Where did this come from? It's like a journey through shadows and light. The lyrics hit. The dual nature of the record blends raw intensity with gentle introspection and it stands out. It reminds me of Leonard Cohen’s moody storytelling and Tom Waits’ raw energy. This really grew on me and stays with you.

Booorrrriinng 😴

Not what I wanted after a restless nights sleep. Also, who does a compilation album after TWO fucking records? Strike one. Also also, my new favourite band? Too pretentious for punk. Strike two. It's loud. Fast. Repetitive. It’s punk garage rock energy, with an inch of depth. Feels like a rougher, more hyperactive take on early The Strokes, but with none of the mood. There are hooks, surprisingly, but they fade fast. It’s fucking exhausting by the end. Strike three. It will get the "Playlist Additions + 1 Star" treatment, because it's not unlistenable, and it may have caught me on the wrong Tuesday. Playlist Additions: - Hate To Say I Told You So

This album feels like a dream on the edge of a breakdown. It's both glam and gritty, playful yet chaotic. The piano work is sharp, reminding me of something Elton John might do but with more danger in the notes. There's a tension here, a sense that it's all about to unravel, yet it holds. The saxophone adds an unpredictable flavor, almost like it’s clashing but fitting all at once.

OK, this was awesome. I'm finding I really dig ambient, lo-fi type stuff. There were numerous adds to my playlists from this score. I'm going to hazard a 5 here, and definitely look for similar music to expand my listening.

Edit: From 5 to a 4. Iconic, yes, but I bumped this early in my project simply due to name recognition.

It's a Leonard Cohen world, and we're all just living in it.

Incredible ambient, "space" music. I could put this on in the background and get lost. Easy to add into rotation.

Pretty incredible stuff. I'm uncertain how this passed me by in the 90's; I must have been too wrapped up in the Seattle sound. Very reminiscent of Beck, but in a less organized, more "dirty" way.

I had a whole thing typed out for this but it disappeared. Sad.

Just phenomenal, from front to back. No doubt this album rocked the world back when it was released, and is still holding up so well today. Timeless music. Easy 5.

Some iconic songs on this album. Absolutely obvious now, but it's easy to see the foundation of metal being drawn out here. Gain-y guitars, dark lyrics, and at times a "creeping" rhythm.

It's got that deep 80's sound. It's kind of a hard listen, it just doesn't break through the walls with me. There are a million albums from the 80's that sound just like this. It's generic, canned synth-pop cringy love songs.

OK, a lot of sound to digest here, and it's not all delicious. It's mostly up my alley, but some of it needed to be choked down in my middle-age. That being said, there is quality in there. I'll keep this right down the middle.

I tend to enjoy foreign music, and this is no exception. Very upbeat.

I dig the piano driven jazz pop sound MOST of this has. There were a couple of whiplash songs, but generally a pretty good album. I could explore more.

OK, this was awesome. I'm finding I really dig ambient, lo-fi type stuff. There were numerous adds to my playlists from this score. I'm going to hazard a 5 here, and definitely look for similar music to expand my listening.

The first track kinda slaps. A lot of the "same" vibe from song to song. It's not terrible terrible, and the guy obviously found his recipe and stuck to it. Like, he didn't add any spice or try different ingredients much.

Blur is right up my alley. Who doesn't love screaming "Woohoo" at the top of their lungs to song 2?

Good singer/songwriter folk music. I wasn't able to listen as intently as I'd of liked, but this is certainly worth coming back to.

Broody.

This was a rough, rough listen for me. Didn't jive with my morning, didn't catch me. I appreciate the art behind the story, and I don't mind concepts.

100% Frank Sinatra. The iconic sound is hard to miss, and this album delivers.

OK, two straight days of tossing me back to a time period well off my radar growing up. I was, however, thoroughly impressed with the melodies and harmonies of The Everly Brothers. This album contains the original version of "Love Hurts", a song we've all heard 1,000 times (and probably even know most lyrics to), and the OG version is just as good as the power ballad version that was made popular. There's just a "happy" vibe with the music that seemed very obvious looking back, making all songs pretty easy to digest. They're all bite sized too, all clocking in under three minutes. Good stuff, overall!

OK, stuck in the 50's the past couple of days, but it's turning out to be quite the treat. This was a whole vibe, and I dig it. There are songs on this album I've heard throughout the years, in the background of other media I've consumed (movies, etc). Just fantastic all around. Even the instrumental pieces are fantastic. I'll definitely be exploring more Louis Prima.

OK, so some decent stuff here. You can hear the beginning of the genre really taking shape. That being said, not enough "ambience" for me, there was a tad more techno flavor than I care for. Still good.

What a surprise Blur has turned out to be, I'm ashamed of myself for missing them back in the day - they are right up my alley and I grew to love the Gorillaz. This sounds like the "foundation" of the Gorillaz. Great stuff.

Bob just knows how to write incredible songs. A true songwriter through and through. This is probably the most "rock" you'll get from Bob, and it's spectacular. Lots of great tracks on this album, and really packs a punch from start to finish.

Incredible stuff by David Bowie. He just knew how to push the envelope in so many different directions on the same album. Some real bangers.

OK, this is my second Morrissey album (well, technically the first was The Smiths), and dare I say much better than the first I had listened too. There's still an arrogance Morrissey has that I can't quite get behind, but musically the album is good.

OK, let's address the obvious. The lyrics can be.. no, they are, very hostile. However, this album (lyrics included) is pretty incredible. The influence can't be denied. Hearing a young Cube, Dre, and Eazy-E create the foundations of gangsta rap is pretty special, and they don't hold back dishing out their view (from that time period) on racial injustices.

A powerful and soulful album that showcases Bob's unique blend of reggae rhythms and heartfelt lyrics. The tracks are infused with Marley's energy and poignant social commentary, making it a timeless classic. Its depth and artistry shine.

Decent blend of funk, soul, and rock, reflecting the social changes of the late 1960s, but its experimental nature sometimes results in uneven execution. Overall, it's a significant but inconsistent record that still manages to capture the spirit of its time.

Hmm, you can hear the raw, experimental psychedelic rock of the 60's here, but it's very foundational. It's a good listen if you're interested in the origins of psychedelic music. It's not completely "refined", however.

Layers for daysss. This album is an absolute masterpiece. The blend of music and lyrics combined create something very special.

This was genuinely pretty good! I dig the upbeat vibe, the big band feel, and rock/jazz blend. Some songs are just jams, which isn't terrible either.

Wow! This album has a ton of blend of experimental sounds and accessible melodies, creating a unique experience. The tracks are diverse, ranging from ambient pieces to more structured songs with clear rhythms and hooks. Some moments feel a bit aimless, but overall, the production is detailed. It's a solid effort that highlights an innovative approach to music.

I... didn't know electronic music was.. so old! OK, so it's not the "beat" EDM type stuff from more modern times, or the DJ type stuff from my X days. It tries to be more ambient.

The album is absolutely front-loaded with some of the must-listen Elton tracks, but starts to lose steam the longer the listen lasts. Don't get me wrong, there is nothing wrong on the back half of the album, it just kinda chugs along through the end. Still an incredibly solid album.

Thrilling from start to finish, there are blends of rock, soul, and funk throughout the album. The music is both experimental and accessible. It's a standout in any collection, love me some Bowie.

Catchy, charming glam rock. A bit repetitive, but fun and enjoyable none the less.

This album feels like pure rebellion. You can hear "punk". The energy is electric, and the songs are catchy and fierce. It's chaos and attitude and quite understandable why this album is regarded so highly. It's not something I could do everyday, but it deserves its spot in the list.

This album brings together some great storytelling with a folk-rock sound. Songs are can feel a bit repetitive. There are some OK tracks, but the energy dips in a few places.

Full disclosure as a Nirvana fan, I have.. feelings about Ms. Love. While the majority of them are about her character, I've never really held Hole in high regard, so I've never really listened to their music, sans the stuff on the radio. That being said, I'm listening for the influence here, and it's all over this album. It's not terrible by any stretch, and probably does deserve its spot on this list. Musically and vocally, it's angsty and it drives. You won't catch me spinning this album on repeat, but I'm glad I gave it an opportunity. It still didn't change my opinions about Courtney at all. 😂

Just no. I couldn't find anything on this album that struck a vein with me, and I tried twice.

Holy smokes! This record is a masterpiece of Britpop, I absolutely love the style of the witty lyrics. The riffs are catchy, and each track delivers a mix of humor and poignancy. The whole album feels very alive. Sexy, dancey, beautiful music. Easy 5.

You can hear all the early country influence throughout this album. It doesn't really resonate with me, but the whole album is an incredibly easy listen. I can't knock it for that, because theory wise, it's sound and simple. Songs are short and to the point as well, nothing clocks in over 3 minutes. Man, someone did Loretta wrong and she wrote an album about it. Sounds like dude was a raging alcoholic to boot. She's like the OG Taylor Swift. She's a pretty great singer too.

Let's bring the band together, and experiment. Just play whatever floats your boat. But make it sound good. This album takes you on a glam rock journey with a blend of experimental sounds and eager production. The vocals are haunting, and the album has a surreal and sometimes eerie vibe. It's catchy, and kept me engaged. It's adventurous, for sure.

I'm struggling to get over how diverse this album is. Hearing the first song I think I know what I'm getting myself into, but that couldn't have been further from the truth. It's all kinds of things and I thoroughly enjoyed it. The music is great, the production is great. I've listened to it 3 times already and can't really get enough. Great stuff.

Not really my cup of tea, but it's interesting and grand in places. It has a mix of cabaret and modern sounds with a dark and moody vibe. Kinda theatrical. It's a decent listen if you like a blend of classic and contemporary music.

Trying really hard to separate the shit human from the art. It's nothing special. It has some clever lyrics, but it feels uneven. Ambitious, yes, but some iffy execution. The shining light here is the production value. Please stop padding albums with skits.

Potent stuff. High-energy punk. The pace is pretty solid and sets it apart as a defining record of this genre. It has that raw production that adds to its rebellious sound. I love it and think it's incredible. It's a must listen for anyone interested in the roots of hardcore punk.

Joan showcases a signature blend of folk, rock, and jazz influences, creating a sound that's both unique and interesting. Lyrically, it's heartfelt and personal. The production is solid, but some tracks feel a bit repetitive. Overall, it's a decent listen with a few standout tracks, but it didn't really leave a lasting impression.

More of the same canned synth-pop rom the early '80s brings the same melodies and danceable beats as every other canned synth-pop artist. The tracks are, as usual, upbeat that capture the 80's electronic vibe. Terribly repetitive, lacking depth to keep engaged throughout. Overall, I tolerated it, even if it doesn't hit many marks.

This was a solid and memorable listen. Musically, it mixes folk, rock, and soul with powerful lyrics and a soulful voice. The simple arrangements keep the focus on the lyrics. Lyrically, there are some hot takes on social issues.

Do you want rock anthems? Good! Bat Out Of Hell explodes with energy and emotion. It's a masterpiece that delivers an unforgettable musical experience. The powerful vocals, theatrical compositions, and vivid storytelling create an epic listening journey from start to finish. There's passion and intensity, making it a timeless and dynamic essential rock album.

What a great mix of rock and soul! Each song feels genuine, with a solid backing band that adds to the experience. It's an enjoyable listen for anyone who likes both genres, combining the energy and emotion in a way that's hard to beat.

This is a pretty great mix of R&B, funk, and pop. The production is very "rich". I was actually quite blown away with how easy of a listen it was, and ran through it twice.

Wow. Short. Only ~32 minutes. It's a mix of art rock with orchestral pop in a pretty cool way. The music is interesting, though some songs feel a bit too "over" produced, if that makes sense? It's a good album, but I couldn't quite connect for some reason. Gave it a double shot too.

Incredible music, incredible influence. Ahh, the innocence of that era. They really had no idea. Little Richard's impact is very obvious and etched all over this album.

The best song on this is a cover. Personally I don't think it's anything very special, but it's not terrible either. Mixed. More post-punk and alternative rock, with a raw and gritty sound. The overall energy and style make for an interesting listen. It did not grab me on the first spin, but it's worth a few listens to fully appreciate its quirks.

I'm always blown away by how much I enjoy this genre of music. Afro-Cuban jazz that immediately grabs your attention? Yes please! It's like the music you hear at a street festival. Energy, talent, and passion. It's perfect for anyone who loves music that makes you want to move and feel the joy of the beats.

More really, really good jazz. I can't believe I'm such a sucker for structured jazz music. It's so alive. An absolute gem for any jazz lover. Brass sections, smooth piano, and infectious rhythm that is all gas no brakes.

Tons of powerful lyrics and strong beats, capturing empowerment and resilience. Queen's delivery is sharp. There are standout moments that remind you why she was so influential in the industry. It's a solid listen.

Geez, need help relaxing? This album will do it. It's a calming mix of classical, beautiful and peaceful music, making it great for winding down. It's a nice listen but may not be for everyone.

Loud, raw, and full of youthful energy. Most songs are catchy. The lyrics aren't deep, but they fit the vibe. Overall, a solid debut with plenty of attitude. Not perfect, but memorable.

This album is a moody ride. The lyrics are raw and heartfelt. Each track flows into the next. It’s a bit slow at times, but I think that's its charm. Great for a rainy day. Not for everyone, but worth a listen.

I had a tough time getting behind this. The album feels chaotic and raw. The energy is relentless. Lyrics are sharp, and tackle social issues. The production is rough, which suits the punk vibe. It has moments of brilliance, but they are scattered.

This album mixes jazz and rock really well. It's smooth and cool. The instruments blend perfectly, and both songs flow. It's a unique and timeless listen, and something I'm happy I got to experience.

This collection of songs feels like a cozy night by the fire. It's warm and inviting, and the saxophone adds a touch of magic. It's hard not to tap your feet or sway along. Perfect for unwinding after a long day.

A classic jazz performance. Energy is high, crowd is alive. The solos are phenomenal. The band is tight. It captures the essence of live jazz. A must-listen for any jazz enthusiast.

Raw energy bursts in the beginning. The sound is gritty and primal. It's a relentless ride through rebellious rock. The vocals howl with a wild, untamed spirit. There was a unnecessarily long song which took my attention away, then the rest just kinda fell off.

The album feels like a throwback to their raw, grungy days. The energy is undeniable, with heavy riffs and rough vocals. Songs blend together, creating a consistent but monotonous vibe. It's loud and unapologetic, but lacks any spark to make it memorable. Great for hardcore fans, but others might find it repetitive. I say this as a Nirvana fan, who is well aware the Venn Diagram of Mudhoney/Nirvana fans is basically a circle.

This live recording captures raw energy, and any show from this compilation would have been an experience. The performances are tight. The first disc is a nice, complete ride. The second disc is a bunch of repeated songs from the three nights they were in Japan. It’s a solid listen, but could have been one disc with zero repeats.

OK, this album has a very pretty atmosphere. It's lush and immersive, and the production feels both grand and intimate.

Pretty electric and pretty awesome, filled with a lot of songs I wasn't familiar with, albeit a short album.

A complete nostalgic journey. Absolutely unforgettable. I've spun this album to death prior and I'll continue to spin this album to death after. I know many of these songs on guitar.. It’s a must-listen for anyone who loves grunge and alternative rock.

More incredibly interesting world music. I just dig the vibe of it all. Sometimes a little repetitive, but overall a fun journey of moving and grooving.

Guess I'm gonna be depressed today? OK, not to jump on that band wagon. When you break it down, it's not terrible, but it's no masterpiece either. Maybe I really need to be in a different frame of mind for this one, but I'm not, so I can't. I respect it for what it is.

It doesn't need to be chart-topping music to make you want to vibe along. Bowie is a master at his craft and musically talented beyond what should be capable. But this kinda misses - maybe it's age catching up, or maybe I'm just too spoiled with all his earlier work.

Zero doubt about the influence this had when it first came out. It's pretty raw and really good music. Rock, Blues, Funk, it's got a lot more to offer than the title track.

This album has a nostalgic early 80's charm. The music is subtle and layered, and sorta feels like a soft conversation. It’s reminiscent of early Nick Lowe.. Comforting, though it doesn’t push many boundaries.

I don't mind live recordings in this list (it's almost necessary), and this one is a raw, unpolished charming addition. Imagine being transported to a smoky, intimate venue. It has the gritty, heartfelt vibe similar to early Howlin' Wolf recordings. It's a great snapshot of a moment in music history. Docking stars for repeat songs.

I personally thoroughly enjoy an instrumental "background music" type album, and this was no disappointment. A fun journey through chilled-out beats and smooth rhythms. Each track flows into the next, creating a seamless listening experience. Perfect for late-night relaxation or a lazy Sunday afternoon. The album’s vibe is soothing the soul.

This album of covers was very beautiful, and feels like a cozy evening at home. It reminds me of the easy-listening style of Frank Sinatra.

What a trip down memory lane. Smooth, melodic, easy listening, could spin this over and over.

This feels like daydreaming in melancholy . The songs gently drift and sway. It's reminiscent of early Nick Cave, with a touch of Springsteen's storytelling. The vocals carry a raw, emotional weight. Kinda soothing, kinda stirring.

Absolutely full of bangers, and no doubt a huge influence on the landscape of music.

Very interesting, this album feels light and reflective. There is a minimal feel, which I like. It has a touch of Bon Iver's vibe. The mix of electronic and acoustic sounds is smooth, it's a quiet journey through feelings.

Man, keep the 5's coming. This is such a trip and it's so good to hear The Beatles growing and experimenting here.

Lauryn successfully blends hip-hop, R&B, and soul in a way that's both powerful and personal. She explores love, identity, and social issues. The production feels organic, with filling instrumentation that adds to its quality. Overall, it's an impactful listen.

Where did this come from? It's like a journey through shadows and light. The lyrics hit. The dual nature of the record blends raw intensity with gentle introspection and it stands out. It reminds me of Leonard Cohen’s moody storytelling and Tom Waits’ raw energy. This really grew on me and stays with you.

A mix of melancholy and defiance. The music is introspective, with a vulnerability that recalls the early work of The Smiths, but with less bite. There's a longing in the lyrics, but the melodies sometimes feel like they’re holding back. It’s not as sharply observed, but it has moments of quiet beauty. It’s an album for grey afternoons; not always resonant.

An incredible blend of jangly guitars and urgent vocals, Document feels like walking through a familiar city on a crisp autumn day. The lyrics are cryptic, yet they linger, like a phrase you can’t quite shake. It brings to mind the edge of Talking Heads, but with a rougher, more rebellious undertone. The album flows, creating a journey that’s both introspective and outward-facing.

Moving Pictures flows like a journey through a sci-fi dreamscape. The music is a blend of sharp, precise rhythms and expansive melodies. It’s like listening to Pink Floyd, but with a harder, more precise edge. The music moves with urgency and restraint, creating a tight, controlled energy. There’s a sense of meticulous craftsmanship, but it never loses its raw, human feel.

I'm shook. This album is incredible, and feels very intimate and raw, like you’re sitting in the room with Jeff. The vocals are full of emotion, almost like early Radiohead but more delicate. It draws you in, not with force, but with a quiet intensity. Simple yet deeply affecting. Blown away.

Wilco music is like a delicate blend of warmth and melancholy. The sound is like a mix of Neil Young’s introspection and Radiohead’s sonic experimentation. It feels familiar but always finds ways to surprise. Each track unfolds like a story told by someone who’s been through it all and is still searching for something more. The simplicity is deceptive; there’s depth beneath the surface, and it lingers long after it ends.

Funeral is like a journey through memory. It's full of raw emotion and warmth, with a vibe that reminds me a bit of Talking Heads. There's something comforting about it, even when it’s a little sad.

Antichrist Superstar feels like a long, loud tantrum. The repetitive anger lacks any depth. Imagine Nine Inch Nails but without the same finesse. Actually, it's kinda funny because Trent Reznor is all over this album. It’s raw, but not in a way that feels meaningful at all. Just relentless, and not in a good way.

CTRL C + CTRL V. Nothing much to grab onto. The beats are decent, but nothing really stands out. It tries to have the mood of something like Massive Attack, but it doesn’t quite hit the mark. It just doesn’t stick.

Polished and poppy, this album is fun! Full of nostalgia feels and a sense of youthful energy. The beats are crisp, the melodies infectious, and the lyrics capture that feeling of chasing after something just out of reach.

Actually pretty good for his post Beatles debut. It's raw and simple, the emotion is right on the surface. Like early Bob Dylan, but more personal. It's not really an easy listen, but that's what makes it "real".

Geebus Chris Fred, STFU! The album would be fantastic if it wasn't for the lyrics. It’s trying too hard to be edgy, and it often comes off as a parody of itself. There’s a sense of "manufactured" rebellion, lacking the sincerity found in Rage Against the Machine's work. The aggression feels forced, like a cartoonish version of what anger should sound like. It’s not unlistenable, but it’s forgettable. There are maybe two tracks Fred doesn't ruin.

Kinda feels like a gentle conversation. The themes are deep, but the sound is smooth. It’s a bit like Curtis Mayfield’s work but with more introspection. The grooves are easy to get lost in, though it can feel repetitive at times.

It’s a mellow, easy listen. Very close to a 5. The sound is stripped back, the vocals are gentle, pulling you in close. It’s the kind of music that feels like a quiet conversation late at night. Simple.

Feels like a cozy blanket on a rainy day. The songs are simple but comforting. It’s like listening to early Simon & Garfunkel, where everything is just soft and easy. You don’t need to think too much, just enjoy the moment.

Second Lennon album in a weeks span. The album feels like a deep breath, the music is straightforward, with melodies that resonate. There’s a vibe similar to Paul Simon’s work—relaxed, but meaningful. It’s not trying too hard, just delivering something real and honest. The Beatles were great because they had the influence of the four members. Break them apart and you can hear each's contributions.

All about the energy. The rhythms pull you in, and the beats are so infectious you can’t help but move. The horns are loud and proud, giving it a funky vibe that reminds me of something James Brown might have done, but with a sharper edge. It’s bold, it’s powerful, and it’s got a rebellious streak that makes it stand out.

It’s raw and fast. There’s a gritty charm to the simplicity. It feels like the rough edges were left in on purpose. The energy’s there, but it’s more direct. It’s not polished, and that’s part of the appeal. The only real problem is all the songs really start to sound very similar the longer the listen goes.

A interesting swirl of rhythms, almost trying to pull you into a trance. The beats are loose, carefree, and almost lazy, but in a way that feels intentional. Never heard of these guys before, but it was a pleasant surprise. Great vibes!

This album came out of nowhere! There is a real global journey feeling going on. It's raw, energetic, and full of surprises. The beats hit hard but remain playful, almost like a soundtrack for a chaotic, vibrant city. There’s a mix of rebellion and joy in every track. The soundscape is wild yet grounded. It really started to grow on me.

Relentless, but repetitive energy. It's raw, and could have been refined, but instead, it feels more like uncontrolled chaos. Korn wannabes, but lack the same musicianship that made Korn at least easier to listen to. It’s heavy, and it all blends together, losing impact. Layers for the sake of layers. Cory is a powerful singer, but this album doesn't really give that opportunity.

This album has some cool moments, with guitars and drums that drive the energy. Sometimes it feels a little too over the top, like it's trying too hard to be epic. It’s impressive in parts, but it doesn’t always hit home emotionally.

This album is cool and catchy, with rhythms that surprise you in a good way. It’s got a clean, easy vibe, like something Miles Davis might do. It’s fun to listen to, and there’s also a lot of skill behind it. I'll definitely be coming back to this.

Mellow and a bit nostalgic, with simple, airy melodies, with a laid-back vibe. It's easy to get lost in, one that's easy to come back to again and again.

Listened to this on a beautiful Sunday, driving through cornfields and small towns in Midwest USA, which definitely had an effect on the vibe of this album. It feels like drifting through half-remembered dreams. The musical texture is warm and nostalgic. There’s a subtle eeriness, a bit like Aphex Twin’s more ambient work, but gentler, and more inviting. It’s music that wraps you in a haze, where time feels slow and blurred. It’s perfect for getting lost.

Dark, chaotic, and deeply emotional, TDS captures a raw sense of despair. It blends heavy industrial beats with vulnerable moments, creating a balance between aggression and introspection. The harsh sounds crash against moments of quiet, almost tender reflection. It’s heavy, but there’s beauty in its chaos.

This album is mellow, like sitting by the window on a quiet day. It reminds me a bit of early Peter Gabriel, but softer, more spaced out. The songs unfold slowly, with gentle keys and light drums. It’s simple but has a warm, easy feel.

This live recording sounds raw and intimate. The setlist mixes acoustic simplicity with electric energy. It’s a bit like early Neil Young but less polished. The transition from folk to rock is jagged, but that’s the charm. The audience’s reaction adds a layer of tension that makes it more interesting. It’s a snapshot of an artist in flux.

This album is raw and wild. The vocals soar with a raspy, bluesy power, almost like Aretha Franklin meeting Grace Slick in a dive bar. The guitars are gritty, unpolished, but full of energy, like early Cream. It’s loud but emotional, switching between soulful ballads and heavy rock without losing its edge. You feel every note, every growl.

The album feels like stepping into a strange dream. It's quirky, with a mix of hip hop and alternative beats. The vocals are laid-back, blending with the electronic vibe in a way that feels effortless. It has a touch of Beck's early experimental sound, but with a moodier, more animated twist. The tracks are catchy, weird in all the right ways. There's a carefree energy that pulls you along.

This record feels like a laid-back road trip. It’s gritty, bluesy, and has a rough charm that’s hard to ignore. The vocals hover between a growl and a whisper, almost like Tom Waits, but less smoky. The whole thing feels raw, like it was recorded in a dimly lit bar after hours. There's a simplicity to the sound that just works, pulling you in without forcing anything.

This record is like a mix of The Beach Boys and The Kinks. It’s breezy but still a bit odd. There are lots of layers and little quirks in the production. The songs drift between whimsical and melancholic, which keeps it interesting. Sometimes it feels a bit too polished, though, like the edges were smoothed out. Still, it has its charm in the melodies and quirky lyrics.

All Directions has a moody, introspective feel. The music blends funk and soul with an edge that feels a bit darker. The instrumentation is tight, but it can feel a little repetitive at times. Some moments shine, but others just sit there without much change. It’s solid, but not every track hits hard.

Wow! What a confident stride forward. The harmonies are tight, and the vocals bring a lot of energy. There’s a fierceness that reminds me of TLC’s swagger. The production is sharp and catchy. It feels empowering, with a lot of heart behind the words. The blend of R&B with pop sensibilities works really well.

This album has a dreamy, rich sound. The orchestration is big and kind of dramatic. It reminds me of Antony and the Johnsons in how emotional it feels. Some tracks go a little over the top, but there’s still a lot of beauty here.

This album feels like a dream on the edge of a breakdown. It's both glam and gritty, playful yet chaotic. The piano work is sharp, reminding me of something Elton John might do but with more danger in the notes. There's a tension here, a sense that it's all about to unravel, yet it holds. The saxophone adds an unpredictable flavor, almost like it’s clashing but fitting all at once.

This album is a wild ride. It’s like prog rock met punk energy, then added layers of psychedelia. The sound twists and turns, much like early King Crimson, but with more urgency. The vocals are frantic and emotional, pushing boundaries. Guitars spiral out of control, but it all feels intentional. It’s chaos, but with structure underneath.

This record feels like a mix of classic rock with a synth twist. It's got that energetic vibe, but the keyboards bring in something different. There’s a pop-rock feel that’s a little like early Billy Idol, but with more guitar swagger. Some tracks hit hard, while others seem to float by. The vocals are solid, but the guitar work stands out the most. It’s fun, but not always memorable.

This record is a slow-burn, filled with sweeping guitar work and lush synths. It has a driving, atmospheric feel, like Springsteen meets My Bloody Valentine, but way more introspective. There’s a sense of longing in the lyrics, and the songs drift by in a dreamlike haze. The production is rich, but nothing feels rushed. It’s patient, letting the sound breathe and grow.

The beats are crisp and tight. The lyrics feel thoughtful, with a laid-back flow that reminds me of A Tribe Called Quest, but with a bit more grit. There’s a blend of nostalgia and consciousness, like it’s from a time when hip hop was about connecting people. It has some playful moments, but it doesn’t always hit as hard as I hoped. Still, there’s a warm energy throughout that’s hard not to appreciate.

This album feels raw and gritty, like a mix of AC/DC and early Aerosmith. The guitars have a sharp, bluesy edge, but there's something almost primal underneath. It’s got that driving, no-frills rock energy. The vocals are bold, a little untamed, with a swagger that fits the stripped-down sound. It’s simple, in a good way.

There's a quiet, melancholic warmth to this album. It feels like a hazy walk home on a cloudy evening. The production is spacious, almost ghostly. There's a Neil Diamond vibe in the reflective lyrics and vocals, with a bit more vulnerability. The songs are soft and slow, yet they carry a weight that lingers. It’s intimate and a little sad, but comforting too.

This album is haunting. The lyrics feel like quiet, whispered confessions. It’s sparse and heavy, like late Johnny Cash, but darker. There’s a sense of peace, though, even with all the weight. The minimal arrangements make it feel timeless, almost like it’s always been here. You can feel the end, but it’s not desperate—it’s calm, resigned.

This album feels like a quiet afternoon, soft and introspective. The melodies float along, simple and sometimes playful, with a bit of melancholy just beneath. It reminds me of early Simon & Garfunkel but with more of a bookish charm. The lyrics tell little stories, almost like conversations you overhear. It's easy to get lost in the gentleness, though some tracks feel too similar, blending together by the end. Still, there's a warmth here that's hard to ignore.

The sound is sharp but playful. It’s a mix of pop and punk, with a hint of ska, like The Clash got a bit more polished. The lyrics bite, full of clever wordplay, but the music softens it. There's energy, but it doesn’t quite grab you like some of the best new wave albums. Still, there’s charm in the offbeat rhythms and catchy choruses.

The sound feels like it’s somewhere between early Genesis and something just a bit more playful, like ELP on a lighter day. It has a mix of the ambitious and the familiar, with melodies that stretch and pull. The guitars sometimes take you by surprise, jumping out just when the mood seems settled. The vocals carry a kind of dreamy optimism, floating above the rhythms like clouds over shifting landscapes. It’s intricate, but not too heavy, more curious than complex.

This album feels like a rough collage of blues and experimental rock, blending grit with moments of surprising melody. It's got the raw edge of early Frank Zappa but without the same smoothness. The vocals are offbeat, almost abrasive, which works at times but can also feel disjointed. There's a sense of freedom, though—like it's all being pieced together as it unfolds. The bass lines are groovy and anchor the chaos just enough.

It's easygoing and laid-back, like listening to Fleetwood Mac but with a bit more grit. The guitars sound nice, and the songs tell stories without getting too deep. Some tracks kind of blend together, but it keeps a chill vibe. It's not groundbreaking, but it feels good to have on in the background.

This album has a loose, wandering feel, like it’s figuring itself out as it goes. The folk elements mix with a strange, almost psychedelic vibe, kind of like early Pink Floyd but more acoustic and raw. There are some nice moments where everything clicks, but other parts feel a bit scattered. It’s an interesting listen, though not the most focused.

Dark, heavy, and raw. It crawls through the mud and grinds under your skin. The guitars churn like Soundgarden but with more grit, more pain. There’s a weight to the lyrics that feels personal, like a burden shared. It’s rough, but that’s what gives it power.

The sound feels intimate and reflective, like finding an old journal and flipping through the pages. The harmonies are gentle, blending together with a warmth similar to Crosby, Stills & Nash. The lyrics explore big themes, but there’s a quietness, almost like a whisper. Every song has a feeling of nostalgia, mixed with a kind of melancholy. The music is simple, yet layered, leaving room for you to really sit with it.

This album has a laid-back, moody vibe, like drifting through a cloudy day. The guitars and vocals remind me of early Radiohead, with a bit of Elbow’s quieter moments. It’s chill, sometimes dreamy, and pulls you into its own world without being too intense. Simple, but it works.

This album feels like walking through fog. The fuzz and distortion are heavy, but it doesn’t quite land. It’s like listening to The Velvet Underground but without the warmth or charm. The vocals hide behind the noise, never really pushing through. It’s an interesting vibe, but it lacks depth. You could get lost in it, but I’m not sure you’d want to.

I'd listened to this in the morning, as I usually do with my albums, but that's just not the correct setting for this album. After finishing my day quite a ways from home (like one hour), I decided to listen again. On the road, driving home at midnight. Honestly, perfect setting (also I might have been in a more receptive state of mind). I've bumped the main tracks to death in my youth, they were great for subwoofer beats. But the whole album is a banger. It's raw and explosive, like a thunderstorm you can’t escape. Each track feels like a wild rush of adrenaline, mixing aggression with infectious rhythms. The beats hit hard, and the energy never lets up. It’s chaotic but in the best way.

This album has a way of building tension with each track. The beats feel heavy, almost relentless, like the basslines on some early Beastie Boys records but sharper. The lyrics come fast, hitting hard, like a stream of powerful thoughts and ideas just flowing. It’s chaotic, but in a controlled way, kind of like a Bomb Squad production turned up a notch. You feel the energy, like a rally cry, without any polish to soften the edges.

This album feels like a warm, easy conversation between generations. It moves with a gentle sway, like old friends playing together on a front porch. The blend of voices and instruments is soft, inviting, and full of tradition. It's a lot like something you’d expect from The Carter Family or maybe even a more relaxed Johnny Cash. There's a quiet comfort to it, like an afternoon spent with your favorite people.

This album is a messy swirl of noise, distortion, and chaos. It feels like early Sonic Youth but without the artful restraint, leaning instead into the absurd. The songs are jagged and abrasive, like they're testing your tolerance more than anything. There's a rough, almost primal energy here, but it’s hard to find a thread that pulls you through it. If you’re into bands that thrive on discomfort, you might appreciate it. Otherwise, it’s more likely to leave you feeling lost in the noise.

This album feels raw, like a jam session on the edge of something real. The acoustic moments have a Dylan-like vibe, stripped down but heavy with meaning. The electric parts are fuzzed-out and messy, a bit like early Crazy Horse mixed with The Stooges’ energy. It has this gritty blend of folk and rock that’s both casual and chaotic, but still intentional in its roughness. The whole thing moves between tender and reckless, sometimes in the same breath.

A lot of this feels like floating. The live tracks stretch and bend, with loose, jazzy improvisation. It kind of feels like early Santana but slower, with more room to breathe. There are moments where it drifts too much, though. It’s good for background, but it’s easy to lose focus on.

This album feels warm and easygoing. There’s a lot of rhythm that moves you, with layered beats and smooth rhymes. It’s a bit like De La Soul’s early work, playful and conscious at the same time. The jazz influences blend well with the overall vibe, keeping it laid-back. Some tracks stand out more than others, but it all flows together pretty naturally.

This album is chaotic, but in a way that feels almost too intentional. The songs stumble and clash, like they’re trying to be something they’re not. It’s like listening to Frank Zappa’s most experimental moments, but without the structure that makes them work. There's a raw energy, but it’s buried under layers of noise and confusion. It’s more of an endurance test than a musical experience.

The music feels like a journey, building layers with every track. It’s haunting and grand, like Bowie at his most theatrical, but darker. There’s a rawness in the lyrics, balanced by intricate soundscapes. The way it drifts between intense and quiet moments is almost hypnotic. You get lost in the storytelling, swept up in its emotional weight.

This album feels massive but intimate at the same time. The layers of sound hit like a wall, but the melodies are so smooth, they almost glide over you. It’s like if Journey had a bit more edge, or Queen kept things more radio-friendly. The balance between rock anthems and ballads is perfect. Every track feels polished but never overdone.

This record feels like a collection of moods. Each song has its own small world. There’s a looseness here that reminds me of Bob Dylan at his most freewheeling, but with a sharper edge. It swings between tender moments and pure chaos. It’s playful, yet introspective. You can tell the band was exploring new ground, and you feel that adventurous spirit in every track.

This album feels raw and soulful. The vocals are gritty, yet vulnerable, drawing you in with every note. It’s like listening to someone pour their heart out, similar to the energy you might feel from someone like Otis Redding. The instrumentation is tight but not too polished, leaving room for emotion to shine through. There’s a bittersweet undercurrent that pulls at you throughout.

This one feels like a cold walk through the city. The beats are sparse but sharp, with hard edges that remind me of early Nas, though less soulful. The verses are focused, almost clinical, cutting through each track with precision. It’s not flashy or loud, more of a slow burn, like it’s daring you to keep up. The mood stays steady, heavy with the weight of careful wordplay and dark tones. It’s good for when you’re in the mood for something thoughtful, but it doesn’t reach the warmth of some other works in its style.

The guitar melodies feel smooth and effortless. Each track rolls into the next like waves on a calm sea. It has that laid-back vibe, a lot like Clapton in his quieter moments. There’s a sense of simplicity, but it’s deep. The whole album just feels easy to sink into.

This one feels like flipping through radio stations on a long drive. There’s a blend of beats and melodies that pull from everywhere, like old-school hip-hop meeting lo-fi rock. Some tracks remind me of the playful weirdness you get with early Beastie Boys, but softer, less chaotic. The production is gritty yet polished, layering a lot without feeling heavy. It’s like taking a stroll through a collage of sounds, each track surprising in its own way.

This record feels like a quiet walk through an overcast afternoon. The arrangements are gentle, with understated strings and slow, steady guitar lines. It has a touch of Leonard Cohen’s reflective tone, though it’s less heavy, more like a soft daydream. Each track takes its time, letting the mood linger without pushing too hard. There's a subtle melancholy that feels comforting, like an old memory you can’t quite place.

This album feels like a journey. The fusion of jazz, funk, and hip-hop is raw and full of energy. It’s layered, complex, yet accessible. The way themes of identity and struggle are woven into the music reminds me of something OutKast might do, but with a sharper edge. Each track hits in its own way, like pieces of a larger puzzle. It’s bold, unflinching, and powerful.

The album has a kind of restless energy, shifting between moods. The production feels big, almost theatrical, like early Genesis but with a more personal edge. There’s a mix of experimental and straightforward sounds, giving it a unique push and pull. It’s almost like listening to a David Bowie record from the same era, but it has a darker, more introspective vibe.

This record has a loose, rollicking charm. It feels unpolished but in the best way. The energy is raw, like early Rolling Stones, but with a bit more swagger. Every track feels like a jam session. It’s gritty, but there’s still a lot of heart behind the roughness. There’s an undeniable joy in the chaos.

The record feels like a mix of tight riffs and loose energy, blending rock and folk with a hint of psychedelia. The harmonies are smooth, but there's a roughness in the guitars that’s hard to miss. It brings to mind early Byrds or maybe Buffalo Springfield, but with more swagger. The songs move fast, almost like they’re eager to be heard but not lingered on. It’s a bit all over the place, but in a way that’s strangely charming.

This album feels like walking through fog. It’s layered and strange, sometimes quiet, sometimes rough around the edges. Think of Aphex Twin’s softer moments, but with a bit more rawness. There’s something messy yet deliberate here, like each track’s a puzzle missing pieces. The whole thing is a bit eerie.

Funky, raw, and bouncing off walls, this album is a kinetic whirlwind. It has the punchy irreverence of early Public Enemy but swings back into moments of jazz and chill. Gritty beats keep everything moving, with lyrics that are both sly and off-the-cuff. It’s loose yet intentional, messy in all the right ways. An album that jumps between attitude and introspection, it feels like a good friend who’s loud and unpredictable but, somehow, always on point.

This album feels like a quiet dawn after a storm. It’s big and warm, with something like Dylan’s ease but richer, fuller, almost like a garden that’s grown wild. The songs have layers, some parts sharp and direct, others soft and buried deep. There's a steady, soulful weight that pulls you in, reminiscent of something out of Clapton’s bluesier moments, but with a lighter touch. It’s not showy, but there’s a lot here if you sit with it.

Haunting synths drift in, like fog rolling over fields. The music floats between beauty and alienation, something both familiar and strange. It feels like Brian Eno met Joy Division in a dreamscape, giving warmth and distance all at once. The beats don’t lead; they pulse like a heartbeat that’s almost slowed down. You get lost, but it’s calm, like an embrace from a ghost.

Willie really broke it down in this concept album; his voice and guitar carrying the bulk of the weight. The album tells a simple, haunting story about a preacher drifting from town to town, looking for something he lost. After his wife leaves him, he carries a mix of hurt and anger, trying to find peace but holding on to a bit of revenge, too. Each song feels like a scene from an old Western, raw and honest. The quiet music pulls you in close, making you feel like you’re right there, riding along on dusty roads, watching his journey unfold. It’s a story that feels real, like it’s told around a fire on a cold night.

A bright burst of fun and freedom, every song brings a kind of pure, summery energy that feels effortless. The beats are punchy but breezy, like they were made for dancing down the beach or cruising with friends. It’s got that infectious, carefree vibe reminiscent of early Blondie but with a twist that’s bolder and a bit more playful. The blend of pop and punk is light and catchy, full of hooks that feel timeless without trying too hard. It’s the kind of music that’s just easy to love, no questions asked.

Booorrrriinng 😴

Bumping this to a 4.. Mostly for the fact that you can really hear the roots of rock and roll here, with the Rolling Stones coming to form. The single from the album pulled this up to a 4. This album’s got a gritty, bluesy vibe that hits. It’s raw, simple, and kind of messy in a good way, like early Dylan or The Band. It doesn’t try too hard—just feels honest, like each track gets to just be what it is. The whole thing has this cool, old-school energy that pulls you in.

A smooth, sultry vibe drifts across each track, like a soft blend of D'Angelo’s rich tones and Sade’s moody intimacy. The beats are mellow, rhythms slow but textured, creating a warm, inviting space. It’s an album meant for dim lights and quiet moments. Vocals stay calm, restrained, letting the music breathe. There’s a sophistication here, a kind of timeless charm, yet it feels contained, never pushing boundaries.

A warm blend of jangly guitars and gentle harmonies. It feels like power-pop filtered through a layer of fuzz. Hints of Big Star linger in the melodies, echoing that bittersweet brightness. The lyrics are simple but stick just enough, quietly connecting. It’s catchy, but not in a way that tries too hard. Each track rolls into the next, like flipping through a well-worn photo album.

This album hits you with a mellow groove. It’s simple but powerful, the kind of sound that gets under your skin. The songs are soulful, like Marvin Gaye’s *What’s Going On*, but there’s a rough edge here. The lyrics say a lot without needing to shout. Feels real and unpolished, giving space to feel what’s behind the words.

This album has a laid-back, open-road vibe that feels a little like early Neil Young. The sound is simple, steady, and leans on warm guitar and smooth harmonies. Nothing too flashy or overdone, just a calm, easy listen. It’s music for a long drive or a lazy afternoon.

This album feels like a cozy chat with an old friend. The songs are simple and honest, sharing stories about family and hard times. There's a hint of Emmylou Harris in the way it all feels real, like you’re just sitting and listening to someone who really cares. The music stays low-key, letting the vocals and stories take center stage. It's heartfelt, down-to-earth, and doesn’t try to be anything it’s not.

This album’s got a laid-back vibe that pulls you right in. The organ is rich and bluesy, almost like it's talking to you. The whole thing rolls out smooth and easy, kind of like a Ray Charles instrumental but with more of a soulful, late-night feel. It’s casual but confident, like it knows exactly what it’s doing without trying too hard.

This album feels like an easy drive down a country road. The music is simple, stripped back, and solid, with a kind of worn-in sound. It has the same grounded vibe as early Neil Young, but with a bit more grit, like it’s been around a few times. Nothing fancy here, just good tunes that roll out smooth and steady. It’s music that feels like home.

Gritty and glimmering, this album pulls you in with its mix of dark and bright sounds. It’s a bit like Bowie’s Berlin phase but cranked up. Synths resonate alongside edgy guitars, creating a vibe that’s both moody and catchy. There’s tension and release, a back-and-forth that feels just right.

Simple, soulful, and unapologetically blue, this record doesn’t try to be anything it's not. The guitar work is sharp, reminiscent of early Fleetwood Mac’s blues era, especially in the way it balances between intensity and restraint. It’s an album that sticks to its roots, showing deep reverence for the blues without overplaying.

There's a surprising roughness here, a step into something less polished and more experimental. It’s almost like Talking Heads took over, with an offbeat rhythm and a restless energy. Every song feels a bit like a risk, playing with dissonance and harmony in a way that feels natural but unpredictable. It doesn’t aim to be pleasing – it’s brave, a little jagged, but totally absorbing.

There’s a playful disarray in the music here, like the artist is testing boundaries but doesn’t want to overstep. You can hear the echoes of Carole King’s breezy confidence, though it veers into more whimsical territory. Some parts feel patched together, but that’s where the charm lies. It’s a little scattershot but warm-hearted, like a friend who tells you a dozen stories in one sitting.

This album blends jazz and rock in a way that feels like a summer street parade with careful choreography. The brass carries everything forward, even when the vocals stay calm and grounded. Think of the mix of grit and polish you’d get from a Steely Dan record, but with a dash more brass. It’s playful but a bit predictable.

This one lives somewhere between Britpop swagger and soft introspection. Shades of Radiohead, but without the same edge or experimentation. The arrangements are rich, but some tracks meander. It’s an album that reaches high, though not always evenly.

It feels raw, like the energy of early Clash records but steadier. U2 kinda does their own thing; this being from '83 blows my mind. There’s a driving rhythm, and the vocals balance on the edge (see what I did there) of defiance and vulnerability. It's music that holds tension. Excellent listen.

It’s cold, precise, and stark. Has the same repetitive allure you’d find in early Tangerine Dream. The melodies are simple and robotic, but there’s an elegance in the sparseness. For all its cleverness, it feels more like a concept than an experience.

The music feels suffocating, like a heavy fog. It lingers, cold and unrelenting. There’s a darkness, but it doesn’t unfold like Nick Cave’s work—it just sits there. It’s relentless but not always compelling. There’s something missing, maybe hope, maybe a spark?

The music drips with swampy rhythms and gritty storytelling. It feels like early Dylan got a little dirt under his nails and found a southern soul. Every track hums with a raw, unpolished energy. The kind that pulls you in without trying too hard. It's warm, earthy, and bold.

A dark, twisted tale set to music. The storytelling feels theatrical, almost like Tom Waits with a sharper edge. The themes are haunting but draw you in, like staring into the abyss. It’s unsettling, yet oddly beautiful. The rawness won’t appeal to everyone, but it’s hard to ignore.

Warm strings, slow grooves, and a voice that knows exactly how to carry weight. The pacing is deliberate, letting every moment breathe. It reminds me of Barry White’s lush productions but with a sharper edge. Each sound feels chosen, and everything fits perfectly into place.

It’s gritty, soulful, and a little bit dangerous, like the feeling of being on the edge of something wild. The rhythms swagger in a way that brings Creedence Clearwater Revival to mind, but with a nastier, more defiant streak. The harmonies feel both reckless and intimate, like they’re barely holding together. It’s unpolished, but that’s what gives it its punch.

There’s an unhurried grace to these songs, a kind of quiet confidence. It calls to mind the storytelling style of Willie Nelson, but more grounded and direct. The melodies are timeless, and the lyrics are vivid, like stepping into a sepia-toned memory.

The acoustic leanings stand out. A gentle departure from the usual chaos, but not entirely. Shades of Pentangle meet the weight of rock. There’s a playful looseness here. It’s raw but deliberate.

Big sound, deep emotion. It’s layered and precise. Somewhere between the drama of Kate Bush and the pulse of New Order. Every piece fits, but it still surprises you.

Bold and a little weird, but not in your face about it. There’s a sly wit in the grooves, like if Talking Heads went nocturnal. The instrumentation feels lean, deliberate, every note intentional. It teeters between romance and something darker. There’s space for mystery here.

It’s a bold mix of pop, funk, and soul. The confidence in the delivery recalls early Michael Jackson, but with more edge. The beats are tight, but the melodies don’t always land. It feels like a spark that’s still finding its fire. A good listen, though it doesn’t demand a replay.

Gentle and strange, it feels like an old diary left out in the rain. The melodies are sweet but slightly off-kilter. Reminds me of early Iron & Wine, but rawer, with more frayed edges. It’s all very quiet, yet it feels alive.

Bright and buoyant, the songs dance effortlessly. There’s a sparkle that reminds me of Fleetwood Mac, but more unashamedly upbeat. Each track feels like a celebration. It’s music to lose yourself in, easy and inviting.

It’s raw and stark, but maybe too much so. The vocals sound buried, like trying to reach you from underwater. Feels like Velvet Underground, but missing the warmth. There’s an unease that lingers, but it never quite resolves. It leaves a lot of space, but maybe too much emptiness.

It’s really simple but kind of wild at the same time. Feels like Bill Evans if he stopped caring about being perfect. It’s cool how it just flows, but sometimes it loses me. Quiet, slow, kind of hypnotic. Not always exciting, though.

It’s simple and a little awkward, but in a good way. Like if Talking Heads slowed things down and let themselves get sentimental. The sound feels honest; it’s not flashy, just raw.

The songs are calm and easy to listen to. It feels simple but thoughtful, like early Travis. It’s warm, almost fragile, but not too heavy. The music feels honest and unpolished in a good way.

The vibe is soft and relaxed. Feels a little like The Kinks if they leaned more into being mellow. The harmonies are smooth, and the whole thing feels very sunny. Not too much going on, but it’s comforting. Definitely easygoing.

This one is full of intensity, but it’s almost too much. Feels like early Black Sabbath if they sped everything up but lost the vibe. It’s all flash and noise, but it doesn’t really grab you. Could’ve used a little more depth.

Appetite For Destruction is raw and full of energy. The riffs hit like a freight train, and the drums keep everything moving fast. It’s like Zeppelin on a caffeine binge, leaning into chaos but still feeling tight. There’s something about it that’s impossible to ignore.

It’s rough around the edges, but that’s the point. Typical Dylan. The delivery is loose. It’s messy, though it’s not always smooth sailing.

It’s got a mellow vibe with some bite. The lyrics don't try too hard. The sound is simple and clean. It’s low-key but not boring.

Edit: Giving my first 1. ̷B̷a̷r̷e̷l̷y̷ ̷a̷ ̷2̷.̷ It’s noisy and awkward. It feels like it’s trying too hard to be weird. The sound is all over the place. Some parts (basslines and drums) hit, but most just feel unfinished (lyrics) or tossed in for the sake of sound.

The sound is minimal but still feels busy. Straight up laptop Fruity Loops. The vocals are emotional, but the music doesn’t always match that energy. Some of it clicks, some doesn’t.

It’s soulful without trying too hard. The sound is full but not overdone, leaving space to take it all in. It’s soft but has weight in the right places. Includes an absolute banger and a few great songs I've never heard.

This one feels like it’s trying to be personal and huge at the same time. The mix of gospel and pop reminds me of something Annie Lennox might try, but this leans more flashy. Some moments really work, but others feel like they’re trying too hard. The highs are high, and the lows are low.

There’s a nice mix of soul and country here. Reminds me of Sam Cooke, but with a little more dirt under its nails. The vocals are front and center, and the music backs it up without trying to steal the spotlight. It’s good, but not life-changing.

A patchwork of sounds and samples, it feels like a wild collage. The energy is loose and unpredictable, but it never fully settles. It's an experiment you appreciate more than love.

It’s huge and ambitious, like a rock circus that somehow pulls it all off. Even the weaker songs don’t matter because the highs are so high. The production is wild, but everything fits together perfectly. It’s fun, weird, and absolutely brilliant.

It’s all about layers, but not the kind that fit together. The music sprawls, ambitious and overcooked. It feels tangled, like too many ideas competing at once. It’s more exhausting than exhilarating.

Feels like a DJ spinning at a chill beach party, but the transitions don’t always hit right. The sound is playful, like a mix of Air and Beck. It’s enjoyable, though it doesn’t always hold together as well as it could.

It’s simple and heavy. Her voice is big but not overdone. Kind of like Amy Winehouse, but with less chaos and more focus. The sound feels like it belongs in another decade, but it works here too. It’s straightforward and emotional in a way that’s hard to ignore.

I've spun this album so, so many times. It's basically my mid-late teenage years distilled into music. It hits hard. It’s grungy and unpolished, raw and angsty, like a basement show that gets out of hand. It’s all heart and no cleanup.

Average. Very average. This feels like the middle ground between raw emotion and grand, cinematic gestures. Imagine if Oasis traded swagger for introspection or if Massive Attack went guitar-heavy. It’s atmospheric, with tiny moments breaking through the weight of it all.

It’s got this glittery, spacey vibe that’s so dramatic but somehow still grounded. Kind of like if T. Rex went all-in on a sci-fi storyline. The guitars are sharp, the vocals full of swagger. It’s fun, a little weird, and totally unforgettable

Lucky it's not getting knocked a star for accessibility. It's not available on Spotify as of this review, and some videos on YouTube are unavailable. How am I to return to an artist if they make their music hard to access? The songs feel raw, like they’re coming straight from a place of hurt. It’s stripped down, kind of like early Neil Young but with less polish. The simplicity does work, though. It’s like sitting with someone who doesn’t need to say much to get the point across.

Cover albums are a tough sell for this list (looking at you, Willie Nelson), but a cover album full of Christmas songs gets an easy pass. Especially if it's given on Christmas! This feels like Christmas morning in music form. Everything’s big and bright, but not overdone. It’s got the timeless charm of something you’d hear on an old record player, but with more bounce. Think Nat King Cole meets a sock hop. This is pure holiday magic, like a Christmas party from a vintage postcard.

The songs feel raw and unapologetic, like a quiet storm brewing. There’s this dark, pulsing energy that reminds me of Siouxsie and the Banshees but more grounded. It’s stripped down but still hits hard.

The guitars are loud and emotional, but there’s softness in the way it all comes together. It feels like something Jeff Buckley would vibe with, but rougher around the edges. Every track sounds like it’s fighting to break free.

This feels like sitting in a small room with someone who has a lot to say and a guitar to say it with. The songs are plain but hit deep. There’s no polish, just honesty, and it works.

It’s a chill, nostalgic vibe. The sound has that Patsy Cline kind of smoothness but without the same punch. It’s nice background music, though it doesn’t always grab your attention. It gets the job done if you’re in the mood to unwind.

It’s soft and slow, kind of like a rainy afternoon. The voice feels close, like someone talking just to you. Reminds me of early Leonard Cohen, but less dark, more tender. It’s simple, but it works.

Feels like Lynyrd Skynyrd with a bit more edge. The riffs are catchy, and the vocals have this smoky, Southern vibe. It’s straightforward, no frills, just solid rock with some blues in its veins.

It’s mellow and kind of sad. The harmonies are smooth, but there’s a heaviness underneath. Feels like something Paul McCartney might have done on a slower day. It’s nice, just a little downbeat. Simple and quiet.

It’s raw and rough, with a sound that feels loose but intentional. The vocals are sharp and cutting, kind of like an edgier David Bowie, but I still loathe Perry's voice. Some of the basslines remind me of early Red Hot Chili Peppers, but everything here is darker and more moody. It’s messy noodling in a way that kinda works, especially for the time.

It’s fun and weird, but not everything works. There’s a George Clinton vibe in some spots, but it’s more scattered. You can tell there’s a lot of creativity here, even if it feels like too much at times.

Unapologetically 1986. It’s trying to be bold, but it just feels over the top. The sound is too polished and ends up feeling flat. It doesn’t connect.

I typically like this ambient, background music. Coming from 1974, this is pioneering.. However, I had to chase songs (not everything was on Spotify), which severely limits accessibility for me, and usually comes with a dock in stars. That said, once I was able to listen to the whole thing, the sound is spacious but empty. There’s atmosphere, but not much else. It’s hard to stay interested when so little seems to happen. Just drifts too far off.

Lots of fun to hear earlier Queen. This one’s all about contrast—big, over-the-top moments mixed with gritty rock. It’s messy, but the kind of messy that works. Reminds me of T. Rex with a bit more drama. Feels like it’s fighting for attention, and somehow that works.

This was fun! It’s got that scrappy, honest vibe. The way it paints small, gritty moments feels like a looser version of Pulp. It’s raw, kind of chaotic, but you can tell they mean every word.

Led Zeppelin's debut album blends old-school blues grit with a volcanic sense of power. It’s like The Yardbirds turned up to 11 (I mean, c'mon), with even more fury and finesse. The rhythms are hypnotic, and the vocals cut through with sharp emotion. It’s bold, unrelenting, and timeless.

The vibe is spacey and unpredictable. Jimi's guitar playing is sharp, but feels like it’s floating. It reminds me a little of early Pink Floyd but louder and more chaotic. It’s creative and bold, though not always focused.

An album of mostly covers, it’s straightforward and full of heart. Simple, strong, and all about emotion. The songs connect without forcing anything. Everything feels real and unpolished in the best way. It’s soulful and grounded, like it’s made to last. It’s just honest music.

Ahh yes, "concept" albums that have less than 1M streams on Spotify. Surely this belongs in the list, it's a creepy "let's do witchcraft on a mountain" conceptual album! That said, it does deliver on the concept of creepy witchcraft mountain music. It’s noisy and weird, but not in a fun way. Feels a bit they they forgot to tune their guitars. There are flashes of something cool, but they get buried under all the chaos. It’s mostly just messy.

It’s weird and jittery but super fun to listen to. The grooves are tight and a little anxious, like a funkier version of Devo. Everything feels sharp and deliberate. It’s cool without being cold.

It’s tight and controlled, but still feels alive. The energy is a little like Talking Heads, but with more polish. It keeps surprising you without feeling forced. Everything about it works together, even when it feels unexpected. Except Mother. What the fuck is that?

Big riffs, big energy. It’s got that bluesy grit but still polished enough to catch your ear. The hooks are catchy without trying too hard, and the whole thing moves fast. 3 pretty big singles from my youth bump this to a 4.

The album feels thoughtful and easygoing. The writing is upfront, like he's sharing his journal. It has a very quirky edge too. It’s good for a quiet afternoon, even if it doesn’t all hit the same way. It’s chill and it’s definitely got heart.

It’s moody and kind of smoky, but it feels more style than substance. The strings are pretty, but they don’t hit hard. It just doesn’t land. It’s cool until you know the concept, but not much else.

The sound is smooth and thoughtful. Big melodies mix with personal lyrics. It reminds me of Phil Collins but with more layers and depth. The music feels polished but still real. It’s simple in the best way. Couple of absolute bangers, but some duds as well.

The songs are sharp and hooky, but there’s a bit of grit underneath. It’s got a lot of energy, but it doesn’t feel overwhelming. The melodies cut through the noise, keeping things balanced. Simple, but it works.

Endtroducing..... is all about layers - gritty loops stacked just right. It’s got that lo-fi vibe, but more grounded. Everything feels intentional but loose at the same time. It’s easy to just let it play and get lost in it.

Yooo, nostalgia straight into my veins. Effortlessly cool and packed with swagger, The Chronic has a sound that pulls from Parliament-Funkadelic vibes but stays modern and fresh. The balance of heavy basslines and smooth melodies is intoxicating. It’s a masterclass in making music feel alive. Fundamental rap music.

Super raw and low-key. Gentle but uneven. Feels like someone just messing around at home and catching some cool moments, like it was made just for fun, not for a big audience. It’s not about being perfect, just doing the thing.

This is raw and unpredictable. It’s all over the place. Not everything works, but when it clicks, it’s ok.

It’s a mix of catchy and thoughtful. The songs feel connected, telling little stories that are nostalgic without being too heavy. It’s mellow but smart, with a sense of humor running through it. Everything feels like it fits, even if it’s not trying to be groundbreaking.

This one’s got funk, soul, and just the right amount of edge. It’s got that Sly and the Family Stone vibe but with cleaner grooves. The vocals hit hard, and the rhythms keep it moving. It’s fresh, bold, and full of energy.

It’s loud and chaotic. The energy never really slows down, like a storm in a small room. The guitars are rough, the drums are wild, and the whole thing feels barely in control. It’s messy, and definitely not for someone who needs perfect.

The whole thing feels like a jam session that got caught on tape at just the right moment. The guitar has so much weight, like it’s carrying everything. It’s got that trippy vibe, like something Santana might do, but more raw and experimental. You don’t have to think too hard to feel it. Good stuff.

This album is smooth and easy, but it’s got guts. It takes classic sounds and flips them into something fresh. It’s warm, confident, and timeless.

It’s loose, jazzy, and kind of meandering. The bass is front and center, making everything feel like it’s floating. The guitar is bright but soft, more like watercolor than sharp lines. The lyrics feel like someone figuring things out in real-time. It has a similar vibe to Paul Simon’s later stuff—folk mixed with jazz, storytelling without a clear ending. It’s not in a hurry to get anywhere.

Feels huge but also kind of claustrophobic. The sound is packed—church organs, heavy drums, voices layered on voices. It’s got some U2 in the grandness, maybe a little Echo & the Bunnymen in the gloom. There’s beauty in the chaos, something desperate underneath. It really goes for it!

Super trippy. Lots of swirling sounds, weird voices, and melodies that feel like they’re floating. It’s loose, unpredictable, and totally its own thing. If The Beatles’ Sgt. Pepper had a weirder cousin, this would be it.

It’s catchy, it’s strange, and it’s got heart. The voice is huge but never showy. Clean production, but it never feels stiff. Some songs feel massive, some barely hang together. You can tell he didn’t care about being cool, which makes it cooler.

It’s bluesy, it’s gritty, it’s got that late-night, half-crazed energy. The vocals sound half-spoken, half-snarled. The whole thing moves like a slow burn, but it never drags.

A struggling 3. Lots of rhythm, lots of noise, lots of space. Feels alive, like it’s just happening in real time. The drums hold it all together, but everything else feels totally free. Sometimes it’s cool, sometimes it’s too much.

This is what it's like to listen to the writing process. Raw and messy. Garage rock with a wild heart. Fuzzy guitars cutting through like a switchblade. The vocals? Howling, desperate, alive. Pretty awesome!

I finally get it! Aerosmith is a late Boomer/Gen X thing. Big riffs, bigger ego. Feels like early ZZ Top but rowdier. It’s got the swagger, but not much variety. Decent if you’re in the mood, but not super memorable.

Chill but not lazy. The rhythm section keeps things moving, but it never feels rushed. Every track has a purpose. It’s the kind of thing you put on when you want to relax but still think.

Big, loud, kinda creepy. Feels like a rock show and a horror movie smashed together. If Queen had a mean streak or if Bowie got a little nastier, it might sound like this. The riffs are catchy, the vibe is wild. It’s fun.

Dramatic. Theatrical. A little chaotic? This really leans into fantasy and flair, like a rock opera that doesn’t know when to take a breath. It's just so-so, where most moments feel tangled in their own ambition.

It’s all momentum. The drums hit, the bass runs, and the voice just spits attitude. Bowie is all over this, but it's rougher, messier, less put together in the best way. Feels like something that belongs in a late-night dive bar. No fluff, no filler, just raw, driving rock.

Heavy electro vibes, big on the funk. Feels robotic but still got soul. Kind of like Kraftwerk, but way cooler, more street. Some parts drag, but the beats stay fresh. Pure early hip-hop energy, no fluff. Super ahead of its time.

Big feelings, late nights, bad decisions, and too much thinking. It’s pop, but not shiny. Feels like a blurry streetlight through a car window. It’s sad but electric.

Groovy and smooth! Santana has a way of making his guitar feel like it’s talking. It’s got an awesome Latin hypnotic pull to it. Playlist Additions: - Black Magic Woman - Oye Como Va - Samba Pa Ti

Have you ever heard something for the first time and learn you had NO IDEA it already existed? Yeah, happened here with "Genius Of Love". Looking at you, Mariah (my introduction to that song as a sample in Fantasy). The album is dancey, light, and definitely doesn’t take itself too seriously. I dunno, it all starts to blend together. Feels like they're trying to mix early hip-hop and new wave, but something is missing. Cool for background music, not much else. Playlist Additions: - Genius Of Love - Under The Boardwalk

This is great! An excellent argument for this project is introducing me to great music I MISSED ON PURPOSE. Growing up in the 90's, for me, was only Alternative. And I missed so much! Hooks everywhere! Really not much wasted space. The songs feel big, but never bloated. The hooks land, the words hit, and it moves fast. Nothing fancy—just solid. Playlist Additions: - A Design for Life - Kevin Carter - Enola/Alone - Australia

First, I got this on Valentine's Day. Christ! OK, again, as a kid of the 90's - 2000's, OF COURSE I bumped Eminem. What white boy didn't? Even had the 2x12" subs in the truck rattling my car apart. 😂 His third album, but much anticipated after his success of The Slim Shady LP, this is brutally dark and raw, and too much at times. The writing is sharp, but the anger can be exhausting. Not bad, but not always enjoyable. Playlist Additions: - Stan - The Real Slim Shady - Bitch Please II

A hazy, late-night kind of album. Feels like a folk singer trying to make a jazz record but not quite settling into either. The instrumentation is lush, but the songs meander. I'm not sitting through 10 - 12 minute songs. It’s nice, just unfocused. Playlist Additions: - Buzzin' Fly - Sing a Song for You

There’s groove, there’s texture, but something’s missing, and it's not the fact that I can't sing along. I usually dig World music. The production is too clean, sanding off the edges, I think. It reaches for the hypnotic, but doesn’t quite get there. There are flashes of awesome, but they don’t last. Playlist Additions: - Yela - Gidelam

Ha! Perfect opening for a Monday morning. Thanks 1001! I think the opening song set the mood - really tipped me off on the right foot for the start to the week. Warm harmonies, effortless melodies. Short, sweet songs. Feels like a soft breeze through a ‘60s dream, and I was born in the 80's! It’s folky - sunny, but not naive. The balance of voices is striking, like if The Beach Boys went folk with a touch of jazz. Of course it's a carbon copy of the Beach Boys formula, they were successful! Playlist Additions: - Monday, Monday - I Call Your Name - Go Where You Wanna Go - California Dreamin' - Somebody Groovy

Not what I wanted after a restless nights sleep. Also, who does a compilation album after TWO fucking records? Strike one. Also also, my new favourite band? Too pretentious for punk. Strike two. It's loud. Fast. Repetitive. It’s punk garage rock energy, with an inch of depth. Feels like a rougher, more hyperactive take on early The Strokes, but with none of the mood. There are hooks, surprisingly, but they fade fast. It’s fucking exhausting by the end. Strike three. It will get the "Playlist Additions + 1 Star" treatment, because it's not unlistenable, and it may have caught me on the wrong Tuesday. Playlist Additions: - Hate To Say I Told You So

Oh wow, another white guy discovers reggae! At least it’s smooth. The whole thing feels like it’s been left in the sun just long enough to get warm. Like, the blues are still in there, but they've been sanded down, tanned, and given a hammock. It’s not terrible. Just don’t expect it to break a sweat. Spins: 2 Playlist Additions: - I Shot The Sheriff - Please Be With Me - Let It Grow

Sweaty, scrappy, and just the right amount of unpolished. Feels like if The White Stripes and Lynyrd Skynyrd had a half-drunk jam session in someone’s garage. The attitude is great, the playing is raw, but the whole thing leans a little too hard on the same tricks. Fun for a couple spins, but you start wondering if these guys know any other chords. Spins: 2 Playlist Additions: - Red Morning Light - California Waiting - Holy Roller Novocaine

I tend to (accidentally) spin albums all day on certain days, and this album caught one of those days. Kinda just let it go and it really grew on me! There's a raw, unfiltered vibe here. The record carries an experimental spirit; it's light and unpretentious. Like early (The) Doors, rebellion with charm. A simple listen that feels both genuine and a bit edgy. Spins: ??? Playlist Additions: - Sunday Morning - Femme Fatale - There She Goes Again - I'll Be Your Mirror

I'm typically into ambient electronic pop, and this isn't bad. I had zero experience with this artist prior to these spins. It's a collection of neat, airy tunes. The sounds roll. It’s unpretentious, with a small wink of humor. A laid-back listen that doesn’t overdo it. Spins: 2 Playlist Additions: - If I Had a Heart - When I Grow Up - Keep The Streets Empty For Me

This was spun during a longer car ride several times. The album clocks in under 30 minutes, so easy to digest and absorb. The record is easy and unpretentious. The melodies come off relaxed and warm. It has a vibe that reminds me of early Beach Boys tunes. Nothing is overblown here - just a straightforward, pleasant listen. Spins: ??? Playlist Additions: - Are You Happy? - Only Dreaming Now - Nine Pound Hammer - Magic Hollow

Funky, cinematic, and smooth as hell. The grooves **feel** like they belong in a ‘70s crime flick. Oh, wait... Lush strings, tight percussion, and that voice - sharp, urgent, untouchable. It’s like if Marvin Gaye got fed up and went full activist with a grittier, harder edge. The basslines alone could fuel a revolution. Spins: 3 Playlist Additions: - Pusherman - Freddie's Dead - Junkie Chase - Give Me Your Love - Think - Superfly

Pretty big album in my youth. I've heard this 1001 times (lol).. Funny though, I never owned it, but it was everywhere (and all my friends had it). It’s still metal, just way more polished. Less speed, more weight. Radio-friendly Pantera? Every song feels built to shake an arena. A little too smooth? Maybe. But it still slaps. Spins: 2 Playlist Additions: - Enter Sandman - Sad But True - The Unforgiven - Nothing Else Matters

Landed this on a ROUGH day. Not into it physically, not into it mentally, and certainly feeling an emotional vice. I really needed SOMETHING other than this abomination. Messy, raw, and all over the place. It's punk, but like, barely holding itself together. Feels like someone found a lost B-52s demo, spilled beer on it, then recorded over it with a busted mic. It’s also kind of exhausting. Like watching a drunk friend try to tell a story that keeps going in circles. Spins: 1 Playlist Additions: - Heard It Through The Grapevine

A smoky dive bar album. Loose, rambling, and a little too in love with its own coolness. Feels like Leonard Cohen and Dr. John met at a diner and spent the whole night chain-smoking and bullshitting. The stories are good, but the performance winks too much. You either sip along with it or walk out before last call. Spins: 2 Playlist Additions: - Emotional Weather Report - Better Off Without A Wife

I'm typically really into Radiohead and their experimentation. However.. This is messy, paranoid, and only *kinda* brilliant. Gimme digital glitches, eerie ballads, and anxious rock, please. It’s like an early malfunctioning AI producing the record. Sometimes the chaos works, sometimes it’s just… a lot. A little exhausting. I almost think this works better with your eyes closed and just enjoying the ride. Spins: 3 Playlist Additions: - 2 + 2 = 5 - There, There

Noise and melody locked in a messy, beautiful knife fight. Sometimes the chaos wins, sometimes the hooks cut through. It’s like if early Pixies and My Bloody Valentine had a kid who never learned patience. Guitars clang and squeal, the vocals drift between detached and desperate. It’s a bit much, but that's Sonic Youth. Spins: 2 Playlist Additions: - 100% - Sugar Kane - Purr

A neon-lit cabaret act that takes itself just seriously enough to sell it. It’s dramatic, indulgent, and unafraid to go full Broadway when the moment calls for it. The hooks are undeniable, the energy is relentless, and the whole thing feels like it should be played in a club where the drinks are overpriced but the vibes are immaculate. Not an everyday listen, but when it hits, it hits. Spins: 2 Playlist Additions: - Laura - Take Your Mama - Filthy/Gorgeous

This one doesn't just rock - it levitates. The guitar doesn’t sound played so much as set on fire, and the grooves feel like they’ve been beamed in from another planet. Feels less like a band playing together and more like a magician pulling sound out of thin air. Hard to believe this was a debut. Spins: ??? Playlist Additions: - Purple Haze - Hey Joe - The Wind Cries Mary - Foxey Lady - Red House

Weird as hell, but in a fun way. Feels like a hip-hop record made by kids who grew up on Sesame Street and Parliament records. It's playful, full of samples stacked like a Jenga tower, yet somehow it holds up. It drags a little, but it's charming. Spins: 1 Playlist Additions: - The Magic Number - Eye Know - Me Myself And I

This is what happens when you hand a comic book nerd a guitar and too much coffee. Riffs on riffs on riffs. Relentless and chugging along like a steamroller made of power chords, and lyrics that feel like they were written on a Trapper Keeper in detention. It’s got some of that early Metallica speed, but without the same bite. A couple of moments grab your attention, but it’s mostly just a blur of headbanging with no real payoff. Fun in the moment, forgettable after. Spins: 1 Playlist Additions: - Caught In A Mosh

Some records make you want to move and vibe. This one does, but in a way that sneaks up on you. It starts gentle, then before you know it, your shoulders are in on it too. It’s clean, but not sterile. Polished, but not plastic. Lush, vibrant, and impossible to sit still to. Spins: 2 Playlist Additions: - Immigrés/Bitim Rew - Pitche Mi

First, confession time. I was today years old when I learned T. wrote "Get It On". I proclaim to be "into music". I am a liar. Second, I know this project and the reviews are sorta a "music diary/journal" in a sense, and those reviews are PUBLIC. So it's risky for me to write personal things here. That said, this tapped into some feels I'm feeling in the best positive way. And goddamn, this thing STRUTS. Every riff, every groove, every ridiculous lyric - it’s all dripping with a kind of effortless, leather-clad cool. It’s dirty but glamorous, loose but laser-focused. The guitars grind like they’ve been up all night drinking champagne in a dive bar. Feels like if The Rolling Stones got high, put on sequins, and decided they were too sexy for blues. Spins: All Day Playlist Additions: - Mambo Sun - Jeepster - Lean Woman Blues - Get It On - Life's A Gas

Hell yeah! This is the sound of a dad starting his midlife crisis in the best way possible - buying a muscle car and blasting it down the highway with the windows down. Every song is a perfect mix of soaring vocals, big-ass guitar solos, and synths that sound like they were beamed down from a spaceship. Pure, untouchable, over-the-top rock and roll. It's basically flawless (I mean, Tom was a perfectionist). Every song is just there in your brain, even if you don’t know how.. So OK, there is a tinge of repetitiveness in it, but it takes nothing away from the sum of its parts. He found a recipe and stuck to it. Spins: All Day Playlist Additions: - More Than A Feeling - Peace Of Mind - Foreplay/Long Time - Smokin' - Let Me Take You Home Tonight

Fuck 1001, did I really need to hear this on Spring Forward, after losing an hour of sleep?!?!? Shouting. Shouting over music that sounds like it was recorded in a tin can rolling down a hill. There's no charm to the chaos, but it's more like the charm of a stray dog that won't stop barking at you. I get the appeal, but I also get headaches. Spins: 1 Playlist Additions: - Frightened

Absolutely tapping into my youth here 1001. Some albums are made for driving. Some are made for drinking. Some are made for existential dread. This one covers all three. It’s sludgy but melodic, like someone let Black Sabbath borrow some Seattle rainwater. The riffs slap, Chris's vocals soar, and it sounds like it was recorded in a haunted, smoke-filled cathedral. Absolutely nasty in the best way. At the time this came out I was still soaking in the Seattle sound, and this wasn't missed at all. It might hit even harder than it did back then, in retrospect. Rest In Peace, Chris. Spins: All Day Playlist Additions: - My Wave - Fell On Black Days - Black Hole Sun - Spoonman - The Day I Tried To Live

Not a bad way to spend 40 minutes, but I don’t think I need to do it again. I realize that Reggae is really just like two chords of MUSIC. It's really about the message. The grooves are solid, the voice is commanding, the message is serious. It’s militant, but smooth. I respect it, but it didn’t grab me. Spins: 2 Playlist Additions: - Marcus Garvey - Tradition

Being a Nirvana fan, I've done little to seek out Pat Smear's original band, Germs. It's pretty awesome to hear his roots. This is punk with no seatbelts. Fast, reckless, and barely competent, but I think that's exactly the point. If the Dead Boys had even less patience, it might sound something like this. Every song kinda bumps into the next; all noise and speed and spit. It’s got tons of energy, sure, but not much else to hang onto. Probably won’t be reaching for it much. Spins: 2 Playlist Additions: - What We Do Is Secret - Lexicon Devil - We Must Bleed

I get it. Smart. Political. Important. But holy hell, it’s like getting lectured by a guy who just read his first Noam Chomsky book and wants to make sure you know it. The production is cold and rigid, more Public Enemy’s angrier cousin than something you actually want to vibe to. It’s not unlistenable, but it’s damn near joyless. If I want social commentary with some bounce, I’ll take Arrested Development instead. Spins: 1 Playlist Additions: - Television The Drug Of The Nation

This helped make a wreck of a day a little brighter. Soulful, sharp, and way ahead of its time. It’s like funk, jazz, and gospel all took turns driving, but the real star is the storytelling. There’s a weight to the lyrics, but the music keeps things bright. The grooves don’t miss, and the bounce is undeniable. Spins: 3 Playlist Additions: - Higher Ground - All In Love Is Fair - Don't You Worry 'Bout A Thing

Yes, thank you 1001 for generating more feels that I need to navigate and get through. This one just kinda... exists? Not bad, but not thrilling. Some nice guitar work, a little bluesy, a little folky, a little jammy. It doesn’t offend, but it doesn’t really excite either. I didn't turn it off, but I’m not rushing to hear it again. Spins: 2 Playlist Additions: - Love The One You're With - Go Back Home

No streams for Nazis.

It’s a party! A weird, horny, end-of-the-world dance party. It’s futuristic but sweaty; a neon-lit dancefloor with an undeniable swing. Huge synths, drums hitting like a heartbeat, and laced with electricity. I also enjoy getting albums with songs I actively play live (1999); it's always fun. There is some drag in the album though, sometimes passing slowly, and becoming needlessly long. 11 songs at 70 minutes?!? This only works when I really dive into the "end-of-the-world" dance party theme. Starts off super strong, but begins a slow burning decline after D.M.S.R. Prince gonna Prince though, and I am here for it. Timeless. Rest In Peace man, you changed the world. Spins: 3 Playlist Additions: - 1999 - Little Red Corvette - Delirious - Let's Pretend We're Married

Weird little album. Not on Spotify. Feels like a mix of old German/Soviet propaganda music and a haunted carnival soundtrack. Krause's voice is cutting, precise, but also kind of eerie? It’s striking, but not exactly enjoyable (maybe because it's in German?). Still, it’s interesting in a way that had me listening, even if I'm not sure why. I won’t seek it out but wouldn’t complain if it showed up in a film about war propaganda and factory workers. Spins: 1, after piecing it together on YouTube. No Spotify, No Playlist Additions.

Man, this was a slog. All the right elements are here - deep bass, crisp drums, atmospheric synths - but something’s missing. The energy is there, but it just loops itself into oblivion. Feels more like background noise at a mid-tier coffee shop than something I’d actively listen to. Maybe it worked in '97, but now it sounds like a museum piece. Spins: 1 Playlist Additions: - Brown Paper Bag

Why? Why do I think there are these stupid little hints, messages, and meanings that the universe drops? Why do I pay attention at all? Is it speaking to me, or is it just some impulsive manifestation of my own memories firing in rapid succession, tossing relentless volleys of feelings I'll never understand? Is this a breadcrumb from something bigger than me, or just a coincidence I’m way too eager to romanticize? Just this quiet little nudge that says "Hey, pay attention!" And it’s probably nothing. It’s probably just my brain playing connect-the-dots with things that don’t need to be connected. But I noticed, and it cracked open this big, raw space in my chest. And my soul. Maybe that’s all it is. The noticing. Maybe that’s what matters. Maybe it’s okay if I read too far into things. Maybe the magic isn't in the message at all - maybe it’s in the noticing. Change will happen whether I want it to or not. So maybe that’s the trick: nothing is permanent, but somehow, everything still matters. 365 ̷d̷a̷y̷s̷ albums. 1 year. To the ̷d̷a̷y̷ album.

Alright, this thing hit some suppressed memories. It has a very nostalgic feel to it. Synths everywhere. Big hooks. It's like Tame Impala and The Flaming Lips shared a joint and then decided to write a pop record in outer space. There’s a fun playfulness to it. Sometimes it leans a little too hard into its own trip, and feels like a party you didn’t expect to enjoy but somehow end up dancing at. Pretty sure I heard this in a commercial once, but I’m not mad about it. Spins: 3 Playlist Additions: - Time To Pretend - Electric Feel - Kids

Okay, so... voodoo swamp jazz? Is that what this is? It's like someone mixed Tom Waits with a humid fever dream and hit record before tuning anything. I guess it’s technically music, but it feels more like a haunted house attraction that forgot to close for the season. There’s atmosphere for days, but no substance to hold onto. Just made me want to clean my ears and listen to actual jazz, which is an accomplishment. Spins: 1 Playlist Additions: - Mama Roux

Tried listening to this during my morning routine. Felt like my coffee was judging me. It’s clean, slow, and borderline sterile. There’s a tiny little smidge of beauty in the minimalism, but it’s buried deep under layers of melancholy. I kept waiting for something to happen and it just… didn’t. Very few albums actively feel like they’re trying not to be catchy. Maybe someone finds this haunting. I just found it feels like getting ghosted by a jazz band. Spins: 1 Playlist Additions: - Tinseltown In The Rain

I was really starting to worry about you 1001. Bunch of bottom-of-the-barrel stuff lately. Then you drop one of the most influential albums, not only of my generation, but of the times we live in? Redeemed. It’s a brick through a window from start to finish. This album was waaaayyy ahead of its time. Not just in the message (obviously, right? Zack's vocals hit like a bullhorn at a protest - he doesn’t ask, just tells.), but musically as well. Big riffs, massive attitude. This was nuts in '92, and still hits hard - from a rock perspective - today. There’s zero chill here, but that’s kinda the point. Killing In The Name Of was a warm-up song during my youth hockey games. Loved it. It’s tight chaos. Loud, rude, and unrelenting. And smart, too. I don’t even care that it yells at me. I probably deserve it. It's been a shitty month. Spins: ??? Playlist Additions: - Bombtrack - Killing In The Name Of - Know Your Enemy - Wake Up

I didn't know I needed Trombone Salsa in my life, but this was fun on a rainy day, and helped lift my spirits just a little from where they've been. Real sharp musicianship here. Everything’s crisp, energetic, and full of motion. Released on my birthday (before I was born lol) too! Didn’t really blow me away, but I was into the mood it set. Vocals carry a lot of weight. Felt serious but not too heavy. I let it ride. Spins: 3 Playlist Additions: - Plástico - Buscando Guayaba - Pedro Navaja - Dime

Weird little ride, this one. Spun during my morning routine and an hour drive. Feels like late-night radio for aliens. Jazzy, ambient, sometimes even a bit cartoonish - but it’s not annoying about it. I liked the mess. It drifts and loops and throws weird shit at you like it's trying to get a reaction. Not unpalatable at all, but it’s definitely showing off. I just sorta sat there and nodded. I was never really bored; this was fun. Spins: 3 Playlist Additions: - Cool in the Pool - Persian Love

Man, this takes me back. I remember hearing this in a field with red Solo cupped keg beer in both hands and dust in the air. It was surreal in a way - this gritty, raw gangsta world blasting from a shitty car stereo with 2x12" subwoofers being pumped with 1200 watts in the middle of a cornfield. We thought we were so HARD. Now? It’s a little too heavy on the ego for me. Some real lyrical talent, for sure, but the martyr complex is wearing. Odd how often God gets name-dropped by someone rapping about murder and mistrust. Like it's trying to be scripture and street law at the same time. That religious undertone sneaks up on you - like, how did we get from gunplay to Jesus again? Glad I gave it a spin, though. Two times was plenty. Spins: 2 Playlist Additions: - Me Against The World - Dear Mama

Fond memories of hearing this on vinyl as a kid. This is about as 60's rock-'n-roll as it gets. There's a weird mix of teen angst and cocky charm, like this is what the Beatles might have sounded like if they got in a bar fight. The influence is palpable. It’s messy in places, but not in a bad way. A little chaotic, a little clean cut. It's like they knew the recipe, but wanted to take some risk. Vocals jump between crooner and cartoon. Sounds like they’re trying stuff out, which is kind of fun. Doesn't totally blow my mind, but I understand the importance of it. Spins: 2 Playlist Additions: - My Generation - The Kids Are Alright - A Legal Matter

This one feels like it’s trying to hypnotize you but keeps forgetting the spell halfway through. There’s a gray fog over the whole thing, and it never really clears. Listened to it twice (background, while cleaning) and still couldn’t tell you if I liked it or just tolerated it. There’s texture, but not much shape. I kept expecting it to hit a gear it never shifted into. Good for spacing out, but it never asked me to care. Spins: 2 Playlist Additions: - Nylon Smile - The Rip

This was way weirder than I expected. I grew up with the radio-friendly hits, so this felt like walking in on someone’s dream mid-sentence. Definitely some big, sweeping moments. There's ambition all over the place. Sometimes it just wanders. Didn't hate it. Didn't love it. That said, it has its charm. It’s got that early-70s flavor that’s hard to hate. Some bits dragged, some were weirdly great. Definitely not the band I remember from the MTV days. Spins: 2 Playlist Additions: - Carpet Crawlers - Lilywhite Lilith - The Lamia

Ohhh, Beastie Boys.. What is it about you that just doesn't jive with me? I get it. I totally respect it. I dunno, it's like being trapped in a frat house with a boombox that only plays one tape. It’s loud, chaotic, a little misogynistic, and trying so hard to be both funny and badass. There’s energy here but it’s juvenile as hell. It's a time capsule of stuff that aged like milk, me thinks. To me, Beastie Boys are best enjoyed in small doses; a little here, a little there. Spins: 2 Playlist Additions: - Fight For Your Right - No Sleep Till Brooklyn - Brass Monkey

This has that kind of "look at us, we’re clever" charm that totally works when you're in the right mood. The melodies bounce, the lyrics wink, and it’s got that retro sunshine baked right into it. Chock-full of that "happy", almost blissfully-ignorant 60's sound. It’s the musical equivalent of a collage made with safety scissors. Definitely feels like a Spring cleaning soundtrack. A few songs kinda blur together, but it’s a fun blur. Spins: 2 Playlist Additions: - Dandy - Sunny Afternoon - Dead End Street

Damn, the voice on Stevie. Smooth, heavy; like pouring syrup on soul. There’s a lot of space on this record - nothing’s rushed. It’s not wall-to-wall gold, but when it hits, it hits. A few songs grab you fast, but some kind of sneak past if you're not tuned in. Still, it's got that warm ‘70s production that makes it all feel intentional. Not the most consistent ride, but when it lands, it’s soulful as hell. Spins: 2 Playlist Additions: - You Are The Sunshine Of My Life - Superstition - I Believe (When I Fall In Love It Will Be Forever)

Muddy knows how to put on a clinic. Like, this is the Blues stuff you study, then immediately realize you're never gonna play it this cool. It grinds and grooves like a goddamn train, shoveling heat from the first note. It's pure vibe. The kind of record you throw on when the room needs soul and sweat. I spun it all day. Spins: ??? Playlist Additions: The Whole Album

Hot damn, this thing has groove for days. Like, deep-in-your-hips, strut-across-the-room funk. The guitar work is buttery and cocky at the same time - dude really knows he’s the shit and lets it sing. The soul is thick. It’s giving a tighter, cleaner Parliament - less space freakout, more bedroom cool. The interviews are weirdly tossed in there though. Felt like stumbling into a behind-the-scenes doc halfway through dancing. Still, it slaps. Spins: 3 Playlist Additions: - That Lady - Don't Let Me Be Lonely Tonight - Listen To The Music - Summer Breeze - The Highways of My Life

Feels like someone saw what was popping on TRL and thought, “Yeah, I’ll have one of everything.” The vocoder stuff is so heavy-handed it’s basically cosplay. There's a cold, mechanical sheen over everything, like a Daft Punk costume party but everyone forgot to bring the soul. It’s trying to be futuristic and sexy but lands closer to awkward and metallic. There's no warmth. No pulse. Just vibes made in a lab with no coffee. Spins: 1 Playlist Additions: - Music - Don't Tell Me

This.. felt like glam rock put through a Britpop filter and then ironed flat. Not in a bad way, just… smooth. It has some swagger, some sex, but kind of in that overly self-aware “look at me” way. Think a less charming Pulp, or like early Blur if Blur were trying to get laid too hard. A lot of the songs hit a cool groove and then just sat in it until they got bored. I didn’t hate it, but it also didn’t move me anywhere. More mood than momentum. Not bad background noise for a rainy day with nothing on the calendar, which was apparently today. Spins: 2 Playlist Additions: - So Young - Animal Nitrate - The Drowners

Alright, this is a tough one. It should knock me out - live set, cozy club, killer voice. But instead, it sort of just coasts. Like jazz dinner theatre for people too polite to interrupt dessert. There’s a sweetness to it, but little bite, and almost no danger. Two spins and I’m still waiting to catch whatever magic others swear is in there. It's classy. Spins: 2 Playlist Additions: - September In The Rain - Just One Of Those Things

Wild how something this layered can feel so.. gentle. It's got this swirly, sun-through-the-trees energy. It took a few spins, but it’s clicking the more I listen. There’s a clear love for structure here, even if everything sounds like it’s melting a little. Definitely has some of The Flaming Lips influence. It’s weird, but not weird-for-weird’s-sake. Honestly, it kinda makes my brain giggle. Like, in a good way. Also, shout-out to the album cover, I thought it was a .gif image when it generated. Spins: 3 Playlist Additions: - In The Flowers - My Girls - Summertime Clothes - Bluish

This one kind of hovered in the background for me. It’s got a smokey, dubby vibe with some nice instrumental stretches. I like that it doesn’t feel like it's trying too hard - just lets the groove do the work. Maybe a couple tracks for the “zone out” playlist. Not bad, not great. Just kinda… there. Spins: 2 Playlist Additions: - Get Duffy - Star - Trainspotting - Long Life

I woke up slightly broken and this thing patched me right up. It’s got that bounce - you know, the kind that wakes your brain without demanding too much of it. Feels like Gorillaz got a hold of some old-school hip-hop gear and a crate of acid jazz vinyls. There’s this early '90s UK swagger all over it, but weirdly, it doesn’t sound stuck in the '90s. It’s ahead of its time without waving it in your face. Really slick production, too - tight without being sterile. Great hangover companion. Might start keeping it in the emergency kit next to the ibuprofen and Gatorade. Spins: 3 Playlist Additions: - Connected - Ground Level - Step It Up - Fade Away

This is basically the denim jacket of albums. Faded, patched up, still cool as hell. You get grit, heart, and a damn loud mirror held up to America. It’s all fist-pumping anthems and rustbelt poetry. There’s a real Mellencamp energy here, but sharper, louder, and more pissed off. Even the hits that get played at baseball games are secretly flipping the bird. Feels like someone screamed “freedom” with one hand on a factory wall and the other flipping a coin in a gas station parking lot. I don’t know what more you want in a Friday soundtrack. Spins: All Day Playlist Additions: - Born In The U.S.A. - Cover Me - I'm On Fire - Glory Days - Dancing In The Dark

Blackstar is wild.. It’s like watching someone paint their final self-portrait with a busted brush, radioactive paint, and zero fucks. It’s theatrical, dark, scattered, and genius - classic endgame energy. A fitting swan song? Or maybe a final middle finger. Either way, it was compelling. Spins: 3 Playlist Additions: - Blackstar - 'Tis a Pity She Was a Whore - Lazarus - I Can't Give Everything Away

This one surprised me. I was ready for cringe, but it turned out to be kind of a hangover cure in album form. Breezy, cheeky, and self-aware in just the right ways. It’s big '90s Britpop energy, but lighter, shinier, with a bit more smirk and personality. There's confidence all over this, even when the actual songs get a bit messy. It’s got that “look at me” attitude of a solo act who really wants you to forget they used to be in a boy band. I won’t overthink it - this was a good time. Honestly, if you’re mildly hungover and looking for something caffeinated without being aggressive, this slaps. Spins: 3 Playlist Additions: - Lazy Days - Angels - Old Before I Die - Let Me Entertain You

Feels like it was made by aliens who skimmed a “How To Be Human” manual and got really into rhythm, which is fun, because that's what I play (rhythm guitar). It’s quirky as hell and somehow still tight as fuck. It walks the line between awkward and brilliant. The guitar lines are all elbows and knees but land gracefully somehow. It's cool in a totally uncool way, somehow. Spins: 3 Playlist Additions: - Thank You for Sending Me an Angel - Found a Job - Take Me To The River - The Big Country

Well, that was a lot. The whole album moves like a parade falling down a staircase; graceful chaos, and horns clashing like they’re mad at each other. It’s dramatic, intense, and clearly smart as hell, but holy smokes, can someone let the piano breathe? It felt like every instrument was fighting for the last word in an argument. That said, I get why it's on the list. It’s a jazz opera on too much coffee. Glad it was short! Like me! Spins: 2 Playlist Additions: - Track A - Track C

This was like listening to a band tune up for 45 minutes and then just... call it an album. I get that it’s experimental, but sometimes experimental just sounds like no one said no. There’s a fine line between pushing boundaries and just making a mess. I respect the influence, but respect doesn’t mean repeat listens. I can hear the threads that inspired bands I love, but damn, the source is rough. Spins: 2 Playlist Additions: - Shadow Of A Doubt - Starpower

Hi book, I'ma judge you by your cover... Oops! totally wrong there. Have a good day... This is why we don't judge things by their outward appearances.. This album dances right up to the edge of ridiculous and then winks. Big piano/synths/organ, glam guitar, and punchy drums. It’s super theatrical, but never trips into parody. There's a sort of velvet rhythm engine running underneath all the eccentricity, and it works. I didn’t expect to like this (based strictly on cover art), but here we are. Spins: 3 Playlist Additions: - This Town Ain't Big Enough For The Both Of Us - Amateur Hour - Falling In Love With Myself Again - Here In Heaven - Thank God It's Not Christmas - Talent Is An Asset

ZZ Top give out creepy leather-wrapped bachelor pad energy, or maybe a Camaro-driving guy in mirrored sunglasses trying to convince you he’s “still got it.” Where have I heard these hits before? They’ve been grilled into my head by a thousand beer commercials or something. And WTF “TV Dinners”?!? Made me pause the album just to check if I was having a stroke. Throw this in the bin with AC/DC & Kiss.. Spins: 1 Playlist Additions: - Sharp Dressed Man

Reminds me of "friends older brothers who smoked" when I was in middle school. It's loud, for sure. It’s technical, yep. But it also kinda drags and mashes together, like a long D&D campaign where everyone takes themselves a little too seriously. Kirk & James' guitars are chugging through hell, and I get why metalheads worship this stuff. Nine-minute songs about harvesting sanity or whatever aren’t really my jam. "One" still rules though. Spins: 1 (ha!) Playlist Additions: - One

Sometimes these '50s albums feel like the soundtrack to a brunch where the pancakes are stacked too neat and everyone’s wearing suspenders for irony. Frank's voice is undeniably smooth, and the musical arrangements are lush in that clean, glossy way only the '50s could pull off. But man, it’s like biting into a plastic fruit - pretty, but not juicy. There’s no grit, no weight. It’s hard to find any emotional fingerprints on it. Everything’s just so tidy. It floats, but never dives. Honestly, it’s like a vintage filter on your ears. Spins: 2 Playlist Additions: - You Make Me Feel So Young - Love Is Here To Stay - I've Got You Under My Skin

Well, this one’s a head-scratcher. The beats? Smooth as hell. G-funk in full cruise control. Hooks are sticky (surely like the Chronic), the mood's high, and it’s damn near impossible not to nod along. But then the lyrics come in and - ugh, yeah. Full-on time capsule energy, which is fine until it opens and punches you in the face with casual misogyny. It's like the vibe is rolling a blunt while the words are yelling at women from a car window. I get the cultural footprint, but it’s not one I want to keep stepping in. Struggling with a 3 here. Spins: 2 Playlist Additions: - Gin and Juice - Lodi Dodi - Who Am I?

Pure sunshine alchemy. Every harmony feels like it’s been filtered through a warm late spring breeze. It’s gorgeous and strange and full of color. The Beach Boys ditched the striped shirts but kept the innocence, just layered it with something way more ambitious. It’s all sweet and sad and a little cosmic. Spins: All Day Playlist Additions: - Wouldn't It Be Nice - Let's Go Away For Awhile - Sloop John B - God Only Knows - Caroline, No

This is peak '70s chill, man. It’s the kind of record that makes you wanna lean back in a recliner and let the hi-fi do its thing. Smart, but never smug. Cool without trying too hard. 11 songs clocking in under 35 minutes is super impressive too. Spins: 3 Playlist Additions: - Rikki Don't Lose That Number - Any Major Dude Will Tell You - East St. Louis Toodle-Oo - Pretzel Logic

This is basically prom night Beatles. All suits and clean haircuts. It’s a polite, good time. The covers are kind of adorable, even when they’re a little half-baked, and there's a flash here and there of what they’d grow into, but it’s more sock hop than stadium anthem. Spins: 3 Playlist Additions: - All My Loving - Please Mister Postman - Roll Over Beethoven - You Really Got A Hold On Me - Money

Thought I would love this one, but man, it kinda felt like a long soundcheck. It droned more than it roared, then all the sudden they remembered people were watching. Not terrible, just not as electric as you'd hope. Spins: 1 Playlist Additions: - A Quick One, While He's Awaly - Shakin' All Over - Magic Bus

This isn’t an album, it’s a fucking endurance test. It starts with two 15-minute tracks, like it's daring you to keep going. I don’t care how cool it might sound in the background of a hacker movie or while grinding in a JRPG - this isn’t something I’d ever press play on with intention. There’s mood, but it goes nowhere. Great for ambient distraction. Terrible for active listening. Spins: 1 Playlist Additions: - Pearl's Girl - Blueski

Honestly, not bad. A little overindulgent. It wants to be cinematic. It wants to be primal. It’s got a strong pulse to it. The production is tight, immersive, and full of movement. Definitely a late-night or background listen more than anything focused. The lyrics don’t do much, and sometimes feel like nonsense for nonsense’s sake. Three songs doing all the work to make this a ⭐⭐⭐ review from me. Spins: 2 Playlist Additions: - Swampsnake - Giddy Up A Ding Dong - Vambo Marble Eye

Alright, yeah. I’ll admit it. I’ve judged this book by its ugly-ass cover. And its T-shirt fans. And I'm not much into the genre, but it is way more musical than expected. There’s real structure here. Fast, precise, even kind of elegant under the distortion. Can't really get over the triple Iron Maiden name-drop (band name, album title, AND song title)? Bold move, lads. Bold move. The artwork still sucks though. Spins: 2 Playlist Additions: - Prowler - Remember Tomorrow

It’s tasteful to a fault. The kind of album that sounds expensive and sincere but also kinda boring. The title track’s got ideas - too many maybe. And “Strength of Strings” flirts with something cool, but even that gets washed out by the overly clean production. I kept hoping for a banger, or at least a moment of rawness. No dice. Not terrible, not great. Spins: 2 Playlist Additions: - Life's Greatest Fool - No Other - Strength Of Strings

Didn’t understand a word, didn’t matter. This thing grooves like a warm breeze through an open window. There’s a live energy here that’s infectious. A killer vibe for driving, cooking, or pretending you’re somewhere tropical and sexy. Pure charm. Spins: 2 Playlist Additions: - Chan Chan - El Cuarto De Tula - Pueblo Nuevo - Dos Gardenias - Buena Vista Social Club

It’s not terrible terrible. It’s just so.. beige. Like it wanted to flirt with house, pop, lounge, and trip-hop all at once but couldn’t commit. The vocals are fine, production clean, but no groove? Where’s the tension? Felt more like background music for a slow-loading webpage. Spins: 1 Playlist Additions: - Only Love Can Break Your Heart - Nothing Can Stop Us

It’s country rock with a little sparkle, but still firmly country. I didn’t hate it, and I can tell it’s solid. Just didn’t do much for me. Short runtime helped. The real standout is the story about the body theft after his death - wilder than anything on the record. Setting a coffin on fire in the desert is a hell of a way to go out. Spins: 2 Playlist Additions: - Return of the Grievous Angel - Love Hurts - Ooh Las Vegas

I get it, the point is the rhythm. But damn, it just does not stop. Feels like getting trapped in a loading screen with no exit. Some of the ambient, floaty bits were okay, but the majority? Relentless, looping jungle beats that just pound on like a headache with no cure. It's probably great for coding or deep cleaning your garage. Not when I’m trying to actually (actively) listen. Spins: 1 Playlist Additions: - State of Mind - Inner City Life - Baby Boy's Edit

Listening to this was like watching a toddler play with a toy steering wheel; they’re convinced they’re driving, but you’re just parked in the driveway. Or the review that compared this to Saltines. Slightly salty, widely available, and dry as hell. Or maybe plain tofu and white rice, unseasoned, and cooked in a microwave. Shlock Rock™. The riffs are plain and chunky, the vocals are nasal, and every song is basically a remix of the previous one with a new punchline. I get why this sells beer and fills stadiums, but it’s also the reason ̷d̷a̷d̷s̷ grandpa's everywhere think they’re music experts. Put it in the Smithsonian next to the Crocs display, please. Spins: 1 Playlist Additions: - Highway To Hell - Girls Got Rhythm

Garage rock in its birthday suit. Zero polish, no pretense. Just primal riffs and frantic drums like the mics were duct-taped to the ceiling. I admire the guts to release something this raw and barebones back then. It’s over before you know it. Not essential, but I get why it exists on this list. Spins: 2 Playlist Additions: - Do You Love Me - Roll Over Beethoven - Money - Good Golly Miss Molly

Heavy stuff. Like sinking into a cold bath that someone else cried in heavy. There’s beauty to the sparseness, but damn, it drags you down with it. Feels like sitting alone on a rainy Sunday. The piano keeps knocking on the same emotional door, and eventually you want to yell “we’re not home.” There’s charm in the detachment, a Leonard Cohen kind of sadness. Spins: 2 Playlist Additions: - Into My Arms - People Ain't No Good - (Are You) the One That I've Been Looking For?

It’s undeniably stacked. That run of songs is ridiculous. Like a greatest hits that got pressed accidentally. But man, the baggage. It’s Southern rock with too much shadow. You can’t untangle the legacy from the rot. I wish I could hear it like I did when I was twelve. Before I knew better. It's like eating your favorite childhood cereal and finding out the company funds hate groups. There's great music here, but it’s wrapped in a flag I want nothing to do with. Spins: 3 Playlist Additions: - Tuesday's Gone - Gimme Three Steps - Simple Man - Free Bird

Every track (hard) knocks (lol), I’ll give it that. The beats are smooth and rich, but the ego, man. I feel like I got a contact high from all the bragging. It's technically tight, but it’s all flash and flex with zero surprise. The Eminem feature snapped me awake, which tells you how checked out I was by then. Spins: 2 Playlist Additions: - Izzo - Girls, Girls, Girls - Renegade

"There She Goes" shows up, smiles, and then peaces out before the rest of the band even plugs in. The rest feels like a group of guys still workshopping their sound while the tape’s rolling. You could slap any early '90s alt band’s name on this and I wouldn’t blink. It’s jangly, it’s harmless, it’s forgettable. One song shines. The rest? Just background static in a thrift store. Spins: 2 Playlist Additions: - There She Goes - Feelin'

There’s a difference between abrasive and actively repulsive. This one’s riding that line, bare-assed and proud. I didn’t necessarily hate the sound - harsh, yes, it hits like punk run through a meat grinder. The lyrics? Yeesh. It’s not shocking, it’s just juvenile and gross. Can’t say it’s boring though. Just... no. Spins: 1 Playlist Additions: - Kerosene

This sounds like Queen if every member had ADHD and none of them were particularly good songwriters. There’s ambition, but ambition doesn’t excuse being annoying. The lyrics feel like they’re trying to be cheeky but land somewhere between smug and cringe. The guitar tones sound like they were pulled out of a cereal box. It’s got overcooked experimentation, but none of the spark. Not unlistenable, just not great. Spins: 1 Playlist Additions: - Silly Love

I get the sense this was supposed to feel elegant, maybe even intimate. But it's more like being stuck next to someone who hums tunelessly while reading their journal out loud. Feels like she started with poems, added a few notes, and called it a day. Everything sort of puddles together, and not in a fun ambient way. It’s like listening to a very polite ramble. A struggling 3 stars. Spins: 2 Playlist Additions: - Help Me - Free Man In Paris - People's Parties

Classic rock with a southern shrug. The big tracks carry the weight, the rest coast along without much trouble. You can hear the band figuring it out, which is kinda sweet in its own right. There’s a kind of charming mess to it. A few moments of brilliance, a few moments of “oh, that’s it?” I wouldn't call it deep, but it knows how to smile and nod. You get the hits and you get the warm-up laps. Tight runtime, too. Bonus points. Spins: 3 Playlist Additions: - Rockin' Around (With You) - Breakdown - American Girl

This is what you want when you say you want rock. Smooth groove and clean tone, perfectly dialed in. The pacing is a tight 35 minutes, all killer. Classic for a reason. It kicks ass without ever breaking a sweat. Incredible debut album. Shoutout to the triad - a song Bad Company, on the album Bad Company, buy the band Bad Company... Spins: All Day Playlist Additions: - Can't Get Enough - Rock Steady - Ready For Love - Don't Let Me Down - Bad Company - Seagull

There’s a delicate tug-of-war going on here, and nobody really loses. It sways between old-world folk ballads and breezy Dylan-soaked ramblings. The arrangements are sharp but never flashy. Feels like a love letter to a genre they were still inventing. I admired it more than I loved it. Solid record. Spins: 2 Playlist Additions: - Genesis Hall - Autopsy - Who Knows Where The Time Goes?

Sounds like someone fell asleep on an effects chain and just decided to release the result. It’s all fuzz and haze, no hooks. Just droning guitars and a vocalist that sounds like she's whispering through a pillow. The vocals drift in like a bored ghost and then vanish before you can care. Do you ever walk into a room and forget why you're there? That’s this album. Spins: 2 (somehow) Playlist Additions: - only tomorrow

This is Britpop with a post-hangover glow. Clean drums, chiming guitars, a light fog of melancholy, but nothing particularly sharp. Feels like it came from the same Coldplay/Catherine Wheel universe, just without a breakout moment. You can tell they were going for cinematic, but it never quite lifts off. Comfortable. Not inspiring. You’ll forget what you were listening to, but you’ll enjoy it while it plays. Spins: 2 Playlist Additions: - There Goes The Fear - M62 Song - Pounding

How do you even talk about this thing without sounding like a stoned college kid? It’s like someone cracked open the universe and pressed it onto vinyl. Haunting choirs, existential dread, cash machines, clockwork all working together like some fever dream of logic. It’s prog rock that feels earned, like a thesis instead of a jam session. Makes most albums feel like demo tapes. Holy hell. Spins: All Day Playlist Additions: - All The Songs

Dark? Yeah. Powerful? Ehhh, not really. The whole thing sounds like it’s trapped in a tin can trying to be mysterious. It wants to haunt you, but it's mostly just pacing around in combat boots with nowhere to go. Some cool guitar scrapes and a bit of life in the rhythm section but it's no match for The Cure's depth. Feels like one of those albums you pretend to like in college just to impress someone in eyeliner. Spins: 2 Playlist Additions: - The Passion of Lovers - Kick in the Eye

Feels like opening a door you weren’t supposed to. Something’s broken in here, and it’s still trying to sing. The songs wobble between lucid and lost. The rawness is uncomfortable, and it should be. But there’s a weird beauty in the wreckage. It’s all very tragic, but you can’t look away. Spins: 2 Playlist Additions: - Terrapin - Here I Go - Octopus

Look, it’s cozy. It’s calm. It’s got that folky, introspective thing going. But I couldn’t latch on. Feels like a lullaby someone wrote in a guest cabin in Vermont after eating too much soup. I can appreciate the softness and sincerity, but it never really made me care. Maybe it’s one of those “right time, right place” albums and this wasn’t either. Sounds like John Denver and Cat Stevens had a very sleepy baby. Spins: 2 Playlist Additions: - Sweet Baby James - Country Road - Fire and Rain

This album feels like flipping through five radio stations at once and never landing on one long enough to enjoy it. It’s trying real hard to be global and edgy, but ends up sounding like an art student who just discovered world music and a sampler in the same week. There’s no flow, no consistency, just chaos in a bucket hat. I get the ambition, I guess, but ambition alone doesn’t make a good listen. Spins: 1 Playlist Additions: - Obatala

Imagine a garage full of teenagers yelling at their amps. That’s the vibe. It’s raw, messy, and very stupid, but also kinda fun? It’s the type of thing that makes you want to throw beer cans at the wall, in either joy or frustration. The humor’s juvenile, and the production’s almost nonexistent. Spins: 1 Playlist Additions: - (I Live For) Cars and Girls

This album is the audio version of opening ten tabs and not knowing where the music is coming from. A little dreamy here, a little poppy there, then suddenly saxophone?? It’s like a sonic identity crisis dressed in baggy jeans and optimism. Some parts almost work, but they never quite stick the landing. Maybe it’s meant to be clever, but mostly it feels like filler with reverb. Spins: 1 Playlist Additions: - Wish I Was Skinny

Okay, so you mix some bargain-bin Beastie Boys energy with watered-down blues riffs and think you've found a vibe? Nah. It’s got that “cool older cousin” energy, but the kind who peaked during the Clinton administration. There’s a track or two that almost works, but then they start talking again. And that’s not a compliment. Feels like a joke nobody had the guts to end early. Spins: 1 Playlist Additions: - The Fun Lovin' Criminal

It’s confident, horny, and impossibly cool. The hits are undeniable, just iconic start to finish, but the surprise is how strong the whole album is. Even the filler wears high heels and kicks ass. Think Michael Jackson’s Bad if it was a little nastier and a lot more purple. No one else could pull this off, not then, not now. It’s got the energy of a late-night roller rink slow dance that turns into a sexy rager. Spins: 3 Playlist Additions: - Let's Go Crazy - When Doves Cry - Purple Rain

Floating In Rainbows. Soft and strange and kind of hypnotic. Still has that Radiohead edge, but it’s tucked under warm blankets of synth and groove. The songs slide in and out of each other in a way that feels lowkey brilliant. Spins: 3 Playlist Additions: - Bodysnatchers - Weird Fishes/Arpeggi - All I Need - Jigsaw Falling Into Place

This album is responsible for literally changing my "direction" with music. This album is responsible for me picking up a guitar. This album changed my life, in 1994. It's my "wake up and drive" album over early, long road trips. What’s wild is they unplugged and still hit harder than bands at full blast. These song versions feel lived-in, like the songs got older and sadder, but more beautiful. It's magical. I've spun this album 1001 times, and I'll spin it 1001 more. Spins: All Day Playlist Additions: - Album

There’s a twitchy energy to it, and the mix of styles between funk, rock, electro, and soul is tight. Not bad, not boring, just... not enough. I think I respect it more than I enjoyed it. Spins: 2 Playlist Additions: - Halfway Home - Golden Age - DLZ

Alright, so the production’s doing some heavy lifting here. It’s glam but mellow. A few tracks really work, cool style, just not much punch. Spins: 2 Playlist Additions: - Perfect Day - Hangin' 'Round - Walk On the Wild Side

I liked this more than I thought I would (took two spins, though). It's like getting dragged into a neon-lit alley by a synth and a sneer. Tainted Love obviously rules, but it also casts a long shadow. This was interesting, but probably a one-and-done for me. Spins: 2 Playlist Additions: - Tainted Love - Say Hello, Wave Goodbye - Where Did Our Love Go?

This is a lot. Like, getting cornered in a basement by a shirtless guy named Rat who wants to talk about anarchy. Too much for my hung-over Sunday morning. I can admire the pure piss-and-vinegar spirit, but it’s so repetitive. Feels like they came up with one riff, pressed record, and didn’t stop until the tape ran out. There are moments where the rage focuses into something nearly musical, but mostly it’s sonic road rash. Just unlovable. Spins: 1 Playlist Additions: - Rise Above

It’s lo-fi, raw, and very, very early ‘90s sounding. There’s clearly a clever, confident, and disaffected voice here, but it feels more observational than emotional. Nothing wrong with it, just a very well-executed shrug. Spins: 1 Playlist Additoins: - Never Said - Fuck And Run

The third band on this list (..so far) that has a self-titled album WITH a friggin' song with the same title. Like, in my 43 years spinning around the sun, I just can't fathom thinking that one of the three is just so cool I'd have to name the other two exactly the same. ESPECIALLY a band named after their own song. That said, it wasn't terrible. Spins: 2 Playlist Additions: - History Song - Kingdom Of Doom

Big guitars. Big drums. Big Bass. Big vibes. What a strange little bridge between 80s hard rock and 90s alternative this turns out to be. It punches like metal but sings like pop, and works better than it should. There's something theatrical about it, and slightly cheesy, but not in a corny way if that makes any sense at all. Honestly kind of refreshing. Spins: 3 Playlist Additions: - Cult of Personality - Glamour Boys - What's Your Favorite Color? - Which Way to America - Should I Stay Or Should I Go

I pressed play and immediately regretted all my life choices. This album gave my ears tetanus. It’s an hour of sentient metal pipes and malfunctioning appliances jamming while screaming German in a condemned warehouse. I get that it's supposed to be industrial, but so is asbestos. Just chaos cosplaying as creativity. The only Kollaps here was my will to live. Spins: 1 Playlist Additions: LOL

Messy in a kinda charming way. There’s a looseness to the playing that feels intentional, or at least confidently indifferent. Garage rock allergic to polish. Spins: 2 Playlist Additions: - Summer Babe (Winter Version) - Zurich Is Stained - Here

This thing is a glitter cannon of pure 80s. The production is absurdly lush, like a synth-pop soap opera with a full orchestra. It's dramatic, theatrical, and super cheesy. Spins: a lot (I was building a garden) Playlist Additions: - Poison Arrow - The Look Of Love - Pt. 1 - All Of My Heart - The Look Of Love - Pt. 4

Pretty easy on the ears. Good guitar tone, warm production, nothing too flashy. There’s a careful touch on the arrangements that gives it some emotional weight, even when the lyrics don’t do much for me. I liked the sound more than the songs, which isn’t a dealbreaker. Just not much that lingers. Spins: 2 Playlist Additions: - To Be Young (Is to Be Sad, Is to Be High) - Come Pick Me Up - To Be The One

This is a headphone-on, eyes-closed kind of trip. Slides somewhere between folk and jazz and stoner blues. He mumbles a lot. It's tender; every track kind of dissolves at the end. Worth it. Spins: 4 Playlist Additions: - Solid Air - Over The Hill - May You Never - The Man In The Station

It’s got that friend-jam energy. Like three dudes who have played together forever and still think it's funny to put in a goofy break or yell something off mic. The melodies are jangly and warm, the guitar lines simple but catchy. Like they don’t care if it’s tight, just if it’s fun. It’s a hangout of a record. Spins: 3 Playlist Additions: - Riddle Of The Eighties - In My Mind - Time With You

So yeah, this was kind of a homework assignment. Took some sleuthing just to listen to it in the right order. Very spacey, very smooth. Drum and bass is cool and all, but unless I’m laser-focused or on something (or both), this much of it starts to feel like wallpaper. Solid vibe, though. Spins: 2 (once you piece it together) Playlist Additions: - Destiny - Above & Beyond - Music

Good vibes only, I guess. It’s like a carefully curated beach picnic. The songs are technically great, but I just didn’t connect with them the way I thought I would. Maybe I just wasn’t in the right mood, but it didn’t sweep me away. RIP Brian Wilson. Spins: 2 Playlist Additions: - Do You Wanna Dance? - Help Me, Rhonda - Dance, Dance, Dance

One of those albums where I basically know every song already. It just never feels small. There’s such a punch to it. Like someone finally let the sun shine through the grunge clouds, it was perfect post Nirvana music. Just a rad album. No notes. Dave Rocks. Spins: a lot Playlist Additions: - This Is a Call - I'll Stick Around - Big Me - Alone + Easy Target - Good Grief - Floaty - For All The Cows

Okay, yeah, they can play. But this is paint-by-numbers blues rock, and I kept waiting for it to go somewhere. The whole thing feels like a decent Stones cover band before the Stones knew what to do with themselves. Put this next to My Generation or Please Please Me and it just sounds flat. No real spark, no standout original, and definitely no risks. It's fine, it’s fine. But it’s also kinda boring. Spins: 2 Playlist Additions: - Route 66 - I Just Wanna Make Love To You

It’s like opening a handwritten letter and finding it’s mostly blank pages. The intention’s there, the ink is nice, but it doesn’t leave much behind. The songs are polished and tender, but I kept waiting for a little punch or tug, and it never really came. It’s OK, but doesn’t cut deep. Spins: 2 Playlist Additions: - Son Of Sam - Somebody That I Used To Know - Everything Reminds Me Of Her

It's loud and proud, like it’s shaking its fists at the clouds. 😂 Big guitar, big organ, big everything. It sort of lives in the same universe as early Zeppelin, but messier and more gung-ho. “Child in Time” feels like a whole journey packed into ten minutes. I’m not exactly rushing back for a third listen, but it did its job, left me entertained and slightly deaf. Spins: 2 Playlist Additions: - Child in Time - Into the Fire

Feels like a prank album at times. Flashy ideas, catchy touches, and then, wait! Three hidden tracks? Okay, buddy. There’s some clear talent behind it, but it all gets lost in the chaotic mix of adolescent energy and unfinished thoughts. I wanted more bite. It kind of flirts with what Gorillaz might do, just without the glue holding it together. Spins: 2 Playlist Additions: - She Wants To Move - Thrasher - Maybe

Undeniable star power here, and a good follow-up to Thriller. The big hits still go hard, and my (cover) band plays "The Way You Make Me Feel". But.. once you step off the hit train, things flatten out. Some filler vibes, some odd choices; both keeping this from a 5. Spins: 3 Playlist Additions: - Bad - The Way You Make Me Feel - Man In The Mirror - I Just Can't Stop Loving You - Smooth Criminal

What a vibe this was! It's got that humid, sun-baked, late-afternoon-in-the-city feel. Everything moves slow and easy, and it’s chill as hell. I don’t usually swim in this kind of funk-jazz blend, but I might dip a toe more often. Has some early Earth, Wind & Fire energy with more mood. It’s good summer listening. Spins: 3 Playlist Additions: - The Cisco Kid - Where Was You At - City, Country, City - The World Is A Ghetto - Beetles In The Bog

This is a mixed bag, but a good one. Some groovy baroque pop stuff, some jazz flourishes, even a garage rock flavor here and there. Honestly surprised I didn’t hate the 19-minute closer. It kind of jams, in a laid-back kind of way. Enjoyable, even if nothing totally blew my mind. Spins: 2 Playlist Additions: - Orange Skies - Seven and Seven Is - She Comes In Colors

This one’s a bit of a synth safari. Bleepy, bloopy, spacey, strange. I wouldn’t normally reach for this stuff, but I actually liked the long stretches of mood. Not much groove, but plenty of groove-adjacent ambiance. Trippy little audio diorama. Spins: 2 Playlist Additions: - Forever - Sad but True - Kein Trink Wasser

Okay, so here’s the deal.. It starts dreamy, drifts into some ambient haze, and ends like someone discovered distortion pedals and shouted German into the void. There’s no glue holding this together. You either vibe with the mess or you don’t. Spins: 2 Playlist Additions: - Isi - Seeland

The opener gives you hope, then things spiral. Some of the arrangements are truly wild. Bits of psychedelia, jazz, and ambient chaos poke through the weirdness. I don’t want to defend it though. Two spins was generous, and a STRUGGLING 3 stars. Spins: 2 Playlist Additions: - Heaps Of Sheeps - Maryan