice for an opening track (and a single for that matter) but whatever. - First group that feels like a gift delivered to me by this list.

- Some of the most interesting indie singer/songwriter work I have encountered. Smith's whispered delivery is beautiful, hypnotizing, and haunting. - A few tracks do not engage me as much in the middle, so the album does suffer a slight dip, but the first four tracks and the final two are fantastic. - Loving "Alameda," "Between the Bars," "2:45 AM," and "Say Yes."

- A more "old-fashioned" album, in the sense that the tracks are all fine but not connected together outside of the fact that Elvis is performing them. - The real bangers are all the ones you know, "Blue Suede Shoes," "Tutti Frutti," and "Blue Moon." None of the rest are disappointing, but they are just not particularly memorable.

- Never been a big fan of Zeppelin...have always found them to be incredibly overhyped. But there is no question that their standard fare is a step above most other straight rock from the period. - Pretty much turn this album on and just let it play. No one track truly stood out and wow'ed me, but I also found it all to be enjoyable. - I do not find the bluesy sound they have on occasion to be as fascinating as their heavier stuff. Much like Elvis, part of me wonders how much the praise they received was for using songs and techniques from people of color but with an "acceptable" (i.e. white) appearance.

- Me after 5 minutes: "Some interesting stuff here." Me after 30 minutes: "Okay...I am done." Me after 60 minutes: "40 songs left to go?" Me after 65 minutes: "How are there now 42 songs left to go?" - A concept album is, by nature, always going to be a bit "much." But this just felt so self-indulgent, too. I was forcing myself to get through it. Cut this baby down to 45 minutes and you could have an amazing album. Instead it felt cloying and too clever for its own good. - One of the first times I have been turned off by the addition of synth.

- Never heard of Big Star, which probably makes sense because they seem to have dissolved before this album was released in its "proper" form. - Like "Holocaust" and "Nature Boy" (which I only knew from Moulin Rouge). The dark, moody pieces are legitimately interesting. - Unfortunately, the rest is extremely generic and out-of-sync with these tracks. I very much disliked "Big Black Car" and "Jesus Christ"...apparently those were packaged together on a single? Woof.

- First Dylan album I have listened to in-full. - The lyricism is everything. The music behind it is often comforting and unobstrusive without ever being monotonous, but Dylan's lyrics are what makes this music stand out. - Is Dylan my thing? No, not really. But I have to admire the words he weaves, even if I do not understand where 50% of it is going. - "Mr. Tambourine Man" is definitely the standout.

- Chill and smooth. Honestly feels like background music to a relaxing pre-90s comedy. - Would not change the station if this came on. But I would never seek it out either. - How can you even separate the tracks in your head? They continually bleed into each other. "Minor Chant" started in a cool way...but then right back to sounding like everything else. - I am probably being generous with this score. I do not mind the jazz, but why is this something everyone should hear?

- The first time I heard of this website, I entered an email out of curiosity and this album is the first one that popped up. I was admittedly turned off because I did not want my first experience to be Oasis. - Some good tracks on here -- I heard "Live Forever" the first time in preparation for a guitar lesson. I also think "Bring It On Down" and "Cigarettes & Alcohol" are relatively strong and stand on their own. - Second half is better than the first half...but it is still Oasis, which means I can take or leave Gallagher's voice and am never that impressed.

- This feels like the most 4-star of albums. Easy to get immersed in Radiohead's mesmerizing soundscape and the musicianship is incredibly clear, but I also have difficulty pointing out specifics that truly garbbed me. - Love the start...first two tracks ("The Bends" in particular) are extremely solid. - Radiohead has a weird ability to lull me into an absolutely acceptable, slightly more than fine track, and then insert a funky, jarring guitar jam element into the back third to wake me back up. This is often very pleasing (looking at you, "(Nice Dreams)" and "Just"). However, sometimes you are liking the vibe of the song a lot and the shift is very unwelcome because it harshes your musical buzz ("Iron Lung").

- I like a lot of the backing here and both "Move" and "Life Is Better" are fairly innovative (particularly with the addition of Norah Jones in the latter). - This album seems to be set at a single, unvarying tempo and Q-Tip's rhythms are lacking in variety. Great flow, but I never felt surprised.

- The influence on future hip-hop and rap is undoubted and there are moments of sheer brilliance here. There are, unfortunately, also very dated moments of mediocrity. - First two tracks ("She's Fresh" and "It's Nasty") are full-on 5/5 bangers. Make you wnat to party. - The opening guitar groove of "(It's a Shame") is pure delight. Instantly transports you to some island paradise. The call-and-response is also good, but then it loses me in the verses. - "The Message" is obviously not only good, it is unbelievably impactful, too. Hard to imagine something this developed emerging in 1982. - I am not a fan of "Scorpio." And "You Are" seemed so sweet. And then Jesus arrived. Woof.

- Pure funk and soul. Impossible not to turn this album on without instantly imagining the bedrooms of the 70s. - Some better tracks (I recognized "Shining Star" instantly), though ultimately little of it stands out on its own. - Probably should rate this higher because Earth, Wind & Fire's sound is so unique compared to many other groups on this list, but I do believe that is the primary reason why this album was included in the first place.

- Had an insane amount of difficulty ever understanding what Drake was saying. But the vibe is nice and relaxing and I can see all of these tracks appearing as the opening song in an indie picture. - Nothing bad here. But I would not seek it out either. The stripped down nature of it all is nice.

- Kind of surprising that I am giving this 5 stars. But I have found myself listening to the album multiple times in the past 24 hours, so my rating should reflect that. - I like Alice Cooper's style; on this particular album he is giving me shades of "Paul McCartney's evil twin"? This was most reflected in "Mary Ann." - Was not expecting there to be so much variation in these tracks, particularly with the often odd backing elements and distortions. All of these songs are bangers. They are all fun, raucous, mesmerizing, disturbing, affecting, or some combination of the above. Personally love "Hello Hooray." - "Sick Things" and "I Love the Dead" are both incredibly dark and macabre, but both kept me hooked in.

- Good god, inject this straight into my veins. Pure garage rock sound. I knew the White Stripes were talented (and had heard of this album and its incredibly famous opening track), but I did not realize how stellar their sound was overall. - Raw...so fun and raw that you keep feeling it in your chest; the blues influences are right in your face. And simultaneously simple, surprising, and masterful. - Jack White essentially makes his guitar into a tommy gun with the staccato syncopation of many of these solos. - I added half the songs on this album straight onto my "Liked" playlist. First time that has happened.

- Never listened to Steely Dan all that much, so I was surprised by the incredibly obvious jazz influences (which were often more than just influences). - "My Old School" singlehandedly took this from a 3 star to a 4 star in my mind. Hell of a banger.

- I am not shocked that this was not commercially successful in 1967. There are some truly experimental moments on this record and you can feel the Velvet Underground pushing into what what would be more psychedelic rock. That being said, some of those moments, while interesting, are not particularly fun to listen to. - "Heroin" is fantastic. (Never thought I would say that.) Easily the best track. - Found "The Black Angel's Death Song" to be somewhat aggravating. And "European Son" goes on way too long. I see where the thought was behind both, they are never mindless, but I also was not feeling the groove.

- Willie Nelson may be the most comforting singer I have ever heard. I just never want to turn him off. - Everything here works amazingly well with his style. - Anything groundbreaking? No (beyond him just changing style in 1978). But would I gladly listen to all of this at almost any time? Yes. One of the first albums on this list that justifies buying a vinyl.

- Enjoyed "Please Be With Me" and "Let It Grow," even if the latter sounds cheesy with Clapton's vocals. - Nothing on this is offensive...it is all pretty standard Clapton fair. Too bad that he is a monumental POS.

- This one hurts, because this is the most disappointing album for me thus far. I like a lot of metal, but Slayer's work here was just not on my wavelength for the most part. - I find the message of "Jesus Saves" to be interesting and enjoy "Criminally Insane" and "Raining Blood" (the latter largely because I remember it being an absolute bitch to try and do well on in Guitar Hero III). - Unfortunately almost every track feels virtually identical despite the fantastic guitar work. The tempo never changes. The tone never changes. The lyrics never become less than overbearing. And any moments of innovation feel drowned out by the monotony. - Also, I do not believe that the members of Slayer are in any way Nazi sympathizers...but "Angel of Death" is admittedly tasteless. And a very hard sell for the first track.

- This is very much not my speed, but I do have to give credit for some catchy tunes. More of a fan of the songs with the more mournful tones ("Black Money" and "That's The Way"), though that honestly may be more of a result of the inclusion of the gospel singer. Also found "Miss Me Blind" to be more what I wanted. - "Karma karma karma karm--" noooooope. - The harmonica is driving me up the wall a little bit. Sounds like it belongs on an 80s children's special.

- Is Bon Jovi the least threatening hard rock band in existence? Something to ponder. - The hits are strong, which anyone who has attended karaoke can attest to. I personally enjoy "Wanted Dead Or Alive" the most of those. But I was actually surprisingly really into "Raise Your Hands" (a legitimately fun party ballad) and "Without Love" (which has that quintessential 80s melodramatic charm). Maybe because I have not heard them 1000 times. - Some of the non-hits are fine? A couple are rough. Not a fan of "Social Disease."

- I have always enjoyed Eminem, but I am admittedly no more than a casual fan. With that in mind, listening to a whole album is a bit more of a rough experience than I initially envisioned. - Some great tracks -- in particular, "Stan" is a true standout and such a different work. I also found myself more taken by "Drug Ballad." - He has unquestionable skill...no doubt about that. I can see why this album is historically important. - Some extremely rough material; at 35, it is hard for me to listen to "Kim" or "Criminal" and not be a bit disgusted with the misogyny and the use of gay slurs.

- Some strong tracks ("Slow Love" and "I Could Never Take The Place Of Your Man" in particular), but combined with a lot that felt like generic Prince fair. Better than many artists? Sure. But standard stuff for Prince. - Not sure how I feel about "The Cross." Evocative, but not sure if it is being sincere or not with regard to the religious undertones. - People like this more than "Purple Rain"? Wtf?

- I am not overly fond of most country music, but nothing here bothered me. I found the slower tracks, such as "Brass Buttons" and "$1000 Wedding" to be more engaging than the faster ones. - I would not turn off this album. Neither would I ever seek it out again.

- I am definitely not a connesuir of blues, so I am honestly not sure how novel this album might be. It felt like standard fare. Good, standard fare, but standard nonetheless. - "My Dream" stood out -- negated some of the more cliche blues rhythms and chord changes. More of this and it might have made it to 4 stars for me.

- I like Jack White (and I think the White Stripes's "Elephant" is divine), but this all just blends together. - A friend had once recommended me "Sixteen Saltines" -- unfortunately, after listening to this whole album, that is the only track I see myself returning to all that often. - Needs more crunchy guitar...it pops up at moments, but not enough to justify the slow rhythm and blues that dominates almost all of this.

- Never heard of Supergrass and was very pleasantly surprised; honestly shocked this came out in 1995 because it has the feel of a lot of garage rock, pop-punk, and indie alt albums of the 00s. - Do I love every track? No. But they are almost all super catchy. In particular, "I'd Like to Know," "Caught By the Fuzz," and "Sitting Up Straight" are all solid and display some fun, frenetic guitar work. - "Time" is probably my favorite, though...very authentic rhythm and blues callback with some grit.

- Credit where credit is due: Haircut 100 is a New Wave, early Britpop band that did not immediately run me up the wall. Most of these tracks are absolutely fine. - Very much enjoy "Love Plus One," which I do believe is the best song on the album. Some interesting guitar work on a few other tracks, such as "Surprise Me Again." - Not quite sure why it is on this list, but I was not insulted by its inclusion either.

- Possibly the most recent album I have had on this list so far? I was somewhat surprised that I knew nothing about it. - A totally pleasant listen; in fact, it is all incredibly relaxing. But it also never seemed to deviate from the first 5 minutes of material.

- There are some creative moments on here, particularly some quirky guitar slides and some bizarre lyrics. But this all honestly sounds like the discount version of a half-dozen more cohesive bands, such as the Beatles, Rush, etc. - I enjoyed the goofiness of "Hotel" but it does not gel with the rest of the album. Also really liked the opening moments of "Clockwork Creep," but my interest does not hold up for the whole track.

- The opening title track (i.e. "Station to Station") is very good; particularly solid given that it is 10 minutes and keeps me engaged for its entire runtime. Nice build up of suspense followed by a cathartic change of pace. - The rest of the album is fine, but it essentially washed over me with little impact. I did like "Wild is the Wind," though it weirdly sounded incredibly reminiscent of "Gethsemane" in 1988's Jesus Christ Superstar? - The fictional Thin White Duke was totally a Thatcher / Reagan supporter.

- Starts strong with "Dead Leaves and the Dirty Ground," but I personally find the rest of the album having a hard time living up to that, with the exception of "I Can't Wait" (my favorite track). - Honestly a bit disappointed because I love "Elephant" so much, but this feels safe in comparison? I do detect much of the kineticism that defines that album.

- Maybe I am just prickly today, but Beck was not doing it for me. I feel like this album is occasionally trying to have some weight and grit, but it all feels overproduced. - Beck is known for just incorporating random sounds, which sounds like something I would like, but it becomes predictable to the point that it grates on my nerves. - I do not outright hate any tracks here...but I do not necessarily like any of them either. I would probably be inclined to skip every one. - Like Beck, I grew up in a heavily Latino area. But "Que 'Onda Guero" just makes me cringe.

- Difficult for me to separate The Cure away from the vibe of their biggest pop hits, especially with the distinct nature of Robert Smith's voice. I appreciate the dark sentiment of this album, but his vocals often take me out of it. - "The Hanging Garden" and "Siamese Twins" both stand out, especially with the heaviness of the bass and percussion. I believe the latter to be the best track. - "Pornography," the final track is an interesting, avante-garde mood piece.

- Never listened to an Elvis Costello album; my point of reference is mainly "Austin Powers: The Spy Who Shagged Me." - Not a total fan of him in this more New Wave era, though I have to admit that a lot of this sounds like a 50s throwback. I like the fact that he sounds like Billy Joel with way more personality. - Enjoy "Party Girl." - Found "Sunday's Best" to be annoying. But the rest of the album was pleasant.

- Typical The Who, but typical The Who is pretty damn solid. Energetic, fun, and just a little bit heavy with the guitar. - This would have been awesome to see live.

- The second half of this album, which contains the moody, almost entirely instrumental tracks, is divine. It starts strongly with "A New Career in a New Town" and ends strongly with "Subterraneans" and everything in-between is worth listening to. If the entire album sounded like this, then five stars. - The tracks on the first side are fine, even more than fine, and they have way more heart and charisma than the previous album (Station to Station). (This is particularly true of "Speed of Life.") But it just does not match up to or totally coherent with the second half.

- Definitely not feeling this; largely an excessively lugubrious, tedious dirge. - "West Country Girl" seems to have the correct style for Cave's voice; this feels like it all should be closer to Johnny Cash than to Rufus Wainwright. - I actively do not like multiple songs here, including "Lime Tree Arbour," "There Is a Kingdom," and "Green Eyes." A real chore overall.

- Started so strong with the surprisingly catchy "The Act We Act." Immediately made we wonder why I had never heard of this group. Somewhat heavy, but still surprisingly light given that grunge was hitting hard at this point. - Unfortunately the rest of the album did not live up to this. I enjoyed "Helpless," but found most of everything else somewhat uninspired. Additionally, I was not a fan of whatever was happening with "Hoover Dam." - Almost gave this two stars, but I think that is too harsh...if Sugar (a band I had never heard of) had lived up to that first track, they probably would have been gunning for four.

- This takes me back. The first album that I essentially know back-to-front because I listened to it so much as a pre-teen/teenager. (Thanks for the lack of explicit lyrics, LP...otherwise, my mom would have never let me buy this album.) - Nü metal may have burned out as quickly as it rocketed skyward, but I have such a soft spot in my heart for it. And Linkin Park was its peak. Other metal groups were more sophisticated (Nine Inch Nails, System of a Down) and others were more hardcore (Slipknot, Korn), but LP was easily the most far-reaching for most of a decade. - Linkin Park's soundscapes are legitimately fascinating. Such a cool mix of guitars, electronics, percussion, record-scratches, and industrial effects. And the vocals are similarly a group effort...Shinoda and Bennington are both essential to each track. - Love every song (except for maybe "By Myself"). Even "Cure for the Itch" has grown on me over time. -RIP Chester. You meant a lot to a young me.

- I am really not a fan of R.E.M. At all. I will say that I liked this album a bit more than I was expecting, but that is because I was expecting the absolute worst. I just find the band's sound to be annoying 99% of the time and very characteristic of what I do not enjoy about rock. - Lush sounds overall, but I am most impressed by R.E.M.'s ability to specifically focus on certain instrumental isolation. There are just distinct moments when the percussion, the guitar, or the piano will just pop out; those are the best moments. - Enjoyed "Laughing" (once again, those percussive isolations) and "Perfect Circle." - Found "Talk About The Passion" grating. "We Walk" was even worse. - This does sound remarkably forward-thinking for 1983. Still do not enjoy it overall, though.

- Was unsure how I felt after the first listen, so I gave it another spin and must now give this five stars. It is too unique to do otherwise. - Some classic Bowie tracks ("Changes", "Life on Mars?") punctuated by some very solid, lesser-known, often introspective songs ("Quicksand" is a great example). - There are no bad tracks here. There are some tracks that do not totally fit together, but every one is good, if not great, in its own right. I was a bit turned off by "Kooks" originally (never a fan of a song being shoehorned in, no matter the importance to the artist), but it is so heartwarmingly sweet, clever, and catchy that I just have to give it it's due.

- Was planning on going with 3 stars for the first half of the album, but the second half really won me over. - Not sure how complimented the Beastie Boys would be by this take, but I think the work they do on their backings far outshines their ability as rap artists. And, for this reason, a lot of the experimental/instrumental tracks truly stand out to me. "Sabrosa," "Shambala," "Transitions"...this is where I find myself most impressed. - That being said, "Sabotage" is "Sabotage" for a reason. Banger of a track.

- Not sure I have ever heard a Smiths track, well enough a whole album. Not surprised that this is what Joseph Gordon-Levitt and Zooey Deschanel are fans of in "500 Days of Summer." - Not a fan of britpop, which this apparently influenced, so not a shocker that I felt this was fine. The sound is fine. The tones are fine. I would not turn it off, but I would never seek it out either. - Marr's jangly guitar is fine. Morrisey's vocals are take or leave. - "Cemetary Gates" is clearly the best track, though somebof the backing on "There Is A Light That Never Goes Out" is interesting.

- I know Buddy Holly is extremely influential to early rock music, though I will fully admit that I do not truly understand how this is the case. - Had a pleasant voice that could keep a catchy tune. Everyone knows "That'll Be The Day" and why not? It is fun.

- AC/DC is fairly essential party rock music. And the title track is a fun romp. However, almost all of the other tracks have the same structure and style as that one and they so not compare. - "Night Prowler" was a nice change of pace.

- I appreciate Kool Keith's commitment to the bit. Every track, including the skits, follows suit. - Was not expecting so many physics references in "No Awareness." They are just used as jargon, but still. - DJ Qbert's scratching is often the highlight. The backing tracks are never bad, but the beat can get a bit monotonous. - Kool Keith is capable of mixing up the rhythms, but these tracks still blend together. I like the emotionally detached style, but that does not help.

- Very tempted to give this 5 stars, because the first half is just that good. Multiple great tracks and it all builds to the combo of the epic "Set Fire to the Rain" and the enticing "He Won't Go." - I admittedly lose some interest in the second half...not sure if it is more a result of the genre or my own tastes? - The first album of this kind I have gotten on the list. I hope there are more like this that break the mold a bit.

- Not familiar with this group. The album encompasses an odd smorgasbord of genres that are hard to connect. - "I Wanna Be Adored" sounds like a precursor to grunge. Definitely my favorite track of the album. (I liked "Made of Stone," too.) - After that, the songs veer much more toward 60s psychedelic ("Don't Stop" being the most obvious example). This seems to be the Stone Roses typical sound. - The final track ("Fools Gold") is such a departure, circling around to mediocre funk, that it solidified this as a 3 star, rather than a 4 star, effort.

- Just by tuning into alt rock radio off and on for 20 years, I have heard at least half of this album. - Very much enjoy "Heart-Shaped Box," "Dumb," and "All Apologies." Probably heard each 100 times, but they are still effective. - Discovered "Pennyroyal Tea." Also "Radio Friendly Unit Shifter," but that one was possibly the least inspired track. - Nirvana is Nirvana. Sit back and enjoy the distortion.

- Avant-garde garage rock? I had no idea that was the Butthole Surfers oeuvre. - Really digging this for the first half. Great crunch, enthralling beats, keeps your heart pumping. Comes to a head with "Human Cannonball." - Loses me a bit after that stellar track. Found the next two to be a bit grating and "Kuntz" to be more bewildering than anything else.

- Quite disappointing, especially after being surprised by Steely Dan's \"Countdown to Ecstasy.\" Probably why I am being as harsh as I am. - I was not raised with Steely Dan, so my point of comparison is Chicago; this sounds like Chicago with much less brass and much less heart, which just makes it sound like dated easy listening. - No stand out songs. I almost got into \"Deacon Blues\" and \"Peg.\" The title track grated on me (and when on for over 7 minutes).

- It is possible I am being too nice with this, because very little wow'ed me here. ZZ Top feel like rock journeymen. Very competent. Very successful. Nothing that makes them sound like authors. - I am impressed by their ability to get under your skin without relying on the fastest of tempos. These songs make you want to party, but they do not exhaust you. - But some of these tracks, namely the singles, are very powerful. Gimme All Your Lovin', Sharp Dressed Man, and Legs are all bangers. TV Dinners is pretty dumb (and dated).

- While I get that Air purposefully developed this to be its own beast, rather than acting as a traditional film score, this feels like an odd inclusion. - Very difficult for me to separate this from the movie, a film that I do not particularly enjoy and find to be meandering and listless. This album does reflect that to some degree. - Totally seems like this should be my vibe, but while I enjoy its synth tones, I found it to be lacking a propulsion that is necessary for me to want to revisit it.

- Not sure if many songs truly stand out on their own, except for the couple that I have heard in movies time and time again as a stand-in for sexual chemistry. But this whole album is a pleasant vibe. - Gaye's voice is unquestionably beautiful. And the sheer comfort that comes with the orchestral backing is easy to chill to. - Almost downgraded this for having a song called "You Sure Love To Ball," complete with a woman moaning as an introduction. But, it is ballsy...no pun intended.

- There is an early episode of Futurama where the Beastie Boys guest star and it is revealed that Fry loves them. Fry is also frequently shown to have the depth of a puddle. Just saying that it tracks. - The backings deserve 95% of the credit. Going by just the Boys' vocal sound, this would probably be a 2 star, despite their fun interactions and overlaps. They are still young and raw here, though that never really goes away. - "No Sleep Till Brooklyn" is the standout. - Amazing how much Brass Monkey is mentioned outside of "Brass Monkey." It is like their muse.

- Once again an album that I have heard half of from just being a teenager who tuned into alt rock radio. - Surprised by 1) how much more connection there is between Pearl Jam and the hard rock (and even hair metal) of the 80s with regard to the focus on guitar riffs and 2) how much Eddie Vedder's vocals influenced so many, often maligned, bands of the 00s like Creed, Nickeback, etc. - Pearl Jam will never be my default grunge band, but the one-two punch of "Black" and "Jeremy" is nothing short of masterful.

- I respect the technique, but that is about it. I have admittedly never heard of ELP, but I am not shocked either. This feels pretentious and dated. - The first track is a 20-minute jam session focused way too much in the keyboard. Yeesh. - The other side of the record had some interesting moments (like "The Only Way"), but I really wish it was all more like the final "Are You Ready Eddy?" which was a completely different vibe.

- I was going to be generous and give this 4 stars because I was satisfied with essentially everything on here and actually really into a few tracks (like the quintessential "Groovin'," but also "Find Somebody" and "If You Knew"). They just make you want to dance with the nearest person. - The feel-good soul the Young Rascals have on here is top notch. The rock pieces are good, but not as engaging. Kudos for using bizarre instrumentation at times, including an accordian and a harmonica. - I am dinging this down to 3 stars for being part of the blue-eyed soul movement, which is more than a little problematic in origin.

- I am perfectly fine vibing with everything here, though I cannot tell a single track apart. This feels like the groundwork for a lot of synth and lofi music that I have frequently listened to over the course of the last decade. - More my speed than all of the other electronica music I have encountered on this list so far. But it does little to differentiate itself beyond other ambient, atmospheric tracks.

- Not familiar with Afro beat, but this is slick as hell. I feel like I just fell into a heist movie. - A mixture of jazz, funky, soul, and West African influences? Sign me up. - The first track (the titular "Zombie") goes hard--it is 5 star level music. The rest of the songs do not quite live up to the infectious nature of that song, but I appreciate the overall groove of this album. - Do yourself a favor and look up Kuti's activism, including the history of this album. Wow.

- I legitimately thought I would love this after the intro and the first track "Hail Bop." But then it all...did the exact same thing? - These tracks are definitely different from a sonic point of view. But the structures are all identical to the point of feeling like they were designed by AI. 1) Bizarre percussion / synth beats, preferably with random sound effects that Beck would give a side-eye to. 2) Unaltering rhythm. Not fast. Slow, but not tooooo slow. 3) Monotonous vocals layered into harmonies. - Not shocked that much of this albums Wiki page is focused on the commercials these songs have been in. I hate none of it. But, for being "art rock," it feels weirdly safe?

- This is exactly my type of rap/hip-hop. I fully own that. - Lyrically solid. Melodically interesting. Contains deep messages. But still a bop. Common does a good job of mixing up rhythms and keeping me invested, no matter his speed. - Like most of the tracks on here. In particular, "Be," "GO!," "The Food," and "It's Your World." But honestly, I am more impressed that it all blends without feeling monotonous.

- Indian music is very much outside my wheelhouse, so it is difficult for me to evaluate this with any degree of expertise. I appreciate the exposure. - From what I can tell, it is good? Not something I would ever seek out on my own, but that is more due to personal taste. I could see this being mindblowing to Western audiences in the 60s. - Glad I found a copy of this on YouTube, because there was a New Age album of the same name on Spotify that was not as impressive.