Saw these guys in concert a few years ago opening for Tedeschi Trucks Band... they did nothing for me then. Vanilla southern rock. After listening to this album in full... still nothing. In no way does release deserve to be 90+ minutes long, it's incredibly same-y throughout. DBT essentially dedicated an entire release to outlining the story of Lynyrd Skynyrd. I understand that Skynyrd == southern rock, but my god, the idea of a band writing, recording, and releasing a double-side album about a wholly separate band (no matter the genre) feels kind of sad. Skip this and go re-listen to '(Pronounced 'Lĕh-'nérd 'Skin-'nérd)'

Easy 5/5. As released in '73, Dark Side is a masterpiece of the rock genre, blending psychedelic elements with masterful studio editing to create a near flawless concept album.

I can see how this type of album/music would make a huge splash in the early 90s - mashing up different elements of psychedelia and acid/house to create something (at the time) largely unheard of. I'd likely give four stars if listening when it first came out, but in 2024 it feels staunchly mid-tier.

Exceptional album, catchy riffs, solid drum grooves by Ringo

Heralded as the ushering in of the glam rock movement - and I can see why

So unbelievably funky

10/10 schizophrenic drumming

Tasty alt-rock goodness

Only 20 minutes, but what a crazy 20 minutes!

Very early/experimental shoegaze/noise rock. Cool but weird

Actually a fun Pixies listen front to back

Kanye is nuts but this debut album is quite good

Very experimental, which I respect, but it's not really my thing

I'm a gangsterrr I'm a straight up gee

Banger of an album. Interesting dichotomy between the late 80s rap feel of this album and Snoop's 'Doggystyle'

Odd but fun album

Hits hard

Solid punk record

Classic country at its finest

"Borderline experimental" - Jay Baumann

Absolute banger of a classic rock album

Pure, unadulterated Dylan

Keith Moon, what a legend

New wave's not really my thing but solid album nonetheless

Max Roach - blistering yet precise drum solos

Psychedelic goodness

Slick guitars, hard rock baybeee

\m/

Quality production and songwriting

'Killah' production and lyrical flow. I think I still slightly prefer Sour Soul tho

Good punk record but nothing that special IMO

Proto-Incubus feel, I like

feel-good classic country twang

Big Thom Yorke energy. Nice.

I mean, c'mon

A masterful blending of blues, rock, and jazz elements. Bonzo's cans are thunderous yet nicely balanced

Frank's singing wields a tapestry of emotions

A hauntingly beautiful vocal odyssey

Jimi Hendrix and Mitch Mitchell. Incredible stuff

Raw, with a twinge of melancholy, yet very soothing

A cool journey in early psychedelic/progressive rock

Fun alt-rock/Britpop

Groundbreaking work of 60s/70s psychedelia

Iconic 70s soul

spacey and quiet, then IN YOUR FACE. In a good way!

Upbeat UK new wave with fun Latin elements

What do you even call LCDS? Some fantastical blend of dance-punk; dance-rock; electronica; electronic rock; indie rock(?) Album hooks you with upbeat and irresistible dance elements "North American Scum"", Someone Great" and "All My Friends" are iconic classics

Southern rock with a tasty blend of punk/garage. Gritty vocals and gripping basslines

We're jammin mon!

Quintessential Dylan

Top-tier modern country. Not a single miss across the album.

Quintessential 2010s indie rock

A masterful follow up to 'Dark Side'

Meg White doing Meg White things. \m/

"joyous, rumbustious, and irresistible. . .a raunchy mix of demented gibberish, blaring sax, and explosive swing" Bobby Morris's drumming/fast shuffles are killer

UK punk fuck yea!

Listening to "I Am Stretched on Your Grave" when suddenly... funky drummer! This groove really is everywhere "Jump in the River" is a great night driving song Title track is hauntingly beautiful, carried 100% by the emotion in her voice

A powerful album with a haunting undercurrent throughout. RIP

Punk rock fuck yeah!

R L Y experimental 60s psychedelic rock/electronica. The intro track hooks you immediately with a weird collage of old-timey big band/orchestral sounds, which are prevalent across the album Released 1 year after Sgt. Pepper's was released - the resemblance is uncanny. But it strikes its own identity and doesn't mimic Sgt Pepper's

Early UK punk. Pretty cool but somewhat forgettable IMO

Sick flow

Proud Mary keep on rollllinnn

An interesting blend of songs whose inspiration was clearly drawn from several popular artists at the time - from The Beatles, Beach Boys, Jimi Hendrix, Stevie Ray Vaughan, Ray Charles, Rolling Stones, and others

"audacious, hypnotic and groundbreaking" Love Dave Mattacks's drumming and rhythmic intensity in the last song - a live version of "I'd Rather Be The Devil (Devil Got My Woman)"

African polyrhythms, rambling vocals and Haitian voudou - nice

Some of the quirkiest blues riffs I've heard in some time

Lots of hidden bangers. Amazing flow

Man's insane but this record is also insane

Brilliant vox (obviously) but for me I can't help but feel like it's missing a lot of OOMPH from a lack of low end in places. Could have been five stars otherwise

Bog standard 2010s rock, for better or worse

Gritty 70s blues

Nobody does sad dad rock like REM

Thom Yorke predicted 9/11!?!1 "The National Anthem" sounds like beautiful madness. Really dig the bassline "Morning Bell" - cool 5/4 groove

Experimental art-rock/pop. Eno's last "rock" release before diving further into the ambient & avant-garde genres (of which he is best known) which is emphasized in the notable differences in feel between side 1 (more rock-based) and side 2 (ambient/piano) "Backwater" - if Interpol was art-pop Nice to see Phil Collins lay down some drum grooves

Love the thunderous sound of the toms. The vocal/lyrical choice is whimsical and fun.

Just dripping with pure, unadulterated F U N K

A hauntingly beautiful capsule that portrays the wild decade that was the 1960s Joe fuckin Morello on "The 59th St Bridge Song"! Wish that tune was longer. Those jazz brushes are so tasty and iconic.

Reminds me a lot of Mdou Moctar - love the Saharan blend of blues rock

Cool concept album but not really my cup of tea

A delightful blend of Steely Dan and Carlos Santana

Gritty but gorgeous lyrical prowess by Crow

What's there to say that hasn't already been said about this album lol. It turned the music industry on its head overnight

da lime in dee co-co-nutt..

"crass materialism" and "simple pleasures". Also love me some sampling of Funky Drummer

Beautiful singing by a beautiful human. Nice drumming by session drummer J. Carrigan

"Less is more" production quality, which works great. Lyrics have a whimsical and lovely tone

Nobody does 'hopeless optimism' quite like early 2000s Radiohead. Love the continuation of heavy electronic/synth following Kid A, but with drums and bass. Drums go from a firm groove in one song to stuttering/providing ambient sounds in the next. Cool variation. Guitar in "Hunting Bears" has that North African desert feel, very Mdou Moctar. Nice.

Album goes hard ngl

Very experimental in terms of song structure, I dig it

"The Jungle Line" - what a mesmerizing song. TIL it's the first credited song to use a sample. The Drummers of Burundi/Bo Diddley - super cool. So many layers across this album, it'll take multiple listens to really appreciate it.

Wonderful late 90s britpop album, best enjoyed in the morning with a nice cuppa joe

"Eruption" - holy shit

A delightful foray across multiple genres of traditional Cuban music

Crude musicianship and youthful attitude. While a commercial failure, it was an influential precursor to the 1970s punk rock movement

Blistering heavy/death metal with tasty drum grooves and double bass

Timeless jangle pop/college rock. Whimsical tunes about love. Love the production style - 80s in the best way Riff on "Charlotte Street" is simple but hits just right.

A behemoth of a rock album. Kudos to Bonham for driving the recording direction in the stu

Tasteful blend of blues/folk/psychedelia/hard rock

UK punk meets country - an interesting blend but not quite my cup of tea

Feels quite reminiscent of early Beatles and Beach Boys, and it's a fun romp musically - about as 60s as you can get - but lyrically it's quite outdated. The album represents the 'good old days' the MAGA movement opines for, and I wouldn't call that a good thing..

Raw emotion and political messages. Last track feels like an electric shock after the smoothness of the tracks leading up to it.

Like Imagine Dragons makes music for car commercials, Norah Jones' debut album feels like it was tailor-made for Starbucks. But Jones' voice is silky and inviting, and the instrumentation is tastefully subtle - I can't hate it.

If 'minimalism' was a rock album. Didn't mind it at first but man this album really feels like it drags on. However "Intro" will always be a banger of a track. Bumped this review from 2 to 3 stars solely for that track.

Loud, boisterous, and immature... but it somehow works for what it is! Could make for good background noise while getting torched with the boys.

Beautiful singing and masterful jazz drumming from the legendary Roy Haynes

Not as polished as Nevermind but still an absolute masterwork of the grunge genre. Makes you wonder what could have been had things turned out differently.

Like a silky smooth cup of coffee on a rainy day. Masterful musicianship all around

An absolute masterpiece obviously, but as a drummer I have to highlight Bonham's drumming on "Four Sticks" - possibly the sole underrated track on the record. The 5/8 to 6/8 groove is slick as butter, and Bonzo maintains a consistent feel across the entire track - using four sticks, to boot!

A pleasant blend of English and French singing. Grooves and melodies are pretty hypnotic - a great first foray into this 90s alt-rock band.

A pity I didn't discover these guys at a younger age, as I probably would have been more open to the absolute insanity these guys bring in my teenage years. Then again, for my eardrums' sake, maybe it's for the best I didn't! While I don't see myself revisiting this one for a long time (if ever) I have to respect the sheer chaos. The groove feels like it's going in 10 different directions at any given time, but it somehow manages to hold on by a thread throughout

Beautiful album by an artist with a tragic ending. Makes me feel a sense of longing to go back to the late 2000s/early 2010s when I was young and the world still felt new and anything was possible.

To me, PJ Harvey feels like one of those artists that fuckin rock, but somehow I completely missed out on when they were at their peak. Standout tracks for me include "Kamikaze" - what a banger - and "This Mess We're In" - I'm a sucker for Thom Yorke, what can I say.

ABBA fucking rules! Impossible to be in a bad mood when listening. Aside from the obvious juggernauts on the album, I really enjoyed the instrumental title track 'Arrival'. Tastefully hypnotic

D.C. represent! Ignoring the fact that they moved to NYC right after forming, lol. Nothing revolutionary, but it's gritty and has great flow. Lots of great tracks to headbang to \m/

Very ambitious and gritty early 2000s rap album that surprises with a multitude of different genres. I'll listen to just about anything that Questlove touches

An interesting listen - it's certainly something outside my regular listening habits. Aside from Mdou Moctar, I don't normally find myself listening to artists from this part of the world. The album definitely shines when the songs don't feel over-produced and glossy, which some unfortunately do. The "King of Rai" definitely shines when the songs feel more like 'Rai' than anything else. I also have to agree with other reviewers and note my distaste for the "Imagine" cover. Oof.

Sly's music just oozes funk, and is perfect for listening on a hot, sticky summer day. Love the 13-min groove/jam "Sex Machine", especially the drum breakdown at the end.

Jimi and Mitch Mitchell, what more could you ask for? One could argue the sheer length of this double LP causes it to suffer from a lack of focus, but the style of blues emanating from Jimi's guitar is undeniably legendary. Really makes you wonder how his music/style would have continued to evolve were it not for his premature death.

This album takes me back to the mosh pits of my teenage years, back when life wasn't so messy. It's a blistering mad 21 minutes of in-your-face punk \m/

Ultimately a rather competent 1950s country album that provides a good listening experience, long as you're actively listening to the lyrics. The instrumentals are bright and cheery and do a good job setting the tone of the Appalachia/blues style of country on the record. But the lyrics ultimately round out the listening experience, and live up to the album's name - "Knoxville Girl" in particular is delightfully morbid.

Gotta love late 80s/early 90s hip-hop. Great flow and a surprisingly uplifting tone.

Yeah yeah yeah, "Free Bird" has been beaten to death - but for good reason. Putting myself in the shoes of someone in 1973 hearing "Tuesday's Gone", "Gimme Three Steps", "Simple Man" and "Free Bird" for the first time (and the subsequent mind-melting that would ensue), I have to respect the hell out of this record. A true titan of the southern rock genre.

Alright have a seat everyone, THE PROFESSOR is here to show us how it's done! RIP Neil you absolute legend.

A masterful album, but it requires active listening to truly appreciate the musicianship and the dance happening between all three performers.

I like the elements of mysticism laced throughout, and initially I enjoyed Devendra's crooning voice - but I have to admit it ended up grinding on me around halfway into the album, notably when the instrumentation swelled and the backing vocals made the production feel messy. The guitar work is genuinely very enjoyable though, it bumps the album from a 2 to a 3 for me.

I respect the hell out of it for what it is, but I don't think shoegaze is my cup of tea. Some of the instrumentation is preeeetty out there. Still, an interesting listening experience

Across the whole record, it feels as if there's something sinister lurking just beneath the surface. Hard to explain, but it works so well.

Bernard Purdie AND Steve Gadd on the same album, fuck yeah. I will note that the production quality can feel a bit too polished at times, but the musicianship is so good I have to look past that.

Fuck, this one was a slog. Not gonna knock the (seemingly vast majority of) people who really dig this album, but it's def not my cup of tea. Most of the tracks felt boring and meandering, some bordering on full-on obnoxious (looking at you "The Murder Mystery"). The instrumentation is simple, which is not a knock in and of itself - simple instrumentation can often times be a massive strength. But it didn't add anything for the vast majority of the album, only helped highlight the droning, crooning nature of the songwriting. The lyrics on the opening and closing tracks are undeniably great, though.

Hardly engaging, does nothing to challenge the listener. Was waiting to see if they'd throw any curveballs, but none ever came. It's background elevator music.

Beautiful vox and dreamy instrumentals. Really enjoyable listen. Also a cheeky lil' surprise cameo by Dave Matthews on "My Antonia" (uncredited, interestingly)

I once read a quote, which I'm paraphrasing: "Knowledge is knowing Meg White is a bad drummer. Wisdom is knowing Meg White is an amazing drummer." Having listened to this album in full, not to mention performing "Seven Nation Army" countless times on drums, I'm inclined to admit that wisdom wins out. The drumming is stupid simple, but it just works.

Some of the deeper cuts aren't so strong IMO but the singles from the album are indeed iconic to the vibe of the late 2000s/early 2010s.

Can't understand the lyrics, but that's hardly an issue when the sad girl vibes are immaculate. Love the mix of electropop and disco-funk.

Saw these guys in concert a few years ago opening for Tedeschi Trucks Band... they did nothing for me then. Vanilla southern rock. After listening to this album in full... still nothing. In no way does release deserve to be 90+ minutes long, it's incredibly same-y throughout. DBT essentially dedicated an entire release to outlining the story of Lynyrd Skynyrd. I understand that Skynyrd == southern rock, but my god, the idea of a band writing, recording, and releasing a double-side album about a wholly separate band (no matter the genre) feels kind of sad. Skip this and go re-listen to '(Pronounced 'Lĕh-'nérd 'Skin-'nérd)'

Some small obscure British boy band, I'm sure they won't amount to much

Absolutely essential 80s pop listening. The songwriting and production quality are immaculate.

Emmylou Harris has the voice of an angel - very similar to Dolly. I wonder if that's why Emmylou has managed to be more of an 'underground' country artist, in a sense. Interesting arrangement of covers and originals - no doubt a sensible choice for a major label debut album, but for me it holds the album at a 4/5 instead of a 5/5.

Easy 5/5. As released in '73, Dark Side is a masterpiece of the rock genre, blending psychedelic elements with masterful studio editing to create a near flawless concept album.

Wildly experimental album that feels somewhat disjointed at times ("Interstellar Overdrive" being on the same album as "Bike" is just crazy to me) but overall it was a really pleasant listen. As a drummer myself, J found Nick Mason's stylistic choices super interesting

The album is undeniably one of the most revered and important in rock n roll history, and "That'll Be The Day" is a certified hood classic, but as a drummer whose biggest influences are Bonham, Baker, and Mitchell (i.e. the guys who totally transformed the role and purpose of the drummer in a band) I can't help but feel a bit disengaged when listening to this record front to back. The songs feel a bit same-y at times, and the rhythm section stays in their lane throughout, doing nothing to make my ears perk up (as was the job of a 50s rock n roll rhythm section). That said, the 4/5 rating is based on my pretending that I'm listening for the first time in 1957, having no knowledge of the decades of rock/blues that came after this release. It's such a tragedy that Holly died so young, and we didn't get to see what the 60s and 70s would do to shape his musical sense and style. IMO one of the biggest "what ifs" in rock n roll history.

Knowing next to nothing about Nas (other than that he has been around as a rapper in the industry for several years) I went into this album completely blind, and was pleasantly surprised at the grittiness and raw emotion. Really made me feel like I was an up and coming kid in NYC during the 90s, when the city was undergoing such rapid change (for better or worse, depending on your perspective/upbringing). Hesitant to give a 5/5 since some of the tracks didn't stand out much, but overall it was a great ride.

Very well produced, but the meandering lyrics and limited instrumentation (while lovely) make it difficult to follow along unless listening very intently. The follow up to 1975's Hissing of Summer Lawns, I'd argue that 'Hissing' is more accessible than this album, but this album wonderfully encapsulates the meandering feeling of living life on the road - as Joni was doing at the time of 'Hejira'. Plus one extra star for album art penis. Nice.

70s alt/soft folk. There were a couple standout tracks, notably the vocals on "The Cavalry Cross", but as a complete package it didn't do much for me.

Well produced, and David is a great singer. But for me, the full album ultimately feels a bit bland and same-y

Flawless? I would argue no, but still a damn good debut. Certainly a landmark rock album that helped define the sound of the 60s.

Genuinely pleasantly surprised by this one. A beautiful and erratic cacophony of early 2000s electronic experimentation. Takes me back to a time when the internet was still the wild west, and society was still feeling optimistic about the future, coming out of the 90s but still pre-9/11. People might hate on the sampling style, which is undoubtedly experimental and pioneered the way for more modern sampling, but to me the album genuinely felt engaging and forced me to actively listen. Can't say that about a fair number of albums on this list that have felt mindless and disengaging throughout.

Technically proficient and produced to a sheen, but for me Steely Dan is missing a certain "grit" that I'd like to see associated with prog jazz/rock. Also no Steve Gadd, lame.

Early 2000s house, great for putting you in a trance on a long flight (can confirm). Though i recently had another early 2000s house album on this list, “Since I Left You” by The Avalanches, which IMO felt like the superior production

Beautifully sad & melancholic listening experience

I have nothing new to add to the conversation, other than that this was my first time listening to a Bowie album front to back, and that I didn't know the context of this album coming out only days before his death until I listened. That context aside, Bowie's swansong is a phenomenal listen. The lyrics and instrumentation are largely experimental (apparently Death Grips and Kendrick were major inspirations during the recording process), but the musicality has a distinct flow that keeps you hooked throughout. And the final track "I Can't Give Everything Away" hurts so much more after knowing the context of his imminent death... feels like his saying one last goodbye.

Never heard of this band/album before today, and IMO this record does a successful job at being weird and experimental, but not overly so to the point where it strays into the territory of being annoying. It's pretty out there, yes, but there is a tasty flow running underneath it all.

I can see how this type of album/music would make a huge splash in the early 90s - mashing up different elements of psychedelia and acid/house to create something (at the time) largely unheard of. I'd likely give four stars if listening when it first came out, but in 2024 it feels staunchly mid-tier.

As a drummer, this album is a masterclass in funk drumming/percussion. Alex Acuña and Manolo Badrena offer a thunderous and unrelenting performance, knowing when and when not to pull back the volume - while keeping up the intensity throughout. Jaco Pastorius's bass playing speaks for itself. The intro to "Rumba Mama" might be one of the most badass track intros I've ever heard.

One of the greatest soul albums, full of iconic tracks. Having grown up with the RedLetterMedia Mr. Plinkett reviews of the Star Wars Prequels, hearing "Shake" was a surprise, to be sure, but a welcome one (IYKYK). But unironically an amazing song with big, thunderous drums.

A true classic. The listener is immediately transported to a bygone era of classic cowboy heroes who go out into the Wild West with nothing but a six-shooter and a hunger for adventure.

While the songs feel a bit same-y at times, Billie's voice is angelic and has that iconic grit that can only be associated with her singing. Perfect for listening on a lazy, breezy Sunday morning - or while nursing a glass of whiskey in a darkened bar.

It feels wandering at times, which could perhaps be seen as a detriment. But Kate's singing is absolutely ethereal.

Early 2000s house, great for putting you in a trance on a long flight (can confirm).

An extremely listenable big band record. The nuclear fireball on the album cover really exemplifies the feeling in the 50s that the world could end at any moment. The music drives that feeling home: "screw it, let's party!"

- Bars/lyrics are significantly less mysoginistic and violent than the East/West Coast gangsta rap coming out at the same time (The Chronic, Doggystyle etc). IMO, that helps the record as a whole stand the test of time and encapsulate the black experience of the early 90s - Combine that with the slick beats/production and overall incredible flow, and it’s no wonder ATCQ is still one of the best known and respected rap groups of all time

I can practically feel Paul’s excitement to finally be free of the Beatles and be able to have complete musical control of a project in the songwriting structure of these tracks. It doesn’t always click for me, but still an excellently crafted album

This reminds me of Talking Heads, if they were actually an electro/80s punk band. The production is raw and in your fucking face, I dig it. I’d give five stars but I’m wondering whether the drums could have been better served by an acoustic drummer, instead of electronic

It's the fuckin' Boss, what else needs to be said?

Yeah yeah it's easy to meme on Oasis/Wonderwall, but as a complete package, this album actually kicks ass. The songwriting is smart, the production is crisp, and the instrumentation somehow feels grandiose yet intimate at the same time.

Ethereal singing and crisp, earworm-y 80s electronics? Hell yeah, must be ABBA.

Infectiously groovy

A 'seminal release of the post-punk era', which didn't particularly move me all that much, but I respect it for what it is.

Ahh Radiohead - the masters of making music that forces me to question every facet of my existence. This was my first time listening to this album front to back, and what a ride it was.

Essential piece of rock history that serves as a perfect introduction to progressive rock for the listener. Excellent songwriting all-around, and the guitar work is masterful.

Listened to this on a Tuesday morning, completely sober... yet I now feel piss drunk upon completion. It's overindulgent and in-your-face, that is probably more enjoyable to listen to WHILE piss drunk. There's some interesting songwriting choices being made, and thankfully at 35mins it doesn't overstay its welcome... but that was still grating on the ears in some places.

A lovely listen all around. Excellent drumming from low-key jazz legend Ben Riley

This being my first time listening to the Waterboys, I genuinely enjoyed elements of their music, notably the big, magnificent Celtic sound. As other reviewers noted, it almost feels like a Scottish crossover between Bob Dylan and DMB. I'll add that the repetitiveness of the vox and instrumentals at times reminds me a bit of the style of The War on Drugs. However, this American can only take so much big magnificent Celtic music at one time, and being a 90+ minute double album I fear this record gives the listener too much of a good thing. I'll note that my headphones died about halfway through the first side, and I used that as a worthy enough excuse to say "OK I think that's enough of that, moving on with my day"

First time I've listened front to back... what an emotional journey this album is. It offers the listener an introspective lens into Kurt's psyche, and is far and away the band's most intimate live performance. As another reviewer described it - with the 'death' of MTV coming not too long after this performance, and hindsight being what it is, this almost feels like a funeral procession for the network itself. There is a rawness to the sound as a whole that is, IMO, harder to find these days. Dave Grohl may be a cheating spouse, but he understood Nirvana's sound like no other - which is exemplified in his 'less is more' approach to the drumming in this performance. Also, his black turtleneck is legendary.

This Joy Division record connected with me more than the last one I got on this list ('Closer' from 1980) - something about the seemingly haunting/desolate sound just struck me. Ian's vox were giving me Interpol vibes which I rather enjoyed. Also, that last track opening with WEEEEEEEEE will never not be funny (look up 'Ian Curtis rides a rollercoaster' on YT)

While I am sick to death of the big hits off this record (shoutout to literally every cookie-cutter FM station playing Welcome to the Jungle multiple times a day for 20+ years), one cannot deny their importance in the overall history of rock n roll - there's a reason they're overplayed! Putting myself in the shoes of a listener in 1987, I cannot deny that these songs kick serious ass \m/ Slash managed to write one of the most instantly-recognizable guitar riffs of all time with Sweet Child O Mine - and I can fully understand and respect the fact that he hates it now. Everything outside of the big hits felt like a mixed bag to me - mostly padding, but with some interesting moments. By the time I got to the last track 'Rocket Queen' I was quite ready for it to be over.

The basslines are fuckin' RAW, and (in my opinion) are the highlight of this whole album. Some cool tracks in here, notably the jam on "Woodpecker from Mars". Also I wasn't prepared for a fairly decent cover of "War Pigs" immediately following. I've heard "Epic" a million times, and while it is an amazing song, I can't help but feel like its impact is dampened a bit when listening to the full album. It kind of blends in to the other tracks.

While the sound of mid-2010s indie rock/pop was done to death, and rightfully gets shit on from time to time, I'll give credit where credit is due when I believe it was done well - and IMO this album is one of those times. The electronic elements also give me Beach House vibes which I am absolutely here for.

Fun fem-fronted female rock

Like a hot cup of coffee on a crisp fall morning. Absolutely delightful folk/jazz record from a depressed Englishman

Noisy and passive garage rock. Some cool ideas scattered throughout

Early 2000s pop that feels inoffensive, but overall fun and very listenable. Very middle of the road. Getting the ever-so-slightest suggestion of Phoenix with that vocal sound.. take that as you will. I find it amusing that they list the last track on Spotify as "Contains Hidden Track 'Plans'". Lol, it's not hidden if you outright call it out, ya dinguses.

Classic gangsta rap that holds up in terms of production and flow, if not lyrically

Deeply enjoyable & listenable jazz music. Hell of a drum solo on "Blues For Huey" - mans was firing on all cylinders!

Absolute classic. Simply insane that Stevie himself performed all of the instruments on a majority of these tracks.

As another reviewer put it: "Sounds terrible - five stars". That's the wall of distortion/noise for ya, I guess. I probably would have connected with this album better if I listened to it as a teenager, but alas, at 31 years old I probably won't actively revisit it anytime soon. Pretty cool cover of "Just Like Heaven" though. What a ballsy way to end the song (and the whole album!)

Definitely feels its age, but mans got flow

AKA 'that album with the "Our House" song'. Some of these tracks are quite nutty, but overall it's a fun listen.

Certified funky fresh. This album fucks.

This being my third Joni album in this list, I can now say with confidence that I would 100% connect better with her music as a whole had I been born a woman. Her lyrics are intensely intimate and offer a window into her life experience of being a woman in the 20th century. Her lyrical style feels more like poetry than the more familiar rhyming schemes of most modern music, which I find admirable and hypnotizing - albeit, it requires the listener's full focus, which admittedly I did not provide (having it on in the background while working). That all being said, there really is no other artist quite like Joni.

All aboard the hippie love train

Eerily hypnotizing. Truly a unique listening experience.

As someone who has never really listened to Traffic - this felt like perfectly average 60s/70s rock. Neither overwhelming nor underwhelming… I am just whelmed

An impressive lineup of tracks in a tight 38 minutes, with a decent amount of variety and a wonderful performance by Bowie. Standout track for me has to be the finale "Wild is the Wind"

The duet with Kate Bush is divine

No idea what the fuck they're saying lol but goddamn this album goes hard \m/ Makes me wanna break stuff TIL the drummer on this record helped coin the term 'grindcore'

I recognize I'm in the minority who honestly can't stand VU and their songwriting + production quality/style. I acknowledge they are/were hugely influential, but I just cannot connect with it in any conceivable way. Clearly, I'm not the target listener for this type of music... I would not recommend ingesting this music if you're depressed or have a drug problem - it's only gonna put you in an even darker place.

Classic 80s synth pop that feels like a big bowl of ice cream - delicious to the taste, but filled with empty calories. That's not necessarily a bad thing, though.

Easily digestible 80s new wave. The big track “Brads in Pocket” is undeniably an ear worm, but I was impressed by the multiple genres and odd time signatures found on some tracks. Standouts include the “jungle” tom tom beat on Cuban Slide, and the reggae feel + tasty guitar solo on Private Life

Top tier music for sad bois and girls

As another reviewer put it: "I find it doesn't achieve the same effect on me as it did back in the day, but nevertheless it's still a great and innovative album." I'll second that opinion, as the album didn't truly 'wow' me (listening in 2024) but the songwriting is still excellent, and "Clint Eastwood" absolutely still slaps. I found myself giving "Double Bass" multiple listens - man, that one is DIRTY, in the best way possible.

Yeah, it's easy listening classic/dad rock, but in the year of our lord 2024 where music is increasingly curated for 30-second TikTok reels and our ever-shortening attention spans, I still can't help but respect the hell out of this classic record. That said - I had a rough night and I hate the fuckin' Eagles, man.

Truly horrible. Like if grindcore and jazz had a baby, born headfirst into a mountain of cocaine, then proceeded to light itself on fire. Five stars.

Blues-y as hell. "Loving Cup" probably my favorite out of the bunch.

A few days ago, this list gave me the 'Spy vs Spy' John Zorn album, a hilariously awful avant-garde 'jazzcore' performance (which I gave five stars because fuck it) I'm pretty sure this album by Charles Mingus is what Zorn heard in his head as he made his album. While definitely not avant-garde by any means, Mingus and his ensemble crash into the album with hurricane intensity, and rarely let up throughout the full runtime. The drummer, Dannie Richmond, commands the rhythm and urgency of the feel, while the horns (especially the muted horns) bring a sense of rawness and mysticism that immediately hooks the listener, and doesn't let go until the end.