The debut that launched a thousand migraines. Split between two lineups, Scum is less an album than a barrage—28 tracks of grindcore’s primal scream, all buzzsaw guitars, jackhammer drums, and vocals that alternate between retching, barking, and unintelligible growling (the latter delivered by two separate frontmen, though you'd be forgiven for thinking it's just one very angry drainpipe). Side one almost flirts with structure—“Scum” even rides a groove for a few seconds before imploding. Side two abandons all pretense, collapsing into a blur of 30-second tantrums. Political in theory, but good luck parsing any lyrics without a lyric sheet and a forensic linguist. If you think music should hurt a little, maybe this is your Kind of Blue. If not, consider it the sonic equivalent of an industrial accident.

Strong production values and a focused sound. Highlights: "Gimme Shelter" (sets a great intense and eerie vibe as the opening track), "Live with Me" (dat bass, blues rocker, sax solo), "You Can't Always Get What You Want" (an epic closer, so grand and over-the-top) Notable: "Country Honk" (country version of "Honky Tonk Women", not as good as hit version)

Fred Durst wants you to know he’s angry, misunderstood, horny, and kinda famous now, bro. And if you’re a 14-year-old boy with a locker full of Mountain Dew, Monster logos, and vague resentment toward gym class, maybe that’s enough. But for the rest of us, enduring his off-key crooning, sub-par rhymes, and endless stream of adolescent vulgarity feels more like detention than catharsis. Wes Borland, the band’s masked MVP, occasionally colors outside the nu-metal lines with eerie guitar textures and oddball tunings, and the rhythm section’s not asleep either. But Durst’s juvenile worldview and cringe-worthy lyrics reduce even the better tracks to guilty pleasures—"My Way" has some interesting sonic moves, and "Hold On" gestures at emotional growth but gets lost in the fog of the album’s own overblown bravado. Could this be satire? Brilliant performance art? That’d be giving it way too much credit.

Kendrick is definitely skilled as a rapper, but I'm not a fan of his voice a lot of the time. Interesting funk and jazz influenced music, but sometimes gets a little too spacey and ponderous. I think I just don't get it... Highlight: "Momma" (interesting percussion, nice flow and R & B vocals. Lyrics are intriguing, boasting, but then realizes he "doesn't know shit". Turns more funky in the last minute), "How Much a Dollar Cost" (just a straight story song (with a warped R & B hook) with Kendrick using his more normal voice), "Complexion (A Zulu Love)" (90s vibe with smooth vocals and record scratching. Reminds me a bit of Digable Planets (female rapping)) Notable: "For Sale? (Interlude)" (weird panting leads into a soft jazz music with a distorted voice then Kendrick using his space alien voice, then a weird country accent ranting about Lucy (???)...wtf?), "Mortal Man" (jazzy boom bap, complete poem that we heard pieces of throughout the album. Then it becomes an interview with 2Pac (?). Then a poem about a caterpillar and butterfly...)

Pretty pop music mixed with late 60s psychedelia. Highlights: "Care of Cell 44" (Beach Boys-esque pop), "Hung Up on a Dream" (nice strings and guitar solo), "I Want Her She Wants Me" (jaunty pop tune), "Time of the Season" (a classic)

Country-influenced pop rock and folk. A bit slow and sleepy. Highlights: "To Be Young (Is to Be Sad, Is to Be High)" (Stonesy country), "Come Pick Me Up" (nice harmonies, catchy chorus), "Shakedown on 9th Street" (Bo Diddley beat gives it a 50s sound, kind of White Stripes-y)

The band has gelled into the "classic" 1980s U2 sound. To me, this sound includes chiming guitars, martial-sounding drums, big choruses, and lyrics influenced by world politics and religion. Compared to Boy and October, Bono's vocals are more melodic and smooth. His vocals on “New Year’s Day” and “40” are particularly passionate. The Edge continues his innovative guitar work while Adam Clayton and Larry Mullen Jr. hold the songs together with their work on bass and drums. Lyrically, the album goes full circle. On first track “Sunday Bloody Sunday”, Bono stridently asks “How long must we sing this song?” at the outset. On the final song “40” (based on a psalm) he plaintively sings: “I will sing, sing a new song” and following up with “How long to sing this song”. These lyrics showcase one of the themes of the album about the importance of overcoming adversity and religion’s role in that quest. As on their previous release October, the band continues to incorporate new sounds into their songs. “Sunday Bloody Sunday” and “Drowning Man” incorporate electric violin into their musical bed. Female backing vocals and trumpet both feature on “Red Light”. Female backing vocals reappear on “Like a Song…” and “Surrender”. Although the production is a bit dated and "of-the-'80s", this is U2's most confident release so far. Highlights: “Sunday Bloody Sunday”, “Seconds”, “New Year’s Day”, “40”

Dramatic, hard-charging alt rock. Production is a bit lo-fi with a mid 70s NY punk vibe (e.g. Patti Smith, Television). Highlights: "O Stella" (catchy riff rocker), "Victory" (prominent bass riff and woozy guitars), "Sheela-Na-Gig" (a few interesting hooks)

Production is a bit muffled, but songs are good with a few classics. Bridge over Troubled Water-classic, but kind of surprising this is the opening song and not the closing. El Cóndor Pasa (If I Could)-more Renaissance sounding than Spanish Cecilia-classic upbeat folk with Latin-styled percussion Keep the Customer Satisfied-upbeat pop with horns So Long, Frank Lloyd Wright-dreamy slow song, bossa nova-ish, feels a bit long but is < 4 min The Boxer-classic story song Baby Driver-upbeat boogie woogie with horns The Only Living Boy in New York-one of my favorite songs Why Don't You Write Me-bit of a country twang in the guitar lines, horns and percussion almost make it funky Bye Bye Love- live recording, standard cover version Song for the Asking-another live recording? Pleasant folksy song with strings. Highlights: "Cecilia", "The Boxer", "Baby Driver", "The Only Living Boy in New York"

A less macho version of nu-metal. Similar vibe musically to Linkin Park and Fuel. Strong, clean production by Scott Litt. Highlights: "The Warmth" (cool spacey vibe with strong drums and bassline), "Stellar" and "I Miss You" (nice love songs), "Drive" (catchy chorus and jaunty guitar), "Pardon Me" (good example of the heavier songs on the album)

Much better production (dat bass) and more focused sound. Their best album so far. Highlights: "Sympathy for the Devil" (badass opener), "No Expectations" (countryish ballad with slide guitar and piano), "Stray Cat Blues" (sounds scuzzy, good at setting the mood. Jagger's vocals remind me of Morrison), "Salt of the Earth" (Music is great, vocals are a bit meh (another Dylan copy), becomes anthemic by the end with the female choir)

You can definitely hear the influence on pop punk. The music is energetic and generally fine (if a bit rudimentary and underproduced), but Johnny Rotten's voice can get grating and his persona tends towards annoying for the sake of being annoying (though I guess that was his shtick). Highlights: "Holidays in the Sun" (there's a bit of catchiness under the noise.), "No Feelings" (give it a bit of a gloss production-wise and this could be an early Green Day song), "Pretty Vacant" (Intro riff is cool, good drumming and guitar flourishes throughout) Notable: "Seventeen" (something about the gang vocals gives me Dropkick Murphys vibes)

Snoop's charisma and flow combined with his Dre's bumping beats help him and his homies get away with a lot of questionable lyrics. And, as always, the skits add very little to the album. Highlights: "Gin & Juice", "Tha Shiznit" (a masterclass on freestyling and how to ride a beat), "Serial Killa" (sounds more like one of the posse cuts from The Chronic with a harder edge and multiple guests), "Who Am I (What's My Name)?" (It's obvious that this would be the first single. I'm surprised it wasn't the first track on the album), "Ain't No Fun (If the Homies Can't Have None)" (so fun musically, but oh-so-crude lyrically) Notable: "G Funk Intro" (why did the Lady of Rage never really make it?), "Murder Was the Case" (the remix is better)

Reggae pop mixed with new wave, cool grooves. Highlights: "Walking in Your Footsteps" (cool Peter Gabriel-esque vibe), "O My God" (I like the sax playing and the swing of the rhythm section), "Synchronicity II" (vocal phrasing sounds a bit like Men at Work), "Every Breath You Take" (a classic), "King of Pain" (cool minimalist vibe to start then the band kicks in), "Wrapped Around Your Finger" (real reggae vibes on the guitar and vocals on this one) Notable: "Mother" (is this a piss take on goth??)

More jangly/skittery and less dense than their later stuff. Delightfully odd (most of the time). Highlights: "Uh-oh, Love Comes to Town" (has a reggae/ska-ish bounce to it), "Happy Day" (cute little tune), "First Week/Last Week...Carefree" (cool horns and are those steel drums?), "Psycho Killer", "Pulled Up" (poppy)

Fresher feeling than the last two releases, it feels like the band is experimenting again. Lyrically, it's an emotional roller-coaster. Highlights: "Pop Song 89" (catchy guitar riff, interesting double-tracking on vocals (Stipe is harmonizing with himself)), "You Are the Everything" (beautiful sounding song, mandolin gives it a nostalgic feeling that goes with the lyrics), "Orange Crush" (nice harmonies, guitar riffs and drum work, military sounding breakdown drives home the point of the song), "Untitled" (nice wistful pop song with shuffling drums and organ...it deserves a title...)

Neil Young-After the Gold Rush [#186/#90] ☆☆☆ Voice is an acquired taste. Mainly folk pop (besides "Southern Man" and "When You Dance..."). This is early Neil who's still working out the kinks of his sound. Highlights: "After the Gold Rush" (piano-based ballad, mournful French horn solo), "Only Love Can Break Your Heart" (slow and strummy, a bit ramshackle when the backup vocals come in), "Birds" (piano ballad, verses sung in a bit of a deeper register, gospel-like backup vocals (double-tracked vocals?))

Jangle pop with Springsteen vibes, especially in the passionate vocals (though there is some gothiness in the vocals too). Definitely sets a somber mood. Highlights: "Firefly" (nice steel guitar), "Laughingstock" and "Last Harbor" (slower, nice arpeggiated guitar), "Western Sky" (nice midtempo jangle) Notable: "Bad Liquor" (big difference in tone compared to the songs up to this point), "Jenny" (tone is like Elliott Smith)

So polished that it's kind of boring and nothing really stands out. Highlights: "Your Love is King" (classic 80s sexy sax solo), "Why Can't We Live Together" (the bongos are cool)

Considered Brit pop, but it's a bit heavier musically than I expected. More like early Weezer and Fountains of Wayne than Oasis. A bit long and samey after awhile. Highlights: "For Tomorrow" (percussive guitar strums support a catchy melody, good opener), "Star Shaped" (definitely influenced by power pop), "Coping" (catchy chorus)

Mellow vibes from California, man (with some surprising sting at points). Highlights: "Take It Easy" (lead-off track that serves as the band's mission statement), "Witchy Woman" (some nice harmonies on the chorus and post-guitar solo, a couple of tasty and heavy--as far as this band goes--guitar solos), "Nightingale" (mid-tempo country-tinged rocker), "Peaceful Easy Feeling" Notable: "Earlybird" (well, my cat enjoyed the bird sounds on this one lol)

Cornerstone of trip hop with strong basslines, electronic beats, soulful vocals (the female vocalist is better than the male), and early 90s styled raps (the only piece that sounds dated). Highlights: "Safe from Harm" (strong opener that establishes the sound of the album), "Be Thankful for What You've Got" (vocals have a 70s soul vibe to them that works with the mellow music), "Unfinished Sympathy" (string swells and piano riffs give the song flavor), "Hymn of the Big Wheel" (not a fan of the nasally vocals but the song itself has an interesting Graceland-era sound to it)

So here we are, more '90s electronica, and you can almost hear the sigh. Orbit has some interesting moments, but the whole package feels a little too... meh to make any lasting impact. It’s just kinda there, drifting in the background with no real sense of urgency or excitement. A couple of decent tracks manage to stand out, but even those don’t spark any major revelations. Highlights? Sure, “Water from a Vine Leaf” gives us a pseudo-Brian Eno vibe that’s borderline funky—7 minutes of passive ambient grooving. Then there's “Harry Flowers,” where a mellow piano and synth play over a laid-back breakbeat, but even this feels like it's trying to be more profound than it really is. The rest? Whatever.

Punk attitude with a metal edge (or vice-versa, I'm not sure...). They have AC/DC syndrome, though, where it's basically the same song (even though it's pretty good) over and over. Highlights: "Ace of Spades" (opening blast), "Shoot You in the Back" (good groove), "Fast and Loose" (catchy guitar riff) Notable: "Jailbait" (cool groove-based song, but the lyrics are as cringy as you'd expect with that title.)

It's produced (I mean, "engineered") by Albini so the music "raw" and "cacophonous". Her vocal style could be best described as feral on most of these songs. I think it's the type of album you have to be in the mood for. Unfortunately, I'm not usually in that kind of mood... Highlights: "Missed" (I like the repeating arpeggiated guitar riff throughout and the bass work in the verses), "Me-Jane" (based on drum and bass work) Notable: "Hook" (is that even her on the super blown out vocals?)

Classic rock vibe in the vein of the Stones and Aerosmith mixed with old school southern rock like Lynyrd Skynyrd. Solid with passionate vocals and strong musicianship, but there's nothing that special or different about it. Highlights: "Twice As Hard" (strong opener that establishes their sound), "Hard to Handle" (modern classic), "She Talks to Angels" (every rock band needs a power ballad...)

Indie AF. There are some interesting parts of songs (particularly the drumming and bass playing), but it never really comes together for me (the guitars are too noisy, the vocals are too shouty, and some of lyrics get a bit pedantic). However, I can hear how it influenced 90s & 00s alt rock. Highlights: "Turnover" (explosive drumming, vocals remind me of the Clash), "Sieve-Fisted Find" (I like the repeating guitar lick and bass runs) Notable: "Brendan #1" (instrumental, drums and bass make it sound like a Chili Peppers song, but then the noisy guitars come in)

Classic rock staple. Could be seen as a mainstream version of Velvet Underground with a prettier and more traditional lead singer. Highlights: "Break on Through", "20th Century Fox", "Alabama Song"

Generally upbeat synth pop. Works better for me when they emphasis the pop over the synth. Highlights: "All the Way" (poppier with a bouncy bassline, definite pop Cure vibes), "Love Less" (similar to the previous song, but it's a sound that works for them. The breezy arpeggiated guitar work is cool), "Guilty Partner" (there's a weird dissonance between the music and the vocals that is interesting. Something about it reminds me of the vibe of Achtung Baby) Notable: "Fine Line", "Round & Round", "Mr. Disco" (the synth side of the album is the last gasps of 80s dance music--bleeps, bloops, and vocoders--oh my!), "Vanishing Point" (still dancey, but sounds less dated with deep bass, synth drums, and piano riffs)

If Oasis was a boy band, it would probably sound a lot like this.... Highlights: "Lazy Days" (catchy opening track), "Angels" (a bit cheesy, but he sells it well), "Old Before I Die" (catchy chorus) Notable: "Ego Agogo" (would not be out of place on the Austin Powers soundtrack), "Let Me Entertain You" (sounds like a Queen song)

Franz Ferdinand’s self-titled debut doesn’t reinvent the post-punk wheel, but it sure polishes it with a stylish Scottish sheen. Channeling the arty angularity of Talking Heads with sharper hooks and more pronounced melodies, the Glasgow quartet updates the sound with a UK New Wave edge and a touch of brogue. Their commitment to taut guitar riffs, clipped rhythms, and deadpan delivery is both their strength and limitation—after a while, the formula starts to feel a little too tightly wound. Still, there are standouts: “Take Me Out” is an undeniable dancefloor killer, “Tell Her Tonight” pops with harmony-driven charm, and “Auf Achse” provides a welcome shift with its moody piano-led verses. “Come on Home” closes the loop with its driving rhythm and knife-like guitar jabs, sealing the album as a stylish, if slightly repetitive, debut.

Less jangly than The Smiths, almost industrial sounding at times with overprocessed drums and jagged guitar lines (especially on the first two songs). The lyrics and vocals can be overwrought. Highlights: "Everyday Is Like Sunday" (nice bassline and strings), "Suedehead" (one of the more Smiths-like songs with arpeggiated guitar), "I Don't Mind If You Forget Me" (bouncy bassline) Notable: "Bengali in Platforms" (I assume this song is trying to make a point about racism in England against Indians, but it's pretty cheesy)

Mid-aughts indie rock crossed with 80s U2-esque bombast and Talking Heads white-boy funk. Not a fan of both singers' at times yelpy and atonal vocals. On "Wake Up" Highlights: "Neighborhood #2 (Laika)" (sometimes there's beauty in cacophony), "Wake Up" (crunchy guitar riff gives it some bite), "Rebellion (Lies)" (chiming guitar, nice strings, driving rhythm)

Terrible name for an album. Hip hop and funk fusion that can get repetitive. It's definitely different from the other stuff out at the time (basically a West Coast version of the Native Tongues movement in New York), but is sometimes too out there. Highlights: "The Way We Swing" (a laid-back brag song), "Underwater Rimes - Remix" (there was a lot of pot smoking in the studio, right? MC Blowfish???), "Doowutchyalike" (I'm guessing this is the band's mission statement, cool funky horns...8 1/2 minutes is a lot, though) Notable: "The Humpty Dance" (the first song on the album is the big novelty hit), "Gutfest '89" (I'm assuming they are namechecking their influences at the beginning. Their flow reminds me of De La Soul. Apparently, it's a sex festival...), "Freaks of the Industry" (female orgasm sounds make up part of the background rhythm, explicit lyrics), "Sex Packets" (a 12+ minute suite with a mix of skits and raps)

Why is it so long? There are some late Beatles-y moments melodically and production-wise. Highlights: "My Sweet Lord" (earworm), "Isn't It a Pity" (nice piano work), "Run of the Mill", "Beware of Darkness" (seems confessional lyrics-wise and dramatic with the piano-based backing music)

Musically intense, vocals seem a little shrill for the music (cross between Rob Halford, the dude from Iron Maiden, and Chris Cornell). Kinda samey, causes ear fatigue over a whole album. Highlights: "Among the Living" (that double-time drumming), "I Am the Law" (nice chugging riff and gang vocals in the chorus) Notable: "Indians" (pretty sure this would be considered "problematic" in the present-day)

I knew this was gonna be a "challenging" listen, but ooh boy...The hardest of passes. Highlights: "Human Cannonball" (the drums and bass are competent)

An odd album--side 1 is like a concept album with the songs flowing together, side 2 is previously released material and songs recorded for (but not used in) The Graduate. Highlights: "America" (a more traditional S&G song), "Fakin' It" (nice fingerpicked guitar, harmonies, and horn riffs), "A Hazy Shade of Winter" Notable: "Save the Life of My Child" (wow, this is a mess of Renaissance flavored Dylan, psychedelia, and weirdness. *This* is the song opening of the album‽

Theatrical pop that is over-the-top and quirky at times (sometimes even veering into cheese), but the catchy melodies and very good production help most things land. Highlights: "Five Years" (piano ballad), "Moonage Daydream" (proto-glam, guitars just need to be a touch louder and crunchier), "Starman" (Beatles-esque with jangly guitar and double-tracked choruses), "Ziggy Stardust" (Bob Dylan goes glam) Notable: "Suffragette City" (verses definitely influenced by Lou Reed)

It's fine, but nothing really stands out. Highlights: "I Started Something I Couldn't Finish" (midtempo pop), "Girlfriend in a Coma" (nice strummy pop song with cool string parts, although the music seems a bit too upbeat for the subject matter) Notable: "Last Night I Dreamed that Somebody Loved Me" (the first half basically sounds like a hellscape of chaos then Morrissey comes in with his overdramatic Morrissey thing), "Paint a Vulgar Picture" (wow, those lyrics)

I listened to the remastered version, but the production is still lacking (the drums sound especially odd). Songs are kinda samey and overlong. Highlights: "Blackened" (interesting how it fades up and then blasts off), "One", "Harvester of Sorrow" (cool beginning riff) Notable: "The Frayed Ends of Sanity" (the "oreo" chant at the beginning makes me LOL), "To Live Is to Die" (started out as a quiet, mellow instrumental--a breather from all the heaviness--but then it quickly got heavy again)

Slickly produced adult contemporary pop with blues and country touches. Highlights: "Nick of Time" (solid adult contemporary song although the dance-y backbeat doesn't really fit the melancholic tone of the lyrics, singing, and other music.), "Thing Called Love" (catchy chorus), "Real Man" (piano work gives it a bit of a different vibe) Notable: "Nobody's Girl" (sounds like a Sheryl Crow song)

Quirky 80s synth pop. I can hear the influence of Talking Heads and Kate Bush. It's a lot and gets kind of messy at times. Still some interesting ideas, though, even if whole songs don't necessarily work. Highlights: "Love is a Stranger" (good opener that sets the tone of the album), "I Could Give You (A Mirror)" (springy but dramatic soundscape), "Sweet Dreams..." Notable: "Jennifer" and "The City Never Sleeps" (both are very dramatic, almost goth in its sound)

High-octane old school rock & roll with 4-5 slow jams sprinkled in. Highlights: "Oh Boy!", "Not Fade Away", "Maybe Baby", "That'll Be the Day"

Michael is dubbed the "King of Pop" and this is his coronation. Highlights: "Wanna Be Startin' Something", "Billie Jean", "Human Nature", "P.Y.T. (Pretty Young Thing)"

Celtic punk? It's definitely unique...The Dropkick Murphys were definitely influenced by them... Highlights: "If I Should Fall from Grace with God", "Fairytale of New York" (lol at some of the lyrics...), "Medley" (a bunch of traditional songs done generally traditionally), "The Broad Majestic Shannon" Notable: "Fiesta" (wtf? 😆 🤣 😂)

Seems more influenced by British rock and pop than their other albums. Highlights: "Jupiter and Teardrops" (David Bowie vibes in the singer's phrasing and the wall of guitars backing him up), "Wish You Well" (dramatic vibe with chiming guitars and strident vocals), "You Just Have to Be Crazy" (simple guitar and vocals song) Notable: "Dixie Drug Store" (trying something different with a piano-based song. Maybe a Tom Waits thing based on the lyrics. Well, they tried...)

Loose, early 70s Stones vibe. Highlights: "Every Picture Tells a Story" (energetic opener), "Seems Like Long Time" (piano-based ballad with soulful guitar licks), "Tomorrow is a Long Time" (sounds like a traditional Celtic song), "Maggie May" (classic dis track), "(Find a) Reason to Believe"

If you told me that this was an indie pop band from the mid 90s/early 00s, I'd believe you. It sounds like 2 different lead singers. Is this some sort of Husker Du deal? Highlights: "Love Goes On!" (nice jangle-pop), "Quiet Heart" (vocals sound like a mix of Bono and Michael Hutchence at times. I like the strings and harmonica), "The Devil's Eye" (short and sweet jangle), "Streets of Your Town" (female backing vocals and propulsive beat are an interesting touch that give it a different flavor)

Catchy power pop. Definite 50s/early 60s influence with its short, spunky songs and old-school production. Highlights: "Miracle Man", "No Dancing" (nice backing harmonies), "Sneaky Feelings" (Randy Newman-esque in piano and vocals)

Prototypical early 2000s alt-rap Highlights: "Freedom" (boom bap music, MCs have interesting voices), "If You Only Knew" (jazzy flute), "A Day at the Races" (late 80s/early 90s flow, Big Daddy Kane guests), "High Fidelity" (uptempo quirky music) Notable: "One of Them" (trying on gangsta...it's an awkward fit)

A bit samey, especially the huge poppy hits that are also the best songs on here. There are a few oddball tunes among the track list, but this rests on Ocasek's strong power pop writing chops. Highlights: "Good Times Roll", "My Best Friend's Girlfriend", "Just What I Needed"

Fun jazz and samples based hip-hop with catchy hooks. Reminiscent of De La Soul but less goofy. Q-Tip has a better flow than any of the De La dudes. Highlights: "Push It Along" (good intro to the group's sound that includes some socially conscious lyrics. I can do without the Jarobi part, though, in the last few minutes), "After Hours" (interesting story song, feels more like spoken word), "Can I Kick It?" (a classic), "Description of a Fool" (the lyrics are basically the opposite of gangsta rap...) Notable: "I Left My Wallet in El Segundo" (epic story song), "Pubic Enemy" and "Ham 'N' Eggs" (okay, maybe sometimes they're goofier than De La...), "Bonita Applebum" (the musical hook is iconic, but the song itself is a bit lackluster), "Go Ahead in the Rain" (Q-Tip but his voice sounds deeper and flow is more like LL)

How do you say weird sh-t in French? Unlike a lot of weird music this has some musical merit and is interesting at times, but I really don't think I'll *ever* listen to this again. The vocals are quite off-putting. Highlights: "Rue des tempetes" (the strings and percussion are cool. The vocals are a bit disturbing. I never knew French could be that gutteral.), "Crier les chiens" (tense soundscape), Notable: "La fille de la mort" (starts like a traditional French chanson, but then gets kinda like Rammstein but French...), "Charlotte" (has an oompah thing going that's creepy when paired with the gutteral vocals), "Pas Mal" (music says post-punk fuzziness, but, again, those vocals...yeesh!)

I give him credit for trying to "reinvent" himself, but he should have gone back to the Faith formula. This one has some interesting moments (especially lyrically), but lacks the variety and energy of his solo debut. Highlights: "Freedom! '90" (mainstream version of the prevailing English dance sound at the time. Cool piano stabs. Interesting lyrics about his rise to fame, is he subtly coming out in the chorus?), "Something to Save" (strummy guitar pop with strings. I could picture Coldplay doing something like this) Notable: "Praying for Time" (not sure about opening with a dramatic slow jam), "Cowboys and Angels" (was he trying to get on a James Bond soundtrack with this torch song?) "Waiting for that Day" (interpolates "You Can't Always Get What You Want" into the end), "Heal the Pain" (I could picture Michael Buble covering this song)

It's Bjork bjork-ing out. Odd, lovely, and interesting. The first three songs are bangers, but then things get a bit spotty. Her voice becomes part of the lush soundscape at times. Highlights: "Human Behaviour" (cool percussive backing track to Bjork's mutters and wails), "Crying" (catchy piano line running through the song), "Venus as a Boy" (almost sounds like gamelan music rhythmically, I like the swooping strings), "Aeroplane" (the swinging horns give it a different flavor) Notable: "There's More to Life Than This" (the part where the music randomly lowers in volumes and her vocals are loud is off-putting)

It's competent, but doesn't do much for me. Highlights: "De Camino a la Vereda" (upbeat, I like the horn lines), "Candela" (nice burbling percussion and fingerpicked guitar, though the repetitive vocals on the last half become mind-numbing)

Overall, this is disappointing and pretentious. The music is fine to very good (a mix of the Stones, Velvet Underground, and post-punk), but the vocals sound like a slightly more masculine Patti Smith... Highlights: "Venus" (Velvet Underground-ish), "Friction" (guitar has like a spaghetti western sound), "Guiding Light" (Stonesy ballad, but feels a bit long)

Surprised that this was so popular, but not surprised by how influential it was. No one in the mainstream was really doing this in the mid 90s. Glossy production with quirky vocals; some unique musical choices; and angsty, honest, and plain-spoken (and, yes, at times awkward and cringy) lyrics that are definitely (and defiantly) from a female point-of-view. Highlights: "Hand in My Pocket" (chugging musical accompaniment to list lyrics ("I'm..., but I'm...")), "You Learn" (another list song ("you ______, you learn") with a breezy musical accompaniment and vocal delivery), "Head over Feet" (although the lyrics are a bit inane at times, this is a sweet and catchy pop song), "Mary Jane" (character study of an abused woman, relatively sparse musical accompaniment and passionate vocals)

Production and music (saxophone, keyboards) make this sound more like a mid 80s album. Some nice vocal harmonies. It's pleasant but nothing really notable or exciting. Highlights: "It's Only Natural" (slightly funky pop), "Weather With You" ("Eastern" sounding riff that reoccurs throughout the song, harmonized vocals), "She Goes On" (folk pop) Notable: "All I Ask" (old school torch song with lush strings that seems out of place on this album)

80s production style...singer sounds like a mix of Elton John, Michael Hutchence, and 80s Bono. It's pleasant enough mainstream 80s pop rock (if you don't pay attention to the odd lyrics on some of the songs), but nothing wows me. Highlights: "Bury Me Deep in Love" (good propulsive opener), "A Trick of the Light" (chiming guitars), "Holy Water" (a little different with the shuffling electronic drums) Notable: "Jerdacuttup Man" (what a strange topic to write a song about)

Kind of a proto-techno...just a bunch of repetitive bleeps, blips, and bloops thrown on tracks. There are some parts of some tracks that are interesting, but then its sort of beaten into the ground. The few vocals are of their time. Highlights: "Ancodia" (cool funky soundscape and there's a Speak & Spell on it!), "Sunrise" (cool burbling blips and bloops and something that sounds like a marimba or xylophone, a bit mellower than the other tracks)

It's Prince doing his Prince thing. Highlights: "Let's Go Crazy" (opening blast), "I Would Die 4 U", "Purple Rain" Notable: "Take Me With U" (breezy pop song with some nice percussive breaks)

I can hear why he was called "the American Beatle". A bit "hippie dippy" at times, but it's tuneful. Highlights: "Driving Along" (strummy pop song), "Down" (piano-based boogie, nice horn riff counterpoint) "Without You" (classic), "Coconut" (silly but fun) Notable: "Jump into the Fire" (definitely a departure with heavier guitars, screamier vocals, and a crazy percussion breakdown. Unfortunately, his voice doesn’t really fit this style. This song takes the listener on a journey, but I don’t think I want to go.)

Kanye's strength is as a producer. As an MC...sigh...well, he's a really good, interesting producer... Highlights: "Dark Fantasy" (weirdly majestic leadoff track despite Kanye-isms (corny lyrics, "hah"), interesting use of choir and sparse piano chords, almost "orchestral hip hop"), "So Appalled" (martial beat with strings, Jay Z and Pusha T have nice flows), "Devil in a New Dress" (old school Kanye production (chipmunk soul sample), surprising guitar solo. Rick Ross sounds better over this music than Kanye does) Notable: "Runaway" (sigh...bad lyrics ruin really interesting good music. Ok, the last 2 minutes of noise and vocoder is kind of annoying...), "Hell of a Life" (fuzzy feedback, auto tuned vocals, and highly sexualized lyrics. Part of the chorus is "p-ssy and religion is all I need". Lord help me...), "Lost in the World" (starts with vocoder and Bon Iver, then more standard dance music sound, then African rhythms and chanting. It's...a lot.. Ironically, this features some of Kanye's best rapping, go figure...)

Country/folk lyricism meets punk passion meets a musical's sense of storytelling. This album is certainly different and intriguing at times, but I'm not sure how many more times I will listen to it. Highlights: "Papa Won't Leave You, Henry" (something about the subject matter and gravitas gives me Johnny Cash vibes. It does the opening track's job of setting the tone for the album.), "Straight to You" (jangly, Smiths-like song)

Continues the band's transition from college rock darlings to mainstream pop rock superstars. Highlight: "Disturbance at the Heron House" (REM sound, but done well), "Strange" (the looser feeling works), "King of Birds" (martial drumming and Eastern sounding guitar throughout (a bit Beatles-esque musically))

It's basically the template of Santana's Supernatural from a decade later (Hooker + another artist/band). Well-produced but it's not really my type of music. Highlights: "The Healer" (interesting juxtaposition between the Latin grooves of Santana and Hooker's deep bluesy voice), "Cuttin' Out" (Canned Heat plays a cool chugging boogie)

Poppy goodness with a bit of cheese at times. Highlights: "You Told Me" (jangling guitars and harmonies), "You Just May Be the One", "For Pete's Sake" (catchy riff), "No Time" (rave up)

Slickly produced pop rock. Highlights: "Cover Me" (some nice guitar work), "Downbound Train" (typical Springsteen story-song with strong musical accompaniment), "I'm on Fire", "Dancing in the Dark"

Hard to explain, kinda dancey, but also kinda laggy/slackery. Vocals are very British with a declamatory style similar to David Byrne. Highlights: "Mad Cyril" (some interesting guitar parts), "Performance" (good groove)

Aerosmith definitely has its lane: straight-forward chugging rock 'n roll. Can get a bit messy and ramshackle at times and the somewhat muddy production doesn't help. Highlights: "Last Child" (catchy dirty riff running through the song), "Sick as a Dog" (Stonesy vibe) Notable: "Combination" (needs a new vocal take because the harmonized or double-tracked vocals just sound meh), "Home Tonight" (the big power ballad)

Ahead of its time and influential to indie and alt rock. Highlights: "Sunday Morning" (tinkling music with Dylan-esque vocals), "I'm Waiting for the Man" (Dylan as a druggie...), "There She Goes Again" (jangle-pop Dylan) Not sure if I *like*, but it's certainly memorable: "Venus in Furs", "Heroin"

Interesting production choices make for some intriguing songs. Highlights: "Red Rain" (dramatic opener), "Don't Give Up", "In Your Eyes" ("world" music done right), "Mercy Street" (similar vibe to "Red Rain"), "Big Time" (Talking Heads vibe with the skittering guitar and prominent bass) Notable: "We Do What We're Told (Milgram's 37)" (mostly instrumental and chanting song that is appropriately creepy given the subject matter. Has a Pink Floyd The Wall feeling to it)

The Offspring’s Smash is the kind of album that soundtracked suburban skateparks and middle school angst in the mid-’90s, with bratty energy and bratty lyrics to match. Nestled in the middle like a sugary core are the big singles—“Come Out and Play” and “Self-Esteem”—still riding that surf-punk-meets-soap-opera vibe, all catchy riffs and wounded pride. Elsewhere, the formula doesn’t stray much: fast tempos, sneering vocals, and enough adolescent rage to fill a locker room. “Bad Habit” leans into over-the-top road rage drama, while “Killboy Powerhead” and “What Happened to You?” offer modest sonic curveballs (a blues structure here, a ska-lite bounce there). It’s a blast of caffeinated SoCal punk that’s charmingly dated and a little too proud of its own immaturity.

This is...a lot. Highlights: "Sign o' the Times" (cool burbling percussion, somewhat dated lyrics), "The Ballad of Dorothy Parker" (fonky), "U Got the Look" (the voice manipulation is cheesy but it's a bop musically), "I Could Never Take the Place of Your Man" (catchy power pop) Notable: "Housequake" (um...what‽), "Slow Love" (almost a doowop sound to it)

Solid album but way overhyped. Highlights: "Paranoid Android" (interesting song, cool guitar riff in first part), "Let Down" (most Bends-like song on the album with chiming guitars), "Karma Police" (I like the piano throughout the song, catchy melody), "Electioneering" (sounds like late 60s/early 70s song, especially guitar riff and fuzzy production), "No Surprises" (music box chiming is cool) Notable: "Climbing Up the Walls" (creepy atmosphere)

Of its time production-wise, but has a couple of catchy hooks on the songs and solid musicianship. Highlights: "So Far Away" (sets a mood, though I'm a bit surprised it's the opener), "Walk of Life" (synth riff and woo hoos are memorable), "Why Worry" (mellow ballad with a long guitar intro), "The Man's Too Strong" (strummy midtempo folk influenced tune) Notable: "Your Latest Trick" (features that mid 80s staple the sexy sax), "Ride Across the River" (sounds like solo Sting...more sexy sax)

More funk-oriented, weird, and sex-obsessed than "Under the Bridge" would lead you to believe. "Suck My Kiss" and "Give It Away" are better representations of this album. Most of it isn't really my thing (at 73 minutes, it could use some editing), but there's definitely a lot of energy. Highlights: "Breaking the Girl" (jangly goodness with nice vocal harmonies), "I Could Have Lied" (stripped down rhythm swction, nice melodic guitar work), "Under the Bridge" (way overplayed, but it's a classic)

Mellow and warm. Also, kinda samey and boring at times. I think this is one of those specific mood type of albums. Highlights: "Love Is Here Where I Live" (jazzy piano and vocals), "I Always Was Your Girl" (heartbeat-like drums are a cool touch), "The Night I Heard Caruso Sing" (similar to the other songs, but a male lead), "Blue Moon Rose" (a bit more upbeat)

More bombastic and uneven than Sheer Heart Attack. Its got some bangers but also some cheese to wade through. Highlights: "Death on Two Legs" (dramatic opener), "My Best Friend" (beautiful poppy love song), "'39" (a relatively simple strummy song with a folky leaning)

This seems to showcase her vocals more than previous albums...Basically taking the vocal work on "Live to Tell" from True Blue and building an album around it to show more of her vocal versatility, especially the grit in her voice. Highlights: "Like a Prayer" (not sure I'd start the album with this song...seems like something that should be worked up to), "Express Yourself" (I like the horns...this is kind of like a Motown song on cocaine...i probably would have started the album with this one), "Til Death Do Us Part" (her vocal tone reminds me of Belinda Carlisle at times. A bit busy musically. It could be stripped down a bit.), "Cherish" Notable: "Love Song" (features Prince and, yup, it definitely sounds it), "Dear Jessie" (sounds like a Disney song)

The soundtrack to 80s dance clubs. Highlights: "One More Chance" (nice synth bass), "Rent" (cool soundscape), "It's a Sin" (so dramatic), "King's Cross" (trumpet trills are cool)

Indie Taylor, part 2. Songs are a little more meandering at times, but still a strong set of songs. Highlights: "willow" (nice fingerpicked guitar work), "no body, no crime" (bit of a country twang (harmonica, banjo) on this story song about a cheating (murdering?) husband and revenge from the friend of the wronged woman), "dorothea" (piano-based pop song with a jaunty melody), "coney island" (featuring The National, his deep voice plays well off of her girlish voice)

Classic 90s alt rock. Very strong opening, tapers off a bit in the second half. Highlights: "Planet Telex" (strong, propulsive opening), "The Bends" (melody is a bit Beatles-esque), "High and Dry" (Coldplay based their early career on this song), "Fake Plastic Trees" and "Just" (epic 90s angst)

Santa's sleigh crashes into the Wall of Sound with mixed results. This is hard to rate because really you'd just listen to it one month out of the year (if that), so let's go right down the middle. Highlights: "Santa Claus is Coming to Town" (The Crystals), "Sleigh Ride" (The Ronettes), "Christmas (Baby Please Come Home)" (Darlene Love)

Very loose and repetitive (sometimes to a ponderous and/or messy degree). Touchstone for 90s hip hop (musically and lyrically). Highlights: "Mothership Connection (Star Child)" (nice horn riffs), "Handcuffs" (James Brown/Sly & the Family Stone vibes) Notable: "P-Funk (Wants to Get Funked Up)" (Snoop took the radio motif on Doggystyle from this. Dre bookended The Chronic with a takeoff of this.)

This is grunge, as in sludgy, depressing, eerie, and, well, dirty. Highlights: "Them Bones" (explosive opener), "Down In a Hole" (passionate vocals), "Rooster" and "Would?" (epics), "Angry Chair" (foreboding, but melodic)

It's MJ's 2nd biggest album...this was designed to be a blockbuster. It's surprisingly "back-loaded" with hits. Highlights: "The Way You Make Me Feel", "Man in the Mirror", "I Just Can't Stop Loving You", "Dirty Diana", "Smooth Criminal"

It's the S & G formula: mellow folky guitars, literate lyrics, sweet harmonies. Highlights: "Scarborough Fair/Canticle", "Cloudy" (jaunty tune), "Homeward Bound", "The 59th Bridge Street Song" Notable: "A Simple Desultory Philippic" (Paul Simon does Bob Dylan). The "Silent Night"/7 o'clock news mashup is sad.

Folky, but in an ethnic British/Celtic kind of way (fiddles, strummy guitars, accented vocals, etc) Highlights: "Fisherman's Blues" (uptempo opener), "Strange Boat" (cool harmonica and violin interplay), "Sweet Thing" (musically pretty cover of a Van Morrison song with an interpolation of "Blackbird"), "And a Bang on the Ear" (interesting variety of Celtic pop, but a bit lengthy at 9+ minutes...)

Definitely different for the time period music-wise. The relaxed flow is still a bit 80s sounding. I wish there were fewer skits/interludes. Highlights: "Change in Speak" (horn breaks are cool), "Eye Know" (love the "Peg" sample), "Me, Myself and I" (the big hit, good representative of the album) Notable: "Do as De La Does" (well, they sound like *they're* having fun at least), "De La Orgee" (oh no...)

Dramatic synth pop Highlights: "Being Boring" (lush soundscape, long intro with wah wah, bass pops, and percussive hits, diva-ish vocals), "To Face the Truth" (reminds me of a George Michael ballad circa Faith with not-as-good vocals), "The End of the World" (pretty typical late 80s/early 90s dance music, but solidly done) Notable: "How Can You Expect to Be Taken Seriously" (bitchy dis track), "So Hard" (more like "So Cheesy" with the overabundance of sound effects), "Nervously" (sounds like a showtune in vocals delivery and lyrics)

He's trying something a bit unique here (a throwback funk-rock-R&B/soul hybrid); unfortunately, it doesn't always work. Highlights: "Sitting on Top of the World" (a little ramshackle musically and rough vocally in some spots, but it has a charm to it), "My Precious Love" (soulful ballad that is oversung at times...reminds me of Terrence Trent D'arby), "Mr. Cab Driver" (giving me Velvet Underground vibes at times with deadpan vocals and fuzzed out guitar)

Long album (could do without the interludes). Some interesting instrumental and melodic ideas, but it seems a bit like "let's throw everything on here even if it doesn't work..." Gets particularly "experimental" during the second half. Highlights: "So Fresh, So Clean" (interesting production with keyboards and R & B chorus), "Ms. Jackson" (very unique (lyrically, vocally, and instrumentally) especially for the time period), "Xplosion" (is that a harpsichord?, flow and vocal pitch are like Cypress Hill (makes sense because B-Real is involved). Unique banger)

I can see how this may have influenced Achtung Baby but that album is way better than this...the lead singer's voice is Liam Gallagher on steroids with the Brit whine. Highlights: "Kinky Afro" (jangle dance pop), "Loose Fit" (the sparse, somewhat ominous guitar riff is cool and the syncopated percussion works. Thankfully the vocals are more of a croon than a whine through much of the song) Notable: "Bob's Yer Uncle" (creepy vocal delivery fits the creepy lyrics...ew...and I didn't need the female orgasm sounds either), "Holiday" (the main musical part reminds me of the Police but the vocals are definitely not Sting-like)

Very English sounding vocals, good musicianship. Morrissey is a sad boi. Highlights: "Frankly, Mr. Shankly" (jaunty tune, caustic lyrics), "Cemetry Gates" (upbeat tune, depressing lyrics), "The Boy with the Thorn in His Side" (pretty music) Notable: "Bigmouth Strikes Again" (the altered high-pitched Morrissey voice is silly)

It’s hard to pin down exactly what Girls Against Boys are aiming for on Venus Luxure No. 1 Baby, but whatever it is, it’s caked in grit. The band leans into a murky fusion of industrial textures, metallic guitar jabs, and slinky post-punk grooves, conjuring a sound that could be labeled “scuzz rock”—a genre you won’t find on Spotify, but feels right at home in the basement clubs this music was meant to soundtrack. There’s a sense of intentional grime to the production, like each track is being piped through busted speakers in the back of a dive bar. The rhythm section does the heavy lifting here, particularly on tracks like “In Like Flynn,” where the bass slinks around with real attitude, though the low-mixed vocals struggle to make an impact. That said, there are moments where the band finds a sharper edge. “7 Seas” picks up the pace and almost breaks through the album’s thick sonic haze, while “Rockets Are Red” and “Learned It” flirt with a sound that could be described as Henry Rollins fronting a fuzzed-out Rage Against the Machine. It's compelling in theory, but the songs rarely deliver on their potential. There are fragments of something interesting buried beneath the sludge, but Venus Luxure never quite shapes them into anything truly memorable.

Quirky with its melding of funk, punk and heavy metal in 1990. Perry Farrell's voice can be an acquired taste and the first 3 songs are samey, but you can hear how the band influenced 90s alt rock in their melding of genres and their delightful weirdness. Highlights: "Stop!" (high energy opener), "Obvious" (has a B-52's feel to it with the jerky rhythm and harmonies--no female vocals, though. It just feels like a song version of the phrase "reckless abandon".), "Been Caught Stealing" (the hit from this one...catchy shouting), "Classic Girl" (the shortest (just under 5 minutes) and best song of the last four. It doesn't overstay its welcome like the other 3) Notable: They try for epic on the second half of the album with 3 of the 4 songs over 6 minutes but fall a bit short (some interesting experimentation with Middle Eastern sounds even if it doesnt completely work)...

Late 70s/80s New Wave sound (keyboards, accented vocals, off-kilter guitar lines and beats). In general, it's consistently good, but nothing really stands out to "wow" me... Highlights: "Smile Like You Mean It" (nice keyboard line running through the song with a more "goth" type of vocal (influenced by The Cure?), "All These Things That I've Done" (starts with an anthemic 80s U2 sound to it, but then has a Lennon-esque sound to the vocals then a Cars-like breakdown with chugging guitar chords, then the choir comes in...), "Believe Me Natalie" (anthemic guitars and expressive vocals, gets a little mess near the end (why the horns?))

While the flow is sometimes similar to De La Soul, the music is more straightforward and soul and electronic based (like old school hip-hop). Some of this is laughably bad. Highlights: "Feelin' Alright" (simple flow but nice beat and soul samples at the beginning), "Good Newz Comin'" (the bongos are cool even if the rest is kind of messy. The last minute or so sounds like something from Phish), "Doin' Our Own Dang" (features Monie Love. De La Soul, and Q-Tip so at least there's some good rapping on it) Notable: "What 'U' Waitin' '4'?" (Sounds like it's from the early 80s, not 2 months before the dawn of the 90s), "'U' Make Me Sweat" (is that the dude from Cameo on the hook?), "Acknowledge Your Own History" (a few good lines, but 90% of this is sooo cheesy), "Belly Dancin' Dina" (I don't need to know that the subject of this song makes these guys "hard"...), "Done by the Forces of Nature" (just...no. These lyrics are d to the u to the m to the b, y'all)

Mellow folky and bluesy tunes...vocals are kinda meh Highlights: "Friend of the Devil", "Sugar Magnolia", "Till the Morning Comes" (has a CSN&Y vibe with the harmonies), "Truckin'"

Outlaw country performed in front of a group of real outlaws who can't get enough. Highlights: "Folsom Prison Blues", "Cocaine Blues" (real crowd pleaser), "25 Minutes to Go" (good story song about an inmate on death row), "Jackson"

Choices were made production-wise. I'm not sure these were always the best choices... Highlights: "Everybody Knows" (the music at least matches the haunting vibe of the vocals), "I'm Your Man" (smoky 40s club vibe), "Tower of Song" (the minimalist production works) Notable: "First We Take Manhattan" (weird juxtaposition between Cohen's dour, Teutonic vocals on the verses and the almost disco-like female choruses)

His big comeback after falling off in the late 80s. Several songs have that early 90s NYC, "boom bap" sound. I feel like he can't decide if he wants to be extra hard street dude or Mr. Ladies Man. Highlights: "Around the Way Girl" (big pop rap hit with a sticky hook. The type of thing that Puffy would do and make lots of money from in the mid-late 90s), "Murdergram" (where LL pretends to be Ice Cube and actually does pretty well), "To Da Break of Dawn" (flow is a little old school but the music is coolly funky, reminds me of a Pete Rock production with the horns on the chorus, makes sense because he learned from Marley Marl who produced this track) Notable: "The Boomin' System" (voice seems deeper, something about the flow reminds me of "Summertime"), "Mama Said Knock You Out" (should've been the opening track instead of halfway through the album), "Milky Cereal" (um...ew)

Brit punk (shouted vocals, basic guitar riffs, not-so-great production). It's...um...energetic...and apparently influential, but I'm not sure why people get so hyped up about it... Highlights: "White Riot" (stereotypical old school punk but it's okay), "London's Burning" (kind of a good groove, precursor to "London Calling"), "Career Opportunities" (Green Day owes a debt to this song...)

My favorite album by any artist. The songs can be listened to individually but really work better as a whole piece. They work so well playing off of each other. Highlights: "Zoo Station" (perfect opening track, sets the mood and shows the band's stylistic change), "Even Better Than the Real Thing" (interesting double tracking of Bono's vocals--one higher pitched than the other. Also, nice guitar textures from The Edge.), "Until the End of the World" (nice percussion and a deeper vocal performance from Bono), "Who's Gonna Ride Your Wild Horses" (so much emotion in the wall of guitars and Bono's lyrics and vocals), "So Cruel" (the repeating piano riff is subtle, but memorable), "The Fly" (similar vibe to "Zoo Station" with more intriguing lyrics by Bono), "Mysterious Ways" (a classic), "Ultra Violet (Light My Way)" (slow burner, but the music and vocals gain passion as it goes on)

Vocals are a bit of an acquired taste in their rawness. Musicianship is strong. Highlights:"Violet" (intense opener), "Plump" (punky riff), "Doll Parts" (intriguing lyrics)

Corgan's voice is an acquired taste but generally works with his songs. The drum work is great. Production is really good too. A bit samey with the quiet-loud trope, but still a strong album. Highlights: "Cherub Rock" (that buildup then release, great opener), "Today", "Rocket" (cool repeating guitar riff), "Disarm" (gorgeous in its over-the-topness), "Soma" (Pink Floyd vibe in soft part, then loud part kicks in around 3:50), "Mayonaise" (loudly wistful)

Interesting concept with a (relatively) mellow acoustic and a noisy electric side with songs recorded live. Highlights: "My My, Hey Hey (Out of the Blue)" and "Hey Hey, My My (Into the Black)" (memorable riff), "Thrasher" (much mellower than you'd expect a song called "Thrasher" to sound like...nice acoustic guitar work), "Pocahontas", "Powderfinger" (rocking story song)

Traditional, stripped-down folk (mostly just voice, guitar, and harmonica) Highlights: "Girl from the North Country" (nice fingerpicked guitar), "Masters of War" (that last verse...phew!), "Don't Think Twice, It's Alright"

Alice Cooper-Schools Out ☆☆1/2 [#265] Bombastic rock. A bit cheesy at times. I think it's supposed to emulate a musical, but it just doesn't really work. Highlights: "School's Out" (classic riff rocker), "My Stars" (some nice piano and guitar work), "Public Animal #9" (Stonesy rocker) Notable: "Gutter Cat v. The Jets" (Stonesy vibe to the music at first but then it interpolates "When You're a Jet" from West Side Story and goes off the rails.), "Blue Turk" (reminds me of "Stray Cat Strut".), "Alma Mater" (weird filter on vocals, seems like it's parodying a 50s doo-wop tune), "Grand Finale" (a very 70s sounding instrumental)

Voice is an acquired taste, but definitely passionate. Musical accompaniment is competent with a few interesting passages (the guitar on "Gloria", the piano work at the beginning of "Free Money", the bass on "Kimberly"). Highlight: "Gloria" (starts bluesy, but gains a punkish energy as it goes on. Gender bending Van Morrison cover), "Free Money" (another piano-based song, starts slow and builds steam. Seems like the precursor to "Because the Night")

Bit of an old-school Radiohead vibe, but more mainstream. Lots of strummy midtempo/slow songs Highlight: "Shiver" (nice falsetto in chorus and strummy guitars through the song), "Trouble" ( (piano ballad), "Everything's Not Lost" (piano ballad, reminds me of Randy Newman--bluesy tinge in vocals--with a rousing chorus at the end), "Life is for Living" ("Hidden" track that's better than at least half of the listed tracks with a relaxed sound to it and a horn section) Notable: Don’t Panic (musically sounds like a Fleetwood Mac song with a funky backbeat)

The shrill atonal vocals are not my cup of tea, but the music is cool. Highlights: "Toro" (nice percussion), "Daande Lenol" (the guitar work is solid), "Sy Sawande" (mellow with understated guitar work)

There's a reason why this has the title it does: dat bass. And lyrics about butts. Q-Tip's and Phife's flows are instruments in themselves that add to the jazzy sound. It can get samey, but it was definitely influential. Highlights: "Buggin' Out" and "Check the Rhime" (nice interplay between Tip and Phife), "Show Business" (a bit harder including a couple of f-bombs, more like the New York sound that was popular at the time, features Lord Jamar, Sadat X, and Diamond D), "Scenario" (a classic posse cut)

Meth's voice and flow exude cool (even when he's threatening to kill you). And RZA creates a dank world around him. Unfortunately, the results are hit-or-miss, especially in the second half. Highlights: "Biscuits" (cool organ sample, though I wish Meth's voice was more forward in the mix), "Bring the Pain", "What the Blood Clot" (the looping piano stabs are simple but effective) Notable: "Release Yo' Delf" (the chorus is a profane lyrical flip on "I Will Survive"), "Mr. Sandman" (is this a stab--no pun intended--at horrorcore?)

Jangle dance pop. Some songs could use a bit of editing. Highlights: "She Bangs the Drums", "Waterfall" (the guitar arpeggios sound like a waterfall), "Made of Stone" (good guitar and bass interplay, catchy chorus melody. I get Smiths vibes on this one.), "Fools Gold" (more dancey, slight U2 Achtung Baby era vibes) Notable: "Elizabeth My Dear" (it's the tune of "Scarborough Fair" and very short)

Nice music (mostly strummy and fingerpicked guitars with orchestral accents), but heavily accented singing voice is an acquired taste. It's intriguing, but not one I'm in a rush to listen to again... Highlights: "These Days", "Winter Song" (sounds like a Renaissance song with flutes), "I'll Keep It With Mine" (Bob Dylan song and I can hear his cadence especially in the verses) Notable: "It Was a Pleasure Then" (Velvet Underground has gotta be backing her up on this one..."Heroin" vibes with the dissonant cello sounds)

'60s & '70s vibe updated to the '90s. Great pop rock. Drops off a bit in the seconds half, but one of those 90s classics everyone needs to hear at least once. Highlights: "Hello" (strong rocking opening), "Roll With It" (poppy banger), "Wonderwall" (classic 90s pop song), "Don't Look Back in Anger" (anthemic), "Cast No Shadow" (kind of a late-era Beatles vibe. best song on the album)

The Who’s Who’s Next remains a thunderous, four-star pillar of classic rock, exploding with power, ambition, and anthemic precision. From the iconic synth-driven surge of “Baba O’Riley” to the primal howl of “Won’t Get Fooled Again,” the album captures the band at their creative peak—bridging raw rock energy with forward-thinking production. “Bargain” burns with emotional intensity, while “Behind Blue Eyes” unveils a haunting vulnerability beneath the bravado. “Going Mobile” shows off Keith Moon’s kinetic drumming, and even the cheeky “My Wife” charms with swaggering horns and Entwistle’s tongue-in-cheek delivery. With Who’s Next, The Who didn't just ride the wave of arena rock—they helped invent it.

Duran Duran’s Rio is a slick, shimmering time capsule of early-'80s pop excess, awash in glossy production and style-over-substance flair—yet there’s no denying its infectious charm. From the tropical bombast of the title track, which kicks things off with a neon-bright chorus, to the brooding shimmer of "Lonely in Your Nightmare," where chiming guitars and buoyant basslines meet lush vocal layers, the album offers moments of real sonic intrigue. “Hungry Like the Wolf” delivers its lusty hooks with undeniable swagger, though its breathy, orgasmic outro feels more like a gimmick than a climax. The moody ballad “Save a Prayer” leans into goth-lite atmospherics, giving the band a brief, darker edge, while “The Chauffeur,” with its eerie textures and what sounds like a ghostly calliope, closes things out on an artier note. Rio might be a product of its time, but in the best moments, it gleams like chrome in the sun.

Primal Scream’s Screamadelica is a swirling, woozy experiment that flirts with transcendence but too often stumbles into indulgence. When the band leans into the sweet spot where classic rock swagger meets early '90s rave culture, the results are undeniably thrilling. Opener “Movin’ on Up” stands as a highlight, a sun-drenched gospel-rock jam that channels the Stones circa Exile on Main St., full of bubbling percussion, grimy guitar licks, a strong bassline, and a rousing choir. “Come Together (Farley Mix)” keeps the energy going with bright piano riffs, jazzy horns, and churning percussion, though its eight-minute sprawl wears thin. “Loaded” boasts a catchy horn loop and an easygoing swagger, but like much of the album, it drags on longer than necessary. The latter half of Screamadelica shifts into a more melancholic, atmospheric mode, trading the energy for introspection. While the mood is rich and the production often hypnotic, the songwriting sometimes gets lost in the haze. Primal Scream clearly aim for a genre-bending trip that unites rock’s emotional heft with the communal euphoria of dance music. When they nail the balance, the album soars; when they don’t, it feels like an endless drift with no real destination.

When Abraxas dropped in 1970, Santana delivered something genuinely different for its time, weaving "world beat" influences into the fabric of rock with effortless flair. The album leans heavily on Carlos Santana's signature, soulful guitar work, but the fiery percussion section more than holds its own, giving the record a rhythmic pulse that's impossible to ignore. While the overall sound can feel a bit samey across the runtime, the high points more than make up for it—especially the iconic "Black Magic Woman/Gypsy Queen," where Santana’s expressive guitar soars, and "Se a Cabo," which charges ahead with a heavier, distorted tone that hints at the band's rawer side. It's a hypnotic listen that cemented Santana's place in the rock pantheon.

On Music for the Masses, Depeche Mode lean hard into their electric goth/pop-industrial roots, delivering a moody, synth-soaked soundtrack for the disenchanted dancefloor. It's a record where sad bois groove through the gloom, threading dark romanticism with pulsing beats and icy textures. The opener "Never Let Me Down Again" sets the tone with its driving rhythm and haunting piano touches, while "The Things You Said" and "Behind the Wheel" create immersive, unsettling atmospheres that tug you deeper into their nocturnal world. "Sacred" stands out with a bouncy, elastic bassline that injects just enough energy to lift the gloom without breaking the spell. It’s not a flawless album, but there’s enough here to keep both your eyeliner and your body moving.

Songs from the Big Chair, Tears for Fears’ 1985 synth-pop opus, straddles the line between grand ambition and brooding excess. While the band’s rock-tinged electronics aim for emotional gravitas, the album can feel a bit ponderous—especially in its deeper cuts. Still, it boasts undeniable highlights: “Everybody Wants to Rule the World” is a gleaming pop gem that would’ve made a killer opener, setting a more accessible tone. “Broken” stands out with its pulsing synth bass, serving as a moody lead-in to the more expansive “Head Over Heels/Broken,” whose extended coda—chopped from the radio version—feels both epic and indulgent. The final two tracks, oddly presented as live versions, close the album on a slightly disjointed note, making this chair not quite as big or comfortable as it could’ve been.

Oh yay, another slab of mid-'90s electronica, deep from the warehouse rave hangover bin, engineered for people who think 8 minutes of the same groove is a virtue. Andrew Weatherall, whose production instincts usually lean weird in interesting ways, here lets the machines drone on like they’re waiting for a cutscene. Call it atmospheric if you're generous, or video game music if you're honest. Sure, "Duke of Earlsfield" tosses out a decent breakbeat, but it wears out its welcome around minute three—good luck, you're only halfway through. And while "Planet D – Portishead Remix" gestures vaguely toward trip-hop, it forgot to invite the seduction (and Beth Gibbons on vocals). 77 minutes of mood with no movie.

Greg Dulli wants to be your dark prince of soul-noir, and on Gentlemen, Afghan Whigs’ major-label debut, he nearly pulls it off—if you don’t mind a little sleaze with your swagger. Imagine Pretty Hate Machine-era Nine Inch Nails trading synths for snarling guitars and a bottle of bourbon: the mood is just as bleak, but the sound is more sweat-soaked and analog. The title track opens with a slinky drum pattern that sets the tone, while “Debonair” struts with taut basslines, and “Now You Know” brings muscular drumming and a catchy guitar jangle. Dulli leans into raw emotion, often sounding like he’s exorcising demons in real time. “Be Sweet” shocks with its problematic lyrical gut-punch, while “What Jail Is Like” swaps guitars for piano, giving things a moody elegance. “My Curse” offers a rare moment of vulnerability with female lead vocals, and closer “Brother Woodrow” trails off with a shadowy instrumental fade. Gentlemen is a bruised, soul-infused slugfest—equal parts seduction, confession, and self-destruction.

Pearl Jam’s Ten arrived in 1991 as a brooding, stadium-sized statement of purpose, helping define the grunge era with its slick production, emotional intensity, and arena-rock ambition. Unlike the raw edge of Nirvana or the sludgy cool of Soundgarden, Ten is unabashedly earnest—anchored by Eddie Vedder’s weighty baritone and lyrics that tackle trauma and alienation with dramatic flair. While tracks like “Oceans” offer moments of quiet grace and “Porch” injects some much-needed looseness, much of the album leans heavily into its own seriousness, occasionally to its detriment. Still, it’s hard to deny the emotional payoff of a track like “Release,” and despite feeling overplayed with time, Ten remains a landmark—flawed, towering, and deeply felt.

The Who Sell Out is a curious, half-satirical, half-sincere concept album that finds The Who spoofing British pirate radio with tongue-in-cheek commercial jingles wedged between some of their most infectious pop tunes. The skits are oddball and charmingly goofy, but the real meat is in the music—bright, jangly, and irresistibly melodic. “Mary Anne with the Shaky Hand” bounces with quirky grace, “I Can See for Miles” delivers a thunderous dose of paranoia and power-pop precision, and “I Can’t Reach You” adds a tender piano touch that hints at broader horizons. It’s a strange, endearing slice of late-Sixties experimentation, not quite essential, but undeniably fun.

Gillian Welch’s Time (The Revelator) earns a respectable but underwhelming ☆☆½, offering a collection of old-school folk songs that are skillfully crafted yet often drift into the realm of the monotonous. Welch’s stripped-down aesthetic and plaintive vocals aim for timelessness, but the album too frequently feels static. There are glimmers of life—“My First Lover” and “Red Clay Hero” both feature some lively banjo work that briefly lifts the mood—but even these can’t fully shake the album’s overall somber haze. “I Want to Sing That Rock and Roll” stands out, if only for being the gentlest ode to rock rebellion ever recorded, while the 14-minute closer “I Dream a Highway” feels less like an epic journey and more like a long, slow fade to black. It’s an album that reveres tradition but rarely transcends it.

Van Halen's 1984 is a slick, swaggering time capsule of Reagan-era excess, where synths strut alongside shredding guitars and every element is polished to a neon sheen. Eddie trades some of his guitar god thunder for glistening keyboards on the monster hit “Jump,” while “Panama” keeps the top-down rock party going with unapologetic bravado—though stacking the two front and center feels more like label strategy than album flow. “Drop Dead Legs” dips into a sleazy, slow-grind groove that owes more to Aerosmith than Sunset Strip, and “Hot for Teacher” explodes with manic drum rolls and David Lee Roth’s cartoon libido. Then there's “I'll Wait,” a moody synth-laden detour that hints at an art-rock ambition Van Halen rarely explored again. It’s not subtle, but then again, neither was 1984.

A raw and rowdy debut, My Generation captures The Who still finding their footing, leaning heavily into a bluesy, garage-rock sound that mirrors the early Stones more than the sonic innovators they'd soon become. The production is rough around the edges—gritty, even—but there's a certain charm in the chaos. "The Good's Gone" pairs jangly guitar lines with a haunting vocal drone, while "My Generation" and "The Kids Are Alright" hint at the band's explosive potential and knack for teenage anthems. "A Legal Matter" delivers a power-pop punch, and "Much Too Much" surprises with verses that veer into Lou Reed territory. The sparks are there, but they’re still buried beneath distortion and derivative riffs—promise in search of polish.

Tracy Chapman’s self-titled debut arrives like a solemn sermon whispered through an acoustic guitar—stripped-down, heartfelt, and heavy with purpose. It’s the kind of record that demands to be listened to in silence, the Very Serious kind of silence. “Talkin’ Bout a Revolution” kicks things off with a simmering urgency that defines much of what follows, while “Fast Car,” the standout, pairs a hypnotic riff with lyrics so stark they’ll leave you quietly wrecked. Chapman’s voice is clear and haunting, a vessel for pain, hope, and social conscience—but sometimes the weight drags. “Baby Can I Hold You” offers a rare, if modest, emotional breather, unburdened by politics, and the curious “Mountains O’ Things” and reggae-tinged “She’s Got Her Ticket” show her experimenting just enough to keep things from going grayscale. It’s a thoughtful debut, if a bit too reverent for its own good.

On Nevermind, Nirvana kicks down the door that punk and metal only rattled. Sure, "Smells Like Teen Spirit" blew up the airwaves and anointed Kurt Cobain as the reluctant voice of a generation, but listen closer and you'll hear a band just as obsessed with melody as they are with volume. Tracks like "In Bloom" and "Come As You Are" show off Cobain’s knack for writing instantly memorable hooks, even when he’s wallowing in alienation. “Come As You Are” might lift its bassline from Killing Joke, but it transforms it into a slow-burn anthem of distrust and distance. “Lithium” perfects the quiet-loud-quiet formula that everyone from the Pixies to Sonic Youth dabbled with, but here it's weaponized for sing-along catharsis. And honestly, the deeper cuts are where Nevermind feels most alive. “Lounge Act” is a jittery little gem, Kurt’s slightly flat vocals giving way to a key-change scream that could peel paint. “On a Plain” plays it half-sarcastic, half-sincere, riding a wave of fuzzed-out guitars and mumbled self-loathing. Throughout it all, Krist Novoselic’s thick, rubbery bass holds the chaos together while Dave Grohl pounds the drums like a guy who still can’t believe he gets paid to do this. If Nevermind was supposed to be an accident, it’s the kind you can’t stop replaying.

When Exile in Guyville landed in 1993, it hit like a dirty secret passed in a college dorm hallway—raw, unfiltered, and absolutely unafraid. Liz Phair didn’t just break the mold; she bulldozed through the indie rock boys’ club with lo-fi production, unvarnished guitar work, and lyrics that read like ripped diary pages soaked in sex, self-doubt, and defiance. Her monotone drawl—occasionally pierced by a flicker of vibrato—isn’t traditionally “good,” but it’s gripping in its honesty, like a voicemail you shouldn’t be hearing. The highlights are messy gems: “Glory” recalls early Elliott Smith in its haunted brevity, “Never Said” sounds like a grimy Sheryl Crow track with a killer hook, “Canary” slows things down with a fragile piano ballad, and “Gunshy” features her most tuneful singing. But it’s the more infamous cuts—“Dance of the Seven Veils,” where she drops the c-bomb twice over folky strumming; “F-ck and Run,” which might be charming until she sings “even when I was 12”; and “Flower,” which still shocks with its NSFW poetry—that mark Phair as a singular voice in '90s alt-rock. It’s not always comfortable listening, but that’s the point—this is an album that feels like slapping someone and hugging them in the same breath.

A Brazilian thrash barrage that does everything it's supposed to do, which is exactly the problem. Fifty-plus minutes of precision riff-bombardment and apocalyptic barking that make Slayer sound like a lounge act—admirable, exhausting, and (for some of us) utterly joyless. Igor Cavalera’s drums gallop like a mechanized army, Andreas Kisser’s guitar lashes out with militarized flair, and the whole thing never lets up long enough to let a little air—or personality—creep in. “Desperate Cry” dials back the bludgeon just enough to suggest what dynamics might sound like in their world, and “Under Siege (Regnum Irae)” flirts with groove before the wall of sound returns. Bonus points for titling a track “Dead Embryonic Cells,” which, much like the album, is as subtle as a tank through your living room. Not my scene, but I respect the artillery.

Concept album psych-outs were all the rage post-Sgt. Pepper, and these British R&B burnouts got there early enough to claim it as the first rock opera—though “opera” may be too generous for what’s basically Tommy in utero, minus the killer riffs. There’s some charming, Beatles-borrowed melodic ambition (“She Says Good Morning” could be a Pepper B-side), and the bookends—“S.F. Sorrow Is Born” and “Old Man Going”—hint at something heavier, with strummy acoustics and unhinged vocals that predict the metal excesses to come (not always in a good way). “Loneliest Person” ends things on a quietly folky note, which might be the most honest moment here. A curiosity worth hearing once, especially if you're tracing the evolutionary tree from mod blues to art rock, but more historical footnote than must-own.

This debut from Brooklyn MC Jeru the Damaja plants itself firmly in the gritty soil of '90s New York boom bap, but despite DJ Premier's name on the boards, The Sun Rises in the East never quite catches fire. The production is unmistakably Primo—chopped jazz loops, tough drums, stripped-down menace—but it often feels like leftovers from Gang Starr’s kitchen. Jeru spits with confidence, occasionally channeling a Guru-esque calm on standout cuts like “My Mind Spray” and the haunting, water-drip beat of “Come Clean,” but most of the record blurs into a monochrome of earnest, mid-tier mic work. “Jungle Music” holds its own with a tight flow, but elsewhere things falter—whether it’s the grating beep on “Mental Stamina,” the wasted potential of “Perverted Monks,” or the problematic bars of “Da Bichez.” Jeru wants to school you with righteous wisdom, but on tracks like “Ain’t the Devil Happy,” the message is undercut by clunky execution. A couple flashes of brilliance, but the rest of the album never rises above the shadows of its peers.

The debut that launched a thousand migraines. Split between two lineups, Scum is less an album than a barrage—28 tracks of grindcore’s primal scream, all buzzsaw guitars, jackhammer drums, and vocals that alternate between retching, barking, and unintelligible growling (the latter delivered by two separate frontmen, though you'd be forgiven for thinking it's just one very angry drainpipe). Side one almost flirts with structure—“Scum” even rides a groove for a few seconds before imploding. Side two abandons all pretense, collapsing into a blur of 30-second tantrums. Political in theory, but good luck parsing any lyrics without a lyric sheet and a forensic linguist. If you think music should hurt a little, maybe this is your Kind of Blue. If not, consider it the sonic equivalent of an industrial accident.

On Fromohio, fIREHOSE dial back the SST punk-jazz attack and veer into twangier, more homespun terrain—think front-porch noodling filtered through post-punk idiosyncrasy. Mike Watt’s bass still slinks and pops, but this time it’s matched with dusty acoustic strums, slide guitar, and the occasional whiff of Americana. At times, the album feels like a scrapbook of sketches rather than a fully fleshed-out record—some tracks end just as they’re getting interesting, others coast on quirks that feel more calculated than inspired. Still, there are moments of charm: “In My Mind” rides a tight groove with an infectious guitar jangle, “Vastopol” is a surprisingly warm instrumental hoedown, and “Time With You” flirts with accessibility without losing the band’s off-kilter DNA. Not quite punk, not quite folk—Fromohio is somewhere in between, but doesn’t always make the case for staying there.

Back in '89, Queen Latifah came through the door not just kicking it down but waving a flag of female empowerment over a scene still very much a boys’ club. On All Hail the Queen, her regal presence is undeniable — she’s got confidence, charisma, and a clear mission. While her flow is solid (if sometimes a bit rudimentary), it’s her voice — firm, assertive, full of purpose — that carries most of the weight. The production, courtesy of the Native Tongues collective, leans heavily into the era’s sonic staples: horn stabs, thick boom-bap drums, and those zany sound effects that feel more like radio show bumpers than timeless hooks. That said, there are moments that still spark: “Latifah’s Law” flips a horn loop that later found fame on “Rump Shaker,” and “Wrath of My Madness” channels the energy of “The Bridge Is Over” with a bounce all her own. The standout “Ladies First,” featuring Monie Love, feels like a mission statement for hip-hop feminism — playful, defiant, and dripping with Salt-N-Pepa flavor. While some of the beats haven’t aged gracefully, Queen Latifah’s arrival still demands respect.

Avant-garde in the way only art-school Brits with Eno in the control tower can be—glammy, self-conscious, oddly stitched together. The future sophisticates of Avalon start here with something far more jagged and theatrical, often sounding like a band unsure if they want to groove, sneer, or float off into sonic abstraction. Ferry’s quavering croon wobbles somewhere between lounge lizard and mad prophet, and the whole thing teeters on the line between pretentious and inspired. “If There Is Something” rides a surprisingly Stones-y riff before morphing into a pastoral-prog epic complete with operatic warbling. “2HB” sounds like a velvet cocktail soaked in synth gurgles and saxophone bursts. It's an odd album—but odd doesn’t always mean good.

Public Enemy’s It Takes a Nation of Millions to Hold Us Back is loud, raw, and confrontational—an album that once felt like the future but now plays like a chaotic time capsule. Chuck D’s booming delivery and The Bomb Squad’s noisy, sample-heavy production aim to shake the listener awake, while Flavor Flav adds unpredictable energy. The intent is revolutionary, but the execution can be grating, with moments that feel more abrasive than impactful today. Still, “Bring the Noise” serves as a powerful thesis, “She Watch Channel Zero?!” mashes metal and hip hop with thrilling, if dated, results, and “Black Steel in the Hour of Chaos” offers a gripping story over a hypnotic piano loop, hinting at a more focused potential. Bold and historic, it’s equal parts brilliance and overload.

Portishead’s Dummy isn’t here to start the party—it’s what plays long after the lights come up and the dancefloor clears out. The Bristol trio (Beth Gibbons' ghostly vocals, Geoff Barrow’s dusty loops, and Adrian Utley’s noir guitar lines) delivered a debut that defined trip hop’s brooding aesthetic, even if the mood occasionally lapses into monotony. Still, when it hits, it haunts: “Sour Times” shuffles like spy cinema reimagined by beat junkies, while “It Could Be Sweet,” “Roads,” and “Glory Box” are slow-burn torch songs steeped in smoke and sorrow. “It’s a Fire” even hints at the polished chill Madonna would chase on Ray of Light. Dummy may be sleepy, but it knows exactly what kind of dream it wants you in.

Released in 1992, Little Earthquakes marked Tori Amos’ solo debut with a bold, piano-driven sound that stood in stark contrast to the grunge and bubblegum pop dominating the era. Built on a foundation of expressive vocals and virtuosic piano, the album weaves in symphonic flourishes, subtle synths, and off-kilter melodies to create a dramatic and emotionally charged listening experience. “Crucify” opens with goth-tinged intensity, while “Silent All These Years” delivers a restrained but powerful meditation on voice and identity that has become a '90s classic. “Winter” is perhaps the emotional core—both musically and lyrically devastating—while the playful, jazzy “Happy Phantom” nods toward the sensibilities of future artists like Fiona Apple. “Tear in Your Hand” veers toward slicker, more pop-friendly territory without sacrificing the album’s rawness. The result is a singular, operatic record that doesn’t just explore vulnerability—it weaponizes it.

Back in '92, when West Coast rap was dominated by G-funk and gangsta tales, Bizarre Ride II the Pharcyde stood out as a quirky, jazz-soaked detour full of humor, emotion, and unfiltered personality. The Pharcyde delivered a technicolor debut where fun took priority over polish, with standouts like “Oh Sh--” showcasing playful cypher energy, and “Soul Flower (Remix)” riding on light funk and early 90s bounce. The group hit a sweet, sentimental spot with “Passin’ Me By,” their breakout track, blending trumpet loops with lovelorn storytelling, while “Otha Fish” offered a breezy, jazzy sing-rap style that hinted at their creative depth. Other tracks lean into the bizarre—“4 Better or 4 Worse” flirts with horrorcore, “On the DL” mismatches upbeat music with gangsta themes, and “Officer” parodies Public Enemy before diving into chaos. Though uneven and very much a product of its era, the album’s playful experimentation and raw charm still manage to entertain—mainly because it sounds like they’re having the time of their lives.

A mid-2000s juggernaut packed with hits, Get Rich or Die Tryin’ delivers a solid dose of 90s-style gangsta rap with a distinctly New York flavor. While it helped define a moment in hip hop, the album’s lengthy runtime and repetitive production start to wear thin, especially on filler tracks like “Heat,” “Blood Hound,” and “Gotta Make It to Heaven,” which could’ve been cut to tighten the overall impact. Still, standout cuts like “Like My Style” and “Poor Lil Rich” channel a Jay-Z-esque swagger, proving 50’s knack for hooks and streetwise charisma.

On Architecture and Morality, O.M.D. lean fully into their synth-heavy aesthetic, delivering a record that’s unmistakably of the early '80s—equal parts atmospheric, experimental, and awkwardly catchy. The band toggles between Eno-esque ambient excursions and hook-laden synth pop, at times evoking the chilly introspection of early Cure and at others falling into kitschy electronic sweetness. "She's Leaving" is a highlight, capturing the band's knack for melodic melancholy, while "Sealand" pushes toward artier terrain with its pounding drums and bagpipe-like drone—though its drawn-out, mostly instrumental runtime tests patience. An uneven but intriguing listen from the new wave era.