Sometimes this is my favorite Beatles record. You can hear the experimentation of Rubber Soul solidify into a more cohesive expression. So much growth in just the two years from Meet The Beatles safe and an approachable pop melodies. This is a now a group that is reinventing something almost wholly new. The innovation of this album definitely inspired several types of music to be born. "Taxman is a punk song!" - Seantegrity

The last great REM album! The writing is on the wall for what will come. It's better produced, less mumbly than previous albums, and songs like Exhuming McCarthy are starting to show some of that later pop sound they'll become popular for, but this is still a fantastic album showcasing all the reasons I originally fell in love with this band. Finest Working, The One I Love, Lightnin' Hopkins, and Oddfellows Local 151 all define what was great about "college rock" in the '80s. I may not love the trajectory they took once signing to WB, but the IRS years are undeniably one of my favorite runs of any band ever.

Man, this is a tough one. On the one hand, this album was something a very cool, guitar-playing uncle introduced me to when I was 6 or 7 years old. I spent YEARS listening to this, analyzing it, and thinking it was just the coolest thing ever. On the other hand, I've come away from it for even longer at this point in my life and it has somewhat lost its shine. I still know every song intimately, right down to knowing nearly every lyric. As an adult, listening to this currently, the subject matter just seems... off, especially after the light was shown on Pete Townsend's propensity toward child porn (yeah, I know it was "just research"). Ignoring that, I just find it to be very middle of the road; some great music on here, but a lot of campy/cringy filler too. It's simply does not live up to the status I assigned it as a pre-teen.

Wow. This is kinda weird to approach at this point in life. This is an album I have listened to over 1,000 times in the last 35 years. Not my favorite Beatles records, but still one that I love and think is very important. Hard to truly review because every song is colored with years of memories and has so much nostalgia attached to it. I’m trying to think what it was like being 15 and hearing this again for the first time and I think I’m just too far removed.

First time listening to this album and band. Pretty impressed. Super catchy Brit-pop sensibilities mixed with the energy of garage rock. Would listen to more.

Another classic I've known most of my life. Probably my favorite CCR album. Chock full of hits you'd have to be living under a rock not to recognize. Travelin' Band songs like Fogerty channeling Little Richard. Even the non-hits on this one will get you moving. Not a bad track on this one.

I hated this alum when it was released. I tried to give it a fair shake now, years later, but my opinion is largely the same. Possibly the worst representation of the Seattle scene at the time. There are a few good riffs throughout but largely this is watered down radio rock; a safe and accessible way for the major labels to play in an underground sandbox without getting hurt. Can't finish this out without touching on the fact the Vedder's vocals are god awful; floating somewhere between unintentional comedy and unlistenable garble. Hard to believe half this band was in Green River.

Pleasantly surprised by this one. I'm not a fan of country, but do have a lot of respect for an artist like Willie Nelson. Turns out, this is an album full of old classic cover songs and had very little country stylings. It's not a challenging album, but it is comfortable. Willie's guitar playing and vocals are always center stage, sounding great. Production on this was handled by Booker T (as well as organ duties) and as a big fan it was evident. All around a good listen.

Sometimes this is my favorite Beatles record. You can hear the experimentation of Rubber Soul solidify into a more cohesive expression. So much growth in just the two years from Meet The Beatles safe and an approachable pop melodies. This is a now a group that is reinventing something almost wholly new. The innovation of this album definitely inspired several types of music to be born. "Taxman is a punk song!" - Seantegrity

Not into this. Kate has a nice voice but the music does little to interest me. Adult contemporary soundscapes. I started to enjoy a couple of the later, more experimental pieces toward the back half of the album but even those seemed to drift away from my interest as they fell into the same monotonous synthy tones as the rest. Honestly it was depressing to listen to.

I liked this a lot more than I expected to. Didn't know anything previously except Hallelujah, which I never really liked, so never gave anything else a try. This is a great release that can't really be pinned dow and labeled. It's always introspective, often haunting, but never feels pretentious or disingenuous. It isn't quite folk, but borrows from it. It isn't purely blues, but sits comfortably there when it needs to. The melodies are often as challenging as much as they are beautiful. There were times I'd expect to lose interest only to have something desperate pull me back in. This is the kind of album I'm here to discover.

Was excited for more brit-pop, but this ended up being all over the place and inconstant in sound and feel. I recognized Song 2 and have always enjoyed it. Super funny to learn it was their parody of American Grunge, only to chart alongside those they were making fun of. Theme from Retro was probably my favorite track; pure organ based psychedelia. All in all, it was tough to enjoy because it felt like it never became cohesive; lo-fi punky garage one minute, singer/songwriter man with guitar the next, some brit pop sprinkled in here and there, etc. Had some good tracks but really fell flat as a album. Then it moves into You're So Great; a lo-fi singer/songwriter trip to boredom. Really wish they'd pick a style. Chinese Bombs - punky lo fi garage, nice. Just a Killer for Love lo-fi fun, experimental. Liking more than not liking. Hate the acoustic IDK even know the term for it. WEirdo experimental parts are cool.

Just posting my track by track listening notes. ACT 1: Days of Graduation - I laughed. This talk over introduction destroys whatever emotion they are trying to build here. Ronnie and Neil - I'm onboard with this one. Upbeat Southern Rock. 72 (This Highway's Mean) - This SUCKS in every way that I hate country. Dead, Drunk and Naked - see above review for 72. Guitar Man Upstairs - I guess this is "cowpunk"? It sucks too. Birmingham - I kinda like this. It's a HUGE rip off of Neil Young's Ohio in both sound and the emotion they are trying to convey. The Three Great Alabama Icons - exposition like the intro because they can't work it in musically. Throwaway track. Wallace - Jesus, what are they doing here? Sounds like an untalented ZZ Top. Zip City - More uninspiring country infused "rock". No thanks. Moved - Wow... Who knew it could get worse. AWFUL vocals on this boring wanker of a track. Great way to close out "act 1" you dicks. ACT 2: Let There Be Rock - This AIN'T AC/DC! Road Cases - More Neil Young worship. Actually listenable. Women Without Whiskey - see above review for 72. Plastic Flowers On The Highway - Southern rock but without any emotional feeling to it. Vocals sound like Rod Stewart. Cassie's Brother - Oh! Now they are trying southern Soul (or R&B). I can't do much more of this. Life In The Factory - These are all starting to blur into completely non-memorable southern rock you'd hear at any redneck bar or county fair. Shut Up and Get On The Plane - OK, just figured out this whole thing is about Skynyrd... These guys AIN'T Skynyrd! Greenville To Baton Rouge - Finally, Southern Rock that actually sounds like it ROCKS! Album should have been a single. Angels And Fuselage - Neil Young rip off again, this one more early singer/songwriter style. Makes sense, this is where they are at their strongest. Still feels like a cover song when it's not. Never truly has the emotional pull Neil's voice did on tracks like this. Wow LOL they even bust out the harmonica for it!

This album is so forgettable. It's not bad. It's not good. I didn't hate it. I didn't like it. Feels like the musical equivalent of overprescribed Prozac, just emotionless and flat.

Everything I want in '90s alt-rock! The Pixies are masters at blending multiple styles into something, if not unique, at least special in its appeal. Their punk is surprisingly approachable and fun. Their pop is challenging and never cliché. This is a band in their prime, playing off of and complimenting each other's strengths as they create. I'd only been familiar with Doolittle previous to this and that will be changing for sure!

Been critical of this band for a long time. I can admit that I've judged them on their known hits and probably disregarded them based solely on their popularity. This one starts off great. the sort of weird psychedelic sound of Planet Telex was a very nice surprise. Definitely made me realize this wasn't a release I could totally disregard. I think they are at their best when they play slower, more melodic pieces meant to stir up your emotions. Unfortunately, I hate that shit. They do it well, and I can appreciate it from a musical standpoint, but I hate it. There are a few points where they sort of try to "rock" and it almost works, but just feels awkward somehow. First half of the album seemed to bounce some in tempo where the back half seemed to fall into a comfortable plodding pace that seemed a little too "samesy" to hold my interest. I assume it's some metaphor that went over my head. Closing track was depressing as a motherfucker and I can't believe any band would want to end that way. Sounds like the soundtrack for a slow suicide. All in all, I can respect the songwriting and talent here. I can understand why they are so loved, but it's just not what I reach for when I want to listen to music... ever.

I have to admit to having a very big soft spot for '70s era disco/soul/funk. I Did not previously know any of this except Le Freak, which was on regular rotation at the roller rink when I was under 10. The slow burning ballads with the sexy vibe aren't my favorite, but the faster, funkier stuff make the album well worth the listen.

I fucking LOVE the '70s. There just seems no way around it. Had zero knowledge of or experience with this release previously. Not a big Beach Boys fan, and this really took me by surprise. Influences are ALL OVER THE PLACE, mixing rock, folk, soul, and pop. Even with all this it never sounds schizophrenic. Never feels like it jumps from style to style, more so it flows between and within them, existing comfortably in its own space. I (of course) love when this hits a good groove, but even the slower more introspective tracks (which is where an artist generally loses me) are captivating with their layered (almost psychedelic at times) instrumentation. This was a release that was difficult NOT to pay attention to throughout, and that's not something I can say about a lot of music. Disappointing to learn this would be his only solo album before his death.

Stevie Fucking Wonder people... What more really needs to be said? This is from the sweet spot (arguably the pinnacle) of his classic period and there isn't a bad song to be found on here. Musical serotonin injected straight into your spine right here.

I was a little nervous going into this. I like Elvis, but late era Elvis combined with a renowned country western backing band was something that didn't appeal to me on paper. You know what? I was wrong. This is a solid album full of well played, memorable tunes. Despite their penchant for honky tonk, the backing bad is incredible, and absolutely MAKE this release. Vocals sound great, better than I expected from this era. All in all, it wasn't a style I really enjoy, but is a true testament to how well a live studio album can sound when everything comes together properly.

I have been dreading the day I receive an actual country album. Was 100% ready to write this off as a one star review, but once again Willie surprises me. His vocal delivery is tailor fit to the music he composes; together displaying an undeniable talent. I especially responded to the stripped down feel here. No studio tricks, no textured layers. Something about this style speaks to honesty. This isn’t something I’ll find myself listening often, but I’m quite glad I was introduced to it.

Let no one tell you different, this man INVENTED Rock 'n' Roll. This is arguably the most important record ever released. Every track is exploding with raw energy and innovative talent. Richard is like a dynamo, there is nothing that can even slow him down. He discovered James Brown, and inspired The Beatles and Prince. There's a reason nearly every song on this album is one you already know... and if you don't, you SHOULD.

What in the actual fuck did I just listen to? This is beyond terrible. This sounds like the High School class-clown participating in the talent show as a goof. I wish I could give it 0 stars. Leonard is a great poet, but oh man should he stick to that and leave music alone if this is what he has to offer. I'm honestly at a complete loss to find a single redeemable aspect of this album. This doesn't even sound like a failed experiment. It simply sucks.

I had the very first Velvet Underground and Nico LP as a kid, purchasing it as my interests in punk were starting to develop, and I don't think I ever really came to appreciate it. A lot of similar sounds on this release, but I seem to have aged enough to understand it now. Much of the performance, writing and instrumentation on this is still the Velvet Underground, and it's uniquely wonderful. Thoughtful and interesting compositions pulling from a vast array of stringed instruments and beyond. Jackson Brown lends his writing to a couple of tracks, as well as performs. Even Bob Dylan has a writing credit on one song. And of course, Nico's contralto is the thread that weaves all this together, often providing a weight to the softness of the music, grounding it's ethereal nature and giving it relevance.

I've known all the hits most of my life, but have never listened to the album in completion. Not something I would reach for regularly, but undeniably a good album.

I was introduced to the Velvet Underground through R.E.M.'s cover songs before I was even a teenager. I bought this album then, and never clicked with it. Glad I listened to it again 30+ years later because this indeed lives up to the hype. This album features so much experimentation for the era; studio tricks, layers of instrumentation, stereo panning, improvised jams. There's so much here to digest. So much beauty, but it's also juxtaposed by an ugly chaos in many places. I think I respond most to the idea that these are musicians truly creating. Nothing by the numbers here. This is art, and I'm here for it.

Elvis is nostalgia for me; having been something my parents introduced me to. Despite this, and my love for this era of rock n roll, he is NOT my favorite. His debut LP showcases his voice quite well, and the cover image alone probably helped draw countless young people to this new form of music, whose roots were firmly in the taboo. And that's about where it ends. Elvis only plays guitar on a couple of tracks here, and piano on only one. Not a single song is written by him. This is the beginning of a 70+ year long music industry practice of taking a pretty face, and selling pop records with it. The music here is well played (great session players on here) but it lacks the raw power, energy, and innovation of artists like Chuck Berry or Little Richard. It's a fun listen and a historic artifact, but it's hard for me to not contextualize it as the colonization of rock n roll

Probably my favorite Led Zeppelin album. Dazed and Confused and Communication Breakdown are some of the best songs they'd ever write. Their Willie Dixon covers show an obvious reverence in their arrangements. At this point this isn't a supergroup yet, just a bunch of British kids who absolutely WORSHIP the American blues. But even at this point they aren't comfortable just playing it, so much as innovating and expanding beyond it.

So... a concept album about kid-diddling, performed by a(n alleged) kid-diddler? Fucking great! Trying really hard to find a positive in this pile of shit. Once in a while the beats and guitar work align into something interesting, but it's not often and Beck ripped off all of them. The ever-present whisper talking vocals (produced so high in the mix sometimes it's hard to even hear the music over it) are AWFUL. Seriously, go watch The Simpsons episode "Life On the Fast Lane". You will never again be able to unhear Marge's bowling instructor Jacques on every track. Fuck this album in its entirety! Gotta go listen to something akin to an audio shower now.

This one's hit or miss for me. I lioe the backing band. This is the only recording the Full Tilt Boogie Band did with Janis before her death and that's disappointing because they are great! Tracks like Move Over rock, and I love the timing and energy they bring. But when things slow down she loses me. The vocals seem too performative at these times; almost disingenuous. I feel like Janis and the band are at their best tearing through upbeat bangers, and there's just not enough here.

I’m not even going to dignify this with a response. C’mon!

I used to work with hippies in a natural food store and this was THE ONLY album we could agree on, so I've listened to it a lot... just not in many years. And I'm about to change that because this is simply incredible. Tough to pigeonhole into any specific sound; it's not really post-punk, it's not new wave, it's rooted in rock and roll, and has crazy pop hooks that still don't overly polish the teeth of this release. Not a bad track on here.

This is great! I love almost all music I've heard that originates from Africa. Miriam mixes traditional Afro beats with western jazz and pop to create something (at the time) wholly unique. Her voice is beautiful across all tracks. Even her rendition of House of the Rising Sun (a song I absolutely HATE!) is an incredible and moving interpretation. I can see why she is well known for making "world" music more accessible to the US.

Took me almost 10 years to understand and enjoy this one, but it's something I listen to a lot. Originally I hated the party-boy vibe, before I realized it wast their schtick at this point. The lyrics and delivery are juvenile and snotty, but that doesn't stop them from being really catchy; arguably it helps. Stripped down beats and samples performed by Rick Rubin are as important (or more?) to this sound as anything else and showcase just how much Richer influenced hip-hop after this. Paul Revere has always been my fasvorite track, but other the "Girls", there are no stinkers on here.

Coming to this only knowing "Bang a Gong" (and incorrectly always assuming it was an '80s hit). This album has got a great sound and feel to it; reminiscent of glam era Bowie but more subdued. The production is done really well, making it always feel like a single cohesive work; a true album. That being said, there wasn't anything that was really mind-blowing on a first listen. I do feel like this is a grower though, and I know if I keep listening to it (and I will) I'll continue to find little interesting details that will make me fall in love with it. The raw energy of "Rip" is such a killer way to close an album.

It's 1991. Storrs, CT. UConn's West Campus. Lancaster Hall, 4th floor. This is the what you hear coming out of the windows on every nice day. It's the soundtrack to every party. This is the album you put on when you bring a girl back to your room and awkwardly try to get her in the mood. '90s hip-hop was full of experimentation and this is some of it's best. Stripped down beats and jazz samples under chill conscious rhymes delivered with precision. I think about this a lot because it's exactly the trajectory I wish hip-hop would've taken. Unfortunately the record industry thought it would be more profitable to glorify gang violence, crime, misogyny, and consumerism instead.

Not my go-to style, but undeniably a good listen. Great songwriting and performances here. Of the 12 tracks on this, I think only 4 were things I didn't already know. Carole's voice is powerful throughout; overflowing with passion yet somehow still soothing.

Sounds like the background soundtrack played during a TV montage. Vocals are overly saccharine. Music is pleasant and competently played. It simply doesn't elicit any sort of emotional reaction from me. It exists, thoughtlessly, apart from whatever else I'm doing while it is on. If I force myself to focus on it I just get bored.

Never heard of this and I did not enjoy it much. Competent writing and performance, but just seems like a clinic on fitting every '80s pop-trope that I can't stand into one album. Reminiscent of a lot of other bands from that era, but with nothing original to make it stand out on its own. Total snooze-fest for me.

Loved this as a pre-punk teenager, but have not listened to it since. There were a few times I found by head bopping. I do like when they funk and soul, not as much when they ska and "punk". The mix of styles doesn't always seem to blend so much as compete with each other in a lot of places. The production is off-putting to me. Too polished for the heavier and faster parts, too lifeless in the funk and soul. Talented musicians and performers for sure. I can tell they have a lot of love for Funkadelic, but at least at this point are not able to truly capture that same magic. Some of this is just over the top campy and hard to listen to, like Howard Beach Party; is this surf-ska?? Please don't.

Fucking ROCKS right out of the gate and just doesn't stop until it's over (OK, I admit the lollypop-guild-voice song was a little weird). Brit-pop vibes are here but drown in fuzz and flashing a lot more garage sensibilities than the later material I'm familiar with. I'm always a fan of first albums and this is a GREAT one!

Opens up straight away into something that sounds like it should be in a musical... not a good sign for me. The simple vocal over a reverb-drenched organ definitely creates a cool vibe on Early In The Morning though. Down starts cooking, but still just feels like something is being held back. Oh right... Without You... Followed up directly with Coconut. I feel like this album has officially been weaponized against me now. Hey Harry, did ANYONE ask for a honky tonk version of Let The Good Times Roll? I'm guessing 'No'. Jump In The Fire makes a very solid attempt to redeem this whole affair, complete with a bitchin' drum solo. Definitely the standout banger on here. Probably should have closed out the album with it, instead of the banjo-tinged funeral dirge that was given that honor.

Hated this when it was released. Haven't changed my mind in the slightest almost 40 years later. Crappy danceable canned rhythms? Check. Grossly overused synth-imitated instruments? Check. "Controversial" lyrics about fucking that will garner some media attention? Check. This is formulaic, throwaway, '80s pop music-industry garbage.

I still hate country I guess. This sounds like the caterwauling that spews from the bandstand at a county fair. Makes my teeth itch. Twangy harmonies ain't for me.

If, like me, you lived through the '90s you probably hate ska too. Every high school honors student with a trombone started wearing checkerboard slip-on Van's and put together a shitty ska band and hoped they'd be the next Bosstones. It really did a lot for pushing me completely away from that sound. BUT... There is a reason The Specials kicked off enough excitement to start a new 2nd wave of ska. They are a solid band, and this is a great album.

Not my favorite Police album (that's Synchronicity) but still great in its own right. This one's got a couple memorable hits, but also contains some great deeper cuts that never got the attention they deserve. The big surprise, and it's a pleasant one, 3 Copeland writing credits here (plus another shared with Sting)! I feel like later albums reduce Stu and Andy's writing credits to just a single song each, toward the end of the b-side. Sure, Sting seems to write those pieces that got the most pop attention, but there's just something about the Copeland written tracks that I respond to, so it's great to have multiple here. The only downside is no totally unhinged addition from Andy Summers on this album. Minor cringe-factor for Sting's white-boy Caribbean patois on The Bed's Too Big Without You, but the '80s were a different time I suppose.

Well here's something I listened to quite a lot as a youth, but don't think I've heard in over 30 years. There's some great material here, and it's another one that is hard for me to separate myself from opinions I formed long ago. I do find this a little pretentious, and definitely too long. This would feel like less of a slog boiled down to a single LP.

Once in a while, a pop album impresses me. This is one of those times. I think the main difference is I view most pop music as being produced within a predefined, rigid framework, and designed specifically to use that to maximize its sales. Prince, on the other hand, while aware of this framework, not only refuses to let it control him or his work, but actually innovates within it, pushing the boundaries and almost comfortably redefining what other artists will need to do in the future to keep up.

I shamelessly love this band, but this is not an album I have a lot of experience with. Previous albums were schizophrenic; jumping from one sound to another as tracks change. Here, the band seems to have a clearer idea of direction. The prog is still front and center, the rock is undeniable, but gone are the classical compositions that felt so out of place on earlier releases. This is Yes defining what will make them so unique but instantly recognizable going forward. Worth noting that the dynamic range on the vinyl rip I listened to was far beyond any modern recording I've ever heard. Truly phenomenal range.

Bowie is one of those artists I've never found myself interested enough to really immerse myself in. I recognize the hits and I appreciate what I know of his catalog, but this is the first time I've sat down to listen to a full album. From the initial textured white noise intro, I'm sold. Station To Station starts off with a singular bass line and slowly builds the instrumentation into the complete melody before Bowie's signature vocals are injected. New Wave sensibilities are strong here! The opening track AND Golden Years both sound so much like Talking Heads songs to me. Stay brings that funk, in such a uniquely Bowie way I literally giggled. Wild in the Wind is an interesting choice for a closer. I feel it lacks the emotional power of the versions we've received from both Johnny Mathis and Nina Simone, but again it is arranged and performed in a way that is undeniably David Bowie.

It’s Miles Davis! If there were 6 stars, I’d award it.

So different from Purple Rain. So much synth and so little guitar. I thought that was going to influence things badly for me, but once again Prince shows that his particular brand of pop is something I actually like. Felt a few little nods to electro throughout this one which also rocked.

Wild ride (no pun intended) on this album. Opens up straight into Kicks. I love the energy here, a little garage rock, a little psych. A similar formula is used throughout at least half of the album and it just works. There's Always Tomorrow takes on a weird trip into twangy upbeat country, but somehow works in a chorus that is pure '60's pop. Weird, but it works. The only times they really lose me are on the slow burners; Little Girl in The Fourth Row and Melody for an Unknown Girl. Im just not a ballad guy.

Respect the studio work for sure, but the Beach Boys saccharine harmonies are like an eject button to the moon for me. While listening, it's hard not to get lost in a fantasy about a gang of rockers beating their asses and stealing their equipment

I’m a known hater folk. And I don’t know if it’s nostalgia (Tracy Chapman’s music was everywhere when it was released) or not but something about the combination of her voice and guitar work is just captivating. Her lyrics are powerful and moving without ever seeming forced or contrived. Her ability to impart desperation as well as hope feels unique.

Another Nile Rodgers production. Damn, this guy might be responsible for ALL the disco I actually like. Everything you expect from Chic is here but add 5 sisters with incredible range and vocal talent. Nothing but good vibes here. Dancing my ass off instead of working today.

Always thought I hated Cat Stevens. Turns out, this wasn't bad. It wasn't good either, but I didn't mind listening to it. Probably never will again though.

More country I can get behind. This is a rock-solid album! All the classics (even those that are new at the time) played live. Much of the between song banter left in here to appreciate. Doesn't get more outlaw country than singing to prisoners in San Quentin.

Well, it's better than the last Cohen album I listened to... but not by a hell of a lot. This feels like outsider art, in all the wrong ways. Songs are drawn out MUCH longer than they should be, and it's tough to tolerate. HIs voice is terrible and he prefers to talk sing, which sucks. Music is so... "skim-milk", for lack of a better analogy. After a single song, it all seems to simply drone on endlessly. Similar tempos, similar keys, similar vocal style; the repetitious feeling is like I'm going crazy. I can barely tell where one song ends and the next begins. Is that his point?

Tried to go into this with an open mind. I've hated the Dead most of my life, based mostly on how much I despised the deadheads in high school and college I had to endure, and honestly NOT based much on the very limited amount of their music I had heard. Box of Rain was actually a really solid track! Maybe this will be OK... Well, that was short lived. This just takes a huge nosedive after the opener. I hate the harmonies and I hate the easy-country feel. Nothing about this rocks and I feel justified in my 40 years of dismissing this band and everyone who worships them.

It's something I'd probably never listen to again. I do find some of the experimentation on it to be really fun. The vocal melodies are interesting enough that I want to pay attention. I don't hate it, but it does not rock and its seems wildly incohesive

Ugh... Another one that is tough to separate from opinions I formed a lifetime ago. A single track here that borderlines on wanting to rock, but mostly it's all sad-boi jangly bullshit with some nonce crooning over the top. Never understood the hype here. Oh, and lest I forget, fuck Morrissey straight to hell.

Mostly this is the soundtrack to browsing one of those little boutiques in tourist towns, that are filled with "local" art that no one would buy if they weren't on vacation. There are some experimental moments peppered in here and there, and I really wish there were more. That seems to be when they are at their best. Nothing terrible here, just feels very "in the background" too often.

Feeling weird about his one. On the one hand I really like all the styes it seems to borrow from; soul, blues, punk, garage. On the other, something seems off. I want to call it contrived, but that doesn't seem entirely fair. I didn't find anything off-putting about it, just didn't find a single thing that really got me excited about listening to it. If I wanted to hear this style of music there are far better options that if I had to guess, were probably this band's inspiration.

Holy shit... I don't know what I was anticipating, but this is great. I generally avoid pop music so despite knowing her name I was unfamiliar with most of her music before listening to this album. Her voice has an undeniable power in its quality, and her control over it suggests a discipline that I feel many vocalists will never achieve. Even musically, this is elevated well above standard pop. I can hear nods to classic soul, r&b, and even Americana/outlaw country underneath much of this. Despite the varied influences it never sounds like an experiment, and never makes the album feel erratic. Instead, using those influences to create a unique sound. Nothing here is accidental and it shows.

This might be some of the first modern pop Ive been exposed to that I don't hate. Wildly all over the map sound-wise, like someone setting out to touch every genre imaginable on a single (albeit 70 minute) album. Usually that's a turn-off for me, but this works. I love when she raps. I love when she screams. I love when she sings. The music also maintains a level of good interest, never turning into just background. It's ever-changing style actually works to its advantage here. All in all, another nice surprise for something I did not recognize at all going in.

Miles again… automatic 5 stars.

More '80s pop I remember hating... great. Going to try to ignore that and give this an honest listen. One thing I did to stay interested was seek out an original mix version of this, learning that many of the songs on it were later remixed and/or replaced by their singles version. Glad I did. They sound like they are more stripped down, with flashier production elements either not yet inserted or left further back in the mix. Vocals also feel more balanced that own their singles where they are much too forward. It has much more of an electro vibe than I remember and I do have a better appreciation for that now vs. when this first came out. Musically I'm digging a lot of what sounds like nods to the original Motown sound. Not sure if that's all Michael or if it's Quincy's influence. Did I just hear Stevie Wonder? OK, I like that too. All in all I can say I have certainly more respect for this album than I previously did, but it's still not something that will ever be in regular rotation for my listening.

I don't know about this. Really liked the Sugarcubes, but find it hard to get into Björk's solo work. I do enjoy the experimental qualities to it. The blending of electronics and what sounds like field samples to create textures is very nice. Her voice is VERY unique, and despite it fitting the music quite well, I find that all together it’s just easy to dismiss as lovely background noise. Nothing really pulls me in. There’s no beat. There’s no groove. There’s no hook. I have huge artistic respect for her taking this approach but it’s just not anything that appeals to me.

No lie I love me some '70s soul. Right out of the gates this album is COOKIN' with an updated That Lady. Even when they slow things down and get sexy it still rocks. Heavy metal guitar tone (arguably before heavy metal existed) is a weird choice that mostly works. It does get a little comical in their cover of Summer Breeze. Solid album whose only downside is sometimes slipping into that "sounds too much the same" area.

Ah yes, the album that made me give up on "metal" for over 20 years. After heavy rock slowly morphed into hair metal through the '80s, we get this. It's the culmination of "metal" becoming bullshit pop music. It's basically the antithesis of everything I believe in musically. This is throwaway industry garbage that can only be enjoyed through a very thick lens of nostalgia.

This is a band who I have heard described as legendary, countless times. They are mentioned as influences in interviews by nearly every band I've ever loved. I love the experimental nature of what they are doing. I can only assume this was pretty "out there" when released in '78, and it's undeniable that it influenced music across many genres as well as defining some of its own. With all that being said... I just don't enjoy listening to it. It's cold. It's lifeless. It's mechanical. It sounds like a mathematical property because sentient and "wrote" a few songs. Great dance music if that's your thing, but it's not mine. Not bad for background music, or if you want to score a nostalgia-dripping, 1980's themed, children's horror/sci-fi television show.

Probably the #1 most anticipated album of my life. I could easily write 9+ paragraphs about the day I first heard this. I was a huge Minor Threat fan, owned both Fugazi ep’s, and could not WAIT for their first album to be released. Admittedly it’s not my favorite album of theirs (that’s In On the Killtaker) but inarguably it’s the most important to me. It went beyond hardcore. It transcended punk. It felt vital in a way nothing else at that time did. Inspirational, in a way that few other current bands at the time could portray. This is a true milestone in music that I don’t think enough people understand.

I think I hate this. Maybe I don't understand the English idea of flow in hip-hop because this just doesn't sound right. Like every line is out of synch with the rhythm. The production sounds super amateurish. The layered vocal is off-putting as hell. I really can't find a single good thing to say about this. Honestly I feel like I deserve some kind of prize for making it all the way through because this is unlistenable.

Into it. This was a pleasant surprise. Not sure what I expected, but this is a very competent release. Mostly hanging out in the indie guitar realm, but not afraid to hop the fence into a more garage/punk sound when the feeling arises. PJ's vocals fit all the music quite nicely. Ending the album on two lighter sounding pieces is something I'm usually critical of, but it works here.

Interesting for sure. I’m always fascinated with this era and style of producing. It reminds me a lot of The Bomb Squad at times. That being said it also feels like it’s missing something to me. It’s just too easy to dismiss without an MC on top of it.

I love Rick Rubin, but I do blame him and this album for having to be subjected to the Red Hot Chili Peppers far too often in the last 30 years. Before this album, they were just a weird funk-metal band that no one outside of niche skateboarding circles really gave a shit about. When this album dropped, you couldn't get away from it. It was EVERYWHERE, ALL THE TIME. Initial reaction; when they stick to sophomoric heavy funk they are in their element. It's fun. It's catchy. It's played well. Too often though they have decided to "get serious" on this album with tracks like Breaking the Girl and Under the Bridge. Quite simply, it shuts down any flow the album seems to be establishing, every time. I understand that these were their breakout singles and helped propel them into the forefront of mainstream rock, but as far as the album, it just doesn't work. Couple that with this being about twice as long (OK 3x) as it needs to be and you've got the recipe for a rough afternoon. Additionally and most importantly, Kiedis is the weak link here. Cut the vocals on the better parts of this and it's really solid and innovative funk. Kiedis ruins that EVERY time he opens his mouth. The lyrics are garbage. The delivery is worse. He's like the class clown that you couldn't stand to be around for more than 5 minutes in high school. Jesus Christ, if you can get through the final two tracks of this shit sandwich without wanting to do serious harm to yourself or others, you're a better person than I am. I'd like to give this 0 stars and if at all possible, erase it from history.

I'm a superman of Gabriel's early work and consider the first 4 self-titled albums untouchable. This is the best of the 4 too. It's experimental (for the time) but still weaves traditional melodies and pop sensibilities throughout so it's never in danger of losing the listener. There is an immense power in this album, even at its most introspective (Lead a Normal Life) moments. Every song feels meticulous in its creation. Nuanced sound textures and synth in the background seem to float in and out and at just the right moments to create real emotional responses. Biko is nothing short of a masterpiece.

A lot going on here. Hard to pin down stylistically, it often sounds like it's taking cues from pop but applying overly distorted, fuzzed out guitars. Not sure the fusion really works for me. Makes for a very nu-metal sound and I'm not really into it. The production leaves this feeling sterile and it definitely takes away from the heavier parts. It's the pop-produced style of the vocals that I really just can't get down with. They don't fit the music and more often than not distract me from hearing the more nuanced and intricate work happening there. The long instrumental parts of Cicatriz Esp really hammer home how much better this would be without vocals entirely.

Such a great listen. I’ve never been this deep into The Kinks discography and not disappointed to be here. Styles are a little all over the place here, but it’s never off putting. Proto-‘90s-Brit-Pop! You can plainly hear the sound that Oasis and Supergrass will borrow years later. A lot of album’s are labeled “ahead of their time” but this one delivers.

Started off nostalgically strong with Rikki, and I had high hopes. The Dan is one of those "supergroups" I've always really wanted to like but this isn't doing it. This album takes a STEEP nosedive after track one and I'd wager officially crashes and burns on East St. Louis Toodle-Oo. There are couple signs of life after that but they're faint and feel mostly reflexive. This is just bad.

Another artist I am completely unfamiliar with. I think I expected singer/songwriter style folk melodies here and I'm really pleasantly surprised. This is some good poppy soul with a soft rock backbone to it (yeah I know, but in this instance I actually DON'T mean to be insulting with "soft rock"). Some jazzy bits mixed in here and there, some blues too. Beautiful voice on Joan. Guitar work from her is also really expressive. Another one that's hard to really fit into any specific category, but just brimming with talent. I have to believe that Tracy Chapman was heavily influenced by Joan Armatrading. The songwriting and vocals are just too similar.

'60s girl-group pop influences delivered to your ears through the filter of late '70s LA punk. I love everything going on here. Definitely a big help in moving new wave on to the mainstream in the early '80s. Everything here is just upbeat and catchy. Hard not to have a good time listening to this.

Trying really hard to view this through the lens of the time it was released. This is when hip hop went to shit as far as I’m concerned, trading in simple bass and drum beat backing for fully produced “songs”. It moved the focus from MC to producer and I think the art suffered. Undeniable that Eminem's flow and delivery were totally unique when this was new. But lyrically, it’s impossible to enjoy this album. Murder and rape fantasies, over the top misogyny, homophobia at every turn; this is an album made by a fucking narcissistic sociopath. This influencing an entire generation sort of makes our current shit society a little more understandable. This is juvenile, selfish, garbage.

This is a banger! No more filling half the album with covers of American blues classics. At this point the Stones have truly come into their own, defining themselves as a creative force and establishing a foundation for what is to come. This is truly listening to history here.

It’s Aretha… Respect!

Tough to get through this. I know this is not a popular opinion, but I can’t stand Bruce. Americana as a genre just don’t do it for me. Specifically, I find his vocal delivery to be unlistenable. The bigger sounding tracks are ok (until he sings) but the acoustic guitar/piano tracks that focus on his voice is like having a hot knitting needle jammed directly into my eye. NJ can keep this guy (and Bon Jovi), I got no use for him.

Great album! This later era Prima, and you can hear a lot of his big band and swing past influencing this jump jazz sound. Upbeat tempos, bright brass, and Prima’s signature vocal delivery make this album really easy to get through and keep you tapping your feet the whole time. It’s a feel good album for sure

This is the “experimental” album? Sounds a lot like the others. Not for me.

I’m a casual fan of early Wax Trax material, and loved Pretty Hate Machine years back, but I never really gave NIN’s later material attention. Digging this a lot more than I expected. It’s got just the right blend of chaos and aggression, but still sticks with that early industrial dance beat to keep it focused. Probably going to be listening to this more.

Favorite album by one of my favorite metal gods. This is a perfect album, not a single bad track. Halford at his pinnacle!

Solid album with a number of recognizable tracks I didn’t realize were on it. Ends a little weird, but I’m still for it.

Holy shit! I was expecting doo-wop and the opener just blows the doors off the hinges with some of the greatest psychedelic inspired soul I’ve they heard! Hell yeah!! Sly and The Family Stone influence here is undeniable. More of a return to form for the back half of the album but still solid material.

This rocks! I generally prefer my hip hop with very stripped down production. But the jazzy instrumentals (with flute!) applied here don’t take any power away from the MC. if anything it’s a perfect compliment. In an era where the music industry was pushing violence and misogyny in their hip hop, it’s also really nice to see a group focus on conciseness. I hear a lot of Tribe Called Quest influence here, and I’m NOT complaining.

‘60s soul performed live in a small club… It really doesn’t get better than this. All the tempos are elevated, the crowd is charged. The performance is electrifying. I only have 2 complaints; it’s but long enough, and I’m not old enough to have been there.

Initial thought is that this is Pop/Dance masquerading as “indie”. Big NOPE for me. The position of the synth so high in the mix seems like an engineering error. The “set it and forget it” dance beat used nearly throughout the first half of this album is lazy as hell. The latter half trades it in for a slowed down snoozer approach. Not sure how much of an improvement that is. I don’t hate the vocals (with the exception of Runaway). Shame and Fortune was the single stand out track I thought was great. Can’t find much else I like here.

Immigrant Song is a banger of an opener, but this one just never lives up to the previous two. Nice to see them experimenting a little, the blues influence is still present, but they seem to be leaning on it with less weight. A couple slower tunes here (almost acoustic). All in all a little lackluster for the boys, compared to their previous two.

Not often I run into a band from this era that I've ever heard of but here we are! Initial reactions were that this would be a little too folksy for my tastes, but there seems to be JUST enough psychedelia mixed in here to keep me interested. Mostly starts sound sort of the same as it progresses, with a few moments here and there that stand out. I think closing the album with a cover of My 'ol Kentucky Home might've been a misstep though.

Not too knowledgable about 2000s hip hop. What I do know I'm not too fond of, but this starts off strong. Front half (Big-Boi) is a perfect combo of quality production that doesn't overshadow the rhymes and flow. Really like it all. Back half (André 3000) unfortunately fails to live up to the front. It was actually REALLY hard to sit through. Production is too busy. Vocals are too sing-songy and it's laced with far too much pop influence. Upon completion, I cannot even be diplomatic... it's fucking awful. Should've left this a Big-Boi solo album clocking in at half the time.

Big surprise here as I have always pigeonholed this band into "shitty alt-goth I will never listen to". Well... here's where I admit I really like this. It's definitely mood music, not something I'd listen to all the time, but the pulsating textures of almost ambient sound they create are incredibly interesting. It can easily serve as good background music you ignore while working, but is also something that you can focus on and lose yourself in, finding new intricacies the deeper you dive. Reminds me A LOT of a more guitar-focused Slowdive.

Solid '60s pop. Could listen to this stuff all day. Reminds me of being in high school and having a car with only a radio in it. Just drove around all day listening to "oldies". Good vibes only.

This exists in that nebulous area where it isn't bad, but there's just nothing that pulls me in enough to get excited about it. I find my mind drifting as it plays and allowing it to become background noise. I can certainly see why others enjoy it. The vocal delivery is competent. The instrumentation is well performed, and is certainly more evolved than the average hip-hop from this era. It has a very "modern R&B" feel to it, which I've never really preferred. Maybe that's the turn off? Overall it's just nothing I can get passionate about either for or against.

I knew a lot of the hits, and did have a loose appreciation for them, but upon sitting down to really listen to this... I think I love it! Lots of later Kinks going on. Some Beatles-esque compositions and harmonies. All around big-sound going on that I really like here. Probably the pinnacle of what I think of for Brit-Pop. My only complaint is why do you close such a powerful album with an acoustic sleeper?

This fucking sucks!

Based on description alone I expected to hate this. Honestly though, it's not awful. Electronic dance music is not my style, and it's nothing I would probably ever listen to again, but I don't find it offensive. Some of the composition is interesting, and for the most part it is pleasant. I understand why others would be drawn to it.

Wow, this is tough one. REAL downer of an album, which is something I'm not too keen on. But the performances are SO POWERFUL and moving, it's hard not to love this. Learning the context around the making of this album is heartbreaking, and makes it all so understandable. This is a tribute to pain, isolation, and sadness. Something I just WON'T be able to listen to often, but undeniably a momentous work to be respected.

Classic hip hop for a reason. This is non-stop hits. One of the earliest to fuse rock with rap and I'm here for it. The only negative here (and I won't penalize this release for it) is that this is the ONLY reason Aerosmith had a popular resurgence and was able to put out a string of over the top shitty albums.

Wasn't sure about this once I heard it was mainly written on and focused more on piano than guitar, but it's still Bowie doing his thing. It's lighter and poppier than the stuff he's done that I prefer, so not my favorite of his albums. That being said, there is a lot going on that that is so well done that I did find myself enjoying it more than expected.

The first of 4 self titled albums for Gabriel post Genesis. I like them all, but this one is by far the weakest. Solsbury Hill is a masterpiece, and the album will stay in my collection solely for that, but the rest is tough. Excuse Me is a complete stinker. The exerimentaion within songs like Humdrum and Moribund The Burgermeister cause them to feel disjointed. Lots of different styles thrown in here and many of them don't land well. The schizophrenic sound is understandable from an artist trying to find their solo voice, but it's certainly distracting in an album format. Not an easy listen and it's more understandable now why it seldom gets a spin from me despite owning it for many years.

Can't really focus on this enough to care. It's not offensive, but it's just such "background music in a dentist's office" that my mind does everything it can to push it out of the forefront of thought. Better than Simon's solo drivel in my opinion, but nothing I can get excited about either for or against.

Early Beatles aren't any favorite Beatles, but for some reason I still enjoy it a lot. Short, upbeat, filled with harmonies, total pop. This is the first album to feature all original songs, though they undeniably pull from the 50's American rock 'n' roll they were mostly covering previously. George's 12-string Ric on this album is pretty much responsible for years of emulation and eventually spawning the jangle-pop genre. I guess I can't really blame him though, it did sound good here. Another album that's hard to separate from my very long history with it. Would I still like it if I just heard it today? Hard to say, but nostalgia makes this a fun listen for sure.

I'm familiar with some earlier work from Beck... What the fuck happened here? Yeah, yeah, yeah, I know the backstory, but seriously? How does a romantic break-up change an artist's music so drastically for the worse? This is a total bore. I can't stand "sad man with a guitar" music, and adding orchestral elements on top doesn't help me. Hopefully this guy got over it eventually.

If I was into dancing and getting fucked up on party drugs, I might love this... but I'm not. This is the soundtrack to my own personal hell. Nope!

Another artist I've heard people gush over for years. I don't really get the hype. It's not awful, but just seems so... theatrical, for lack of a better term. Music is well performed, but lacks any elements that really thrilled me, and often borders on boring. Vocals are just too campy and over the top. Big turn off.

One the the greatest albums ever made, put out by the greatest band to ever make music! If I could give it 10 stars I would. This masterpiece defined an entire new style of music that 50 years later is STILL pulling its best moments directly from it. If you don't like this album, I KNOW I don't like you!

Was NOT a fan when this was released. It's definitely grown on me over the years and it certainly rocks. Still, something about it just doesn't fully hit for me. I think it's Axl's voice. I was surprised to recognize EVERY song here despite thinking I'd never listened to this straight through before. It's fine... I like it... I just don't hold it as the rock 'n' roll masterpiece others do. I certainly can't deny that if anything from it starts playing in public, I'll rock along to it.

Right from the jump this is an AMAZING headphone album. The layering of sound, the organ and guitar competing in seperate channels, and the ebb and flow of dynamics in Walk on By is just an unbeatable sonic experience. The party continues through Hyperbolicsyllabicsesquedalymistic, then Isaac slows everything down for side B, into what can only be described as his patented "fucking music". The man is a deserved legend and this release is a perfect example of why.

Didn't know anything about this band previous to listening except that Alex Chilton was a member. The upbeat tracks are great, and feel really ahead of their time, but there is just SO MUCH slow and depressing music on this album that it's really hard to enjoy. It's well played and I can appreciate that but god damn it, I don't need another reason to be down in the dumps. Not enough rock here.

Never liked the term "shoegaze" but I do like most music that falls under the umbrella. The droning wall of noise here is great. Vocals and melodies feel very brit-pop before it was really a thing. Sounds like something that would be absolutely immersive (in the best way) played live. My only complaint is I find it easy to drift off in thought while listening to it rather than maintain focus on it. Typical of this type of music, and inarguably more of a me problem. This will definitely be something I listen to again. Seems like it would be really good for long drives alone.

Solid '90s alterno/grunge rock with a 70's psych influence. It's not something the gets me super jazzed, but I do like it. Music rocks at times, but a lot of it is mid-tempo jams that blend with the melodic vocals into something that causes me to lose focus easily. I do feel like it would probably grow on me with repeated listens.

This fucking ROCKS like nothing else can. Fela is the MAN, and basically invented Afrobeat. The Africa '70 is phenomenal, untouchable in their talent. Find a version with the bonus track that is just a Ginger and Tony Allen doing a 16 minute drum solo. God damn I could listen to this all day!

Always passed this group off as a gimmick and never really gave them a chance. Heavy Detroit garage influence is evident. Somehow, I'd still rather listen to their influences. A lot of this inarguably rocks, but just feels... contrived, for lack of a better term. The recording process and equipment used is all really cool conceptually to me, but it just does not automatically make this a great album. All in all, I find it a little bland for what I feel like it wants to be. Listenable for sure, just not interesting.

Not my favorite Mudhoney album (that would be the 1989 Self Titled LP) but still very solid. I've always said THIS was the band that Seattle should be recognized for, not Pearl Jam or Nirvana. This is a fuzzed up, anthem-laden, garage screamer of an album. My only complaint is it lacks the same raw ferocity that made Superfuzz Bigmuff and the Self Titled LP so untouchable.

Proof positive that whites should NEVER be allowed to make "dance music". ZERO soul here. This is the music equivalent of unseasoned boiled pasta on a cold plate. Thank GOD someone introduced me to Nile Rodgers a few years ago. I had grown up thinking disco was just Abba and The Bee Gees. No wonder I hated it.

A little hit or miss here, but I do love some classic New Wave. When this is on it is INCREDIBLE. Unfortunately there are some pretty lackluster moments as well. Drumming is very standout throughout though. Big points there.

This is everything I need for '70s soul. Curtis Mayfield is a genius and the only problem I have with this album is it's not longer. It's phenomenal front to back.

Loving this. Ella's voice is incredible. The big band backing her up is outstanding. The three hour length is a little tough, but it's so easy to listen to I can't even complain too much about that.

See previous review

Not my favorite Iron Maiden record, but that being said, it's still miles ahead of most of the music that gets put in front of me. incredible band with an incredible discography. This is an early representation of the band and shows a little more of their influences than later material. It's a great representation of their beginnings and where they will be heading musically in the future. I have a hard time trusting anyone who doesn't like Iron Maiden.

Damn! For a band I've never heard of, I'm impressed. This opens up with a rager; Lose Control. Reminiscent of heavier Dinosaur Jr. material. Takes a more approachable melodic turn in Goldfinger. I can see why this was the "hit". Almost brit-pop melodies but still thick in the guitar fuzz dept. Rest of the album seems to follow this same formula, but not to a point of making it feel stale. Solid head bopper here. I'd listen to this again.

I do like my hip hop conscious. So this is right to my alley. Great rhymes, great production. A free misses for me but for the most part a very solid listenable album that gets you both moving and thinking.

This sucks. Writing anything more will just piss me off entirely.

Start to finish this is gold! This might not be "classic" Muddy, but god damn you'd be hard pressed to know that while listening. Even the rerecorded material sounds fantastic. Pure blues. So much talent and emotion in this man and his backup band. There will never be another like him.

Brit-pop feel to a lot of this, but they mix in some psychedelic, funky, 70's soul influenced hip-hop instrumentation too that makes it pretty interesting and unique. Definitely warrants a second listen to get it.

I'm an admitted Queen hater, though I'm mostly familiar with the hits. Pleasantly surprised to almost enjoy a couple songs early on; Someday One Day and Loser In the End. But most of this is typical Queen and I think it's awful. Never understood why "metalheads" liked this corny operatic garbage.

Ok. Here’s where I admit I secretly love most of the early U2 catalog, and this one is the top of the list. Sunday Bloody Sunday and New Years Day alone make this a great one; total rock anthems. Shortly after this they will start to believe their own hype and it’s a fast ride downhill, but this stands up.

One of the defining albums of ’60s soul! Otis, with the backing band from Stax again. Booker T, Donald Dunn, Isaac Hayes, Steve Cropper; a literal who’s who of the genre. This is musical perfection.

Truly awful! It's like an unfunny attempt at parody. There is no way you can convince me anyone wants to listen to this crap. Time Will Break the World might honestly have THE WORST lyrics I've heard in my entire life. I hope his 4 hungry children starve. Not a single redeeming thing I can say about this truly, truly, terrible music.

Starts out better than previous Smiths material I've heard, with a couple tracks I can almost call "upbeat". But takes a turn fast. Death of a Disco Dancer is completely awful to me, just depressing and boring. Girlfriend in a Coma is laughably terrible. I still HATE Morrissey's sad, crooning, melodramatic voice (hate him as a person too). Stop Me might be the first Smiths song I actually like! The rest is mostly shit. Did I mention Morrissey sucks? I did? Good, I didn't want to leave that out.

I had a High School teacher who talked about this record incessantly. Somehow up until now I had STILL only heard the excerpts used in The Exorcist. This is a wild ride, and totally rocks, except for maybe the weirdo Popeye the Sailor jam at the conclusion. I should've listened to Mr. Nouri over 30 years ago.

Love this stuff. Reminds me of high school, driving around with nothing but a radio tuned to the oldies station.

Not my typical preference for jazz. Not bad, but just not super interesting to me. Decent background music.

Love, love, LOVE, this album! Arguably my favorite of this era, which is saying something because it was a GREAT time for music. My dad introduced me to Booker T when I was very young and it will always remind me of watching The Blues Brothers with him. These guys basically become the Stax "house band" and backup MANY of the well know artists that came through that studio. Truly amazing album from a truly amazing group of musicians.

I don't know what I expected, but it wasn't this. I love it! Spacey, surreal, alien, and experimental instrumentals. Sci-fi/Horror movie soundtrack kinda vibe. Spent most of my life passing on this thinking it was adult contemporary yoga-mom stuff.

This album is kind of a slog. I've owned it for over 30 years and it's only been on my turntable a handful of times. It's got a few great songs, but just isn't consistent. Honestly is it EVER worth releasing a triple album? With the exception of the obviously plagiarized My Sweet Lord, Side 1 entirely feels like it had to have been an inspiration for the Brit-pop sound of the '90s (yeah, yeah, I know the Beatles basically are, but this goes beyond that). There is some great material there. Side 2 is where it starts to slide for me, as it adopts a more country feel to it and seems to slow down a bit. Let It Down stands out though, bringing back a little more of the first side sound. By Side 3 and 4 I'm starting to feel the burnout. Nothing here really stands out, and it's all starting to sound the same. Side 5 begins the Apple Jam (which continues through Side 6), and it's mostly good, solid guitar based jams... aside from It's Johnny's Birthday, which is awful. This could've easily been a GREAT album if it was just pared down more. I understand there are hours more of these sessions and what we got IS a pared down version, but seriously... it needs more.

The last great REM album! The writing is on the wall for what will come. It's better produced, less mumbly than previous albums, and songs like Exhuming McCarthy are starting to show some of that later pop sound they'll become popular for, but this is still a fantastic album showcasing all the reasons I originally fell in love with this band. Finest Working, The One I Love, Lightnin' Hopkins, and Oddfellows Local 151 all define what was great about "college rock" in the '80s. I may not love the trajectory they took once signing to WB, but the IRS years are undeniably one of my favorite runs of any band ever.

This is definitely not for me. Nope.

I've owned the US version of this (Meet The Beatles) for most of my life and it omits all the covers, which I now realize is a crime. Never even knew they covered Smokey and The Miracles! Early Beatles are far from my favorite Beatles, but this is still pretty outstanding considering the context of the time. Here are four Brits who LOVE American rock 'n' roll, but aren't content in simply going through the motions of playing it. The originals are all built upon it, but the pop melodies (and harmonies) are their own. Even the covers go beyond simply playing someone else's songs. Their own spin is in everything from the vocal treatment to the arrangements.

This is all over the place! Psychedelic at times, experimental at others. Includes a foray into soul. No idea what to expect next. You Need Your Head into Rock & Roll Pussy were the closest moments to really loving this release, but they alone were just not enough.

I know the hits, but never really did a deep dive into a full album. I expected to like a few tracks, but this is a BANGER front to back. Hard for me to throw around the term "perfect album" but this might just be that! "Lynyrd Skynyrd Smokes"

Super overrated blues. Borderline soulless. So many better artists if you want to hear this style played with actual heart.

A few songs in and I was a little surprised that I didn't hate it. The blend of early soul/R&B samples over beats was a little weird but not totally off-putting as background music. But hIs spoken "vocals" over repetitious ambient beats really annoys me when that's going on. This is nothing I would reach for to listen to again, ever. The deeper I got, the more I just got bored with the predictably formulaic approach. The singular moment he mixes it up (machete) and gives me what I initially expected the whole album to be (frenetic dance club bullshit), I simply cannot stand it. Pure garbage. Once again I am mystified at how so many people regard this as an essential listen.

Wow... Not what I was expecting from the guy who recently left The Stooges and is regarded as a punk icon. Front half sort of answers the unasked question "What if Bowie wrote and produced a Devo album?" I like it, but it's obviously and entirely a Bowie album that Iggy just sings on.

Getting a lot of "my very first beats tape" vibes here. Not offensive, just totally disinteresting to me.

Musically this rips; psychedelic rock 'n' roll fused with soul and blues. I am, however in the minority, in that I really don't like Joplin's vocals. Honestly feel like it sounds like someone torturing a cat. She actually sounds more haggard on this recording than some of the later ones I've heard. Everything is at its best when the band is really jamming on something. I think because Janis's voice becomes the focus when they slow down and show some restraint. If this was an instrumental album it would be amazing.

Starts off strong. I dig it when it's stripped down and rocks. Not as much when it gets slow and orchestrated. Lots of different style going on here, sometimes it works, sometimes it doesn't. Back half kind falls off for sure.

Classic record. Untouchable in every way.

County fair bandstand background music. Not for me.

This is exactly the type of folksy-Americana I can't stand. I respect the artistry and talent, but just find it totally unenjoyable.

Not something in my general wheelhouse of listening. That said, there was a lot here I liked. Had a wider variety of styles than I expected and everything was performed very well. Still not sure it’s something I’d turn to often.

This is god awful! It’s the musical equivalent of a basic college white girl. It’s ugg boots, leggings, and a puffy vest turned into music. I’m so pissed I’m listening to this

Usually not a fan, but this one resonated with me some. Still not anything I'd reach for to listen to often but seemed to go well beyond the folksy acoustic material I've come to expect from this duo.

No frills, straight forward rock and blues. Exactly what I expected from this era of the Stones.

Sounds like showtunes. Not my thing. Vocals and instrumentation is performed quite well though.

I distinctly remember falling in love with Coldsweat from my early days of watching 120 Minutes on MTV but for some reason that never inspired me to buy and listen to the whole album. Blame my discovery of hardcore and my narrowing of tastes at that age I guess. Really nice post-punk here with an almost futuristic (for the time) approach to new wave. Björk's voice is as outstanding as it is unique here and it's no surprise that in a few years she will be propelled into being a successful solo artist.

Man, this is a tough one. On the one hand, this album was something a very cool, guitar-playing uncle introduced me to when I was 6 or 7 years old. I spent YEARS listening to this, analyzing it, and thinking it was just the coolest thing ever. On the other hand, I've come away from it for even longer at this point in my life and it has somewhat lost its shine. I still know every song intimately, right down to knowing nearly every lyric. As an adult, listening to this currently, the subject matter just seems... off, especially after the light was shown on Pete Townsend's propensity toward child porn (yeah, I know it was "just research"). Ignoring that, I just find it to be very middle of the road; some great music on here, but a lot of campy/cringy filler too. It's simply does not live up to the status I assigned it as a pre-teen.

I don't hate it, but I'm really not into it either. It's just too repetitive and "dancey" for lack of a better (real?) term. I think I just don't like beats unless someone is rhyming over them.

This rocks! Only thing keeping it from a 5 is the flagrant overuse of horns.

Opened up with a banger! Lost me with white guy reggae meets The Smiths on track 2 though. Rest of the album seems to ping pong between "Hey, this is sort of interesting" to "What the fuck is happening here?" Hard to get onboard with this.

Interesting to listen to something so lyrically based, that's in a language I do not understand at all. That being said, this is hip-hop that is right up my alley. Late '80s to early '90s is my sweet-spot for rap. Hip hop in this era was focused on the MC delivery, with the production being more sample, bass, and drum heavy. I find modern production too distracting; overshadowing the MC with too many changes and too much instrumentation. Solaar has a great voice and shows off multiple types of flow throughout. It sounds a little dated now, but for the era it was released, I think this was probably pretty groundbreaking.

Not my favorite style of jazz. It's nice in a club atmosphere, but a little too smooth for my usually listening tastes. Still inarguably a great and talented performance by all.

'50s country is so much more palatable than a lot of what will come later. Not something I will ever love, but this is pleasant and well-preformed. Reminds me more of hornless mariachi than what I think of as "country", but I also know the relationship between the two is pretty tight, so it makes sense.

Thankfully a short album. I assume this is fine if you're into this sort of thing... I'm not.

Always wrote this band off as "goth I'm not interested in", but it's not bad. I love the completely obliterated guitar tone and its juxtaposition to the deep and clean bass lines. Not wild about the droney almost monotone vocals, but it works with the music I guess. I defiantly prefer the faster and noisier tracks like Inside Me, but on the whole this is a pretty good album.

Right out of the gate this is insipid pop industry garbage. Canned beats, fake instrumentation, and Mariah's signature melismatic singing style that she forces into every fucking song, just to hide the fact that she's actually NOT that talented. This is the epitome of everything I hate in music.

Opens up with an ass kicking! Nice blend of post-punk, garage, and Britpop going on here. Really seems to take the best from each and just rocks out with it.

Fun trip back to the mid-'90s for me. This is a solid album with a few really outstanding tracks. Only downside was closing on what is arguably the weakest song of the album. Forgot how many of these got radio play when it was new!

Knew I would hate this before I made it to the 2 second mark. Dirt-mall bootleg Depeche Mode here, complete with a Dave Gahan impersonator for a singer. No, thank you.

Opens up pretty nicely, Novocaine For The Soul hits all the classic tropes for '90s alt-rock nostalgia. Really slides downhill after that though and proceeds to just be really boring.

It's fun and upbeat. First track was very interesting; pop influence with a bit of a 70's soul or disco feel to it as well. As usual, when this becomes just beats I sort of lose interest. Not Paid Enough/Paid In Full being a perfect example of how great this stuff works with an MC.

While I do enjoy their more experimental work, I love this album for it's straight-forward approach. Rock, blues, and ballads galore here with very little of the weirdo stuff they are more known for. Solid release.

Less familiar with this later '80s Prince. Still solid though. Lots of nods to '70s era soul. Did this gut have any misses?

I like this more than I expected to. Nice late UK punk sound with a poppy new wave influence. There's a few down-tempo Joy Division-esque tunes on here, but when it rocks is when it's really on.

New wavey... First few tracks are reminiscent of U2 from around the same era. It devolves over the course of the LP into slower ambient tracks that remind me of the parts of Peter Gabriel's catalog that I do not like; mostly snoozers.

"...trick question, Lemmy IS God." Seriously though, if you don't like Motörhead, I don't like you!

Not even debatable that her voice is incredible. Possibly the most powerful in the game. Feels a little slower more introspective that 21, but not in a depressive way. Still enjoying her output here.

My interest in The Who has waned quite a bit over the years, but this is a kick-ass live recording. Even I can't hate on this. Every track is a classic banger. Entwistle's tone is off-the-charts fantastic.

I spent a large part of my life thinking I hated this... I don't know what I was thinking. Every track here is a banger! I don't think there's a song on here I don't know.

Not a folk fan, but this has JUST enough psychedelic elements blended in to make it really interesting. I'm liking it a lot more than I expected to.

Was obsessed with this band as a kid, but this album was IMPOSSIBLE to find then, so I've never heard it before now. This is outrageously good, like a psychedelic and experimental version of the Kinks. Vastly different from the later, more well known output from Floyd. Makes me realize why so many people hold Syd Barrett in such high regard. This is a great album!

It's not awful, and it has some very interesting parts and nice hooks here and there, but on the whole just isn't something that holds my attention. Certainly better than Sea Change, but I think I just don't like Beck.

Possibly the greatest live recording ever made! I could listen to this on repeat all day.

As new wave goes, this is bottom shelf stuff. There is an orchestration to a lot of it that just doesn't seem to fit. Latin rhythms, lazy jazz, British sensibilities, and lots of horns. It's all a bit too much thrown into the blender. This just isn't for me.

Another perfect album from Lemmy and the boys. This band is a litmus test that will determine if we're going to get along or not.

Great hip hop here. Production style makes it feel a little older than it actually is, which is a good thing for my tastes. I sort of checked out of rap when the production became too far removed from simple beats, and samples. Even the R&B parts on this (that I generally hate and skip) are solid. Did NOT love the closing track however.