724
Albums Rated
3.77
Average Rating
66%
Complete
365 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1960
Favorite Decade
Electronica
Favorite Genre
UK
Top Origin
Cheerleader
Rater Style ?
152
5-Star Albums
11
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
D.O.A. the Third and Final Report of Throbbing Gristle
Throbbing Gristle
|
5 | 1.89 | +3.11 |
|
Spy Vs. Spy: The Music Of Ornette Coleman
John Zorn
|
5 | 2.24 | +2.76 |
|
Trout Mask Replica
Captain Beefheart & His Magic Band
|
5 | 2.29 | +2.71 |
|
Locust Abortion Technician
Butthole Surfers
|
5 | 2.39 | +2.61 |
|
Moss Side Story
Barry Adamson
|
5 | 2.52 | +2.48 |
|
Rising Above Bedlam
Jah Wobble's Invaders Of The Heart
|
5 | 2.6 | +2.4 |
|
The United States Of America
The United States Of America
|
5 | 2.61 | +2.39 |
|
Chelsea Girl
Nico
|
5 | 2.63 | +2.37 |
|
Scott 2
Scott Walker
|
5 | 2.63 | +2.37 |
|
Pictures At An Exhibition
Emerson, Lake & Palmer
|
5 | 2.64 | +2.36 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
If I Should Fall From Grace With God
The Pogues
|
1 | 3.33 | -2.33 |
|
The Slim Shady LP
Eminem
|
1 | 3.28 | -2.28 |
|
Back To Black
Amy Winehouse
|
2 | 4.02 | -2.02 |
|
Exile In Guyville
Liz Phair
|
1 | 3.02 | -2.02 |
|
Rage Against The Machine
Rage Against The Machine
|
2 | 3.99 | -1.99 |
|
Let Love Rule
Lenny Kravitz
|
1 | 2.99 | -1.99 |
|
Talking With the Taxman About Poetry
Billy Bragg
|
1 | 2.96 | -1.96 |
|
Pet Sounds
The Beach Boys
|
2 | 3.93 | -1.93 |
|
Tapestry
Carole King
|
2 | 3.91 | -1.91 |
|
(What's The Story) Morning Glory
Oasis
|
2 | 3.85 | -1.85 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| David Bowie | 7 | 4.57 |
| Leonard Cohen | 3 | 5 |
| Tom Waits | 3 | 5 |
| PJ Harvey | 3 | 4.67 |
| Johnny Cash | 3 | 4.67 |
| The Smiths | 3 | 4.67 |
| Yes | 3 | 4.67 |
| Kraftwerk | 3 | 4.67 |
| Blur | 3 | 4.67 |
| Emerson, Lake & Palmer | 2 | 5 |
| Barry Adamson | 2 | 5 |
| My Bloody Valentine | 2 | 5 |
| Dire Straits | 2 | 5 |
| New Order | 2 | 5 |
| The The | 2 | 5 |
| Iron Maiden | 2 | 5 |
| Scott Walker | 2 | 5 |
| Brian Eno | 2 | 5 |
| Sonic Youth | 2 | 5 |
| Radiohead | 5 | 4.2 |
| Beatles | 4 | 4.25 |
| Miles Davis | 4 | 4.25 |
| Led Zeppelin | 3 | 4.33 |
| Nick Drake | 3 | 4.33 |
| Pixies | 3 | 4.33 |
| The Byrds | 3 | 4.33 |
| Roxy Music | 3 | 4.33 |
| Nick Cave & The Bad Seeds | 5 | 4 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Eminem | 2 | 1.5 |
5-Star Albums (152)
View Album Wall
Popular Reviews
Roxy Music · 4 likes
5/5
This is definitely one of Roxy Music’s best albums. They were really ahead of their time, especially in how they mixed the experimental nature of their music with pop elements. This was also the last album to feature Brian Eno before he left to pursue his solo career.
The Avalanches · 2 likes
5/5
This album was created entirely with samples. If you research it, you’ll find it contains over 3,500 samples, making it a true testament to the art of sample-based music. For me, this album is like a time capsule. I remember the late ’90s and early 2000s very clearly, and this was the kind of music I was really into. It contains a lot of samples and vibes that bring back precious memories.
When I say time capsule, I mean it on two levels: it captures the essence of the past through its samples, and it also resonates with me on a deep, personal, nostalgic level. This album has segments that are more house music oriented, but for the most part, it’s a chill out/downtempo album. Although I’ve known about this album for a long time and have heard bits and pieces of it in the past, I never played it from beginning to end until now. Looking back, I feel like I missed out, but better late than never.
The KLF · 2 likes
5/5
I’m definitely giving this one a five star rating, because I love this album. Unfortunately for all the people who are listening to this for the very first time, I totally get why you think this record would suck. It comes off as generic, samples that everyone else has used, and just very run of the mill hyped up eurodance. Well in order to understand this, you just had to be there at the time, and know what was going on with music at that point in time. The sampling, the hyped vibe of the album, and everything else that comes with this record, was literally the first of its kind. Although dance music was already around, these guys definitely progressed it forward in a lot of ways, and have definitely made their mark in electronic music history.
Pentangle · 2 likes
5/5
It’s nice to finally dive into Pentangle. This album has been on my list for a while, and I’m glad I got around to it. Seeing Bert Jansch as a key member is a great bonus. It gives me a good starting point with his work too. For ‘60s psychedelic folk, this album really nails it, blending traditional British folk with jazz, blues, and rock. It has an ethereal feel with a haunting undertone that pulls you in.
Faith No More · 2 likes
5/5
Yes!!! One of the best rock bands ever! Too bad I can’t say the same about all the bands that they influenced. Lol! But anyways Faith No More is truly an interesting band with such a wide range of sound and style. Every single album from them is in a world of its own. Although for any true fan of Faith No More, if they had to pick a stand out album that they would rank as number one, it would be Angel Dust. Another fact that most people are unaware of is that Courtney Love was one of their lead singers for a short period of time. This was before Chuck Mosley, which eventually lead to them replacing Chuck with Mike Patton. For anyone who would at least rate this album a three or higher, if you’re willing to listen to at least one more album from Faith No More, than please check out Angel Dust from 1992.
4-Star Albums (337)
1-Star Albums (11)
All Ratings
Portishead
4/5
Great album. Very well balanced between underground trip hop, but also appealing to the mainstream. Album definitely stands the test of time.
David Bowie
5/5
So I can’t say I’ve listened to every Bowie album from beginning to end, but I’ve listen to a lot of them from beginning to end, and unfortunately this one slipped through the cracks, but this is definitely worth a listen. It’s just a consistently good album from beginning to end. This was towards the end it his career but this album just goes to show that he was able to stand the test of time, and even make good solid music that was enjoyable towards the end of his life, and the end of his career.
Lou Reed
4/5
This was a good album. If your not familiar with Lou Reed than this is a great starting point. I’ve known about him for many years, but never really had a chance to digest his music. I want to say that I can hear the David Bowie influence, but I’m not to sure who really influenced who, but if you like early David Bowie, than this will be right up your alley.
Bob Dylan
3/5
It’s an okay album. The last track was pretty cool and catchy, but there’s really nothing to exciting for it. It definitely had its place for its time, but in today’s world, it’s old new. Like 60 years out of date, so it’s not even relevant now these days. Although I can see how people really enjoy music like this, it’s definitely an album that I won’t ever come back to.
Songhoy Blues
5/5
I loved this album. I’ve never heard of these guys, but this was such a breath of fresh air. I’m really looking forward to more surprises like this one.
Van Halen
4/5
Van Halen will always have a special place in my heart. This is a great album. I love the synths incorporated into this one, and plus this album has so many tracks that will never get old to me.
Soul II Soul
3/5
So this was a pretty good classic dance album. It’s definitely a good combination of soul, jazz, r&b, and house music, but I think it probably stood on higher ground back when it first came out. I can’t say it stands the test of time as good as other classic dance albums from the same time period such as paradise from inner city. It’s worth a listen to, but I’ll probably never go back to it like I do with other albums from the past.
The Pogues
1/5
dumb! Dumb!! DUMB!!! This is just stupid silly music that’s very watered down and saturated. It feels like they were all just hanging out at a pub, and decided “let’s do Irish punk for bar fighting”, and there they went, off to the races! Making the most cliché, stereotypical music that would sound like bar fighting Irish punk. This is music that you would only play on st. Patti’s day in a bar for a pub crawl, or background music for a funny bar fighting movie scene, but it’s hard to take it as serious music because it lacks authenticity which is why I said it’s watered down and saturated.
Bert Jansch
4/5
This was a pretty enjoyable album. Folk is definitely not at the top of my list when it comes to music I enjoy, but this was way better than a good majority of the folk I’ve heard in the past.
Raekwon
2/5
Honestly nothing too impressive. It’s was probably good for the time it came out, but other than that, the best element was probably the beats.
Laibach
4/5
This was an interesting album. Overall I liked it. It came from an era of time when just about every industrial band had its own unique sound. I also love how this band has a lot of electronic elements that are more on the experimental side, which really showcases their influence of the early industrial pioneers like Throbbing Gristle.
Simon & Garfunkel
4/5
Man this was a short album. This is probably one of the better ones from this era.
Eagles
3/5
This one reminds me of my childhood. Hotel California will never get old.
Sebadoh
4/5
Wow this was an awesome find! I love discovering a lot of these old indie rock albums from the late 80s and early 90’s. I will definitely be listening to this one more in the future.
The Doors
4/5
It’s been SOOO long since I’ve listened to a Doors album, and boy I forgot just how enjoyable they are. This one is definitely another one I’ll go back to and jam out again.
Black Sabbath
3/5
Oh yeah this is one of those albums I was raised on. It’s still nice to go back and hear it again since it’s been such a long time. Anyways I can see how people can be excited about this album, but I guess it’s hard for me to have the same appreciation for it, since it was always there in my life ever since I can remember.
5/5
One of my all time favorite Bowie tracks is on this album which is Moonage Daydream! Back when I was first getting into David Bowie a little over 20 years ago, this was the first album I listened to, and I was hooked. Thanks to this album, I’ve dug deeper and deeper into his discography and have been a fan ever since.
Dolly Parton
3/5
Pretty cool album. It’s nice and chill. I’m not much of a country person so I can’t say I’ll be coming back to this for more listens in the future, but I also have a lot of respect for Dolly Parton and her influence within the music industry.
Joni Mitchell
3/5
It’s a decent album, and the music and instrumentation was very enjoyable, but I definitely had to try and get use to the sound of her voice which I wasn’t too impressed with.
Kings of Leon
2/5
I’ve never really been to impressed with this band. They’re definitely one of many bands that were commercially successful and signed to major labels, but tried to disguise themselves as a cool edgy indie rock band. Compared to other bands that were around during this time, Kings of Leon is just so watered down, saturated, and polished where it’s hard to tell them apart from any other commercially successful bands from the time period who where all running with the same sound.
Burning Spear
3/5
Well I’m not a reggae person at all, and most of it is annoying as hell, but this album was not too bad for what it is. I can definitely see that it was probably ahead of its time.
Joni Mitchell
4/5
This was actually pretty good. That last album I listened to from her was decent but I couldn’t get around the sound of her voice. As for this one, the music aspect was really good, and I also enjoyed the sound of her voice better on this one as well.
Goldfrapp
2/5
I have always been a huge fan of electronic music, even 25 years ago when this album first came out, but Goldfrapp has always fell completely flat for me. It’s not like I hate their music or anything, it’s just there as a space filler that had no real use or purpose. All in all, the only kind of gold this is, is fools gold!
The Who
3/5
Well it’s just a typical live album, just like the rest of them. Obviously this was supposed to be one of the first live albums to come it, which was groundbreaking for its time, but other than that, it’s definitely good music, you can’t go wrong with The Who.
Hugh Masekela
4/5
This album is a great reason why I’m so excited to be doing this music generator. I really enjoyed it. It was a great album to get my day started. Easy listening, calm, chill, but also very unique and stands out from a lot of the other jazz albums I have listened to. This definitely isn’t my go to type of music, but this is definitely an album I’m going to try and keep track of so I can play it again in the future.
Tears For Fears
5/5
This was a pretty fun album to listen to. I’ve always been a fan of tears for fears, but I’ve never listened to any of their albums straight through. Instead I always played the greatest hits, or something similar. Now I feel like I was missing out this entire time. I’ll definitely be listening to this one in the future.
Supergrass
4/5
So this was one of those album that I didn’t know what to expect going into it, and at first, it totally caught me off guard, and not in a good way. Mostly because it was first thing in the morning, and it was a little too obnoxious, but a few hours later when I was driving in my car, I put it back on, and I was a little on edge with it at first, but as it kept going, I began to like it more and more. As I walk away from this album, I definitely enjoyed it, and I’ll play it again in the future.
The Slits
2/5
So I love punk, and especially a lot of the stuff that came out of the UK during this era, but man some of this music did not age good one bit. This was something that was probably good for its time, but meant for a specific audience, like 13 year old girls who are angry at the the world who still needs to figure their shit out. Anyways I can go on forever on why this was a tough record to listen to through the end, but like I said, over all it didn’t age well, and I think it’s something that’s better off keeping in the grave.
The Doors
5/5
Great and classic album. It’s funny how the album from the day before this, I was complaining about how it didn’t age well, and it should remain in the grave, but than the next day I get a great timeless album like this one. This is everything you can ask for in a record. Every song from front to back is good and enjoyable.
The Young Gods
4/5
This is one of those bands that I have always appreciated. One of the few industrial bands whose music stands the test of time. Although this is industrial, this is experimental avant-garde industrial that’s way a head of its time. I was a little surprised when this album popped up and I saw it on the list, but I’m grad it’s going to be heard by a wider audience. Now if that wider audience is going to enjoy and appreciate it, well that’s a whole other story of its own.
Screaming Trees
3/5
Screaming Trees has always been more of a mediocre band with a handful of really good tracks. You can definitely tell that Mark Lenegan had a big influence on Josh Homme and really played a roll in developing the soundscape of Queens Of The Stone Age. Anyways, it’s not a bad album, but definitely easily forgettable due to the bland mediocre sound of most of the tracks.
Jane's Addiction
3/5
Well this was another one of those albums that’s just kind of middle of the road. Back in the early 90’s when they were always on MTV I always wanted to get this album, and but never got around to it. I’m sure it was more enjoyable for its time, but it’s not really aging well either. All in all, the albums not bad, it just kind of moves along and does its own thing, but does nothing too noticeable either, so this album will just get a middle of the road rating which will be 3.
Arcade Fire
4/5
Well if I had to give this a number, I think 3.5 would be the most honest rating, but since it Friday and I got today off, let’s say 4 since I’m in a good mood. Arcade Fire should feel honored. Anyways, this album blends in with a lot of indie rock from this era. It had some cool tracks, along with tracks that were pretty mediocre. It’s nothing I’ll ever go back to in the future, but I also don’t regret listening to it this one time.
The Cardigans
4/5
This was a pretty cool album. I’m glad I finally got around to listening to it. I recognize the cover, because I’ve been seeing it for years, but for some reason the thought of listening to it never crossed my mind. In certain ways, it’s very dated and definitely sounds like it came from the 90’s, but in a good way, but in other aspects they were about 10 years ahead of their time by doing a groovy disco sounding indie rock. Reminds of what a lot of indie rock bands from the late 2000’s were doing. Over all it’s a fun light weight album that’s good to play in just about any type of environment.
Leonard Cohen
5/5
To be honest I wasn’t familiar with Leonard Cohen until now, and I’m really enjoying him. Once this album was done, I moved to another one that was in his discography, and I think it’s fair to say that he’s my favorite folk singer as of right now.
Blondie
3/5
Comparing this album to their first one, you can definitely tell that they evolved as a band. If I was around during the time this album came out, and had a better awareness of what was going on with the current state of music at this point in time, this probably would of had a bigger impact one me. It’s a decent album, but their are several other new wave albums I would favor more than this one.
Dagmar Krause
2/5
It’s okay! Nothing I’m into so with that being said, it was just background music. I’m sure if you want to give a review in context about this album, you can read about how complex and sophisticated it is, but like I said, for me it was just background music.
Ghostface Killah
3/5
I thought this was a good album overall with some great producers. On the flip side, I don’t think this one belongs on the list. In the grand scheme of things, it’s just an average middle of the road hip hop album of its time.
The Black Crowes
2/5
I can definitely tell how this album probably had a big impact when it first came out, especially based off of what was currently popular at the time. I just will never be a fan of this band. All through my childhood this band was always playing in the background, and it was annoying then, and it’s still annoying. This is one album I would like to just keep it buried in the past.
5/5
Great classic album! If you really want to experience this album in the best way possible, I’d recommend listening to it with earbuds or headphones. They used a lot of state of the art production techniques. I’ve even seen sources go as far as say this was one of the essential albums that helped lead to the emergence of progressive rock. Either way this album was ahead of its time in a lot of ways.
The KLF
5/5
I’m definitely giving this one a five star rating, because I love this album. Unfortunately for all the people who are listening to this for the very first time, I totally get why you think this record would suck. It comes off as generic, samples that everyone else has used, and just very run of the mill hyped up eurodance. Well in order to understand this, you just had to be there at the time, and know what was going on with music at that point in time. The sampling, the hyped vibe of the album, and everything else that comes with this record, was literally the first of its kind. Although dance music was already around, these guys definitely progressed it forward in a lot of ways, and have definitely made their mark in electronic music history.
Elvis Costello & The Attractions
2/5
Man the music on this album, and the band on this album could have had so much more potential only if they would have ditched the singer!!! How is Elvis Costello one of the most disliked by everyone, but some how his entire discography ends up on every commonly recognized “must listen to list”?
Black Sabbath
4/5
This is definitely a great album, and anyone who likes metal or hard rock definitely needs to check out this album, and pretty much everything else from Black Sabbath. Anyways it’s hard for me to be super excited about this album on the flip side, because I grew up hearing Black Sabbath in the background, so it’s kind of old news for me, but I also don’t want to discredit them either, and the influence they’ve had in the music industry.
5/5
Thank you for this album generator! I forgot just how good PJ Harvey is. It’s probably been about 20 years since I’ve listened to her, and man this album is just amazing. If there’s a such thing as singer/song writer with a raw gritty punk edge to it, than this is it. Also don’t even get me started on the bass. The bass guitar is what gives the texture of that raw and gritty feel the album has to it.
Public Image Ltd.
3/5
This album was just middle of the road for me. Unfortunately it’s getting a lot of bad reviews because people are completely unaware of the context around the album, such as what was going on with music and the UK punk scene at the time. Also even though it’s a very influential album, but it’s for a very niche genre, which will make if more unrelatable to the average person. although it was a influential album, it really phase doesn’t seem to hold much value against time.
Adele
3/5
Well a lot of people gave this album bad reviews because they didn’t like it. I really REALLY wish I could have been one of them. I mean come on, ME??? Adele???? YUCK!!! But the truth is, I didn’t hate it as much as I really wanted too. Don’t get me wrong, it wasn’t super good, or anything I’ll ever go back too, but it had parts that where pretty catchy. I’ve always had a weakness for pianos, and to be honest, the music aspect of this album was pretty good and on point. It’s Adele herself where I get a little lost. I’m not a fan of her voice, and I can’t really say I enjoy her lyrics either, but she really had some great producers who she worked with that really gave this album much more potential.
Steely Dan
4/5
This was a pretty enjoyable album. I’ve always known about Steely Dan, but never really looked into him and actually listened to any of his albums until this one, and I’m definitely going to look into more of his music.
Björk
3/5
Theres really nothing wrong with this album, it’s just that Bjork kind of just becomes the same thing over and over and never evolves to anything new. Which I don’t car how unique or clever something is, after 30 years of the same thing over and over again, anything will eventually get old.
Willie Nelson
5/5
I’m really glad this album was on the list. Willie Nelson is one of those guys that I haven’t really gone out of my way to listen to, but his music has been really hit or miss with me. About 20 years ago, I had a CD from him that was from the late 90s, and I loved it, but than everything else that I heard from him, just wasn’t the same. Wasn’t even the same style of country, but this album is the same style as that CD than I once had, and I’m loving this one.
Guns N' Roses
4/5
I actually decided to give this a listen, and it’s been so long, it was like a breath of fresh air again. I try my hardest to listen to every single album on this generator, but some of these albums, live heard SO MANY times over the years, there is nothing left to get out of them at this point, and I thought this would be one of them. But for whatever reason I decided to play it on my way to work, and it’s been so long since I’ve heard these songs, I actually enjoyed them the way I did back in the 90s when I was a kid hearing this stuff back when it was new and fresh.
3/5
Like many others, I’m puzzled as to how this album made it onto the list. To those who might think I “Just Don’t Get It,” let me clarify: I was deeply immersed in the hardcore underground indie rock scene, listening to bands like Liars, when this album was released. Even then, it fell short of my expectations. While it has a few enjoyable tracks, overall, its music hasn’t aged well.
Back when this album was new, it was, at best, a mediocre indie offering compared to the other albums of its time. To earn a spot on a list of 1001 albums to hear before you die, an album needs to bring something truly exceptional to the table. Unfortunately, this one doesn’t measure up to the standard set by many other albums that didn’t make the cut.
Depeche Mode
4/5
If your not too familiar with Depeche Mode, than this is a great starting point. If you start with this album, I’d recommend going backwards and listen to all of their old albums before you go forward.
Faith No More
5/5
Yes!!! One of the best rock bands ever! Too bad I can’t say the same about all the bands that they influenced. Lol! But anyways Faith No More is truly an interesting band with such a wide range of sound and style. Every single album from them is in a world of its own. Although for any true fan of Faith No More, if they had to pick a stand out album that they would rank as number one, it would be Angel Dust. Another fact that most people are unaware of is that Courtney Love was one of their lead singers for a short period of time. This was before Chuck Mosley, which eventually lead to them replacing Chuck with Mike Patton. For anyone who would at least rate this album a three or higher, if you’re willing to listen to at least one more album from Faith No More, than please check out Angel Dust from 1992.
The Rolling Stones
3/5
I thought this was a more middle of the road album for The Rolling Stones. Not their best, but it’s not all that bad either. Their two prior albums were more psychedelic rock, and I personally wish they would have stayed on that road, cause I really enjoyed those albums. Either way this one is definitely more of a blues rock album, so if that’s your thing, than you’ll definitely enjoy this one.
Manic Street Preachers
4/5
This actually grew on me more and more as got deeper into listening to it. I’m definitely not a big fan of the dudes voice, but I’m sure as more time goes by I can get use to it more and more. Any ways this is definitely some really raw and gritty alternative with grunge, post punk, and punk influences. For anyone who likes the raw stripped down sound of indie rock, this will definitely be an album you’ll probably enjoy.
The Beach Boys
4/5
I’m giving The Beach Boys’ Surf’s Up a 4-star rating, mainly for its bold departure from their earlier surf music sound. The album’s musical aspects are truly enjoyable. However, I have mixed feelings about its social activism themes. Some lyrics come across as opportunistic and a bit sleazy, almost like reaching for low-hanging fruit. Despite this, I appreciate the album’s overall musical direction, which is why I’ve rounded my rating up from a 3.5 to 4 stars.
Led Zeppelin
4/5
This is definitely a classic album. I grew up listening to this album. Immigrant song has so much amazing energy behind, but on the flip side it’s a little misleading because no other song on the album really matched that level of energy. Either way, these guys were amazing musicians.
The Last Shadow Puppets
4/5
I definitely enjoyed this album. It’s basically a Neo-Psychedelia album with elements of an old western movie score.
Siouxsie And The Banshees
4/5
This was a decent album especially when it comes to early Post Punk. It was much darker than I expected. I’ve only listened to Siouxsie and the Banchees when they pop up on playlist and compilations, and to be honest I really wasn’t too impressed so that’s why I never checked out any of their albums. But over all it a 3.5 in my book. Better than a 3 but falls short of being a 4.
John Martyn
4/5
Although this album may fall short of five stars, it’s far from deserving harsh criticism. I found it forward-thinking with Martyn’s blend of folk and electronic elements that makes me think of early pioneers of electronic music such as Giorgio Moroder, and Jean-Michel Jarre. Over all this album definitely pushed boundaries for its time and place.
The Zombies
5/5
I just can’t get enough of these 60’s psychedelic rock albums. Definitely a 5 for me!!!
Cocteau Twins
5/5
Classic album with an amazing soundscape.
The Beach Boys
2/5
Man this era of The Beach Boys was SO sleazy, it’s really hard to enjoy it as serious music. Now Surfs Up from 1971, was truly an amazing album, and I gave that one a very high rating, but this will probably be a 2 for me.
The White Stripes
3/5
I approached this album with some hesitation and apprehension. Having heard it many times in the past, it evoked memories from a period of my life I'd rather forget. However, upon listening, I found it surprisingly enjoyable. Revisiting the album made me appreciate its quality and relevance during its time.
Talking Heads
4/5
This album isn’t bad. Talking Heads has always been one of those bands where most of their tracks are just middle-of-the-road, 3 out of 5’s. However, when they do make a track that’s a 5 out of 5, they really hit the ball out of the park. Unfortunately, I wish I could have the same experience listening to them like I used to, but I’ve really just burned myself out on them over the years. For a newer and younger music critic who’s still exploring different types of music, this is definitely an essential band to check out.
Talking Heads
3/5
Well it’s hard to say much, because this is my second talking heads album back to back, so my comment is pretty much the same as yesterday. Most of the tracks are mediocre, but when they make tracks that are fives, they’re solid fives.
808 State
5/5
I absolutely love this album. It's a nostalgic trip back to a time when electronic music was truly unique, with each artist having their own distinctive sound. Unlike today's EDM scene where many tracks sound alike, the artists of this era, including 808 State, maximized the potential of their equipment, often limited by what they could afford. This album showcases the creativity and ingenuity of that time. While I understand why some may give these old-school electronic albums low ratings, to truly appreciate them, you had to have been part of that era and understand the cultural context of the time, as well as what was happening in the music scene.
Nine Inch Nails
3/5
Well this was a fun album at the time, and it really helped progress the music scene in a whole new direction, but to be honest NIN really didn’t age well, and standing the test of time is very important if your making a list of the best albums of all time.
Dirty Projectors
2/5
This album epitomizes hipster pop, embodying its eclectic, seemingly random mix of styles. To some, it may seem like a messy art project, but to its creators, it's a masterpiece. As for me, it’s just a pile of shit, trying to be something that it’s not.
The Rolling Stones
4/5
Yeah overall it’s a pretty decent album. During this time era, they were doing some
Psychedelic music, and than the completely switched up with this album, but any ways this album as a lot of different styles of music that they Incorporated in to making this record.
Amy Winehouse
2/5
While running errands, I gave Amy Winehouse’s ‘Back to Black’ a listen. Her voice didn’t resonate with me, making it a bit of a challenge. I appreciate talent, but enjoyment is key in music. This reminded me of John Zorn, whose intricate music is admired by many but not for everyone. Music should resonate with the listener, and this one just didn’t click for me.
The Waterboys
4/5
Fisherman’s Blues” by The Waterboys was a delightful surprise. Initially hesitant due to past experiences with Celtic rock, notably The Pogues’ “If I Should Fall from Grace With God,” which felt forced and insincere, I found “Fisherman’s Blues” to be refreshingly authentic. Unlike The Pogues’ contrived attempts at creating Celtic pub anthems, The Waterboys’ album feels genuine, focusing on creating high-quality music rather than pandering to a specific pub atmosphere. While it’s undoubtedly suitable for a pub setting, it doesn’t try too hard to be rowdy pub music. Authentic Celtic music for the pub environment should naturally evoke that vibe, not force it.
Gram Parsons
3/5
It’s not the worst of its kind, but on the flip side I didn’t really find anything special about it either. It’s just a mediocre middle of the road album.
The Go-Betweens
4/5
This was a really good album. It was fun, uplifting, smooth, lush, jangly, and melodic. I’m a sucker for music like this.
The Stooges
4/5
I absolutely adore this album and everything by The Stooges. They were undeniably influential in the birth of punk and the proto-punk movement. If you're a punk fan, The Stooges are a must-listen.
The Yardbirds
5/5
This was definitely a good find for me. Another awesome garage rock and psychedelic album with strong blues influences. It also has a nice raw and gritty sound to really bring out the garage rock feel.
Fairport Convention
5/5
One thing I’ve really enjoyed about this music generator is that it has softened my heart to folk music, and "Liege and Lief" by Fairport Convention is another great album that I’ll definitely be coming back to in the future.
David Bowie
5/5
Bowie's ability to push boundaries and innovate shines through, making this album a fitting conclusion to his legendary career.
Marvin Gaye
3/5
Yeah this was definitely a cool album. I’m not sure it I’ll ever go back to it in the future but it’s definitely worth a listen to.
The Flaming Lips
5/5
For fans of Neo-Psychedelia, this album is a must-listen. Its laid-back and soothing tones make it perfect for starting or winding down your day. A great addition to any music collection.
The Cult
4/5
When it comes to straight forward rock music in it’s most raw and truest form, this is a classic album.
Elton John
3/5
I have to admit, this one was way better than the last Elton John album I had.
The Modern Lovers
4/5
Koffi Olomide
1/5
To those criticizing lower ratings for albums like Koffi Olomide's "Haut De Gamme/Koweit Rive Gauche" because they feel we can't separate personal opinions from an artist's potential, it's time to reassess. Unless you're culturally connected to this genre, you're no more knowledgeable than the rest of us on the album's influence or quality. People often downvote what they don't understand, but on the flip side, some upvote anything new or foreign to showcase their supposed understanding and tolerance. It's okay to admit that sometimes, you just won't connect with certain things because the cultural bridge is too far, and you may never truly understand—and that's okay.
Crosby, Stills, Nash & Young
3/5
I found Crosby, Stills, Nash, & Young's *Deja Vu* to be more enjoyable than I expected. While most songs landed around a middle-of-the-road 3 rating for me, there were a few standout tracks that I would rate a 4 or 4.5.
Rage Against The Machine
2/5
After revisiting Rage Against the Machine's 1992 self-titled album, I find it to be more reflective of teenage angst than a profound musical statement. While their political stance against authoritarianism is commendable, recent events, such as their militant stance on the Covid pandemic and Tom Morello's Twitter outburst against a Seattle bar, have left me questioning their credibility. The incident at 'The 5 Point Cafe' highlights a disconnect between their advocacy for workers' rights and their expectation of special treatment. This album, once a symbol of rebellion, now feels more like a relic of youthful rage, lacking the depth and maturity I once attributed to it.
Elliott Smith
4/5
I really enjoyed this album. I’m surprised I didn’t know more about it considering it’s been out for so long.
Johnny Cash
5/5
Johnny Cash Live at Folsom Prison is a classic album. For those new to country music or seeking to delve deeper into the genre, this album serves as an excellent introduction. Its cultural impact was profound, as performing for inmates was unheard of at the time.
Nick Drake
5/5
I really enjoyed listening to the 'Pink Moon' album by Nick Drake. I'm glad I finally got around to listening to it because it was on my list for a while. The album has a unique charm with its beautiful melodies and thoughtful lyrics. I would definitely recommend it to anyone looking for something different in folk music.
Within 60 seconds of starting this album, it was clear where The Black Crowes got their sound from. It immediately conjured up the image of a random bar or pub in the early 90s with The Black Crowes playing in the background. If that’s your style, you’ll be in for a treat. Unfortunately, it’s not for me.
Steve Earle
2/5
This album isn't bad, but it doesn't stand out as exceptional either. It feels very mediocre and middle-of-the-road, falling short of being worthy of a "1001 Albums You Must Hear Before You Die" list. I'm not the biggest fan of country music, so perhaps I'm not the best person to fully appreciate it, but I can confidently say I won't be revisiting this one.
Pixies
4/5
Whenever I want something raw and gritty, the Pixies are always one of my go-to bands. This is such a great album, but my favorite track is "Gouge Away."
Gorillaz
3/5
This was a really fun album back when it first came out. This album is how I discovered Del The Funky Homosapien.
Leonard Cohen
5/5
Leonard Cohen is an artist I discovered while working my way through the "1001 Albums You Must Hear" list, and he's now one of my favorites. It's hard for me to give an in-depth review since he's still so new to me, but this is my second time hearing this album, and the more I listen to him, the more I like him.
Ray Charles
4/5
This was a fun album to listen to and a very interesting album to read about. It basically consists of covers and reworks of country songs through a soul and R&B lens. What I find really impressive is that some of these songs even got radio play on country and western stations. Thanks to this album generator, I never would have listened to this album on my own, so I'm really excited to say that I enjoyed it and will definitely listen to it again in the future.
Wu-Tang Clan
4/5
I have to admit that I was very hesitant going into this album. Unfortunately, the older I get, the less appealing hip hop becomes to me. Nothing against it—it has its place—but most of it resonates more with a younger version of myself. Now that I’m older and past that stage of my life, it’s hard to find that neutral ground. So, I started this album with my guard down and my criticism left behind. Right from the beginning, it reminded me how much fun this era of hip hop was. All these MCs really blew up and went on to successful solo careers. It’s amazing to look back at how they all evolved after this album. Another great aspect of this album is the music production. I love the production and beats.
The Disposable Heroes Of Hiphoprisy
2/5
This was probably a groundbreaking conscious hip hop album that was designed to wake us up and expose the evils of government, media, and censorship. Well, it’s clear that the message of this album has fallen on deaf ears. We’re living in a time where society is more fractured than ever. Suicide rates are skyrocketing, substance abuse and addiction are rampant, and homelessness is at an all-time high. Whether it’s class, race, or gender, divisions are deeper than they’ve ever been. Everyone thinks they have the answers, yet fingers are constantly pointed, accusing others of being brainwashed by propaganda. The hatred in our society is so pervasive that we wouldn’t even recognize a real enemy threat because we’re too busy accusing each other of being the true threat to democracy. Despite its good intentions, its time has passed, leaving us in an even worse state with far greater problems.
Emerson, Lake & Palmer
5/5
This is one of those albums I had already heard before it came up through this generator. I already had a lot of respect for this album, mainly from the perspective of it being an early innovative progressive rock piece with heavy use of early synthesizers. Now that I’m looking deeper into it and learning that it’s really a progressive rock adaptation of a well-known classical suite, I have even more respect for their attempt to bridge classical music and early experimental progressive rock. It was a highly innovative endeavor for its time.
Fleetwood Mac
4/5
I’ve known about Fleetwood Mac my entire life, and to be honest, “Rumours” is an album I don’t ever need to hear again because it was always played when I was a kid. Moving forward to “Tusk,” I really enjoyed this album because it marks a significant shift in direction from “Rumours.” “Tusk” goes all over the place. It has some chill songs, tracks that are more upbeat, and some that are experimental and avant-garde compared to the more traditional sounds of rock from that era. It’s really cool to see Fleetwood Mac take this direction, especially after the massive success of “Rumours.” This is definitely an album I plan on revisiting in the future to absorb it much deeper.
Gillian Welch
4/5
Sarah Vaughan
3/5
Before listening to this album, I knew nothing about Sarah Vaughan, but I definitely enjoyed listening to her. To be honest, I can't say I'll go back to her on a regular basis, but it was definitely a nice, chill, and smooth jazz album. Her voice stood out the most for me, which really showcased her talent the most.
Aerosmith
2/5
Aerosmith had a good run in the 70s, 80s, and 90s. I got to experience the hype towards the end of their heyday in the early 90s when I was a kid. I don’t want to discredit them too much, but I think their time came and went. Even going back and listening to these songs, it just doesn’t have the mojo anymore like it once did.
Willie Nelson
3/5
“Red Headed Stranger” is a decent, middle-of-the-road album by Willie Nelson. It’s not my favorite, but it’s not the worst either. It has its moments, but overall, it’s a fairly average listen.
Tom Waits
5/5
Out of everything I’ve heard so far from Tom Waits, this is one of my favorite albums. The album sits solidly on a blues foundation but is also experimental, quirky, and features playful instrumentation. It’s produced in a raw, stripped-down, and gritty way, and when you add Tom Waits’ gravelly voice on top of that, it gives the album a lot of texture. I don’t think this is an album for everyone, but for those who can appreciate it, you’ll hold on tight to this one. It will definitely be a good album to revisit in the future.
The War On Drugs
4/5
This was my second time listening to this album, and I enjoyed it just as much as the first time. I remember my initial reaction was that it sounds like “Tom Petty” in today’s culture as an indie rock artist. Overall, this album is a perfect blend of Heartland Rock, Indie Rock, with a little bit of Neo-Psychedelia. I’ve only heard this one album, but I definitely plan on listening to more from them. It’s a smooth and easygoing album that you can play on just about any occasion.
Rush
5/5
“Moving Pictures” is an album I grew up listening to, so I’ve heard it a million times. Moving forward to the stage of life I’m in at the moment, I’m really going through a phase of appreciating prog rock, and Rush is a band I’ve found new respect and appreciation for. This particular album is the perfect blend of hard rock and synth rock. I really enjoy the way Rush uses synthesizers. They had a very clean, polished approach that gave it a futuristic sound for its time. Although I’ve already heard this album more than enough times, it’s one I’ll always go back to in the future.
Massive Attack
4/5
This is one of those albums that has stood the test of time pretty well. But if you could have heard it back in the ‘90s, it was so ahead of its time. It’s a really nice laid-back album, but the soundscape is what really sets it apart and makes it unlike anything else that was around in the early ’90s.
Green Day
3/5
“Dookie” is another album that my heart has softened up to over time. I used to hate this album and this band, mostly because of the negative associations I had with them. I had a neighbor kid who would play a VHS recording of their live performance all day and night. Sometimes when I was hanging out with him, I would hear it three or four times in a row. Not to mention, there were a few more bad experiences that I associated with their music.
Listening to it now, I can confidently say that it’s still not all that great. It’s not the worst thing ever, it’s just mediocre, middle of the road. But at least I don’t hate it like I used to, so I guess we can look at that as a small victory of its own.
The Avalanches
5/5
This album was created entirely with samples. If you research it, you’ll find it contains over 3,500 samples, making it a true testament to the art of sample-based music. For me, this album is like a time capsule. I remember the late ’90s and early 2000s very clearly, and this was the kind of music I was really into. It contains a lot of samples and vibes that bring back precious memories.
When I say time capsule, I mean it on two levels: it captures the essence of the past through its samples, and it also resonates with me on a deep, personal, nostalgic level. This album has segments that are more house music oriented, but for the most part, it’s a chill out/downtempo album. Although I’ve known about this album for a long time and have heard bits and pieces of it in the past, I never played it from beginning to end until now. Looking back, I feel like I missed out, but better late than never.
Michael Jackson
2/5
Going back to some of my earliest childhood memories, I vividly remember my babysitter playing this album in the late ‘80s. Today was the first time I’ve listened to it since then. Not that I have a clear memory of it in the first place, but overall, I can’t say I’ve ever been a big Michael Jackson fan. Obviously, he has standout classics, and in this case, “Smooth Criminal” is my favorite track. Other than that, the album isn’t bad but doesn’t offer much else that would make me want to revisit it. There’s really nothing more to add, because this is one of those albums that has been thoroughly discussed, and anything I could say has probably already been said a hundred times before.
Pixies
5/5
As of posting this review, it’s been exactly one month and one day since the death of Steve Albini. Let’s start with the production of this album. There’s no doubt that the Pixies are a great band in their own right, but one of the biggest factors about this album and what gives it its timeless quality is Steve Albini’s production. Steve’s talent for having his minimal approach and being able to capture a room’s natural acoustics and ambiance, or his ability to capture the raw imperfections of the band’s performance, really shines through on this album. It gives you a finished product that’s very raw and unpolished, with a live performance energy and a gritty feel.
Another aspect to point out is that Steve would place singers in unusual locations, such as bathrooms, to catch natural reverb. This technique is definitely evident in “Gigantic” with Kim Deal’s vocals.
Now moving on to the band, I love how they have an abrasive element to their music, but they also have a knack for catchy hooks and melodies. I could keep going on and on about this album, but the last thing to highlight is Kim Deal’s basslines. Her bass steadily moves in the background, laying a rhythmic foundation for all the other layers and elements of the songs to be built upon.
The Stooges
4/5
This is definitely a good album to listen to when exploring the early days of proto-punk. It’s a great starting point, but I personally enjoy some of the follow-up albums from The Stooges more than this one.
Air
5/5
"Moon Safari" is such a timeless album. It really pulls on the strings of nostalgia for me. I remember discovering it at a record store on a new release listening station. Back then, I listened to a lot of aggressive gabber, DNB, hard house, and the list goes on, but this album hit me differently. It was so soothing, lush, smooth, dreamy, yet euphoric and uplifting. It spoke to my soul. Even today, when I listen to the opening track “La Femme d’Argent,” I still feel that sense of calmness, euphoria, and now, years later, a hit of nostalgia. It takes me back to a time when life seemed simple and carefree.
Another element I’ve always appreciated about this album is the way they use synthesizers. They make it clear that they are using analog synthesizers, creating a warm, organic sound that can't be ignored. If you’re a fan of chill and downtempo music, this is a must-hear album. It’s amazing how this album is 25 years old now, but it still feels fresh. This album will never get old.
Carole King
2/5
So I really wish I could give you guys a nice long review breaking down this album and the context and legacy that follows. Overall, here’s my honest review: this album is a very big deal with lots of influence. If you want to know more, then go research it yourself. For whatever reason, I don’t like her voice, I don’t like her style, and I don’t like her instrumentation. If I were to ever make a list of annoying songs I’d like to never hear again for as long as I’m alive, “Natural Woman” would definitely be somewhere on that list.
N.W.A.
3/5
You can’t deny the impact and influence this album has had for years and years to come. So many samples have been taken from this album, and just about every underground DJ mixtape has had tracks from this album on them. On a personal level, it’s kind of unfortunate, but albums like this really fall flat for me these days. Overall, I have to say my life is good, I’m pretty happy, and now when I listen to these types of albums, it reminds me of a younger, less evolved version of me. Yuck!!!
Van Morrison
3/5
This was a pretty decent middle-of-the-road album. I have a lot of respect for Van Morrison because his music style crosses over into multiple genres. With that being said, I find myself enjoying some of his albums more than others. Overall, this was a good album with good energy, and it was also a good recording for a live album. It’s probably not something I would go back to for personal pleasure, but it will definitely be on the list of albums to have playing in the background for special occasions.
Curtis Mayfield
3/5
So I have to be honest, ‘70s soul and funk have never really been my style of music, and when I was younger, I couldn’t stand it. I’m definitely more appreciative of it these days, but finding tracks that I truly enjoy enough to go back to is still rare. Moving forward to this album, overall, I would give most of the tracks a 3. However, I definitely want to point out the first track, “Billy Jack.” I loved it, and that was the standout track for me.
Björk
4/5
Out of all the albums I’ve heard from Björk, “Debut” stands out the most to me. What makes this album my favorite is its ability to balance a variety of different elements seamlessly. It’s innovative and forward-thinking, incorporating experimental sounds with lush elements like trip-hop and house music. This balance makes “Debut” the album I return to the most, as it is easier to absorb in everyday moods or environments.
Since “Debut,” it seems Björk has focused more on the experimental route, putting all her eggs in one basket. While there’s nothing wrong with that, it does require a specific mood and mindset to fully appreciate. I love experimental music, but sometimes it feels like artists are just throwing random elements together and calling it experimental art.
However, when someone like Björk approaches a project like “Debut” with an innovative mindset and uses unconventional tools and methods within a more structured framework, it creates something that’s more easily enjoyable for the listener. This balance of innovation and accessibility can be more challenging to achieve than pure experimentation.
I will end on a high note by saying Björk has always pushed the boundaries of music, so you have to give credit where credit is due. For personal enjoyment, though, “Debut” is my favorite album.
Orchestral Manoeuvres In The Dark
4/5
OMD has always been a middle-of-the-road type band for me. I view them as a very influential band, especially in the world of electronic music. “Architecture & Morality” is known for its innovative use of synthesizers, sampling, and layering, which made it ahead of its time. As for the music itself, it’s a decent album from beginning to end, but I think it really only has a few standout tracks; other than that, it just kind of blends together. It’s definitely more of a slow-burn type album. Overall, I have a lot of appreciation for this album based on its innovation and cultural impact in the history of electronic music. However, for someone who’s not interested in those aspects, I can see how this might be a difficult album to get through.
Jimi Hendrix
5/5
With the resurgence of genres like shoegaze, psychedelia, garage rock, and even this new generation of post-grunge, if you’ve never sat down and really paid attention to “Are You Experienced,” now is the time. This album takes the essence of garage rock to a whole new level. It’s raw, dirty, gritty, and unpolished. Hendrix’s guitar work is drenched in distortion and feedback, giving it a feel of controlled chaos.
Every time I think about music from the ‘60s, it blows my mind how an album like this was appreciated and at the forefront, even with all the experimentation in psychedelic rock. Music was valued for its imperfections because they gave the songs so much color and texture. Unfortunately, that appreciation faded as the decades went by, and music became all about perfection, precision, and being so polished it often feels saturated. Jimi Hendrix just happened to be at the right place at the right time, because in today’s world, he would be completely overlooked by the masses.
G. Love & Special Sauce
3/5
I always lumped these guys into the jam band scene, thanks to a coworker who was all about that vibe and constantly raved about G. Love & Special Sauce. So, I wasn’t exactly eager to dive into this album. But from the very beginning, I realized I had totally misjudged it, and it was way better than I expected.
What really hooked me about this album was its funky, raw energy. It’s laid-back and groovy, with a strong jazz and blues feel. The production is stripped down and unpolished, giving it a vibe that feels almost like a live performance, which I loved.
However, there were some aspects I didn’t vibe with. The rapping and lyrics felt sleazy, simplistic, and fell flat for me. Honestly, I think I would have enjoyed the album more if they had dropped the rapping altogether.
All in all, I’d say it’s worth a listen. Even though there was one element that didn’t resonate with me, I can’t ignore the other parts that were genuinely enjoyable.
Sister Sledge
4/5
This was actually my very first time listening to an entire Sister Sledge album from beginning to end. So first off, if the actual song “We Are Family” just popped out of existence forever, I definitely wouldn’t miss it. Other than that, this album had some really good tracks that were very influential for modern-day dance and house music. Also, when it comes to Nile Rodgers, his name speaks for itself, and you can always count on getting something of good quality. I’m not going to pretend to be an expert or huge fan of disco, but overall, I enjoyed this album simply for what it is.
Elvis Costello & The Attractions
4/5
Wow! I actually thought this one wasn’t all that bad. The album is upbeat, catchy, and melodic. The keyboards brought out a distinctive new wave flavor that was colorful and a little quirky. Hopefully, moving forward, I’ll find more Elvis Costello albums I like. So far, the ones I heard before this would have been better off without Elvis Costello’s vocals in the first place.
Radiohead
5/5
So, like most albums from Radiohead, I think you’ll get the best listening experience by listening to it on headphones or earbuds. In this case, you’ll be able to hear different elements of the track in a more multi-dimensional layered soundscape. I’ll point out the opening track “15 Step.” It begins with some vocals, then you hear some rhythmic guitar work. From there, you get some electronic beats and the track builds. The rhythmic guitar feels like it was unearthed from a dusty vinyl collection, looped and layered to create a rustic, vintage foundation. From there, Radiohead overlays clean, polished production of more modern sounds. This approach really adds a lot of depth and texture that blends nostalgic and modern elements seamlessly. Now, this is just one example, but the album is filled with multiple layers where each layer feels like it was created and produced separately.
Manu Chao
4/5
This was a fun random album that I never would have come across on my own, so thank you 1001 album generator. “Clandestino” is a very catchy world beat album that combines reggae, ska, and various other worldly genres. It’s very multicultural, featuring lyrics in Spanish, French, Portuguese, and English. The instrumentation is diverse, with guitars, bongos, congas, and subtle synth and electronic elements that are very effective at creating a good atmospheric sound.
Nirvana
3/5
If it wasn’t for this generator, I wouldn’t have had a reason to revisit this album. Nirvana undoubtedly made a huge impact, and I don’t want to downplay their success, but my enthusiasm for them isn’t what it used to be. I listened to them so much when they were fresh that I just don’t enjoy them anymore, especially “In Utero.” I can’t even count how many times I played this album as a teenager. With that being said, I’ll leave the deep and impactful reviews to someone who’s more energetic and enthusiastic, and not as burned out on this album as I am.
The Band
4/5
This was one of the early albums that helped shape and form the Americana genre. It’s definitely a more traditional rock album with country, folk, and blues influences. Most of the songs are historically based and revolve around life in rural America. The album is pretty diverse in its own way, and I love the keyboards and piano elements. They really give the album depth and texture.
Beatles
4/5
Honestly, there’s no point in me writing a long, in-depth review of this album. Everything that can be said about this iconic album has already been said. Its influence, diversity, and groundbreaking nature have been analyzed and praised countless times.
Creedence Clearwater Revival
3/5
I really enjoy the strong blues element in this band, but I have to admit that southern rock isn’t usually my go-to. It definitely wasn’t a bad album, though. As a South Florida guy, if I ever find myself down in the Everglades on an airboat wrestling alligators, this will definitely be my go-to background music.
Doves
5/5
I can’t believe this album slipped through the cracks for me. Back in the early 2000s, this was exactly the kind of music I loved. Discovering it now feels like I missed out back then. This album reminds me a lot of Moon Safari by Air, but with an indie rock twist and more structured songs. It has a sense of longing, with a lot of emotional depth. It’s very melancholic, dreamy, and atmospheric. This is definitely an album I’ll be playing more in the future.
Booker T. & The MG's
4/5
This was a cool album to stumble upon, especially if you love the Hammond organ like I do. I was already familiar with the “Green Onions” track, but I never thought to look into who made it. By the end of the album, though, it definitely started to feel very repetitive.
Santana
5/5
This was my first time listening to this entire album, and it’s very impressive to hear the blend of genres. It’s obviously a crossover of Latin music, jazz, and blues, but it also shares many characteristics with prog rock and has a bit of psychedelic influence as well. While Carlos Santana’s guitar work garners much acclaim, the musicianship across the board is top-notch. The bass, keyboards, organ, and percussion each contribute significantly, so that every member complements and elevates the others.
Suede
3/5
Overall, the music was solid, but the vocals were a bit rough around the edges. The album presents an intriguing mix of alternative, grunge, and glam rock. While it might seem average for its time period, I can see it being the kind of album that grows on you with repeated listens, revealing its depth and unique qualities.
Paul McCartney and Wings
4/5
Out of all the post-Beatles solo albums, this is the best one I’ve heard so far. It varies in styles but remains very melodic with plenty of catchy hooks. The album is also energetic and uplifting. I ended up playing it a second time right after finishing it the first time.
Lenny Kravitz
1/5
This album hit me with a double whammy. It was an hour-long ordeal of Lenny Kravitz delivering what I found to be terrible music, and just when I thought it couldn’t get worse, the last song felt like a punch in the gut on the way out.
Jazmine Sullivan
1/5
When I think of the 1001 albums to hear before you die, it’s baffling how this one ends up on the list next to giants like Frank Sinatra, Miles Davis, Pink Floyd, and The Beatles. Sure, the theme of female empowerment is significant, especially given today’s social climate, but shouldn’t we be celebrating albums with timeless music and profound, thought-provoking lyrics? This album feels bogged down by surface-level clichés and talking points, lacking the depth that truly great albums possess.
Tom Petty and the Heartbreakers
5/5
Tom Petty is one of those artists whose music has stood the test of time and aged incredibly well. Rooted deeply in rock traditions, he’s hands down the best artist within the heartland rock genre. His music is evenly balanced and fits perfectly with just about any mood and any time.
Elvis Costello
3/5
I don’t get how Elvis Costello ends up on every top albums list, with half of his catalog making it onto these lists. He’s not THAT good to deserve such recognition multiple times. The first album I heard from him was awful, and the second one was just as bad. Strangely enough, after giving that second album another try, it sounded much better. The same thing happened with this album. I played it and hated it, even drafted a review about how bad it was, but decided to give it a second chance. On the second listen, it improved a lot. To be clear, I’m not saying it’s good, just average. The constant praise for his albums being on top albums lists everywhere is baffling to me.
Kanye West
3/5
I remember listening to this album when it first came out, and my opinion is still pretty much the same. I appreciate the innovative and experimental approach, especially with electronic music. However, this experimentation sometimes results in an overly produced sound, where the complexity and layering of elements can overshadow the core simplicity of the music. There needs to be a balance between experimental creativity and maintaining simplicity; otherwise, the excessive production becomes a distraction of its own.
As for Kanye himself and the lyrics, there’s no denying that he’s a talented rapper. Even though I would love to hate on him, I have to admit he has had a handful of songs over the years that I enjoyed. One of my favorites is “American Boy” by Estelle. He’s so suave on that track. But on the flip side, most of his lyrics are so brash, hubristic, egotistical, and arrogant, and on this album, he displays all of those characteristics as if they were on steroids. This is why all of his behavior and the hate he’s received over the last 10 years, I take it all with a grain of salt. Wherever the excitement or drama happens to be, Kanye is going to throw himself right in the middle of it, like a monkey in a cage shaking the bars. He thrives on chaos and always dives headfirst into the middle of the drama, drawing all eyes to his wild and uncontrollable antics.
Drive Like Jehu
3/5
For an indie post-hardcore album, this one was pretty solid, but an hour and ten minutes is quite a long runtime for this genre. By the middle of the album, I was already feeling drained. The music is raw, unpolished, and aggressively in-your-face. It boasts intricate guitar work, complex structures, and unconventional time signatures. If math rock is your thing, this album will definitely hit the spot.
Bon Jovi
3/5
It was kind of fun to go back and revisit this album, however, it’s not something that will make its way back into my regular rotation, primarily because I’ve heard it so many times since I was a kid. Despite its undeniable classic status, it feels like it’s more of a nostalgic trip than a staple for my current playlist.
Suzanne Vega
5/5
Wow! This was a great album to start my day with, and it definitely caught me by surprise. First off, Suzanne Vega is a great storyteller, and I really like the sound of her voice. This was a fantastic singer-songwriter album, but it also had a very atmospheric and ambient feel to it. It was ethereal and dreamy. The album is driven by the acoustic guitar with excellent fingerpicking. The use of percussion is minimal and subtle, so you might not even notice it unless you’re paying close attention. Another standout element is the use of keyboards and synths. While the guitar is the prominent instrument, the synths play a crucial role in the background, adding to the album’s atmosphere and ambiance. After hearing this album, I’m definitely curious to check out more of her work and see how she progressed in her career.
Japan
4/5
Japan is one of those bands I’ve always been aware of but never took the time to explore their music. While it features a few upbeat tracks, the overall vibe is more laid-back and atmospheric. The standout element for me was the bass guitar, particularly in the second track, “Fall In Love With Me.” The bass in this track had a playful and quirky feel, adding a unique texture to the music.
Peter Frampton
2/5
This album is a double-edged sword because it has a handful of tracks that are pretty good, but the rest of it really just annoys me. One reason why is because my father used to play this album a lot when I was a kid, and it was one of his least impressive albums that he would like to play, so I always had to listen to it.
Secondly, I really associate this type of live album with your typical run-of-the-mill album that always seems to be playing in the background at a musical instrument store, especially with the sounds of the audience.
Although it has tracks that I can’t deny are pretty good, it’s an album I will probably never go back to because I was burned out on it the first few times my father played it when I was a kid.
Supertramp
5/5
Supertramp has been a favorite since my dad played them when I was younger, though it was always their greatest hits. Now, at this stage in life, diving into their actual albums gives me a whole new perspective. Supertramp has a great balanced blend of instrumentation, particularly making the saxophone, harmonica, and piano stand out. The dual vocals of Roger Hodgson and Rick Davies are another highlight that really elevates their sound.
Technically, one thing I really give Supertramp credit for is their seamless way of switching the direction of their songs. They manage smooth transitions between different sections while keeping a cohesive core theme and unified whole, avoiding abrupt musical shifts or disjointed pieces. I love how they incorporate complex prog rock characteristics, yet keep it all within a pop rock sensibility, making it easy for just about anyone to enjoy.
Cream
4/5
This was a good 50/50 combination of blues and psychedelic. I can’t say I’m as excited as all the hype surrounding this album, but it’s still a decent album.
Barry Adamson
5/5
This album took me by surprise in the best way. I was expecting a straightforward jazz album, but instead, I got a jazz-driven avant-garde experience, which I'm a total sucker for. I love experimental and avant-garde music, though it often demands a specific mood and setting to fully appreciate it. However, "Moss Side Story" stands out because it's accessible and can be enjoyed in a variety of contexts. I also love that it's a soundtrack for an imaginary film that doesn't even exist in real life. It's definitely not for everyone, but I'll be revisiting this one for sure.
The xx
4/5
This album stands out with its distinctive sound. It’s a perfect blend of pop, indie, electronic, and ambient elements. The minimalist guitar work, laid-back breakbeats, and ethereal synths create a dreamy, atmospheric soundscape. The intimate vocals touch on themes of love and longing, adding emotional depth to the music. This album definitely delivers a unique listening experience that captures a perfect mix of genres and moods.
Beck
4/5
Beck was an artist I really enjoyed in the '90s when I was a teenager. I jumped on the bandwagon when "Mellow Gold & Odelay" came out. Shortly after, I moved on to edgier music like electronic, goth, and industrial, and Beck was no longer cool to me. I remember this album being promoted everywhere, but when someone told me it was a folk album, I thought, "BBBAAAARRRRFFFF!" and never gave him the time of day.
About four years ago, I finally opened my heart to Beck again and realized he had done some pretty decent albums over the years. I listened to "Sea Change" for the first time about a month ago with my wife, and we really enjoyed it. Listening to it again, there's nothing particularly groundbreaking about it, but it's just a nice, calm album to chill out to.
Stevie Wonder
3/5
It’s a decent album. I wish I had a stronger connection to Stevie Wonder’s music because every single album I’ve listened to just feels like the music is simply there. It’s not that it’s bad; I see the talent behind it, but unfortunately for me, there’s a lack of connection.
Doves
4/5
Decent Brit rock album that mixes alternative with some subtle electronics to create a more atmospheric and ambient backdrop. Highly produced and cinematic, it’s a very polished commercial album designed to appeal to the masses. Overall, it was an enjoyable listen and slightly better than average. I probably won’t go out of my way to listen to it again unless I want something easygoing and non-offensive to play with a group of people.
Elton John
4/5
Patti Smith
3/5
I can only imagine what it was like to listen to this album back in the mid-’70s when it first came out. It was truly one of a kind. I like this album because it has a laid-back feel overall. Despite being laid back, it has a stripped-down, raw energy that gives it a punk aesthetic. I also love the piano, which definitely adds depth to the music.
Nas
5/5
Illmatic by Nas is definitely a classic album. Although I’ve reached a point in life where hip hop doesn’t resonate with me as much these days, this still remains a timeless album that is always fun to revisit from time to time. The production of this album is raw and gritty yet high quality, with amazing producers like Pete Rock, Q-Tip, DJ Premier, and a few others. Nas is truly an amazing MC. His lyrics are vivid, and he has a remarkable way of giving a clear visualization of life in NYC, with a smooth and intricate flow.
Jorge Ben Jor
5/5
I’m so glad I discovered this album. Brazilian funk with African influences – what more can you ask for? This album is super groovy and catchy. One element I really like is how the funk adds playful and quirky vibes to some of the tracks.
Ozomatli
2/5
I can see the appeal of this album, with its blend of Latin rock, hip hop, and funk. However, the rapping felt cliche and sleazy, filled with outdated punchlines and hooks reminiscent of ‘80s hip hop stereotypes. By the time it reached the end, the album had worn out its welcome and began to feel more annoying than enjoyable.
Morrissey
4/5
I've always been puzzled by the amount of hate Morrissey receives. While I don't know much about him personally, discovering his music through this musical journey has been a highlight. I slightly prefer The Smiths over his solo work, but his music really resonates with my normal bassline mood—easy-going, with catchy hooks, lush, jangly, and smooth.
Liz Phair
1/5
After listening to this album a few times, I find the musical elements quite good. It has a very indie, raw, and stripped-down production. However, the lyrics come off as juvenile to me. I understand that she’s making a cultural statement and challenging norms, but it seems her lyrics are praised more for their shock value. I can see how a younger generation full of angst might enjoy this, but to me, the lyrics feel immature.
Violent Femmes
4/5
It’s funny how “Blister in the Sun” is the biggest hit off this album, yet to me, it’s one of the most annoying songs ever. For many years, I was turned off by Violent Femmes because of that song. But then I heard “Add It Up” and fell in love with it, so I decided to get the album. Once I did, it became one of my favorites for a while. Violent Femmes is one of those bands that straddles the line between folk and punk, but they also have a fun and playful undertone. Although I’ve played this album so many times that I probably won’t go back to it in the future, it will always have a special place in my heart.
White Denim
5/5
This was definitely a great discovery. It’s impossible to decide if you want to call it indie rock, progressive, or psychedelic because it straddles the border between all three of them perfectly. The prog rock side brings out great elements of some jazzier sections with intricate arrangements as they seamlessly blend multiple genres or fade from one to another within one song. I’m really looking forward to checking out more of this band’s catalog.
Jeff Beck
3/5
For being released in 1968, you can’t deny that “Truth” is a groundbreaking album that played a significant role in the development of hard rock and heavy metal. This blues rock album has a very unpolished, raw, and hard rock feel to it. Unfortunately, Rod Stewart’s voice was a real stumbling block for me. I just didn’t like the sound of his voice or his vocal style at all. Other than that, the musical elements were pretty impressive, which is why I thought the instrumental tracks were the best and most enjoyable.
Sam Cooke
4/5
Sam Cooke is a name I’ve heard and I know he’s well respected as a musician, but I hadn’t heard any of his music until now. So, let me start by saying that the music the band played as the album opened and led into Sam Cooke’s introduction caught me off guard—but I loved it. Talk about funky, odd, strange, and playful. If anything, I wish that music had gone on longer.
As for the rest of the album, it was raw and full of energy. You can tell it was recorded in an intimate setting with a smaller crowd, and both the audience and the band were engaging and feeding off one another. I was pretty far out of my element with this artist, but I’m definitely going to check out more of his discography.
Christine and the Queens
3/5
Let’s start by saying that “Chris” was mediocre to average at best. While it had one or two standout tracks, the majority of the album hovered around a two or three out of five. The decision to make this a double-disc album was a mistake, as it felt overly long and lacked any sense of adventure or journey. It maintained the same uniform, monotone vibe from beginning to end, never building up to anything substantial. Although it kept a consistent groove, it quickly became monotonous and boring, even for a Synthpop fan like myself.
What baffles me even more is how this album made it onto the “1001 Albums You Must Hear Before You Die” list. It makes me wonder what timeless, artful classic was sacrificed to make room for this one. It’s a decision that leaves me scratching my head.
Miles Davis
5/5
This album is split between two parts/tracks. It takes a more jazz fusion experimental approach for Miles Davis and incorporates more electric instruments than his previous albums. The first track has a very ambient jazz feel with an atmospheric and meditative vibe, while the second track leans more towards the avant-garde and experimental side. Released at the perfect time, this album had a significant influence on the musical landscape and the direction things were evolving towards. It contributed to the early stages of ambient and electronic music and played a role in the development of progressive rock. For example, when I started exploring Soft Machine, some of their music reminded me of the second track on this album. Whether they were directly influenced by this album or it’s just a coincidence, I’m not sure. Regardless, for anyone who enjoys innovative and experimental music, this is definitely an important album to check out.
My Bloody Valentine
5/5
This is an album that took a few listens before I really began to appreciate it, but now it’s one of my favorites. What I enjoy most is how noisy and unpolished it gets, with those fuzzy and hazy guitars. These types of sounds were probably very unusual for the time when this came out, and I love how the calm ethereal vocals sit on top of a wall of noise and chaos.
Franz Ferdinand
3/5
It’s hard to believe this dance punk indie rock sound is already nearly 20 years old. I remember it like it was yesterday and how fresh it sounded when it first came out. Now, listening to it feels a bit dated. Franz Ferdinand definitely had a cleaner, more polished sound, but they did a pretty good job at making an album that was fun to listen to from beginning to end. I used to play this album a lot in my car, so it was definitely a trip down memory lane.
The Pretty Things
5/5
This was a very good discovery. “S.F. Sorrow” is a psychedelic concept album about a character named Sebastian F. Sorrow, and it’s known as one of the first rock operas. There’s some controversy surrounding Pete Townshend of The Who, as some say he was influenced by this album when writing “Tommy,” although Pete denies this. This album is also considered proto-prog rock, being one of the first concept albums, a staple in the genre as it evolved.
The album reminds me of “Sgt. Pepper’s Lonely Hearts Club Band” by The Beatles. It has a similar sound but isn’t a direct rip-off. When it comes to studio production experimentation, this album is on par with Sgt. Pepper’s. It makes extensive use of effects like phasing, echo, and reverb, creating a surreal and immersive sound. For albums known for their experimental approach, this one is always at the top of my list.
Drive-By Truckers
4/5
I’ve always known the name Drive-By Truckers, but never listened to them until now. I have to admit, I really enjoyed this album. It’s got that Southern and heartland rock vibe with strong country influences. The raw, gritty production quality really brings out the garage pub and bar sound of the band. It’s a bit of a long album, but overall, I found it really enjoyable. I’m definitely open to exploring more of their music moving forward.
Eminem
1/5
I was dreading diving into this album, but I knew I had to get it off the list sooner or later, so I tried to be optimistic. Maybe it would be one of those albums I’d be hesitant to start but would end up enjoying as a nostalgic trip down memory lane. Unfortunately, that wasn’t the case. It was indeed a trip down memory lane, but it reminded me of my immature, lost teenage years and the similarly lost souls I hung out with back then.
Perhaps it was relatable back then, which explains why it has no appeal to me 25 years later. The album is filled with goofy, silly, and childish rap, with jokes and punchlines driven by a juvenile sense of humor aimed at teenagers. The more serious and aggressive elements, driven by anger and attitude, also seem targeted at a younger demographic still trying to find their way in life. Overall, this is one of those albums that didn’t age well. It had its moment in the spotlight and served its purpose, but I believe it should stay in the past.
Talvin Singh
4/5
So, for the first part of this review, I want to say that this was actually a pretty good drum and bass album that was experimental with an ambient atmospheric sound. It also has a great story to it and all the traveling that went into creating this album. A lot of the production was pretty ahead of its time and experimental for the late 90s. It reminds me of a combination of 90s-style Squarepusher with 90s-style LTJ Bukem. The downside of this album is that although it had a great backstory and it’s an innovative album for people who are into the music and understand it, it also has the same monotone vibe throughout the entire album. Even for me, by the time the album was wrapping up, I was getting bored and burned out. For someone who is not into this style of music, I can definitely see how they will not like this album and they would get extremely bored of it. To be honest, that’s why I don’t really think it belongs on a list of 1001 albums you must hear before you die. This album is a very niche genre and audience that it appeals to and although it has a great story, almost everyone won’t resonate with the album.
Stan Getz
4/5
A relaxing album that resembles a Woody Allen mellow drama vibe.
Tricky
4/5
Tricky is a great example of what made ‘90s electronic music so special and unique. Since the genre was still developing and finding itself, every artist had their own distinctive style, even within the same sub-genre. For example, it’s impossible to mix up Tricky with Massive Attack, because they each had their own sound. Back then, producers didn’t confine themselves to certain boundaries or borders of music depending on the style they were making. Anything and everything went.
R.E.M.
4/5
This is R.E.M.’s sixth album and their first on a major record label, which introduced a noticeable shift in their music. That shift is probably what sets this album apart and why it doesn’t resonate with me as much as their earlier work. In the ’90s, I didn’t care much for R.E.M. when I heard their commercial hits on the radio, but that changed when I went back and started listening to their first album and worked my way through their discography. That’s when I realized they were a band I genuinely enjoyed, especially for their strong jangle pop elements.
This album still features plenty of jangly guitars, but it has a more polished rock and alternative anthem feel, which is what made me overlook them back in the day. I wasn’t particularly drawn to the vibe of the music I heard on the radio. However, now that I have a better understanding of their earlier music, I’ve softened my stance on those radio hits. Still, this album undeniably has a more polished, commercially saturated sound compared to their previous work.
A Tribe Called Quest
4/5
When it comes to old-school hip-hop, I’ve often pointed out how a lot of it hasn’t aged particularly well. But this album is an exception—it’s definitely held up better than most from its time. It may not have the same energy and punch as some of the other records that dropped around the same period, but that’s exactly what makes it timeless. The lyrics are more thought-provoking, and the production has a jazzy, laid-back, smooth vibe that plays to its strengths. While it might not have aged perfectly, I find myself coming back to this album far more often than other releases from the same era.
Deep Purple
5/5
I’m not the biggest fan of Deep Purple—they’ve always been more of a middle-of-the-road band for me—but maybe this album just caught me in the right mood. I really enjoyed it and rocked out from beginning to end. The recording quality is pretty solid, which is a plus, and it truly captures the energy of their live performances. The musicianship is absolutely top-notch, and you can tell that all the band members were feeding off each other, which made the performance even more engaging. Every instrument and every player holds their own, bringing their unique flavor to the overall performance, whether it’s the vocals, guitar, drums, or organ. The extended improvisations and longer versions of the songs compared to the studio albums really add to the experience. Normally, I pass up live albums, but every once in a while, you come across one that’s absolutely amazing, and this is definitely one of those.
Sex Pistols
3/5
This is one of those albums I’ve heard so many times that it’s lost its thrill for me, but you can’t discredit it. The raw, unpolished, and in-your-face production really brings out the aggressive energy this album carries.
Electric Light Orchestra
5/5
I’ve always seen ELO as a really unique, standalone band. While I’m not familiar with all of their albums from front to back, I’ve heard a lot of their music over the years, and I’ve always appreciated how they have tracks that range from straightforward, pop-inspired soft rock to grand, orchestral ballads, and even some experimental, synth-driven songs. One thing that stands out to me is how ELO’s strong use of strings and orchestral elements gives them a very full, rich sound that’s incredibly colorful.
The Allman Brothers Band
2/5
OK, so there’s no denying that the Allman Brothers are a talented band, but I’ve never really gotten into them. I never really paid much attention to them, but I remember about 20 years ago, when I was in my late teens and early 20s, working in a kitchen where some of my coworkers would play this band, and it used to drive me crazy. So even though I’ve heard them before, this is my first time actually sitting down and listening to an album from start to finish and paying attention all the way through. I have to say, I don’t feel much different about them now than I did back then. This album is definitely a great mix of Southern rock, blues, and jam band elements, but it’s that jam band aspect that really takes away the enjoyment for me. I’ve never gotten into jam band music, and I just don’t think I ever will. If I had to pick one element I liked the most, it would probably be the Hammond organ.
5/5
Other than hearing ABC on various New Wave compilations, this is my first time listening to one of their albums from beginning to end, and I have to say, this is a really good one. I love it when I find a synth-pop album that I really enjoy. The Lexicon of Love was solid from start to finish, with a very sophisticated and glamorous feel throughout. It actually makes me wonder how often this album was played at fashion shows back in the day because it definitely has that vibe.
Talking Heads
4/5
The last couple of Talking Heads albums I’ve listened to over the past year didn’t really do much for me, probably because I listened to them so much when I was younger that they’ve kind of lost their thrill. Plus, I’m discovering all kinds of new styles of music and bands these days. But as for this album, I have to admit I actually enjoyed listening to it from beginning to end for old time’s sake. One thing I’ve always appreciated about the Talking Heads is their bass. They really do a great job with strong bass guitar rhythms that stand out in their music.
Lloyd Cole And The Commotions
5/5
I have to admit, this is a pretty random album to end up on a list of 1001 albums you must hear before you die, but I enjoyed it nonetheless. It’s classic 80s jangle pop. If you’re into early R.E.M. or bands like The Smiths, this is definitely an album worth checking out.
Carpenters
3/5
I started this album kicking and screaming, but by the end, I was holding hands and singing kumbaya with The Carpenters. I’ve been converted.
Pink Floyd
5/5
This is one of those albums I’ve heard so many times, I’ve lost count. I was definitely raised on Wish You Were Here. One thing I didn’t realize until later on, though, is that “Shine On You Crazy Diamond” was actually a tribute to Syd Barrett.
Radiohead
4/5
I really enjoy Radiohead, but sometimes I’m just not in the mood for their more experimental work and want something a little more easygoing. That’s where “The Bends” comes in. While their first album is, to be honest, kind of sleazy, “The Bends” has a more straightforward alternative and Britpop sound. At the same time, it also shows a lot of characteristics that indicate the band’s evolving style. Overall, I think this album captures that sweet transitional period where you get the best of both worlds.
Destiny's Child
2/5
I’d love to rate this as low as possible, but I have to admit, there were a few tracks with some solid music production. That said, the vocals were hard to get into, especially when they’re all singing together—it just didn’t do it for me.
Johnny Cash
4/5
This album is on par with his At Folsom Prison album. If you haven’t heard that one or this one, it’s definitely worth checking out at least one of them. Johnny Cash would have been incredible to see live back in the day. He had a real talent for connecting with the crowd, whether through the storytelling in his songs or when he spoke to the audience between tracks. He definitely carried a strong stage presence with him.
Metallica
4/5
It’s definitely been over 25 years since I’ve listened to this album from beginning to end. If I had to choose, this would probably be my favorite Metallica album of them all.
Bob Marley & The Wailers
3/5
This is the first time I’ve actually sat down and consciously listened to a Bob Marley album from start to finish. Marley always reminds me of being 18 at house parties, where other privileged suburban kids would go on about how “the man” is holding them back and how hemp could save the world, usually while they’re taking bong hits. So, yeah, Marley’s music has always brought some cringe-worthy associations for me. As for this album, it sounded just like I imagined—a typical Bob Marley record.
Culture Club
2/5
This album was a total snooze fest. There was absolutely nothing for me to latch onto, and it barely served any purpose beyond being background noise.
Wilco
4/5
One of the most fascinating aspects of this album is its backstory. Reprise Records rejected it, prompting Wilco to move to another label. Ironically, this album has since achieved gold status. Musically, “Yankee Hotel Foxtrot” stands out for its mellow vibe. It’s a seamless blend of indie rock with country influences, enriched by subtle electronic effects and innovative production techniques that create an atmospheric soundscape. While I wouldn’t rank it among the absolute best albums of the 2000s, it’s still a solid and enjoyable listen for what it is.
Dennis Wilson
4/5
This album had its high points and low points, but overall, I’d say the highs outweigh the lows. Dennis Wilson, one of the founding members of The Beach Boys and their drummer, created a mix of soft rock, art rock, and singer-songwriter styles with Pacific Ocean Blue. You can tell this album is meant to be a deeper, more personal reflection of his life experiences and struggles. Unlike The Beach Boys’ daytime fun vibe, this album has a darker, nighttime approach. It’s more soulful, with a dark orchestral atmosphere. While it’s a departure from The Beach Boys in some ways, it still carries a lot of their strong characteristics—though, at times, it also reflects some of their less favorable elements. One of the biggest downfalls is that it’s a two-hour-long double album, which feels way too long. The length definitely drains you and starts to wear on you by the end. Overall, it’s a very interesting album that was worth the listen, but I’m mixed on how much I truly enjoyed it.
Cyndi Lauper
4/5
Going into this album, I knew it could go one of two ways: either a sleazy 80’s bubble gum pop album or an 80’s pop album with substance and quality. Thankfully, it was the latter. Although this is definitely an 80’s pop album aimed at the same crowd as Madonna, Cyndi Lauper approached it with a more mature touch. I was surprised by how heavily it leaned into new wave and synth pop, which I think made it more acceptable to people like me. Cyndi Lauper found a good balance, making an album that can reach a wider age demographic. Overall, this is a very colorful synth pop album, and it will definitely be added to my list of 80’s synth pop albums I enjoy.
Röyksopp
5/5
This album takes me back to my early 20s and the early 2000s electronic scene. This was such a breath of fresh air. At least here in the US, the electronic and rave scene was really blowing up and becoming very commercial. This created a culture where most of the music was focused on trying to be the next big thing, driven by glitz and an obsession with pushing boundaries. During this time, I gravitated towards downtempo music because it separated itself from that flashy appeal and was meant for lounging and relaxing. This was one of those standout albums that truly had its own unique sound, bringing soothing comfort. Even today, this album still sounds just as fresh and enjoyable as it did over 20 years ago.
The Smashing Pumpkins
4/5
If there’s an album that truly captures the spirit of the mid-90s, this one is definitely at the top of the list. So much of the music from that era has worn out its welcome for me—I’d happily keep most of it buried. But The Smashing Pumpkins are the exception. Though they’re a quintessential 90s alternative band, they pulled in elements from nearly every facet of the culture back then. They had the grunge edge, hints of shoegaze and dream pop, a dark style that wasn’t quite goth, and even experimented with electronic music that was just beginning to make waves. This album is likely their most diverse, blending all of those elements into a single, cohesive work.
Elvis Presley
3/5
This album is supposed to reflect a more mature Elvis, fresh from his military service and ready to show a new side of himself. However, I find that his music still doesn’t resonate with me, mature or not. Elvis and his music aren’t necessarily bad, but they don’t strike any emotional chord with me. The standout moments on this album are the country, blues, and jazz elements, which were interesting, but overall, it wasn’t compelling enough for me to want to listen again.
The Soft Boys
3/5
I’m pretty split on this album. On one hand, it’s an incredibly influential record that blends post-punk with neo-psychedelia and jangle pop. The Soft Boys were clearly inspired by 60s psychedelic and folk music, with The Byrds being a major influence. But what’s impressive is that The Soft Boys went on to influence the 80s indie and alternative scene, especially with their jangly guitar work. R.E.M. and The Smiths have both pointed to this album as a key influence on their sound. So, while I appreciate a lot of what this album has to offer, some elements just feel a bit off-kilter to me. I really wish I enjoyed it more, but overall, I’d give it a slightly better-than-average 3.5.
Pearl Jam
3/5
This is an album I heard so many times back in the 90s that it’s become tough to stick with it from beginning to end without getting bored and turning it off. That said, I can’t deny the influence it had and how groundbreaking it was for its time. When it came out, it was like nothing else out there—a real breath of fresh air. Although I’m burned out on it now and it lacks the appeal it once had, I have to admit that there was a time when I listened to this album regularly.
Paul McCartney
3/5
This album lands somewhere in the middle for me. It definitely has a DIY, stripped-down approach, but overall, the tracks mostly hover around twos and threes out of five, with maybe a couple that come close to a four.
3/5
U2 from the early ’80s was absolutely incredible and groundbreaking. But this era? It’s where things started to go downhill, and fast. Honestly, this period was full of middle of the road, run of the mill songs that barely left an impression. Fast forward to 2004, and somehow, with three decades of experience as professional musicians, they managed to produce one of the most annoying, cringeworthy songs in human history. The one where Bono repeatedly belts out “YEAH! YEAH! YEAH!” over and over again. It’s a crime against music, and possibly the worst thing ever inflicted upon humanity by a band. Just when I thought they couldn’t sink any lower, they managed to set the bar even lower, hitting rock bottom, and surpass even my worst expectations. So, when I look back at this album now, I actually feel a sense of relief and newfound appreciation, knowing just how much worse it can get.
Pulp
4/5
Back in ’98, when this album first came out, it was probably a good album for its time. It’s a decent listen, but overall it sounds pretty average and similar to a lot of other Britpop that’s been released over the years. The album is more about polished production, with the guitar mainly used for layering texture rather than standout riffs. The keyboards and electronic elements do add to the overall feel and production, but while I don’t regret giving it a listen, it’s not really something I’d go back to anytime soon.
Dire Straits
5/5
This debut album from Dire Straits will always be their best. I love the minimalist, straightforward roots rock and pub rock approach of this album. It’s rock in its purest form. The laid-back vibe, combined with Mark Knopfler’s fingerpicking guitar style, creates a crisp, clean, and refined sound that’s hard to beat.
The Beta Band
4/5
I wish I’d discovered this album when it first came out, because I would’ve loved it. It’s a great mix of electronic driven neo psychedelia with trip hop beats, giving it a mid-tempo, laidback vibe. While it’s chill and mellow, it’s not quite as downtempo as something like Air. Overall, it’s a really easygoing album. Even though it’s a solid listen, I’d say it definitely carries a timestamp, it sounds very much like something from the late ’90s and early 2000s.
John Lennon
4/5
This is definitely a great album with some timeless classic tracks like “Jealous Guy” and “Oh My Love.” I personally love how piano-driven the album is, and the orchestral arrangements throughout really add a lot of color to the music.
Funkadelic
4/5
This was definitely a fun album. I hadn’t listened to Funkadelic until now, but I have to say I really enjoyed the psychedelic elements and the way the synths add to the overall feel of the music.
I have to admit, I enjoyed this album more than I expected. I remember it being heavily promoted when it came out, but after the mess they made in the ’90s, I had no interest in hearing it. Even in the mid-2000s, the songs I heard from them were just as bad, if not worse, than their ’90s output. But since this was my daily album from the 1001 album generator, and I’ve committed to listening to every album from start to finish, this one took me by surprise. I wouldn’t say it was super impressive, but it’s a well-balanced album where U2 seemed genuinely focused on making a solid rock record without trying to be something they’re not.
The Verve
3/5
Overall, the album was decent, but I can’t say I’ll be going out of my way to listen to it again. Honestly, reading about the legal battle between The Verve and The Rolling Stones over the Bitter Sweet Symphony sample was far more entertaining than the album itself. So, let’s talk about that instead.
Basically, Bitter Sweet Symphony used a sample from an orchestral version of The Rolling Stones’ The Last Time, arranged by the Andrew Oldham Orchestra. The Verve had supposedly negotiated and obtained a license for the sample, but the trouble started when they were accused of using “too much” of it. The legal battle eventually ended with The Verve losing, and all rights and credits for the song were handed over to Mick Jagger and Keith Richards.
So, even though the song was primarily written by The Verve’s frontman, Richard Ashcroft, all the royalties went to The Rolling Stones and their team, leaving The Verve without a penny from one of the biggest hits of the ’90s. But hey, after more than 20 years, when all the buzz around the song had long faded away, Jagger and Richards graciously gave the rights back to The Verve. It must’ve been a real struggle for Mick and Keith, considering they’d never had their 15 minutes of fame at any point in their careers!
Cee Lo Green
2/5
I wasn’t really looking forward to this album going into it, but it actually surprised me at first. It had some pretty catchy hooks and a smooth, laidback vibe. But as time went on, the charm started to wear off, and the album began to feel a bit repetitive. Then I realized it was over an hour long, which just added to the struggle of getting through it.
Jethro Tull
3/5
I was already familiar with a few tracks from Aqualung just from hearing them on the radio growing up, but I never really paid attention to who they were by. It’s funny because, over the past year, as I’ve been diving deep into progressive rock, Jethro Tull is a name that wasn’t really on my radar until recently. Listening to Aqualung now, I’m hearing those songs in a completely new light. The tracks I used to think of as classic hard rock now stand out as part of a pioneering progressive rock artist’s work. I’ve sampled a good number of Jethro Tull’s albums so far, and I’d say this one is probably his most commercial-sounding. He’s had albums that didn’t quite click with me and others that I really enjoyed, and Aqualung falls somewhere in the middle for me. I’m still getting more familiar with Jethro Tull’s music before I can decide if he’s really my thing or just not one of my favorites in the prog rock scene.
Girls Against Boys
4/5
For a post-hardcore and noise rock album, this one’s pretty cool. I’ve listened to Girls Against Boys before, I even owned one of their CDs back in the day, but I don’t remember it sounding quite like this. A lot of people are complaining about it being on the 1001 albums list, and while I kind of agree that it might not belong there, I’d still rather see this on the list than pop albums from the likes of Christina Aguilera. This album isn’t particularly fast for post-hardcore, but it’s raw, dirty, and gritty, with those double bass guitars giving it a thick, low-end sound full of distortion. Even though it’s abrasive and noisy, there’s a strong groove to it. The vocals are monotone and almost spoken word, while the production is rough and gritty, adding to that underground indie rock feel.
Jamiroquai
3/5
I never got super familiar with this particular album, but it has some really strong tracks. Plus, Jamiroquai really helped put acid jazz on the map for mainstream success. He always strikes the perfect balance between jazz, funk, and soul.
The Smiths
5/5
The Smiths is one of those bands that, every time I listen to them, they get stuck in my head for the rest of the day. Although this album is considered one of the best of all time, I think that’s a bit overhyped. It’s a really good album, but most of my all-time favorite songs from The Smiths are from different albums.
The Birthday Party
3/5
This is a fun album, but it’s also something you have to be in the right mood for. Most of the tracks aren’t particularly fast, but this album is in-your-face abrasive, coming at you with noise and chaos. If you’re a fan of experimental post-punk and noise rock from the early ’80s, then this is definitely an album to listen to. Plus, you can’t go wrong with Nick Cave. His vocals are filled with rage and energy, with disturbing lyrics about violence, despair, and angst. Like I said, this is an album you have to be in the mood for, and usually, when I do listen to it, it completely drains me, and I’m ready for something calm and chill afterward.
Sinead O'Connor
3/5
I wasn’t exactly excited to start this one today, but it wasn’t as bad as I expected. It’s mostly a singer/songwriter alternative album. Some tracks are calm and minimal, while others lean more into an orchestral vibe or an acoustic feel. There are also electronic beats spread throughout, giving it a bit of variety.
XTC
4/5
When it comes to XTC, I’m not really sure if I’m a fan or not. I’ve only listened to most of their albums once, and usually just in the background. I’ve spent a bit more time with English Settlement, and it was a decent album, and now I’ve given Skylarking a couple of listens. This album is a big deal for them, probably their most well respected work. Personally, I’d say it’s slightly better than average. It’s a lush, colorful album from start to finish, and while it’s not bad at all, it doesn’t have many qualities that really make it stand out. After a while, it starts to get a bit boring. So overall, I’d give this album a fair, middle of the road rating.
Frank Zappa
5/5
Frank Zappa was truly one of a kind. He always had a fun, playful, comical, and quirky side, and that’s the side of him I really connected with. But beneath those characteristics, there was some serious musicianship, and he always pushed the boundaries as far as possible. On this album, you really get to see his more serious side. This release is an instrumental jazz fusion and prog rock album, filled with complex, intricate, and multi-layered compositions, with some heavy blues influences. It’s also known for its groundbreaking production and use of studio technology. When you listen, you’ll notice how crisp and clean this album sounds, especially compared to many other popular records from the same era.
Pavement
4/5
What I’ve always loved about Pavement is how they manage to keep things laid back and chilled while layering in a ton of noise and chaos. It’s like they’ve mastered the art of controlled disorder, all set against a mellow backdrop. Pavement is a band that really reminds me of Dinosaur Jr., if I’m not in the right headspace, their music can completely pass me by. But when the mood hits just right, I get totally absorbed in their albums.
Elvis Presley
5/5
I didn’t think I’d enjoy this one as much as I did. Apparently, this was a comeback album after years of mediocre releases, and it really worked for me. I’m not much of an Elvis guy, but this album was fantastic. It’s a great balance of rock, soul, and country, and you can tell that Elvis was older and more experienced by the time he recorded it. The album has a mature and sophisticated feel, and his voice is deeper, delivered with so much confidence and presence. You can tell he was fully committed to this project, and it shows in every track. I’ve finally found an Elvis album I’m going to keep in rotation for future listens.
Alanis Morissette
2/5
I saw someone on Musicboard describe this as the ultimate divorced mom music. Lol! And honestly, they’re not wrong. The lyrics are driven with angst, which fuels the vocal delivery. But if I’m being honest, this album kind of burned me out back in the 90s when it was getting played to death.
Elastica
4/5
If you base your expectations on the hit single “Connection,” you’ll be surprised to discover that the rest of the album isn’t as poppy. It definitely has a pop edge, but it’s also punchy with strong grunge and punk rock influences, which took me by surprise on my first listen. This album is always fun to revisit, especially when you’re in the mood for something catchy and melodic that still retains a raw, edgy vibe.
The Byrds
5/5
This is the Byrds’ 6th album, and it’s the furthest I’ve gone into their discography so far. Honestly, this album feels like a completely different band. The Byrds are usually known for blending psychedelic rock and folk, but this album is straight-up traditional country. Back then, it might have been called country rock, but by today’s standards, it sounds more like classic country than most modern country music. I’ve listened to a lot of their solo work, so I knew they had this in them, but this one still felt like a big leap. That being said, it’s a really good album, and I enjoyed it a lot. Just don’t go into it expecting it to sound like their earlier albums.
10cc
4/5
Before recently coming across 10cc on the music lists I’ve been working through, I hadn’t heard of them, but I really enjoyed this album. Sheet Music blends Art Rock, Prog Rock, and Glam Rock, all within a pop structure. The music is playful, lighthearted, and has plenty of tongue-in-cheek moments. Even though it feels quirky and fun, it still showcases inventive and skilled musicianship. If you’re into bands like Frank Zappa, B-52’s, Devo, or Ween, this album should definitely be on your radar.
Radiohead
4/5
This is a groundbreaking album that was ahead of its time, and a significant shift in the band's direction from their previous work. It may require multiple listens to fully appreciate. I highly recommend giving it a chance and listening to it more than once to fully absorb it before you completely write it off.
Incredible Bongo Band
3/5
Even though it was my first time listening to Bongo Rock all the way through, it felt familiar. The album has had such a huge influence on early hip hop, electronic music, and DJ culture, particularly with its breakbeat rhythms. You hear so many of these bongo and conga samples throughout DJ mixes over the years—it’s like this album became the backbone of that scene. It’s definitely a key part of music history, but I have to say, by the time you get through the whole album, the endless bongo rhythms can start to feel a bit much.
Ice T
3/5
Although I never paid too much attention to this era of hip hop, Ice-T stood out for me, especially considering it’s West Coast. West Coast hip hop always seemed sleazy, over-commercialized, and too polished, while East Coast had that raw, gritty, DIY feel that I usually gravitate toward. Ice-T, however, feels different. Maybe he was at his peak before the West Coast sound really became solidified, but he’s always walked his own path, maintaining that rawness and edge that I appreciate.
Yeah Yeah Yeahs
4/5
This was definitely one of the defining albums of the early 2000s garage rock and post-punk revival movement. I remember hearing it for the first time when it came out, and I loved how stripped-down, raw, and gritty it felt, especially with that lo-fi production. The distortion-heavy guitars are abrasive in the best way, bringing out the raw energy that drives the entire album.
Aerosmith
3/5
Many people see Aerosmith as having different phases, and this album represents the “before they got clean” stage. Fans often prefer this era because the band had a rawer, grittier rock sound, while the later years saw them become more polished and commercialized, especially with their MTV hits in the ’80s. I also think MTV had a big part in this, bringing more glamour and glitz to rock music, which changed how bands presented themselves. Rocks offers a glimpse into a different time before all of that, when the music had a more unrefined and genuine quality, showing a time before rock became more commercialized and polished.
Minutemen
4/5
This album is a great blend of punk, post-punk, indie, funk, and other styles all mixed together. It’s not one of those fast-paced punk albums, but it captures the DIY punk ethos, helped by its raw production. An interesting background story about the album is how it’s connected to Sammy Hagar’s “I Can’t Drive 55.” Back in the 70s, when there was a gas crisis, the U.S. set a national speed limit of 55 mph to conserve fuel. Hagar rebelled against that law with his song, saying he couldn’t stand driving that slow. The title of this album, Double Nickels on the Dime, references driving 55 mph (nickels being 5 cents each) on Interstate 10 (I-10) in California. Minutemen flipped the concept of rebellion, embracing the idea of driving 55 mph in contrast to Hagar’s message. The album cover features Mike Watt driving, further playing on the theme and jabbing at Sammy Hagar.
The Jon Spencer Blues Explosion
1/5
This album feels a bit disingenuous and a product of its time, specifically the 90s counterculture. The more I listened to it, the more it reminded me of that specific era, with references to movies like Natural Born Killers or Love and a 45, and vibes that fit right into a David Lynch film. It feels like this album was more appreciated for what it represented, a certain counterculture aesthetic, versus for its actual musical substance. While it likely got high praise from 90s icons like Trent Reznor, the music itself doesn’t seem to hold up as well over time and feels somewhat artificial.
Fats Domino
3/5
One of the coolest things about the 1001 album generator is how it’s introduced me to music that’s completely outside of my usual realm. As much as I’d love to go on about how incredible and groundbreaking this album is, the truth is, aside from knowing Fats Domino’s name and his role as a rock ‘n’ roll pioneer, my musical journey pretty much begins in the 60s and moves forward. It’s not that I don’t have an interest in this earlier era; I just haven’t ventured this far back yet to fully grasp the influence and impact of albums like this. That being said, if you’re interested in exploring some of the pioneering records from the early days of rock, this is definitely one to dig into.
The xx
4/5
Jamie xx is such a great producer. While it’s technically indie, it leans heavily on electronic elements, creating a dreamy and ethereal soundscape with an almost ambient vibe. The music manages to be both experimental and accessible, while the keyboards and synths add so much texture and depth to the music, giving it layers of color and atmosphere.
Scissor Sisters
4/5
Listening to this album was bittersweet for me, but I’m glad I revisited it. Back when it first came out, I was in a dark period of my life, and this album was one of my favorites at the time. It brings back memories of that era, which is why I’ve avoided it for a while. Musically, though, it’s a fun and playful mix of electroclash, indie pop, disco, and 70s glam rock. It has an upbeat vibe that made it an enjoyable escape during tough times.
Garbage
4/5
Back in the ‘90s, Garbage had a fresh, innovative sound, especially as one of the early bands to find commercial success by blending electronic music with alternative rock. Revisiting this album was fun, but I have to admit, it feels a bit dated now. Some of the tracks, in particular, I’ve heard so many times that they’ve lost their impact. Despite that, I’d still say the album holds up better than a lot of other popular records from that era, even if it doesn’t feel as groundbreaking as it once did.
Hot Chip
4/5
One reason I love synthpop so much is because of its naturally playful and quirky vibe, and that’s exactly what draws me to Hot Chip. This album in particular has such a fun, uplifting tone with lighthearted lyrics. It radiates a sunny, bright feel from start to finish, making it an album that always puts me in a good mood.
System Of A Down
4/5
Oh yeah, I remember the fun times this album brought back in the day. System of a Down was one of the few bands from that era who truly had their own style. They always had this chaotic playfulness, shifting seamlessly between aggressive heaviness and melodic passages. Serj Tankian really brought a lot of personality to the music, with his dynamic range moving from energetic screaming to melodic singing, and even playful spoken word. No matter what vocal style he uses, he always hits the key notes perfectly, adding a unique flavor to every track.
Slipknot
4/5
Man, Slipknot definitely gets a lot of hate. While I’ve never been a fan of the band, I have to admit they were far more interesting than the typical radio friendly metal bands from that era. Their sound was raw and chaotic, but also way more intricate. And you can’t ignore how precise the drumming is it really stands out in the mix.
Nick Cave & The Bad Seeds
4/5
Abattoir Blues/The Lyre of Orpheus is actually a double album that showcases two distinct sides of Nick Cave’s music. Abattoir Blues is raw, aggressive, and drenched in blues-rock and gospel influences, while The Lyre of Orpheus takes a more subdued, introspective route with ballads and softer arrangements. Both albums are exceptionally well produced, making this double release a great starting point for anyone looking to explore Nick Cave’s music. It’s one of his more accessible albums, that defines his style.
Yes
5/5
Obviously, we all know this is a classic album in prog rock history. When I first began my journey into prog rock, The Yes Album definitely stood out for me, especially in introducing me to the complexities and intricate arrangements that Yes and early prog rock are known for. On the flip side, this album is also easy to digest and makes sense of, which is why it’s a great starting point for any newcomer to the genre.
Shivkumar Sharma
4/5
Thanks to the generator, this is definitely an album I probably wouldn’t have discovered on my own. It’s essentially light Indian classical music with some Western instrumentation mixed in. The album has a timeless quality, and you wouldn’t be able to tell what era it came from if you didn’t already know. It’s very meditative, peaceful, and soothing, with a calming atmosphere throughout. While I really enjoyed the listen, I don’t think I’ll come back to it, as I feel like I’ve taken everything I was going to get from it.
Duran Duran
4/5
Duran Duran was one of the first New Wave bands I got into during my late teens, and looking back, they’re a great starting point for the genre. They have that flashy, glamorous appeal combined with catchy rhythms and melodies that stick with you. While they are mostly a New Wave band, their rock influences make them more accessible to a wider audience. This album is especially a good place to start since it features many of their well known radio hits.
Kraftwerk
5/5
This album is definitely from before Kraftwerk went in a more pop direction. It has a more repetitive and minimalist approach that really sucks you in and takes you on an imaginary journey. The beats are subtle, more there to complement the ambient soundscape of the album than to drive the rhythm.
The Human League
4/5
With this album, The Human League took a clear step toward a more accessible, radio friendly, and commercial sound compared to their earlier releases. I’ve always appreciated their first two albums, but I have to say, this one takes the cake for me. It’s got everything that makes synthpop so catchy and fun. Every element of this album is electronic, from the drum machine driven beats to the synth driven melodies and basslines. What I really love about 80s synthpop is its natural quirkiness, and this album has its share. When it comes to easygoing electronic synthpop from the 80s, this album is always going to be at the top of my list.
Foo Fighters
4/5
I forgot how fun this album was! I remember when Foo Fighters first came out and how fresh it felt, especially discovering it on MTV back in the day. The album really did feel like a breath of fresh air at the time. Listening to it again, you can definitely hear echoes of Nirvana’s sound, almost like a natural continuation of where they left off. It’s also interesting to compare this album to their newer stuff, you can see just how far Foo Fighters have come. And let’s not forget the slightly sobering realization that the band has been around for nearly 30 years now… which, honestly, makes me feel kind of old!
The Smiths
5/5
The Smiths are one of those bands you can always count on for effortlessly enjoyable music, filled with melodic and catchy hooks backed by jangly guitars. Their melancholic vibe is perfectly balanced with energetic performances, making their music both introspective and lively.
Radiohead
4/5
The funny thing about Radiohead is that I’ve always liked and enjoyed experimental music, but back in the early 2000s, when they were in their heyday, I had a hard time getting into their music, it just felt so boring to me. I also think that a lot of their fans at the time turned me away because they were so obsessive and acted like the band was God’s gift to the world. These days, though, when I listen to Radiohead, I’m actually able to absorb their music and appreciate it for what it is. As for Amnesiac, it was pretty cool. It had some catchy moments with good hooks, and it was experimental across the board, especially with the electronic elements. The album has some glitchy moments, which is a hallmark of early 2000s experimental electronic music and IDM, but Radiohead definitely falls under the umbrella of rock versus electronic. One of the things I appreciate about their music is that they’re able to pull from so many different directions and influences and do a great job of crafting them together. It’s really hard to put them into just one category.
Beatles
4/5
Fatboy Slim
3/5
This album is a double-edged sword, bringing a sense of bittersweet nostalgia. On one hand, it was really nice to revisit because I have a strong connection to it on a nostalgic level. The memories of my teenage years, living a carefree life and adapting easily to things, come flooding back. The album has some really cool parts that were enjoyable and fun at the time.
However, there’s a flipside. Some tracks feel kind of sloppy, as if Fatboy Slim was still honing his production skills. I noticed this even when it first came out, but I was more accepting back then. Now, if I disconnect from the nostalgia, I find that this album hasn’t aged well. As I’ve grown older and my musical tastes have evolved, the flaws that were once minor annoyances have become stumbling blocks, making it harder to appreciate the album for what it’s meant to be.
Butthole Surfers
5/5
I’ve only known Butthole Surfers for their more popular tracks, especially when they started getting radio play back in my middle and high school days. That’s when all my friends were listening to them, but I never really gave their albums a chance because they felt like a more commercial, polished version of experimental music. At the time, I was already diving into more extreme avant-garde artists like John Zorn. Listening to this album now, I was surprised by how good and experimental it is, but in a DIY, punk, and sludgy way. If I’d heard this back then, my perception of the band probably would’ve been very different.
Boards of Canada
5/5
This album definitely evokes a sense of false nostalgia. Boards of Canada incorporate analog synths, samples of old broadcasts, field recordings, and snippets of children’s voices, which will definitely connect you with your childhood or make you reminisce about memories that might not even be real. They have a very strong ’70s and ’80s hazy vibe through a mystical soundscape. I love how they bring out these dream-like memories all through sound and music. These qualities are what really set Boards of Canada apart from every other ambient, downtempo, and experimental electronic artist out there.
Frank Ocean
4/5
To be honest, R&B and soul aren’t really my thing, especially when it comes to modern R&B and soul. I remember when this album came out, and I skimmed through it briefly but never really gave it a proper listen. I overlooked it and never came back to it—until now. Finally listening to Channel Orange from beginning to end, I have to admit, I really enjoyed it. Frank Ocean as a vocalist initially came off as a bit cliché and average to me, but as the album went on, I found myself appreciating his singing more. The production is really good, with a laid-back, chill, and atmospheric, dreamy feel that pulls you in.
Louis Prima
5/5
This was a really good album that I probably wouldn’t have found on my own. Of course, I’ve heard “Just a Gigolo/I Ain’t Got Nobody” before, but I never really looked into it further. It turns out, the whole album is just as good. It’s a blend of swing, jump blues, and jazz. Swing isn’t something I know much about, and I didn’t even know jump blues existed until now. This album feels like a great starting point to explore more of Louis Prima’s catalog.
Abdullah Ibrahim
3/5
This was a pretty cool and soulful jazz album, and Abdullah Ibrahim is definitely a talented pianist. He’s from Cape Town, and this album expresses the challenges of exile. Musically, it blends jazz with African folk and traditional elements. To be honest, it just sounded like a cool jazz album to me, and while it was interesting to read about the cultural influences, I didn’t really pick up on the African elements. Either way, it was a cool listen.
Prince
3/5
I’ve always had a lot of respect for Prince because his talent and uniqueness are undeniable. But just recognizing that doesn’t mean I’m fully on board with him or really enjoy his music. There are definitely elements in his songs that I like, but they’re often mixed with other parts that I’m not as into. So, for me, this ends up being a pretty middle of the road album.
R.E.M.
5/5
There was a time when I probably would have hated this album, but now that I’m older, I’ve started to see R.E.M. in a new light. This album marks their transition from an indie college rock band to a more commercial, radio-friendly sound, but they never lost their core identity—and most importantly, they kept those jangly guitars. Even though I’m a bit burned out on some of the radio hits, it’s still a solid album from start to finish.
OutKast
3/5
This is one of those albums I never owned but became really familiar with over time since it always seemed like someone nearby was playing it. Overall, it’s a cool album with an interesting concept—each MC takes their own disc in a unique direction, giving a taste of their individual styles. Unfortunately, like a lot of albums I’ve heard over the years, this one has lost some of its appeal just from being overplayed in the past.
Bob Dylan
4/5
Bob Dylan can be hit or miss for me, but this album has always stood out. I really appreciate the simple, minimalist instrumentation. It keeps the focus on the lyrics. The whole album leans on Dylan’s vocals, acoustic guitar, and harmonica, with a raw, stripped down production that adds an intimate, down to earth vibe.
Beatles
4/5
I had no idea this was a soundtrack for a movie with the exact same title. That said, it’s a decent album with a lot of Beatles tracks you’ve probably heard a hundred times. Other than that, there’s not much I can say about this album that hasn’t already been said over the last 60 years.
Charles Mingus
5/5
I really enjoyed this one, but I’ll admit it might be a lot to take in if you’re not sure what you’re getting into. It’s avant-garde jazz at its best, with a hint of Spanish flair and layers that pull from all sorts of influences. It’s almost like each layer has a mind of its own, yet somehow it all comes together perfectly.
Pentangle
5/5
It’s nice to finally dive into Pentangle. This album has been on my list for a while, and I’m glad I got around to it. Seeing Bert Jansch as a key member is a great bonus. It gives me a good starting point with his work too. For ‘60s psychedelic folk, this album really nails it, blending traditional British folk with jazz, blues, and rock. It has an ethereal feel with a haunting undertone that pulls you in.
Alice In Chains
3/5
I’m pretty burned out on this album from the ‘90s, but back then, it was one of my favorites. The music shifts between mellow tracks and raw, gritty grunge. It’s easily one of the most iconic grunge albums, dealing with heavy themes like addiction and depression. Even though I don’t listen to it as much now, it definitely had its moment and deserves recognition for being such a defining part of the era.
Queen
3/5
To be honest, I didn’t find this album as irritating as I expected, especially considering I’m not a big Queen fan. I’ve never really sat down with any of their albums from start to finish, mainly because my opinion of them is shaped by their overly-played, grating anthem hits. Thankfully, this album didn’t feature any of those overplayed tracks. However, I could definitely sense some early signs of the elements that would eventually evolve into those hits. But for what it is, Queen II came across as a bit better than I initially thought.
Megadeth
4/5
When it comes to metal, Rust in Peace is definitely a must listen. What makes this album stand out is the addition of a few new members who really stepped up the quality of the music. Marty Friedman on lead guitar brought in a more technical side with some really intricate solos. And then there’s Nick Menza on drums, his fast double bass kicks and technical precision really add to the intensity. The album’s complex time signatures highlight both the drumming and guitar riffs, giving the music that extra edge.
Sigur Rós
5/5
This is one of the most interesting and unique post-rock albums I’ve heard so far. It’s especially impressive considering it came out in the ‘90s—it feels like it was way ahead of its time. While it’s rooted in post-rock, it blends ambient, art rock, dream pop, and chamber pop seamlessly. The album has an otherworldly, ambient feel with lush orchestrations that set the stage for its expansive sound. Even with its calming, almost sleep-inducing moments, there are also chaotic parts that maintain the ambient soundscape throughout.
JAY Z
3/5
I’ve never really been a Jay-Z fan and probably never will be. He’s had a few hot tracks, and I’ll give him credit for those, but his persona and the way he comes across in his music just don’t resonate with me. That said, the production on this album is top-tier. The beats are incredible, and I love the way they mix old-school soul samples with a fresh sound for the time. It’s also interesting that Kanye West was one of the producers on this album, which adds an extra layer of appeal.
Nirvana
4/5
This unplugged session was recorded just months before Kurt Cobain’s death. Although it got overplayed in the ‘90s and I’ve heard it countless times, you have to admit that it’s a solid farewell album for Nirvana. It veers away from their grunge sound but still captures the band’s essence, serving as a memorable closing chapter for them. And I have to mention—their cover of David Bowie’s “The Man Who Sold the World” is probably one of the best renditions any artist has ever done of a Bowie song.
Stevie Wonder
4/5
So far, this is definitely my favorite Stevie Wonder album. The lyrics are very socially conscious, with strong political messages throughout. What really stood out to me was how Stevie Wonder played almost every instrument on the album. His production work was also pretty groundbreaking, with all the layering, multitracking, and other techniques he used. Overall, the sound is really polished and the album flows really well.
Gary Numan
4/5
Gary Numan is definitely a pioneer in electronic music, helping bridge the gap between post-punk and the early sounds of industrial. This album takes a more minimalist approach, letting the synths and drum machines take full control to enhance that cold, futuristic, robotic theme.
David Bowie
4/5
This was another great collaboration between Bowie and Brian Eno. The first half of the album leans more toward pop, though these are fractured versions of pop songs with a heavy experimental, electronic edge. The second half is where Bowie and Eno really dive into the experimental side, creating a deeper ambient soundscape with minimal vocals. One more thing worth mentioning is how much this album was influenced by the German Krautrock scene, which Bowie was really into at the time.
Paul Simon
5/5
I’ve been in the hospital due to a serious work accident, going through some of the toughest times of my life, and this album has been the perfect spirit-lifter. Paul Simon himself was facing rough times before creating this album, and it feels like he came back to the music with a clean slate. His journey to South Africa to work with local artists brought such a culturally rich sound to this album. It’s like an 80’s pop rock album with art pop aesthetics, but so much more. It has folk elements and upbeat traditional African rhythms throughout. The lively, danceable tempo brings a strong sense of unity and openness, which made this album a great end to a stressful day. It’s lighthearted and uplifting, and the joy in the music helped lift my spirits and keep me going with a positive attitude. Music really does have a powerful impact.
Run-D.M.C.
4/5
I’d never listened to this album from start to finish because so many of these tracks were already overplayed by the time I could remember. Even though I was already familiar with the songs, it was still nice to hear them in the true album order, which flows perfectly with all the right tracks in all the right places. The album has so much punchy energy, I can only imagine the fun environments it’s been played in over the years. I also have to give credit to Run-D.M.C. for crossing over into the rock genre, appealing to that audience while staying true to their hip hop identity.
The White Stripes
4/5
It was actually pretty cool to revisit this album. I was into The White Stripes before Elephant came out, and I loved “Seven Nation Army” at first, but after it got overplayed, I quickly burned out on it. So, I didn’t pay much attention to this album back then and lost interest in the band. Now, 20 years later, with all the hype behind us, I can appreciate that this is actually a solid album. While they still keep that distorted garage rock sound, this one feels way more refined than their earlier records.
Aretha Franklin
3/5
Meat Loaf
4/5
Wow, I can see why this album was such a big deal when it came out. I’m not usually into theatrical or opera-style music, but they did a great job blending rock opera with hard rock and prog rock. The production is top-notch, with sophisticated arrangements that make it feel grand and dramatic. This is definitely the perfect album if you’re in the mood for something big and over the top.
Thin Lizzy
3/5
Thin Lizzy wasn’t part of my musical upbringing, so when I listened to “Live and Dangerous,” it felt like a fresh experience. Of course, I recognized “The Boys Are Back In Town,” but the rest of the album was new to me. I quickly picked up on the blues elements, which I found particularly enjoyable. While I can’t say I’ll go out of my way to explore more of their discography, this classic rock album was a fun listen.
Sufjan Stevens
4/5
This album has a warm yet melancholic feel, taking you through personal experiences, places, and past events. The lyrics often carry a sense of sadness, but they’re balanced by feelings of hope and wonder. The guitar work is subtle, providing a foundation for the more intricate orchestral arrangements, while the piano stands out as another key element. The orchestral parts help create a broader soundscape that adds depth to the album.
Metallica
2/5
Alright, I’m glad to finally knock this one off the list and put it behind me. I’ve been avoiding it forever because I’m absolutely sick of it. Yes, I know Metallica is talented, and yes, this was a groundbreaking album that sold a ton of copies. I agree with all of that, but none of it changes the fact that this album annoys the hell out of me. After hearing it a thousand times over the last 30 years, 990 times was just too many! Oh, and if we count this listen, make that 991 too many times!
The Sabres Of Paradise
3/5
This was a pretty cool discovery for early 90’s experimental electronic music. It’s basically a mix of dark trip-hop, ambient, and dub, creating an interesting and moody blend.
Talk Talk
5/5
Talk Talk shifted from their new wave synth-pop to a heavy art rock direction on this album, and they did a great job with the transition. This is one of my personal favorites when it comes to 80s art rock. Most 80s art rock comes off as overproduced, too polished, and very artificial, leaving me with a void or feeling of nothingness where I can’t connect with it on any level. Somehow, Talk Talk pulled it off and executed it perfectly with this album. It has all the elements I mentioned, but I find myself getting lost in this album. I highly recommend it to anyone who likes 80s new wave or art pop.
Sade
3/5
So this is the person who sings that “Smooth Operator” song! Ultimately, this was a really good album that got my Sunday morning started. It didn’t blow my mind or anything, but it was very relaxing, smooth, lush, and chill. I don’t really see myself going back to this album in the future, but I don’t regret listening to it either. So I guess I would say it was middle of the road.
PJ Harvey
4/5
This album isn’t just a highlight for PJ Harvey, it’s a great example of Steve Albini’s knack for capturing raw energy. PJ Harvey has always been consistent, and Rid of Me continues that streak. Albini’s production gives it a live, unfiltered feel, where every instrument gets its own space to shine. The feedback and distortion are present but purposeful, adding texture and grit without over polishing.
Neil Young
4/5
This album is a laid-back blend of folk, rock, country, and blues, with only a couple of tracks breaking the mellow vibe to pick up the tempo. What really stood out to me was the lo-fi production. It has a raw, unpolished feel that gives the album an intimate and personal touch. It’s like you’re sitting in a cozy bar, soaking in the live music as it plays in the background. The raw edges and stripped
down sound create a vibe that feels grounded and authentic, making this one of those albums where the atmosphere is just as important as the music itself.
Nick Drake
4/5
CHIC
4/5
If I never hear “Le Freak” again, I’d be fine with that, but the rest of this album is undeniably influential. These tracks have had a huge impact on modern dance music, especially garage and house. Nile Rodgers is a major figure in the disco movement, and his work here ensures that the album is solid from start to finish.
Dusty Springfield
2/5
There’s no denying that Dusty Springfield is an incredible vocalist, and the instrumentation here is impressive. But as for my personal taste, this doesn’t do much for me. It’s not bad by any means; it just sounds like very typical 60s pop music.
T. Rex
4/5
What a fun classic album. It’s amazing to see the different directions music took in the early 70s after the psychedelic 60s faded. I haven’t dug too deep into the history of glam rock, but I know this is one of the defining albums of the era. This album has that gritty garage rock feel but with clean production and catchy hooks that make it easy for most people to enjoy.
Lorde
4/5
I was surprised by how much I liked this album. It has a very modern synthpop and electropop feel, and Jack Antonoff’s production really enhances the layered synths and atmospheric soundscapes, giving extra weight to Lorde’s lyrics. The album is a concept piece set during a single house party, with themes of heartbreak, insecurities, and self-discovery. It captures a lot of the challenges and emotions people face in their late teens and early twenties, making it especially relatable for younger audiences, like high school and college-age listeners.
New Order
5/5
New Order has always been one of my favorite bands for lifting my spirits. They’ve done an amazing job blending synthpop with post-punk and alternative rock while staying at the forefront of electronic music. What I appreciate most is how their music stands the test of time. This album feels like the point where their sound became more refined, marking a new phase in their evolution.
The Rolling Stones
3/5
This was a pretty cool album that leaned more into the blues rock side of things. There were one or two tracks with a slight psychedelic edge, but overall, it feels like the band was still slowly moving toward that direction before fully diving into the psychedelic era.
Iggy Pop
4/5
While not every song on this album is a hit, it features a handful of tracks that are classics. It has a raw, stripped-down rock feel that adds great texture to the music. Produced by David Bowie during his Berlin Trilogy years, this album benefits from Bowie’s creative streak.
The Specials
4/5
This was a really fun album to listen to. I’ve known about The Specials for a long time from their bigger hits, but this was my first time playing a full album—and I really enjoyed it. I’ve always thought of them as reggae and ska, but now I’ve learned they’re considered 2-Tone Ska, which is a new term for me. The album is uplifting with a subtle quirky and experimental edge. Normally, this isn’t a style I’m drawn to, but The Specials definitely do it in a way that clicks with me.
Marianne Faithfull
2/5
I haven’t heard much else from Marianne Faithfull, but I know her earlier albums were more folk-based. For me, this one didn’t quite hit the mark. I understand she was trying to explore post-punk and new wave, but the execution felt uneven. Some songs work better than others, but overall, it feels like she stepped a bit too far outside of her comfort zone. Her gravelly voice and singer/songwriter approach don’t always line up with the music, which made the album feel a little off-balance to me.
Justin Timberlake
2/5
I’ll admit this album wasn’t as bad as I expected. Pharrell Williams’ contributions definitely stand out and probably elevate the overall sound. However, I don’t think this album deserves a spot on a list of must-hear albums. It even makes me wonder what other albums got left off to include this one. And honestly, it felt a little too long for my liking.
Johnny Cash
5/5
I have to give Johnny Cash a lot of credit for this album. When it came out, it really gave him a resurgence and helped him connect with a younger audience. In the early 2000s, it seemed like every bar with a jukebox had this album on rotation. He brought in some cool guest musicians like Billy Preston and Fiona Apple, which added a nice touch. His cover of Depeche Mode’s “Personal Jesus” was good, but it’s his version of Nine Inch Nails’ “Hurt” that stood out and grabbed everyone’s attention. I’m sure Rick Rubin played a big role in shaping this album, and working with him was a smart move. As for “Hurt,” I personally like Nine Inch Nails’ version a little more for the music, but Cash’s version definitely has more emotional weight, especially knowing the life he lived.
Ms. Dynamite
3/5
I wasn’t sure what to expect from this album, but I ended up enjoying it. It’s very much a product of its time, but she does a good job of balancing underground vibes with mainstream appeal. She switches between rapping, R&B, and Neo-Soul, and the beats land somewhere between hip-hop and UK garage, which works well for the overall sound.
Jurassic 5
4/5
I still remember seeing these guys live for a signing and in store performance when this album came out. It’s hard to believe that was over 20 years ago. What I’ve always liked about Jurassic 5 is how they trade off lyrics with group harmonies, adding a cool dynamic to their songs. The production is clean and balanced, mixing old school vibes with a modern touch. The DJ scratches and samples give it a nice retro feel, and the jazzy, funk-driven beats keep the music upbeat.
Van Halen
5/5
When it comes to my childhood and some of my earliest memories, especially with music, this is probably one of the first albums I remember playing in the background. My parents were young and would have people over, drinking and having a good time. This is probably why I consider early Van Halen the ultimate party rock band. Their music is literally entrenched in a party sound. One element that will always hit me with memories is the train horn that the album begins with. Ever since I can remember, that is one sound I’ll always have a clear memory of. So now, time for my album review - this album is a classic, and it rocks!!!
The The
5/5
I wish I had discovered this album years ago. It’s much more Synthpop than I ever expected from The The. While there are guitars, they’re mostly used to add subtle texture rather than overpowering the synth-driven sound. The album is dominated by synthesizers and drum machines, with beats that remind me of New Order’s “Blue Monday.” The rhythm is a standout feature, sometimes driven by synths, other times by a bass guitar, all coming together with uplifting piano solos and catchy melodies.
Buena Vista Social Club
5/5
The La's
4/5
This is definitely one of those bands I wish we could have heard more from. They came in at the tail end of the jangle pop revival of the ‘80s but have a strong element that echoes the 60s jangle pop sound. Even with that ‘60s vibe, you can also pick up hints of early Britpop and ‘90s alternative starting to take shape. If you haven’t checked them out yet, at least give their hit track “There She Goes” a listen.
Boston
4/5
Boston is a band that I was raised on, so they will always have a special place in my heart. This album is one of my go-tos when I need to be lifted into a better mood. It has a lot going for it in terms of instrumentation. Tom Scholz used a lot of custom-built equipment and was really ahead of the curve with his studio production techniques, making this album groundbreaking for its time. Even better, the album is very consistent all the way through, with good songs and a smooth, cohesive flow.
Nico
5/5
This was Nico’s first solo album after her work with The Velvet Underground, and it took me a little time to get into it, but it’s really grown on me. The album is deeply rooted in folk, but what makes it so special is the strong influences of baroque pop and chamber pop throughout. It has that melancholic, dreamy atmosphere, filled with lush arrangements. Although the songs were written by other artists, with Lou Reed, Jackson Browne, and Bob Dylan contributing, Nico’s haunting, almost ethereal vocals really bring the whole album together. It’s like listening to a folk tale sung by a mysterious witch in the woods, her voice has that deep, haunting quality that sticks with you long after the album ends.
M.I.A.
2/5
When Arular came out in 2005, M.I.A. was definitely in the right place at the right time. Electronic music and hip hop were evolving, and she brought a fresh energy by merging global sounds into something unique. With Diplo collaborating, the album was filled with raw, angsty energy and a rugged feel that really stood out back then. But listening to it now, it hasn’t aged as well as I hoped. While it was fresh and forward-thinking for its time, M.I.A.’s style feels a bit abrasive and over-the-top now. It’s still a great example of an album that captured its moment, even if it didn’t end up feeling timeless.
Iron Maiden
5/5
I’m not super familiar with Iron Maiden, but compared to the albums I’ve heard, this one feels more raw and unpolished. It’s not as heavy as some of their other work, but that’s not a bad thing. There’s a nice punk edge to it, and the galloping basslines throughout the album are my favorite part. I really enjoyed those!
The Byrds
4/5
Well, here we are! “Mr. Tambourine Man” by The Byrds is the album that had a significant influence on the evolution of folk rock and what we now call jangle pop. It’s fascinating that a simple ’60s pop song, where a dude does a “jingle ma jig” type thing on his guitar and adds some straightforward, catchy lyrics about a jingle and a jangle, can go on to create a whole new genre of music. This album paved the path for timeless bands like R.E.M., The Smiths, The Go-Betweens, The Chills, The Church, Teenage Fanclub, and many others.
Initially, I would give the album a 3.5, but considering its cultural impact and the legacy it left for years to come, I’ll round it up to a 4. Overall, the album is fun, lighthearted, and easy to listen to. It’s definitely worth a spin for any true fan of music. Its influence on future generations of musicians cannot be overstated.
Pavement
4/5
This album is a bit cleaner and more polished than their last one, but it still retains that raw indie sound. One cool thing about Pavement is their ability to build up their music to where it gets a little loud and noisy, yet they still maintain a laid-back and calm vibe throughout the entire album.
Prince
3/5
Jeff Buckley
4/5
Musically, this album excels at blending rock, folk, jazz, and art rock elements. The guitar work is particularly impressive, ranging from delicate fingerpicking to powerful, distorted riffs that add depth and texture to the music. The lyrics are intensely emotional, exploring themes of love, heartbreak, longing, mortality, spirituality, and personal struggles with emotional turbulence. However, the one drawback for me was that I didn’t particularly enjoy the sound of his voice.
The Who
4/5
This is an album I’ve grown to appreciate more, especially now that I’m diving into so much music. It was definitely innovative for its time, particularly in how it used synthesizers—far ahead of what mainstream rock was doing back then. The production is also incredible, standing out compared to many other albums from the same period. The Who is easily one of the most influential bands in shaping the early evolution of hard rock.
Fela Kuti
4/5
This was actually a fun Afrobeat album that really pulls you in and keeps you hooked. It’s a great mix of Afrobeat, jazz fusion, and funk. What makes this album even more interesting is that it was recorded live with Ginger Baker. Ginger Baker was known as rock’s first superstar drummer and was one of the core members of Cream with Eric Clapton. Over the years, he worked with a lot of influential bands like Hawkwind, Atomic Rooster, Masters Of Reality, Public Image Ltd, and even Bill Laswell. He also had a strong interest in African music and spent a lot of time living and recording in Africa. Fela Kuti was one of his main collaborators, and their work together makes this album stand out even more.
Norah Jones
2/5
This one was a struggle to get through. It’s the kind of music that feels like it’s tailor-made for playing softly in the background at a dentist’s office during a root canal.
The Divine Comedy
4/5
This is one of those albums that people either love or completely tear apart. I think more listeners would enjoy it if they gave it a few more chances—maybe two or three listens, especially if they’re unfamiliar with The Divine Comedy. The lyrics are clever, with a tongue-in-cheek humor, but they’re also balanced with moments of genuine emotional depth. Musically, it’s pure baroque pop and chamber pop, with a sophisticated and elegant approach that matches the playful humor of the album. It has a grandiose and theatrical feel, which fits perfectly within the baroque pop style. Like I said, if you’re new to The Divine Comedy, this album might take some time to sink in, but it’s definitely worth the effort.
Various Artists
4/5
Blur
4/5
I remember hearing this album back in the ’90s, but I didn’t have a clear memory of what it sounded like. Listening to it now, it’s amazing to pick up on the experimental and lo-fi elements that align so well with what Damon Albarn would later develop in Gorillaz. Some tracks really showcase a moodier, textured sound that feels like a precursor to Gorillaz’s atmospheric style. You can tell Albarn was moving away from the Britpop sound of the early ’90s. His vocal delivery here starts to embrace that lazy, detached style he uses in Gorillaz. The album incorporates experimental rhythms, loops, and a rougher, lo-fi production, while also dabbling in garage rock, indie, and electronic elements. There are even hints of hip-hop, dub, and funk influences in the mix. Overall, this album feels like a transitional moment, and not just for Blur moving beyond Britpop, but for Albarn laying the groundwork for what would come with Gorillaz.
Arcade Fire
3/5
On one hand, the album has elements that are truly enjoyable and original. However, this is counterbalanced by a radio-friendly, polished production that often feels over-saturated. Personally, I struggle to connect with bands like this. They label themselves “Indie,” yet they were nominated for a Grammy in 2005 and dominated the charts. They took the authentic sounds of genuine indie bands, polished, and overproduced them until there was no texture, color, or unique character left. In many ways, bands like this have contributed to the dilution of what indie rock originally stood for.
Jane's Addiction
3/5
I have to admit, I’m pretty burnt out on a lot of these songs, but I still have to give Jane’s Addiction respect for standing the test of time. When they first came out, they were played alongside glam rock and hair metal bands. As that era faded, they seamlessly blended into the grunge movement. Even beyond that, as music continued to evolve, they always stayed relevant with whatever was happening at the time. That’s probably why I’m burnt out on them, these songs have been played for as long as I can remember.
Holger Czukay
4/5
This is a pretty good album, but like many avant-garde and experimental records, it took me about three listens to fully take it in. The atmosphere is surreal and dreamlike, with layered sounds and unconventional structures blending krautrock, world music samples, electronic, and ambient elements. The album balances a subtle quirkiness—thanks to its playful samples and unexpected transitions—with a more serious and self-aware tone. While it has an ambient feel overall, there are also funk-inspired basslines and spoken word sections that add variety. What really stood out to me was the sense of space and the innovative use of tape looping, sampling, and production techniques throughout the album. It’s a record that grew on me, and it’s one I’ll definitely revisit in the future.
The Smashing Pumpkins
4/5
This will always stand out as one of The Smashing Pumpkins’ best albums. What really sets it apart is Butch Vig’s production. He masterfully brought out that layered sound, balancing the dense wall of distorted guitars with Billy Corgan’s somewhat lazy, whispering vocal style. It’s that interplay between the dreamlike atmosphere and the heaviness of the guitars that makes this album so special. When it came out, it was a breath of fresh air, offering something unique and refreshing at the time.
Van Morrison
4/5
So far, Van Morrison is one of those artists you can’t seem to go wrong with. I say so far because I still have plenty more of his albums to work through. What I find really impressive about him is the way he blends so many different genres into his songs—from rock, folk, jazz, blues, and soul to R&B, and who knows how many more. While I like some of his stuff more than others, across the board, he makes really good quality music. This album is pretty good from beginning to end.
The Kinks
4/5
I’m slowly working my way through The Kinks’ discography, and to be honest, based on the first few albums I started with, I thought I was going to like them more than I did. Thankfully, after listening to “Something Else,” I can finally say I’ve found the first album from them that I really enjoyed. So far, I’m still immersed in their ‘60s albums, but I’m excited to move into the ‘70s. I know they had some influence on the proto-punk movement, and I can’t wait to explore that era.
Rocket From The Crypt
4/5
I’m honestly surprised this album slipped through the cracks for me back in the ’90s. It’s a perfect mix of punk, garage rock, and some excellent trumpet and saxophone work. Just to be clear, this isn’t ska—the core rhythm is driven by straightforward punk and rock beats, not the offbeat “skank” rhythm typical of ska. The horns here are more of a rock embellishment, adding flair without taking over. Overall, the album is raw, gritty, and energetic, but it’s also light and easy to digest. It has plenty of catchy hooks that stick with you.
Miles Davis
3/5
Oh yes, the early 2000s! A time when bands were exploding onto the scene with major record label deals that included massive distribution, marketing, and endless radio play on top 10 stations. You know exactly what I’m talking about, right? That’s right, INDIE ROCK! Or at least that’s what this generation of bands was labeled as. “Is This It” by The Strokes was definitely one of those albums. Back then, even though I saw through all the hype, I still thought this album was pretty solid on its own merits. However, relistening to it now, I realize that this generation of music either didn’t age that well or maybe I’m just burned out from it because I heard so much of it 20 years ago.
Missy Elliott
2/5
Let’s just say this: I never listened to Missy Elliott’s albums back in the day, and after hearing this, my opinion hasn’t changed. The lyrics feel weak and sleazy, and when she’s not rapping, she’s talking—and that’s even worse. The lyrics aim to be witty and obnoxious, but they don’t have the kind of substance to stand the test of time. Her talking sections, often about how women can keep their men from straying, come across as more scolding and nagging than helpful, which is ironically counterproductive. That said, I always thought she had strong production behind her, and I’ll admit, the music production here is still just as catchy and fun as it was back in the day. Her sound has been heavily sampled and used by other producers and DJs, so she’s definitely made her mark. Even so, this album doesn’t make me want to go back and revisit her music.
Bee Gees
3/5
Going into this album, I was surprised by all the hate I saw in comments and reviews. Once I started listening, I honestly didn’t think it was that bad. Overall, it’s a pretty easygoing baroque pop album with some progressive touches sprinkled throughout. However, about halfway through, it started to feel like the album wasn’t really going anywhere, and from that point on, it became pretty boring.
Michael Jackson
4/5
This album is strong from beginning to end. Growing up listening to electronic and house music, it’s clear how much influence these tracks had on that genre and how often they’ve been sampled. It’s easy to understand why this album has been such a key part of both pop and dance music history.
John Grant
3/5
This is a pretty chill and laid-back album, perfect if you’re in the mood for some singer-songwriter chamber pop. I like John Grant’s singing style. His distinct baritone voice is so clear and expressive. The synths and pianos are definitely my favorite part of the album, setting the mood and adding texture and color to the atmosphere.
Nick Cave & The Bad Seeds
4/5
I’m not the most familiar with Nick Cave, having only heard a few of his albums so far. This was my third time listening to this album, but it had been a while since the first and second listens. Cave’s style definitely takes some getting used to, but as the album progresses, I find myself really drawn into his narrative vocal style. The music is just as compelling, though some tracks stand out more than others. To me, Nick Cave feels like a goth/punk version of a singer/songwriter.
Marty Robbins
5/5
This was an amazing album. I’ve never been much of a country guy, but this album has everything I would want in a good Western country album. Every song has a strong narrative, telling a story that draws you in and makes you feel like you’re living it.
Jefferson Airplane
5/5
This album is a classic for 60’s psychedelic music, though it’s not as fully psychedelic as later albums in the genre. It leans more on folk rock with a melodic and structured sound, featuring subtle touches of surreal lyrics and reverb-heavy guitars. The production is cleaner and less experimental, reflecting its place as one of the first major albums of the psychedelic movement and paving the way for more experimental sounds that came later.
Alice Cooper
4/5
There’s not much to say here. Like most Alice Cooper albums I’ve heard so far, this one rates as average or slightly better, but it still manages to include a couple of really strong tracks. It’s a middle-of-the-road effort overall, with a few highlights that stand out.
George Michael
4/5
As much as I don’t want to admit it, I actually enjoyed this album. That doesn’t mean I loved it, but I appreciated it for what it is. It’s definitely a product of its time, but I can see why it had so much hype back in the ’80s. The music was clearly forward-thinking for its era. I don’t think I’ll be rushing back to it anytime soon, but I wouldn’t completely take it off the table either.
Pixies
4/5
“Rock Music” will never get old! It’s definitely one of my go-to tracks when I need a pick me up. As for the rest of the album, it’s solid. This one feels more polished than their previous releases, and it might just be their most cohesive and consistent effort up to this point.
Q-Tip
5/5
Q-Tip definitely has it going on. He’s one of those rappers who will always feel fresh and stand the test of time. His voice and flow are so unique that no one can come close to replicating him. His music production is equally one of a kind—laidback, jazzy, and soulful all at once. Every time I hear his music, I’m pulled into this peaceful, laidback vibe that’s impossible to resist.
Devendra Banhart
3/5
This album is often considered essential for the revival of freak folk and psychedelic folk in the early to mid-2000s. It picks up where the 60s movement left off, embracing surrealist lyrics and themes of spirituality and mysticism. While I recognize its influence, I thought it was decent but not outstanding. Devendra Banhart’s voice doesn’t do much for me, and there are other albums from this style and era that I’d recommend over this one.
David Bowie
5/5
This album has always been one of my favorites from Bowie. It’s part of his Berlin Trilogy with Brian Eno, and it’s probably the easiest to listen to out of the three. The album goes for a higher quality sound and production, but still maintains its experimental approach. There are about three tracks that are more ambient, which really showcase Eno’s influence on Bowie. Over the years, these tracks have become a big highlight of the album for me. For anyone new to Bowie and exploring his music, this is definitely an album you can’t skip, as it’s one of the biggest highlights of his entire catalog.
Fleetwood Mac
5/5
For those of you who don’t know much about this band or the making of this album, here’s a quick follow-up. “Rumours” is renowned for its songwriting and the emotional intensity of its tracks. Every single band member was going through personal breakups and dealing with substance abuse and depression.
Stevie Nicks (Vocals) and Lindsey Buckingham (Guitar, Vocals) were in a long-term relationship that ended during the making of this album. Christine McVie (Keyboards, Vocals) and John McVie (Bass) were married, but their marriage ended in divorce during the album’s creation. Mick Fleetwood (Drums) was dealing with his own marital issues, as his wife Jenny Boyd was having an affair with his best friend.
It’s baffling how they all attracted such negative energy at the same time. Despite the serious tension and emotional pain, they continued to work closely together, writing and performing songs that referenced their personal struggles. This challenging and intense environment allowed them to vent their frustrations and emotions through their music. The result was raw, honest lyrics and music with a timeless quality, strong melodies, and catchy hooks.
N.E.R.D
3/5
It’s funny because I’m really familiar with the vocals on this album from hearing all the remixes over the years, but I’ve only listened to the original tracks a handful of times. Overall, this is a fun, enjoyable album if you’re looking for something light, easy, and surface level. It’s upbeat, playful, and full of unpredictable shifts, crossing over lots of genres and keeping things danceable throughout.
Taylor Swift
4/5
I was caught off guard and amazed by how good this album is, and by how much I actually enjoyed most of it. I’ll be honest, Taylor Swift typically appeals to a demographic that listens to music I don’t usually find enjoyable, and vice versa. But this album had a surprising level of quality to it. While I didn’t love every song, a good portion of the album caught me by surprise with its lush production, atmospheric approach, and subtle electronic elements. I imagine this was more of a coincidence, but I’ll take the wins even when they accidentally fall in your lap. I doubt I’ll have many more positive reviews for her moving forward, but at least when my wife wants to listen to her in the future, I’ll definitely be more accepting of it.
R.E.M.
3/5
This era of R.E.M. is what I was used to hearing on the radio as a kid, and to be honest, I didn’t really like them, especially that “Man on the Moon” track. Now that I’ve been listening to a lot more R.E.M. recently, and knowing their roots as a Jangle Pop band, I’ve gained more appreciation for this album. While it will never be at the top of my list for R.E.M., it’s a good album to play when you want something a little more mellow and chill. It leans more towards acoustic guitars with softer electric guitars and includes a good share of piano tracks. If I had judged this album 25 to 30 years ago, it would have rated a one. Now, with a more mature appreciation for music, I’d give it a three, maybe 3.5. Just maybe!
The Dave Brubeck Quartet
3/5
This is a solid album, especially for those who enjoy unconventional time signatures and complex rhythms. While I can appreciate the experimental nature of the music, it didn’t stand out much for me personally and felt more middle of the road overall.
Korn
5/5
This album is a perfect example of how repeated listens can change your perspective. Back in the ’90s, I wasn’t the biggest Korn fan, because I always felt like their best tracks were the radio hits, and the rest of their albums were mostly filler. Fast forward 20 years, and revisiting Follow the Leader was a surprisingly enjoyable.
It’s probably the nostalgia factor that pulled me in this time. The album brought back memories of that era, and there’s something comforting about its familiar sound. While it may not have been a favorite back then, I’ve definitely come to appreciate it more now for the trip down memory lane it offers.
Sly & The Family Stone
3/5
This album turned out to be way more upbeat and exciting than I was expecting. I’ve never really had a chance to dive deep into old funk albums, but this one definitely had a huge influence on where music is today. I recognized so many elements that have been sampled in more modern music. This album also highlights just how influential music from the 60s was, showcasing the creativity and originality that defined that era
Solomon Burke
4/5
This was a cool album, especially to hear something from the early days of soul music. It’s a great blend of gospel-driven soul mixed with R&B and some early rock influences. You can also hear those bluesy elements woven into the rock side of things, which adds even more depth to the overall sound.
The Pharcyde
4/5
This era of hip hop can be hit or miss when it comes to standing the test of time, but this album is definitely a hit. Every member of the group brings their own unique style and personality, and they blend together seamlessly as a collective.
If I had to choose a favorite element, it would be J-Swift’s production. His beats are upbeat and full of energy, yet they remain smooth, soulful, and jazzy. The sampling is top-notch, adding a groovy and laid-back vibe to the tracks.
Everything But The Girl
4/5
Everything But The Girl is one of those artists I had forgotten about, so revisiting this album was definitely fun. The music is mostly trip-hop oriented beats or really cool atmospheric jungle and drum and bass beats, which I enjoy the most. Due to its laid-back vibe, I think it has aged pretty well compared to other bands making commercially available electronic music at that time. Unfortunately, when it comes to electronic-driven music, there are only a few bands whose albums feel timeless. This is one of them, alongside other artists such as Portishead.
Moby
4/5
This album helped me get through a very rough time in my life. There were a few years when I was very depressed over losing the first girl I seriously fell in love with, and this album really helped me cope during that period. It also had a few B-sides that were very strong tracks, and to be honest, I don't know why they didn't make it onto the final album because, if anything, they were better than some of the original tracks. Anyways, this album will always hold a special place in my heart.
Scott Walker
5/5
The more I listen to Scott Walker, the more I appreciate his music. His work has really stood the test of time. The orchestration on this album brings out the baroque pop side beautifully, and his vocals are so powerful and expressive. It’s easy to see why his music still resonates today.
Pere Ubu
4/5
Pere Ubu is a band I’ve known about for a good 25 years, but I never really gave their albums a shot because whenever I heard a song from them on a compilation, it never left much of an impression. Now that I’m actually diving into their albums, they’re definitely growing on me. It does take me a few listens before I really start to appreciate them, but once the album sinks in, I’m completely drawn in. They lean heavily into the avant-garde side of post punk, but they still maintain enough structure to keep things somewhat accessible, which is probably why they stand out among more experimental bands.
Keith Jarrett
4/5
This was a great find. As someone new to piano music, I find the genre to be a whole new world, and I'm not sure where to begin. 'The Köln Concert' is a perfect starting point, offering me a wonderful introduction to Keith Jarrett's talent and paving the way for me to explore more in this musical realm.
Beastie Boys
2/5
The Beastie Boys were a group I thought were cool back in the ‘90s, but as the years go by, their appeal has worn off, and at this point, they just kind of get annoying. That’s probably a good sign that their music didn’t really stand the test of time, or at least not for me. As for this album, this was one I never got around to back then, so a lot of these tracks are new to me. But honestly, no matter which Beastie Boys album you’re listening to, they always pretty much sound the same.
Kanye West
3/5
This album is definitely catchy and was enjoyable for its time, bringing a refreshing energy with its uplifting production. One thing I just learned from listening to this is the term “chipmunk soul”—a production style that speeds up soul samples to create a distinctively bright and energetic sound. I never knew there was an actual name for that technique, but it definitely adds to the album’s lively and feel good vibe.
PJ Harvey
5/5
This was a really good album. It doesn’t have the raw, unpolished, and gritty feel of her earlier work—instead, the production is crisp and more atmospheric. The arrangements are minimalist and stripped-down, but despite the simplicity, they’re still intricate and carefully layered. The way the elements interact shows just how much thought was put into the details. The layered vocals and harmonies really enhance the album’s ethereal quality. Thematically, the album draws inspiration from World War I, focusing on conflict, loss, and the decline of England, exploring how war shapes society.
LCD Soundsystem
4/5
LCD Soundsystem had a great way of blending vintage electronic sounds with post-punk influences while still keeping things fresh. James Murphy’s ability to balance past and present really made them stand out. While I never got as familiar with Sound of Silver as their debut, it still carries his signature style—just with a more polished touch and less of the roughness that gave their first album its charm. Listening to it now, it definitely feels like a product of its time, capturing the mid-2000s sound.
The Undertones
5/5
The Undertones are one of those bands that really helped lay the groundwork for pop punk. I’ll always have a soft spot for them because back in my late teens, I worked with an old-school punk who introduced me to their music. Since I was deep into new wave at the time, he told me The Undertones were my “beginner punk band” to help bridge the gap between new wave and punk.
MC Solaar
4/5
This album had a smooth flow with a jazzy feel to the production, making it an enjoyable listen. Even though I don’t speak French and couldn’t follow the lyrics, his delivery fit the music so well that it didn’t take away from the experience. The laid back beats and instrumentation gave the album a great atmosphere.
The Cramps
2/5
There was one song I genuinely enjoyed on this album, and a few others had some elements I liked, but overall, I struggle to get into The Cramps. They’ve always come across as trying too hard to be edgy and ahead of the curve. Somehow, though, they managed to convince a lot of people that they were just that, and in turn, those same people ran with it because they wanted to feel the same way. That’s why, to me, The Cramps feel more like a band built on image rather than substance—overhyped and overrated.
Tracy Chapman
2/5
This ’80s-style sophisticated folk just isn’t my thing. It feels too polished, bland, and watered down for my taste. That said, I did enjoy the organ, and a few tracks were decent, but overall, this sounds like the kind of music that plays in the background during the ending credits of a sleazy drama movie.
AC/DC
4/5
This is hard rock at its best. The production is sharp, letting each instrument stand out on its own while still creating a cohesive sound. It has a raw, stripped-down feel that captures pure rock energy and keeps the album sounding fresh and powerful.
Jimmy Smith
3/5
I’ve been meaning to check this album out for a while since it always comes up when looking for classic Hammond organ records. It turned out to be a great listen, especially for a laidback Sunday morning. The mix of soulful jazz and blues creates a mellow and groovy atmosphere, making it an easy album to relax to.
Curtis Mayfield
2/5
This album is undoubtedly monumental and highly respected in the realms of funk, soul, and R&B. While it may not align perfectly with my personal taste, it's a must-listen for any music enthusiast.
My Bloody Valentine
5/5
This is definitely an album that I truly love. When you play it, it feels like it’s divided into three sections. The first part is more in line with Loveless, with its swirling, dreamlike guitars. The middle section leans more into the melodic, ambient, and introspective side of shoegaze. The last third of the album shifts into a more experimental sound, with heavier electronic elements and beats that almost have a breakbeat feel. What’s nice about this album is that MBV stayed true to their signature sound while also pushing into new territory. It’s one of those albums that gets better and more rewarding the more you listen to it.
Kid Rock
2/5
Back in the 90s, when this album was at its peak, I never gave it a second thought, mostly because it was too commercial, and I was deep into the underground scene, so I thought I was above it. Now that I’m older and (hopefully) more mature, I still find it pretty sleazy. Maybe it carried more weight when this album came out in the late 90s, but it really hasn’t aged well at all. That said, I’ve heard way worse albums out there.
Iron Butterfly
4/5
When it comes to albums that bridge the gap between 60s psychedelia and early heavy metal, this is definitely one of the essentials. I like it because it holds onto that strong, swirling psychedelic sound, but with a much heavier, guitar driven edge than most 60s psych albums. The prominent use of the organ adds so much to the overall atmosphere. I haven’t really had the chance to dive deeper into the band’s catalog, but for anyone interested in the history of metal, this is definitely an album you should check out.
The Strokes
3/5
Oh yes, the early 2000s! A time when bands were exploding onto the scene with major record label deals that included massive distribution, marketing, and endless radio play on top 10 stations. You know exactly what I’m talking about, right? That’s right, INDIE ROCK! Or at least that’s what this generation of bands was labeled as. “Is This It” by The Strokes was definitely one of those albums. Back then, even though I saw through all the hype, I still thought this album was pretty solid on its own merits. However, relistening to it now, I realize that this generation of music either didn’t age that well or maybe I’m just burned out from it because I heard so much of it 20 years ago.
Nitty Gritty Dirt Band
3/5
Let’s be real—this album is a full on front porch bluegrass jam session, the kind that feels right at home with hillbillies dancing around, moonshine in hand, and a few missing teeth.
Milton Nascimento
4/5
This was a perfect Saturday morning album for me to start my day to. Very rich, vibrant, lush, colorful, and easy going. Definitely an album I’ll listen to again, and also another great album I never would of discovered on my own terms.
Michael Kiwanuka
5/5
Out of everything I’ve discovered through the 1001 Albums Generator so far, this one is easily in my top three. This is an amazing and expansive album that blends ’60s inspired psychedelia with modern neo soul and folk rock, all with a contemporary production style. I love the use of vintage style breakbeats, the kind that were popular in the ’80s and early ’90s when producers sampled and looped old funk records. Some parts of this album really rock out, with guitar riffs that sound influenced by Jimi Hendrix. The production by Danger Mouse is excellent, and I’ve always considered him a good producer, but this album takes him to the next level. After hearing this, I’m definitely interested in checking out more from Michael Kiwanuka.
Captain Beefheart & His Magic Band
5/5
I can definitely see why this album isn’t for everyone, especially if you don’t know what you’re walking into. The opening track doesn’t ease you in, instead it throws you straight into the chaos with no introduction or buildup. Don Van Vliet’s freeform storytelling blends spoken word with eccentric singing, while the music at first sounds completely unstructured with jagged guitar lines, polyrhythmic drumming, and unpredictable shifts. But beneath all that apparent disorder is a carefully constructed composition process, with every seemingly improvised piece played with exact precision. If you’re not into experimental or avant-garde music, this probably won’t be worth the time investment. Even as someone who loves this kind of music, I had to listen a few times to really process it. It’s rough, raw, and unapologetically difficult.
The Go-Go's
2/5
Initially, I thought “We Got The Beat” was one of the cringiest songs from the new wave era, so I wasn’t exactly thrilled to dive into this album. I went in with a bit of a bull-headed attitude. But once I put my guard down, I started to appreciate it for what it was. As I progressed through the tracks, I found that the music had more credibility and a raw edge than I had anticipated. All in all, it turned out to be a pretty decent album.
Common
4/5
Back in the day, I had some friends who were really into Common, so listening to this album was like a trip down memory lane. The lyrics capture that early 2000s hip-hop vibe, and Common’s smooth style meshes perfectly with the production. What stood out to me the most was the easygoing, smooth, and jazzy feel of the beats.
Coldplay
3/5
This Coldplay album sounds a lot like the one before it. It’s not bad, but not particularly great either—just very middle of the road and inoffensive. It has a bit of nostalgia as a product of its time, but it’s not something I would go back to.
Roxy Music
5/5
This is definitely one of Roxy Music’s best albums. They were really ahead of their time, especially in how they mixed the experimental nature of their music with pop elements. This was also the last album to feature Brian Eno before he left to pursue his solo career.
5/5
I have to admit, I enjoyed this Britpop album more than most, though I’ve never been the biggest fan of Britpop to begin with. At the same time, I’ve noticed this album has received a lot of low ratings and mixed reviews from people who are really into the genre. So with that in mind, it’s probably a sign that this one works better for me than most Britpop albums do.
Elvis Presley
3/5
This was definitely a fun album to check out. It turns out this was one of the defining albums that helped rock and roll go mainstream. When I listen to albums like this, it always blows my mind how much culture has changed over the decades. This used to be seen as boundary-pushing and controversial, with just as many people disapproving of it as those who embraced it. Now, it feels so simple, innocent, and inoffensive. Either way, it was cool to take a trip through history and finally listen to an album I’ve known about my whole life but always overlooked—probably because culture has idolized it for as long as I can remember. That said, I doubt I’ll ever go back to it.
The Police
4/5
I’ve known about The Police my entire life, and of course, their big hits are always on the radio. Beyond that, I just saw them as a classic rock band with some new wave elements and didn’t think much more of it. But after listening to Reggatta de Blanc, the first thing that stood out to me was the strong reggae influences throughout the album. I never picked up on that in the songs you hear on the radio. After doing some research and giving the album a few more listens, I have to admit I now see them in a whole new light and enjoy their music more than before. I also noticed some subtle punk influences in a few sections, but overall, this album is a very polished pop record that mixes 70s classic rock with reggae influences.
Nick Drake
4/5
It’s such a shame that Nick Drake passed away so young. I really wish we could have heard more from him. Unfortunately, his music didn’t get much recognition during his lifetime, but after his death, it gained a cult following and influenced many modern musicians. This was his debut album, and it’s clear he started out strong. The music is mostly folk with chamber and baroque pop influences.
Nanci Griffith
2/5
I personally don’t pick up on the appeal of this album. It’s not horribly bad, but it sits just below middle of the road mediocre for me. There’s an element in this type of country that I just find irritating. Within the first 30 seconds, I already knew I was in for a grueling 35 minutes. Either way, I’ll definitely never go back to this album.
Michael Jackson
4/5
This was a fun album. I’ve never really had an issue with Michael Jackson, but because he’s always been such a big deal, I’ve tended to overlook him and focus on other artists. It’s not something I can see myself coming back to often unless there’s a specific reason, but it definitely wasn’t time wasted either.
David Gray
4/5
I remember seeing this album everywhere back in the early 2000s, but nothing ever really made me want to listen to it at the time. Now that I’ve finally checked it out, I wish I had heard it back then—because it would have been right up my alley. At its core, it’s a singer-songwriter album, but with a subtle backdrop of soft electronic beats, synths, and basslines, layered with acoustic guitars on top. These days, this style is called folktronica, but back in the late ’90s and early 2000s, that term didn’t even exist. In that way, this album was ahead of its time. Also, most people didn’t hear it until 2000, when it was reissued and commercially released—despite originally being self-released in 1998. Another cool aspect is that it was home-recorded, giving it a polished sound while still feeling organic and natural.
5/5
I finally got this album on the 1001 Album Generator, and it’s definitely one of the most disliked albums on there. Honestly, I don’t see why, compared to a lot of other John Zorn albums, or even avant-garde and experimental music in general, this one is pretty straightforward. This album is essentially Zorn’s reimagining of Ornette Coleman’s free jazz compositions, but filtered through his own chaotic, high-speed avant-garde style. Rather than a traditional tribute, Zorn’s take is aggressive, noisy, and packed with punk energy.
Zorn plays alto saxophone alongside Tim Berne, while Joey Baron handles drums. Baron, a longtime Zorn collaborator, is highly respected in avant garde circles. As for Ornette Coleman, I know his name well, but I haven’t really explored his music yet. Hopefully, I’ll finally get around to it one day.
De La Soul
3/5
This is one of those albums that hasn’t aged all that well. It definitely had a strong run for about 15 years, but listening to it now, over 30 years later, it just doesn’t hit the same. The humor that once made it stand out has worn thin, and overall, it doesn’t hold up as well as some other classic hip-hop albums.
Dion
3/5
This was a pretty cool album for some classic baroque pop. When I played it this morning, I wasn’t really vibing with it, but coming back to it now, I’m enjoying it a lot more. I wouldn’t say it’s something I plan to revisit often, but it’s definitely worth adding to the list of albums to randomly revisit in the future.
Dr. Octagon
4/5
This album was one of the first that really opened my eyes to hip hop and made me see it in a new light. My buddy Brad introduced me to it in the late ’90s during high school. This album was on a whole new level. Up until then, about 99% of the hip hop I was exposed to felt the same—just some dude bragging about himself or grandstanding in the most prideful and arrogant way possible. But with this album, Kool Keith created an entirely new persona and was rapping about some wild science fiction stuff.
Two other elements made me really appreciate this album. First, the production was intricate and heavily involved—far beyond just layering some samples and looping them. This was how I discovered Dan The Automator. Second, the scratching was next-level, which led me to learn about DJ Qbert. From there, I became intrigued by underground hip hop and all the different elements of the genre, and my interest just continued to grow. Unfortunately, I have to admit that over the last 10 years or so, my interest in hip hop has really faded. But I still like to check in from time to time and see what Kool Keith is up to these days. To me, Kool Keith will always be the mad scientist of hip hop.
Donald Fagen
4/5
This is my first time hearing of Donald Fagen, who was part of Steely Dan. Overall, I liked this album, but it definitely fits the yacht rock stereotype. That being said, if I ever found myself on a yacht and this was playing, I wouldn’t complain.
I’m still getting more familiar with Steely Dan’s music, but this album seems to have some of the same characteristics, except it feels more lounge like and laid back, like something you’d put on while relaxing. I don’t know if Sophisti-Pop had fully developed as a genre when this came out, but the smooth jazz rock sound definitely reminds me of it.
Jimi Hendrix
4/5
Jimi Hendrix’s music is definitely the complete package. Every element stands strong on its own but also works together perfectly. I love the raw, dirty, and gritty feel that runs through his music. The drumming brings a lot of complexity with its clear jazz influences. The bass stays steadily in motion, holding everything together as Hendrix’s reverb-heavy, fuzzy, feedback-laden guitar tears it up. The blues influences in his riffs really add that extra layer of grit.
Television
4/5
Ever since I can remember, this album has always been viewed by everyone as a punk album, which is funny because I would have put it under the umbrella of art rock or glam rock. Overall, I think it’s definitely a nice, mellow, chill album that just sort of jams out at its own pace. This is the kind of music I really enjoy playing while I’m working. It fits a nice, smooth, and steady baseline that keeps me in a good mood. Other than this album, I haven’t had the chance to listen to anything else from Television, but I definitely plan on working my way through their discography.
The Charlatans
4/5
This was a decent album for Britpop. “How High” was the track I immediately recognized, thanks to its inclusion on Liam Prodigy’s DJ mix album The Dirt Chamber Sessions. Beyond that, I really enjoyed the neo-psychedelia elements and the subtle breakbeats used in the beats and percussion. Some parts of the album even reminded me of The Chemical Brothers, with certain sounds feeling very similar to what they were doing during this same era.
Metallica
4/5
It was fun to go back and listen to this album again, because I probably haven’t played it front to back since the ’90s. Back in the ’80s and early ’90s, every time Metallica released a new album, you could tell they’d leveled up from the last, especially with their technical skill. But when Master of Puppets came out, it felt like they leveled up a couple of notches. Their first two albums are classics, but this one really put them on the road as a force to be reckoned with.
Julian Cope
3/5
Going into this, I was excited—it was labeled under Neo-Psychedelia, psychedelic rock, space rock, and alternative rock, which all sounded amazing. But instead, I felt like I was left with musical blue balls—just one long, drawn-out tease that never delivered.
This album had all the right elements to be great, and it was constantly on the verge, but it never quite got there. And that made it more aggravating than outright bad.
Slayer
4/5
25 years ago, I would have given this album a 5-star rating. It’s still a great album, but it just doesn’t have the same appeal for me anymore—mostly because I’ve heard it so many times. One of the best elements of this album is Dave Lombardo’s drumming. If anything, he was one of the key elements that made Slayer who they were.
Kelela
2/5
This album came with a ton of hype from critics and publications like Pitchfork, but I think it was more praised for the idea of what it was supposed to be and the fact that it was released on Warp Records than for the actual music. I get the cool concept and the appeal of being on Warp, but when you strip all that away, the album is mostly just boring. Some of the production had its moments, but it wasn’t as innovative or futuristic as it aimed to be. Plus, her vocals didn’t do it for me. The tracks with strong production would have been better without her, and honestly, the whole album might’ve been better without her vocals altogether.
Ray Charles
4/5
This album is split into two distinct sides: the first half features Charles backed by a swinging big band, while the second half leans into orchestral ballads with string arrangements. The more familiar I become with Ray Charles, the more I realize I really enjoy his orchestral ballads, where he leans deeper into soul and R&B. I know his big band side deserves just as much credit, but to be honest, big band and swing music have never really been my thing. It’s not that I dislike it—it’s just there for the sake of existing.
The Electric Prunes
5/5
This is definitely one of my favorite ’60s psychedelic albums. The vocals are echoed, reverbed, and hazy, while the guitars are fuzz-heavy and distorted, giving the album a surreal effect—not to mention all the experimental studio techniques of the time. On the flip side, much of their material was influenced by producers and songwriters rather than being entirely self-written, making their sound more structured. That’s why I think this album is a great introduction to psychedelic music. It captures all the best elements of the genre but presents them in a more polished and structured way, whereas many other albums of the era leaned more into improvisation.
TV On The Radio
4/5
This was a decent album, especially for some groovy indie rock with electronic influences. I remember TV on the Radio being a big deal in the mid to late 2000s, but back then, from what I recall, they always seemed okay but not particularly interesting to me. This was my first time listening to this album, and while it’s decent for what it is and slightly more engaging than I expected, it still doesn’t grab me all that much.
Buddy Holly & The Crickets
4/5
This was a really fun listen, capturing the spirit of early rock and roll with some rockabilly twang. It’s cool to know this album helped shape the sound of rock and roll during its formative years.
CHVRCHES
3/5
Overall, this is a pretty decent modern synthpop album. It features some really catchy, heavy analog basslines and is very smooth, polished, and highly produced. This definitely appeals to a modern mainstream EDM audience. If anything, my biggest gripe is that it’s so polished and highly produced. I prefer my synthpop to be more raw, with more texture, not such a smooth feel. But considering it came out in 2013, thank god it’s not a dubstep album.
Neil Young
4/5
Neil Young is one of those artists I really don’t like as a person, and I honestly want to hate his music just as much, but I have to admit, a lot of his albums I’ve heard so far have been pretty good. Throughout his career, he’s jumped all over the place musically, from country to folk to rock to hard rock, and believe it or not, he even released a synth-pop album in the ‘80s. This one, though, is much calmer, with lots of fingerpicked acoustic guitar, but what really stood out to me was the piano work. Another thing that caught my attention was just how young his voice sounds here compared to how it evolved later in his career and all the way up until now.
Queen
4/5
OK, let’s talk about Queen, and no, I’m not about to start rambling about how they’re the most amazing band ever and how this album is some untouchable masterpiece that proves their unparalleled genius. I’ve heard that speech too many times.
Growing up, it felt like every conversation I had about music eventually led to someone telling me how Queen was the greatest band of all time and how everything else I liked was basically trash in comparison. According to them, nothing I’d ever discover in the future could possibly hold up to the magnificent Queen. And then there’s Bohemian Rhapsody! I am beyond sick of that song. Between it being used in movies like Wayne’s World, blasted at every live event, and shoved into every radio format imaginable, I don’t care how good it is, after a while, enough is enough.
Now, here’s the part where the Queen fans might actually like what I have to say. Other than the greatest hits album my dad had when I was a kid, I had never actually listened to a full Queen album until recently. About six months ago, I finally played my first one, and to my surprise, it was actually really good. There were a lot of songs I wasn’t familiar with that I genuinely enjoyed. The same thing happened with this album. I went in expecting the worst, but once it started, I found myself really enjoying it. If I could make one small tweak, I’d just remove Bohemian Rhapsody and take the rest. I don’t know if my gut reaction to Queen will ever go away, but at least I’m enjoying their albums a lot more than I expected.
The White Stripes
4/5
Back in the early 2000s, I went through a brief White Stripes phase, but by the time this album came out, I had already lost interest. I kept reading about how this was supposed to be a polarizing album that marked a bold stylistic shift, but honestly, I couldn’t get past how much it still sounds like everything else they’ve done. If there’s one thing you can say about The White Stripes, it’s their commitment to sounding exactly like themselves, so much so that when you hear a random track, it’s nearly impossible to tell which album or era it’s from. The only real evolution I noticed was in the production quality, which naturally improved as their fame grew. Other than that, this just felt like another White Stripes album, cut from the same cloth as the rest.
Bonnie Raitt
1/5
Well, if you’re looking for some boring 80s adult contemporary singer/songwriter music, then here you go. This album is guaranteed to age you at least 10 years just by listening to it. I honestly don’t know how this one ended up on a top album list. It’s slow, polished, and just doesn’t do much for me at all.
Big Star
4/5
This album feels pretty different from their first two. It doesn’t have that familiar jangle sound. Instead, it takes a more experimental path. It might not sound overtly experimental at first, but the unpolished production, fragmented arrangements, and emotional instability push it in that direction. The blend of baroque elements with disjointed soundscapes creates a mood that’s vulnerable and unpredictable, giving it a subtle edge beyond typical pop rock polish. I don’t think the baroque touches were intentional; they just naturally came through as part of the album’s experimental vibe.
Amy Winehouse
4/5
I’m not usually into contemporary soul or R&B, but this was a solid album. The hip-hop-inspired beats on some tracks gave it a cool Acid Jazz vibe that I enjoyed. While a few songs didn’t fully click for me, the album is pretty consistent overall and holds up well from start to finish.
The Beta Band
4/5
I ended up enjoying this album more than I expected. At first, I thought it was just a middle of the road listen, but once I let it restart, I found myself getting more into it. It’s like a neo-psychedelia album filtered through an early 2000s indie rock lens. It’s got all the elements I usually like with this kind of music, such as swirling sounds, spacey synths, and hypnotic structures. It doesn’t blow me away, but it’s definitely a good listen.
Richard Hawley
5/5
I’m still getting familiar with Richard Hawley, but after listening to two of his albums now, I think he’s pretty solid when it comes to doing a modern take on vintage pop ballads with that 60s feel. This album is mostly an orchestral-driven singer/songwriter and chamber pop release, but what I really liked were the twangy guitars, especially with the reverb and slapback echo that gave it a nice rockabilly vibe. The slide guitar added some country-western or surf-style flavor too. The production has a vintage tone as well, but it’s still really clean and polished. Overall, this is definitely an album I’ll come back to again—it’s got a great sound and feel to it.
Traffic
4/5
This was a decent album. I can tell they were starting to head in a more prog rock direction. It’s still psychedelic, but there’s also a good mix of jazz, blues, and folk rock. Like always, the organ was one of my favorite parts.
Youssou N'Dour
5/5
I loved it. The percussion was on point, and the rhythm had a captivating flow. The keyboard elements gave it so much color and texture. A very beautiful and lush album that was worth every minute. I'm so glad I came across this album, and I'm definitely keeping track of this one for future enjoyment.
Bob Dylan
4/5
This album sounds like what you’d expect from Bob Dylan. It’s split into two parts: the first half introduces electric instruments and a folk-rock style, while the second half sticks to his traditional acoustic folk roots.
Rod Stewart
3/5
Going into this one, I was a little skeptical, but I actually ended up enjoying it more than I thought I would. It’s a nice blend of rootsy folk rock and blues, and the album has a relaxed, soulful vibe throughout. The production is very earthy and organic, with a rustic and unpolished feel that gives it a raw edge. It almost sounds more like a casual jam session than a traditional studio album, which really adds to its charm.
Billy Bragg
1/5
I did not like this album at all. The second song was pretty cool because it had a folk punk vibe that came out awesome. But other than that, everything about this album seems like it was designed and engineered for me to hate it in every way imaginable. As an American, the lyrics had no relevance to me, so there was a disconnect on that front. His singing style embodies everything I dislike about run-of-the-mill commercial Britpop. Then there’s the music. It felt as if it was specifically crafted to align with all my dislikes. No matter how open and tolerant you are, and how much you love and appreciate music, you simply can’t like everything. This album was a good reminder of that for me.
Aphex Twin
5/5
I don’t care how long you’ve been listening to electronic music, or how old, or young you are, this is a must listen to album for any fan of electronic music. This is a “know your roots” type album, and I think that’s why this is such a great album that should be on everyone’s list if they are new to electronic music. These tracks are already 30+ years old, and it has definitely stood the test of time, and this is a album that I know I’ll probably be going back to every now of than in 20 years from now.
Dead Kennedys
4/5
Oh yes! How can we forget the Dead Kennedys? I used to love this album back in my late teens. It definitely provided an outlet for all my angst and confusion. What really hooked me was Jello’s witty sarcasm. Although the lyrics no longer resonate with me, it’s fun to revisit this album for old times’ sake. Plus, how can you go wrong with the fast-paced surf guitar riffs that the Dead Kennedys are known for?
Led Zeppelin
5/5
This is another album from my childhood that I’ve heard more times than I can count. It’s a classic for so many reasons—whether it’s the sheer number of legendary rock anthems, the musicianship, or the variety of styles packed into one album. You get hard rock and early metal, blues and folk rock, and even a touch of prog, especially on “Stairway to Heaven.”
Tim Buckley
5/5
This was the first Tim Buckley album I’ve heard, and I really enjoyed it. It’s a more avant-garde and experimental take on singer/songwriter music, with a strong freeform jazz influence in the instrumentation. The entire album puts a lot of focus on mood and atmosphere, and what really stood out to me was Buckley’s vocal range—shifting from quiet, intimate whispers to wild, emotional outbursts that are often wordless and improvised.
Elvis Costello & The Attractions
4/5
I’d say I enjoyed this album more than most of Elvis Costello’s catalog. It leans into New Wave, with some baroque arrangements, and is very piano and organ driven. While I still think Costello is way overrated, especially how often his albums show up on top lists, I have to admit this one stood out. It’s an album I’d be open to revisiting again in the future.
Thelonious Monk
5/5
This album turned out to be a pleasant surprise, especially considering it leans into the more avant-garde side of jazz. It’s a good example of how experimental jazz can still feel accessible and grounded. The instrumentation is strong throughout, but what really stood out to me was how Monk uses the piano as much for rhythm as he does for melody. Also, an interesting bit of backstory is that the title track was so complex it had to be pieced together from several takes. That really shows how intricate and demanding the composition is. Even though the album feels slightly off-center, it’s very intentional and well-crafted. This is definitely the type of jazz I’d like to explore more deeply moving forward.
The Stooges
4/5
Revisiting this album is always a blast. I can only imagine the impact it had on music fans back then, hearing this raw energy for the first time. While there were other heavy albums emerging at the time, like Black Sabbath’s debut, “Funhouse” stands out for its early punk aesthetics. This album was instrumental in paving the way for the proto-punk bands that would later drive the punk movement forward.
Giant Sand
3/5
Kraftwerk
5/5
If you're new to Kraftwerk, The Man-Machine is a good place to start. They definitely moved in a more pop direction with this album but still kept their futuristic and experimental style. I really like how the album has this underlying theme of how humans and machines interact with advancing technology, and it also creates this feeling of being emotionless. It’s interesting to think that this futuristic, mechanical world they created is now in the past, with everything becoming more digital.
Rahul Dev Burman
4/5
This was a pretty good album overall for a Hindi movie soundtrack. The best way to describe it is Indian Pop mixed with funk, and some of the songs even had a Western feel to them. Even though this was my first time hearing it, it felt like I’d heard it before, probably because this album has definitely been sampled in modern music. Right away with the first track, I recognized it because I know Dan the Automator sampled it. I can’t remember the exact song or project, but he definitely used it. But even beyond that, this album is full of beats and percussion that have been a big influence on hip hop and pretty much any other kind of music that uses breakbeats.
The Gun Club
5/5
The Gun Club really nails this great combination of blues and punk, with some tracks even carrying a strong country vibe. The punk element gives their music a rebellious edge, while the blues brings a gritty, raw feel to it. On top of that, they have a wonderful Gothic Americana vibe that truly sets them apart from any other punk band out there. If I were ever to make a list of my top songs of all time, “Sex Beat” would definitely be on it. It’s one of my absolute favorite tracks.
Love
5/5
When it comes to mellotron use and orchestral arrangements, Forever Changes is undoubtedly up there with the best, standing alongside albums like Days of Future Passed by The Moody Blues. The 60s were an incredibly creative period, especially in psychedelic and baroque pop, and this album is one of the standout examples from that time. The orchestration here is exceptional, and the production, given the era, is impressive. There’s a reason why this album continues to be highlighted as one of the best from that period. Even though I don’t usually go with the popular picks, this one would definitely make it onto my personal list of top albums.
Public Enemy
3/5
So, what I liked about this album is that Public Enemy really knew how to bring that jumpy party vibe to their music. It definitely has energy that runs through you. I also enjoy the old-school turntablism that used to be such a big part of hip hop, but sadly, technology has really changed the DJ element. It was also cool to see the collaboration with Anthrax. Now, I have to admit that even though music like this used to affect me differently, I think I’ve just moved past that stage and outgrown it. It will always be important in history, but if I said I was totally feeling it while listening, I’d be lying. I pretty much just played it to get through it.
Donovan
5/5
Sunshine Superman is definitely a different direction from Donovan’s prior albums. This album is one of the first to fully embrace the psychedelic sound that was beginning to take shape. The music is a blend of folk, rock, and baroque pop. One of the elements I really enjoyed about this album was the percussions. During the production, they brought in an expert percussionist to add more layers and rhythms, giving the album a richer and more textured sound.
Janelle Monáe
4/5
I recognize the cover of this album, but I'd never been inspired to listen to it. Initially, it seemed like another commercially over-rated pop and R&B release, so I wasn't really looking forward to checking it out. However, I was surprised by how much it offers. It's definitely a progressive pop album with influences that include hip hop, electronic music, jazz, rock, and alternative. I may not revisit this album in the future, it was a pretty good listen for something with a more commercial pop leaning.
Laura Nyro
4/5
I can definitely see how Laura Nyro was a major influence on Joni Mitchell. This is a solid soulful singer/songwriter album with a strong jazz element and some subtle touches of the ‘60s baroque pop movement. It’s a cool album to check out, but I don’t really see myself returning to it for more listens in the future.
Genesis
4/5
This album has a lot to offer. It’s a concept album about Rael, a Puerto Rican who goes through a series of strange events in New York City. The musicianship is excellent, and the production is polished. The first time I heard it, I wasn’t sure what to think because there’s so much going on. Over time, I’ve grown to enjoy it more with each listen. On the flip side, it’s a long album, and I usually feel pretty burned out by the time it’s over.
Ice Cube
4/5
This is basically your typical early 90s East Coast gangsta rap with a message, which isn't really any different from other albums like it. I guess what makes this one stand out is Ice Cube's pretty fun and playful way of rapping, and the music has a kind of funky groove.
R.E.M.
4/5
This is definitely a classic album, especially with its strong jangle pop vibe. When it comes to R.E.M., I feel like this would’ve been a really fun album to discover when it first came out. It has that post-punk rawness, but R.E.M. was one of those bands helping to shape the early alternative movement.
The Verve
4/5
For some reason, 90s Britpop has always given me bad vibes, and whenever I come across an album from that scene, I'm always hesitant to start it. But once I listen, most of the time they're better than I expect. Well, this is one of those albums. I can't say I really enjoyed it, but it was pretty solid. It was heavier than I was expecting, and I really like the psychedelic element.
Nick Cave & The Bad Seeds
5/5
I absolutely adore this album by Nick Cave. Of all the Nick Cave albums I’ve listened to, this one feels like his most raw and vulnerable work yet. Tragically, Cave lost both of his sons to separate causes, and you can hear the weight of his grief, particularly for his first son, woven into every note of this album. It’s a deeply personal part of his healing process. Musically it stands apart from his earlier albums. It’s a dark, immersive electronic ambient journey, driven by analogue synths, droning textures, and delicate piano melodies. The percussion is sparse and subtle, used more to add texture and color than to drive the rhythm. This album is a masterpiece of emotion and atmosphere.
Death In Vegas
4/5
Back in 1999, I was all about the 90s rave and dance music scene when this album was released. Music magazines were raving about it, but I didn’t know anyone who really connected with it. I remember skimming through it at a record store, not quite getting it, and passing it up. Years later, I gave it another shot, and it totally clicked. The mix of trip-hop, breakbeats, neo-psychedelia, rock, post-punk, and a touch of gothic vibes is so unique. The album’s biggest struggle was probably finding its audience, it was too electronic for rock fans, too raw and gritty for the club scene. It’s this strange, cool record that didn’t quite fit anywhere.
Depeche Mode
4/5
Back in my teens, Depeche Mode was my first taste of 80s synth pop and new wave, so this one hits a nostalgic chord. It’s hard to get as hyped after hearing these songs so many times, but this album’s a classic that’s rightfully earned its place in music history. Depeche Mode stepped up their game here, moving from the raw, lighter synth-pop of their earlier stuff to a darker vibe with gothic and industrial undertones. The production’s much slicker and more polished than before, and the whole album feels more mature.
The Temptations
3/5
This album seems like it was pretty innovative when it came out, especially for its experimental side. I can see its value, but this genre has never really clicked with me, and I found the album to be average. The more mellow, laid-back tracks were the ones I liked best.
Parliament
4/5
Old school funk isn’t really my style, but it was worth a listen, especially since I remember seeing this album’s poster in every music store back in the day. A lot of elements from this album sounded familiar, thanks to how much hip hop and dance music have sampled it. Hearing those samples brought a wave of nostalgia, taking me back to my early teens in the 90s, vibing to DJ mixtapes.
4/5
I’m not usually into live albums, but this one was solid. It’s a double disc set, with the first disc showcasing Dylan’s intimate acoustic style and the second disc leaning into a more upbeat, energetic electric folk rock sound. Other than that, it definitely sounds like classic Bob Dylan.
The 13th Floor Elevators
5/5
This album encapsulates everything you could want from ‘60s psychedelic music: a gritty garage rock sound, unconventional instruments, and raw production techniques that amplify the psychedelic vibe. For those familiar with this album, the distinctive bubbling and warbling noise of the “electric” jug stands out. Despite its name, it’s actually a ceramic jug. Tommy Hall used a microphone to amplify its sound, integrating it seamlessly with the other instruments. This album remains a fan favorite within the psychedelic community, thanks to its uniqueness and forward-thinking approach that helped redefine the ’60s counterculture movement.
Marvin Gaye
4/5
When the first track of of this album kicked off, I wasn’t feeling it at all, but as I kept listening, the album really grew on me. It’s a laid-back, soulful record with a jazzy, smooth vibe. The funk influences are there, but even those feel relaxed and chill, adding to the overall mellow flow.
Neil Young
4/5
The more I listen to Neil Young, the more I’m struck by how diverse his music is, with so many different paths he took over the years. This album leans heavily into bluesy country rock. “Lookout Joe” stands out as a bit more upbeat, carrying an almost proto-grunge feel, while on the other hand, there are some really strong mellow piano drive tracks that balances the mood.
Creedence Clearwater Revival
4/5
This was a good album that really helped open me up to southern and blues rock. For anyone who really enjoys classic rock, this is definitely a good album to check out.
James Taylor
2/5
This album is often hailed as a cornerstone of the singer-songwriter movement, and it’s got some big name musicians contributing, which adds to its reputation. That said, I don’t quite get why it’s held in such high regard. To me, it feels like the most standard, run of the mill example of singer-songwriter music—pretty plain and unremarkable. At least it’s only about 30 minutes long, because if it had gone on any longer, I would have lost my mind, and gone crazy out of boredom.
Slint
5/5
This album has a dark, minimalist atmosphere with a weighty, almost eerie feel. The post-hardcore influence comes through in the sharp, tense guitar work, while the spoken word vocals add to its unsettling mood. While it has bursts of intensity, the album moves at a slow, deliberate pace, drawing you in with its brooding, immersive sound.
Lynyrd Skynyrd
4/5
There’s no question that this album is a classic, and “Free Bird” will forever be a rock staple, but honestly, I’m pretty burned out on these tracks. They’ve been played so much that it’s hard to feel the same excitement anymore.
The Rolling Stones
4/5
This was a solid release for The Rolling Stones. It’s a great blend of their earlier hard rock and blues rock, with some folk and country influences mixed in. The production is polished in some ways but still has a raw, gritty edge that brings out the stripped-down essence of rock and blues. The use of piano and saxophone is another standout feature, adding a soulful, laid-back feel to the album.
Al Green
3/5
Today seems to be the day the album generator is dishing out all the albums that have left a complicated mark on me, and Al Green’s Let’s Stay Together is no exception. There’s no denying Al Green’s place in the spotlight, he’s an incredible musician with a phenomenal legacy. But for me, he’s a bittersweet artist. When I was a teenager working in a golf course kitchen, I had this older chef who was kind of a dirty, overweight, and creepy guy, who was always making inappropriate comments about our young female coworkers, mostly in their 20s, who he had zero chance with. He’d constantly play artists like Al Green and try to school me on how this was the ultimate “love making music” and all that. So, yeah, whenever I hear Al Green or a lot of old school soul and funk, it takes me right back to those uncomfortable moments, tainting the experience despite the music’s quality.
Herbie Hancock
4/5
This is a chill, laid-back, and groovy album, though “Sly” picks up the pace a bit and gives some extra energy into the mix. Herbie Hancock is definitely an incredible pianist, and on “Chameleon,” you can tell he’s really having fun exploring the synth, even if it feels like he’s still discovering its full potential.
Happy Mondays
3/5
I’ve always found some Happy Mondays songs pretty decent, and I genuinely appreciate their role in Factory Records and the Hacienda scene, so when I say I really wanted to like this album, I mean it. But listening to it over 35 years later, with the party long over, this album hasn’t aged well. Shaun Ryder’s slurred, obnoxious vocals drag everything down, because he doesn’t really sing, just rambles a bunch of nonsense over the music. I read that some fans call him a lyrical genius, but to those still holding that view, I’d say it’s time to check into rehab, because the 1988 rave movement and acid house explosion ended decades ago. This feels like an album you had to of been there at the time to truly get understand it, and back then, it might’ve hit different. For those of us listening now, it’s a hazy, disorienting, monotone record with no standout or memorable tracks, except maybe “Hallelujah,” and that’s likely because Paul Oakenfold and Andy Weatherall stepped in to keep the band focused and grounded, helping them craft a serious track.
Neneh Cherry
3/5
This album had some really fun elements, especially the 80s style pop production with its sharp synth stabs and the way Neneh Cherry blends hip-hop, pop, and house. On the flip side, her sassy rapping, along with her word choices and overall flow, just doesn’t work for me, instead it feels dated and hasn’t stood the test of time at all. Thankfully, she doesn’t rap through the whole album, switching between singing and rapping instead. When she’s singing, especially in the more pop-driven parts, I found those moments enjoyable. But when she’s rapping, it’s like Chinese torture to my ears. After listening to the album, I looked into Neneh Cherry’s background and learned she’s been deeply involved in music since the late 70s, even playing a role in the UK punk scene as a member of The Slits. Unfortunately, I’m not a fan of The Slits either, and I think they too are kind of annoying, but I’ll give her credit where it’s due for her contributions and how she’s crossed over through so many different style of music.
Sleater-Kinney
2/5
Musically, the instrumentation on this album was slightly better than average. The production was raw, featuring a lot of distorted guitars that added to its gritty feel. As for the lyrics, they sounded like the musings of people half my age, full of angst and still trying to figure things out. While the album was a decent listen, it’s not something I would revisit.
The Cure
5/5
This is one of those albums that’s hard to get super excited about in a deep-review kind of way, mostly because I discovered it at such a young age. That said, I do have to give it credit, because it’s stayed relevant through the decades and across different generations. The whole album is consistent from start to finish, and all the tracks work well together to create a unified sound and feel.
Björk
2/5
I was really excited for this album to come out because I knew Rahzel and Mike Patton were going to be on it, so I went out and bought it the very day it was released. Honestly, from the first listen, it never quite connected with me. I gave it countless spins, hoping I’d eventually get used to it, because I genuinely wanted to love this album. Despite my efforts, I ended up giving up, and over the years, I’ve revisited it a few times, but it still feels the same as it did that first day, which was disappointing and unrelatable.
The Smiths
4/5
Overall, this is still a good album, but I think it was a fitting departure for The Smiths. Their musical style was clearly shifting, and to me, it just doesn’t compare to their earlier releases. You still get the jangly guitars and Morrissey’s distinctive, melodic, and melancholic vocals, but they were incorporating more keyboards and synths, which changed their style. Normally, I’m all for more keyboards and synths, but this is one of the rare cases where I think it worked against them.
Weather Report
2/5
I personally didn’t care much for this album. To me, it feels like stereotypical soft, boring jazz you’d hear in a dentist’s waiting room, just dressed up with a touch of world music and progressive elements.
Elliott Smith
5/5
This was such a great album, and it’s heartbreaking that it was Elliott Smith’s last completed work before his death. I really wish we could’ve heard more from him. This album is a bit more polished than his earlier ones, with some tracks hitting a slightly heavier tone than his past material, but overall, it’s his classic chamber indie folk sound, full of those jangly guitars.
Emmylou Harris
4/5
This is a pretty good album. Nothing overly impressive, but it’s great if you’re into old-school traditional country with a folk edge. It’s easy to appreciate for its simplicity and authenticity.
Manic Street Preachers
4/5
Manic Street Preachers have always had their own unique flair, and I can appreciate them for that, but they’ve never been a band that truly grabbed me. Their music is solid and catchy, well-produced, but it sits in that middle ground where it’s good but not groundbreaking. They have moments that stand out, but overall, they feel more like a dependable “B-tier” band never bad, just never quite reaching that top tier.
Judas Priest
4/5
This album definitely captures Judas Priest in their truest and rawest form. With this album they deliberately stripped away some of the more progressive elements found in their earlier work, opting instead for shorter, faster, and more direct anthem like tracks, Like 'Breaking the Law' and 'Living After Midnight.'
Wire
4/5
Back in my late teens and early 20s, I worked in a kitchen as a dishwasher alongside a line cook in his early 40s who was an old school punk from the late 70s and early 80s. He’s the one who really introduced me to punk and got me into it. Out of all the albums he played for me, Pink Flag was the one that truly captured my attention and resonated with me. This album had a raw, energetic, and stripped down approach that I loved, but Wire had their own distinct sound. A lot of punk back then sounded similar and blended together, but these guys had a more artsy approach, with way more depth and substance compared to all the other bands he introduced me to at the time.
Portishead
5/5
Maybe I’m just burned out on Dummy and the self-titled album, but I’d take this album over those any day of the week. It has a cold, haunting, almost post apocalyptic sound that really hits me. The album leans heavily into a dark atmosphere, with mechanical, lifeless sounding beats that add to the bleakness. Beth Gibbons’s vocals are absolutely incredible, and I love how well balanced they are with the music. It’s never overpowering, just perfectly woven into the mood.
Tori Amos
4/5
This has always been a decent album for whenever I’m in the mood for something more chill and laid back. It’s perfect for those times when you want piano-driven music with a strong singer-songwriter aspect.
Bill Callahan
5/5
I really enjoyed this album. To be honest, I’m not too familiar with Bill Callahan. I’ve listened to Smog a few times and enjoyed it, and I once checked out a collaboration album between him and Bonnie ‘Prince’ Billy, but it didn’t quite hit the mark for me. Now, this album is absolutely amazing. I love his baritone voice, which is deep and full-bodied. His vocal delivery is calm and almost conversational, flowing naturally without ever sounding forced. The production is clean, crisp, polished, and layered, allowing each element to shine. It gives the music a beautiful, bright, and colorful vibe. Out of everything I’ve heard from Bill Callahan so far, this is definitely my favorite.
5/5
When I decided to dive into prog rock and really try to understand the genre, this was the first album I listened to. My initial reaction was how different it sounded from the Yes I thought I knew. The Yes I always associated with was more of an 80s synth rock band, mainly because of “Owner of a Lonely Heart.” The first time I heard this album, it was a lot to take in, and I needed some time to absorb it. After a second listen, I realized I needed more context and listened to other prog rock artists to get a better grasp of the genre as a whole. Now, six months later, I’ve returned to it, and I love it. I played it three times in a row. There’s so much going on in this album that it’s hard to break it all down, but I love how it has an experimental edge. Thanks to @Lyieru for telling me more about Rick Wakeman, it gave me something solid to connect with. And of course, his organ anthem toward the end of “Close to the Edge” really stood out and gave me something to hold on to.
Emmylou Harris
4/5
This was definitely an interesting mix of sounds all blended together. At its core, it’s a contemporary folk and Americana album, but it also has this dusty, rootsy feel paired with an ethereal, ambient soundscape that gives the music a hazy, dreamlike quality. I can see why this is a popular release and what sets it apart from others in the genre. That said, I thought it was a decent album, nothing about it really grabbed my attention or made me feel like I’d want to return to it in the future.
Circle Jerks
5/5
This is such a fun and classic album. It’s definitely one of the foundational records of early hardcore punk. The low budget production gives it a raw, stripped down sound that adds to the DIY vibe. It’s energetic, fast paced, and straight to the point, with the entire album only being 15 minutes long.
Tito Puente
3/5
This album started to hook me once I got a little ways into it. On the flip side, it does sound pretty stereotypical at times, almost like background music you’d hear in a movie scene of a family going on vacation to the Caribbean. Because of that, it started to wear on me a bit by the end. I was also surprised to learn that Tito Puente was an American artist and that this was recorded in New York, that’s probably the last place I would’ve guessed. Overall, it’s good for what it is.
Moby Grape
4/5
I really enjoyed this album, but it’s pretty straightforward late ’60s rock. It’s a mix of psychedelic, blues, folk, country, and garage. One interesting thing about the album is its backstory. Columbia Records decided to release five singles simultaneously before the actual album released, which ended up diluting their impact. Despite that, it’s since been recognized as a cult classic. If I had to compare, Moby Grape is a lot like The Byrds and definitely exists in that same musical world.
Steely Dan
3/5
Peg is definitely a standout track. As for the rest of the album, it’s nice and laid-back, with a very chill vibe. It’s the kind of music that wouldn’t be out of place while you’re waiting for your name to be called at the dentist’s office.
Scott Walker
5/5
Scott Walker is an artist who’s always intrigued me, especially because of how long he’s been pushing musical boundaries. Scott 4 stands out for its unique blend of orchestral arrangements, strings, and folk, with a subtle experimental edge. It’s one of the best early examples of chamber pop, even before that genre really existed. There’s a baroque pop foundation here, but what makes this album so special is its deep, and introspective feel.
Dexys Midnight Runners
3/5
This album wasn’t bad, but it’s nothing I’ll ever go back to either. On the flip side, it’s interesting to explore Dexys Midnight Runners just to hear something different from “Come On Eileen.” If you’re a fan of music with brass instruments, then this will be right up your alley. Other than that, there’s not too much to say about this album because nothing really jumped out.
ZZ Top
3/5
I’ve always liked Eliminator-era ZZ Top, mostly because of the strong synth elements that gave it more of a synth rock feel. But when it comes to this earlier era of the band, I’ve never really connected with it, and to be honest, I’ve heard these tracks way too many times already. The Southern pride blues rock style, especially within the ‘70s classic rock context, just doesn’t appeal to me. It has a certain flavor that feels a little off putting. That said, it’s clearly good quality music from a talented band, but for me, it’s nothing I ever feel the need to revisit.
Ladysmith Black Mambazo
3/5
This album was a follow up to Paul Simon’s Graceland, and it really shines a light on Ladysmith Black Mambazo’s South African roots. They were a huge part of what gave Graceland its rich cultural feel, and here, they get to showcase that influence in its purest form. The album is entirely vocal, with intricate harmonies and call and response patterns that bring out a deep sense of spirituality and cultural pride. Paul Simon contributed to the production, keeping the focus on the purity of the vocals and harmony driven arrangements.
Beth Orton
4/5
This was a decent singer/songwriter album. I found out that Ben Watt from Everything But The Girl produced a few tracks, which was interesting, but honestly, nothing really stood out as all that memorable. Still, like I said, it’s good for what it is.
Flamin' Groovies
4/5
I first discovered this band during my punk exploration a long time ago. What really surprised me was that when I looked up how old their songs were, I was shocked to find out they were from the early ’70s—I had originally assumed they were from the early ’80s. It just goes to show how ahead of their time they were, while still embracing rock and blues influences from a generation before them. If you like garage rock and punk with a bluesy, rockabilly edge, these guys are the kings of that sound. They also have a raw, gritty, and unpolished energy that adds even more texture to their music. One of my favorite songs from them isn’t on this album because it was only released as a single, but around the same time Teenage Head came out, they also released Slow Death. If you haven’t heard it, it’s definitely worth checking outo.
Ali Farka Touré
4/5
This album pretty much mixes traditional African musical styles with blues. It was actually a pretty enjoyable listen, and it had a very earthy, organic, and soulful vibe. Thankfully, it didn’t go on for more than an hour, because I did find myself starting to get a little bored toward the end.
LL Cool J
2/5
This album is considered “Golden Age Hip Hop.” If that doesn’t make you feel like an ancient relic, I don’t know what does. With that said, listening to this album was a bittersweet experience. On one hand, its juvenile innocence and simplicity took me back to a time when the world seemed so much simpler than it is today—a reminder of how far removed we are from that era. The music production and LL Cool J’s rapping are both full of energy, and I can just imagine how much fun this album was to play at house parties and other lively environments back in the day.
But on the flip side, that same juvenile innocence and simplicity mean that a lot of hip hop from this era hasn’t aged well.
The Cars
5/5
To me, this is a timeless album that will never get old. The Cars really found the perfect balance between new wave and rock, appealing to a wide audience ever since I can remember. This album is one of my go-to choices whenever I’m looking for something easy, light, familiar, and uplifting.
Queens Of The Stone Age
4/5
This is a pretty good album as well, but back in the day, I had to listen to it a few times to really absorb it and get familiar with it. It’s definitely an in-between transitional type album that straddles the line between the stoner rock and metal that Kyuss was known for, and the more straightforward rock sound that QOTSA evolved towards with their follow-up album Rated R.
CHIC
4/5
So disco really isn’t a genre I seek out, but I’m always down to listen to an album here and there when they come up on a list or through an album generator. That said, I’m always excited to hear something involving Nile Rodgers. He was on his own level, because his music is just so groovy, elegant, and classy. Yeah, he’s got tracks like “Good Times” that I’m honestly kind of burned out on, but once you get past the big hits and dig a little deeper, you’ll always find some goo quality music. Some of his more laid back tracks are actually my favorites.
Also, when I listen to albums he’s involved with, I’m constantly picking up on elements I already know, because they’ve been sampled so much by dance and hip hop producers. His music definitely outlived the genre and carried over into the sounds of future generations.
Prince
3/5
Prince is one of those artists I’ve always wanted to like more than I actually do. For whatever reason, his music just never hits me the same way it seems to hit other people. Like most of his albums, this one felt pretty middle of the road to me, there’s definitely some strong elements scattered throughout, but overall, it didn’t leave much of an impact. It’s not bad by any means, just not something I find myself connecting with the way others seem to.
Country Joe & The Fish
4/5
This album should be the soundtrack of 60s counterculture, because it’s such a strong reflection of that era. It was definitely an influential release for psychedelic and acid rock, with a strong bluesy edge that gives the music a raw, unpolished sound.
Todd Rundgren
5/5
Well, this was a fun little surprise. I had never heard this album before and honestly had no idea what style of music to expect going in. What I got was a blend of progressive sunshine pop filtered through the lens of acid and psychedelia. It’s a very artistic album that goes all over the place, some parts are playful and theatrical, almost like something out of a musical, while other sections dive into soulful territory. It’s unpredictable in the best way, constantly shifting moods and styles but still holding your attention the whole time. This one’s definitely going on my list of albums to revisit in the future.
Arctic Monkeys
3/5
This was a decent debut from Arctic Monkeys. While they were labeled indie rock, they were far from underground—this was a pretty commercial release. The album carries some garage rock aesthetics and a bit of punk edge, but overall, it’s more polished and radio-friendly than what you’d expect from a true indie band.
The Beach Boys
4/5
This album still carries that sunshine pop feel, but it steps away from the surf style the Beach Boys were known for up to this point. It leans heavily into baroque pop, with orchestral arrangements and harpsichords adding depth to the mix. Overall, I enjoyed the album, even though I’ve never been the biggest Beach Boys fan and probably never will be. That said, it’s clear they were evolving, and this record marks an important step in the right direction that would lead to albums like Pet Sounds.
Jack White
4/5
This was a pretty solid album. I got a little burnt out on The White Stripes, so when I first approached Jack White’s solo work, I expected more of the same, but he really did a great job here. This album still carries his signature blues rock style, with touches of country woven throughout, but what stood out most to me was the raw production. It gives the album a warm, analog feel that really adds to the experience.
Maxwell
4/5
This isn’t exactly my go-to genre, but if more contemporary soul and R&B were like this, I’d definitely enjoy it more. The newer, more aggressive R&B often loses the essence of what soul and R&B were originally about. That said, this album is incredibly laid-back, smooth, and lush, with a sensual atmosphere and polished, glossy production.
A Tribe Called Quest
5/5
This is a classic hip-hop album that has truly stood the test of time. They kept it simple in the best way, with Q-Tip handling most of the production. I love the old school style of beats, because they hit hard and carry real weight, but the jazz samples balance it all out, creating a laid back musical landscape that flows perfectly with the vocal interplay between Q-Tip and Phife Dawg.
Primal Scream
3/5
This album works well as background music. It’s mostly dubbed out neo-psychedelia, with Andrew Weatherall contributing production on “Kowalski.” Honestly, this is one of those records I wish I enjoyed more than I actually do. Overall, it moves pretty slowly and doesn’t really go anywhere. That said, I don’t dislike it, but it has its time and place, and for me, that’s when I need something to play in the background.
The Bees
5/5
I wish I had discovered this album back in the early 2000s, because I would have absolutely loved it, since this was exactly the kind of style I was seeking out at the time. It’s a really well-balanced mix of indie pop and neo-psychedelia, with clear influences from the Beatles and the Beach Boys, and even a cover of Os Mutantes.
There were also moments that reminded me a lot of Moon Safari by Air, or the kind of sounds being released by Ninja Tune Records around that era. It’s laid-back, breezy, and definitely a gem I’m glad to have finally come across.
Linkin Park
5/5
I usually talk about how some bands have all the right ingredients for me to like them, but somehow still fall flat. Well, this album is the complete opposite. Linkin Park had all the ingredients for me to hate them, yet this album still turned out to be a really fun listen, even 25 years later. In that sense, I think it’s fair to say they’ve stood the test of time remarkably well.
This was one of those albums I never felt the need to own, because everyone else already did. It was everywhere, on the radio, on TV, playing out of every car and bedroom window. And that’s exactly why, on paper, I should’ve hated this band. But somehow, even after not hearing it for about 20 years, I still enjoyed it just as much now as I did back then.
For a band like this to still get that kind of reaction from me after all this time is almost impossible, so for that alone, I’d say this album deserves a higher rating than most. They had all the odds stacked against them in my book, but they pulled it off.
SAULT
2/5
If you’re into contemporary social justice and politically charged lyrics, then this album will likely resonate with you. Personally, I’m a bit burned out on the constant news and media barrage, but I have to say, the music and production on this album are top-notch. It has a dark, synth-driven atmosphere and leans heavily towards an experimental and innovative vibe.
Finley Quaye
2/5
I honestly have no clue how this album ended up on a top albums list, but here we are. It’s not bad, but the lyrics feel very run of the mill and borderline stereotypical. I mean, we already know there’s “no room for fighting because the sun is shining.” Bob Marley taught that decades ago, and said it better.
The production leans into that typical 90s dub and trip-hop blend with some pop rock flourishes. Like I said, the music isn’t terrible, but it’s not all that enjoyable either. Everything about this album feels so typical and predictable that it starts to feel like we’re just beating a dead horse.
Lana Del Rey
4/5
It’s probably been about 15 years since I last listened to a Lana Del Rey album, and even though I’m not really a fan of her music, this was still a cool listen. It blends folk and Americana with indie pop and dream pop. The foundation is rooted in organic folk and Americana, but there’s also this nostalgic, ethereal atmosphere running through the album that brings out the dreamy, almost otherworldly element.
Belle & Sebastian
4/5
I’m really torn on this one. The music and instrumentation are solid, but the vocals and overall style just don’t do it for me. There’s an adolescent vibe to the whole thing that makes it feel like it’s not really aimed at someone like me. Still, I have to admit there’s something unique and original about it, even if it’s not entirely my thing.
Joan Baez
4/5
It’s always nice stumbling across albums like this from the late 50s and early 60s. Nothing too extremely special here, but it’s a really chill folk album with strong traditional English and Scottish folk influences. Simple, stripped-down, and easy to vibe with.
k.d. lang
2/5
This is basically classic honky tonk, but rebranded as a modern and elegant reimagining that you’d expect to hear in a late-night lounge or speakeasy. It was kind of cool at first, but it ran dry pretty quickly. By the end, I was honestly just begging for it to be over.
Paul Weller
4/5
So I’m not too familiar with Paul Weller, but after hearing this album, I’d say he’s pretty good. To me, it sounds like a combination of rock, Britpop, and singer-songwriter. One thing I really enjoyed was the use of organ and Mellotron. Sometimes it gives the music a loose, jam session feel. I’m not sure if it’s something I’d come back to often, but overall, it was a good listen.
The Byrds
4/5
Out of all the Byrds albums I’ve heard so far, this one stands out as my favorite. Their traditional folk rock sound is here, complete with those iconic jangly guitars, but what really caught my attention were the heavy psychedelic elements. The Byrds truly pushed the envelope with studio effects on this album. The innovative production and experimentation are what make this album so impressive and enjoyable for me.
Hüsker Dü
4/5
Hüsker Dü is a band I really have a lot of respect for, but to be honest, I don’t enjoy this album as much as their earlier, more aggressive hardcore material. This album leans much more into melodic territory and fits more into the indie alternative scene of the ’80s. It’s not a bad album by any means, but it just doesn’t hit me the same way their rawer early records do.
Nick Cave & The Bad Seeds
4/5
This is Nick Cave’s chamber pop singer-songwriter album. It’s definitely a more intimate record, with the focus mostly on his voice, backed by piano and acoustic guitar. It’s often seen as his heartbreak album, written in the wake of his breakups with PJ Harvey and his ex-wife Viviane Carneiro. I actually think this would be a good place for someone new to Nick Cave to start. It’s a little more accessible than some of his other work, but he still stays true to his style.
Turbonegro
5/5
Glam rock and punk is such a great combination, and these guys pull it off perfectly. The album has big, anthemic choruses and a rock ‘n’ roll attitude, but with the rebellious energy of punk. There’s also a tongue-in-cheek element, which just adds to the fun.
Super Furry Animals
4/5
It’s not bad for some early 2000s neo-psychedelia and Britpop, but like with about 99% of Britpop, there’s this vein of pretentiousness that runs through the music and is hard to ignore. That said, the album also has a sense of weirdness, playfulness, and an experimental edge that’s pretty fun and keeps things interesting.
Kate Bush
4/5
When it comes to progressive, art rock, and sophisti-pop, Kate Bush was truly forward thinking. She was always on the cutting edge of what was possible with production and studio technology at the time. I wouldn’t say this is the most technically impressive album she’s made in terms of studio wizardry, but it’s still a really well produced record overall. She’s very tuned in to detail, to where it feels like every sound is deliberately placed, with purpose and precision. On top of that, she does an excellent job of giving the album an earthy and mystical atmosphere that makes it feel intimate, otherworldly, and forward thinking.
The Monks
5/5
Like many others have pointed out, The Monks are one of the earliest examples of proto-punk, especially considering that punk as a genre wouldn’t fully emerge until nearly a decade later. But what makes this album even more fascinating is how much it foreshadows both Krautrock and No Wave.
The band’s music is rhythmically intense, built around a kind of motorik repetition that gives it a trance like, hypnotic quality. There’s something futuristic in their sound. It’s stripped-down, percussive, and minimalistic in a way that feels ahead of its time. That repetition, paired with raw aggression, also aligns with the ethos of the No Wave movement that surfaced in late ’70s New York. The Monks had that same anti-pop, anti-establishment attitude, not just in sound but in spirit.
What’s even more remarkable is their position as cultural outsiders. Though American, the members were GIs stationed in Germany when they formed the band, so in Europe, they were seen as foreign outsiders. Meanwhile, back in the U.S., they were completely rejected by the mainstream and largely ignored by the underground scene. Their abrasive, anti-commercial approach made them too radical for either audience, and quite simply, too far ahead of their time for the American market.
The Young Rascals
2/5
To me, this just sounded like average commercial pop from the ’60s. While it’s clearly a smooth blend of soul, sunshine pop, and light psychedelia, it ultimately felt too bland for my taste. Nothing really grabbed me, and it’s not something I see myself returning to in the future.
Shuggie Otis
4/5
Thankfully, this album was much better than the first one I started my day with. “Inspiration Information” is a dreamy, laid-back soul album that was way ahead of its time. When I first started listening, I thought my Spotify had a glitch and skipped ahead because I didn’t think those production techniques existed in the early 70s. Until today, I had never known about this album, but I’m really glad I discovered it because I’ll definitely listen to it again in the future.
George Michael
3/5
I’ll probably never be a George Michael fan, and this album is a good example of why. It’s not bad music by any means, and there were even a few elements I genuinely enjoyed, but overall, his style comes off as one of the most cliché examples of ’80s sophisti-pop.
Dwight Yoakam
2/5
It’s not bad country by any means, but it honestly just sounds like something you’d hear on any random country station in the late ’80s. There’s nothing particularly unique or memorable that sets it apart, and it doesn’t really offer anything that sticks with you after it’s over.
Syd Barrett
4/5
This was my first time listening to this album, and as I looked deeper into it, I really felt bad for Syd Barrett and his mental health struggles. Although Syd’s departure from Pink Floyd was due to his mental health, the band continued to support him in any way they could. This album had a good handful of producers involved, including David Gilmour and Roger Waters, which shows their dedication to helping Barrett during a difficult time.
Dusty Springfield
3/5
It’s hard to believe this album wasn’t a big critical success when it was first released because it definitely sounds like it could’ve been. Now, it’s been rightfully looked back on as one of the best albums ever. This was my first time listening to it, and I thought it was a really solid album. The orchestration stood out to me a lot, and while Dusty Springfield’s voice is fantastic, I found myself appreciating the musical elements even more.
David Holmes
3/5
This was a good flashback to the mid to late 90s electronic scene. This album is very much a product of its time, built mostly around breakbeats, with clear influences from acid jazz, trip hop, and hip hop. There’s even an electronic remake of the James Bond theme, which fits the album’s cinematic vibe. It’s a pretty solid listen from start to finish, but honestly, I’m personally a bit burnt out on this sound in general. It’s well done, but not something I see myself ever coming back too.
Jane Weaver
5/5
I’m so glad I discovered this album, because it feels like every element I love in progressive, experimental, and electronic music is wrapped up into one cohesive package. This is a great example of modern psychedelic pop and space rock. You get the warm vintage analog synth textures of kosmische music, the percussive drive of motorik beats, the adventurous experimentation of Krautrock, all with the modern sensibilities and aesthetics of indie pop. This is definitely an album I’ll be revisiting in the future.
Stan Getz
4/5
So this is the second album I’ve listened to from Stan Getz, and I can definitely see how his music reached a global audience. This album feels like a breath of fresh air with its breezy, elegant, lounge-like, and relaxed energy. It’s definitely the kind of album that’s perfect to come home to and wind down with after a long, hot day in the summer heat.
Roxy Music
4/5
Roxy Music’s debut album is definitely the one to start with when exploring this band. You’ll definitely notice an evolution in their sound as you move through their catalog over the years. My favorite song from the album is “If There Is Something”—it’s such an amazing track with great musicianship that really draws you in and takes you on a journey. Another standout aspect of this album is the electronic and synthesizer work, all done by Brian Eno. He played a big role in shaping Roxy Music’s early sound. Eno was with them for the first couple of albums before leaving due to creative differences with Bryan Ferry, but he went on to do some amazing work in experimental and electronic music, as well as producing some incredible albums over the years. Another interesting fact about this album is that it was produced by Peter Sinfield, who was a key member of King Crimson. Sinfield contributed a lot to King Crimson’s early success, and it’s really interesting to see his involvement with Roxy Music, showing just how interconnected the music scene was at the time, even among bands with different sounds.
Shack
2/5
So this is another one of those albums that got published in a book of 1001 albums to hear before you die. Only God knows how this ended up on the list, while so many other great albums were just passed up. With that being said, it wasn’t horrible music, but there wasn’t anything standout about it either. It was just a basic, middle-of-the-road Britpop album that came out about eight years too late. By 1999, all the bands from the late ’80s and early ’90s that were the flag bearers of Britpop had already moved on, forming new projects and exploring new sounds. While there’s nothing really bad about this album, so it probably doesn’t deserve to get dragged through the mud, putting it in a category of the top 1001 albums really sets a very high bar for it.
UB40
4/5
I was surprised to learn this album came out in 1980. I had no idea UB40 went back that far. Reggae has never really been my thing, but I actually enjoyed this one. While I tend to get burned out on reggae vocals, I have to admit I’ve always liked dub, especially for its more experimental aspects. This album had great instrumentation, particularly the echo heavy keyboard basslines that define dub. I’ve never really paid much attention to UB40 before, but from the little I have heard, I don’t remember them sounding this good. This album had a rawer, stripped down quality compared to the more commercial sound they adopted later in their career.
Sparks
4/5
I really love everything this band stands for. They’re fun, witty, quirky, artsy, poppy—you name it, the list goes on. They’ve been remarkably consistent over the years, and I love that they’re still going strong. Even though they were part of the glam rock scene, they’ve never been the glamorous type. They’ve always carved out their own path, existing in their own world, and just kept doing their thing.
Randy Newman
2/5
Well, musically it’s not a bad album when it comes to theatrical baroque pop, but I just don’t like Randy Newman or everything he represents.
Mike Oldfield
4/5
Over the past year, I’ve been diving deep into prog rock and its various subgenres, and I have to say that for 1973, this is truly a one of a kind album. The first half takes you on a cosmic journey, through otherworldly soundscapes, while the second half shifts to a pastoral journey, guiding you through beautiful fields and landscapes. What really stands out is how Mike Oldfield crafted a new age, cosmic ambient album with minimal use of synths and electronics, relying instead on studio techniques like multi-track overdubbing. The instrumentation is incredibly impressive, especially considering Oldfield was only 19 and played most of the instruments himself.
Brian Eno
5/5
I would definitely agree that this album is a blueprint for a lot of modern ambient and electronic music. I remember back in the mid 90s when I first got into underground dance music, I was already reading about how so many of the artists I liked at the time were heavily influenced by this album. Brian Eno is an amazing musician all around. From his work with Roxy Music, to the rock albums he produced in the 70s, to his ambient series, and even his more experimental and film score style projects. This guy is truly a master of sound.
The Velvet Underground
5/5
I personally consider this album to be the first true noise rock record ever made. Of course, that’s debatable depending on how strictly you define “noise rock.” Artists like The Fugs, Red Krayola, and The Monks had already flirted with noisy, abrasive sounds, but none of them matched the sheer feedback driven aggression you get here. The Velvet Underground throws all caution to the wind, embracing raw distortion, amp noise, and complete chaos.
The production is deliberately murky and abrasive. It was recorded quickly and mixed roughly, with the intention of sounding as raw and loud as possible. This album paved the way for countless artists like Sonic Youth, Suicide, Swans, Big Black, The Jesus Lizard, and MBV.
This one was clearly meant to be anti commercial, something designed to repel mainstream taste, and it’s probably their least popular album. But for me, it’s my personal favorite. A lot of the music that came out of The Velvet Underground’s universe never really appealed to me the same way it does to others, but this is the one I fully connect with.
Beyoncé
3/5
This wasn’t as bad as I was expecting. For the most part, it’s a pretty cohesive album all the way through, especially considering how many different producers were involved. What really gave me something to connect with was the production and overall vibe. It leans heavily into an electro ambient soundscape layered over smoother, modern trap beats. There’s even a section where she experiments with chopped and screwed style production, which I usually enjoy, but I didn’t think it worked here. That style just doesn’t belong in polished pop music, and it felt out of place compared to the rest of the album’s sound. Overall though, for a massive pop release, it was pretty solid.
Slipknot
4/5
I’ve always overlooked Slipknot because they were so popular, and I figured my time was better spent digging into more underground artists. But now that I’m going back and actually listening to their albums, I have to say they’re a pretty solid band. This album is still aggressive, but it’s definitely more polished and melodic compared to their earlier work. It leans heavily into groove metal and has a more radio-friendly sound overall. Even with the cleaner production and accessible songwriting, I thought it was a pretty cool album and I genuinely enjoyed it.
The Divine Comedy
4/5
This was another great album from The Divine Comedy, especially from his output in the ’90s when he was probably at his peak. I’m usually not the first person to talk about vocals, since I’m more drawn to the music that surrounds them, but I have to admit, I really love his wordplay. On one side, it’s witty, smirky, and tongue-in-cheek. On the other, it’s suave, refined, theatrical, and delivered with sincerity. He’s very articulate and precise, yet still playful. He truly is one of a kind, and let’s just say, if I was Scott Walker, he’d definitely get my approval.
Black Sabbath
4/5
I’ve actually never listened to this album from beginning to end until now, but I’ve always been familiar with a good handful of these tracks. There are a few like “Changes”that I could honestly do without, mostly because I’ve already heard them a million times. That said, this is definitely another one of those precursor albums to stoner metal. So much of it sounds exactly like what the stoner metal bands were doing in the early to mid ’90s, which really shows just how ahead of their time Black Sabbath was.
Venom
4/5
This is one of those albums you enjoy purely at face value. The production is intentionally rough and low budget, which actually adds to its raw charm and underground appeal. It’s loud, messy, and unrefined, but that’s what gives it character. This album helped shape the sound and aesthetic of early extreme metal inspired acts like Bathory, Mayhem, Slayer, and Metallica.
Jeru The Damaja
3/5
It’s cool to see that conscious hip hop existed in the early 90s. Most of what I remember from that time was gangster rap, with all the east coast vs. west coast drama or even the whole red vs. blue thing. Looking back, it was kind of a cringe era for hip hop. This album really stands out because of its more meaningful and thought-provoking lyrics. DJ Premier’s involvement as both producer and DJ was also a cool element. It’s been a long time since I’ve thought about how much of a presence he had in the 90s.
Ravi Shankar
3/5
I know I’ve said in other reviews that certain albums are good for newcomers, but this album is literally a great starting point if you want to get into traditional and classical Indian music. Ravi Shankar actually gives you instructions on how to enjoy the music and understand it. He explains the different instruments and beat counts. I personally found the album pretty enjoyable, but it’s not really a genre I usually listen to, so right now, a lot of it sounds kind of stereotypical and the same to me.
ABBA
4/5
Well, I hate to admit it, but this album had some really cool synthpop elements that I genuinely enjoyed. Like them or not, ABBA was definitely forward thinking and innovative with this album, especially considering the time it came out. The production is top notch, glossy, upscale, and meticulously crafted. It still has some of those classic ABBA traits, the sleazy, poppy sing along moments that I could do without, but without those, it wouldn’t really be an ABBA album to begin with.
Erykah Badu
4/5
This album was good, but it’s definitely shackled to the late ’90s era. It’s exactly the kind of stuff I used to hear on downtempo DJ mixtapes back in the day. The vibe is nostalgic, and while it still holds up in some ways, it definitely feels like a product of its time.
Hookworms
4/5
This was a pretty cool mix of neo psychedelia with synthpop and krautrock. The entire album is driven by motorik style beats and rhythm. The electronics are all modular synths that feel alive, and at times glitchy, while the overall soundscape is colorful and full of texture. It’s honestly nothing too mind blowing, but it’s good for what it is. If you like bands like Stereolab, then this will be right up your alley.
David Bowie
4/5
This has always been a fun album to revisit from time to time. It’s definitely a transitional album that paved the way for Bowie’s Berlin Trilogy. It’s a great blend of art rock and funk rock with a touch of Krautrock and motorik beat influences. While these influences are subtle, the impact of German experimental artists is evident.
John Mayall & The Bluesbreakers
4/5
One of the elements I really enjoyed on this album was the piano and organ, played by John Mayall himself. But what this album is most known for is Eric Clapton’s electric guitar work. This is the record that nearly turned him into a guitar god. Another cool detail is that the bass is played by John McVie, who would later go on to become one of the co founders of Fleetwood Mac.
k.d. lang
4/5
For adult contemporary singer/songwriter music, this was actually a pretty good album. It has a more minimalistic and refined approach, with gentle guitar work, subtle keyboards, and some orchestral arrangements that gives it a sophisticated chamber pop vibe.
3/5
The Kinks are a band I always thought I'd enjoy, but as I delve deeper into music, they haven't quite lived up to my expectations. While their music isn't bad, it feels somewhat middle-of-the-road compared to other bands from that era.
Ramones
5/5
If you’re into punk, it’s hard not to enjoy this album. The rhythm really stands out and keeps everything moving. Joey Ramone’s vocals are catchy and fit this music so well. The songs are fast-paced and energetic with a no-frills style, but they still manage to pull you in and stick in your head. Overall, I really enjoy these guys and what they bring to the table.
Simple Minds
4/5
Simple Minds has quickly become one of my favorite 80s new wave bands. I hadn’t really dug into any of their full albums until the last 6 months or so, and now that I have, I’ve found a whole new appreciation for them. I used to have a greatest hits album from them, but it only had a couple of really good tracks, and the rest felt pretty mediocre. That made me think the rest of their catalog would be just as underwhelming, if not worse. But man, was I wrong. This album, in particular, leans heavily into synthpop, with the guitars playing more of a complementary role to the synthesizers. There’s also a strong art rock vibe running through it, which likely gives Simple Minds their more mature and distinctive sound.
Isaac Hayes
3/5
This was a pretty cool score. I’ve actually never seen the movie, so my entire perception of the album is purely based on the music. Overall, it’s pretty mid tempo, mellow, and smooth, perfect for winding down or even starting your day. It’s basically funk and soul presented in a cinematic way, with most of the tracks being instrumental. The vibe is laid back.
Emerson, Lake & Palmer
5/5
I really enjoy this era of Emerson, Lake & Palmer. When it comes to the early stages of electronic music and synthesizers, these guys deserve far more credit than they often get. They were truly ahead of their time, and their musicianship was remarkable, especially given their ages. I also admire how they used the progressive rock platform to embrace cutting edge technology for their era.
This album balances their long, improvisational tracks with shorter, more accessible pieces. Even when their songs stretch on with no lyrics, their music and instrumentation deliver a storyline just as effectively. Theatrical and grandiose buildups are easily my favorite aspect of their work, and this album showcases definitely delivers.
Britney Spears
1/5
Fuck Britney Spears
Zero reasons for this album to be on a top albums list
Sonic Youth
5/5
I personally think this is one of the defining albums that helped merge noise rock with the emerging alternative and indie rock scene of the late 80s and early 90s, and paving the way for bands like Dinosaur Jr., Pixies, and Pavement. This also feels like one of Sonic Youth’s key bridge albums, sitting between their NYC no wave and noise rock roots and the more grunge leaning alternative sound they’d explore later in their career.
The Notorious B.I.G.
2/5
I have to admit, this album was actually pretty cool to listen to. Back in the 90s, I never gave it a chance because it was so trendy and commercial, especially with suburban kids who thought they were gangsters. That audience always turned me off, and I was more into other styles of music back then. Revisiting it now, I realized it has really good production and is better than I expected, especially for its time. The album uses a lot of great old samples of funk, jazz, and R&B, which adds a lot of depth. Another pleasant surprise was seeing DJ Premier involved in the production, as I’ve always enjoyed him. Overall, it was a much better experience than I anticipated.
Bob Dylan
4/5
So far, up to this point, the only Dylan material I’ve heard has been from his 60s and 70s albums. He stays true to his folk blues roots, but what really drew me in was the humid, murky, and hazy atmosphere. Producer Daniel Lanois gave the album a spacious, echo heavy, and moody soundscape that perfectly aligns with Dylan’s gravelly, ragged voice. Although it’s deeply rooted in the past, the production keeps it relevant for its time, giving it a moody character that reminds me of Lucinda Williams and early Wilco. In many ways, it even feels ahead of its time, considering that over the next few decades a wave of atmospheric Americana albums would emerge from the indie folk scene.
Suede
4/5
This one caught me by surprise. The last Suede album I listened to was pretty mediocre, so I went into this one a little hesitant, but I ended up enjoying it. It sits on a Britpop foundation, but there’s this dark glam element that gives it a heavy, almost cinematic atmosphere. The vocals are theatrical and grandiose, almost operatic, and the whole album carries a moody tone. Normally, by the way I’m describing it, you’d think it wouldn’t appeal to me, but somehow it all comes together into something I actually enjoyed.
FKA twigs
3/5
I can’t say I really enjoyed this album, but overall it’s pretty decent for experimental R&B, avant-pop, and art pop. It’s a very minimal record by nature, and it really takes advantage of negative space in the production. The silence and subtlety between arrangements become part of the atmosphere. If you’re into the more experimental side of someone like Björk, then this will probably be right up your alley.
Le Tigre
4/5
This album was ahead of its time for the late ’90s. I genuinely believe it helped pave the way for the electroclash movement and the indie rock surge of the early 2000s. I can’t think of any other bands from that era who managed to strike a unique balance between electro, dance vibes, and punk energy.
As for its relevance today, I think it will always hold its place as an influential album in underground music history. That said, for me personally, the album has about three really strong standout tracks, and the rest feel pretty average or even a bit mediocre.
Mudhoney
4/5
This was actually my first time listening to Mudhoney, and they feel like the perfect bridge between Dinosaur Jr. and grunge. This album came out right before Nirvana’s Nevermind, but unlike the big grunge records that followed, this one had a much more unpolished, gritty garage punk feel, and it really leans into the noise rock side of the genre.
The production is murky and warm, clearly favoring texture and attitude over any kind of polished studio sound. That’s one of the reasons I don’t revisit a lot of 90s grunge, because once it blew up, most of the bands went super radio friendly and polished, which I think goes completely against what grunge was originally meant to be.
Pink Floyd
4/5
This is the Pink Floyd album I heard the most growing up. I even had it on cassette, so at this point, I’ve heard it so many times that it’s lost some of its excitement for me. That said, I still appreciate how well they crafted the theatrical and emotional weight of this album, drawing from the personal struggles and memories of the character Pink. The music takes you on a real roller coaster ride, moving between quiet, reflective moments and dramatic, intense buildups. And if you haven’t seen The Wall movie, I highly recommend it, because it takes the album’s emotional depth even further, making the story feel even more immersive.
Miles Davis
4/5
This was a really cool album to check out, especially knowing the tracks were recorded between 1949 and 1950. From what I’ve learned, this album was a key part of starting the ‘cool jazz’ movement.
Cool jazz was a response to the energetic big band bebop sound of the time. It’s more minimal, restrained, and laid-back, making it a smooth and relaxing listen. For its time, this was a big shift in jazz, and it’s fascinating to hear how it all started.
Fiona Apple
4/5
One of the most impressive things about this album is that Fiona Apple was only 18 when it came out. If she really did write her own lyrics based on personal experiences, then she was pretty mature for her age. What I enjoyed most about the album, though, is the music itself. I love the piano and the drumming on this album. The beats have a strong driving force, but they don’t overshadow the piano, which really drives the album. The combination of the two works very well together, and the production behind it is pretty solid too.
Fatboy Slim
4/5
This album was a huge part of my teenage years. I remember some of my friends refusing to listen to Fatboy Slim because we were all about what we called “real techno,” the kind you’d only hear at raves or find on DJ mixtapes in underground clothing stores. They wrote off anything mainstream as “techno wannabe,” thinking they were too cool for him. But the truth is, Fatboy Slim was an incredible producer with a knack for finding unique and special samples. He had a way of transforming them into something completely different, giving them a whole new vibe from the originals, and that’s what really made his music stand out to me.
Mj Cole
4/5
This album definitely takes me back to the early 2000s because I was a huge fan of UK 2-step garage. MJ Cole had a more sophisticated, smoother, and jazzier edge to his style, along with soulful vocals and lush string arrangements. This album features intricate 2-step rhythms with syncopated snares and swung hi hats, which were classic traits of garage at the time. And you can’t forget those deep, rounded basslines that never overwhelm, but instead blend smoothly with the rest of the music and vocals. This will always stand out as a landmark album from the UK garage movement, and one that brings back so many memories for me.
Crowded House
4/5
Overall, this was a cool album to come across on the generator. It’s a well balanced mix of jangle pop, power pop, and sophisti-pop, which are all elements I really enjoy. That said, I have to admit, I don’t think it quite deserves a spot on a top album list. There were definitely some catchy and melodic segments that I found really enjoyable, but at times, I didn’t particularly care for the sound of his voice. Still, it wasn’t distracting or bad enough to ruin the album, it just didn’t always click for me.
The Blue Nile
4/5
If you like your art pop to be sophisticated and elegant, then this is the album for you. The Blue Nile is very meticulous with their production, paying close attention to detail, where every note and instrument is carefully placed. There are plenty of traditional instruments, but many of them are there to complement the keyboards and synthesizers. As for the drums, they’re very minimal and often electronically driven. Overall, this album is a nice, calm, and relaxing listen, with an ambient, atmospheric undertone.
Leftfield
5/5
This was a great progressive house album for 90s dance music. It has breakbeats mixed in, but what really sets it apart from a lot of other records in the genre is the dub influenced soundscape, which gives it an ambient, atmospheric feel while still keeping a tempo that works perfectly on the dance floor.
What’s crazy is that I always expected Leftfield to be a drum and bass group. I’ve known about them since the late 90s, and every time I saw their name, I just mentally lumped them in with that scene. Turns out they’re progressive house, and honestly, that’s even better.
Lucinda Williams
3/5
This was a decent album for rootsy folk rock and Americana. I can’t say it’s something I see myself coming back to, but it was good for what it was. It definitely has its time and place, even if it didn’t fully click with me personally.
Throbbing Gristle
5/5
When it comes to the earliest stages of industrial music, and hearing it the way it was originally meant to sound, Throbbing Gristle was the first band to really create it and to even coin the term “industrial.”
I’ve known about these guys since the mid 90s, back in my teens when I was listening to bands like Nine Inch Nails and KMFDM. Back then, I had a hard time appreciating Throbbing Gristle. Their music was too destabilizing and disjointed for me, with vocals that were often distorted, rambling, or more like spoken word, and sometimes sampled from other sources altogether.
So when it comes to enjoying albums like this, you can’t go into it expecting the easy listening version of traditional industrial music. You’ve got to approach it when you’re in the mood for something avant garde, experimental, and challenging. It’s about pushing the boundaries of what was available at the time, and pushing the boundaries of what music can even sound like at all.
Bruce Springsteen
4/5
Bruce Springsteen is someone I’ve known about my whole life, but I never really paid much attention to him. This was the first album of his I’ve listened to from start to finish, and it was pretty solid heartland rock focused on the struggles of the working class. The piano stood out the most to me. It’s definitely one of the driving instruments. The album has a good mix of heavier tracks and solid ballads.
Grizzly Bear
2/5
Back in the late 2000s when Grizzly Bear was gaining some attention, I checked out their music, but nothing really stood out to me. Now that I’m exploring baroque and chamber pop more, I thought I’d give Veckatimest another shot since it’s a popular pick. Unfortunately, it still lands somewhere in the middle for me. It’s not bad, but it doesn’t hit any emotional highs either. There are a few cool and catchy parts, but the album as a whole just doesn’t do much for me.
Harry Nilsson
2/5
If you ever want a snapshot of what early 70s soft pop rock sounded like, this is the album to check out, because it hits every stereotype imaginable. That said, I just found it bland and boring. It didn’t grab me at all.
Neil Young & Crazy Horse
5/5
Neil Young is one of those artists that’s hit or miss for me depending on the album, but this one hits hard. It’s got that country twang mixed with the grit of garage rock, and several of the tracks jam out a bit longer than usual. If grunge could’ve existed in the late 60s, this would’ve been it.
Machito
4/5
For some Afro Cuban jazz, this was a pretty good album. I like jazz across the board, but big band ballroom-style jazz has always been my least favorite. Since this album definitely leans into that big band feel, I don’t really see myself coming back to it often, but I still enjoyed it for what it is.
Tina Turner
4/5
This album turned out to be better than I thought it would be. Obviously it’s rooted in 80s pop and contemporary R&B, but it had a more innovative edge than I was expecting. It still has that polished, radio 80s sound, but there’s also a rawer side that adds texture, probably since some of the tracks featuring collaborations with members of Heaven 17. I also thought she did a decent cover of Bowie’s “1984,” especially since the album itself was released in 1984.
Tom Waits
5/5
Classic Tom Waits! Especially when it comes to the percussion, which he mostly performed himself using whatever random objects he had lying around. For avant-garde, alternative, and experimental rock, this album will always stand as a classic.
Dexys Midnight Runners
4/5
This was a pretty good album. Their first two albums were definitely more energetic and horn driven, but this one leans heavily into soulful new wave and sophistipop. Even though it’s a full length album, it only has seven songs, so they clearly focused more on the songwriting, and crafting longer, more introspective tracks than what you’d expect from their earlier work.
Prefab Sprout
4/5
This was a pretty good find. Another great 80s Art Pop and New Wave album that I hadn’t checked out before. It has a wonderful nostalgic and reflective quality, paired with smooth and polished lush production. An added bonus is that it was produced by Thomas Dolby.
The Psychedelic Furs
4/5
This is one of those bands I’ve known about for as long as I can remember, but all I ever knew were their hits. About six months ago, I finally listened to this album for the first time and really enjoyed it. I completely forgot about it until recently when I saw it on my list and decided to give it another listen, and I think I enjoy it even more this time around. I have a total weakness for those jangly guitars, and the way they blend the catchiness of new wave with a post-punk foundation really hits the spot. The music has a colorful, raw edge to it, but the production is polished and clean in a way that complements the feel of the music perfectly.
a-ha
4/5
This is one of those new wave albums I’ve been meaning to check out for a long time, and now that I finally have, I can see why it stands out, and it’s easy to hear why it left such an impression when it came out. That said, I think their hit song “Take On Me” far exceeds the rest of the album, so much so that it kind of overshadows everything else. The other tracks are good, but it’s hard for any of them to feel like true highlights in comparison.
Jungle Brothers
4/5
This was actually a really fun late 80s hip-hop album, especially considering how much of this era hasn’t aged all that well for me. But this one still holds up. I’ve known about Jungle Brothers for a long time because of the track they did with house producer Todd Terry, I’ll House You, and it’s cool to hear that connection reflected in this album. Overall, this feels like conscious hip-hop before conscious hip-hop was really a thing. They have a clever way of flipping samples in a way that makes the music feel grounded and relatable, and they even flirt with house music on a track or two, something they’ve continued to explore throughout their career.
Bad Brains
4/5
This is the most highly produced Bad Brains album I’ve heard. It comes through with way more clarity, weight, and density than anything they released before it. While it still has its aggressive moments, this one leans more into funk metal and melodic territory.
H.R. still delivers some explosive yelling, but he’s way more soulful, and actually sings on many of the tracks. In some ways, this album reminds me of what bands like Faith No More and Red Hot Chili Peppers were doing in the late 80s and early 90s, but with a much sharper, and more hardcore punk edge.
Deerhunter
4/5
This was a little different and better than what I was anticipating. It’s indie rock with a neo-psychedelia, dreamy, and ethereal soundscape. You have reverb-drenched guitars, with a mix of traditional and electronic percussion. The electronic elements are subtle, adding depth and atmosphere to the songs. The production is very crisp and clean. It’s not the best thing I’ve come across, but I’m definitely going to play it a few more times just to absorb it better.
Solange
4/5
This was a very impactful album that’s heavily driven by mood and texture. It definitely sits within the world of contemporary R&B and neo soul, but what really stood out to me was the way she uses recorded conversations and layers them into the music. It plays perfectly into the somber, ambient vibe of the album and adds a deeper sense of intimacy. It breaks the ice and makes you feel like you’re right there in the room with them.
The National
3/5
I remember The National being a pretty popular band around this time, with a lot of DJs and producers remixing their tracks. Whenever I checked out the original versions of some of those remixes, they never left much of a lasting impression. Listening to this album now, I kind of feel the same way. It’s definitely not bad, it’s a solid product of its time, but it sounds like the average indie rock bands of that era. While it wasn’t an unpleasant listen, nothing about it really stands out, and I can already tell this will be one of those easily forgettable albums for me.
Ice Cube
4/5
This is one of the handful of hip hop albums from the late 80s and early 90s that’s aged pretty well. It’s really more of a hybrid between West Coast and East Coast hip hop. Lyrically, it’s rooted in Ice Cube’s gangster narrative style, but what makes it stand out is the production.
For this album, Ice Cube went out to New York and teamed up with The Bomb Squad, the same production team behind Public Enemy. As a result, the beats have that dense, sample heavy style that was signature to East Coast hip hop at the time.
The Thrills
4/5
At first, I thought this was going to be a pretty middle of the road, mediocre album, but as it went on, it actually sucked me in. It had that early 2000s indie pop sound, but with a heavy influence of 60s pop nostalgia. You get all the fun Mellotron style keyboards and jangly guitars, plus a nice element of that 60s surf rock twang that really added some extra color and texture to the album. It ended up being better than I expected.
Baaba Maal
3/5
This album sounds exactly like I imagined it would, so I guess that means it's pretty typical and basic for what a world African album sounds like to me. It's not bad, and it was good while I was listening to it, but it doesn't really make me want to come back to it.
The Undertones
4/5
The Undertones really strikes a nostalgic chord. As a teenager, I was deep into electronic music and just starting to explore 80s new wave. I worked with a guy named Adam, 20 years older and a die hard 70s and 80s punk fan, who introduced me to this band. Its power pop vibe was the perfect bridge for me, and “Teenage Kicks” was the first track he played. Every time I hear this band, it’s a trip down memory lane.
Goldfrapp
4/5
I thought this was a pretty good album from Goldfrapp. I wasn’t expecting a folktronica record, but I definitely prefer this over her more club oriented electro sound. It has the charm of late 60s psychedelic folk, with lush, pastoral English countryside vibes, layered in with electronic textures that gives it a more ambient pop edge.
Björk
4/5
When it comes to Björk’s more experimental albums, they can be hit or miss, but this is definitely one of her better ones. It’s clearly art pop, but leans more toward the ambient, folktronica side. The production is strong, and while she maintains her experimental edge, she also strikes a good balance by keeping the music enjoyable and grounded.
Fun Lovin' Criminals
3/5
Man, talk about a time capsule from the 90s. From the music production to all the Quentin Tarantino references, this album really encapsulates everything that made the 90s what it was. With that being said, it’s definitely a product of its time, but I’ll admit, “Scooby Snacks” was a super hot track back in the day.
Nick Cave & The Bad Seeds
3/5
Overall, this is a very original, poetic, and musically skilled album. I’d describe it as a blend of goth rock and folk rock, with a Southwestern flair running through its atmosphere. There are some notable guest appearances, such as PJ Harvey which makes sense given their history, but I was honestly surprised to see Kylie Minogue’s name attached. Like I said, it’s a good album, and I can definitely see why it’s so highly praised. That said, I personally prefer some of Nick Cave’s other albums over this one.
Paul Revere & The Raiders
4/5
This album has a lot going for it, especially when you consider the time it was released. While it’s tempting to label it psychedelic rock, at its heart it’s still very much garage rock. Psychedelic elements were just beginning to emerge around this time, and this record was definitely ahead of the curve. The track “All I Really Need Is You” even touches on Indian and Middle Eastern musical influences, making it an underrated and early example of the kind of experimentation that would eventually lead to the 60’s raga rock movement.
Eminem
2/5
The production on this album is undeniably high-quality, filled with catchy beats and memorable hooks. Even though I’m not a fan of Dr. Dre and don’t follow his work, I have to admit that he’s a top-tier producer. Now, onto Eminem. I know my opinion might be outnumbered by the masses, but I’ve always struggled to see him as a timeless musical legend. His wacky, silly, and goofy wordplay, laced with provocative and sarcastic humor, just doesn’t resonate with me. It feels more like satire with a level of maturity that specifically targets a young adolescent demographic. Sure, it’s a phase we can all relate to at some point in our development into adulthood. And yes, maybe his music spans generations, but it’s also a phase that we’re meant to grow out of. As one generation moves past that stage, another younger generation steps in to take over where the last one left off. But here’s the thing: if you found yourself relating to Eminem at 20 and are still listening to him at 60, that might be a pretty good indicator that you never really evolved or grew up.
Coldplay
2/5
Coldplay was definitely a breath of fresh air when they first came out, especially considering what was happening in music at the time. On the flip side, bands that define an era often get stuck in a paradox, becoming products of their time, and Coldplay is definitely a product of the early 2000s. Overall, I think they’re a pretty good band with decent music. I’ve always appreciated their atmospheric soundscapes, but they’re not a band I feel much desire to revisit these days.
The Monkees
3/5
The story behind this album is pretty cool—being the first time The Monkees played their own instruments and wrote most of the material in response to the “manufactured band” criticism. That definitely makes the album more respectable. As for the music itself, it’s solid 60s pop rock, but it doesn’t really stand out from the rest of what was going on during that era. It’s decent, just nothing too remarkable.
The Jesus And Mary Chain
4/5
This was a pretty cool post punk and goth rock album for the ’80s. I remember their first album vaguely, but I do recall it being much hazier and drenched in feedback, almost bordering on shoegaze. This one feels a lot less chaotic in comparison, with more focus on atmosphere and melody. It’s definitely darker, with a more accessible sound overall. I think I probably still prefer their debut for its rawness, but this one is still good especially if you’re in the mood for something more toned down and moody.
Heaven 17
4/5
Heaven 17 is essentially a spin-off from The Human League, with most of the same members, minus a couple. This is their first album, and it’s a really good example of early 80s defining synthpop. The album has two distinct themes. The first half is the “Penthouse” side, featuring more polished, pop oriented tracks. The second half is the “Pavement” side, which goes in a darker, more experimental electronic territory. Like a lot of synthpop and 80s new wave, this album is driven by social consciousness and its politically charged. When it comes to late 70s and early 80s synthpop and electronic music, Heaven 17 has always been one of those standout, unique bands.
Peter Gabriel
5/5
This was my first time listening to this album, though I’ve known about it for a while. The only other solo Peter Gabriel album I’ve heard is “So”, which was decent, but I really enjoyed this one, and of the two, this is definitely my favorite so far. Right off the bat, I was impressed by the musicians who contributed, especially Kate Bush, Phil Collins, and Robert Fripp, who stand out among the lineup. Equally important were Steve Lillywhite and Hugh Padgham, whose production and sound engineering really brought this album to life. I’m not too familiar with them, but I know they worked on a lot of art pop and art rock albums in the 80s, and it feels like this album’s production set a benchmark for the innovative, sophisticated sound that became a hallmark of that era. From the opening track, you notice a crystal clear, layered effect that creates a three dimensional soundscape. Unlike the often muddy production of 70s rock, this album stacks multiple tracks with distinct effects, volumes, and densities, giving the music pristine depth and clarity. On the flip side, some might argue this polished approach strips away the natural, live feel of a band’s performance, replacing it with something that can sound a bit manufactured. Still, I think every style has its time and place, and album was incredibly forward thinking, helping define the standards for 80s art rock.
Orange Juice
5/5
So Edwyn Collins, the guy known for the classic “A Girl Like You”, was actually in this band before launching his solo career. This is really a unique album. It blends post punk, jangle pop, sophisti-pop, and new wave, but never fully commits to any single style. Instead, it pulls elements from each and creates something all its own.
You can clearly hear the influences, but the band doesn’t let those boundaries box them in, instead they carve out a distinctive sound of their own. Something else worth noting, the title track “Rip It Up” was one of the first pop songs to feature the Roland TB-303 bassline synthesizer, which would later become a key element in acid house. So not only is this album stylish and inventive, it was also ahead of its time.
Cat Stevens
3/5
Cat Stevens is one of those artists I’ve always overlooked due to some bad memory associations, but after giving this album a listen, I have to say it was a decent folk rock record. It had a few well known hits and recognizable tracks, along with a couple of songs that didn’t do much for me, but overall, it flowed well from beginning to end.
New Order
5/5
One thing I really love about this album, is that a good portion of it was recorded in Ibiza, and you can definitely feel that influence. This album carries a laid back, airy vibe that reflects the Balearic movement of the time. New Order was aiming more for rock song structures, but built them on the framework of dance music and acid house, which blended colorful synthpop with alternative rock, while the guitars take a more subtle role. They’re mainly used for texture and occasional melody than to drive the songs. Synths and programming takes dominance, giving the album its distinctive club inspired energy. Despite the upbeat and colorful exterior, there’s still that familiar New Order bittersweetness, that carries emotional weight and longing that lingers beneath the surface.
Barry Adamson
5/5
If I had to sum up this album, I’d call it a trip hop jazz noir soundtrack to a movie that doesn’t exist. The one thing that remains consistent throughout is its cinematic nature. It fully embraces the feel of a soundtrack, but without the visuals. Some parts reminded me of 90s trip hop and the funky big beat movement from the 90s era electronic scene. Other moments lean into quiet, spoken word segments, evoking imagery of a jazz band playing in the corner of a dark, smoke filled lounge, slowly building toward dramatic, big band style climaxes. It’s a really cool album, and I liked it a lot, but I will say it starts to feel a bit long toward the end, almost like it’s dragging. Still, it’s a cool listening experience and one of the more unique albums I’ve heard recently.
Supergrass
3/5
As I’ve been working my way through various “top albums lists,” I’ve found that Supergrass is another one of those bands that achieved significant success in the UK but remained relatively unknown in the US. These albums can be hit or miss for me. For this one, I enjoyed it for what it was and thought it had a cool vibe. While I’d like to think I’ll revisit it in the future, the truth is I probably won’t. Its moment in history has passed, and while it was enjoyable, it doesn’t compel me to come back to it.
Cornershop
3/5
Man, talk about a 90s time capsule! This album is such a product of its era that I don’t think it’s aged particularly well. It blends radio friendly alternative rock with the trip hop and hip hop beats that were everywhere in the mid to late 90s. There are even moments of Eastern raga rock influence that feel like throwbacks to 60s psychedelic pop.
Despite some big names behind the production, like Dan the Automator, this album ultimately feels kind of dull and dated to me now. It’s an interesting listen for the sake of context, but nothing I’d revisit.
Spacemen 3
3/5
It’s not a bad album, but personally, I’ve always felt that Spacemen 3 might be a bit overrated. My biggest issue is that half or more of their tracks tend to just idle without really going anywhere. They set a mood, but don’t always build on it or evolve. This is one of those bands I really want to enjoy more than I actually do. The aesthetics are there, and I get the appeal, but it doesn’t fully land for me.
Nusrat Fateh Ali Khan
3/5
This was actually a pretty interesting album to listen to and research. Nusrat Fateh Ali Khan is from Pakistan, and the style of music he performs here is called Qawwali, which is tied to Islamic mysticism and rooted in Indian and Pakistani traditions. This particular album is a compilation of tracks released on Real World Records, a label founded by Peter Gabriel as part of a broader push to bring world music to Western audiences.
Over the years, this album has been heavily sampled by electronic and hip hop producers, which shows how influential it’s been outside its original context. Overall, it’s a fun listen that really pulls you in with its trance like repetition, but at least for me, it feels more like a one time listen kind of album rather than something I’d revisit regularly.
Little Simz
3/5
The production on this album is absolutely amazing. You can definitely hear that UK grime influence, which really helps it stand out from a lot of other hip hop albums.
As for the rapping, I personally prefer the more laid back tracks where she just flows along with the music. Those moments feel more natural and enjoyable. But when it shifts into the more aggressive tracks with a lot of attitude, I just can’t take it seriously. She honestly sounds like an angry teenager or frustrated kid.
And maybe this is just coming from me being older, but as a listener, it feels kind of self degrading to be looking for insight and wisdom from someone who probably wasn’t even old enough to legally drink at the time this came out.
Radiohead
4/5
I’ve always been a huge fan of experimental music, and what’s funny is that I remember in the early/mid 2000s when Radiohead was at their peak, I just couldn’t ever get into them, despite trying several times. However, over the last six months since I’ve been using this album generator, I’ve been able to grasp and enjoy Radiohead for what they are. On this album particularly, I really enjoyed the electronic elements, especially the piano and some of the programmed drum patterns and beats. I’m actually going to start looking into some of the side projects and solo albums that have branched off of Radiohead.
Yeah Yeah Yeahs
4/5
This album was definitely a staple of the 2010s indie and dance scene. The Yeah Yeah Yeahs started off with a gritty garage rock sound, but this album shifted toward a more polished, electronic driven dance punk direction.
The track that really blew them up beyond indie circles was the A-Trak remix of “Heads Will Roll,” which became a massive club hit.
It’s still a fun album to revisit, but because it was such a defining part of its era, it definitely feels locked into that specific time period. That said, it still holds up well as a high point in the dance rock crossover trend of the late 2000s and early 2010s.
Richard Thompson
4/5
This was a great album to start my Monday morning with. I’ve always had a weakness for that working class British folk rock sound, especially when it evokes imagery of the English countryside. The baroque and Celtic influences on this album really play into that atmosphere and bring the whole thing to life.
It was recorded in a tight time frame and on a very low budget, but I honestly think that worked in its favor. The stripped down and dry production adds a raw charm and intimacy that makes the whole album feel even more grounded and personal.
Missy Elliott
3/5
I’m a little mixed on this album. On one hand, Missy Elliott has always kind of left a bad taste in my mouth, because her style just never really clicked with me. But I’ll give her credit where it’s due, the production on this is pretty solid and definitely helped balance things out. Timbaland’s beats carried a lot of the weight for me and made the album a more enjoyable listen overall, and that says a lot, considering Timbaland is also someone who usually brings a bad taste to my mouth.
Kate Bush
5/5
Based on my research, this album wasn’t a commercial success right out of the gate. Critics, and even a lot of her fans were initially baffled, and it took some time for the album to really sink in.
I’m currently about halfway through Kate Bush’s catalog, and with every album I hear, I’m blown away by her experimental approach to music production, especially her use of technology for the time. This was the first album she fully produced herself, and she really had full control in shaping its sound.
One of the major tools she used was the Fairlight CMI, which was a state of the art digital workstation. It wasn’t just a sampler, it was a full on synth and sequencer with the ability to draw waveforms on the screen with a light pen, which was groundbreaking back then.
Beyond that, Kate Bush had an innovative approach to how music could be made in the studio. I think she was one of the most innovative musicians of her time. She helped pave the way for artists like Björk, St. Vincent, and FKA twigs, the only big difference being that Kate did most of the production work herself, while many modern artists work closely with producers to bring their ideas to life.
James Brown
3/5
To be honest, I never really got into James Brown because his vocal style and tone never really appealed to me. That said, I thought this was a decent live album. The energy and atmosphere are fun and uplifting, and the musical instrumentation stood out the most for me. It’s not a personal favorite, but I can appreciate what it brings to the table.
Miles Davis
5/5
I really think this album deserves to be in the top tier of the greatest albums ever made, especially when you balance its experimental edge with the overall listening experience. There are a lot of great avant-garde and experimental jazz albums out there, but many of them aren’t very approachable for the average listener. What really keeps this album grounded is the bass. It’s repetitive, hypnotic, and it’s groove focused, which provides a solid foundation for everything else to build on.
I also found it fascinating that the album features dual drummers along with additional percussionists, creating complex rhythms that drives the improvisational element. From a production standpoint, this was one of the first albums to really use the studio as an instrument. The band recorded long, freeform jams built around rhythmic grooves and modal frameworks, and then hours of material were edited and sculpted into shape through heavy layering and post production work.
Culturally, this album is also important because it was heavily influenced by the psychedelic counterculture of the 1960s, but it doesn’t sound stuck in that time period. It has a timeless quality. If someone unfamiliar with it heard it today, they might not be able to tell if it was recorded 50 years ago or five. That’s rare. A lot of music from that era sounds like it came from that era, but this album still feels new and fresh, even decades later.
Ali Farka Touré
4/5
This was a fun and enjoyable album. It’s pretty much African folk mixed with blues. Once you get a little ways into it, it definitely draws you in with its meditative and trance like atmosphere. Turns out Ali Farka Touré had been battling cancer, and during that battle he managed to create this album, but unfortunately, he passed away just a few months before it was released.
50 Cent
3/5
Well, I can’t say I was excited about this album, but it wasn’t too bad. I really have a hard time appreciating this type of rap and hip-hop the way some people do. It fits just about every stereotype, so it’s hard to give it credit for being “authentic and original” in any meaningful way. But other than that, there’s not much more to say about this album.
The Icarus Line
4/5
Well, I definitely don’t think this album deserves to be on a top albums list, but aside from that, I thought it was a pretty decent early 2000s post-punk, and noise rock album. You can definitely hear influences from bands like Sonic Youth and maybe even The Jesus Lizard, but they also really reminded me a lot of Death From Above 1979, especially since they were part of the same era. One element this album had that stood out was a glam side, which I thought was pretty cool and actually even made me think of The Stooges at times.
Big Black
4/5
This was my first time listening to this particular album from Big Black, and I have to say it definitely delivers. Like the rest of Big Black’s catalog, it’s loud, harsh, and aggressive as hell. The music feels like a fusion of hardcore punk and industrial. It’s unrelenting and abrasive from start to finish. One of the standout elements is the use of a Roland TR-606 drum machine instead of a live drummer, which adds a cold, mechanical feel that really cranks up the intensity. For an album released in the mid 80s, this must’ve really pushed the boundaries. Using a drum machine in the punk and metal scene at the time was practically unheard of, and Steve Albini used it to amplify the chaos.
Lauryn Hill
3/5
If there’s one thing this album should be remembered for, aside from the music, it’s that iconic cover. Back in the late 90s, it felt like I saw that image everywhere. Musically, it’s a blend of neo-soul and conscious hip hop, and while I’ve personally lost some appetite for this sound over time, it definitely had its moment.
When it first came out, it stood in stark contrast to much of the mainstream hip hop of that era. This album was lighter, groovier, and more uplifting, both emotionally and spiritually compared to the harder, more aggressive edge of commercial rap at the time. It brought something fresh and genuine, and even if it’s not in rotation for me anymore, there’s no denying its impact.
The Associates
3/5
This one’s a bit odd, and I’m still trying to figure it out. It’s definitely artsy synthpop with a strong post-punk vibe. The theatricality of it all really shows influences from David Bowie and Bryan Ferry.
Derek & The Dominos
4/5
This was a very good album from Eric Clapton, and what I really enjoyed was the way they incorporated the organ and piano into the jam sessions. So if you like blues rock with a jam band vibe, then you’ll definitely enjoy this one.
One interesting backstory about this album, is that I was once told that “Layla” by Eric Clapton was about him secretly being in love with Yoko Ono. I always thought—seriously? Out of all women, why Yoko Ono??? Yuck!!! Anyway, after researching the album while listening to it, it turns out I was wrong. Thank God! “Layla” was actually about George Harrison’s wife, Pattie Boyd. Clapton’s secret and forbidden love for her was channeled into “Layla,” which ended up becoming one of his most iconic tracks. So at least something good came out of it.
Black Flag
4/5
This is definitely a classic album that helped define American Hardcore. I have to admit, listening to it now doesn’t quite hit the same way it once did, but there was definitely a time in my life when this album hit hard and really resonated with me. For anyone researching the roots of Hardcore, this is without a doubt one of the top albums to check out.
The Crusaders
4/5
I feel like I found a little golden nugget with this album. It’s groovy, funky, and soulful jazz. Overall it’s a very laid back, but there’s definitely enough energy there to just close your eyes and sway your head to the groove.
This album really connected with me because it reminds me of a lot of house producers I used to listen to. It honestly sounds like a precursor to NYC style of house music. The kind that was more soulful and jazzy, usually with Latin influenced percussion and rhythmic layers.
In fact, the second track on this album, “My Lady,” was heavily sampled by a house producer from the 90s named Cricco Castelli for his track “Life Is Changing.” That track has always been one of my all time favorite old school house tracks.
Justice
3/5
When this album came out, and Ed Banger Records was pushing French electro house, (Cross) felt like a breath of fresh air. Justice really stood out in that scene with their gritty and abrasive style that brought in some rock influences. I also liked how they played with samples, like pulling from old trance tracks and bands like Devo, which gave it a fun edge. My only issue is that some tracks felt like filler, just there to connect the better songs.
Caetano Veloso
4/5
This was a fun album to dig into while listening. It’s a cornerstone of the Brazilian Tropicália movement, blending traditional Brazilian styles with psychedelic rock, British Invasion pop, and American avant-garde. Released during a period of political unrest, it was controversial and got Caetano Veloso arrested and exiled.
Billy Joel
3/5
Billy Joel has just never really appealed to me. I even had a teacher back in grade school who was completely obsessed with him—probably wished she could’ve married him. Even back then, his music never seemed all that impressive to me. And now, while I can admit he’s clearly talented, his music still doesn’t really do much for me. I’m not saying it’s bad, but it just kind of exists. Nothing I’d ever seek out on my own.
Bruce Springsteen
3/5
There’s some decent tracks on this album, but then you’ve got some very sleazy anthems like “Born in the U.S.A.” which have been shoved down our throats for the last 40 years. With that being said, I’ll just leave the review at that.
Paul Simon
4/5
At first I wasn’t too sure about this album, but I ended up enjoying it more than I thought I would. It definitely feels a little more experimental compared to what Paul Simon was doing back in the 70s. This one leans into more sophisticated 80s textures, synthesizers, layered production, and a more polished studio sound.
Something else I found interesting is that it originally started out as another Simon & Garfunkel album, but the project eventually evolved into a solo Simon release. The material was just too personal, and that ended up steering him away from the partnership with Art Garfunkel.
Neil Young
4/5
This was a really good and enjoyable album. It’s a wonderful blend of country, rock, and folk. There are a few sections with a heavier rock element mixed in, but overall, it’s a very cohesive, laid-back, and mellow album. The instrumentation is a great mix of acoustic guitar, electric guitar, pedal steel guitar, string arrangements, and piano, which really hooked me in. The album has a warm and intimate vibe with a cozy atmosphere. I have to admit, I’ve never really liked Neil Young as a person, but the more I’ve listened to his albums, the more I’ve found myself enjoying his music. And with this album, he really hooked me in. So far, this is hands down my favorite Neil Young album.
Taylor Swift
2/5
Where do I even begin? To be honest, I never really paid much attention to Taylor Swift, so I didn’t have much of an opinion about her in the past. But recently, she’s started embodying everything I can’t stand about superstardom. The grandstanding and arrogance of massive celebrities, who suddenly think they have all the answers to the world’s problems, really turns me off. When public figures like her start making political statements, I just feel like they’re overstepping. It’s like they reach a certain level of fame and suddenly believe they have to tell everyone what to think and do. On that alone, I’d love to give this album a low rating.
Now, musically, this album was way too commercial, polished, and glitzy for my liking. But I will say, it was interesting to hear such a strong ’80s synthpop influence, especially compared to her more country-oriented albums. As a 43-year-old man, this feels like music aimed at suburban teenage cheerleaders, but I have to admit, she worked with some top-notch producers who clearly knew what they were doing. While it’s too commercial and manufactured for my taste, that’s exactly what they were going for, and they nailed it. So, while it falls short of the middle ground for me, I still have to give credit where it’s due.
T. Rex
4/5
This is one of those albums I picked up in my early 20s after a friend at the music store recommended it as something influential. At the time, I didn’t really get why it was so important, it just sounded like classic dad rock to me. But once I learned more about its influence on glam rock and the context of its release in 1971, I gained a real appreciation for it. This album didn’t just contribute to glam rock, but it helped define it, both musically and visually. Marc Bolan’s persona and unique sense of fashion played a big role in shaping the look and feel of the genre.
Bruce Springsteen
4/5
This is definitely classic Bruce Springsteen, but I have to say it was a little more energetic than I was expecting. It also has a grandiose sound that feels like it pulls from baroque pop influences. I’d have to say the piano and organ were my favorite elements. They both played a key role in giving the entire album that youthful, energetic, and cinematic feel.
The Fall
4/5
So I’ve always been a huge fan of Mark E. Smith and The Fall, so much so that I can proudly say I saw them live in Boulder, Colorado about 20 years ago. That show will always stand out among all the bands I’ve ever seen live. They didn’t really do anything all that memorable performance wise, but just the fact that they’re such a legendary band and I got to see Mark E. Smith perform live before he passed away makes it unforgettable.
Now, with that being said, I’m a little surprised to see this album on a top album list, because The Fall is one of those bands that isn’t for everyone, and listening to a Fall album is usually something sought out by someone who knows exactly what they’re looking for. Either way, the fact that this made it onto a top album list definitely outweighs all the crap that’s on there, such as Christina Aguilera and Britney Spears.
4/5
Don’t go into this album expecting a synthpop sound. XTC took a different direction with the instrumentation. This is a chamber pop album, featuring strings and orchestration that give it a more expansive, cinematic feel. Even though the album covers new ground, it still has that art pop sensibility, and Andy Partridge’s distinctive vocals keep it grounded in XTC’s recognizable sound.
Frankie Goes To Hollywood
4/5
This album plays out like a provocative and theatrical concept album. I can definitely see how it pushed boundaries. Not just in terms of production, but culturally as well. It was way ahead of its time. The scope of this album feels so much bigger than most synthpop or new wave records from that era.
If you like “Relax” by Frankie Goes to Hollywood, then you should absolutely give this entire album a listen. They even did a cover of “Born to Run” by Bruce Springsteen, and honestly, I think they did a pretty good job. Surprisingly fits into the album’s larger atmosphere and helps maintain its cohesiveness.
Stephen Stills
4/5
Although this isn’t really the kind of folk rock I’m usually drawn to, this album was still pretty solid. There’s also a nice mix of gospel and blues throughout that adds some variety. One standout element is the lineup of guest musicians, such as Jimi Hendrix and Eric Clapton both appear on guitar, with Ringo Starr and Booker T. Jones contributing as well. I doubt I’ll come back to this album, but it was definitely worth the listen.
2/5
So, I don’t think I’ll ever understand the success of Oasis and how they’re considered such a legendary band. Liam Gallagher literally just whines in every single song, and it’s the most annoying thing ever. That said, if it wasn’t for Liam Gallagher, I’ll admit that the music aspect of Oasis really isn’t that bad.
Silver Jews
3/5
This was just a middle of the road, mediocre album for me. It pretty much falls under that indie country movement that artists like Bill Callahan and Bonnie “Prince” Billy are known for. So if you’re a fan of those guys, then you’ll probably enjoy this album more than I did.
Elvis Costello & The Attractions
4/5
I would have to say that this is definitely one of the better albums I’ve heard from Elvis Costello. It’s pretty upbeat and has a high-energy vibe with catchy melodies. I really enjoyed the keyboard elements the most because it brings a lot of color to the music.
Joan Armatrading
3/5
This isn’t a bad album at all. It’s a nice blend of folk, rock, jazz, and even a touch of blues. That said, her style reminds me a lot of the singer-songwriters who became popular in the 90s. But since this came out in 1976, maybe she was the one who pioneered that sound!
American Music Club
5/5
So this one is definitely a new discovery for me. I had never heard of these guys until they popped up on the album generator, and I ended up really enjoying the album. It actually starts off sounding like a country album, but shortly after, you start to pick up on some subtle undertones of indie and even grunge influences.
Even though slowcore as a genre hadn’t really developed yet, this album definitely feels like a precursor. It’s slowed down, emotionally grounded music, but filtered through an Americana lens. I’m glad it ended up on my radar.
The United States Of America
5/5
For anyone into experimental and 60s psychedelic music, this is definitely one of those top tier albums when it comes to forward thinking and innovation. While there are plenty of traditional instruments, the band really pushed the envelope by incorporating cutting edge electronic equipment like synthesizers and modulators. The production is where the real experimentation shines, with electronic effects, tape manipulation, layering, and anything else they could think of at the time.
GZA
4/5
Back in the ’90s, I wasn’t super familiar with GZA or RZA, but everything I heard from them, I always enjoyed. One thing I really love about this album is RZA’s production. It has this dark, dystopian vibe that really pulls you in, especially with all the kung fu and horror flick samples throughout the album.
I also love the tempo on a lot of these mid 90s hip hop albums. It’s not too fast, not too slow, just the perfect pace to vibe to while cruising around town. Looking back, I wish this kind of East Coast style hip hop had been more popular in Denver at the time, but back then, the Denver scene was all about West Coast hip hop.
Yes
4/5
This album marks the introduction of Rick Wakeman to the Yes lineup, and his addition brought a whole new dimension with the Mellotron and Moog synthesizer. Just that alone gets high approval from me! This is a really solid album, and I think it’s a great entry point for someone new to prog rock. The musicianship and arrangements are more complex, but it’s also one of their easier albums to digest, with shorter track lengths and a more accessible sound. That’s probably why it includes one of their bigger radio hits as well.
Fred Neil
3/5
For how influential this album is, it felt pretty mediocre and middle of the road to me. It’s an early folk rock record with some blues influences. I think it was the sound of his voice and his singing style that didn’t really click with me. It’s not bad by any means, but it didn’t have anything that stood out or felt particularly unique.
Kraftwerk
4/5
Frank Sinatra
4/5
This was a great collaboration, so good that Frank Sinatra’s voice feels completely natural over the music. His vocals and the instrumentation complement each other perfectly, with neither one overpowering the other.
As for Antônio Carlos Jobim, I won’t pretend to be an expert, but from what I understand, he was one of the founding figures of bossa nova. That makes this project even more significant, because two of the most highly respected artists in their respective corners of jazz came together and introducing their audiences to something new.
Baaba Maal
3/5
This was a pretty cool album from the generator, but not really something I’d seek out on my own. It’s mostly traditional and acoustic African folk music, that has a meditative and ethereal soundscape. Overall, it’s an album I doubt I’ll ever come back to, but I don’t regret listening to it either.
Joe Ely
3/5
I was a bit doubtful going into this album, but it really grew on me as it went along. Most of the tracks have a lively, upbeat vibe that mixes honky tonk country with rock, blues, and a good dose of southwestern Tex-Mex flavor. It even made me wonder if Joe Ely had some influence on a band like Calexico with their modern take on Tex-Mex country rock. This isn’t something I’d listen to regularly, but I enjoyed it and would definitely be interested in checking out more of Joe Ely’s work.
Crosby, Stills & Nash
5/5
Whenever I think about the Laurel Canyon scene, this is one of the albums that immediately comes to mind. On the surface, a first-time listener might hear this and think it’s just stereotypical late 60s folk and soft rock. Like the kind your dad or grandfather might’ve had on vinyl. But the truth is, this record helped define that entire sound. It set the standard.
Each member brings their own flavor to the mix. David Crosby adds the ethereal, psychedelic edge with his mystical, dreamy vocal style. Stephen Stills brings the grounded, soulful folk rock backbone. And Graham Nash gives everything a bright, melodic pop touch.
Two elements really stand out to me. First, the organ, it’s never dominant, but when you pay attention to it, it just hangs out in the background and jams along with everything else. Second, the vocal harmonies. They’re absolutely on point and give the entire album this warm, intimate, comforting mood that really defines the overall sound of the album.
Happy Mondays
4/5
Listening to Happy Mondays always gives me this weird false sense of nostalgia, like I’m longing for a time and place I wasn’t actually around for. But they really do capture a unique moment in British music history. They had a smooth blend of indie rock mixed with acid house, and their whole vibe was aimed for the dance floor, but done within the framework of an actual band instead of a DJ or producer.
The album’s production was handled by Paul Oakenfold and Steve Osborne, and both played a big role in shaping the sound. Paul Oakenfold bringing in the club elements while Steve Osborne handled the rest of the production. It’s also worth noting that this was one of the first albums Steve Osborne was credited for producing.
MGMT
4/5
This was such a cool album when it first came out, and I loved how MGMT managed to get recognized by mainstream culture. One of the things that always stood out to me was how psychedelic it sounded, but with synths and keyboards driving the music. They found the perfect balance between being forward thinking while still maintaining that retro, vintage tone and texture in their sound. Even now, some of these songs are still enjoyable, despite all the radio play they’ve gotten over the years.
Aerosmith
2/5
This was the album I learned how to use a CD player with when I was a kid. When my dad got our first CD player, this was one of the albums that came with it. Since it was their most current release at the time, I’d play it every morning until my mom finally got out of bed. But now, other than those nostalgic memories, the album doesn’t have much left to offer me. I overplayed it as a kid, and with every radio station playing these tracks constantly, I’ve grown pretty sick of them.
Fiona Apple
3/5
I had to listen to this album a second time to find some appreciation for it. Fiona Apple definitely put her heart and soul into the vocals. As for the music, it’s experimental but still structured in a pop format. The album is piano-driven with percussion that doesn’t follow typical beat patterns. She recorded the album in her home studio with minimal production equipment, creating most of her beats and percussion with random found objects she had lying around. Overall, I’m not a big fan of her voice, but her experimental approach to the music production actually turned out pretty good.
Malcolm McLaren
5/5
This was definitely a cool discovery from the album generator. I’m surprised I wasn’t already aware of it. You can tell this was made during the early stages of hip hop just by how much it explores outside the traditional boundaries of the genre and doesn’t feel restricted at all. For anyone who loves and appreciates the breakdancing, DJ, and producer side of hip hop, this album will hit the spot.
It has rapping, but it’s not dominated by the MC, and if anything, the rapping feels more like a space filler. What really stands out is how the whole thing plays like a pirate radio broadcast, with a strong worldbeat influence, live DJ mixing, turntablism, and those radio style talk overs with call in guests interacting throughout the mix. It’s a really unique album for its time.
Motörhead
3/5
So Motörhead is a band I like, but I really have to be in the mood for them. As for this album, I really didn’t care much for it, and a lot of it is because I just don’t think they had the best recording quality for a live album. Either way, I would much rather listen to their studio albums than this one.
Blur
5/5
When it comes to 90s Britpop, this is probably my favorite album. It’s just a fun, lighthearted listen that captures the upbeat spirit of the time. There’s a lot of variety on here, some songs have orchestral arrangements, others lean into dance rock, but the whole album feels consistent and cohesive from start to finish. It’s just a great blend of different styles while still keeping that classic Britpop sound.
Cheap Trick
3/5
Even though I’m generally not a big fan of live albums, mainly because of the ambient crowd noise and the fact that bands don’t always sound their best, but I can still appreciate a good one when I hear it. This one is definitely one of those exceptions. I can see why this is one of Cheap Trick’s most popular albums, because as cliché as it sounds, their live performance really brings these tracks to life.
There’s a whole new level of energy here, and it almost feels like some of the songs are being presented in a different light, like they exist in two versions, the studio version and the live one. If I had to choose, I’d still prefer the studio recordings overall, but I definitely understand why people love this album so much.
The Killers
4/5
This album was definitely fun and enjoyable, but it had a double edged sword to it. When it first came out, I was completely turned off by it. It took the underground indie garage rock and post punk revival movement that was happening at the time and put it in the spotlight, commercializing and capitalizing on it. It was so sleek and polished that it broke the rules of what made the original movement so unique and appealing. But, as time passed, the songs slowly grew on me, and I eventually ended up with a copy. Before I knew it, the album pulled me in. More and more bands started to follow in their footsteps, and I accepted that the scene was bound to evolve. If it wasn’t The Killers, someone else would have done the same thing.
Nirvana
3/5
OK, I know I’m probably going to get some pushback for not giving this album five stars along with a glowing review, but the truth is I’ve been hesitant about reviewing this record for over a year. I kept putting it off, and now that the generator finally pulled it, here we are.
I’ll start by acknowledging that this album is absolutely influential. It made its mark on music history, and I’ll always give it full credit for its impact on rock music. This album practically changed the direction of rock overnight, by killing off glam and hair metal and bringing grunge and heavy alternative into the mainstream.
But with all that being said, I’m personally just sick of these songs. Unless you were around at the time and actually living through the culture, it’s hard to explain. This was an era before Spotify and Apple Music, when you couldn’t drown yourself in endless new music. You were stuck with whatever the radio or MTV gave you, or whatever you could afford on cassette, CD, or vinyl. So not only did I listen to this album from start to finish countless times, but it was also shoved down our throats constantly through the radio and MTV.
Now we’re in a new era where this album has a second life. It’s still massively popular, and the younger crowd is rediscovering it as they dig backward to understand the roots of the bands they love today. If you’re part of that younger generation, by all means, enjoy this album and get everything you can out of it. But for me, no hard feelings. I’ve just heard this entire album a few times too many, and it no longer has the novelty it once did.
Minor Threat
4/5
This is definitely a classic Minor Threat release. It was their first as a five piece band, and the dual guitar approach really shows. The sound feels more complex compared to their earlier, more straightforward hardcore, and the arrangements are tighter, the riffs hit harder, and the whole album just feels punchier overall.
I’ve also always been a fan of their straight edge message. Punk is supposed to be about tearing down the system, breaking the rules, and revolting, but how can you do any of that if you’re a victim of substance abuse? If you’re on a path of self destruction, then everything punk stands for is completely out of reach when you’re high or intoxicated. You become useless, trapped, and exactly where the system wants you to be, which is high, distracted, and non-threatening.
The Chemical Brothers
4/5
It’s been about 25 years since I last heard this album. While it definitely feels like a product of its time, it was cutting edge and forward thinking when it first came out. The Chemical Brothers always had a strong Neo-psychedelia edge and some rock crossover appeal, but they kept a solid club vibe as their foundation. One thing that always stands out to me about them is their use of analog equipment, especially their embrace of those classic MC303 acid sounds.
Mariah Carey
1/5
If I were the one writing 1001 Albums You Must Hear Before You Die, this is definitely another one that never would’ve made the list. I’m not going to say Mariah Carey isn’t talented, obviously she is, but this is surface level pop music through and through.
I know I could try to say good things about this album and give it credit for this or that, but I’m not going to lie, I personally think the album sucked. I didn’t enjoy it at all. I couldn’t wait for it to end, and now that it has, I never plan on going back.
Spiritualized
2/5
Despite Spiritualized and Spacemen 3 having all the elements I typically enjoy in a band, their music ultimately falls flat for me. While their sound initially intrigues me, the lack of progression or depth leaves me feeling bored. It's like going on a journey that never really goes anywhere.
Tom Waits
5/5
Tom Waits is really good at expressing visual imagery through the sound of his music. The whole time you’re listening to this album, you can picture yourself in some smoke filled basement bar or speakeasy with low ceilings, experiencing an intimate night with Tom Waits himself. And of course, you can’t forget that signature gravelly voice, which pulls the whole scene together.
Hanoi Rocks
4/5
This is one of those sleazy albums I just can’t help but enjoy. It’s a gritty mix of glam punk and hard rock, and what’s really cool is that it came before glam metal and hair rock really took off. In fact, this album is often considered one of the first glam and hair metal records of the 1980s, and it had a huge influence on bands like Mötley Crüe, Poison, and Guns N’ Roses. Like I said, it leans heavily into that sleaze rock vibe, so it’s definitely not going to be everyone’s cup of tea, but for those who get it, there’s a lot to appreciate.
Orbital
4/5
This is another one of those classic early 90s electronic albums that instantly evokes a sense of nostalgia. It’s packed with those classic piano and keyboard sounds that made me fall in love with electronic music in the first place. You can still hear traces of the earlier, more club oriented aesthetic, but now it’s filtered through the framework of early IDM and experimental electronic music. It’s also a great early example of ambient house and ambient techno, with experimental broken beats mixed throughout the album.
Nina Simone
5/5
This is a really good album from front to back. I’m not super familiar with Nina Simone’s full discography, but I’ve known about her for a good 25 years now. I originally discovered her through those Verve remix albums where modern electronic and hip hop producers reworked classic jazz tracks. One of my favorites was the remix of “Black Is the Color of My True Love’s Hair,” and that was the track that made me seek out the original version. After that, I started picking up Nina Simone records whenever I found them at thrift stores.
Listening to this album now takes me straight back to that period of my life. There’s something nostalgic about revisiting her music, because this was around the time when I started stepping out of my comfort zone. Instead of only chasing cool modern music, I began researching backwards and diving into genres my parents never listened to. In a lot of ways, Nina Simone was one of the handful of artists who helped put me on my long term musical journey, to try and understand music more deeply and hear as much of it as I possibly can.
John Prine
2/5
Well, at first I thought maybe I just had to be in the right mood for this album, but after listening to it twice over two days, I think it’s fair to say I really didn’t care for it. It just felt so cliché and stereotypical that I honestly found it pretty boring. Even the humor and wit that people seem to praise didn’t really connect with me either.
Fugees
5/5
This album cover is one I’ve seen countless times since the ‘90s and early 2000s. Surprisingly, I never listened to it back then. During the early to mid 2000s, I was deeply immersed in hip hop, but this album somehow slipped through the cracks. It’s a shame because this is exactly the style and sound I would have gone crazy for. Their lyrics are incredibly smooth and catchy, and their vocal delivery is top-notch. The production is stellar, featuring darker atmospheric synths that add depth and dimension, coupled with excellent sampling. This album is a gem that I’m glad I finally discovered.
The Sensational Alex Harvey Band
4/5
This was a pretty cool album that I had been completely unaware of, especially considering how strong it is within the 70s glam rock scene. If you’re a fan of Bowie, Television, T. Rex, or Roxy Music, this one will be right up your alley. It’s got a lot of fun, catchy hooks that makes it easy to stay engaged from front to back.
Christina Aguilera
3/5
I’ve never been a Christina Aguilera fan and honestly never cared to pay attention to her. She always felt like another ditsy, run of the mill pop star in the same vein as Britney Spears. But after listening to this album, it carried a lot more weight than I expected. In some ways it sounds about ten years too late, because it really reminds me of the jazzy, soulful hip hop and R&B of the mid to late ’90s. But once you get past that, you can tell she worked with some strong producers who gave the album more edge and character than I ever would’ve expected from her. Overall, I’d rate this album somewhere in the middle of the road, which is actually pretty good, considering I walked in expecting to give it a 1 or 2.
Janet Jackson
4/5
Method Man
4/5
I can’t remember if I’ve heard this album all the way through before, but if I did, it would’ve been back in the 90s. What I do remember are all the DJ mixtapes that featured these tracks, not to mention the countless samples that have been pulled from this album over the years. Ultimately, it’s a classic that has aged pretty good. What really stands out to me are the dark, murky beats and the smoky atmosphere running through the production, they give the whole record a moody vibe.
Deee-Lite
4/5
This is definitely an album that helped house music reach a broader and more accessible audience. It’s one of those albums where you really had to be there at the time to fully appreciate the impact it made. Without that context, it might just come across as run of the mill pop and dance music from the early 90s.
The Roots
4/5
Back in the early 2000s, I completely overlooked this album. Everyone was always talking about The Roots, so I was too busy searching for something fresh and underground. Now that I’ve given it a few listens, I realize this definitely would have been right up my alley back then. The conscious style lyrics are pretty standard for that era, but the experimental tracks really caught me off guard in a good way. There’s also a mix of funky, soulful tracks that add an easy listening vibe. Overall, the album’s diversity really stands out.
Echo And The Bunnymen
4/5
Echo & The Bunnymen are definitely an interesting band. I used to think they were overrated, and I think what made them hard for me to grasp at first was the expanded atmosphere they layer on top of their dark post punk foundation. It’s like the core of their sound is firmly post punk, but the added psychedelic elements introduce an atmosphere that didn’t always feel like it aligned with those darker undertones.
Over time, though, I’ve definitely warmed up to them. I started discovering random tracks here and there that I genuinely enjoyed, and those slowly eased me into their music. This was my first time listening to this album from beginning to end, and while I wasn’t fully on board at first, by the second song it already had me hooked. Eventually, I’m planning to work my way through their entire discography.
Stereolab
4/5
Stereolab is a band I’ve known about since I was a kid, but I never really gave them much of a chance. I’ve seen this album pop up on a few different lists for top post rock albums, and while it definitely has some post rock elements, I’d say it leans more toward experimental indie pop. The experimental side pulls from post rock and Krautrock, especially with those motorik beats and rhythms. On top of that, they do a great job incorporating vintage analog synths, which adds a real warmth to the overall sound.
Sonic Youth
5/5
I love how on this album Sonic Youth moved closer to the edges of mainstream alternative without compromising their identity. It’s much more direct and song focused compared to their output from the 80s. This album really captures that tension between accessibility and abrasion, because you get some genuinely strong hooks, but they’re buried under sheets of noise and distortion.
Morrissey
4/5
Whether Morrissey is solo or with The Smiths, one thing remains constant—his distinctive voice and vocal style. To me, this album doesn’t stray too far from The Smiths’ sound. It’s a bit more aggressive and guitar-driven, with a touch of rockabilly. There’s definitely a strong glam rock influence throughout, which makes sense considering the album was produced by Mick Ronson, who worked closely with David Bowie. That glam edge gives the album a unique feel compared to some of Morrissey’s earlier solo work.
Spiritualized
3/5
For space rock and neo-psychedelia, this was a solid album, but its biggest flaw is its pacing. The music is incredibly slow, and while it does take you on a journey, it’s one that unfolds at a turtle’s pace. That meditative quality might work for some, but it makes the experience drag a bit too much for me.
Madonna
4/5
Even though I’m not a huge fan of Madonna or where her career eventually went, I have to admit this album was pretty forward thinking for a popstar of her stature at the time. Bringing in William Orbit as the producer was a great call. His work really is the backbone of the album’s success. It covers a range of electronic styles but maintains a cool ambient undertone that feels unique for such a massive pop release. Between Madonna and Orbit, they managed to pull it off.
Astor Piazzolla
4/5
This was a cool album that I probably never would’ve come across on my own, which ended up being a good introduction to jazz tango. Overall, it’s a pretty laid back listen, and beyond that there isn’t much else to overanalyze, other than it’s worth listening to.
Def Leppard
4/5
This will always be my favorite Def Leppard album, even more than Hysteria. Not only does it have a lot of classic songs that are still enjoyable today, but the production was state of the art for its time. Mutt Lange’s work on this album set a new standard, influencing almost all the arena rock that followed in the ’80s. However, because the production was so polished and glossy, it has also faced some pushback over the years, with critics claiming the production is the main reason the album and its music came out as well as it did.
Goldie
4/5
I don’t know if this was the first album to really nail fluid, atmospheric drum and bass, but it’s definitely one of the defining albums of the genre. I honestly can’t remember if I’ve ever listened to it straight through from front to back, but almost every track on here feels familiar from years of being around the rave and club scene.
Listening to this album took me straight back to my teenage years when in the mid 90s, when I used to hang out at underground, independent clothing stores in downtown Denver that sold DJ mixtapes, and sometimes vinyl for DJs. I remember hearing music like this playing in the background and asking the owners what style of techno it was, back when I was still learning all the different genres. Because of that, this album carries a heavy sense of nostalgia for me, and these tracks will always feel like comfort music whenever I hear them.
Hole
4/5
This is a pretty good album from Hole that’s stood the test of time well, still sounding great after all these years. It’s more alternative rock, moving away from the grunge of their earlier stuff. You even get some songwriting input from Billy Corgan of The Smashing Pumpkins, which adds something special.
Bebel Gilberto
4/5
This album is definitely a product of its time. In the early 2000s, there was a big trend of hip hop and electronic producers doing downtempo, acid jazz, and trip hop reinterpretations of classic jazz. This album came out right at the peak of that era, but instead of remixes, it’s built around original songs that are deeply rooted in classic bossa nova.
Klaxons
4/5
This is one of those albums I really wish I had discovered back when it first came out, because I know I would’ve been all over it. They do a great job blending indie rock and punk energy with swirling neo-psychedelia. What really stands out are the hyperactive synth lines that mimic rave motifs, but still feel raw and lo-fi in a way that fits perfectly with the band’s DIY indie aesthetic.
Fugazi
4/5
Repeater is a classic album by Fugazi. I have to make an effort to enjoy their music, mostly because I associate them with some bad memories. But setting that aside, I can still appreciate what they bring to the table. Their energy and musicianship make for a solid listen.
Serge Gainsbourg
5/5
I’ve known about Serge Gainsbourg for about 25 years now, but this is my first time listening to one of his albums from start to finish. He’s truly incredible. This album has such a strong mellotron presence, giving it lush orchestral arrangements that bring out that baroque and chamber pop vibe. You also get some psychedelic rock touches and these raw, gritty guitar riffs that even flirt with a proto punk sound. The entire album is sung in French, and all those musical elements I mentioned are layered on a French pop foundation. The production is fantastic, with the bass especially standing out. This is definitely one of those albums you want to listen to with headphones to really appreciate all the sound layers. If the rest of his catalog is as solid as this, Serge Gainsbourg might just work his way into being one of my favoritesi. 5/5
Lambchop
4/5
This is one of those albums I enjoyed, but it didn’t leave me with a lot to say. It’s definitely chamber pop with a country rock edge, and in some ways it reminds me of Bill Callahan, just filtered through a more orchestrated, chamber pop lens. It’s pleasant and well crafted, but not something that left a strong lasting impression on me.
The Chemical Brothers
4/5
The Chemical Brothers have been incredible producers right from the start. If only everyone had heard this album when it first came out. It was a game-changer, so unique and way ahead of its time. Their beats are like nothing else, with a raw, unpolished production style that brings out tons of color and texture. Think breakbeats fused with neo-psychedelia, plus influences from house, rock, hip-hop, and just about every genre under the sun.
Chicago
4/5
Chicago is one of those bands I’ve known by name since childhood. One of my friend’s mom used to say she didn’t like country music, or most rock bands that leaned in that direction, but she always claimed Chicago was one of the few bands with a “country twang” she could tolerate. Because of that, I never really paid attention to Chicago growing up, since it made me assume they probably just sucked.
Now, over 30 years later, listening to this album, I honestly have no idea what she was talking about, because there is absolutely no country twang here at all. This is their debut album from 1969, so I can’t speak on where they went stylistically after this, but this is a great early example of progressive jazz rock, especially before many bands were doing it on the scale Chicago was. There’s also a strong blues and funk element running through this album, which adds to how adventurous it feels.
What I really appreciated is the improvisational, extended jam energy, but without the band losing focus. Even when the songs stretch out, they still feel like they have a destination in mind and stay structurally grounded.
Gotan Project
4/5
So apparently this is what’s called electro-tango. It blends traditional tango elements with electronic production, hip hop influenced beats, and ambient textures. This album is very much a product of its time, having been released in the early 2000s, when there was a strong trend of downtempo producers mixing electronic music with jazz or traditional styles from different cultures around the world.
Gene Clark
5/5
It’s hard to believe this album was overlooked and a commercial failure when it came out. I think it’s one of the best country rock and folk rock albums out there. It also has a nice layer of psychedelic and baroque pop woven into the sound. The production adds an expansive feel, giving the music more depth. Gene Clark delivers the emotional weight beautifully, adding a personal touch that makes the album more deeply heartfelt.
The Youngbloods
3/5
Nice, pastoral, and earthy 60s folk and psychedelic rock. I can’t say I got really into it, but I can appreciate it for what it is. It definitely explores a range of different textures and moods, and because of that it didn’t always feel as cohesive as it could have been. That said, I do have to give it credit for the studio work, mixing, and production, which sound pretty clear and crisp for its time.
Leonard Cohen
5/5
Leonard Cohen is probably one of my favorite folk singer/songwriters to come out of the ’60s. I would personally take him over Bob Dylan any day of the week. Sometimes I wonder how his music was accepted by the average listener when this album first came out. His deep, gravelly voice, which lacks traditional emotion and expression, works to his advantage, creating a dark, haunted, and cold atmosphere. This perfectly complements his minimal approach and gently fingerpicked guitar work. If anything, Leonard Cohen was the Jeff Buckley for the flower children.
Dire Straits
5/5
Something interesting I just read about this album is that it was one of the first to be digitally recorded and helped kick off CD culture with its high sales. Back in the early ’90s, when I first started collecting tapes, the Money for Nothing album was in my top 10. That song was actually one of the tracks that helped shape my early taste in music. I also just learned that Money for Nothing was actually a greatest hits compilation, and this was the album that song originally came from. Either way, Brothers in Arms is a solid album from beginning to end. Most of the songs feel familiar, and the album has such a smooth, consistent flow that makes it very cohesive.
Coldcut
4/5
I really have a weak spot for these old electronic and dance albums from the late 80s and early 90s. This was a fun listen because it shows a different side of Coldcut compared to how they sounded in the late 90s and early 2000s when I was first listening to them. It really highlights how early they got involved in the scene and how innovative they were even back then.
They make great use of synths and electronic gear, but what stands out most is how sample heavy this album is, because it almost feels like a precursor to artists like The Avalanches. The sound jumps all over the place, from UK acid house, dub, hip hop, trip-hop, and breakbeats.
Genesis
5/5
Genesis is one of those bands I respect, but I find myself enjoying certain albums more than others. This one definitely lands towards the top of my list. Usually, I’m not a big fan of theatrical elements in music, but with this album, those elements actually make it even better. In fact, the combination of theatrical and symphonic elements is what makes this album stand out for me. Even though “Firth of Fifth” is one of their more popular songs, it’s also my favorite track. Oh, and the keyboards and synths, those are another highlight that really make the album enjoyable for me.
Led Zeppelin
4/5
This is one of those albums that reminds me of my childhood since my dad used to play it a lot. Because of that, it’s hard for me to feel the same excitement about it now, it’s just so familiar. But I have to give credit where it’s due. They put this album together while constantly touring and releasing albums one after another, which is really impressive. Plus, they played a big part in pushing hard rock and early heavy metal forward.
Iron Maiden
5/5
When it comes to this style of metal, especially from this era, it’s not at the top of my list, but this album is definitely done right. Every single element that this style of metal aims for, this album hits on point. The music is high-energy and fast-paced, with plenty of catchy riffs and melodic hooks. The bass on this album has always stood out to me for some reason. This is definitely an album I go back to from time to time, and it will always be enjoyable no matter how far into the future we go because it’s timeless.
Joy Division
4/5
Joy Division feels like a rite of passage for many. You have childhood, adolescence, and then your “Joy Division phase.” Let’s be honest, most of us went through it! Either that, or Joy Division became more of a fashion statement in recent decades. Regardless, they were a band that I enjoyed during my early 20s. The darkness in their music, mixed with that raw, punk aesthetic, really struck a chord. The use of synths to create a cold, empty atmosphere was one of my favorite elements. I might not listen to them anymore, because I got my fill 20 years ago, but their influence is undeniable. They left a massive mark on post punk during the late ’70s and early ‘80s, and they made a comeback in the early 2000s, especially with indie bands like Interpol and even mainstream acts like The Killers. It’s also fascinating how New Order emerged from the ashes of Joy Division, transitioning into a much brighter, uplifting sound, another band that has stayed one of my all-time favorites.
Faust
4/5
This album features some of Faust’s more avant-garde, experimental tracks, leaning into unconventional instrumentation and freeform structures, as well as meditative pieces driven by hypnotic rhythms. On the other hand, tracks like “The Sad Skinhead” and “Giggy Smile” have a more melodic, playful, and quirky tone to the mix. It’s definitely a must-hear for anyone interested in experimental music.
The The
5/5
This album was such a fun and groovy listen. For a synth driven new wave album, it showcases a diverse range of styles. Some tracks have hints of pre grunge and late ’80s college indie rock influences, blended with new wave, while others lean heavily into soulful and funk vibes, bringing out an infectious groove. Overall, this album is a fun and groovy, and I can imagine it felt pretty edgy and groundbreaking when it first came out.
New York Dolls
3/5
The New York Dolls undeniably had a huge influence on early glam rock, metal, and punk, so I’ll always agree that they deserve the recognition they get. That said, their music just doesn’t resonate with me. Once I’ve heard an album once or twice, I never really feel the need to go back. Their sound just doesn’t stick with me in a way that keeps me coming back for more.
King Crimson
4/5
So far, this is one of my favorite King Crimson albums. Unlike some of their earlier work, this one doesn’t lean heavily on keyboards. Instead, it takes a more free form jazz direction with an experimental, avant-garde twist. The heavier guitar riffs scattered throughout the album also stand out, bringing in a touch of early metal influences.
B.B. King
3/5
This is my first time checking out B.B. King. You can feel the vibe and practically see what it would have been like to be there at that show. I really need to get more into blues in general. I love when artists incorporate blues influences into their music because it adds a raw, gritty feel. With this album, you’re going straight to the source of that raw energy and grit.
Motörhead
4/5
If there’s one band that truly fits the definition of rocking out with your cock out, and absolutely no holding back, it’s Motörhead. This is definitely a classic album from them, but what I’ve always liked about Motörhead is how they’ve always stayed in their own lane. It’s hard to pin them down as strictly heavy metal, hard rock, or punk. Instead, they captured that collision point where all of those genres overlap, and that became the Motörhead sound.
Femi Kuti
3/5
The album generator gave me two worldly albums today, and this one was really good. It’s a mix of Afrobeat, jazz, and funk, with great percussion throughout. Afrobeat and jazz work so well together because both rely on improvisation more than traditional song structures. Once the album gets going, it just jams out until the end, taking you along for the ride.
Metallica
4/5
This is another album I’ve always been hesitant to listen to. Once the Black Album came out, it marked a new era of Metallica that I never really cared much for. On top of that, it’s a live album, which I usually avoid, and not just that, but a live album from a sold out metal band with a symphony. If that doesn’t sound like shaking the money tree for a cash grab, I don’t know what does.
That said, once I put all of that aside, it actually turned out to be a pretty solid album. It is over two hours long, so by the end I was definitely burned out. Still, I have to give them credit for making a serious attempt to reinterpret their catalog through a full symphonic framework without it coming off as a gimmick.
Kings of Leon
3/5
I’m definitely not much of a Kings of Leon fan, but this is one of their better albums. That said, it’s still not good enough for me to ever plan on coming back to it. This album leans more heavily into a Southern blues style of the garage rock revival that was blowing up in the early 2000s, which at least gives it more character than a lot of their later material.
Bruce Springsteen
3/5
It swasn’t really bad, but it’s just not my thing. This is basically late night, lonesome cowboy music, like the kind of album you’d put on while drowning your sorrows in a flask of whiskey and feeling bad for yourself.
Roxy Music
4/5
On this album, you can really hear a refined evolution for Roxy Music. If you listen to their catalog from start to finish, you’ll notice a gradual growth in polish and refinement across their songwriting, instrumentation, and most importantly, their production. This is the album where they truly found their niche for radio friendly, glossy music with that cosmopolitan, glamorous sound. At the same time, they maintained their avant garde edge, which gives the record its sophistication.
Brian Eno
5/5
Brian Eno truly is the father of ambient music. His work makes you feel like you’re stepping into a world that exists outside of time. This album plays more like a series of landscapes rather than traditional songs. Synthesizers dominate the soundscape, shifting between warm and melodic to icy and abstract. There are some guitar elements throughout, mostly performed by Robert Fripp of King Crimson, but even those are used more for texture and atmosphere than melody or riffs.
Overall, this is definitely a bridge album, transitioning from the glam rock leaning sound of his earlier solo work and his time with Roxy Music into the more ambient, abstract direction he would later evolve towards. You can still hear some traces of glam influence here, but this is first and foremost an ambient driven art rock album, that’s moody, conceptual, and deeply immersive.
Marvin Gaye
2/5
While there’s no denying that this is a classic album with a significant place in music history, this will likely be the last time I listen to it. The music simply doesn’t resonate with me. I’ve never been a fan of Marvin Gaye, and “Let’s Get It On” is overplayed in movies and TV commercials. I can appreciate how groundbreaking it must have been when it first came out, but for me, it feels like it has reached its expiration date, much like sour milk.
Hawkwind
5/5
This is one of the few live albums I’d recommend checking out, especially for anyone interested in the space rock movement of the early ’70s. It’s a strong mix of hard hitting rock and acid psychedelia, blurring the line between structured songs and improvisational jams. The album also has a theatrical feel, with spacey synthesizers, hypnotic basslines, and swirling guitar work creating an immersive atmosphere.One thing worth mentioning is that the album is slightly over two hours long, but it maintains a steady energy throughout. With its long, repetitive grooves, it draws you in and takes you on a musical journey that’s easy to get lost in.
Beck
4/5
This album reminds me of what Beck was doing about 10 years earlier in the 90s. It’s more groove driven, sample heavy, and built around a collage style approach. Something I also found pretty interesting is that Beck teamed up with The Dust Brothers for the production and mastering of this album.
Underworld
5/5
When it comes to 90s electronic music, Underworld is easily one of the top tier acts of the entire decade. While their sound is rooted in progressive techno and house, what really sets them apart is how progressive and forward thinking they were in the way they approached production overall.
This album takes a more slow burning approach compared to a lot of other dance music of the era. Most of the tracks stretch to around eight minutes or more, embracing gradual build ups, hypnotic repetition, and ambient textures that create a deep, trance like atmosphere.
Lightning Bolt
3/5
I remember owning this on CD when it first came out. I enjoyed it at first, but I got bored with it pretty quickly, and before long it started to feel monotonous. Listening to it again over 20 years later gave me the exact same experience. It was fun at first, but it wears out its welcome fast. It feels like it lacks real substance and just keeps repeating itself from track to track, relying more on chaos and energy than actual depth.
Bob Marley & The Wailers
3/5
This album is pretty much what you’d expect from a Bob Marley album. I’m not really into reggae since it all sounds so similar and the same, but this record is solid for what it is. It was a nice way to kick off my morning and get the day going.
Elis Regina
3/5
Sepultura
5/5
Classic album. Sometimes it’s groovy, other times it’s heavy as hell. What I really enjoy is how they shifted their sound toward a more nu metal and groove metal direction and actually pulled it off in a convincing way.
A lot of bands from that generation didn’t age very well, in my opinion, but this album still holds up. The way Sepultura maintained their Brazilian identity and incorporated strong tribal elements is a huge part of what makes this album feel so unique and one of a kind.
The Black Keys
3/5
Isaac Hayes
4/5
This was a great discovery. For old-school soul music, this album really stands out. It has mellow, soulful moments but also builds up to expansive orchestral sections that are truly captivating. Some parts of the album even break into extended jams that keep the energy flowing.
The Jesus And Mary Chain
4/5
This will always be a classic album. The best way to describe it is noisy psychedelic rock with a post-punk and goth undertone. If you’re into noise rock with abrasive distortion and feedback, this album will definitely hit the spot. Another great element is the 60’s-style psychedelic, ethereal vocals buried under all the chaos and noise. Even though the album leans into noise, it sticks to traditional song structures, making it listenable and easy to latch on to.
Belle & Sebastian
4/5
This is their debut album, but when it was first released in 1996, only 1,000 copies were pressed. It wasn’t until 1999 that a larger label picked it up and gave it a proper re-release. Overall, it’s classic chamber pop, and Belle and Sebastian are definitely one of the flag bearers for the genre.
Grateful Dead
4/5
I have to say, after listening to this album, along with two others from the Dead, my perception of the band has definitely changed. I used to associate them with never ending jam sessions and the image of dirty hippies who smelled like cat piss and patchouli oil. And sure, maybe their live shows lean into that, but their studio albums? I was surprised by how much I genuinely enjoyed them.This album in particular leans more into Americana and folk rock, with a strong rootsy feel, compared to the more psychedelic vibe of the other two I heard. Overall, this was a solid listen, and I’m glad I gave it a chance.
Madonna
3/5
The fact that this album was mostly produced by Mirwais is really what gives it any major credibility. Beyond that, 25 years later, I don’t think this album has aged all that well. It sounds very stereotypical of late 90s and early 2000s pop that was trying to merge with the EDM scene of that era. Overall, I highly doubt I’ll ever revisit this album in the future.
Penguin Cafe Orchestra
4/5
This is a really good experimental and avant-garde album that manages to be both calming and peaceful. I love finding albums like this because I’m always on the lookout for experimental music that still feels accessible and relaxing, and this one hits the mark. If you’re looking to dip your toes into more experimental sounds, this is a great place to start.
Stevie Wonder
2/5
So I’ve never really payed much attention to Stevie Wonder, but this album was dull, and fell flat. It got zero emotion out of me. It was basically music what was just playing in the background with no true meaning or purpose.
Count Basie & His Orchestra
5/5
As a random album that came across my plate, I found it to be fun, energetic, and high-energy, but it also had some really good mellow sections with wonderful pianos and great percussion. That being said, I'm always open to listening to anything that comes my way, but this was definitely the first big band, swing, ballroom jazz album I've ever played from beginning to end. Other than that, it's fair to say this is definitely not my usual style of music, so I don't have much of a reference point on what makes this such a monumental album compared to others from its era and genre.
Jah Wobble's Invaders Of The Heart
5/5
This is definitely one of those truly unique, one of a kind albums. When I first started listening, I remember thinking it sounded like PiL, but as a dub band instead of post punk. After doing a little research, it made perfect sense once I realized Jah Wobble was a major part of PiL.
Rather than treating dub as a purely Jamaican foundation, this album pulls in Middle Eastern, African, Asian, and European influences, while still being dominated by massive dub basslines that give it real physical weight and a hypnotic feel. This is easily one of those albums that’s going on my list of top experimental records I’ve heard.
David Bowie
4/5
When it comes to Bowie’s glam rock era, this is easily one of my favorite albums. He strikes a great balance here, making music that’s accessible to a wide audience while still keeping his experimental edge intact. “Changes,” one of his most iconic tracks, is a song I still enjoy hearing to this day. One standout detail is that this album features Rick Wakeman on piano and keyboards. Not long after, Wakeman became more focused on his work with Yes, and his collaborations with Bowie tapered off. Still, the two stayed on good terms, which adds a nice touch to their story.
The Damned
4/5
This album feels like a bridge between their early punk driven sound and the post punk/goth direction they’d explore more deeply in the 80s. What really makes it fun is the garage rock influence. It’s gritty, energetic, and melodic. I’m not super familiar with their full albums since I’ve mostly stuck to their bigger tracks over the years, but this definitely makes me want to dig deeper into their discography.
Astrud Gilberto
4/5
I remember back in my late teens and early 20s, I had a few Verve Records compilations on vinyl that I used to play at weddings for friends, and right from the first track, this album triggered those familiar sounds. I vaguely remembered some of these songs, so listening to this album was definitely a trip down memory lane.
Compared to her earlier work from the early 60s, this album starts to slip slightly away from the more traditional bossa nova style that she helped popularize. It lacks some of the jazzier, more complex arrangements from her earlier catalog and instead leans into a more accessible sunshine pop direction.
That being said, it’s still a very enjoyable album. It delivers comfort with a softer, more lighthearted tone, but less introspective, and more carefree. Definitely a good listen when you want something warm and easygoing.
Funkadelic
4/5
This was actually a pretty cool album. So far, out of everything I’ve heard from Funkadelic, this is probably my favorite. It strikes a really solid balance between psychedelic and funk, and you can definitely hear some progressive characteristics as well through its experimentation and improvisation. It’s not really my go to style of music, but this is one of those albums I genuinely enjoyed, and I’m glad I finally checked it out.
The Cure
4/5
This is definitely a classic album, but for whatever reason, it was never one of my personal favorites. On the other hand, this album has always remind me quite a bit of Joy Division. Obviously, Robert Smith and Ian Curtis are very different vocalists with distinct voices and deliveries, but if you strip the vocals away, the music itself shares a lot of the same DNA.