591
Albums Rated
3.83
Average Rating
54%
Complete
498 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1960s
Favorite Decade
Psychedelic-rock
Favorite Genre
UK
Top Origin
Cheerleader
Rater Style ?
135
5-Star Albums
9
1-Star Albums
Breakdown
By Genre
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Spy Vs. Spy: The Music Of Ornette Coleman
John Zorn
|
5 | 2.22 | +2.78 |
|
Rock Bottom
Robert Wyatt
|
5 | 2.39 | +2.61 |
|
Third
Soft Machine
|
5 | 2.43 | +2.57 |
|
En-Tact
The Shamen
|
5 | 2.43 | +2.57 |
|
Oar
Alexander 'Skip' Spence
|
5 | 2.46 | +2.54 |
|
We're Only In It For The Money
The Mothers Of Invention
|
5 | 2.47 | +2.53 |
|
Logical Progression
LTJ Bukem
|
5 | 2.52 | +2.48 |
|
Idlewild
Everything But The Girl
|
5 | 2.57 | +2.43 |
|
Don't Stand Me Down
Dexys Midnight Runners
|
5 | 2.61 | +2.39 |
|
Chelsea Girl
Nico
|
5 | 2.63 | +2.37 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
The Marshall Mathers LP
Eminem
|
1 | 3.49 | -2.49 |
|
Come Away With Me
Norah Jones
|
1 | 3.39 | -2.39 |
|
The Slim Shady LP
Eminem
|
1 | 3.29 | -2.29 |
|
Let Love Rule
Lenny Kravitz
|
1 | 3 | -2 |
|
Talking With the Taxman About Poetry
Billy Bragg
|
1 | 2.97 | -1.97 |
|
Tapestry
Carole King
|
2 | 3.91 | -1.91 |
|
Slayed?
Slade
|
1 | 2.88 | -1.88 |
|
Good Old Boys
Randy Newman
|
1 | 2.86 | -1.86 |
|
(What's The Story) Morning Glory
Oasis
|
2 | 3.84 | -1.84 |
|
Nick Of Time
Bonnie Raitt
|
1 | 2.83 | -1.83 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Tom Waits | 3 | 5 |
| Beatles | 5 | 4.4 |
| Muddy Waters | 2 | 5 |
| Pixies | 2 | 5 |
| Dire Straits | 2 | 5 |
| Cocteau Twins | 2 | 5 |
| Leonard Cohen | 2 | 5 |
| Scott Walker | 2 | 5 |
| King Crimson | 2 | 5 |
| Pink Floyd | 2 | 5 |
| Jimi Hendrix | 2 | 5 |
| The Cure | 2 | 5 |
| My Bloody Valentine | 2 | 5 |
| New Order | 2 | 5 |
| Johnny Cash | 2 | 5 |
| David Bowie | 6 | 4.17 |
| The Byrds | 4 | 4.25 |
| Led Zeppelin | 4 | 4.25 |
| Radiohead | 6 | 4 |
| Neil Young & Crazy Horse | 3 | 4.33 |
| The Stooges | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Eminem | 2 | 1 |
| Randy Newman | 2 | 1.5 |
5-Star Albums (135)
View Album Wall
Popular Reviews
Faith No More
5/5
Yes!!! One of the best rock bands ever! Too bad I can't say the same about all the bands they influenced. Lol! Faith No More is truly an interesting band with a wide range of sound and style. Every single album from them is in a world of its own. For any true fan of Faith No More, the standout album would be "Angel Dust." Another interesting fact is that Courtney Love was one of their lead singers for a short period before Chuck Mosley, which eventually led to them replacing Chuck with Mike Patton. If you would rate this album a three or higher, I highly recommend checking out "Angel Dust" from 1992.
4 likes
Alexander 'Skip' Spence
5/5
Wow! I loved this album! Spence, a founding member of Jefferson Airplane and Moby Grape, recorded Oar just six months after being released from a psychiatric hospital, so he wasn’t in the best state of mind while writing this music. Not only that, but he had a small budget to work with, which definitely comes through when you listen. The vocals are raw, unfiltered, and often lack clarity, at times sounding more like a murmur. The production has a very stripped-down, lo-fi quality, making the album sound like a demo. Despite all these challenges, everything comes together beautifully. The rawness adds to the intimate and ethereal feel of the album, making it even more captivating.
3 likes
Talk Talk
5/5
Talk Talk shifted from their new wave synth-pop to a heavy art rock direction on this album, and they did a great job with the transition. This is one of my personal favorites when it comes to 80s art rock. Most 80s art rock comes off as overproduced, too polished, and very artificial, leaving me with a void or feeling of nothingness where I can’t connect with it on any level. Somehow, Talk Talk pulled it off and executed it perfectly with this album. It has all the elements I mentioned, but I find myself getting lost in this album. I highly recommend it to anyone who likes 80s new wave or art pop.
3 likes
5/5
Great classic album! If you really want to experience this album in the best way possible, I’d recommend listening to it with earbuds or headphones. They used a lot of state-of-the-art production techniques. I've even seen sources say this was one of the essential albums that helped lead to the emergence of progressive rock. Either way, this album was ahead of its time in many ways.
3 likes
Prefab Sprout
5/5
This was a pretty good find. Another great 80s Art Pop and New Wave album that I hadn’t checked out before. It has a wonderful nostalgic and reflective quality, paired with smooth and polished lush production. An added bonus is that it was produced by Thomas Dolby.
3 likes
4-Star Albums (278)
1-Star Albums (9)
All Ratings
Stan Getz
4/5
A relaxing album that resembles a Woody Allen mellow drama vibe.
Radiohead
4/5
'OK Computer' is a groundbreaking album that was ahead of its time, and a significant shift in the band's direction from their previous work. It may require multiple listens to fully appreciate. I highly recommend giving it a chance and listening to it more than once to fully absorb it before you completely write it off.
Big Brother & The Holding Company
4/5
So Janis Joplins voice is so raspy and scratchy, I really struggle to see what made her so highly praised as a key figure In rock history. Now the music aspect of this album was amazing, and on that side of the spectrum, I can totally relate to why this album was very influential, especially to the psychedelic movement.
Neil Young & Crazy Horse
3/5
I've never felt compelled to explore Neil Young's music because everything I've heard seemed mediocre. 'Rust Never Sleeps' didn't change my opinion. While not bad, it's unremarkable and makes good background music for social events.
Curtis Mayfield
2/5
This album is undoubtedly monumental and highly respected in the realms of funk, soul, and R&B. While it may not align perfectly with my personal taste, it's a must-listen for any music enthusiast.
5/5
Surprisingly captivating, 'Black Holes and Revelations' by Muse defies initial expectations. Often, radio hits fail to showcase an artist's full potential, leaving listeners with a skewed view. However, this album's experimental nature, particularly its heavy electronic elements, impressed me. I look forward to revisiting it in the future.
Spiritualized
2/5
Despite Spiritualized and Spacemen 3 having all the elements I typically enjoy in a band, their music ultimately falls flat for me. While their sound initially intrigues me, the lack of progression or depth leaves me feeling bored. It's like going on a journey that never really goes anywhere.
Youssou N'Dour
4/5
I loved it. The percussion was on point, and the rhythm had a captivating flow. The keyboard elements gave it so much color and texture. A very beautiful and lush album that was worth every minute. I'm so glad I came across this album, and I'm definitely keeping track of this one for future enjoyment.
Steely Dan
4/5
This was a good album to listen too. I was raised on classic rock, but Steely Dan is one of those artists that I never payed attention to, but after listening to this album, I actually liked if more than I thought I would of.
Stevie Wonder
2/5
So I’ve never really payed much attention to Stevie Wonder, but this album was dull, and fell flat. It got zero emotion out of me. It was basically music what was just playing in the background with no true meaning or purpose.
Milton Nascimento
4/5
This was a perfect Saturday morning album for me to start my day to. Very rich, vibrant, lush, colorful, and easy going. Definitely an album I’ll listen to again, and also another great album I never would of discovered on my own terms.
Keith Jarrett
4/5
This was a great find. As someone new to piano music, I find the genre to be a whole new world, and I'm not sure where to begin. 'The Köln Concert' is a perfect starting point, offering me a wonderful introduction to Keith Jarrett's talent and paving the way for me to explore more in this musical realm.
3/5
The Kinks are a band I always thought I'd enjoy, but as I delve deeper into music, they haven't quite lived up to my expectations. While their music isn't bad, it feels somewhat middle-of-the-road compared to other bands from that era.
Bee Gees
4/5
I found 'Trafalgar' by the Bee Gees to be a surprisingly enjoyable album. I'd never delved into their music before, as their big hits seemed more like background music for comedies. However, this album from their early era caught my attention, and I was pleasantly surprised. It has a rich, lush sound that really resonated with me, making it quite a standout.
Morrissey
4/5
I've always been puzzled by the amount of hate Morrissey receives. While I don't know much about him personally, discovering his music through this musical journey has been a highlight. I slightly prefer The Smiths over his solo work, but his music really resonates with my normal bassline mood—easy-going, with catchy hooks, lush, jangly, and smooth.
Animal Collective
4/5
I’ve heard of Animal Collective, but never knew anything about them, or what they were about, but I’m so glad I came across this album. This is right up my alley.
Creedence Clearwater Revival
4/5
This was a good album that really helped open me up to southern and blues rock. For anyone who really enjoys classic rock, this is definitely a good album to check out.
Mercury Rev
3/5
This is one of those albums that simply exists as a space filler. It's not bad by any means, but it also doesn't stand out. It's easily forgettable and doesn't leave much of an impression.
Barry Adamson
4/5
This album took me by surprise in the best way. I was expecting a straightforward jazz album, but instead, I got a jazz-driven avant-garde experience, which I'm a total sucker for. I love experimental and avant-garde music, though it often demands a specific mood and setting to fully appreciate it. However, "Moss Side Story" stands out because it's accessible and can be enjoyed in a variety of contexts. I also love that it's a soundtrack for an imaginary film that doesn't even exist in real life. It's definitely not for everyone, but I'll be revisiting this one for sure.
Kendrick Lamar
4/5
I remember when this album first came out. I kept hearing songs in DJ mixes, so I initially downloaded it for just a couple of tracks. Before I knew it, I was letting the entire album play over and over in my car. I was amazed by how raw, stripped down, and original it was—like a return to the basics. Kendrick Lamar's ability to draw the listener into the story and make them feel as if they were living out the moment with him is truly remarkable.
Christina Aguilera
3/5
I only listened to this just for the sake of knocking it off the list. As much as I don't want to admit it, I actually enjoyed some of it. Unfortunately, it had a lot of weak moments, but I have to give credit where credit is due—it had some moments that I really enjoyed.
Moby
4/5
This album helped me get through a very rough time in my life. There were a few years when I was very depressed over losing the first girl I seriously fell in love with, and this album really helped me cope during that period. It also had a few B-sides that were very strong tracks, and to be honest, I don't know why they didn't make it onto the final album because, if anything, they were better than some of the original tracks. Anyways, this album will always hold a special place in my heart.
Eels
4/5
I’ve seen this cover for as long as I can remember, but for whatever reason, it’s one of those albums I never thought about listening to. Now that I am listening to it, I can’t believe I always passed it up, because back in the late 90s, I would have fallen in love with this album, especially considering everything else I was listening to back then.
Aretha Franklin
3/5
I Never Loved a Man the Way I Love You" by Aretha Franklin was middle-of-the-road for me. Soul music has never truly resonated with me, so it's challenging to highlight specific aspects when nothing particularly stood out. However, it didn't irritate me either; it just didn't connect with me on a deeper level.
Beastie Boys
2/5
Another user asked, “Is this good, or is it just nostalgia?” To answer their question, it’s definitely nostalgia, not quality. This album has not aged well; in fact, it’s downright obnoxious and grating to listen to today. Take a song like “Girls”—it’s impossible to consider it a classic with any lasting value. The whole album feels childish, filled with shallow, surface-level lyrics that lack any depth or thought-provoking content. It’s a relic of its time, best left in the past.
The Darkness
4/5
If you don’t like ’70s and ’80s glam rock or arena rock, then don’t waste your time. This album should be taken at face value. If you enjoy catchy hooks and occasionally dip back into ’80s rock for nostalgia, then this is an album you should check out. It lets you indulge in every ‘80s hair metal cliché imaginable. Also, if you’re a fan of a band like Ghost, this album will be a great listen when you’re in the mood to take it up a notch.
Television
4/5
Ever since I can remember, this album has always been viewed by everyone as a punk album, which is funny because I would have put it under the umbrella of art rock or glam rock. Overall, I think it’s definitely a nice, mellow, chill album that just sort of jams out at its own pace. This is the kind of music I really enjoy playing while I’m working. It fits a nice, smooth, and steady baseline that keeps me in a good mood. Other than this album, I haven’t had the chance to listen to anything else from Television, but I definitely plan on working my way through their discography.
The Byrds
4/5
Well, here we are! “Mr. Tambourine Man” by The Byrds is the album that had a significant influence on the evolution of folk rock and what we now call jangle pop. It’s fascinating that a simple ’60s pop song, where a dude does a “jingle ma jig” type thing on his guitar and adds some straightforward, catchy lyrics about a jingle and a jangle, can go on to create a whole new genre of music. This album paved the path for timeless bands like R.E.M., The Smiths, The Go-Betweens, The Chills, The Church, Teenage Fanclub, and many others.
Initially, I would give the album a 3.5, but considering its cultural impact and the legacy it left for years to come, I’ll round it up to a 4. Overall, the album is fun, lighthearted, and easy to listen to. It’s definitely worth a spin for any true fan of music. Its influence on future generations of musicians cannot be overstated.
The Flaming Lips
3/5
This definitely wasn’t the best Flaming Lips album for me. The music was nice and chill, but it didn’t draw me in the way the "Yoshimi Battles the Pink Robots" album did. The main thing that really lacked in this album was the vocals and the singing. The singing wasn’t the best, and the vocals felt very simple and weak compared to their other works. While the instrumentation and production were pretty solid, the overall impact was diminished by the vocal delivery. Despite this, it’s still a good album to have on in the background, but it didn’t quite capture my attention as much as their other releases.
Thin Lizzy
3/5
Thin Lizzy wasn’t part of my musical upbringing, so when I listened to “Live and Dangerous,” it felt like a fresh experience. Of course, I recognized “The Boys Are Back In Town,” but the rest of the album was new to me. I quickly picked up on the blues elements, which I found particularly enjoyable. While I can’t say I’ll go out of my way to explore more of their discography, this classic rock album was a fun listen.
Muddy Waters
5/5
“Hard Again” is a really good album full of energy. It’s a great jam session from beginning to end, making it one of the best albums to enjoy all the way through.
Count Basie & His Orchestra
4/5
As a random album that came across my plate, I found it to be fun, energetic, and high-energy, but it also had some really good mellow sections with wonderful pianos and great percussion. That being said, I'm always open to listening to anything that comes my way, but this was definitely the first big band, swing, ballroom jazz album I've ever played from beginning to end. Other than that, it's fair to say this is definitely not my usual style of music, so I don't have much of a reference point on what makes this such a monumental album compared to others from its era and genre.
Shack
2/5
Overrated and Underwhelming!
So this is another one of those albums that got published in a book of 1001 albums to hear before you die. Only God knows how this ended up on the list, while so many other great albums were just passed up. With that being said, it wasn’t horrible music, but there wasn’t anything standout about it either. It was just a basic, middle-of-the-road Britpop album that came out about eight years too late. By 1999, all the bands from the late ’80s and early ’90s that were the flag bearers of Britpop had already moved on, forming new projects and exploring new sounds. While there’s nothing really bad about this album, so it probably doesn’t deserve to get dragged through the mud, putting it in a category of the top 1001 albums really sets a very high bar for it.
Beck
4/5
Beck was an artist I really enjoyed in the '90s when I was a teenager. I jumped on the bandwagon when "Mellow Gold & Odelay" came out. Shortly after, I moved on to edgier music like electronic, goth, and industrial, and Beck was no longer cool to me. I remember this album being promoted everywhere, but when someone told me it was a folk album, I thought, "BBBAAAARRRRFFFF!" and never gave him the time of day.
About four years ago, I finally opened my heart to Beck again and realized he had done some pretty decent albums over the years. I listened to "Sea Change" for the first time about a month ago with my wife, and we really enjoyed it. Listening to it again, there's nothing particularly groundbreaking about it, but it's just a nice, calm album to chill out to. So I went from barfing to accepting.
Billy Bragg
1/5
I did not like this album at all. The second song was pretty cool because it had a folk punk vibe that came out awesome. But other than that, everything about this album seems like it was designed and engineered for me to hate it in every way imaginable. As an American, the lyrics had no relevance to me, so there was a disconnect on that front. His singing style embodies everything I dislike about run-of-the-mill commercial Britpop. Then there’s the music. It felt as if it was specifically crafted to align with all my dislikes. No matter how open and tolerant you are, and how much you love and appreciate music, you simply can’t like everything. This album was a good reminder of that for me.
The Clash
3/5
I don’t know if I would go as far as saying this is the best album ever recorded or that it defines The Clash as the best band of all time, but I’ll admit it was alright! Overall, they did have a wide range of musical styles, and to be honest, everything from this point on is where I enjoyed The Clash the most. Although The Clash is known for their punk roots, their punk tracks are my least favorite songs. It’s everything else on this album that I enjoyed the most.
Frank Black
3/5
This was a pretty cool album to check out. It’s nice to hear another side project spin off from the Pixies, other than the Breeders. I wish I had known about this album back in the ’90s when alternative was at its peak, because I really would have enjoyed it at the time.
Radiohead
4/5
I’ve always been a huge fan of experimental music, and what’s funny is that I remember in the early/mid 2000s when Radiohead was at their peak, I just couldn’t ever get into them, despite trying several times. However, over the last six months since I’ve been using this album generator, I’ve been able to grasp and enjoy Radiohead for what they are. On this album particularly, I really enjoyed the electronic elements, especially the piano and some of the programmed drum patterns and beats. I’m actually going to start looking into some of the side projects and solo albums that have branched off of Radiohead.
Dinosaur Jr.
5/5
Dinosaur Jr. is one of those bands I never paid much attention to until the last few years. For some reason, I always thought they sounded much different than what I discovered once I finally gave them a chance. When I started listening, I was shocked by all the distortion and feedback that define their trademark sound, and the raw punk energy in some of their tracks really caught me off guard.
Overall, their format features melodic, prominent bass lines with a wall of distorted feedback and noise layered on top, giving it a raw and gritty edge. Despite this, I also view Dinosaur Jr. as a good beginner’s guide to noise rock. Even though they’re raw, noisy, gritty, and filled with feedback, they balance it out with an element of refinement.
Sade
3/5
So this is the person who sings that “Smooth Operator” song! Ultimately, this was a really good album that got my Sunday morning started. It didn’t blow my mind or anything, but it was very relaxing, smooth, lush, and chill. I don’t really see myself going back to this album in the future, but I don’t regret listening to it either. So I guess I would say it was middle of the road.
Pixies
5/5
“Doolittle” is undeniably a classic album, but it doesn’t have the same raw, gritty production that “Surfer Rosa” had with Steve Albini. Instead, this album is much more polished, cleaner, and refined. Overall, “Doolittle” picks up where their last album left off. My favorite track on this album, hands down, is “Gouge Away”!
Soft Machine
5/5
I think it’s fair to say that this album probably falls more under the umbrella of jazz. Whether you call it jazz or prog rock, this is definitely a free-form improv album that’s on the experimental and avant-garde side. It’s amazing to see this band’s progression as I work my way through their albums. “Third” is definitely a highlight because I really enjoy the way they incorporated the use of studio techniques and electronics. I look forward to hearing this more in the future and continuing my journey through their discography.
Dexys Midnight Runners
4/5
This was my first time listening to this album, and “Come On Eileen” basically sums up everything you need to know about what the entire album sounds like. Overall, it was a decent album. I would say most of the songs would get a 3.5 rating out of 5 on their own merit.
Motörhead
2/5
So Motörhead is a band I like, but I really have to be in the mood for them. As for this album, I really didn’t care much for it, and a lot of it is because I just don’t think they had the best recording quality for a live album. Either way, I would much rather listen to their studio albums than this one.
Snoop Dogg
5/5
Overall, I really don’t care much for Dr. Dre and Snoop Dogg, but how can anyone say this isn’t a classic album?! From Dre’s production to Snoop Dogg’s relaxed vocal delivery, this is a smooth, laid-back album. When it comes to the production, I really like how Dre used heavy synthesizers that give the album a more melodic element. The production makes this album sound much fuller and more colorful compared to most hip-hop during this time period.
Between Dre’s production and Snoop Dogg’s vocals, they were definitely the perfect combination to make this album what it is. Obviously, you can tell my favorite element was the production, considering I’ve mentioned Dr. Dre’s name more than Snoop’s. Lol! But putting my personal preferences aside, they both equally brought 50/50 to the table, creating the perfect composition for this album.
Orchestral Manoeuvres In The Dark
4/5
OMD has always been a middle-of-the-road type band for me. I view them as a very influential band, especially in the world of electronic music. “Architecture & Morality” is known for its innovative use of synthesizers, sampling, and layering, which made it ahead of its time. As for the music itself, it’s a decent album from beginning to end, but I think it really only has a few standout tracks; other than that, it just kind of blends together. It’s definitely more of a slow-burn type album. Overall, I have a lot of appreciation for this album based on its innovation and cultural impact in the history of electronic music. However, for someone who’s not interested in those aspects, I can see how this might be a difficult album to get through.
Radiohead
4/5
I really enjoy Radiohead, but sometimes I’m just not in the mood for their more experimental work and want something a little more easygoing. That’s where “The Bends” comes in. While their first album is, to be honest, kind of sleazy, “The Bends” has a more straightforward alternative and Britpop sound. At the same time, it also shows a lot of characteristics that indicate the band’s evolving style. Overall, I think this album captures that sweet transitional period where you get the best of both worlds.
Black Sabbath
4/5
This is a great album, and anyone who likes metal or hard rock definitely needs to check it out, along with pretty much everything else from Black Sabbath. While it’s hard for me to get super excited about this album since I grew up hearing Black Sabbath in the background, making it feel like old news, I don’t want to discredit the band or their immense influence on the music industry.
Sam Cooke
4/5
Sam Cooke is a name I’ve heard and I know he’s well respected as a musician, but I hadn’t heard any of his music until now. So, let me start by saying that the music the band played as the album opened and led into Sam Cooke’s introduction caught me off guard—but I loved it. Talk about funky, odd, strange, and playful. If anything, I wish that music had gone on longer.
As for the rest of the album, it was raw and full of energy. You can tell it was recorded in an intimate setting with a smaller crowd, and both the audience and the band were engaging and feeding off one another. I was pretty far out of my element with this artist, but I’m definitely going to check out more of his discography.
Dexys Midnight Runners
3/5
This album wasn’t bad, but it’s nothing I’ll ever go back to either. On the flip side, it’s interesting to explore Dexys Midnight Runners just to hear something different from “Come On Eileen.” If you’re a fan of music with brass instruments, then this will be right up your alley. Other than that, there’s not too much to say about this album because nothing really jumped out.
Talk Talk
5/5
Talk Talk shifted from their new wave synth-pop to a heavy art rock direction on this album, and they did a great job with the transition. This is one of my personal favorites when it comes to 80s art rock. Most 80s art rock comes off as overproduced, too polished, and very artificial, leaving me with a void or feeling of nothingness where I can’t connect with it on any level. Somehow, Talk Talk pulled it off and executed it perfectly with this album. It has all the elements I mentioned, but I find myself getting lost in this album. I highly recommend it to anyone who likes 80s new wave or art pop.
Arcade Fire
3/5
On one hand, the album has elements that are truly enjoyable and original. However, this is counterbalanced by a radio-friendly, polished production that often feels over-saturated. Personally, I struggle to connect with bands like this. They label themselves “Indie,” yet they were nominated for a Grammy in 2005 and dominated the charts. They took the authentic sounds of genuine indie bands, polished, and overproduced them until there was no texture, color, or unique character left. In many ways, bands like this have contributed to the dilution of what indie rock originally stood for.
Bob Dylan
4/5
Definitely more up beat and energetic compared to all the acoustic albums Bob Dylan released before this one. It’s more of a folk rock album with blues mixed in.
Miles Davis
4/5
So, we all know who Miles Davis is, and we all know he’s one of the best musicians out there, but that doesn’t mean we’re all familiar with his music. Unfortunately, I’m one of those people. I’ve played random albums from him here and there, but always as background music, so none of it really absorbed.
When it comes to “Kind of Blue,” the music is more on the relaxed side, and it definitely seems influenced by a few different genres. What really caught my attention was all the big names of musicians he had with him. This album is definitely a classic piece of work simply based on all the top shelf musicians he had on this recording.
Cyndi Lauper
4/5
Going into this album, I knew it could go one of two ways: either a sleazy 80’s bubble gum pop album or an 80’s pop album with substance and quality. Thankfully, it was the latter. Although this is definitely an 80’s pop album aimed at the same crowd as Madonna, Cyndi Lauper approached it with a more mature touch. I was surprised by how heavily it leaned into new wave and synth pop, which I think made it more acceptable to people like me. Cyndi Lauper found a good balance, making an album that can reach a wider age demographic. Overall, this is a very colorful synth pop album, and it will definitely be added to my list of 80’s synth pop albums I enjoy.
Sleater-Kinney
3/5
Musically, the instrumentation on “Dig Me Out” was slightly better than average. The production was raw, featuring a lot of distorted guitars that added to its gritty feel. As for the lyrics, they sounded like the musings of people half my age, full of angst and still trying to figure things out. While the album was a decent listen, it’s not something I would revisit.
Little Richard
3/5
It’s pretty fun to go back to albums like this that were key players in the early development of rock and roll. It sounds like a really upbeat and high-energy mixture of jazz and blues, but with a really unpolished raw edge to it. You can definitely hear the rebellious spirit that drives the music.
Arcade Fire
3/5
This album blends in with a lot of indie rock from this era. It had some cool tracks, along with some that were pretty mediocre. It’s nothing I’ll ever go back to in the future, but I also don’t regret listening to it this one time.
The Smiths
5/5
The Smiths is one of those bands that, every time I listen to them, they get stuck in my head for the rest of the day. Although this album is considered one of the best of all time, I think that’s a bit overhyped. It’s a really good album, but most of my all-time favorite songs from The Smiths are from different albums.
Giant Sand
3/5
As someone who loves odd, strange, unusual, and experimental music, I really appreciate what this album was going for. Unfortunately, I think the end product fell short of what it was aiming for. This album shares many similarities with Tom Waits and Nick Cave. You’ll definitely get a blend of different genres and the experimentation of unconventional sounds and production techniques. The songwriting is narrative-driven, with vivid lyrics. Like Tom Waits and Nick Cave, it possesses distinctive vocals characterized by emotional depth and a raw, gritty delivery. So, while I appreciate the experimental approach and what the album was aiming for, there’s a lack of connection on my end.
Brian Eno
3/5
This album takes you in different directions, blending upbeat art rock with mellow, experimental ambient tracks. Both styles are impressive, but I find myself drawn more to his ambient side. The art rock tracks, interestingly, have a Talking Heads vibe, but with a more electronic and experimental twist.
Sly & The Family Stone
4/5
This album turned out to be way more upbeat and exciting than I was expecting. I’ve never really had a chance to dive deep into old funk albums, but this one definitely had a huge influence on where music is today. I recognized so many elements that have been sampled in more modern music. This album also highlights just how influential music from the 60s was, showcasing the creativity and originality that defined that era.
Everything But The Girl
4/5
Everything But The Girl is one of those artists I had forgotten about, so revisiting this album was definitely fun. The music is mostly trip-hop oriented beats or really cool atmospheric jungle and drum and bass beats, which I enjoy the most. Due to its laid-back vibe, I think it has aged pretty well compared to other bands making commercially available electronic music at that time. Unfortunately, when it comes to electronic-driven music, there are only a few bands whose albums feel timeless. This is one of them, alongside other artists such as Portishead.
Shuggie Otis
4/5
Thankfully, this album was much better than the first one I started my day with. Inspiration Information is a dreamy, laid-back soul album that was way ahead of its time. When I first started listening, I thought my Spotify had a glitch and skipped ahead because I didn’t think those production techniques existed in the early 70s. Until today, I had never known about this album, but I’m really glad I discovered it because I’ll definitely listen to it again in the future.
Marty Robbins
5/5
This was an amazing album. I’ve never been much of a country guy, but this album has everything I would want in a good Western country album. Every song has a strong narrative, telling a story that draws you in and makes you feel like you’re living it.
Van Morrison
4/5
So far, Van Morrison is one of those artists you can’t seem to go wrong with. I say so far because I still have plenty more of his albums to work through. What I find really impressive about him is the way he blends so many different genres into his songs—from rock, folk, jazz, blues, and soul to R&B, and who knows how many more. While I like some of his stuff more than others, across the board, he makes really good quality music. This album is pretty good from beginning to end.
Fiona Apple
3/5
I had to listen to this album a second time to find some appreciation for it. Fiona Apple definitely put her heart and soul into the vocals. As for the music, it’s experimental but still structured in a pop format. The album is piano-driven with percussion that doesn’t follow typical beat patterns. She recorded the album in her home studio with minimal production equipment, creating most of her beats and percussion with random found objects she had lying around. Overall, I’m not a big fan of her voice, but her experimental approach to the music production actually turned out pretty good.
Marvin Gaye
2/5
While there’s no denying that this is a classic album with a significant place in music history, this will likely be the last time I listen to it. The music simply doesn’t resonate with me. I’ve never been a fan of Marvin Gaye, and “Let’s Get It On” is overplayed in movies and TV commercials. I can appreciate how groundbreaking it must have been when it first came out, but for me, it feels like it has reached its expiration date, much like sour milk.
Eagles
4/5
This is a classic rock album I was raised on, and it will always bring a sense of comfort no matter how old it gets. While it features some upbeat songs, the overall vibe of the album is laid-back and relaxed. Musically, it’s rock at its core, but with a country and folk undertone that adds a rootsy feel.
Curtis Mayfield
3/5
So I have to be honest, ‘70s soul and funk have never really been my style of music, and when I was younger, I couldn’t stand it. I’m definitely more appreciative of it these days, but finding tracks that I truly enjoy enough to go back to is still rare. Moving forward to this album, overall, I would give most of the tracks a 3. However, I definitely want to point out the first track, “Billy Jack.” I loved it, and that was the standout track for me.
Nas
4/5
Illmatic by Nas is definitely a classic album. Although I’ve reached a point in life where hip hop doesn’t resonate with me as much these days, this still remains a timeless album that is always fun to revisit from time to time. The production of this album is raw and gritty yet high quality, with amazing producers like Pete Rock, Q-Tip, DJ Premier, and a few others. Nas is truly an amazing MC. His lyrics are vivid, and he has a remarkable way of giving a clear visualization of life in NYC, with a smooth and intricate flow.
Robert Wyatt
5/5
I really like “Rock Bottom” for its avant-garde and experimental approach. I can easily find myself listening to music all day that fits those styles. I’m just learning about the Canterbury scene, but this album is a great introduction, especially since I’m a fan of the avant-garde side of progressive rock. I really appreciate the album for its instrumental experimentation, but also for the studio production side of the experimental elements.
The Go-Go's
4/5
Initially, I thought “We Got The Beat” was one of the cringiest songs from the new wave era, so I wasn’t exactly thrilled to dive into this album. I went in with a bit of a bull-headed attitude. But once I put my guard down, I started to appreciate it for what it was. As I progressed through the tracks, I found that the music had more credibility and a raw edge than I had anticipated. All in all, it turned out to be a pretty decent album.
B.B. King
3/5
This is my first time checking out B.B. King. You can feel the vibe and practically see what it would have been like to be there at that show. I really need to get more into blues in general. I love when artists incorporate blues influences into their music because it adds a raw, gritty feel. With this album, you’re going straight to the source of that raw energy and grit.
Deep Purple
4/5
This was my first time listening to this album, and I loved it. One thing I really enjoy about Deep Purple is that as they evolved into a heavier band, they continued to use the organ prominently. The organ holds just as much dominance as the guitars, which is a very defining characteristic of Deep Purple’s sound. It adds a unique depth and richness to their music that sets them apart from other heavy bands.
Fatboy Slim
3/5
This album is a double-edged sword, bringing a sense of bittersweet nostalgia. On one hand, it was really nice to revisit because I have a strong connection to it on a nostalgic level. The memories of my teenage years, living a carefree life and adapting easily to things, come flooding back. The album has some really cool parts that were enjoyable and fun at the time.
However, there’s a flipside. Some tracks feel kind of sloppy, as if Fatboy Slim was still honing his production skills. I noticed this even when it first came out, but I was more accepting back then. Now, if I disconnect from the nostalgia, I find that this album hasn’t aged well. As I’ve grown older and my musical tastes have evolved, the flaws that were once minor annoyances have become stumbling blocks, making it harder to appreciate the album for what it’s meant to be.
The Kinks
4/5
Judged on its own merits, this album is a really good album, solid from beginning to end. Compared to their previous garage rock albums, this one is far more refined, polished, and has a mature, sophisticated approach. These qualities are also why it was a commercial failure upon its initial release.
In the late ’60s, rock music was undergoing intense experimentation with psychedelic sounds, and counterculture was also leaning towards more aggressive and heavy music, leading to the rise of bands like Black Sabbath and Deep Purple. The characteristics of this album were completely opposite, lacking the appeal of the experimental and heavy music that was becoming popular at the time.
Madness
4/5
When it comes to hit songs, “Our House” has always been one of my top tracks. Beyond that, the only other Madness song I knew was “One Step Beyond,” which I found incredibly annoying. It led me to believe they were a one-hit wonder, especially since ska has never been my favorite genre. However, after giving “The Rise & Fall” and their 2009 album a listen, I’m pleasantly surprised by how much I enjoyed their music. I don’t know what their other albums sound like, but if they’re anything like these two, I’m excited to check out more.
Deerhunter
4/5
This was a little different and better than what I was anticipating. It’s indie rock with a neo-psychedelia, dreamy, and ethereal soundscape. You have reverb-drenched guitars, with a mix of traditional and electronic percussion. The electronic elements are subtle, adding depth and atmosphere to the songs. The production is very crisp and clean. It’s not the best thing I’ve come across, but I’m definitely going to play it a few more times just to absorb it better.
The Avalanches
5/5
This album was created entirely with samples. If you research it, you’ll find it contains over 3,500 samples, making it a true testament to the art of sample-based music. For me, this album is like a time capsule. I remember the late ’90s and early 2000s very clearly, and this was the kind of music I was really into. It contains a lot of samples and vibes that bring back precious memories.
When I say time capsule, I mean it on two levels: it captures the essence of the past through its samples, and it also resonates with me on a deep, personal, nostalgic level. This album has segments that are more house music oriented, but for the most part, it’s a chill out/downtempo album. Although I’ve known about this album for a long time and have heard bits and pieces of it in the past, I never played it from beginning to end until now. Looking back, I feel like I missed out, but better late than never.
Wilco
4/5
One of the most fascinating aspects of this album is its backstory. Reprise Records rejected it, prompting Wilco to move to another label. Ironically, this album has since achieved gold status. Musically, “Yankee Hotel Foxtrot” stands out for its mellow vibe. It’s a seamless blend of indie rock with country influences, enriched by subtle electronic effects and innovative production techniques that create an atmospheric soundscape. While I wouldn’t rank it among the absolute best albums of the 2000s, it’s still a solid and enjoyable listen for what it is.
Elvis Presley
2/5
This album is supposed to reflect a more mature Elvis, fresh from his military service and ready to show a new side of himself. However, I find that his music still doesn’t resonate with me, mature or not. Elvis and his music aren’t necessarily bad, but they don’t strike any emotional chord with me. The standout moments on this album are the country, blues, and jazz elements, which were interesting, but overall, it wasn’t compelling enough for me to want to listen again.
The Velvet Underground
3/5
Although I enjoyed the more noise rock and abrasive side of The Velvet Underground the most, this was a pretty cool, chill album. The primary focus is definitely on the lyrics and vocals, which are mostly about love, longing, and everyday life – basically the same themes as many other albums. The music is stripped down to simplicity, giving the album a warm, cozy feel.
The Doors
4/5
It's been so long since I’ve listened to a Doors album, and boy, I forgot just how enjoyable they are. This one is definitely another I'll go back to and jam out to again.
Iron Maiden
5/5
When it comes to this style of metal, especially from this era, it’s not at the top of my list, but this album is definitely done right. Every single element that this style of metal aims for, this album hits on point. The music is high-energy and fast-paced, with plenty of catchy riffs and melodic hooks. The bass on this album has always stood out to me for some reason. This is definitely an album I go back to from time to time, and it will always be enjoyable no matter how far into the future we go because it’s timeless.
Elvis Costello & The Attractions
4/5
I would have to say that this is definitely one of the better albums I’ve heard from Elvis Costello. It’s pretty upbeat and has a high-energy vibe with catchy melodies. I really enjoyed the keyboard elements the most because it brings a lot of color to the music.
Janis Joplin
3/5
I don’t think I’ll ever fully grasp the appeal of Janis Joplin. Despite being hailed as one of the greatest singers of all time and being a woman that many men were crazy about, those aspects just don’t resonate with me. However, I have immense respect for the significant mark she left on music history. She showcased her vocal prowess on this album, seamlessly blending psychedelic rock with blues and soul. Even though her raspy voice and rugged, gravelly tone don’t do it for me, I can’t deny her talent. The musicianship on this album is top-notch, and the music is truly exceptional.
D'Angelo
5/5
Going into this album, I thought I was stepping into a hip-hop album, but instead I got something way cooler and more chill. This is really enjoyable—Neo Soul, I guess they call it. It brings back memories of the late ’90s, listening to underground DJ mixes, especially those chill acid jazz mixes. It’s something you’d expect to hear on Mark Farina’s Mushroom Jazz series. This is definitely an album I’ll save to my list of future listens.
Stevie Wonder
4/5
Thankfully, this was a much more enjoyable album compared to the last Stevie Wonder album I reviewed, especially considering it’s a double album. “Songs in the Key of Life” is a very soulful album that covers a lot of ground. It features a wide array of instruments, from traditional ones to horns, strings, harmonica, keyboards, and synthesizers. Another fun fact I learned while listening to this album is that Coolio’s “Gangsta’s Paradise” is a complete rip-off of Stevie Wonder’s “Pastime Paradise.”
Iggy Pop
4/5
While not every song on this album is a hit, it features a handful of tracks that are classics. It has a raw, stripped-down rock feel that adds great texture to the music. Produced by David Bowie during his Berlin Trilogy years, this album benefits from Bowie’s creative streak.
The Byrds
5/5
I’d recommend listening to this album with headphones or earbuds and really paying attention to the production. Between phasing, echo, and multitracking, you can truly pick up on the rich textures and dynamics of the studio effects that enhance the psychedelic soundscape of the album. An interesting aspect of this album is the internal conflicts and turmoil the band faced during its making. They lost two members, one being a founding member and the other the drummer. Additionally, an original lineup member rejoined briefly before leaving again. Despite all this conflict, the band managed to create such a high-quality, cohesive album.
4/5
Initially, I wasn’t too eager to dive into this album due to some old, unpleasant associations with War. However, I’m glad I gave it a chance. This album turned out to be a perfect and chill way to start my day. I had forgotten just how groovy and funky they can be, and the percussion elements really stood out, bringing back some great memories. The jazz influences add a great vibe. The album’s laid-back yet energetic pace struck a perfect balance, making it a thoroughly enjoyable listen from start to finish.
SAULT
2/5
If you’re into contemporary social justice and politically charged lyrics, then this album will likely resonate with you. Personally, I’m a bit burned out on the constant news and media barrage, but I have to say, the music and production on this album are top-notch. It has a dark, synth-driven atmosphere and leans heavily towards an experimental and innovative vibe.
Fugees
5/5
This album cover is one I’ve seen countless times since the ‘90s and early 2000s. Surprisingly, I never listened to it back then. During the early to mid 2000s, I was deeply immersed in hip hop, but this album somehow slipped through the cracks. It’s a shame because this is exactly the style and sound I would have gone crazy for. Their lyrics are incredibly smooth and catchy, and their vocal delivery is top-notch. The production is stellar, featuring darker atmospheric synths that add depth and dimension, coupled with excellent sampling. This album is a gem that I’m glad I finally discovered. Better late than never!
CHVRCHES
3/5
Overall, this is a pretty decent modern synthpop album. It features some really catchy, heavy analog basslines and is very smooth, polished, and highly produced. This definitely appeals to a modern mainstream EDM audience. If anything, my biggest gripe is that it’s so polished and highly produced. I prefer my synthpop to be more raw, with more texture, not such a smooth feel. But considering it came out in 2013, thank god it’s not a dubstep album.
Prefab Sprout
5/5
This was a pretty good find. Another great 80s Art Pop and New Wave album that I hadn’t checked out before. It has a wonderful nostalgic and reflective quality, paired with smooth and polished lush production. An added bonus is that it was produced by Thomas Dolby.
David Bowie
5/5
This album has always been one of my favorites from Bowie. It’s part of his Berlin Trilogy with Brian Eno, and it’s probably the easiest to listen to out of the three. The album goes for a higher quality sound and production, but still maintains its experimental approach. There are about three tracks that are more ambient, which really showcase Eno’s influence on Bowie. Over the years, these tracks have become a big highlight of the album for me. For anyone new to Bowie and exploring his music, this is definitely an album you can’t skip, as it’s one of the biggest highlights of his entire catalog.
The Notorious B.I.G.
3/5
I have to admit, this album was actually pretty cool to listen to. Back in the 90s, I never gave it a chance because it was so trendy and commercial, especially with suburban kids who thought they were gangsters. That audience always turned me off, and I was more into other styles of music back then. Revisiting it now, I realized it has really good production and is better than I expected, especially for its time. The album uses a lot of great old samples of funk, jazz, and R&B, which adds a lot of depth. Another pleasant surprise was seeing DJ Premier involved in the production, as I’ve always enjoyed him. Overall, it was a much better experience than I anticipated.
Dire Straits
5/5
This debut album from Dire Straits will always be their best. I love the minimalist, straightforward roots rock and pub rock approach of this album. It’s rock in its purest form. The laid-back vibe, combined with Mark Knopfler’s fingerpicking guitar style, creates a crisp, clean, and refined sound that’s hard to beat.
Eminem
1/5
The production on this album is undeniably high-quality, filled with catchy beats and memorable hooks. Even though I’m not a fan of Dr. Dre and don’t follow his work, I have to admit that he’s a top-tier producer. Now, onto Eminem. I know my opinion might be outnumbered by the masses, but I’ve always struggled to see him as a timeless musical legend. His wacky, silly, and goofy wordplay, laced with provocative and sarcastic humor, just doesn’t resonate with me. It feels more like satire with a level of maturity that specifically targets a young adolescent demographic. Sure, it’s a phase we can all relate to at some point in our development into adulthood. And yes, maybe his music spans generations, but it’s also a phase that we’re meant to grow out of. As one generation moves past that stage, another younger generation steps in to take over where the last one left off. But here’s the thing: if you found yourself relating to Eminem at 20 and are still listening to him at 60, that might be a pretty good indicator that you never really evolved or grew up.
Michael Jackson
3/5
This was a fun album. I’ve never really had an issue with Michael Jackson, but because he’s always been such a big deal, I’ve tended to overlook him and focus on other artists. It’s not something I can see myself coming back to often unless there’s a specific reason, but it definitely wasn’t time wasted either.
LL Cool J
2/5
This album is considered “Golden Age Hip Hop.” If that doesn’t make you feel like an ancient relic, I don’t know what does. With that said, listening to this album was a bittersweet experience. On one hand, its juvenile innocence and simplicity took me back to a time when the world seemed so much simpler than it is today—a reminder of how far removed we are from that era. The music production and LL Cool J’s rapping are both full of energy, and I can just imagine how much fun this album was to play at house parties and other lively environments back in the day.
But on the flip side, that same juvenile innocence and simplicity mean that a lot of hip hop from this era hasn’t aged well.
A Tribe Called Quest
4/5
When it comes to old-school hip-hop, I’ve often pointed out how a lot of it hasn’t aged particularly well. But this album is an exception—it’s definitely held up better than most from its time. It may not have the same energy and punch as some of the other records that dropped around the same period, but that’s exactly what makes it timeless. The lyrics are more thought-provoking, and the production has a jazzy, laid-back, smooth vibe that plays to its strengths. While it might not have aged perfectly, I find myself coming back to this album far more often than other releases from the same era.
Fiona Apple
4/5
One of the most impressive things about this album is that Fiona Apple was only 18 when it came out. If she really did write her own lyrics based on personal experiences, then she was pretty mature for her age. What I enjoyed most about the album, though, is the music itself. I love the piano and the drumming on this album. The beats have a strong driving force, but they don’t overshadow the piano, which really drives the album. The combination of the two works very well together, and the production behind it is pretty solid too.
The Police
4/5
I’ve known about The Police my entire life, and of course, their big hits are always on the radio. Beyond that, I just saw them as a classic rock band with some new wave elements and didn’t think much more of it. But after listening to Reggatta de Blanc, the first thing that stood out to me was the strong reggae influences throughout the album. I never picked up on that in the songs you hear on the radio. After doing some research and giving the album a few more listens, I have to admit I now see them in a whole new light and enjoy their music more than before. I also noticed some subtle punk influences in a few sections, but overall, this album is a very polished pop record that mixes 70s classic rock with reggae influences.
Radiohead
4/5
The funny thing about Radiohead is that I’ve always liked and enjoyed experimental music, but back in the early 2000s, when they were in their heyday, I had a hard time getting into their music, it just felt so boring to me. I also think that a lot of their fans at the time turned me away because they were so obsessive and acted like the band was God’s gift to the world. These days, though, when I listen to Radiohead, I’m actually able to absorb their music and appreciate it for what it is. As for Amnesiac, it was pretty cool. It had some catchy moments with good hooks, and it was experimental across the board, especially with the electronic elements. The album has some glitchy moments, which is a hallmark of early 2000s experimental electronic music and IDM, but Radiohead definitely falls under the umbrella of rock versus electronic. One of the things I appreciate about their music is that they’re able to pull from so many different directions and influences and do a great job of crafting them together. It’s really hard to put them into just one category.
Jeff Buckley
4/5
Musically, this album excels at blending rock, folk, jazz, and art rock elements. The guitar work is particularly impressive, ranging from delicate fingerpicking to powerful, distorted riffs that add depth and texture to the music. The lyrics are intensely emotional, exploring themes of love, heartbreak, longing, mortality, spirituality, and personal struggles with emotional turbulence. However, the one drawback for me was that I didn’t particularly enjoy the sound of his voice.
Jethro Tull
3/5
I was already familiar with a few tracks from Aqualung just from hearing them on the radio growing up, but I never really paid attention to who they were by. It’s funny because, over the past year, as I’ve been diving deep into progressive rock, Jethro Tull is a name that wasn’t really on my radar until recently. Listening to Aqualung now, I’m hearing those songs in a completely new light. The tracks I used to think of as classic hard rock now stand out as part of a pioneering progressive rock artist’s work. I’ve sampled a good number of Jethro Tull’s albums so far, and I’d say this one is probably his most commercial-sounding. He’s had albums that didn’t quite click with me and others that I really enjoyed, and Aqualung falls somewhere in the middle for me. I’m still getting more familiar with Jethro Tull’s music before I can decide if he’s really my thing or just not one of my favorites in the prog rock scene.
Frank Ocean
4/5
To be honest, R&B and soul aren’t really my thing, especially when it comes to modern R&B and soul. I remember when this album came out, and I skimmed through it briefly but never really gave it a proper listen. I overlooked it and never came back to it—until now. Finally listening to Channel Orange from beginning to end, I have to admit, I really enjoyed it. Frank Ocean as a vocalist initially came off as a bit cliché and average to me, but as the album went on, I found myself appreciating his singing more. The production is really good, with a laid-back, chill, and atmospheric, dreamy feel that pulls you in.
Crosby, Stills, Nash & Young
4/5
I found Crosby, Stills, Nash, & Young's *Deja Vu* to be more enjoyable than I expected. While most songs landed around a middle-of-the-road 3 rating for me, there were a few standout tracks that I would rate a 4 or 4.5.
Steely Dan
3/5
Peg is definitely a standout track. As for the rest of the album, it’s nice and laid-back, with a very chill vibe. It’s the kind of music that wouldn’t be out of place while you’re waiting for your name to be called at the dentist’s office.
Kelela
2/5
This album came with a ton of hype from critics and publications like Pitchfork, but I think it was more praised for the idea of what it was supposed to be and the fact that it was released on Warp Records than for the actual music. I get the cool concept and the appeal of being on Warp, but when you strip all that away, the album is mostly just boring. Some of the production had its moments, but it wasn’t as innovative or futuristic as it aimed to be. Plus, her vocals didn’t do it for me. The tracks with strong production would have been better without her, and honestly, the whole album might’ve been better without her vocals altogether.
Björk
4/5
Out of all the albums I’ve heard from Björk, “Debut” stands out the most to me. What makes this album my favorite is its ability to balance a variety of different elements seamlessly. It’s innovative and forward-thinking, incorporating experimental sounds with lush elements like trip-hop and house music. This balance makes “Debut” the album I return to the most, as it is easier to absorb in everyday moods or environments.
Since “Debut,” it seems Björk has focused more on the experimental route, putting all her eggs in one basket. While there’s nothing wrong with that, it does require a specific mood and mindset to fully appreciate. I love experimental music, but sometimes it feels like artists are just throwing random elements together and calling it experimental art.
However, when someone like Björk approaches a project like “Debut” with an innovative mindset and uses unconventional tools and methods within a more structured framework, it creates something that’s more easily enjoyable for the listener. This balance of innovation and accessibility can be more challenging to achieve than pure experimentation.
I will end on a high note by saying Björk has always pushed the boundaries of music, so you have to give credit where credit is due. For personal enjoyment, though, “Debut” is my favorite album.
Doves
5/5
I can’t believe this album slipped through the cracks for me. Back in the early 2000s, this was exactly the kind of music I loved. Discovering it now feels like I missed out back then. This album reminds me a lot of Moon Safari by Air, but with an indie rock twist and more structured songs. It has a sense of longing, with a lot of emotional depth. It’s very melancholic, dreamy, and atmospheric. This is definitely an album I’ll be playing more in the future.
Steely Dan
4/5
Steely Dan is the definition of Dad Rock. Even though I’m not a dad, I’ve got to admit, I’ve grown to like them. I didn’t really pay attention to Steely Dan until I stumbled upon one of their albums through the 1001 generator. Since then, I’ve dug into more of their albums, and I’ve found that they’re mostly a laid back, mid tempo band that just flows effortlessly. It’s easy music to listen to and enjoy.
Nick Drake
5/5
I really enjoyed listening to the 'Pink Moon' album by Nick Drake. I'm glad I finally got around to listening to it because it was on my list for a while. This album has a unique charm with its beautiful melodies and thoughtful lyrics. I would definitely recommend it to anyone looking for something different in folk music.
Fairport Convention
5/5
After discovering this album, one thing that I really enjoyed about it, is that’s it’s really softened my heart to folk music. This is an album I’ll definitely be coming back to in the future.
Neil Young
5/5
This was a really good and enjoyable album. It’s a wonderful blend of country, rock, and folk. There are a few sections with a heavier rock element mixed in, but overall, it’s a very cohesive, laid-back, and mellow album. The instrumentation is a great mix of acoustic guitar, electric guitar, pedal steel guitar, string arrangements, and piano, which really hooked me in. The album has a warm and intimate vibe with a cozy atmosphere. I have to admit, I’ve never really liked Neil Young as a person, but the more I’ve listened to his albums, the more I’ve found myself enjoying his music. And with this album, he really hooked me in. So far, this is hands down my favorite Neil Young album.
Blood, Sweat & Tears
4/5
This was a really cool album. It’s a great combination of jazz, rock, and blues, with some of the psychedelic influences and sounds of its time mixed in. I really enjoyed how seamlessly they blended all these elements and how upbeat and energetic the album is. I’m definitely going to check out more from these guys.
Bill Callahan
5/5
I really enjoyed this album. To be honest, I’m not too familiar with Bill Callahan. I’ve listened to Smog a few times and enjoyed it, and I once checked out a collaboration album between him and Bonnie ‘Prince’ Billy, but it didn’t quite hit the mark for me. Now, this album is absolutely amazing. I love his baritone voice, which is deep and full-bodied. His vocal delivery is calm and almost conversational, flowing naturally without ever sounding forced. The production is clean, crisp, polished, and layered, allowing each element to shine. It gives the music a beautiful, bright, and colorful vibe. Out of everything I’ve heard from Bill Callahan so far, this is definitely my favorite.
Manic Street Preachers
4/5
This album grew on me more and more as I delved deeper into it. While I'm not initially a big fan of the vocalist's voice, I'm sure it will grow on me over time. This album offers a raw and gritty alternative sound with influences from grunge, post-punk, and punk. For anyone who enjoys the raw, stripped-down sound of indie rock, this is an album you'll probably appreciate.
Radiohead
4/5
So, like most albums from Radiohead, I think you’ll get the best listening experience by listening to it on headphones or earbuds. In this case, you’ll be able to hear different elements of the track in a more multi-dimensional layered soundscape. I’ll point out the opening track “15 Step.” It begins with some vocals, then you hear some rhythmic guitar work. From there, you get some electronic beats and the track builds. The rhythmic guitar feels like it was unearthed from a dusty vinyl collection, looped and layered to create a rustic, vintage foundation. From there, Radiohead overlays clean, polished production of more modern sounds. This approach really adds a lot of depth and texture that blends nostalgic and modern elements seamlessly. Now, this is just one example, but the album is filled with multiple layers where each layer feels like it was created and produced separately.
The Human League
5/5
With this album, The Human League took a clear step toward a more accessible, radio friendly, and commercial sound compared to their earlier releases. I’ve always appreciated their first two albums, but I have to say, this one takes the cake for me. It’s got everything that makes synthpop so catchy and fun. Every element of this album is electronic, from the drum machine driven beats to the synth driven melodies and basslines. What I really love about 80s synthpop is its natural quirkiness, and this album has its share. When it comes to easygoing electronic synthpop from the 80s, this album is always going to be at the top of my list.
Fats Domino
3/5
One of the coolest things about the 1001 album generator is how it’s introduced me to music that’s completely outside of my usual realm. As much as I’d love to go on about how incredible and groundbreaking this album is, the truth is, aside from knowing Fats Domino’s name and his role as a rock ‘n’ roll pioneer, my musical journey pretty much begins in the 60s and moves forward. It’s not that I don’t have an interest in this earlier era; I just haven’t ventured this far back yet to fully grasp the influence and impact of albums like this. That being said, if you’re interested in exploring some of the pioneering records from the early days of rock, this is definitely one to dig into.
The Rolling Stones
3/5
I found this to be a more middle-of-the-road album for The Rolling Stones. It's not their best, but it's not bad either. Their two prior albums were more psychedelic rock, and I personally wish they had stayed on that path because I really enjoyed those. This one, however, leans more towards blues rock, so if that's your preference, you'll likely enjoy it.
Maxwell
3/5
This isn’t exactly my go-to genre, but if more contemporary soul and R&B were like this, I’d definitely enjoy it more. The newer, more aggressive R&B often loses the essence of what soul and R&B were originally about. That said, this album is incredibly laid-back, smooth, and lush, with a sensual atmosphere and polished, glossy production.
Van Morrison
4/5
Van Morrison has such a vast catalog, it’s going to take some time for me to work through it all. But out of everything I’ve heard so far, this album is definitely my favorite. I love how heavily it leans into folk, with strong jazz and blues influences, which creates a lush and rich atmosphere throughout the album.
Paul Simon
4/5
This was my first time listening to Paul Simon in its entirety, and it turned out to be a solid album. While it’s clearly a folk rock record, one of the first things I noticed was the subtle reggae influence on a few tracks. Not every song leans that way, but as the album progresses, it becomes clear that Simon draws from a variety of genres and styles. The percussion, in particular, adds a lot of texture and diversity. However, the overall production remains intentionally minimalistic, allowing Paul Simon’s fingerpicking guitar and vocals to take center stage.
Deep Purple
5/5
Machine Head was an album my dad introduced me to when I was really young. At the time, Deep Purple was just another classic rock band in the mix, and I didn’t fully appreciate them until more recently. Growing up, they were always playing in the background, but it’s great to now look back and really understand their place in rock history. Whether it’s hard rock, metal, or prog rock, these guys definitely made their mark. And honestly, how can you not love that Hammond organ jamming along with their music?
Muddy Waters
5/5
I’m glad this album came across my plate. This is my second time listening to Muddy Waters, and I’ve enjoyed everything I’ve heard so far. This live album has a raw, authentic, and soulful vibe throughout. The piano provides a great rhythmic and melodic foundation, but it’s the harmonica that really stands out, adding a lot of raw energy to the performance. Muddy Waters’ vocals are commanding and filled with grit, while still bringing out a deep, soulful emotion that really drives the music.
Beatles
5/5
This is the era of The Beatles that really started to catch my interest. It’s where they began heading in a more psychedelic direction and started experimenting with production and studio techniques. You can really hear them pushing boundaries, which is why this album is so fascinating to me. It’s also why I love listening to these albums with headphones or earbuds, the layers and details really come through.
David Bowie
3/5
This album really showcases Bowie’s ability to adapt to different styles of music and still pull it off in a complementary way. Bowie wanted to do his own reinterpretation of American Soul and R&B music. The production is sleek and polished, with a sophisticated approach and complex rhythms. He also worked with a lot of great musicians, including one of my favorites, Mike Garson.
Jane's Addiction
3/5
I have to admit, I’m pretty burnt out on a lot of these songs, but I still have to give Jane’s Addiction respect for standing the test of time. When they first came out, they were played alongside glam rock and hair metal bands. As that era faded, they seamlessly blended into the grunge movement. Even beyond that, as music continued to evolve, they always stayed relevant with whatever was happening at the time. That’s probably why I’m burnt out on them, these songs have been played for as long as I can remember.
Frank Zappa
5/5
Frank Zappa was truly one of a kind. He always had a fun, playful, comical, and quirky side, and that’s the side of him I really connected with. But beneath those characteristics, there was some serious musicianship, and he always pushed the boundaries as far as possible. On this album, you really get to see his more serious side. Hot Rats is an instrumental jazz fusion and prog rock album, filled with complex, intricate, and multi-layered compositions, with some heavy blues influences. It’s also known for its groundbreaking production and use of studio technology. When you listen, you’ll notice how crisp and clean this album sounds—especially compared to many other popular records from the same era.
Fela Kuti
4/5
This was a really cool discovery. The album blends Afrobeat, jazz, funk, and soul, driven by complex polyrhythms and repetitive structures that give it a hypnotic feel, pulling you right into the groove. Even though it has a strong rhythm, the vibe is chill and laid-back. Lyrically, the album serves as a powerful political statement, challenging the Nigerian government. Sadly, it led to a violent backlash, where the military raided Fela’s compound, severely injuring his mother and arresting many of his followers.
Solomon Burke
4/5
This was a cool album, especially to hear something from the early days of soul music. It’s a great blend of gospel-driven soul mixed with R&B and some early rock influences. You can also hear those bluesy elements woven into the rock side of things, which adds even more depth to the overall sound.
N.E.R.D
4/5
It’s funny because I’m really familiar with the vocals on this album from hearing all the remixes over the years, but I’ve only listened to the original tracks a handful of times. Overall, this is a fun, enjoyable album if you’re looking for something light, easy, and surface-level. It’s upbeat, playful, and full of unpredictable shifts, crossing over lots of genres and keeping things danceable throughout.
Boston
4/5
Boston is a band that I was raised on, so they will always have a special place in my heart. This album is one of my go-tos when I need to be lifted into a better mood. It has a lot going for it in terms of instrumentation. Tom Scholz used a lot of custom-built equipment and was really ahead of the curve with his studio production techniques, making this album groundbreaking for its time. Even better, the album is very consistent all the way through, with good songs and a smooth, cohesive flow.
Air
5/5
"Moon Safari" is such a timeless album. It really pulls on the strings of nostalgia for me. I remember discovering it at a record store on a new release listening station. Back then, I listened to a lot of aggressive gabber, DNB, hard house, and the list goes on, but this album hit me differently. It was so soothing, lush, smooth, dreamy, yet euphoric and uplifting. It spoke to my soul. Even today, when I listen to the opening track “La Femme d’Argent,” I still feel that sense of calmness, euphoria, and now, years later, a hit of nostalgia. It takes me back to a time when life seemed simple and carefree.
Another element I’ve always appreciated about this album is the way they use synthesizers. They make it clear that they are using analog synthesizers, creating a warm, organic sound that can't be ignored. If you’re a fan of chill and downtempo music, this is a must-hear album. It’s amazing how this album is 25 years old now, but it still feels fresh. This album will never get old.
Cocteau Twins
5/5
This is my second time listening to this album, and it absolutely fits the name Dream Pop. It’s dreamlike, ethereal, surreal, and abstract. This is definitely one of those albums you start from the beginning and just let it play all the way through. The whole thing feels like a journey, with each track seamlessly flowing into the next.
Elton John
4/5
Elton John is usually hit or miss with me, but the more I hear from him, the more I’m learning his music is much better than I thought. It turns out that most of his radio hits are songs I don’t seem to care much for, and I’m also not the biggest fan of his voice. Once I get past those few aspects, it turns out that this album is pretty good. It’s definitely soft rock with a laid-back feel. The musicianship and instrumentation are very rich and high quality, with top-notch production. Elton John’s piano is the lead instrument of the album, setting the tone for its overall mellow vibe. You also get rich orchestral arrangements that give the album a more cinematic feel. Even though I have a few subjective hold-ups with Elton John, I have to admit that this album has high-quality music, with amazing musicianship and instrumentation.
Tricky
4/5
Tricky is a great example of what made ‘90s electronic music so special and unique. Since the genre was still developing and finding itself, every artist had their own distinctive style, even within the same sub-genre. For example, it’s impossible to mix up Tricky with Massive Attack, because they each had their own sound. Back then, producers didn’t confine themselves to certain boundaries or borders of music depending on the style they were making. Anything and everything went.
Arcade Fire
3/5
This was a decent album. After listening to three Arcade Fire albums, I’m still not sure why they’re held up with such high praise, but they’re not bad overall. It’s a blend of indie rock, baroque pop, and art rock. The production is dense and atmospheric, with a darker, apocalyptic tone.
Pixies
5/5
Let’s start with the production of this album. There’s no doubt that the Pixies are a great band in their own right, but one of the biggest factors about this album and what gives it its timeless quality is Steve Albini’s production. Steve’s talent for having his minimal approach and being able to capture a room’s natural acoustics and ambiance, or his ability to capture the raw imperfections of the band’s performance, really shines through on this album. It gives you a finished product that’s very raw and unpolished, with a live performance energy and a gritty feel.
Another aspect to point out is that Steve would place singers in unusual locations, such as bathrooms, to catch natural reverb. This technique is definitely evident in “Gigantic” with Kim Deal’s vocals.
Now moving on to the band, I love how they have an abrasive element to their music, but they also have a knack for catchy hooks and melodies. I could keep going on and on about this album, but the last thing to highlight is Kim Deal’s basslines. Her bass steadily moves in the background, laying a rhythmic foundation for all the other layers and elements of the songs to be built upon.
Primal Scream
4/5
This is a very unique album, blending early 90s indie rock with Neo Psychedelia and late 80s/early 90s UK-style acid house. With my background in electronic and dance music, I really appreciate how they tapped into the culture of the house movement, using production techniques, samples, basslines, and sounds that capture the essence of that era. It’s something that people like me can easily recognize and connect with. At the same time, they strike a great balance by giving alternative rock and Neo Psychedelia their fair share of the spotlight. However, the downfall of the album is that while they found a good balance between all the different styles, it lacks the smoothness and cohesiveness that could’ve made it even better. At times, it feels like the layers don’t blend and match as seamlessly as they should have. Still, with Andrew Weatherall on the album production, the album remains culturally and historically significant.
ZZ Top
5/5
Nightmares On Wax
5/5
Man, it’s been ages since I last heard this. This album is jazzy, groovy, and incredibly laid-back, with hypnotic trip hop beats and ambient atmospheres. It’s the kind of middle of the road album that fits just about any situation. Whether you’re at a house party where people are getting into the groove, or casually driving with your grandparents after picking them up from the nursing home for lunch, this album just works. It’s smooth, inoffensive, and effortlessly cool.
Leonard Cohen
5/5
I think Leonard Cohen pulled this experiment off pretty well. Overall, it’s an 80s synthpop album, but you can hear elements of darkwave, artpop, and sophistipop mixed in. Cohen’s deep, gravelly voice is still front and center, along with his introspective lyrics and witty, half sung, half spoken delivery. The production gives the album a dark, melancholic atmosphere throughout. I’m sure he had people advising him to try something new since his career was dipping at this point, but this was a big departure from his earlier work, and he and his team did a solid job of pulling it off to revitalize his career.
The Shamen
5/5
I’ve always had a soft spot for these early electronic albums, and this one really hits the mark. I’ve known about The Shamen for about 30 years, especially their track “Move Any Mountain,” but this was my first time listening to the whole album. I can see why it was so groundbreaking at the time. It’s a reminder that to really appreciate this kind of music, you have to consider where it fits in history.
This album is a blend of early techno, breakbeats, and acid house with a bit of an ambient feel in the background, making it great for either a party vibe or just chilling out. The production is packed with samples and loops, a hallmark of dance music from this era. I didn’t realize until now that The Shamen used to be a psychedelic rock band and switched up their sound with this album. Now I’m curious to check out their earlier albums.
The Who
3/5
My Generation is The Who’s debut album, but for me, it doesn’t quite stand out compared to what they would later accomplish. It’s filled with early pop rock tracks like “My Generation,” which are fun and light, but the album as a whole feels simpler than their more complex later works like Tommy. It’s not bad at all, but it doesn’t hit the same level of sophistication that came with their later releases.
Scott Walker
5/5
Scott Walker is an artist who’s always intrigued me, especially because of how long he’s been pushing musical boundaries. Scott 4 stands out for its unique blend of orchestral arrangements, strings, and folk, with a subtle experimental edge. It’s one of the best early examples of chamber pop, even before that genre really existed. There’s a baroque pop foundation here, but what makes this album so special is its deep, introspective feel, which really highlights Walker’s talent for creating music that’s both rich and personal.
The Dictators
3/5
After reading the reviews, I wasn’t sure what to expect going into this album, but it turned out better than I thought. The Dictators were likely one of the first punk bands to mix in humor and satire with their music. You can see how they influenced bands like Dead Milkmen, Green Jelly, and Butthole Surfers. The music itself isn’t bad, but the humor feels like it’s aimed at a certain age group or maturity level to really appreciate it. Over all, it’s decent, but you’ve got to be in the right mindset to enjoy the humor.
Bob Dylan
4/5
I haven’t explored much of Bob Dylan’s catalog beyond his early work and now this album. His earlier albums didn’t really grab me, but this one stands out. From what I’ve read, he had moved away from his folk-rock roots for a while and came back to them with this record. One thing I picked up on is how much more mature this album feels, probably because a lot of the lyrics revolve around his personal experiences with his divorce. You can really sense the life experience behind his words, which gives the songs more emotional weight. Over all, this was a pretty solid album, and I enjoyed it more than I expected.
Joy Division
4/5
Joy Division feels like a rite of passage for many. You have childhood, adolescence, and then your “Joy Division phase.” Let’s be honest, most of us went through it! Either that, or Joy Division became more of a fashion statement in recent decades. Regardless, they were a band that I enjoyed during my early 20s. The darkness in their music, mixed with that raw, punk aesthetic, really struck a chord. The use of synths to create a cold, empty atmosphere was one of my favorite elements. I might not listen to them anymore, because I got my fill 20 years ago, but their influence is undeniable. They left a massive mark on post punk during the late ’70s and early ‘80s, and they made a comeback in the early 2000s, especially with indie bands like Interpol and even mainstream acts like The Killers. It’s also fascinating how New Order emerged from the ashes of Joy Division, transitioning into a much brighter, uplifting sound, another band that has stayed one of my all time favorites.
Queen Latifah
2/5
Thank goodness Queen Latifah is only a queen in her own mind! While her confidence shines through in every track, I just can’t help but think that she’s her biggest fan. This is one rap album that would have been better without the rapper!
The Jam
4/5
It was nice to finally get around to checking out The Jam. This album is a good example of accessible post punk with a bit of rawness and grit, though the production is still clear and polished overall. The guitars take the lead with angular, jangly riffs, and there’s minimal use of keyboards or synths. One standout feature is the bass, which really drives the album forward and gives it some direction. Overall, it’s a solid listen.
Stevie Wonder
4/5
So far, this is definitely my favorite Stevie Wonder album. The lyrics are very socially conscious, with strong political messages throughout. What really stood out to me was how Stevie Wonder played almost every instrument on the album. His production work was also pretty groundbreaking, with all the layering, multitracking, and other techniques he used. Overall, the sound is really polished and the album flows really well.
Queen
3/5
To be honest, I didn’t find this album as irritating as I expected, especially considering I’m not a big Queen fan. I’ve never really sat down with any of their albums from start to finish, mainly because my opinion of them is shaped by their overly-played, grating anthem hits. Thankfully, this album didn’t feature any of those overplayed tracks. However, I could definitely sense some early signs of the elements that would eventually evolve into those hits. But for what it is, Queen II came across as a bit better than I initially thought.
King Crimson
5/5
So far, this is one of my favorite King Crimson albums. Unlike some of their earlier work, this one doesn’t lean heavily on keyboards. Instead, it takes a more free-form jazz direction with an experimental, avant-garde twist. The heavier guitar riffs scattered throughout the album also stand out, bringing in a touch of early metal influences that give the music an added edge.
Red Hot Chili Peppers
3/5
Ok, this was one of those albums I really wanted to hate more than I actually did, but I have to admit, it had some good elements. That said, Anthony Kiedis is such an arrogant jerk, and it makes it incredibly hard for me to even want to give the Red Hot Chili Peppers a chance when they release new music. Honestly, he’s the biggest roadblock to me ever fully appreciating this band, and because of him, I doubt I ever will.
Aphex Twin
5/5
I don’t care how long you’ve been listening to electronic music, or how old, or young you are, this is a must listen to album for any fan of electronic music. This is a “know your roots” type album, and I think that’s why this is such a great album that should be on everyone’s list if they are new to electronic music. These tracks are already 30+ years old, and it has definitely stood the test of time, and this is a album that I know I’ll probably be going back to every now of than in 20 years from now.
Alexander 'Skip' Spence
5/5
Wow! I loved this album! Spence, a founding member of Jefferson Airplane and Moby Grape, recorded Oar just six months after being released from a psychiatric hospital, so he wasn’t in the best state of mind while writing this music. Not only that, but he had a small budget to work with, which definitely comes through when you listen. The vocals are raw, unfiltered, and often lack clarity, at times sounding more like a murmur. The production has a very stripped-down, lo-fi quality, making the album sound like a demo. Despite all these challenges, everything comes together beautifully. The rawness adds to the intimate and ethereal feel of the album, making it even more captivating.
Carole King
2/5
So I really wish I could give you guys a nice long review breaking down this album and the context and legacy that follows. Overall, here’s my honest review: this album is a very big deal with lots of influence. If you want to know more, then go research it yourself. For whatever reason, I don’t like her voice, I don’t like her style, and I don’t like her instrumentation. If I were to ever make a list of annoying songs I’d like to never hear again for as long as I’m alive, “Natural Woman” would definitely be somewhere on that list.
The Isley Brothers
4/5
So far, this is definitely one of my favorite ’70s funk albums. It’s got a great combination of rock, soul, and R&B all mixed together. The best way to describe it would be classy, funky, and smooth. They also did an excellent cover of Seals and Crofts’ “Summer Breeze”.
Taylor Swift
2/5
Where do I even begin? To be honest, I never really paid much attention to Taylor Swift, so I didn’t have much of an opinion about her in the past. But recently, she’s started embodying everything I can’t stand about superstardom. The grandstanding and arrogance of massive celebrities, who suddenly think they have all the answers to the world’s problems, really turns me off. When public figures like her start making political statements, I just feel like they’re overstepping. It’s like they reach a certain level of fame and suddenly believe they have to tell everyone what to think and do. On that alone, I’d love to give this album a low rating.
Now, musically, this album was way too commercial, polished, and glitzy for my liking. But I will say, it was interesting to hear such a strong ’80s synthpop influence, especially compared to her more country-oriented albums. As a 43-year-old man, this feels like music aimed at suburban teenage cheerleaders, but I have to admit, she worked with some top-notch producers who clearly knew what they were doing. While it’s too commercial and manufactured for my taste, that’s exactly what they were going for, and they nailed it. So, while it falls short of the middle ground for me, I still have to give credit where it’s due.
Pink Floyd
5/5
“The Piper at the Gates of Dawn” is one of those timeless albums that never ceases to amaze. No matter how often I listen, it blows my mind with its ahead of its time experimentation and studio techniques. The band overdubbed multiple layers of vocals, instruments, and sound effects to give the album rich texture. They used tape manipulation and backward recordings to create unique sounds and textures, along with echo and reverb effects. The music ranges from childlike, playful melodies to raw, gritty distorted guitar riffs that capture the essence of proto-punk. So many groundbreaking albums emerged from the 60s psychedelic movement, but “Piper at the Gates of Dawn” stands out as one of the best, forever topping my list of psychedelic classics.
The White Stripes
4/5
It was actually pretty cool to revisit this album. I was into The White Stripes before Elephant came out, and I loved “Seven Nation Army” at first, but after it got overplayed, I quickly burned out on it. So, I didn’t pay much attention to this album back then and lost interest in the band. Now, 20 years later, with all the hype behind us, I can appreciate that this is actually a solid album. While they still keep that distorted garage rock sound, this one feels way more refined than their earlier records.
Everything But The Girl
5/5
I’ve always appreciated Everything But The Girl, especially their work in the ’90s electronic scene, but this is my first time hearing Idlewild. I really enjoyed it. It’s got that cozy sophisti-pop vibe with a nice jazzy edge, and the bass provides a smooth, mellow groove. The production lives up to the sophisti-pop standard, refined, clean, and polished.
The Fall
5/5
Although this is not an actual live album, despite the name, it really does have a raw, live feel due to its stripped-down, low-budget production. This is definitely one of my all-time favorite post-punk albums and The Fall’s debut. If you’ve ever been overwhelmed by their extensive discography, this is a great starting point. Besides the raw and gritty production and early punk elements, I love the keyboard work on this album. It adds so much texture and depth to the music, providing catchy and melodic hooks. And you can’t forget about Mark E. Smith’s vocals. When I say “singing,” I mean that very loosely. Smith is a master at delivering his vocals in the laziest way imaginable. It’s almost like spoken-word commentary mixed with humming and moaning to the music, but somehow it works perfectly. His vocal style is truly the driving force behind the band’s identity.
The Stooges
5/5
This is definitely a good album to listen to when exploring the early days of proto-punk. It’s a great starting point, but I personally enjoy some of the follow-up albums from The Stooges more than this one.
Jimi Hendrix
5/5
Jimi Hendrix’s music is definitely the complete package. Every element stands strong on its own but also works together perfectly. I love the raw, dirty, and gritty feel that runs through his music. The drumming brings a lot of complexity with its clear jazz influences. The bass stays steadily in motion, holding everything together as Hendrix’s reverb-heavy, fuzzy, feedback-laden guitar tears it up. The blues influences in his riffs really add that extra layer of grit.
Serge Gainsbourg
5/5
I’ve known about Serge Gainsbourg for about 25 years now, but this is my first time listening to one of his albums from start to finish. He’s truly incredible. This album has such a strong mellotron presence, giving it lush orchestral arrangements that bring out that baroque and chamber pop vibe. You also get some psychedelic rock touches and these raw, gritty guitar riffs that even flirt with a proto punk sound. The entire album is sung in French, and all those musical elements I mentioned are layered on a French pop foundation. The production is fantastic, with the bass especially standing out. This is definitely one of those albums you want to listen to with headphones to really appreciate all the sound layers. If the rest of his catalog is as solid as this, Serge Gainsbourg might just work his way into being one of my favoritesi.
Travis
4/5
Duran Duran
4/5
Duran Duran was one of the first New Wave bands I got into during my late teens, and looking back, they’re a great starting point for the genre. They have that flashy, glamorous appeal combined with catchy rhythms and melodies that stick with you. While they are mostly a New Wave band, their rock influences make them more accessible to a wider audience. This album is especially a good place to start since it features many of their well known radio hits.
Bon Jovi
4/5
It was kind of fun to go back and revisit this album, however, it’s not something that will make its way back into my regular rotation, primarily because I’ve heard it so many times since I was a kid. Despite its undeniable classic status, it feels like it’s more of a nostalgic trip than a staple for my current playlist.
Can
5/5
This was a cool album to hear. The last one I listened to had moments of experimental chaos, but this one leans more into ambient rock. It’s not exactly slow, just laid-back and chill. The music takes you on a dreamy, hypnotic journey. The beats are steady and consistent, with a tribal-like feel that really enhances the album’s trance-like vibe.
Gene Clark
4/5
It’s hard to believe this album was overlooked and a commercial failure when it came out. I think it’s one of the best country rock and folk rock albums out there. It also has a nice layer of psychedelic and baroque pop woven into the sound. The production adds an expansive feel, giving the music more depth. Gene Clark delivers the emotional weight beautifully, adding a personal touch that makes the album more deeply heartfelt.
Lou Reed
4/5
This was a good album. If your not familiar with Lou Reed than this is a great starting point. I’ve known about him for many years, but never really had a chance to digest his music. I want to say that I can hear the David Bowie influence, but I’m not to sure who really influenced who, but if you like early David Bowie, than this will be right up your alley.
Willie Nelson
5/5
I’m really glad this album was on the list. Willie Nelson is one of those guys that I haven’t really gone out of my way to listen to, but his music has been really hit or miss with me. About 20 years ago, I had a CD from him that was from the late 90s, and I loved it, but than everything else that I heard from him, just wasn’t the same. Wasn’t even the same style of country, but this album is the same style as that CD than I once had, and I’m loving this one.
Neil Young & Crazy Horse
5/5
Wow, I really enjoyed this album. I never thought Neil Young could make an album that I’d enjoy as much as this one. The best way to describe it is folk rock with heavier, distorted guitars. That might sound like a strange combination, but he balanced all the elements perfectly, making it come together cohesively. Even though it’s raw and gritty, it still carries his trademark sound, so longtime fans can connect with it, while the heavier edge gives it the potential to reach a new audience.
Bruce Springsteen
4/5
Bruce Springsteen is someone I’ve known about my whole life, but I never really paid much attention to him. This was the first album of his I’ve listened to from start to finish, and it was pretty solid heartland rock focused on the struggles of the working class. The piano stood out the most to me. It’s definitely one of the driving instruments. The album has a good mix of heavier tracks and solid ballads.
Pretenders
4/5
This was a pretty cool post-punk album. The Pretenders are definitely more punk than I expected. Based on the few songs I already knew, I thought they leaned more into new wave, which they do at times, but overall, I’d say they’re heavier on the punk side.
Elton John
4/5
I have to admit, this one was way better than the last Elton John album I listened too.
Madonna
4/5
Even though I’m not a huge fan of Madonna or where her career eventually went, I have to admit this album was pretty forward thinking for a popstar of her stature at the time. Bringing in William Orbit as the producer was a great call. His work really is the backbone of the album’s success. It covers a range of electronic styles but maintains a cool ambient undertone that feels unique for such a massive pop release. Between Madonna and Orbit, they managed to pull it off.
Public Enemy
3/5
I’ll admit, I wasn’t too excited going into this one, because Public Enemy feels like old news by now, especially since I remember how big they were back in the day. But it was actually a fun throwback to listen to this album for old times sake. It’s wild how many samples I recognize now, and it really shows just how influential this album has been over the years.
Joe Ely
3/5
I was a bit doubtful going into this album, but it really grew on me as it went along. Most of the tracks have a lively, upbeat vibe that mixes honky tonk country with rock, blues, and a good dose of southwestern Tex-Mex flavor. It even made me wonder if Joe Ely had some influence on a band like Calexico with their modern take on Tex-Mex country rock. This isn’t something I’d listen to regularly, but I enjoyed it and would definitely be interested in checking out more of Joe Ely’s work.
Pet Shop Boys
5/5
This album steps away from the upbeat club tracks that the Pet Shop Boys are known for in their earlier releases. It’s still synthpop and groovy, but it dives into a deeper, more introspective direction with lush, atmospheric synths. There’s also a heavier use of keyboard orchestration and subtle guitars, which gives it a more sophisticated, art pop feel.
Earth, Wind & Fire
5/5
Soul and funk aren’t usually my go-to genres, but this album has become one of my favorites from that realm. It’s a great mix of soul, funk, and jazz. The soul really stands out on the ballads, while the upbeat, funky tracks add positivity and groove. The jazz element gives it a free-spirited feel, and with the lush arrangements and themes of hope and unity, the whole album sets an uplifting, joyful tone.
The Rolling Stones
5/5
This was a solid release for The Rolling Stones. It’s a great blend of their earlier hard rock and blues rock, with some folk and country influences mixed in. The production is polished in some ways but still has a raw, gritty edge that brings out the stripped-down essence of rock and blues. The use of piano and saxophone is another standout feature, adding a soulful, laid-back feel to the album.
Pearl Jam
4/5
This is an album I heard so many times back in the 90s that it’s become tough to stick with it from beginning to end without getting bored and turning it off. That said, I can’t deny the influence it had and how groundbreaking it was for its time. When it came out, it was like nothing else out there, a real breath of fresh air. Although I’m burned out on it now and it lacks the appeal it once had, I have to admit that there was a time when I listened to this album regularly.
The Afghan Whigs
5/5
This is one of those albums I wish I’d known about back in the early and mid-‘90s. It’s a mix of alternative and rock with a raw, gritty sound that adds texture and emphasizes the underground indie rock feel. I love the rhythm guitar, which has such a strong drive that grounds the songs and sets their tone and direction. The production is also raw and gritty but still meticulous, giving each instrument its own space to stand out and shine.
The Cure
5/5
This is definitely one of my favorite albums by The Cure because it highlights their early exploration of post-punk and new wave sounds. At the same time, it captures their transition into a more goth rock direction. The album itself is pretty mellow and laid-back, with a strong atmospheric and ambient quality. The production enhances this soundscape, especially with those echo-laden guitar lines that really set the tone.
Roxy Music
4/5
Roxy Music’s debut album is definitely the one to start with when exploring this band. You’ll definitely notice an evolution in their sound as you move through their catalog over the years. My favorite song from the album is “If There Is Something”—it’s such an amazing track with great musicianship that really draws you in and takes you on a journey. Another standout aspect of this album is the electronic and synthesizer work, all done by Brian Eno. He played a big role in shaping Roxy Music’s early sound. Eno was with them for the first couple of albums before leaving due to creative differences with Bryan Ferry, but he went on to do some amazing work in experimental and electronic music, as well as producing some incredible albums over the years. Another interesting fact about this album is that it was produced by Peter Sinfield, who was a key member of King Crimson. Sinfield contributed a lot to King Crimson’s early success, and it’s really interesting to see his involvement with Roxy Music, showing just how interconnected the music scene was at the time, even among bands with different sounds.
Steve Earle
2/5
This album isn't bad, but it doesn't stand out as exceptional either. It feels very mediocre and middle-of-the-road, falling short of being worthy of a "1001 Albums You Must Hear Before You Die" list. I'm not the biggest fan of country music, so perhaps I'm not the best person to fully appreciate it, but I can confidently say I won't be revisiting this one.
Metallica
4/5
It was fun to go back and listen to this album again, because I probably haven’t played it front to back since the ’90s. Back in the ’80s and early ’90s, every time Metallica released a new album, you could tell they’d leveled up from the last, especially with their technical skill. But when Master of Puppets came out, it felt like they leveled up a couple of notches. Their first two albums are classics, but this one really put them on the road as a force to be reckoned with.
Ladysmith Black Mambazo
3/5
This album was a follow-up to Paul Simon’s Graceland, and it really shines a light on Ladysmith Black Mambazo’s South African roots. They were a huge part of what gave Graceland its rich cultural feel, and here, they get to showcase that influence in its purest form. The album is entirely vocal, with intricate harmonies and call-and-response patterns that bring out a deep sense of spirituality and cultural pride. Paul Simon contributed to the production, keeping the focus on the purity of the vocals and harmony-driven arrangements.
T. Rex
4/5
What a fun classic album. It’s amazing to see the different directions music took in the early 70s after the psychedelic 60s faded. I haven’t dug too deep into the history of glam rock, but I know this is one of the defining albums of the era. This album has that gritty garage rock feel but with clean production and catchy hooks that make it easy for most people to enjoy.
Deee-Lite
4/5
This is definitely an album that helped house music reach a broader and more accessible audience. It’s one of those albums where you really had to be there at the time to fully appreciate the impact it made. Without that context, it might just come across as run of the mill pop and dance music from the early 90s.
The Zombies
4/5
Pavement
4/5
This album is a bit cleaner and more polished than their last one, but it still retains that raw indie sound. One cool thing about Pavement is their ability to build up their music to where it gets a little loud and noisy, yet they still maintain a laid-back and calm vibe throughout the entire album.
Lenny Kravitz
1/5
This album hit me with a double whammy. It was an hour-long ordeal of Lenny Kravitz delivering what I found to be terrible music, and just when I thought it couldn’t get worse, the last song felt like a punch in the gut on the way out.
Sigur Rós
5/5
This is one of the most interesting and unique post-rock albums I’ve heard so far. It’s especially impressive considering it came out in the ‘90s. It feels like it was way ahead of its time. While it’s rooted in post-rock, it blends ambient, art rock, dream pop, and chamber pop seamlessly. The album has an otherworldly, ambient feel with lush orchestrations that set the stage for its expansive sound. Even with its calming, almost sleep-inducing moments, there are also chaotic parts that maintain the ambient soundscape throughout.
AC/DC
4/5
This is hard rock at its best. The production is sharp, letting each instrument stand out on its own while still creating a cohesive sound. It has a raw, stripped-down feel that captures pure rock energy and keeps the album sounding fresh and powerful.
Echo And The Bunnymen
5/5
I really enjoyed this album. It’s definitely post-punk with that early goth sound. It has the dark, moody atmosphere of bands like Joy Division and Bauhaus, but with more energy that highlights the punk influences and the new wave sounds bleeding into the music. Since this is their debut, I’m excited to move through their catalog and see how they progress from here.
The The
5/5
I wish I had discovered this album years ago. It’s much more Synthpop than I ever expected from The The. While there are guitars, they’re mostly used to add subtle texture rather than overpowering the synth-driven sound. The album is dominated by synthesizers and drum machines, with beats that remind me of New Order’s “Blue Monday.” The rhythm is a standout feature, sometimes driven by synths, other times by a bass guitar, all coming together with uplifting piano solos and catchy melodies.
Buddy Holly & The Crickets
4/5
This was a really fun listen, capturing the spirit of early rock and roll with some rockabilly twang. It’s cool to know this album helped shape the sound of rock and roll during its formative years.
Elastica
4/5
If you base your expectations on the hit single “Connection,” you’ll be surprised to discover that the rest of the album isn’t as poppy. It definitely has a pop edge, but it’s also punchy with strong grunge and punk rock influences, which took me by surprise on my first listen. This album is always fun to revisit, especially when you’re in the mood for something catchy and melodic that still retains a raw, edgy vibe.
Wilco
3/5
This album isn’t bad or terrible, but it falls squarely into the category of basic, simple, and middle-of-the-road. I owned it years ago, and even then, it never left a lasting impression. Revisiting it now, my feelings haven’t changed. It’s the kind of music that’s perfect for background noise while taking a nap or washing the dishes. It serves its purpose, but it doesn’t stand out or demand attention.
2/5
So, I don’t think I’ll ever understand the success of Oasis and how they’re considered such a legendary band. Liam Gallagher literally just whines in every single song, and it’s the most annoying thing ever. That said, if it wasn’t for Liam Gallagher, I’ll admit that the music aspect of Oasis really isn’t that bad.
The Associates
3/5
This one’s a bit odd, and I’m still trying to figure it out. It’s definitely artsy synthpop with a strong post-punk vibe. The theatricality of it all really shows influences from David Bowie and Bryan Ferry.
Fela Kuti
4/5
This was actually a fun Afrobeat album that really pulls you in and keeps you hooked. It’s a great mix of Afrobeat, jazz fusion, and funk. What makes this album even more interesting is that it was recorded live with Ginger Baker. Ginger Baker was known as rock’s first superstar drummer and was one of the core members of Cream with Eric Clapton. Over the years, he worked with a lot of influential bands like Hawkwind, Atomic Rooster, Masters Of Reality, Public Image Ltd, and even Bill Laswell. He also had a strong interest in African music and spent a lot of time living and recording in Africa. Fela Kuti was one of his main collaborators, and their work together makes this album stand out even more.
Cream
4/5
This was a good 50/50 combination of blues and psychedelic. I can’t say I’m as excited as all the hype surrounding this album, but it’s still a decent album.
Elvis Presley
4/5
I didn’t think I’d enjoy this one as much as I did. Apparently, this was a comeback album after years of mediocre releases, and it really worked for me. I’m not much of an Elvis guy, but this album was fantastic. It’s a great balance of rock, soul, and country, and you can tell that Elvis was older and more experienced by the time he recorded it. The album has a mature and sophisticated feel, and his voice is deeper, delivered with so much confidence and presence. You can tell he was fully committed to this project, and it shows in every track. I’ve finally found an Elvis album I’m going to keep in rotation for future listens.
Ramones
5/5
If you’re into punk, it’s hard not to enjoy this album. The rhythm really stands out and keeps everything moving. Joey Ramone’s vocals are catchy and fit this music so well. The songs are fast-paced and energetic with a no-frills style, but they still manage to pull you in and stick in your head. Overall, I really enjoy these guys and what they bring to the table.
The Black Crowes
2/5
I can definitely see how this album probably had a big impact when it first came out, especially considering what was popular at the time. However, I will never be a fan of this band. Throughout my childhood, this band was always playing in the background, and it was annoying then, and it’s still annoying now. This is one album I would like to just keep buried in the past.
Pink Floyd
5/5
This is easily one of the best rock albums ever made. When it first came out in 1973, I can only imagine how futuristic it must’ve sounded, especially with the use of synths on “On The Run” and the incredible production by Alan Parsons. I wish I could say more about it, but this is an album I’ve been hearing my entire life—my dad played it all the time when I was growing up. For anyone new to Pink Floyd, though, this album will definitely blow your mind.
Genesis
4/5
Genesis is one of those bands I respect, but I find myself enjoying certain albums more than others. This one definitely lands towards the top of my list. Usually, I’m not a big fan of theatrical elements in music, but with this album, those elements actually make it even better. In fact, the combination of theatrical and symphonic elements is what makes this album stand out for me. Even though “Firth of Fifth” is one of their more popular songs, it’s also my favorite track. Oh, and the keyboards and synths, those are another highlight that really make the album enjoyable for me.
Love
4/5
This album feels like a combination of just about everything happening in the mid to late ’60s. Psychedelic rock, baroque pop, and garage rock are the most obvious elements, but you can also catch hints of jazz and blues throughout. Some tracks get surprisingly energetic and heavy, showing early signs of proto-punk through the garage rock influence. I wouldn’t be surprised if some of these songs had a big impact on the early heavy metal scene that started to take shape in the late ’60s and early ’70s.
Pentangle
4/5
It’s nice to finally dive into Pentangle. This album has been on my list for a while, and I’m glad I got around to it. Seeing Bert Jansch as a key member is a great bonus. It gives me a good starting point with his work too. For ‘60s psychedelic folk, this album really nails it, blending traditional British folk with jazz, blues, and rock. It has an ethereal feel with a haunting undertone that pulls you in.
Duke Ellington
3/5
This was definitely an upgrade from that Justin Timberlake album the generator gave me yesterday! I don’t know much about Duke Ellington, but this live album was fun and enjoyable, especially for big band jazz and swing fans. The original 1956 LP only had five songs, but this version includes the full show with 40 tracks. Personally, I think they could’ve shortened it a bit since half the tracks are just talking or announcements. Even so, the music was great and gave me a new appreciation for Ellington.
Amy Winehouse
4/5
I’m not usually into contemporary soul or R&B, but this was a solid album. The hip-hop-inspired beats on some tracks gave it a cool Acid Jazz vibe that I enjoyed. While a few songs didn’t fully click for me, the album is pretty consistent overall and holds up well from start to finish.
PJ Harvey
5/5
This album isn’t just a highlight for PJ Harvey, it’s a great example of Steve Albini’s knack for capturing raw energy. PJ Harvey has always been consistent, and Rid of Me continues that streak. Albini’s production gives it a live, unfiltered feel, where every instrument gets its own space to shine. The feedback and distortion are present but purposeful, adding texture and grit without over polishing.
Led Zeppelin
4/5
This is one of those albums that reminds me of my childhood since my dad used to play it a lot. Because of that, it’s hard for me to feel the same excitement about it now—it’s just so familiar. But I have to give credit where it’s due. They put this album together while constantly touring and releasing albums one after another, which is really impressive. Plus, they played a big part in pushing hard rock and early heavy metal forward.
Metallica
4/5
It’s definitely been over 25 years since I’ve listened to this album from beginning to end. If I had to choose, this would probably be my favorite Metallica album of them all.
Femi Kuti
5/5
Jeru The Damaja
3/5
Norah Jones
1/5
This one was a struggle to get through. It’s the kind of music that feels like it’s tailor-made for playing softly in the background at a dentist’s office during a root canal. It’s like elevator music—except not as good!
The Dave Brubeck Quartet
3/5
This is a solid album, especially for those who enjoy unconventional time signatures and complex rhythms. While I can appreciate the experimental nature of the music, it didn’t stand out much for me personally and felt more middle-of-the-road overall.
Sonic Youth
4/5
For someone who’s not familiar with Sonic Youth, I think Dirty is a good album to start with. This album is more refined, polished, and accessible for a new listener. On the flip side, it also covers their diverse sound. It has some alternative tracks, noisier grunge tracks with distortion, and even a bit of upbeat punk-influenced elements. Although this is a more polished album, it definitely showcases their experimental nature, unconventional song structures, and gives you a taste of their raw and gritty feel.
David Bowie
5/5
Bowie's ability to push boundaries and innovate shines through, making this album a fitting conclusion to his legendary career.
David Bowie
4/5
This was another great collaboration between Bowie and Brian Eno. The first half of the album leans more toward pop, though these are fractured versions of pop songs with a heavy experimental, electronic edge. The second half is where Bowie and Eno really dive into the experimental side, creating a deeper ambient soundscape with minimal vocals. One more thing worth mentioning is how much this album was influenced by the German Krautrock scene, which Bowie was really into at the time.
Circle Jerks
4/5
This is such a fun and classic album. It’s definitely one of the foundational records of early hardcore punk. The low-budget production gives it a raw, stripped-down sound that adds to the DIY vibe. It’s energetic, fast-paced, and straight to the point, with the entire album clocking in at just 15 minutes.
Digital Underground
3/5
Bob Dylan
4/5
Quicksilver Messenger Service
4/5
I’m honestly surprised this album gets as much criticism and as many low ratings as it does. It’s essentially a free-form jam session, all improvised, with a strong bluesy, psychedelic vibe. For what it is, it captures that raw, unfiltered energy perfectly.
My Bloody Valentine
5/5
What I really appreciate about this album is how MBV’s dreamy, disorienting sounds and noises take center stage. At the same time, I’ve always felt it carries a subtle punk edge, which adds another layer to its appeal.
The Stooges
4/5
I absolutely adore this album and everything by The Stooges. They were undeniably influential in the birth of punk and the proto-punk movement. If you're a punk fan, The Stooges are a must-listen.
Captain Beefheart & His Magic Band
3/5
When it comes to Captain Beefheart, I find myself most drawn to the music and instrumentation. I don’t think I’ll ever fully warm up to Don Van Vliet’s guttural, gritty, and gravelly vocals. This album is deeply rooted in blues rock, but you can definitely hear the psychedelic influences of its time. While it’s probably one of their most accessible albums, it still has that avant-garde, experimental edge. The quirky instrumentation, unusual song structures, odd time signatures, off-kilter rhythms, dissonant chords, and “wrong” notes all add to the playful vibe. If you’re into Frank Zappa, this is the closest you’ll get without it feeling like a direct copy of his sound.
Various Artists
4/5
Ian Dury
2/5
This feels like one of those albums where you had to be there at the right time and in the right place to fully appreciate it. For me, though, this was way before my time, and I just happen to be in a completely different place. The witty and quirky humor? It feels like it didn’t quite survive the test of time. And the music behind it? That only seemed to weigh the album down even further.
King Crimson
5/5
This is seriously such a great and diverse album. The first track is more aggressive, but as the album progresses, you get to hear a few tracks with that beautiful and colorful orchestral sound, very similar to The Moody Blues. Then there’s another track that’s slow, minimal, and avant-garde. This album is widely accepted as the very first official prog rock release, and based on this one album alone, King Crimson really set the tone for all the different directions prog rock would go in as it became more and more popular throughout the 70s.
The Killers
3/5
This album was definitely fun and enjoyable, but it had a double edged sword to it. When it first came out, I was completely turned off by it. It took the underground indie garage rock and post punk revival movement that was happening at the time and put it in the spotlight, commercializing and capitalizing on it. It was so sleek and polished that it broke the rules of what made the original movement so unique and appealing. But, as time passed, the songs slowly grew on me, and I eventually ended up with a copy. Before I knew it, the album pulled me in. More and more bands started to follow in their footsteps, and I accepted that the scene was bound to evolve. If it wasn’t The Killers, someone else would have done the same thing.
The Lemonheads
3/5
This is a decent album if you’re looking for something lighthearted that captures the nostalgic essence of early ’90s alternative rock. It’s fun to hear some jangly guitars really take the spotlight. The standout track is, of course, their big hit—their cover of Simon and Garfunkel’s “Mrs. Robinson.” I have to admit, their version has actually stood the test of time surprisingly well.
R.E.M.
3/5
This era of R.E.M. is what I was used to hearing on the radio as a kid, and to be honest, I didn’t really like them, especially that “Man on the Moon” track. Now that I’ve been listening to a lot more R.E.M. recently, and knowing their roots as a Jangle Pop band, I’ve gained more appreciation for this album. While it will never be at the top of my list for R.E.M., it’s a good album to play when you want something a little more mellow and chill. It leans more towards acoustic guitars with softer electric guitars and includes a good share of piano tracks. If I had judged this album 25 to 30 years ago, it would have rated a one. Now, with a more mature appreciation for music, I’d give it a three, maybe 3.5. Just maybe!
Run-D.M.C.
4/5
I’d never listened to this album from start to finish because so many of these tracks were already overplayed by the time I could remember. Even though I was already familiar with the songs, it was still nice to hear them in the true album order, which flows perfectly with all the right tracks in all the right places. The album has so much punchy energy, I can only imagine the fun environments it’s been played in over the years. I also have to give credit to Run-D.M.C. for crossing over into the rock genre, appealing to that audience while staying true to their hip hop identity.
Gil Scott-Heron
5/5
This is easily one of the best albums I’ve heard for laid-back, smooth, and soulful jazz. The vocals are outstanding, and the raw, minimalistic production adds so much warmth and texture to the overall sound. It’s a perfect blend of simplicity and depth, making the album feel both intimate and timeless.
George Michael
3/5
As much as I don’t want to admit it, I actually enjoyed this album. That doesn’t mean I loved it, but I appreciated it for what it is. It’s definitely a product of its time, but I can see why it had so much hype back in the ’80s. The music was clearly forward-thinking for its era. I don’t think I’ll be rushing back to it anytime soon, but I wouldn’t completely take it off the table either.
The Strokes
4/5
So, we all know who Miles Davis is, and we all know he’s one of the best musicians out there, but that doesn’t mean we’re all familiar with his music. Unfortunately, I’m one of those people. I’ve played random albums from him here and there, but always as background music, so none of it really absorbed.
When it comes to “Kind of Blue,” the music is more on the relaxed side, and it definitely seems influenced by a few different genres. What really caught my attention was all the big names of musicians he had with him. This album is definitely a classic piece of work simply based on all the top shelf musicians he had on this recording.
New York Dolls
3/5
The New York Dolls undeniably had a huge influence on early glam rock, metal, and punk, so I’ll always agree that they deserve the recognition they get. That said, their music just doesn’t resonate with me. Once I’ve heard an album once or twice, I never really feel the need to go back. Their sound just doesn’t stick with me in a way that keeps me coming back for more.
Public Enemy
3/5
Public Enemy during this era was on fire. A lot of hip-hop from this time hasn’t aged well, but their music is still just as fun to listen to today. While it might not carry the same impact as it did back then, these guys created a distinct sound that sets them apart from everyone else. The Bomb Squad’s production perfectly captures the energy of their music, and DJ Terminator X is a legend in his own right.
T. Rex
4/5
This is one of those albums I picked up in my early 20s after a friend at the music store recommended it as something influential. At the time, I didn’t really get why it was so important—it just sounded like classic dad rock to me. But once I learned more about its influence on glam rock and the context of its release in 1971, I gained a real appreciation for it. This album didn’t just contribute to glam rock, but it helped define it, both musically and visually. Marc Bolan’s persona and unique sense of fashion played a big role in shaping the look and feel of the genre.
The Charlatans
4/5
This was a decent album for Britpop. “How High” was the track I immediately recognized, thanks to its inclusion on Liam Prodigy’s DJ mix album The Dirt Chamber Sessions. Beyond that, I really enjoyed the neo-psychedelia elements and the subtle breakbeats used in the beats and percussion. Some parts of the album even reminded me of The Chemical Brothers, with certain sounds feeling very similar to what they were doing during this same era.
Emmylou Harris
4/5
This is a pretty good album. Nothing overly impressive, but it’s great if you’re into old-school traditional country with a folk edge. It’s easy to appreciate for its simplicity and authenticity.
The Cars
5/5
To me, this is a timeless album that will never get old. The Cars really found the perfect balance between new wave and rock, appealing to a wide audience ever since I can remember. This album is one of my go-to choices whenever I’m looking for something easy, light, familiar, and uplifting.
Coldplay
3/5
Coldplay was definitely a breath of fresh air when they first came out, especially considering what was happening in music at the time. On the flip side, bands that define an era often get stuck in a paradox, becoming products of their time, and Coldplay is definitely a product of the early 2000s. Overall, I think they’re a pretty good band with decent music. I’ve always appreciated their atmospheric soundscapes, but they’re not a band I feel much desire to revisit these days.
System Of A Down
3/5
Oh yeah, I remember the fun times this album brought back in the day. System of a Down was one of the few bands from that era who truly had their own style. They always had this chaotic playfulness, shifting seamlessly between aggressive heaviness and melodic passages. Serj Tankian really brought a lot of personality to the music, with his dynamic range moving from energetic screaming to melodic singing, and even playful spoken word. No matter what vocal style he uses, he always hits the key notes perfectly, adding a unique flavor to every track.
Public Image Ltd.
3/5
No matter how much you might dislike this band, it’s impossible to deny their contributions to post-punk. That said, I totally get why some people aren’t fans—their music is as confrontational and abrasive as it gets, almost daring you to like it. Personally, I have to be in the right mood to really enjoy what they’re doing.
Blur
4/5
I remember hearing this album back in the ’90s, but I didn’t have a clear memory of what it sounded like. Listening to it now, it’s amazing to pick up on the experimental and lo-fi elements that align so well with what Damon Albarn would later develop in Gorillaz. Some tracks really showcase a moodier, textured sound that feels like a precursor to Gorillaz’s atmospheric style. You can tell Albarn was moving away from the Britpop sound of the early ’90s. His vocal delivery here starts to embrace that lazy, detached style he uses in Gorillaz. The album incorporates experimental rhythms, loops, and a rougher, lo-fi production, while also dabbling in garage rock, indie, and electronic elements. There are even hints of hip-hop, dub, and funk influences in the mix. Overall, this album feels like a transitional moment, and not just for Blur moving beyond Britpop, but for Albarn laying the groundwork for what would come with Gorillaz.
Isaac Hayes
4/5
This was a great discovery. For old-school soul music, this album really stands out. It has mellow, soulful moments but also builds up to expansive orchestral sections that are truly captivating. Some parts of the album even break into extended jams that keep the energy flowing.
The Coral
4/5
At first, I wasn’t sure what to make of this album, but it grew on me fast. It’s like a 60s whimsical psychedelic sound blended with a modern indie twist. There’s also a playful and quirky vibe throughout the album that makes it even more enjoyable.
The National
3/5
I remember The National being a pretty popular band around this time, with a lot of DJs and producers remixing their tracks. Whenever I checked out the original versions of some of those remixes, they never left much of a lasting impression. Listening to this album now, I kind of feel the same way. It’s definitely not bad, it’s a solid product of its time, but it sounds like the average indie rock bands of that era. While it wasn’t an unpleasant listen, nothing about it really stands out, and I can already tell this will be one of those easily forgettable albums for me.
Led Zeppelin
4/5
This is definitely a classic album. I grew up listening to this album. Immigrant song has so much amazing energy behind, but on the flip side it’s a little misleading because no other song on the album really matched that level of energy. Either way, these guys were amazing musicians.
Echo And The Bunnymen
4/5
Echo & The Bunnymen has always been a band I’ve known about—seeing them pop up on compilations over the years—but the songs I’d heard never inspired me to dive deeper. After giving this album a listen, though, I see them in a whole new light. I was genuinely surprised by the strong baroque pop elements and how prominently the orchestral arrangements are featured. Who would’ve thought that blending darker post-punk with baroque pop could work so well? Yet, they pull it off so smoothly on this album.
Tom Waits
5/5
Unless you know what you’re getting into with this album, it might catch you off guard. The first time I listened, I wasn’t sure what to make of it, but now I know to save it for when I’m in the right mood. When I do, it really pulls me in. Despite the album title and the audience engagement, this isn’t actually a live album, it’s his third studio album, recorded in the studio with a small audience to capture that live feel.
The whole thing feels like a performance in a smoky, dimly lit jazz club. Along with the shift in musical style, Tom Waits’ voice takes on a much more gravelly tone and a laid-back, almost lazy delivery. As for the singing, it’s more of a blend of spoken word and beat poetry.
Violent Femmes
4/5
It’s funny how “Blister in the Sun” is the biggest hit off this album, yet to me, it’s one of the most annoying songs ever. For many years, I was turned off by Violent Femmes because of that song. But then I heard “Add It Up” and fell in love with it, so I decided to get the album. Once I did, it became one of my favorites for a while. Violent Femmes is one of those bands that straddles the line between folk and punk, but they also have a fun and playful undertone. Although I’ve played this album so many times that I probably won’t go back to it in the future, it will always have a special place in my heart.
New Order
5/5
New Order has always been one of my favorite bands for lifting my spirits. They’ve done an amazing job blending synthpop with post punk and alternative rock while staying at the forefront of electronic music. What I appreciate most is how their music stands the test of time. This album feels like the point where their sound became more refined, marking a new phase in their evolution.
Santana
4/5
This was my first time listening to this entire album, and it’s very impressive to hear the blend of genres. It’s obviously a crossover of Latin music, jazz, and blues, but it also shares many characteristics with prog rock and has a bit of psychedelic influence as well. While Carlos Santana’s guitar work garners much acclaim, the musicianship across the board is top-notch. The bass, keyboards, organ, and percussion each contribute significantly, so that every member complements and elevates the others.
Alice Cooper
3/5
This album had good musicianship and instrumentation, featuring some classics. The title track includes a collaboration with Donovan, adding an unexpected twist. However, the lyrics are somewhat scattered, clearly aiming for shock value. With topics ranging from political satire to necrophilia, so If you’re into provocative lyrics, this album might be for you.
Miles Davis
4/5
This was a really cool album to check out, especially knowing the tracks were recorded between 1949 and 1950. From what I’ve learned, this album was a key part of starting the ‘cool jazz’ movement.
Cool jazz was a response to the energetic big band bebop sound of the time. It’s more minimal, restrained, and laid-back, making it a smooth and relaxing listen. For its time, this was a big shift in jazz, and it’s fascinating to hear how it all started.
Anita Baker
3/5
Thanks to this album, I just learned about the term “Quiet Storm,” which blends smooth, sensual, and romantic elements from R&B, soul, and jazz to create an intimate, laid back vibe. While I can appreciate the concept, it’s not really my thing. I’m sure there are some gems in the genre, but I don’t feel the urge to dig deeper.
That said, this wasn’t a bad album, and it had its moments, but nothing really stood out as memorable for me. It mostly feels like background music, the kind of thing that doesn’t demand much attention. Still, I can see why people are drawn to this style, even if it doesn’t quite connect with me.
Jeff Beck
4/5
For being released in 1968, you can’t deny that “Truth” is a groundbreaking album that played a significant role in the development of hard rock and heavy metal. This blues rock album has a very unpolished, raw, and hard rock feel to it. Unfortunately, Rod Stewart’s voice was a real stumbling block for me. I just didn’t like the sound of his voice or his vocal style at all. Other than that, the musical elements were pretty impressive, which is why I thought the instrumental tracks were the best and most enjoyable.
Joan Armatrading
3/5
This isn’t a bad album at all. It’s a nice blend of folk, rock, jazz, and even a touch of blues. That said, her style reminds me a lot of the singer-songwriters who became popular in the 90s. But since this came out in 1976, maybe she was the one who pioneered that sound!
The Roots
4/5
Back in the early 2000s, I completely overlooked this album. Everyone was always talking about The Roots, so I was too busy searching for something fresh and underground. Now that I’ve given it a few listens, I realize this definitely would have been right up my alley back then. The conscious style lyrics are pretty standard for that era, but the experimental tracks really caught me off guard in a good way. There’s also a mix of funky, soulful tracks that add an easy listening vibe. Overall, the album’s diversity really stands out.
Lou Reed
5/5
When this album first came out, it was a commercial failure because fans and critics were expecting Transformer Part Two. But after only hearing Transformer a handful of times, I can say I enjoyed this one way more right from the start. Honestly, I wish this had been my introduction to Lou Reed, because I probably would have appreciated him more as a solo artist. This album is a concept piece centered around a couple in early 1970s West Berlin, following their relationship as it spirals into jealousy, substance abuse, physical violence, infidelity, and more. Musically, it leans more into art rock and singer-songwriter territory, with orchestration that adds to its dramatic and cinematic feel.
Raekwon
3/5
Honestly nothing too impressive. It’s was probably good for the time it came out, but other than that, the best element was probably the beats.
Pulp
3/5
I don’t think I’ll ever understand the hype around Britpop. I’ve listened to plenty of Britpop albums over the years, and most of them land somewhere in the middle—never outright bad, but rarely impressive either. Different Class fits right into that pattern. It’s not offensive, but it’s also not particularly special. Just another solidly average album with maybe a track or two that stands out slightly more than the rest.
Merle Haggard
4/5
Back in the day, I had a few Merle Haggard compilations on CD, but this might be the first time I’ve actually sat down and listened to one of his full studio albums. Since I’m not the biggest country fan, I won’t pretend to be an expert, but when it comes to classic country themes, like drinking yourself blind, being an outlaw on the run, and wrestling with loneliness and sorrow, this album definitely delivers.
Dirty Projectors
1/5
This album epitomizes hipster pop, embodying its eclectic, seemingly random mix of styles. To some, it may seem like a messy art project, but to its creators, it's a masterpiece. As for me, it’s just a pile of shit, trying to be something that it’s not.
Arctic Monkeys
3/5
This was a decent debut from Arctic Monkeys. While they were labeled indie rock, they were far from underground—this was a pretty commercial release. The album carries some garage rock aesthetics and a bit of punk edge, but overall, it’s more polished and radio-friendly than what you’d expect from a true indie band.
Fugazi
4/5
Repeater is a classic album by Fugazi. I have to make an effort to enjoy their music, mostly because I associate them with some bad memories. But setting that aside, I can still appreciate what they bring to the table. Their energy and musicianship make for a solid listen.
Scritti Politti
2/5
I’m not too familiar with Scritti Politti, but based on what I’ve heard—including this album—I can’t say I find their music particularly enjoyable. It’s tolerable at best. What’s interesting is that they’ve explored styles I usually like, yet somehow, their take on those genres just doesn’t click with me.
Steve Winwood
3/5
This album had some good elements that I enjoyed, especially the Synthpop influence, which gives it a mix of New Wave and Prog Rock while also feeling quite soulful. It’s impressive that Steve Winwood played all the instruments and produced the album himself. While I liked certain aspects, I don’t see myself going back to it often.
Yes
5/5
Obviously, we all know this is a classic album in prog rock history. When I first began my journey into prog rock, The Yes Album definitely stood out for me, especially in introducing me to the complexities and intricate arrangements that Yes and early prog rock are known for. On the flip side, this album is also easy to digest and makes sense of, which is why it’s a great starting point for any newcomer to the genre.
Tom Waits
5/5
This is where Tom Waits really started to experiment with unconventional instrumentation and raw, unpolished production. The album has that quirky and playful instrumentation that I always enjoy, giving it a unique and offbeat atmosphere. The DIY production approach gives it a rough, organic feel that makes the music really stand out.
Fishbone
3/5
This was a solid album that blends funk rock, ska, and reggae. While this style isn’t necessarily my go-to, I still found it enjoyable for what it was. The energy and musicianship stood out, and overall, I’d rate it as slightly better than average.
Cat Stevens
3/5
Cat Stevens is one of those artists I’ve always overlooked due to some bad memory associations, but after giving this album a listen, I have to say it was a decent folk rock record. It had a few well known hits and recognizable tracks, along with a couple of songs that didn’t do much for me, but overall, it flowed well from beginning to end.
Aerosmith
2/5
This was the album I learned how to use a CD player with when I was a kid. When my dad got our first CD player, this was one of the albums that came with it. Since it was their most current release at the time, I’d play it every morning until my mom finally got out of bed. But now, other than those nostalgic memories, the album doesn’t have much left to offer me. I overplayed it as a kid, and with every radio station playing these tracks constantly, I’ve grown pretty sick of them.
Bob Marley & The Wailers
4/5
I’ve never been a big Bob Marley fan, and reggae isn’t a genre I usually gravitate toward, but this was a pleasant surprise. This is the second Bob Marley album I’ve heard, and I found it really enjoyable. The elements of his music that don’t usually appeal to me were more subtle here, which gave it a smooth and laidback vibe.
The Jam
3/5
I’d rate this album as slightly above average. It has a punk feel but with a softer, more approachable touch. There’s also an early new wave influence that gives it a bit more melody and polish.
The Who
4/5
Well, it’s just a typical live album, like many others. However, this was supposed to be one of the first live albums to come out, which was groundbreaking for its time. Other than that, it’s definitely good music—you can't go wrong with The Who.
Van Halen
5/5
Van Halen will always have a special place in my heart. This is a great album. I love the synths incorporated into this one, and it has so many tracks that will never get old to me.
Badly Drawn Boy
5/5
This album isn’t groundbreaking or genre-defining, but it’s a solid addition to my list of chamber pop albums. It has great vocals, melodies, and instrumentation, with a subtle quirky edge. Overall, it blends classic singer-songwriter elements with modern production in a way that works really well.
Yeah Yeah Yeahs
4/5
This was definitely one of the defining albums of the early 2000s garage rock and post-punk revival movement. I remember hearing it for the first time when it came out, and I loved how stripped-down, raw, and gritty it felt, especially with that lo-fi production. The distortion-heavy guitars are abrasive in the best way, bringing out the raw energy that drives the entire album.
The Rolling Stones
3/5
I thought the recording process behind this album was interesting, and I liked the murky, dense, and unpolished feel of the sound. It gives the album a unique character compared to their more polished records. That said, The Rolling Stones have always felt like a pretty middle of the road band to me. They have some individual tracks I really like, but overall, they don’t stand out much.
Love
5/5
When it comes to mellotron use and orchestral arrangements, Forever Changes is undoubtedly up there with the best, standing alongside albums like Days of Future Passed by The Moody Blues. The 60s were an incredibly creative period, especially in psychedelic and baroque pop, and this album is one of the standout examples from that time. The orchestration here is exceptional, and the production, given the era, is impressive. There’s a reason why this album continues to be highlighted as one of the best from that period. Even though I don’t usually go with the popular picks, this one would definitely make it onto my personal list of top albums.
John Lennon
4/5
I have to admit, approaching this album, I was a bit hesitant. John Lennon and Yoko Ono are individuals I don’t particularly like, and their fame only amplified that feeling. The album’s title, referencing both of them, added to my initial reluctance. So, I began listening with a negative mindset. However, as the album went on, I found it to be quite mellow and easygoing. Overall, it’s a singer-songwriter album with a subtle bluesy touch and minimalist instrumentation. Interestingly, when I listened to “Imagine,” I had similar hesitations but ended up enjoying it.
Willie Nelson
4/5
“Red Headed Stranger” is a decent, middle-of-the-road album by Willie Nelson. It’s not my favorite, but it’s not the worst either. It has its moments, but overall, it’s a fairly average listen.
The Sugarcubes
5/5
In the 25 years I’ve known about The Sugarcubes, this was my first time listening to the entire album, and I really enjoyed it. It’s a great mix of alternative and new wave with some post-punk elements throughout, plus some fun jangly guitars. Björk is the lead vocalist, while Einar Örn takes on more of a spoken-word, commentary-style role. Björk is an artist who has done amazing work but has also lost me at times—but on this album, she was absolutely amazing.
Dire Straits
5/5
Something interesting I just read about this album is that it was one of the first to be digitally recorded and helped kick off CD culture with its high sales. Back in the early ’90s, when I first started collecting tapes, the Money for Nothing album was in my top 10. That song was actually one of the tracks that helped shape my early taste in music. I also just learned that Money for Nothing was actually a greatest hits compilation, and this was the album that song originally came from. Either way, Brothers in Arms is a solid album from beginning to end. Most of the songs feel familiar, and the album has such a smooth, consistent flow that makes it very cohesive
Fleetwood Mac
5/5
For those of you who don’t know much about this band or the making of this album, here’s a quick follow-up. “Rumours” is renowned for its songwriting and the emotional intensity of its tracks. Every single band member was going through personal breakups and dealing with substance abuse and depression.
Stevie Nicks (Vocals) and Lindsey Buckingham (Guitar, Vocals) were in a long-term relationship that ended during the making of this album. Christine McVie (Keyboards, Vocals) and John McVie (Bass) were married, but their marriage ended in divorce during the album’s creation. Mick Fleetwood (Drums) was dealing with his own marital issues, as his wife Jenny Boyd was having an affair with his best friend.
It’s baffling how they all attracted such negative energy at the same time. Despite the serious tension and emotional pain, they continued to work closely together, writing and performing songs that referenced their personal struggles. This challenging and intense environment allowed them to vent their frustrations and emotions through their music. The result was raw, honest lyrics and music with a timeless quality, strong melodies, and catchy hooks.
Flamin' Groovies
4/5
I first discovered this band during my punk exploration a long time ago. What really surprised me was that when I looked up how old their songs were, I was shocked to find out they were from the early ’70s—I had originally assumed they were from the early ’80s. It just goes to show how ahead of their time they were, while still embracing rock and blues influences from a generation before them. If you like garage rock and punk with a bluesy, rockabilly edge, these guys are the kings of that sound. They also have a raw, gritty, and unpolished energy that adds even more texture to their music. One of my favorite songs from them isn’t on this album because it was only released as a single, but around the same time Teenage Head came out, they also released Slow Death. If you haven’t heard it, it’s definitely worth checking out.
Taylor Swift
3/5
I was caught off guard and amazed by how good this album is, and by how much I actually enjoyed most of it. I’ll be honest, Taylor Swift typically appeals to a demographic that listens to music I don’t usually find enjoyable, and vice versa. But this album had a surprising level of quality to it. While I didn’t love every song, a good portion of the album caught me by surprise with its lush production, atmospheric approach, and subtle electronic elements. I imagine this was more of a coincidence, but I’ll take the wins even when they accidentally fall in your lap. I doubt I’ll have many more positive reviews for her moving forward, but at least when my wife wants to listen to her in the future, I’ll definitely be more accepting of it.
Turbonegro
5/5
Glam rock and punk is such a great combination, and these guys pull it off perfectly. The album has big, anthemic choruses and a rock ‘n’ roll attitude, but with the rebellious energy of punk. There’s also a tongue-in-cheek element, which just adds to the fun.
R.E.M.
5/5
This is R.E.M.’s sixth album and their first on a major record label, which introduced a noticeable shift in their music. That shift is probably what sets this album apart and why it doesn’t resonate with me as much as their earlier work. In the ’90s, I didn’t care much for R.E.M. when I heard their commercial hits on the radio, but that changed when I went back and started listening to their first album and worked my way through their discography. That’s when I realized they were a band I genuinely enjoyed, especially for their strong jangle pop elements.
This album still features plenty of jangly guitars, but it has a more polished rock and alternative anthem feel, which is what made me overlook them back in the day. I wasn’t particularly drawn to the vibe of the music I heard on the radio. However, now that I have a better understanding of their earlier music, I’ve softened my stance on those radio hits. Still, this album undeniably has a more polished, commercially saturated sound compared to their previous work.
The Stone Roses
4/5
I’ve only listened to this a few times, but I definitely need to start spinning it more. It’s such a great blend of alternative, neo-psychedelia, jangle pop, folk, and dance music. It almost feels like if 60s psychedelic music had never faded away, this is what it would have sounded like by the late 80s.
Jamiroquai
4/5
I never got super familiar with this particular album, but it has some really strong tracks. Plus, Jamiroquai really helped put acid jazz on the map for mainstream success. He always strikes the perfect balance between jazz, funk, and soul.
Kanye West
4/5
Overall, this is one of the better albums I’ve heard from Kanye. He’s made tracks that I’ve really enjoyed, but he’s one of those artists I have a hard time taking seriously. He’s always out there rocking the boat, stirring up controversy just to keep the spotlight on himself, to the point where I find it hard to even want to listen to him.
Randy Newman
1/5
I’m not the type of person who throws the word “racist” at every turn or opportunity, but this one is pretty simple—I didn’t like this album because of its continuous use of the “N” word. While I understand that Good Old Boys is meant to be a satirical critique of racism, particularly in the American South, I don’t believe in recreating the language and imagery of racism under the guise of critique. It feels classless, and to me, it’s a low form of energy and entertainment.
Elliott Smith
4/5
I’ve seen this album cover for years, but about six months ago, I finally listened to it, and all I could think was, why did I overlook this for so long? It’s great. The vocals are raw, personal, and stripped down, mostly dealing with loneliness, isolation, and personal struggles. While there are some electric guitars, the album is mostly driven by fingerpicked riffs, with lo-fi production that gives it an unpolished, intimate feel.
Slint
5/5
This album was an interesting listen, and I found myself playing it on repeat a few times. This album has a dark, minimalist atmosphere with a weighty, almost eerie feel. The post-hardcore influence comes through in the sharp, tense guitar work, while the spoken word vocals add to its unsettling mood. While it has bursts of intensity, the album moves at a slow, deliberate pace, drawing you in with its brooding, immersive sound.
The Prodigy
4/5
Jimi Hendrix’s music is definitely the complete package. Every element stands strong on its own but also works together perfectly. I love the raw, dirty, and gritty feel that runs through his music. The drumming brings a lot of complexity with its clear jazz influences. The bass stays steadily in motion, holding everything together as Hendrix’s reverb-heavy, fuzzy, feedback-laden guitar tears it up. The blues influences in his riffs really add that extra layer of grit.
Fred Neil
3/5
For how influential this album is, it felt pretty mediocre and middle of the road to me. It’s an early folk rock record with some blues influences. I think it was the sound of his voice and his singing style that didn’t really click with me. It’s not bad by any means, but it didn’t have anything that stood out or felt particularly unique.
10cc
4/5
Before recently coming across 10cc on the music lists I’ve been working through, I hadn’t heard of them, but I really enjoyed this album. These guys blends Art Rock, Prog Rock, and Glam Rock, all within a pop structure. The music is playful, lighthearted, and has plenty of tongue-in-cheek moments. Even though it feels quirky and fun, it still showcases inventive and skilled musicianship. If you’re into bands like Frank Zappa, B-52’s, Devo, or Ween, this album should definitely be on your radar.
Nirvana
3/5
If it wasn’t for this generator, I wouldn’t have had a reason to revisit this album. Nirvana undoubtedly made a huge impact, and I don’t want to downplay their success, but my enthusiasm for them isn’t what it used to be. I listened to them so much when they were fresh that I just don’t enjoy them anymore, especially “In Utero.” I can’t even count how many times I played this album as a teenager. With that being said, I’ll leave the deep and impactful reviews to someone who’s more energetic and enthusiastic, and not as burned out on this album as I am.
Cocteau Twins
5/5
Classic album with an amazing soundscape.
The Byrds
4/5
The Byrds will probably go down in history as one of the most influential bands of the 60s, not counting the Beatles, of course. While they weren’t the only ones shaping the future of music, they made a significant mark. This album, in my opinion, is more of a folk rock album that definitely leans towards the direction of psychedelic rock, even though that genre wasn’t fully established at that time. Their track “Eight Miles High” is considered one of the very first true psychedelic songs ever made. Also, they deserve credit for that jangly guitar sound, which had a huge influence on music moving forward, especially in the 80s with the indie rock that came out of that scene.
Depeche Mode
4/5
If your not too familiar with Depeche Mode, than this is a great starting point. If you start with this album, I’d recommend going backwards and listen to all of their old albums before you go forward.
Ella Fitzgerald
4/5
Ok, first off—hooray for Ella Fitzgerald! She’s an incredible artist, and I’m not taking anything away from her, but man was this a long album. Three hours and fifteen minutes stretched across six discs, with a total of fifty-nine songs. Unless you’re a die-hard purist, that’s just excessive for just about anyone. This was an endurance test disguised as a jazz album! What an exhausting listen. I’m giving myself a well earned pat on the back for making it all the way to the end!
Common
4/5
Back in the day, I had some friends who were really into Common, so listening to this album was like a trip down memory lane. The lyrics capture that early 2000s hip-hop vibe, and Common’s smooth style meshes perfectly with the production. What stood out to me the most was the easygoing, smooth, and jazzy feel of the beats.
Otis Redding
4/5
Otis Redding is someone I never really paid much attention to, but this was a classic soul and R&B album that I really enjoyed. It had a slightly raw edge, but it was also well balanced, coherent, and easy to take in. That said, if I never hear My Girl again, I wouldn’t mind.
Buena Vista Social Club
4/5
This was such a incredible discovery. Even though it was recorded in 1997, the album takes you back to the golden age of 1940s and 1950s Havana, Cuba. It has a rich, warm, and nostalgic sound that’s really enjoyable. The music is melodic, elegant, and jazzy, with a touch of sophistication. It’s hard to imagine anyone not appreciating this, especially if you have a love for music in all its forms and styles.
Orbital
5/5
For anyone who was into electronic music in the ’90s, this album is a classic. I remember hearing a lot of these tracks played at raves, but they’re also great for just chilling out. It finds that nice balance between techno, house, and ambient, making it both energetic and immersive. I definitely miss these days.
UB40
4/5
I was surprised to learn this album came out in 1980—I had no idea UB40 went back that far. Reggae has never really been my thing, but I actually enjoyed this one. While I tend to get burned out on reggae vocals, I have to admit I’ve always liked dub, especially for its more experimental aspects. This album had great instrumentation, particularly the echo-heavy keyboard basslines that define dub. I’ve never really paid much attention to UB40 before, but from the little I have heard, I don’t remember them sounding this good. This album had a rawer, stripped-down quality compared to the more commercial sound they adopted later in their career.
Laura Nyro
4/5
I can definitely see how Laura Nyro was a major influence on Joni Mitchell. This is a solid soulful singer/songwriter album with a strong jazz element and some subtle touches of the ‘60s baroque pop movement. It’s a cool album to check out, but I don’t really see myself returning to it for more listens in the future.
Metallica
2/5
Alright, I’m glad to finally knock this one off the list and put it behind me. I’ve been avoiding it forever because I’m absolutely sick of it. Yes, I know Metallica is talented, and yes, this was a groundbreaking album that sold a ton of copies. I agree with all of that, but none of it changes the fact that this album annoys the hell out of me. After hearing it a thousand times over the last 30 years, 990 times was just too many! Oh, and if we count this listen, make that 991 too many times!
Fun Lovin' Criminals
3/5
Man, talk about a time capsule from the 90s. From the music production to all the Quentin Tarantino references, this album really encapsulates everything that made the 90s what it was. With that being said, it’s definitely a product of its time, but I’ll admit, “Scooby Snacks” was a super hot track back in the day.
Common
5/5
When this album first came out, I overlooked it. My friends were really into Common at the time, and since I was always trying to find something new, I just passed on it. Looking back, I wish I had given it a proper listen. One thing I’ve always liked about Common is that he has a smooth flow and doesn’t come across as arrogant or overconfident—something that turns me off with a lot of rappers. The production from Kanye West is excellent, mostly sampling 70s soul and funk, which gives it a dusty, vintage sound, while still being rooted in modern hip hop. It’s also worth noting that J Dilla produced two tracks on the album, which only adds to how solid it is overall.
Charles Mingus
5/5
I really enjoyed this one, but I’ll admit it might be a lot to take in if you’re not sure what you’re getting into. It’s avant-garde jazz at its best, with a hint of Spanish flair and layers that pull from all sorts of influences. It’s almost like each layer has a mind of its own, yet somehow it all comes together perfectly.
Dennis Wilson
3/5
This album had its highs and lows, but I’d say the highs definitely outweigh the lows. Dennis Wilson, a founding member of The Beach Boys and their drummer, took a different path with this album. It’s a mix of soft rock, art rock, and singer/songwriter vibes. You can tell this album is a more personal and introspective reflection of his life and struggles. While The Beach Boys had that bright, sunny daytime feel, this album dives into a darker, nighttime atmosphere. It’s soulful, with a dark, orchestral vibe. In some ways, it’s a departure from The Beach Boys, but it still carries a lot of their signature traits, sometimes for better, sometimes for worse. But one of the biggest downfalls is the length, it’s a two hour long double album, and that’s just way too much. It definitely drains you and starts to wear on you by the end. Overall, it’s an intriguing album that was worth the listen, but I’m still on the fence about how much I truly enjoyed it.
Big Star
4/5
This album feels pretty different from their first two. It doesn’t have that familiar jangle sound. Instead, it takes a more experimental path. It might not sound overtly experimental at first, but the unpolished production, fragmented arrangements, and emotional instability push it in that direction. The blend of baroque elements with disjointed soundscapes creates a mood that’s vulnerable and unpredictable, giving it a subtle edge beyond typical pop rock polish. I don’t think the baroque touches were intentional; they just naturally came through as part of the album’s experimental vibe.
Billy Joel
3/5
Billy Joel has just never really appealed to me. I even had a teacher back in grade school who was completely obsessed with him—probably wished she could’ve married him. Even back then, his music never seemed all that impressive to me. And now, while I can admit he’s clearly talented, his music still doesn’t really do much for me. I’m not saying it’s bad, but it just kind of exists. Nothing I’d ever seek out on my own.
Guns N' Roses
4/5
I decided to give this a listen, and it felt like a breath of fresh air. I try my hardest to listen to every single album on this generator, but some of these albums I've heard so many times over the years that I thought there was nothing left to get out of them. I assumed this would be one of them. However, I decided to play it on my way to work, and since it had been so long since I last heard these songs, I actually enjoyed them just as I did back in the 90s when I was a kid, hearing this stuff when it was new and fresh.
Bobby Womack
2/5
This is definitely well-made music with production that was top tier for its time. If you’re someone who enjoys 80s soul, you’ll probably get a lot out of this. Personally though, it didn’t do much for me. It felt pretty cliché, and the sound hasn’t aged all that well. There’s a certain slickness to it that comes off as a bit dated and cheesy today.
Jimi Hendrix
5/5
With the resurgence of genres like shoegaze, psychedelia, garage rock, and even this new generation of post-grunge, if you’ve never sat down and really paid attention to “Are You Experienced,” now is the time. This album takes the essence of garage rock to a whole new level. It’s raw, dirty, gritty, and unpolished. Hendrix’s guitar work is drenched in distortion and feedback, giving it a feel of controlled chaos.
Every time I think about music from the ‘60s, it blows my mind how an album like this was appreciated and at the forefront, even with all the experimentation in psychedelic rock. Music was valued for its imperfections because they gave the songs so much color and texture. Unfortunately, that appreciation faded as the decades went by, and music became all about perfection, precision, and being so polished it often feels saturated. Jimi Hendrix just happened to be at the right place at the right time, because in today’s world, he might be completely overlooked by the masses.
OutKast
3/5
This is one of those albums I never owned but became really familiar with over time since it always seemed like someone nearby was playing it. Overall, it’s a cool album with an interesting concept, each MC takes their own disc in a unique direction, giving a taste of their individual styles. Unfortunately, like a lot of albums I’ve heard over the years, this one has lost some of its appeal just from being overplayed in the past.
The Cure
5/5
This is one of those albums that’s hard to get super excited about in a deep-review kind of way, mostly because I discovered it at such a young age. That said, I do have to give it credit—it’s stayed relevant through the decades and across different generations. The whole album is consistent from start to finish, and all the tracks work well together to create a unified sound and feel.
Eminem
1/5
I was dreading diving into this album, but I knew I had to get it off the list sooner or later, so I tried to be optimistic. Maybe it would be one of those albums I’d be hesitant to start but would end up enjoying as a nostalgic trip down memory lane. Unfortunately, that wasn’t the case. It was indeed a trip down memory lane, but it reminded me of my immature, lost teenage years and the similarly lost souls I hung out with back then.
Perhaps it was relatable back then, which explains why it has no appeal to me 25 years later. The album is filled with goofy, silly, and childish rap, with jokes and punchlines driven by a juvenile sense of humor aimed at teenagers. The more serious and aggressive elements, driven by anger and attitude, also seem targeted at a younger demographic still trying to find their way in life. Overall, this is one of those albums that didn’t age well. It had its moment in the spotlight and served its purpose, but I believe it should stay in the past.
Paul Revere & The Raiders
5/5
This album has a lot going for it, especially when you consider the time it was released. While it’s tempting to label it psychedelic rock, at its heart it’s still very much garage rock. Psychedelic elements were just beginning to emerge around this time, and this record was definitely ahead of the curve. The track “All I Really Need Is You” even touches on Indian and Middle Eastern musical influences, making it an underrated and early example of the kind of experimentation that would eventually lead to the 60’s raga rock movement.
The White Stripes
4/5
I approached this album with some hesitation and apprehension. Having heard it many times in the past, it evoked memories from a period of my life I'd rather forget. However, upon listening, I found it surprisingly enjoyable. Revisiting the album made me appreciate its quality and relevance during its time.
The Monkees
3/5
The story behind this album is pretty cool—being the first time The Monkees played their own instruments and wrote most of the material in response to the “manufactured band” criticism. That definitely makes the album more respectable. As for the music itself, it’s solid 60s pop rock, but it doesn’t really stand out from the rest of what was going on during that era. It’s decent, just nothing too remarkable.
Miriam Makeba
3/5
This is another one of those albums I probably wouldn’t have come across on my own. It was a good mix of traditional African music, folk, and jazz. Basically world music blended with Western culture. While it was a cool album to listen to, I have to admit it’s more of a one-time listen for me. This particular style just doesn’t connect with me as strongly as others do, but it was definitely worth checking out at least once.
James Brown
4/5
To be honest, I never really got into James Brown because his vocal style and tone never really appealed to me. That said, I thought this was a decent live album. The energy and atmosphere are fun and uplifting, and the musical instrumentation stood out the most for me. It’s not a personal favorite, but I can appreciate what it brings to the table.
The Kinks
4/5
Jorge Ben Jor
4/5
I’m so glad I discovered this album. Brazilian funk with African influences – what more can you ask for? This album is super groovy and catchy. One element I really like is how the funk adds playful and quirky vibes to some of the tracks.
Wu-Tang Clan
5/5
I have to admit that I was very hesitant going into this album. Unfortunately, the older I get, the less appealing hip hop becomes to me. Nothing against it—it has its place—but most of it resonates more with a younger version of myself. Now that I’m older and past that stage of my life, it’s hard to find that neutral ground. So, I started this album with my guard down and my criticism left behind. Right from the beginning, it reminded me how much fun this era of hip hop was. All these MCs really blew up and went on to successful solo careers. It’s amazing to look back at how they all evolved after this album. Another great aspect of this album is the music production. I love the production and beats.
The Doors
5/5
Great and classic album. It's funny how the album I listened to the day before this one didn't age well and should remain in the grave, but then the next day I get a timeless gem like this. This is everything you can ask for in a record. Every song from front to back is good and enjoyable.
Ravi Shankar
3/5
I know I’ve said in other reviews that certain albums are good for newcomers, but this album is literally a great starting point if you want to get into traditional and classical Indian music. Ravi Shankar actually gives you instructions on how to enjoy the music and understand it. He explains the different instruments and beat counts. I personally found the album pretty enjoyable, but it’s not really a genre I usually listen to, so right now, a lot of it sounds kind of stereotypical and the same to me.
5/5
Great classic album! If you really want to experience this album in the best way possible, I’d recommend listening to it with earbuds or headphones. They used a lot of state-of-the-art production techniques. I've even seen sources say this was one of the essential albums that helped lead to the emergence of progressive rock. Either way, this album was ahead of its time in many ways.
The Rolling Stones
4/5
This was a pretty cool album that leaned more into the blues rock side of things. There were one or two tracks with a slight psychedelic edge, but overall, it feels like the band was still slowly moving toward that direction before fully diving into the psychedelic era.
Germs
4/5
The Germs were definitely a key band in the early days of hardcore, and this will always be a classic album. Plus, Pat Smear is a great guitarist. He ended up becoming one of the guitarists for Nirvana and then joined the Foo Fighters. Now, even though it's important and some people really love it, I think it's a little overrated when it's on some top album lists.
X-Ray Spex
2/5
They had some good parts here and there, but honestly, the music gets pretty annoying. This is one of those bands that makes music that I think is bad, but they're still praised a lot because of what they represent and who they are.
Madonna
2/5
My initial reaction was to downvote this album, mainly because I dislike Madonna as a public figure. But I do try to separate the artist from their work. So, about this album, much of it has what I don't like about teen pop. Maybe that wasn't her intention, but it really sounds like it foreshadowed artists like Britney Spears. It's got that very produced and manufactured sound. What I did find somewhat interesting was how you can still hear the influence of 80s sophisti-pop and art pop in some of the tracks. Ultimately, the album felt pretty artificial, though a couple of songs toward the end were decent. It definitely captures a moment when music was changing. As for Madonna, she's undeniably evolved a lot over her 45-year pop career, with mixed results. I have to admit I enjoy her early 80s synth-pop and her mid-90s explorations with house and electronic producers, especially her collaborations with William Orbit. So, while I'm generally not a Madonna fan, I will say she's pushed the boundaries of experimentation more than most pop stars at her level.
Siouxsie And The Banshees
3/5
Siouxsie and the Banshees is a band I've always kind of ignored because the few songs I've heard by them were just okay and not very memorable. But I've always thought of them as an early goth rock band. What's funny is that this album, Juju, is considered a really important album in how goth rock developed, but the band was always pushing back on that label and didn't want to be called a goth band. Anyway, this album isn't bad, but it was just average. There was one song that was a little better than the others, but the rest just sound the same.
The Streets
3/5
I'll always have mixed feelings about The Streets. On one side, they definitely made their mark in electronic music, especially UK garage, and they've made some classic songs. But on the other side, there are also a lot of songs where his conversational way of talking the lyrics just doesn't work and doesn't sound good with the music. I'm not a music theory expert, but sometimes it seems like he doesn't really know how to hit the right notes. So overall, The Streets is one of those groups you really have to be in the mood for, and if you're not, then their albums don't really have the same effect as they used to.
Baaba Maal
3/5
This album sounds exactly like I imagined it would, so I guess that means it's pretty typical and basic for what a world African album sounds like to me. It's not bad, and it was good while I was listening to it, but it doesn't really make me want to come back to it.
Garbage
4/5
Back in the ‘90s, Garbage had a fresh, innovative sound, especially as one of the early bands to find commercial success by blending electronic music with alternative rock. Revisiting this album was fun, but I have to admit, it feels a bit dated now. Some of the tracks, in particular, I’ve heard so many times that they’ve lost their impact. Despite that, I’d still say the album holds up better than a lot of other popular records from that era, even if it doesn’t feel as groundbreaking as it once did.
Ryan Adams
5/5
This album really won me over. I’d heard of Ryan Adams but never dug into his music until this album. I went in with no expectations, thinking I’d either love it or not connect at all—and thankfully it’s a gem. It’s rooted in alt-country and indie folk, with a raw unpolished production that gives it a gritty roots-rock edge. The songs are mostly intimate and mellow, carried by delicate acoustic fingerpicking, while piano and organ gives it this warm, atmospheric vibe. A few upbeat tracks bring out some lively spark, that rounding out the mood beautifully.
The Undertones
4/5
The Undertones really strikes a nostalgic chord. As a teenager, I was deep into electronic music and just starting to explore 80s new wave. I worked with a guy named Adam, 20 years older and a die hard 70s and 80s punk fan, who introduced me to this band. Its power pop vibe was the perfect bridge for me, and “Teenage Kicks” was the first track he played. Every time I hear this band, it’s a trip down memory lane.
Sebadoh
5/5
Wow, this was an awesome find! I love discovering these old indie rock albums from the late 80s and early 90s. I will definitely be listening to this one more in the future.
Bob Marley & The Wailers
4/5
This album is pretty much what you’d expect from a Bob Marley album. I’m not really into reggae since it all sounds so similar and the same, but this record is solid for what it is. It was a nice way to kick off my morning and get the day going.
The Boo Radleys
5/5
I really enjoyed this album and I can definitely see myself returning to it down the line. It weaves through shoegaze, Britpop, psychedelia, dream pop, and indie rock, blending them smoothly to take the listener on a journey. One minute it’s bright and sunny, the next you’re immersed in a wall of noise and feedback with swirling guitars.
Portishead
4/5
Great album. Very well balanced between underground trip hop and mainstream appeal. This album definitely stands the test of time.
Elvis Costello & The Attractions
4/5
Wow! I actually thought this one wasn’t all that bad. The album is upbeat, catchy, and melodic. The keyboards brought out a distinctive new wave flavor that was colorful and a little quirky. Hopefully, moving forward, I’ll find more Elvis Costello albums I like. So far, the ones I heard before this would have been better off without Elvis Costello’s vocals in the first place.
Hole
4/5
This is a pretty good album from Hole that’s stood the test of time well, still sounding great after all these years. It’s more alternative rock, moving away from the grunge of their earlier stuff. You even get some songwriting input from Billy Corgan of The Smashing Pumpkins, which adds something special.
Soul II Soul
4/5
This was a pretty good classic dance album. It’s definitely a good combination of soul, jazz, R&B, and house music, but I think it probably stood on higher ground back when it first came out. I can’t say it stands the test of time as well as other classic dance albums from the same period, such as "Paradise" by Inner City. It’s worth a listen, but I’ll probably never go back to it like I do with other albums from the past.
Radiohead
4/5
Radiohead is a band that never really caught my attention during their peak, but recently, I’ve found myself growing more interested in their music. Their 90s alternative rock sound is fine, but most of it doesn’t pull me back for more listens. Kid A, though, is a different story. This is where they really started branching out into a new direction, and it’s the direction that’s drawn me in.
Radiohead always managed to push boundaries, finding creative ways to weave together both traditional and electronic instruments. But what sets them apart is their willingness to explore and experiment with any sound, no matter how unconventional, just to add new layers and textures to their music. With Kid A, they didn’t limit themselves, they embraced everything from synths to samples, creating something totally unique and different from anything else at the time.
Electric Light Orchestra
5/5
I’ve always seen ELO as a really unique, standalone band. While I’m not familiar with all of their albums from front to back, I’ve heard a lot of their music over the years, and I’ve always appreciated how they have tracks that range from straightforward, pop-inspired soft rock to grand, orchestral ballads, and even some experimental, synth-driven songs. One thing that stands out to me is how ELO’s strong use of strings and orchestral elements gives them a very full, rich sound that’s incredibly colorful.
John Lennon
4/5
This is definitely a great album with some timeless classic tracks like “Jealous Guy” and “Oh My Love.” I personally love how piano-driven the album is, and the orchestral arrangements throughout really add a lot of color to the music.
The Flying Burrito Brothers
3/5
This was a decent album, but nothing too exciting either. The Flying Burrito Brothers were a country rock band formed by Gram Parsons and Chris Hillman after they left The Byrds. By today’s standards, it sounds like classic traditional country, but when it came out, it was definitely ahead of its time. While this album was influential to a lot of bands that followed in the country rock genre, it’s one of those records where you probably had to be there at the time, fully immersed in the culture, to truly appreciate it.
Green Day
4/5
Green Day has always been a bit of a cringe band for me, going back to their Dookie days when my neighbor blasted it for what felt like 23 hours a day. Beyond that, they’ve long been the poster child for everything I dislike about commercial pop punk, especially their aggressive, punk driven tracks that just don’t click with me. Take American Idiot, the title track is so annoying I can hardly stand it. But once you get past that song, a lot of the other tracks on this album aren’t actually that bad. Over the years, I’ve found their more melodic songs, like some on this record, to be pretty catchy, and I think Green Day would’ve been much better as an alternative rock band than a punk band. On a side note, I’ll give them credit for their influences, particularly Devo, who inspired them so much that some members formed a synth-pop, new wave side project called The Network, which was a fun little venture for what it was. All that said, Green Day has always been, and probably always will be, a bittersweet band for me. Some moments I enjoy, but others I just can’t get behind.
Rod Stewart
3/5
This album has that rootsy, gritty feel with a loose, bar-band vibe, but honestly, Rod Stewart just doesn’t do it for me. It’s not terrible by any means, but it feels like it’s just filling space, lacking something to really grab me.
Happy Mondays
3/5
I’ve always found some Happy Mondays songs pretty decent, and I genuinely appreciate their role in Factory Records and the Hacienda scene, so when I say I really wanted to like this album, I mean it. But listening to it over 35 years later, with the party long over, this album hasn’t aged well. Shaun Ryder’s slurred, obnoxious vocals drag everything down, because he doesn’t really sing, just rambles a bunch of nonsense over the music. I read that some fans call him a lyrical genius, but to those still holding that view, I’d say it’s time to check into rehab, because the 1988 rave movement and acid house explosion ended decades ago. This feels like an album you had to of been there at the time to truly get understand it, and back then, it might’ve hit different. For those of us listening now, it’s a hazy, disorienting, monotone record with no standout or memorable tracks, except maybe “Hallelujah,” and that’s likely because Paul Oakenfold and Andy Weatherall stepped in to keep the band focused and grounded, helping them craft a serious track.
5/5
I finally got this album on the 1001 Album Generator, and it’s definitely one of the most disliked albums on there. Honestly, I don’t see why, compared to a lot of other John Zorn albums, or even avant-garde and experimental music in general, this one is pretty straightforward. This album is essentially Zorn’s reimagining of Ornette Coleman’s free jazz compositions, but filtered through his own chaotic, high-speed avant-garde style. Rather than a traditional tribute, Zorn’s take is aggressive, noisy, and packed with punk energy.
Zorn plays alto saxophone alongside Tim Berne, while Joey Baron handles drums. Baron, a longtime Zorn collaborator, is highly respected in avant garde circles. As for Ornette Coleman, I know his name well, but I haven’t really explored his music yet. Hopefully, I’ll finally get around to it one day.
Alanis Morissette
2/5
I saw someone on Musicboard describe this as the ultimate divorced mom music. Lol! And honestly, they’re not wrong. The lyrics are driven with angst, which fuels the vocal delivery. But if I’m being honest, this album kind of burned me out back in the 90s when it was getting played to death.
Dusty Springfield
3/5
It’s hard to believe this album wasn’t a big critical success when it was first released because it definitely sounds like it could’ve been. Now, it’s been rightfully looked back on as one of the best albums ever. This was my first time listening to it, and I thought it was a really solid album. The orchestration stood out to me a lot, and while Dusty Springfield’s voice is fantastic, I found myself appreciating the musical elements even more.
Thelonious Monk
5/5
This album turned out to be a pleasant surprise, especially considering it leans into the more avant-garde side of jazz. It’s a good example of how experimental jazz can still feel accessible and grounded. The instrumentation is strong throughout, but what really stood out to me was how Monk uses the piano as much for rhythm as he does for melody. Also, an interesting bit of backstory is that the title track was so complex it had to be pieced together from several takes. That really shows how intricate and demanding the composition is. Even though the album feels slightly off-center, it’s very intentional and well crafted. This is definitely the type of jazz I’d like to explore more deeply moving forward.
ABBA
2/5
ABBA isn’t too bad, but they’re just a band I’m never going to get into. I think it’s because every time I hear them, it takes me straight back to that scene in Addams Family Values where the scout leaders lock Pugsley and Wednesday in a log cabin and blast “Dancing Queen” to torture and “normalize” them. As it happens, “Dancing Queen” is on this album, so when I listen to ABBA, I can’t help but see them as a torture weapon wielded by strait-laced, nerdy normies. Lol!
Sinead O'Connor
2/5
I wasn’t exactly excited to start this one today, but it wasn’t as bad as I expected. It’s mostly a singer/songwriter alternative album. Some tracks are calm and minimal, while others lean more into an orchestral vibe or an acoustic feel. There are also electronic beats spread throughout, giving it a bit of variety.
The Offspring
3/5
The Offspring is one of those bands that leaves a bitter taste in my mouth and makes me cringe a bit, mostly due to their career after this album. But revisiting this album reminded me just how awesome it was when it came out, nothing else sounded like it at the time, and it felt like a breath of fresh air. “Come Out and Play” was the first hit off the album, followed by several others. Overall, I’ve been done with this band for the last 30 years and probably won’t revisit them in the future, but at one point in time, it was a great album, especially for its time and place.
Faith No More
5/5
Yes!!! One of the best rock bands ever! Too bad I can't say the same about all the bands they influenced. Lol! Faith No More is truly an interesting band with a wide range of sound and style. Every single album from them is in a world of its own. For any true fan of Faith No More, the standout album would be "Angel Dust." Another interesting fact is that Courtney Love was one of their lead singers for a short period before Chuck Mosley, which eventually led to them replacing Chuck with Mike Patton. If you would rate this album a three or higher, I highly recommend checking out "Angel Dust" from 1992.
Prince
3/5
I have a lot of respect for Prince as an artist, and I can see how talented he is. That being said, I just don’t find myself enjoying his music all that much. It’s not bad, but it doesn’t really grab me. There are some groovy parts here and there that catch my ear, but they don’t last long enough to hold my attention.
Pet Shop Boys
4/5
This is a classic and defining album from the Pet Shop Boys. One thing I really appreciate about them is how they've cultivated such a distinct and instantly recognizable sound.
MC Solaar
3/5
This album had a smooth flow with a jazzy feel to the production, making it an enjoyable listen. Even though I don’t speak French and couldn’t follow the lyrics, his delivery fit the music so well that it didn’t take away from the experience. The laid back beats and instrumentation gave the album a great atmosphere.
Adele
2/5
Many people gave this album bad reviews, and I really wished I could have been one of them. I mean, me? Adele? Yuck! But the truth is, I didn't hate it as much as I wanted to. Don't get me wrong, it's not super good, nor is it something I'll ever revisit, but it had parts that were pretty catchy. I've always had a weakness for pianos, and to be honest, the music aspect of this album was pretty good and on point. It's Adele herself where I get a little lost. I'm not a fan of her voice, and I can't say I enjoy her lyrics either, but she worked with some great producers who gave this album much more potential.
Queen
5/5
OK, let’s talk about Queen, and no, I’m not about to start rambling about how they’re the most amazing band ever and how this album is some untouchable masterpiece that proves their unparalleled genius. I’ve heard that speech too many times.
Growing up, it felt like every conversation I had about music eventually led to someone telling me how Queen was the greatest band of all time and how everything else I liked was basically trash in comparison. According to them, nothing I’d ever discover in the future could possibly hold up to the magnificent Queen. And then there’s Bohemian Rhapsody! I am beyond sick of that song. Between it being used in movies like Wayne’s World, blasted at every live event, and shoved into every radio format imaginable, I don’t care how good it is, after a while, enough is enough.
Now, here’s the part where the Queen fans might actually like what I have to say. Other than the greatest hits album my dad had when I was a kid, I had never actually listened to a full Queen album until recently. About six months ago, I finally played my first one, and to my surprise, it was actually really good. There were a lot of songs I wasn’t familiar with that I genuinely enjoyed. The same thing happened with this album. I went in expecting the worst, but once it started, I found myself really enjoying it. If I could make one small tweak, I’d just remove Bohemian Rhapsody and take the rest. I don’t know if my gut reaction to Queen will ever go away, but at least I’m enjoying their albums a lot more than I expected.
Dusty Springfield
2/5
There’s no denying that Dusty Springfield is an incredible vocalist, and the instrumentation here is impressive. But as for my personal taste, this doesn’t do much for me. It’s not bad by any means, it just sounds like very typical 60s pop music.
Bad Company
3/5
Back when this album first came out, it probably felt like a breath of fresh air and definitely helped shape the ’70s arena rock scene. But at this point, when I hear tracks like “Movin’ On,” “Bad Company,” and “Can’t Get Enough,” I can’t help but cringe a little, mostly because I’m burned out from hearing them so many times over the years. That said, outside of those overplayed tracks, the rest of the album holds up pretty well, especially if you’re into more blues influenced hard rock.
Johnny Cash
5/5
This album is on par with his At Folsom Prison album. If you haven’t heard that one or this one, it’s definitely worth checking out at least one of them. Johnny Cash would have been incredible to see live back in the day. He had a real talent for connecting with the crowd, whether through the storytelling in his songs or when he spoke to the audience between tracks. He definitely carried a strong stage presence with him.
Louis Prima
5/5
This was a really good album that I probably wouldn’t have found on my own. Of course, I’ve heard “Just a Gigolo/I Ain’t Got Nobody” before, but I never really looked into it further. It turns out, the whole album is just as good. It’s a blend of swing, jump blues, and jazz. Swing isn’t something I know much about, and I didn’t even know jump blues existed until now. This album feels like a great starting point to explore more of Louis Prima’s catalog.
The Jesus And Mary Chain
5/5
This will always be a classic album. The best way to describe it is noisy psychedelic rock with a post-punk and goth undertone. If you’re into noise rock with abrasive distortion and feedback, this album will definitely hit the spot. Another great element is the 60’s-style psychedelic, ethereal vocals buried under all the chaos and noise. Even though the album leans into noise, it sticks to traditional song structures, making it listenable and easy to latch on to.
Tom Petty and the Heartbreakers
5/5
Tom Petty is one of those artists whose music has stood the test of time and aged incredibly well. Rooted deeply in rock traditions, he’s hands down the best artist within the heartland rock genre. His music is evenly balanced and fits perfectly with just about any mood and any time.
MGMT
4/5
This was such a cool album when it first came out, and I loved how MGMT managed to get recognized by mainstream culture. One of the things that always stood out to me was how psychedelic it sounded, but with synths and keyboards driving the music. They found the perfect balance between being forward thinking while still maintaining that retro, vintage tone and texture in their sound. Even now, some of these songs are still enjoyable, despite all the radio play they’ve gotten over the years.
Sepultura
4/5
I think Sepultura is a good band, and I can remember them being around for as long as I can remember, but for some reason, nothing ever really inspired me to dive deep into their full albums. They definitely have their own unique flavor, especially with the tribal elements they incorporate into their music, which sets them apart a bit. But with that said, they’ve always landed in that “slightly above average to moderately good” category for me.
4/5
I had actually never heard of these guys before, which is kind of weird considering how influential they seem to be. This album was definitely a fun one. It starts off as more of a classic ’70s rock record with some jazz influences, but as it goes on, the progressive and psychedelic elements start to come through more strongly. By the time you’re deeper into the album, it really leans into a space rock vibe.
It was produced by David Briggs, and that definitely helped bring out the more experimental side of the album, with tape manipulation, layered multitracking, and all kinds of effects that give it a distinct texture. This feels like one of those albums that a lot of casual listeners might overlook, but the bands they love were absolutely influenced by this one, or by Spirit in general.
Eric Clapton
4/5
I’m not necessarily the biggest Eric Clapton fan, but this was a decent album for what it is. It leans into a mellow, soft blues rock sound with a laid back and soulful vibe. Definitely one of those records that’s nice to have on in the background while you unwind. Nothing particularly special or standout for me, and honestly, I probably won’t come back to it, but for a one time listen, it was solid.
k.d. lang
4/5
For adult contemporary singer/songwriter music, this was actually a pretty good album. It has a more minimalistic and refined approach, with gentle guitar work, subtle keyboards, and some orchestral arrangements that gives it a sophisticated chamber pop vibe.
Frank Sinatra
4/5
Well, it’s kind of hard to know what to say about this album because Frank Sinatra’s name speaks for itself. If you’ve never heard of him, then you’ve probably been living under a rock your entire life. This album shows the more jazz and big band side of Sinatra, and like always, his vocal delivery is expressive, confident, and suave. His phrasing and timing are absolutely impeccable.
Siouxsie And The Banshees
3/5
This was a decent album especially when it comes to early Post Punk. It was much darker than I expected. I’ve only listened to Siouxsie and the Banchees when they pop up on playlist and compilations, and to be honest I really wasn’t too impressed so that’s why I never checked out any of their albums. But over all it a 3.5 in my book. Better than a 3 but falls short of being a 4.
Led Zeppelin
4/5
This is definitely a very unique album for its time. I don’t think there was anyone else back then mixing blues with hard rock the way Led Zeppelin did. The rawness of the music, driven by that blues influence, has always been one of my favorite elements of their sound.
Ryan Adams
4/5
Man, between multiple platforms, this album gets its fair share of hate and low ratings, although I’ll admit, some of the reviews were pretty entertaining. After listening to it myself, it honestly wasn’t as bad as I thought it would be. It’s a mix of country rock and Americana, and I thought it worked pretty well as background music, especially first thing in the morning. I can’t say it had any standout tracks that I really remember, but at least it didn’t annoy me.
Beatles
4/5
This is definitely an album I've grown to appreciate more over time. Though I don't ever see myself enjoying it as much as their more psychedelic period, this album does have one of my all-time favorite Beatles tracks: "I Want You (She's So Heavy)." And it's really impressive that they were able to craft an album with this level of musicianship and cohesiveness, especially considering the band was pretty much on the verge of collapse due to internal tensions. I can only imagine how difficult it was to set their differences aside, given the level of resentment, and knowing that they were likely done as a band once this album was completed.
Booker T. & The MG's
4/5
This was a cool album to stumble upon, especially if you love the Hammond organ like I do. I was already familiar with the “Green Onions” track, but I never thought to look into who made it. By the end of the album, though, it definitely started to feel very repetitive.
De La Soul
3/5
This is one of those albums that hasn’t aged all that well. It definitely had a strong run for about 15 years, but listening to it now, over 30 years later, it just doesn’t hit the same. The humor that once made it stand out has worn thin, and overall, it doesn’t hold up as well as some other classic hip hop albums.
Adam & The Ants
4/5
So this album is a great reason why I try to give albums 2 or 3 listens before forming a solid opinion. The first time I listened to it about 3 months ago, I didn’t like it at all. The overall feel and energy of the music was too abrasive and obnoxious, leaving a bad taste in my mouth and making it hard to want to come back to it. I played it again this morning and was able to absorb elements that I really enjoyed, although other parts still rubbed me the wrong way. After completing it, I played it once more, and the more I hear it, the more the obnoxiousness gets toned down, allowing me to focus on the elements I do like.
The main element that initially rubbed me the wrong way was the Burundi Beat! Long story short, it’s a tribal beat that originated from the Burundi people in East Africa. Somehow, it got the attention of Western music in the late 70s and early 80s, and Adam Ant decided to incorporate it into this album. Overall, I don’t think I’ll ever fully appreciate it, but it’s obvious that this beat played a significant role in the album’s success. Personally, I think it overshadows the rest of the music and serves as more of a distraction.
The Gun Club
4/5
The Gun Club really nails this great combination of blues and punk, with some tracks even carrying a strong country vibe. The punk element gives their music a rebellious edge, while the blues brings a gritty, raw feel to it. On top of that, they have a wonderful Gothic Americana vibe that truly sets them apart from any other punk band out there. If I were ever to make a list of my top songs of all time, “Sex Beat” would definitely be on it. It’s one of my absolute favorite tracks.
Scott Walker
5/5
The more I listen to Scott Walker, the more I appreciate his music. His work has really stood the test of time. The orchestration on this album brings out the baroque pop side beautifully, and his vocals are so powerful and expressive. It’s easy to see why his music still resonates today.
The Beach Boys
4/5
I’m giving The Beach Boys’ Surf’s Up a 4-star rating, mainly for its bold departure from their earlier surf music sound. The album’s musical aspects are truly enjoyable. However, I have mixed feelings about its social activism themes. Some lyrics come across as opportunistic and a bit sleazy, almost like reaching for low-hanging fruit. Despite this, I appreciate the album’s overall musical direction, which is why I’ve rounded my rating up from a 3.5 to 4 stars.
Lambchop
4/5
This is one of those albums I enjoyed, but it didn’t leave me with a lot to say. It’s definitely chamber pop with a country rock edge, and in some ways it reminds me of Bill Callahan, just filtered through a more orchestrated, chamber pop lens. It’s pleasant and well crafted, but not something that left a strong lasting impression on me.
Basement Jaxx
4/5
This album will always have a special place in my heart. Part of it is definitely nostalgia, but the other part is that the music has aged pretty well and is still fun to listen to even 25 years later. When this album came out, I was getting into a lot of house and speed garage. When I played this for the first time, it was so much different from all the DJ mixtapes I had at the time. This was the album that really exposed me to UK-style garage and house music.
Iron Butterfly
4/5
When it comes to albums that bridge the gap between 60s psychedelia and early heavy metal, this is definitely one of the essentials. I like it because it holds onto that strong, swirling psychedelic sound, but with a much heavier, guitar driven edge than most 60s psych albums. The prominent use of the organ adds so much to the overall atmosphere. I haven’t really had the chance to dive deeper into the band’s catalog, but for anyone interested in the history of metal, this is definitely an album you should check out.
The Slits
2/5
I love punk, especially a lot of the stuff that came out of the UK during this era, but man, some of this music did not age well one bit. This was probably good for its time and meant for a specific audience, like 13-year-old girls who are angry at the world and still need to figure their shit out. I could go on forever about why this was a tough record to listen to until the end, but overall, it didn't age well, and I think it's something better off staying in the grave.
Stephen Stills
3/5
Although this isn’t really the kind of folk rock I’m usually drawn to, this album was still pretty solid. There’s also a nice mix of gospel and blues throughout that adds some variety. One standout element is the lineup of guest musicians, such as Jimi Hendrix and Eric Clapton both appear on guitar, with Ringo Starr and Booker T. Jones contributing as well. I doubt I’ll come back to this album, but it was definitely worth the listen.
Paul McCartney and Wings
4/5
Out of all the post-Beatles solo albums, this is the best one I’ve heard so far. It varies in styles but remains very melodic with plenty of catchy hooks. The album is also energetic and uplifting. I ended up playing it a second time right after finishing it the first time.
Aerosmith
3/5
Many people see Aerosmith as having different phases, and this album represents the “before they got clean” stage. Fans often prefer this era because the band had a rawer, grittier rock sound, while the later years saw them become more polished and commercialized, especially with their MTV hits in the ’80s. I also think MTV had a big part in this, bringing more glamour and glitz to rock music, which changed how bands presented themselves. Rocks offers a glimpse into a different time before all of that, when the music had a more unrefined and genuine quality, showing a time before rock became more commercialized and polished.
My Bloody Valentine
5/5
This is an album that took a few listens before I really began to appreciate it, but now it’s one of my favorites. What I enjoy most is how noisy and unpolished it gets, with those fuzzy and hazy guitars. These types of sounds were probably very unusual for the time when this came out, and I love how the calm ethereal vocals sit on top of a wall of noise and chaos.
Waylon Jennings
3/5
I appreciate this album for what it is. It’s widely regarded as the first signature outlaw country album. After renegotiating his contract with RCA, Waylon Jennings gained full creative control and stepped away from the polished Nashville production style that was dominating country music at the time. Instead, the production on this album leans into a deliberately rough edge, with an organic sound that feels more like a live performance than a carefully constructed studio record.
Overall, it’s a very solid album and one that clearly influenced a wave of artists to pursue a more raw and organic country sound. That said, I have to admit I wish I enjoyed it more personally. It’s a fun album to visit, and I respect its importance, but it’s not something I see myself returning to often.
Stevie Wonder
3/5
It’s a decent album. I wish I had a stronger connection to Stevie Wonder’s music because every single album I’ve listened to just feels like the music is simply there. It’s not that it’s bad; I see the talent behind it, but unfortunately for me, there’s a lack of connection.
Def Leppard
5/5
So back in the late 80s or early 90s, my dad bought a CD player from one of his co-workers, along with his entire CD collection. It was packed with hair metal and glam rock albums from that era. During that summer vacation, my mom taught me how to use it while my dad was at work so I could keep myself occupied while she slept in. Hysteria was one of the many albums I started my music journey with. Listening to it again took me right back to those memories. Even though I’ve heard these songs more than enough times over the years, there’s definitely a strong sense of nostalgia attached to this album.
Gene Clark
4/5
Maybe it’s just me, but if I didn’t know any better, I would’ve thought I was listening to a Bob Dylan record. Gene Clark’s vocals here are more restrained and conversational compared to his days with The Byrds, and leans into a more laid back, storytelling style of delivery. Overall, it’s a solid folk rock album with some rustic country elements that give it a warm, earthy character.
Erykah Badu
4/5
This album was good, but it’s definitely shackled to the late ’90s era. It’s exactly the kind of stuff I used to hear on downtempo DJ mixtapes back in the day. The vibe is nostalgic, and while it still holds up in some ways, it definitely feels like a product of its time.
CHIC
4/5
If I never hear “Le Freak” again, I’d be fine with that, but the rest of this album is undeniably influential. These tracks have had a huge impact on modern dance music, especially garage and house. Nile Rodgers is a major figure in the disco movement, and his work here ensures that the album is solid from start to finish.
The Verve
3/5
For some reason, 90s Britpop has always given me bad vibes, and whenever I come across an album from that scene, I'm always hesitant to start it. But once I listen, most of the time they're better than I expect. Well, this is one of those albums. I can't say I really enjoyed it, but it was pretty solid. It was heavier than I was expecting, and I really like the psychedelic element.
Drive-By Truckers
4/5
I’ve always known the name Drive-By Truckers, but never listened to them until now. I have to admit, I really enjoyed this album. It’s got that Southern and heartland rock vibe with strong country influences. The raw, gritty production quality really brings out the garage pub and bar sound of the band. It’s a bit of a long album, but overall, I found it really enjoyable. I’m definitely open to exploring more of their music moving forward.
The Only Ones
4/5
This was a really cool discovery, and a band I’d never heard of before, and clearly an album that never got the mainstream attention it deserved. Instead, it ended up becoming a cult favorite. I’d describe this as power pop emerging from the late ’70s post-punk scene, with plenty of jangly guitars and a distinct pub rock feel. What blows my mind is how this album flew under the radar, because it genuinely had the potential to break through to a broader audience in the late ’70s and early ’80s.
Tori Amos
4/5
This has always been a decent album for whenever I’m in the mood for something more chill and laid back. It’s perfect for those times when you want piano-driven music from a strong singer-songwriter aspect.
Mike Ladd
4/5
If you’re a fan of Madvillain or Cannibal Ox, this album will be right up your alley, if you’re not already aware of it. Personally, I wish I had discovered this album 25 years ago when it first came out, because this was exactly the kind of hip-hop I was searching for back then, experimental, technological, futuristic, and driven by edgy, electronic production that felt way ahead of its time.
Unfortunately, because so much time has passed, it didn’t hit me with the same impact I know it would’ve back when I was younger. That said, I still appreciated it for what it was. I doubt I’ll ever return it, but I’m glad I finally discovered it, even if I’m 25 years late to the party.
The B-52's
4/5
The B-52’s are fun and enjoyable, but in moderation. This album is a great fusion of punk, new wave, and surf rock, with an upbeat, energetic vibe that’s clearly meant for a party atmosphere. It’s playful, whimsical, and quirky, which is what makes the band and album unique. However, after a while, all those elements can wear you out and start to get a bit annoying.
Slade
1/5
This album had a few moments that weren’t too bad, but honestly, it also embodies everything I find distasteful and trashy about 70s tough guy glam rock. The whole time I couldn’t shake the mental image of the lifestyle this music seems to celebrate, like shirtless dudes in cut-off jeans, chugging cheap piss-water beer, ripping gas and belching like it’s a show of masculinity, all while parking their fleet of broken down cars in the front yard.
So yeah… I’d definitely say this album took me on a journey, but just maybe not one I’d want to take again.
Burning Spear
3/5
Well, I’m not a reggae person at all, and most of it is annoying as hell, but this album was not too bad for what it is. I can definitely see that it was probably ahead of its time.
Bill Evans Trio
4/5
This was a great smooth jazz album to start my day with. The trio consisted of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian, who were all top tier jazz musicians. I was surprised to learn that just 10 days after this recording, Scott LaFaro tragically died in a car accident at the age of 25. It’s a totally shame considering how much his playing stood out to me. While I enjoyed all three elements of the trio, the bass work was easily my favorite.
Sarah Vaughan
3/5
Before listening to this album, I knew nothing about Sarah Vaughan, but I definitely enjoyed listening to her. To be honest, I can't say I'll go back to her on a regular basis, but it was definitely a nice, chill, and smooth jazz album. Her voice stood out the most for me, which really showcased her talent the most.
Belle & Sebastian
3/5
I’m really torn on this one. The music and instrumentation are solid, but the vocals and overall style just don’t do it for me. There’s an adolescent vibe to the whole thing that makes it feel like it’s not really aimed at someone like me. Still, I have to admit there’s something unique and original about it, even if it’s not entirely my thing.
3/5
U2 from the early ’80s was absolutely incredible and groundbreaking. But this era? It’s where things started to go downhill, and fast. Honestly, this period was full of middle of the road, run of the mill songs that barely left an impression. Fast forward to 2004, and somehow, with three decades of experience as professional musicians, they managed to produce one of the most annoying, cringeworthy songs in human history. The one where Bono repeatedly belts out “YEAH! YEAH! YEAH!” over and over again. It’s a crime against music, and possibly the worst thing ever inflicted upon humanity by a band. Just when I thought they couldn’t sink any lower, they managed to set the bar even lower, hitting rock bottom, and surpass even my worst expectations. So, when I look back at this album now, I actually feel a sense of relief and newfound appreciation, knowing just how much worse it can get.
Dead Kennedys
4/5
Oh yes! How can we forget the Dead Kennedys? I used to love this album back in my late teens. It definitely provided an outlet for all my angst and confusion. What really hooked me was Jello’s witty sarcasm. Although the lyrics no longer resonate with me, it’s fun to revisit this album for old times’ sake. Plus, how can you go wrong with the fast-paced surf guitar riffs that the Dead Kennedys are known for?
Beatles
4/5
After their first album, The Beatles were under a lot of pressure to deliver another hit, and they recorded this album just a few months later. What’s amazing is that even with such a short turnaround, this album not only solidified their success but made them even more popular than they were after their debut.
Grateful Dead
4/5
I have to say, after listening to this album, along with two others from the Dead, my perception of the band has definitely changed. I used to associate them with never ending jam sessions and the image of dirty hippies who smelled like cat piss and patchouli oil. And sure, maybe their live shows lean into that, but their studio albums? I was surprised by how much I genuinely enjoyed them.
This album in particular leans more into Americana and folk rock, with a strong rootsy feel, compared to the more psychedelic vibe of the other two I heard. Overall, this was a solid listen, and I’m glad I gave it a chance.
Depeche Mode
4/5
Back in my teens, Depeche Mode was my first taste of 80s synth pop and new wave, so this one hits a nostalgic chord. It’s hard to get as hyped after hearing these songs so many times, but this album’s a classic that’s rightfully earned its place in music history. Depeche Mode stepped up their game here, moving from the raw, lighter synth-pop of their earlier stuff to a darker vibe with gothic and industrial undertones. The production’s much slicker and more polished than before, and the whole album feels more mature.
Elvis Costello
2/5
Well, here’s another Elvis Costello album being praised as something better than what it really is. This came out in 94, but it’s basically no different than the music he was making in the late 70s, except maybe not even as good. I want to say it falls short, but honestly, even his late 70s and early 80s work was pretty middle of the road, with maybe a handful of tracks rising slightly above average.
By 1994, grunge itself was already starting to wear thin culturally, and here comes Costello still doing the same thing he did 15 to 20 years earlier. I’ve never understood the craze critics and music publications have for this guy, but clearly, he did a great job convincing all the right people in the industry that his music is the best thing since sliced bread.
Anyway, the album isn’t horrible, it’s listenable, but it absolutely doesn’t belong on any kind of “top albums” list.
The Chemical Brothers
4/5
It’s been about 25 years since I last heard this album. While it definitely feels like a product of its time, it was cutting-edge and forward-thinking when it first came out. The Chemical Brothers always had a strong Neo-psychedelia edge and some rock crossover appeal, but they kept a solid club vibe as their foundation. One thing that always stands out to me about them is their use of analog equipment, especially their embrace of those classic MC303 acid sounds.
Silver Jews
3/5
This was just a middle of the road, mediocre album for me. It pretty much falls under that indie country movement that artists like Bill Callahan and Bonnie “Prince” Billy are known for. So if you’re a fan of those guys, then you’ll probably enjoy this album more than I did.
The Flaming Lips
4/5
For fans of Neo-Psychedelia, this album is a must-listen. Its laid-back and soothing tones make it perfect for starting or winding down your day. A great addition to any music collection.
Donald Fagen
4/5
This is my first time hearing of Donald Fagen, who was part of Steely Dan. Overall, I liked this album, but it definitely fits the yacht rock stereotype. That being said, if I ever found myself on a yacht and this was playing, I wouldn’t complain.
I’m still getting more familiar with Steely Dan’s music, but this album seems to have some of the same characteristics, except it feels more lounge like and laid back, like something you’d put on while relaxing. I don’t know if Sophisti-Pop had fully developed as a genre when this came out, but the smooth jazz rock sound definitely reminds me of it.
Mj Cole
4/5
This album definitely takes me back to the early 2000s because I was a huge fan of UK 2-step garage. MJ Cole had a more sophisticated, smoother, and jazzier edge to his style, along with soulful vocals and lush string arrangements. This album features intricate 2-step rhythms with syncopated snares and swung hi hats, which were classic traits of garage at the time. And you can’t forget those deep, rounded basslines that never overwhelm, but instead blend smoothly with the rest of the music and vocals. This will always stand out as a landmark album from the UK garage movement, and one that brings back so many memories for me.
Nico
5/5
This was Nico’s first solo album after her work with The Velvet Underground, and it took me a little time to get into it, but it’s really grown on me. The album is deeply rooted in folk, but what makes it so special is the strong influences of baroque pop and chamber pop throughout. It has that melancholic, dreamy atmosphere, filled with lush arrangements. Although the songs were written by other artists, with Lou Reed, Jackson Browne, and Bob Dylan contributing, Nico’s haunting, almost ethereal vocals really bring the whole album together. It’s like listening to a folk tale sung by a mysterious witch in the woods, her voice has that deep, haunting quality that sticks with you long after the album ends.
Ray Price
2/5
Let’s just say, if you’ve hit rock bottom, torched every meaningful relationship you’ve ever had, and managed to completely derail your life, only to turn around and feel sorry for yourself while drinking yourself blind on a Tuesday morning, then congratulations, this is the perfect album for you. It’s like a warm hug from your own self destruction.
Coldcut
4/5
I really have a weak spot for these old electronic and dance albums from the late 80s and early 90s. This was a fun listen because it shows a different side of Coldcut compared to how they sounded in the late 90s and early 2000s when I was first listening to them. It really highlights how early they got involved in the scene and how innovative they were even back then.
They make great use of synths and electronic gear, but what stands out most is how sample heavy this album is, because it almost feels like a precursor to artists like The Avalanches. The sound jumps all over the place, from UK acid house, dub, hip hop, trip-hop, and breakbeats.
Girls Against Boys
4/5
For a post-hardcore and noise rock album, this one’s pretty cool. I’ve listened to Girls Against Boys before, I even owned one of their CDs back in the day, but I don’t remember it sounding quite like this. A lot of people are complaining about it being on the 1001 albums list, and while I kind of agree that it might not belong there, I’d still rather see this on the list than pop albums from the likes of Christina Aguilera. This album isn’t particularly fast for post-hardcore, but it’s raw, dirty, and gritty, with those double bass guitars giving it a thick, low-end sound full of distortion. Even though it’s abrasive and noisy, there’s a strong groove to it. The vocals are monotone and almost spoken word, while the production is rough and gritty, adding to that underground indie rock feel.
Black Sabbath
4/5
I’ve actually never listened to this album from beginning to end until now, but I’ve always been familiar with a good handful of these tracks. There are a few like “Changes”that I could honestly do without, mostly because I’ve already heard them a million times. That said, this is definitely another one of those precursor albums to stoner metal. So much of it sounds exactly like what the stoner metal bands were doing in the early to mid ’90s, which really shows just how ahead of their time Black Sabbath was.
Prince
3/5
Prince is one of those artists I’ve always wanted to like more than I actually do. For whatever reason, his music just never hits me the same way it seems to hit other people. Like most of his albums, this one felt pretty middle of the road to me, there’s definitely some strong elements scattered throughout, but overall, it didn’t leave much of an impact. It’s not bad by any means, just not something I find myself connecting with the way others seem to.
Tears For Fears
5/5
This was a pretty fun album to listen to. I’ve always been a fan of Tears for Fears, but I’ve never listened to any of their albums straight through. Instead, I always played the greatest hits or something similar. Now I feel like I was missing out this entire time. I’ll definitely be listening to this one again in the future.
Leonard Cohen
5/5
Fatboy Slim
4/5
This album was a huge part of my teenage years. I remember some of my friends refusing to listen to Fatboy Slim because we were all about what we called “real techno,” the kind you’d only hear at raves or find on DJ mixtapes in underground clothing stores. They wrote off anything mainstream as “techno wannabe,” thinking they were too cool for him. But the truth is, Fatboy Slim was an incredible producer with a knack for finding unique and special samples. He had a way of transforming them into something completely different, giving them a whole new vibe from the originals, and that’s what really made his music stand out to me.
Björk
4/5
When it comes to Björk’s more experimental albums, they can be hit or miss, but this is definitely one of her better ones. It’s clearly art pop, but leans more toward the ambient, folktronica side. The production is strong, and while she maintains her experimental edge, she also strikes a good balance by keeping the music enjoyable and grounded.
Ray Charles
3/5
This album is split into two distinct sides: the first half features Charles backed by a swinging big band, while the second half leans into orchestral ballads with string arrangements. The more familiar I become with Ray Charles, the more I realize I really enjoy his orchestral ballads, where he leans deeper into soul and R&B. I know his big band side deserves just as much credit, but to be honest, big band and swing music have never really been my thing. It’s not that I dislike it, it’s just there for the sake of existing.
Lloyd Cole And The Commotions
4/5
I have to admit, this is a pretty random album to end up on a list of 1001 albums you must hear before you die, but I enjoyed it nonetheless. It’s classic 80s jangle pop. If you’re into early R.E.M. or bands like The Smiths, this is definitely an album worth checking out.
Bruce Springsteen
3/5
This was a decent album, but I don’t think it’s as strong as some of Springsteen’s earlier work. It leans more into modern production aesthetics, and a few tracks even feature electronic, studio-produced beats and percussion. Overall, the album definitely has more of a pop rock edge, and I’d say I prefer his more traditional heartland rock sound over this direction.
That said, if I were someone who deeply connected with lyrics, I probably would’ve enjoyed this album much more. While it’s not exactly a concept album, it’s clearly a tribute to the 9/11 World Trade Center attacks. So even though I’m not the biggest fan of the sound or style, I have to give credit where credit is due, it carries deep meaning and purpose.
Dr. Dre
2/5
Back in my hip hop days, Dre was never at the top of my list. Even now, I can appreciate that this album has some good, catchy production and beats. On the flip side, most hip hop just doesn’t have the same effect on me anymore, and lyrics like the ones on this album don’t hit as hard as they used to, they just fall flat for me now.
Brian Eno
5/5
Brian Eno truly is the father of ambient music. His work makes you feel like you’re stepping into a world that exists outside of time. This album plays more like a series of landscapes rather than traditional songs. Synthesizers dominate the soundscape, shifting between warm and melodic to icy and abstract. There are some guitar elements throughout, mostly performed by Robert Fripp of King Crimson, but even those are used more for texture and atmosphere than melody or riffs.
Overall, this is definitely a bridge album, transitioning from the glam rock leaning sound of his earlier solo work and his time with Roxy Music into the more ambient, abstract direction he would later evolve towards. You can still hear some traces of glam influence here, but this is first and foremost an ambient driven art rock album, that’s moody, conceptual, and deeply immersive.
Crowded House
3/5
Overall, this was a cool album to come across on the generator. It’s a well balanced mix of jangle pop, power pop, and sophisti-pop, which are all elements I really enjoy. That said, I have to admit, I don’t think it quite deserves a spot on a top album list. There were definitely some catchy and melodic segments that I found really enjoyable, but at times, I didn’t particularly care for the sound of his voice. Still, it wasn’t distracting or bad enough to ruin the album, it just didn’t always click for me.
Mekons
4/5
I’ve known about the Mekons for a very long time. They were all over compilations I used to collect from labels like Rough Trade Records, Soul Jazz Records, and many more. But despite always being curious about them, I never actually sat down and listened to any of their albums until now.
Whether you want to call this alt-country, cowpunk, or something else entirely, these guys are definitely pioneers of that sound. This is country music filtered and reimagined through a DIY, chaotic punk lens. You get punk style rhythm guitars blended with twangy country leads, including slide guitar. There’s also a prominent use of fiddles and banjos, which gives the album that rugged, Americana barroom feel.
Overall, this was a fun album, and I’m definitely going to start working my way through the rest of their catalog over time.
Kanye West
3/5
I remember listening to this album when it first came out, and my opinion is still pretty much the same. I appreciate the innovative and experimental approach, especially with electronic music. However, this experimentation sometimes results in an overly produced sound, where the complexity and layering of elements can overshadow the core simplicity of the music. There needs to be a balance between experimental creativity and maintaining simplicity; otherwise, the excessive production becomes a distraction of its own.
As for Kanye himself and the lyrics, there’s no denying that he’s a talented rapper. Even though I would love to hate on him, I have to admit he has had a handful of songs over the years that I enjoyed. One of my favorites is “American Boy” by Estelle. He’s so suave on that track. But on the flip side, most of his lyrics are so brash, hubristic, egotistical, and arrogant, and on this album, he displays all of those characteristics as if they were on steroids. This is why all of his behavior and the hate he’s received over the last 10 years, I take it all with a grain of salt. Wherever the excitement or drama happens to be, Kanye is going to throw himself right in the middle of it, like a monkey in a cage shaking the bars. He thrives on chaos and always dives headfirst into the middle of the drama, drawing all eyes to his wild and uncontrollable antics.
Abdullah Ibrahim
3/5
This was a pretty cool and soulful jazz album, and Abdullah Ibrahim is definitely a talented pianist. He’s from Cape Town, and this album expresses the challenges of exile. Musically, it blends jazz with African folk and traditional elements. To be honest, it just sounded like a cool jazz album to me, and while it was interesting to read about the cultural influences, I didn’t really pick up on the African elements. Either way, it was a cool listen.
The Sonics
4/5
Whenever I’m craving some raw, old-school garage rock with a proto-punk vibe, The Sonics are always a go-to for me, right alongside The Seeds. This album is as straightforward as garage rock gets, but it’s incredibly raw with awesome energy and angst. I can only imagine what it must’ve felt like to hear this when it first came out, especially within the context of the early to mid-60s culture.
David Bowie
4/5
When it comes to Bowie’s glam rock era, this is easily one of my favorite albums. He strikes a great balance here, making music that’s accessible to a wide audience while still keeping his experimental edge intact. “Changes,” one of his most iconic tracks, is a song I still enjoy hearing to this day. One standout detail is that this album features Rick Wakeman on piano and keyboards. Not long after, Wakeman became more focused on his work with Yes, and his collaborations with Bowie tapered off. Still, the two stayed on good terms, which adds a nice touch to their story.
Morrissey
4/5
Morrissey’s solo work can be hit or miss, but I think this is one of his better albums. While it still features those signature jangly guitars, the overall tone is much different from his work with The Smiths. Here, the sound is more mature, lush, and refined, which pairs perfectly with his melancholic vocal delivery.
5/5
This is a great late 90s downtempo album, and I’m pretty sure I remember listening to it back in the day. I also remember a lot of his music ending up on compilations and DJ mixes. An interesting backstory to this album is that shortly after it was released, Suba’s apartment and studio caught on fire. He initially made it out safely, but decided to run back in to save some of his gear and the recordings he was working on. He ended up suffocating from smoke inhalation and lost his life. What’s sad is that right after his death and the release of this album, it became a huge success in the global market. Like enough success that it could have at least given him the capability to replace everything he lost in the fire, if he had never gone back inside.
The Stooges
4/5
Revisiting this album is always a blast. I can only imagine the impact it had on music fans back then, hearing this raw energy for the first time. While there were other heavy albums emerging at the time, like Black Sabbath’s debut, “Funhouse” stands out for its early punk aesthetics. This album was instrumental in paving the way for the proto-punk bands that would later drive the punk movement forward.
Roxy Music
5/5
This is definitely one of Roxy Music’s best albums. They were really ahead of their time, especially in how they mixed the experimental nature of their music with pop elements. This was also the last album to feature Brian Eno before he left to pursue his solo career.
The Who
4/5
It’s been so long since I’ve listened to this album. My dad owned it back in the ’90s and would always play it in his truck. I even remember seeing the movie a few times, but my memory of it is pretty vague. What I’ve always loved, though, is the premise of this concept album, I mean, a deaf, dumb, and blind kid who grows up to be a pinball wizard, and then becomes a spiritual leader? Who, in their right sober mind, could have ever come up with a story like that?!
Haircut 100
4/5
Haircut 100 is a name I’ve seen pop up on 80s compilations for as long as I can remember, and I always enjoyed the few tracks I’d heard. But beyond that, I honestly assumed they were just another one hit wonder from the decade, and to be fair, they probably are. But after listening to this album, I can definitely see why it had its moment in the spotlight when it first came out.
It’s a great blend of new wave, sophisti-pop, jazz, and funk. That might sound like it would be some musically dense, artsy record, but it’s actually the opposite. It’s lighthearted, bright, and breezy, with a beat and rhythm section that gives the whole thing a super danceable energy.
If you’re into 80s new wave and want something a little off the beaten path, this one’s definitely worth checking out. It feels like a forgotten classic that deserves a bit more love.
Goldfrapp
4/5
I thought this was a pretty good album from Goldfrapp. I wasn’t expecting a folktronica record, but I definitely prefer this over her more club oriented electro sound. It has the charm of late 60s psychedelic folk, with lush, pastoral English countryside vibes, layered in with electronic textures that gives it a more ambient pop edge.
N.W.A.
4/5
You can’t deny the impact and influence this album has had for years and years to come. So many samples have been taken from this album, and just about every underground DJ mixtape has had tracks from this album on them. On a personal level, it’s kind of unfortunate, but albums like this really fall flat for me these days. Overall, I have to say my life is good, I’m pretty happy, and now when I listen to these types of albums, it reminds me of a younger, less evolved version of me. Yuck!!!
GZA
5/5
Back in the ’90s, I wasn’t super familiar with GZA or RZA, but everything I heard from them, I always enjoyed. One thing I really love about this album is RZA’s production. It has this dark, dystopian vibe that really pulls you in, especially with all the kung fu and horror flick samples throughout the album.
I also love the tempo on a lot of these mid 90s hip hop albums. It’s not too fast, not too slow, just the perfect pace to vibe to while cruising around town. Looking back, I wish this kind of East Coast style hip hop had been more popular in Denver at the time, but back then, the Denver scene was all about West Coast hip hop.
Billy Bragg
3/5
I honestly don’t have much to say about this album, because the more I hear from Billy Bragg, the more I realize he’s just not really my kind of folk singer. As for Wilco, they’ve been pretty hit or miss for me depending on the album, and this one didn’t change that.
Overall, this felt like a very middle of the road album. A couple of good tracks stood out, but there were also a few that I found pretty rough. Definitely not a favorite, but I can see why some people might connect with it more than I did.
The Pretty Things
5/5
S.F. Sorrow is a psychedelic concept album about a character named Sebastian F. Sorrow, and it’s known as one of the first rock operas. There’s some controversy surrounding Pete Townshend of The Who, as some say he was influenced by this album when writing “Tommy,” although Pete denies this. This album is also considered proto-prog rock, being one of the first concept albums, a staple in the genre as it evolved.
The album reminds me of “Sgt. Pepper’s Lonely Hearts Club Band” by The Beatles. It has a similar sound but isn’t a direct rip-off. When it comes to studio production experimentation, this album is on par with Sgt. Pepper’s. It makes extensive use of effects like phasing, echo, and reverb, creating a surreal and immersive sound. For albums known for their experimental approach, this one is always at the top of my list.
Röyksopp
5/5
This album takes me back to my early 20s and the early 2000s electronic scene. This was such a breath of fresh air. At least here in the US, the electronic and rave scene was really blowing up and becoming very commercial. This created a culture where most of the music was focused on trying to be the next big thing, driven by glitz and an obsession with pushing boundaries. During this time, I gravitated towards downtempo music because it separated itself from that flashy appeal and was meant for lounging and relaxing. This was one of those standout albums that truly had its own unique sound, bringing soothing comfort. Even today, this album still sounds just as fresh and enjoyable as it did over 20 years ago.
Nick Drake
4/5
This was a cool chamber pop-folk album that I didn’t see coming. It’s a folk album at its core, but it mixes in elements of chamber pop, baroque pop, and jazz. One interesting thing about this album is that it includes contributions from members of Fairport Convention and the Velvet Underground.
Paul Simon
4/5
I’ve been in the hospital due to a serious work accident, going through some of the toughest times of my life, and this album has been the perfect spirit-lifter. Paul Simon himself was facing rough times before creating this album, and it feels like he came back to the music with a clean slate. His journey to South Africa to work with local artists brought such a culturally rich sound to this album. It’s like an 80’s pop rock album with art pop aesthetics, but so much more. It has folk elements and upbeat traditional African rhythms throughout. The lively, danceable tempo brings a strong sense of unity and openness, which made this album a great end to a stressful day. It’s lighthearted and uplifting, and the joy in the music helped lift my spirits and keep me going with a positive attitude. Music really does have a powerful impact.
Eagles
4/5
This one reminds me of my childhood. Hotel California will never get old.
Michael Jackson
4/5
This album is strong from beginning to end. Growing up listening to electronic and house music, it’s clear how much influence these tracks had on that genre and how often they’ve been sampled. It’s easy to understand why this album has been such a key part of both pop and dance music history.
The Vines
4/5
Well, this was definitely a flashback to early 2000s mainstream alternative rock. If I had to break it down, they take the 60s garage rock sound, mix it with modern neo-psychedelia, and throw in the raw edge of 90s grunge.
It definitely has some fun pop hooks, and if you were listening to music during the early 2000s, you’ll probably recognize a few tracks from the past. It’s nothing too extraordinary, and I personally wouldn’t add it to any top albums list, but if you take it at face value, it’s fun for what it is.
Gang Starr
3/5
Back in the late 90s and early 2000s is when I first discovered Gang Starr, and at the time, I really thought Guru was a solid MC, but what really pulled me in was DJ Premier. That said, this album doesn’t quite click for me the way it used to. It’s not that it’s bad, it just feels like it’s passed its expiration date for me personally. The magic I used to hear in it just isn’t there anymore.
The Fall
3/5
This album features one of my all-time favorite tracks from The Fall, “Lost In Music,” which really carries the entire album for me. The rest of the album is solid from start to finish, but none of the other tracks come close to topping that one. It’s definitely a more synth and electronic-driven dance rock album for The Fall, though it still has that traditional post-punk edge. It’s not overly polished, but it’s probably one of their more accessible albums.
The Monks
4/5
Like many others have pointed out, The Monks are one of the earliest examples of proto-punk, especially considering that punk as a genre wouldn’t fully emerge until nearly a decade later. But what makes this album even more fascinating is how much it foreshadows both Krautrock and No Wave.
The band’s music is rhythmically intense, built around a kind of motorik repetition that gives it a trance like, hypnotic quality. There’s something futuristic in their sound. It’s stripped-down, percussive, and minimalistic in a way that feels ahead of its time. That repetition, paired with raw aggression, also aligns with the ethos of the No Wave movement that surfaced in late ’70s New York. The Monks had that same anti-pop, anti-establishment attitude, not just in sound but in spirit.
What’s even more remarkable is their position as cultural outsiders. Though American, the members were GIs stationed in Germany when they formed the band, so in Europe, they were seen as foreign outsiders. Meanwhile, back in the U.S., they were completely rejected by the mainstream and largely ignored by the underground scene. Their abrasive, anti-commercial approach made them too radical for either audience, and quite simply, too far ahead of their time for the American market.
Lucinda Williams
4/5
This was a decent album for rootsy folk rock and Americana. I can’t say it’s something I see myself coming back to, but it was good for what it was. It definitely has its time and place, even if it didn’t fully click with me personally.
4/5
One of my all-time favorite Bowie tracks is on this album, which is "Moonage Daydream"! Back when I first got into David Bowie a little over 20 years ago, this was the first album I listened to, and I was hooked. Thanks to this album, I've dug deeper and deeper into his discography and have been a fan ever since.
Solange
4/5
This was a very impactful album that’s heavily driven by mood and texture. It definitely sits within the world of contemporary R&B and neo soul, but what really stood out to me was the way she uses recorded conversations and layers them into the music. It plays perfectly into the somber, ambient vibe of the album and adds a deeper sense of intimacy. It breaks the ice and makes you feel like you’re right there in the room with them.
Rufus Wainwright
3/5
So it’s definitely not a top tier chamber or baroque pop album, but it’s good for what it is. Rufus leans a little too far into the theatrical and dramatic side of the spectrum for my taste, but it wasn’t bad by any means. I’d be willing to give it another chance later on down the road.
Marianne Faithfull
2/5
I haven’t heard much else from Marianne Faithfull, but I know her earlier albums were more folk-based. For me, this one didn’t quite hit the mark. I understand she was trying to explore post-punk and new wave, but the execution felt uneven. Some songs work better than others, but overall, it feels like she stepped a bit too far outside of her comfort zone. Her gravelly voice and singer/songwriter approach don’t always line up with the music, which made the album feel a little off-balance to me.
Paul McCartney
3/5
This album lands somewhere in the middle for me. It definitely has a DIY, stripped-down approach, but overall, the tracks mostly hover around twos and threes out of five, with maybe a couple that come close to a four.
Klaxons
4/5
This is one of those albums I really wish I had discovered back when it first came out, because I know I would’ve been all over it. They do a great job blending indie rock and punk energy with swirling neo-psychedelia. What really stands out are the hyperactive synth lines that mimic rave motifs, but still feel raw and lo-fi in a way that fits perfectly with the band’s DIY indie aesthetic.
The Icarus Line
3/5
Well, I definitely don’t think this album deserves to be on a top albums list, but aside from that, I thought it was a pretty decent early 2000s post-punk, and noise rock album. You can definitely hear influences from bands like Sonic Youth and maybe even The Jesus Lizard, but they also really reminded me a lot of Death From Above 1979, especially since they were part of the same era. One element this album had that stood out was a glam side, which I thought was pretty cool and actually even made me think of The Stooges at times.
The Divine Comedy
4/5
This is one of those albums that people either love or completely tear apart. I think more listeners would enjoy it if they gave it a few more chances—maybe two or three listens, especially if they’re unfamiliar with The Divine Comedy. The lyrics are clever, with a tongue in cheek humor, but they’re also balanced with moments of genuine emotional depth. Musically, it’s pure baroque pop and chamber pop, with a sophisticated and elegant approach that matches the playful humor of the album. It has a grandiose and theatrical feel, which fits perfectly within the baroque pop style. Like I said, if you’re new to The Divine Comedy, this album might take some time to sink in, but it’s definitely worth the effort.
Isaac Hayes
3/5
This was a pretty cool score. I’ve actually never seen the movie, so my entire perception of the album is purely based on the music. Overall, it’s pretty mid tempo, mellow, and smooth, perfect for winding down or even starting your day. It’s basically funk and soul presented in a cinematic way, with most of the tracks being instrumental. The vibe is laid back.
Terence Trent D'Arby
2/5
I can understand why this album probably made an impact back in the 80s, but I personally think it aged horribly. It’s basically soul and contemporary R&B with that cliché 80s sophistipop feel. The production and style just scream “product of its time,” and not in a good way. Overall, this just isn’t for me, and I don’t see myself ever coming back to it.
Talking Heads
4/5
This album isn’t bad. Talking Heads has always been one of those bands where most of their tracks are just middle-of-the-road, 3 out of 5’s. However, when they do make a track that’s a 5 out of 5, they really hit the ball out of the park. Unfortunately, I wish I could have the same experience listening to them like I used to, but I’ve really just burned myself out on them over the years. For a newer and younger music critic who’s still exploring different types of music, this is definitely an essential band to check out.
Nitty Gritty Dirt Band
3/5
Let’s be real, this album is a full on front porch bluegrass jam session, the kind that feels right at home with hillbillies dancing around, moonshine in hand, and a few missing teeth.
David Ackles
2/5
I wish I could say I enjoyed this more, but it just wasn’t really my thing. It has all the right elements to make for an enjoyable album, but what killed it for me was the cinematic, Broadway musical vibe. I’ve never been into musicals, and this album didn’t change that for me.
The Jesus And Mary Chain
4/5
This was a pretty cool post punk and goth rock album for the ’80s. I remember their first album vaguely, but I do recall it being much hazier and drenched in feedback, almost bordering on shoegaze. This one feels a lot less chaotic in comparison, with more focus on atmosphere and melody. It’s definitely darker, with a more accessible sound overall. I think I probably still prefer their debut for its rawness, but this one is still good especially if you’re in the mood for something more toned down and moody.
PJ Harvey
4/5
I’ve always liked PJ Harvey, but this is definitely the first time I’ve listened to “Dry,” and it has all the characteristics I’ve always enjoyed about her music. I think of PJ Harvey as either the punk version of singer-songwriter music or the singer-songwriter of punk music. This album has a great use of heavy guitars that are raw and unfiltered, with a lot of gritty distortion. “Dry” stands out as a significant album, and I can see how it made an impact, considering it was her debut. The sense of rawness gives it a lot of authenticity.
The Specials
4/5
This is definitely a fun album to listen to, especially if you’re into ska, reggae, or punk. One thing I found really interesting is that it was produced by Elvis Costello, which adds a cool crossover appeal to the whole thing.
The Damned
4/5
This album feels like a bridge between their early punk driven sound and the post punk/goth direction they’d explore more deeply in the 80s. What really makes it fun is the garage rock influence. It’s gritty, energetic, and melodic. I’m not super familiar with their full albums since I’ve mostly stuck to their bigger tracks over the years, but this definitely makes me want to dig deeper into their discography.
Tom Waits
5/5
Out of everything I’ve heard so far from Tom Waits, this is one of my favorite albums. The album sits solidly on a blues foundation but is also experimental, quirky, and features playful instrumentation. It’s produced in a raw, stripped-down, and gritty way, and when you add Tom Waits’ gravelly voice on top of that, it gives the album a lot of texture. I don’t think this is an album for everyone, but for those who can appreciate it, you’ll hold on tight to this one. It will definitely be a good album to revisit in the future.
Tim Buckley
5/5
This is the second Tim Buckley album I’ve listened to, and I’m definitely becoming a fan. It’s a progressive, psychedelic folk record that pulls from jazz, baroque pop, and avant-garde influences. The guitars are mostly acoustic and fingerpicked, with occasional percussive strumming, and the orchestral arrangements add a lot of texture. The harpsichord, in particular, really brings out the baroque and psychedelic elements. After hearing this, I’m definitely planning to slowly work my way through his entire discography.
Ice Cube
4/5
This is basically your typical early 90s East Coast gangsta rap with a message, which isn't really any different from other albums like it. I guess what makes this one stand out is Ice Cube's pretty fun and playful way of rapping, and the music has a kind of funky groove.
Sonic Youth
4/5
This is definitely the album that put Sonic Youth on the map. It still carries the noise rock elements of their earlier work, but here it feels more controlled and deliberate, so it doesn’t overpower the alternative rock foundation. Compared to what they were making before, this is easily their most accessible album up to that point. If you’re new to Sonic Youth, this is a perfect starting point. It captures their experimental edge while offering a clearer sense of structure and melody.
The Adverts
4/5
This is one of those bands where I know I’ve heard the name before, but never really thought twice about them. When I saw the album come up on the generator, I automatically assumed they were another UK indie or post Britpop band. But once I noticed the release date, it caught me by surprise.
There was a time when old school UK punk, especially the kind with a power pop edge, was one of my favorite style, so I’m honestly shocked this never crossed my radar back then. Because of that, I’d definitely call this an underrated album. If you’re into the Buzzcocks, this falls right in that same vein.
I have to admit, I enjoyed this album more than I expected. I remember it being heavily promoted when it came out, but after the mess they made in the ’90s, I had no interest in hearing it. Even in the mid-2000s, the songs I heard from them were just as bad, if not worse, than their ’90s output. But since this was my daily album from the 1001 album generator, and I’ve committed to listening to every album from start to finish, this one took me by surprise. I wouldn’t say it was super impressive, but it’s a well-balanced album where U2 seemed genuinely focused on making a solid rock record without trying to be something they’re not.
Kraftwerk
4/5
If you're new to Kraftwerk, The Man-Machine is a good place to start. They definitely moved in a more pop direction with this album but still kept their futuristic and experimental style. I really like how the album has this underlying theme of how humans and machines interact with advancing technology, and it also creates this feeling of being emotionless. It’s interesting to think that this futuristic, mechanical world they created is now in the past, with everything becoming more digital.
Brian Eno
4/5
I’ve been meaning to check out this album for a while, and it turned out to be more experimental, and more enjoyable than I expected. Going into it, I was assuming it would be David Byrne singing over Brian Eno’s music, but that wasn’t the case at all.
Instead of traditional vocals, the album is built around samples and found sounds. Everything from exorcisms to Arabic chanting, to political speeches, all spliced, looped, and repurposed in really creative ways. If anything, this album probably ended up influencing a lot of early dance and hip hop producers in the way it showed how samples could be used to create something totally fresh and different from their original context.
Lauryn Hill
3/5
If there’s one thing this album should be remembered for, aside from the music, it’s that iconic cover. Back in the late 90s, it felt like I saw that image everywhere. Musically, it’s a blend of neo-soul and conscious hip hop, and while I’ve personally lost some appetite for this sound over time, it definitely had its moment.
When it first came out, it stood in stark contrast to much of the mainstream hip hop of that era. This album was lighter, groovier, and more uplifting, both emotionally and spiritually compared to the harder, more aggressive edge of commercial rap at the time. It brought something fresh and genuine, and even if it’s not in rotation for me anymore, there’s no denying it’s impact.
The Electric Prunes
5/5
This is definitely one of my favorite ’60s psychedelic albums. The vocals are echoed, reverbed, and hazy, while the guitars are fuzz heavy and distorted, giving the album a surreal effect, not to mention all the experimental studio techniques of the time. On the flip side, much of their material was influenced by producers and songwriters rather than being entirely self written, making their sound more structured. That’s why I think this album is a great introduction to psychedelic music. It captures all the best elements of the genre but presents them in a more polished and structured way, whereas many other albums of the era leaned more into improvisation.
Simply Red
4/5
Well, this is one of those albums that if I had listened to it when I was younger, I would have hated it. It still has its parts that I’m not too crazy about, but overall, it was slightly better than average with a few standout tracks. It’s definitely well-produced and polished, capturing the sophisticated pop and art pop sound of the ’80s, with a strong blue-eyed soul influence. Another element that had to grow on me was Mick Hucknall’s voice. I’m not too crazy about it, but it grows on me each time I dive deeper into the album.
Neil Young & Crazy Horse
5/5
Neil Young is one of those artists that’s hit or miss for me depending on the album, but this one hits hard. It’s got that country twang mixed with the grit of garage rock, and several of the tracks jam out a bit longer than usual. If grunge could’ve existed in the late 60s, this would’ve been it.
The Byrds
4/5
This is the Byrds’ 6th album, and it’s the furthest I’ve gone into their discography so far. Honestly, this album feels like a completely different band. The Byrds are usually known for blending psychedelic rock and folk, but this album is straight-up traditional country. Back then, it might have been called country rock, but by today’s standards, it sounds more like classic country than most modern country music. I’ve listened to a lot of their solo work, so I knew they had this in them, but this one still felt like a big leap. That being said, it’s a really good album, and I enjoyed it a lot. Just don’t go into it expecting it to sound like their earlier albums.
Sparks
4/5
I really love everything this band stands for. They’re fun, witty, quirky, artsy, poppy—you name it, the list goes on. They’ve been remarkably consistent over the years, and I love that they’re still going strong. Even though they were part of the glam rock scene, they’ve never been the glamorous type. They’ve always carved out their own path, existing in their own world, and just kept doing their thing.
The Smashing Pumpkins
5/5
This will always stand out as one of The Smashing Pumpkins’ best albums. What really sets it apart is Butch Vig’s production. He masterfully brought out that layered sound, balancing the dense wall of distorted guitars with Billy Corgan’s somewhat lazy, whispering vocal style. It’s that interplay between the dreamlike atmosphere and the heaviness of the guitars that makes this album so special. When it came out, it was a breath of fresh air, offering something unique and refreshing at the time.
New Order
5/5
One thing I really love about this album, is that a good portion of it was recorded in Ibiza, and you can definitely feel that influence. This album carries a laid back, airy vibe that reflects the Balearic movement of the time. New Order was aiming more for rock song structures, but built them on the framework of dance music and acid house, which blended colorful synthpop with alternative rock, while the guitars take a more subtle role. They’re mainly used for texture and occasional melody than to drive the songs. Synths and programming takes dominance, giving the album its distinctive club inspired energy. Despite the upbeat and colorful exterior, there’s still that familiar New Order bittersweetness, that carries emotional weight and longing that lingers beneath the surface.
Emerson, Lake & Palmer
5/5
I really enjoy this era of Emerson, Lake & Palmer. When it comes to the early stages of electronic music and synthesizers, these guys deserve far more credit than they often get. They were truly ahead of their time, and their musicianship was remarkable, especially given their ages. I also admire how they used the progressive rock platform to embrace cutting edge technology for their era.
This album balances their long, improvisational tracks with shorter, more accessible pieces. Even when their songs stretch on with no lyrics, their music and instrumentation deliver a storyline just as effectively. Theatrical and grandiose buildups are easily my favorite aspect of their work, and this album showcases definitely delivers.
Hanoi Rocks
4/5
This is one of those sleazy albums I just can’t help but enjoy. It’s a gritty mix of glam punk and hard rock, and what’s really cool is that it came before glam metal and hair rock really took off. In fact, this album is often considered one of the first glam and hair metal records of the 1980s, and it had a huge influence on bands like Mötley Crüe, Poison, and Guns N’ Roses. Like I said, it leans heavily into that sleaze rock vibe, so it’s definitely not going to be everyone’s cup of tea, but for those who get it, there’s a lot to appreciate.
Elvis Costello & The Attractions
4/5
I’d say I enjoyed this album more than most of Elvis Costello’s catalog. It leans into New Wave, with some baroque arrangements, and is very piano and organ driven. While I still think Costello is way overrated, especially how often his albums show up on top lists, I have to admit this one stood out. It’s an album I’d be open to revisiting again in the future.
Astrud Gilberto
4/5
I remember back in my late teens and early 20s, I had a few Verve Records compilations on vinyl that I used to play at weddings for friends, and right from the first track, this album triggered those familiar sounds. I vaguely remembered some of these songs, so listening to this album was definitely a trip down memory lane.
Compared to her earlier work from the early 60s, this album starts to slip slightly away from the more traditional bossa nova style that she helped popularize. It lacks some of the jazzier, more complex arrangements from her earlier catalog and instead leans into a more accessible sunshine pop direction.
That being said, it’s still a very enjoyable album. It delivers comfort with a softer, more lighthearted tone, but less introspective, and more carefree. Definitely a good listen when you want something warm and easygoing.
Johnny Cash
5/5
Johnny Cash Live at Folsom Prison is a classic album. For those new to country music or seeking to delve deeper into the genre, this album serves as an excellent introduction. Its cultural impact was profound, as performing for inmates was unheard of at the time.
Kacey Musgraves
5/5
I really enjoyed this one, especially considering how commercial and polished it is. While it’s clearly rooted in country pop, I’d still take this over Taylor Swift any day of the week. What makes this album stand out is its seamless genre blending. You get the foundation of contemporary country, but it’s layered with dream pop textures, soft disco grooves, and subtle electronic flourishes that give it an indie pop spirit.
For instrumentation you get acoustic guitars and pedal steel mixed with analog synths, ambient pads, and electric piano lines. The result is airy that feels both intimate and expansive. It’s a great example of how mainstream pop country can evolve without losing its emotional core.
Creedence Clearwater Revival
3/5
I really enjoy the strong blues element in this band, but I have to admit that southern rock isn’t usually my go-to. It definitely wasn’t a bad album, though. As a South Florida guy, if I ever find myself down in the Everglades on an airboat wrestling alligators, this will definitely be my go-to background music.
LTJ Bukem
5/5
This mix has aged remarkably well for being nearly 30 years old. It still radiates that sleek, futuristic, space age quality, something few electronic albums from the 90s can claim without sounding dated. This stands out as one of those rare records I’d recommend to almost anyone, even to people who typically shy away from electronic music, because it feels like it’s operating on an entirely different level.
At its core, the album is atmospheric jungle and drum and bass, smoothed over with a jazzy, ambient edge. While the rhythms move at the pace you’d expect from DnB, the mood is laid back and contemplative, making it just as fitting for home listening as it is for the dancefloor. LTJ Bukem is one of those rare artists who can create an immersive, high energy experience live, but also deliver a nuanced, rewarding listen in a quiet setting. I’ve seen countless artists over the years, and many of them now blur together, but Bukem’s performance remains a clear standout in my memory. He’s easily in my top 10 live experiences of all time.
Hookworms
4/5
This was a pretty cool mix of neo psychedelia with synthpop and krautrock. The entire album is driven by motorik style beats and rhythm. The electronics are all modular synths that feel alive, and at times glitchy, while the overall soundscape is colorful and full of texture. It’s honestly nothing too mind blowing, but it’s good for what it is. If you like bands like Stereolab, then this will be right up your alley.
Dexys Midnight Runners
5/5
This was a pretty good album. Their first two albums were definitely more energetic and horn driven, but this one leans heavily into soulful new wave and sophistipop. Even though it’s a full length album, it only has seven songs, so they clearly focused more on the songwriting, and crafting longer, more introspective tracks than what you’d expect from their earlier work.
The Thrills
4/5
At first, I thought this was going to be a pretty middle of the road, mediocre album, but as it went on, it actually sucked me in. It had that early 2000s indie pop sound, but with a heavy influence of 60s pop nostalgia. You get all the fun Mellotron style keyboards and jangly guitars, plus a nice element of that 60s surf rock twang that really added some extra color and texture to the album. It ended up being better than I expected.
Randy Newman
2/5
Well, musically it’s not a bad album when it comes to theatrical baroque pop, but I just don’t like Randy Newman or everything he represents.
Hawkwind
5/5
This is one of the few live albums I’d recommend checking out, especially for anyone interested in the space rock movement of the early ’70s. It’s a strong mix of hard hitting rock and acid psychedelia, blurring the line between structured songs and improvisational jams. The album also has a theatrical feel, with spacey synthesizers, hypnotic basslines, and swirling guitar work creating an immersive atmosphere.
One thing worth mentioning is that the album is slightly over two hours long, but it maintains a steady energy throughout. With its long, repetitive grooves, it draws you in and takes you on a musical journey that’s easy to get lost in.
Tangerine Dream
5/5
For anyone who likes progressive or experimental music, this is a must-listen album. I highly recommend the deluxe version, which includes many additional tracks and remixes, including a couple by Steven Wilson. This album was a huge step forward for electronic music. A good portion of it was created through improvisation, giving it an organic, fluid nature. They used gear like the Moog synthesizer, Mellotron, and sequencers, pushing this equipment to its fullest capacity, considering the limitations of the time. The use of tape manipulation, layering, and other studio techniques added a lot of texture and depth. Overall, the music is trance-like and euphoric, with an experimental edge and a lot of color and texture that adds to its atmospheric, ambient tone.
Beatles
4/5
This album definitely marks a turning point for The Beatles, moving from a pop band to something more mature and experimental. It’s not full-blown psychedelic yet, but you can tell that’s where they were headed. One track that really stands out is “Norwegian Wood,” which uses sitar and gives the song an Indian classical sound. That track alone probably played a big role in inspiring the whole raga rock movement that came after.
R.E.M.
4/5
This is definitely a classic album, especially with its strong jangle pop vibe. When it comes to R.E.M., I feel like this would’ve been a really fun album to discover when it first came out. It has that post-punk rawness, but R.E.M. was one of those bands helping to shape the early alternative movement.
Little Simz
3/5
The production on this album is absolutely amazing. You can definitely hear that UK grime influence, which really helps it stand out from a lot of other hip hop albums.
As for the rapping, I personally prefer the more laid back tracks where she just flows along with the music. Those moments feel more natural and enjoyable. But when it shifts into the more aggressive tracks with a lot of attitude, I just can’t take it seriously. She honestly sounds like an angry teenager or frustrated kid.
And maybe this is just coming from me being older, but as a listener, it feels kind of self degrading to be looking for insight and wisdom from someone who probably wasn’t even old enough to legally drink at the time this came out.
Belle & Sebastian
5/5
This is their debut album, but when it was first released in 1996, only 1,000 copies were pressed. It wasn’t until 1999 that a larger label picked it up and gave it a proper re-release. Overall, it’s classic chamber pop, and Belle and Sebastian are definitely one of the flag bearers for the genre.
Moby Grape
4/5
I really enjoyed this album, but it’s pretty straightforward late ’60s rock. It’s a mix of psychedelic, blues, folk, country, and garage. One interesting thing about the album is its backstory. Columbia Records decided to release five singles simultaneously before the actual album released, which ended up diluting their impact. Despite that, it’s since been recognized as a cult classic. If I had to compare, Moby Grape is a lot like The Byrds and definitely exists in that same musical world.
George Harrison
5/5
Out of all the Beatles solo albums released in 1970, this one easily feels the most Beatles-esque, especially in the spirit of their late era work. That’s probably because much of this material had been stockpiled by George Harrison during his time in the band. Several of these songs were originally written or demoed while he was still in the Beatles.
For example, “Isn’t It a Pity” was first demoed as early as 1966 and again in 1969. “All Things Must Pass” was rehearsed during the Let It Be sessions. Other tracks like “Let It Down,” “Hear Me Lord,” and “Art of Dying” also date back to his Beatles years.
So if you’re someone who loves The Beatles but hasn’t yet explored all of their solo work, this is definitely a great starting point. It carries much of the same harmonic language, emotional depth, and introspective lyricism that defined their final years together.
Kate Bush
4/5
When it comes to progressive, art rock, and sophisti-pop, Kate Bush was truly forward thinking. She was always on the cutting edge of what was possible with production and studio technology at the time. I wouldn’t say this is the most technically impressive album she’s made in terms of studio wizardry, but it’s still a really well produced record overall. She’s very tuned in to detail, to where it feels like every sound is deliberately placed, with purpose and precision. On top of that, she does an excellent job of giving the album an earthy and mystical atmosphere that makes it feel intimate, otherworldly, and forward thinking.
Lana Del Rey
3/5
It’s probably been about 15 years since I last listened to a Lana Del Rey album, and even though I’m not really a fan of her music, this was still a cool listen. It blends folk and Americana with indie pop and dream pop. The foundation is rooted in organic folk and Americana, but there’s also this nostalgic, ethereal atmosphere running through the album that brings out the dreamy, almost otherworldly element.
Joni Mitchell
4/5
This was actually pretty good. The last album I listened to from her was decent, but I couldn’t get around the sound of her voice. As for this one, the music aspect was really good, and I enjoyed the sound of her voice better on this one as well.
John Prine
2/5
Well, at first I thought maybe I just had to be in the right mood for this album, but after listening to it twice over two days, I think it’s fair to say I really didn’t care for it. It just felt so cliché and stereotypical that I honestly found it pretty boring. Even the humor and wit that people seem to praise didn’t really connect with me either.
Morrissey
4/5
This was a pretty decent album overall. It’s definitely different from what Morrissey did with The Smiths, but considering it came out much later, that’s not surprising. The album feels very much like a product of its time, fitting right into the pop rock and alternative rock sound of the late ’90s and early 2000s. It works well as a pop album, with a mix of calm, chill songs and a few tracks featuring subtle electronic beats and synths, adding extra texture and color. It’s cool to see that Morrissey managed to stay relevant, releasing a solid album and keeping his solo career moving forward.
Creedence Clearwater Revival
4/5
Well, for the most part, this sounds like any other CCR album I’ve heard so far, which is decent, but nothing too spectacular. Although, I will say, at first I thought this album was going to be different because the opening track “Ramble Tamble” was an epic opener with some changing dynamics that made me think the entire album was going to follow that same path. But instead, the rest of the album just sounded like classic CCR. Either way, I’m glad I listened to it, because “Ramble Tamble” is officially my favorite CCR song of all time.
Al Green
3/5
Today seems to be the day the album generator is dishing out all the albums that have left a complicated mark on me, and Al Green’s Let’s Stay Together is no exception. There’s no denying Al Green’s place in the spotlight, he’s an incredible musician with a phenomenal legacy. But for me, he’s a bittersweet artist. When I was a teenager working in a golf course kitchen, I had this older chef who was kind of a dirty, overweight, and creepy guy, who was always making inappropriate comments about our young female coworkers, mostly in their 20s, who he had zero chance with. He’d constantly play artists like Al Green and try to school me on how this was the ultimate “love making music” and all that. So, yeah, whenever I hear Al Green or a lot of old school soul and funk, it takes me right back to those uncomfortable moments, tainting the experience despite the music’s quality.
Joni Mitchell
3/5
It’s a decent album, and the music and instrumentation were very enjoyable, but I definitely had to get used to the sound of her voice, which I wasn’t too impressed with.
Pere Ubu
4/5
Pere Ubu is a band I’ve known about for a good 25 years, but I never really gave their albums a shot because whenever I heard a song from them on a compilation, it never left much of an impression. Now that I’m actually diving into their albums, they’re definitely growing on me. It does take me a few listens before I really start to appreciate them, but once the album sinks in, I’m completely drawn in. They lean heavily into the avant-garde side of post punk, but they still maintain enough structure to keep things somewhat accessible, which is probably why they stand out among more experimental bands.
The Sabres Of Paradise
4/5
This was a pretty cool discovery for early 90’s experimental electronic music. It’s basically a mix of dark trip-hop, ambient, and dub, creating an interesting and moody blend.
The xx
4/5
Jamie xx is such a great producer. While it’s technically indie, it leans heavily on electronic elements, creating a dreamy and ethereal soundscape with an almost ambient vibe. The music manages to be both experimental and accessible, while the keyboards and synths add so much texture and depth to the music, giving it layers of color and atmosphere.
Killing Joke
4/5
This is definitely one of those classic and influential albums that tends to be overlooked. It’s hard to say exactly who made the first true industrial album, but this one is definitely a top contender, especially when it comes to the heavier, more aggressive side of industrial. At its core, it’s still a post punk record, and you can really hear the punk influence in the raw, stripped down production and the no frills mixing. That rawness is part of what gives it so much energy and power.
Barry Adamson
5/5
If I had to sum up this album, I’d call it a trip hop jazz noir soundtrack to a movie that doesn’t exist. The one thing that remains consistent throughout is its cinematic nature. It fully embraces the feel of a soundtrack, but without the visuals. Some parts reminded me of 90s trip hop and the funky big beat movement from the 90s era electronic scene. Other moments lean into quiet, spoken word segments, evoking imagery of a jazz band playing in the corner of a dark, smoke filled lounge, slowly building toward dramatic, big band style climaxes. It’s a really cool album, and I liked it a lot, but I will say it starts to feel a bit long toward the end, almost like it’s dragging. Still, it’s a cool listening experience and one of the more unique albums I’ve heard recently.
Talking Heads
4/5
The last couple of Talking Heads albums I’ve listened to over the past year didn’t really do much for me, probably because I listened to them so much when I was younger that they’ve kind of lost their thrill. Plus, I’m discovering all kinds of new styles of music and bands these days. But as for this album, I have to admit I actually enjoyed listening to it from beginning to end for old time’s sake. One thing I’ve always appreciated about the Talking Heads is their bass. They really do a great job with strong bass guitar rhythms that stand out in their music.
The Magnetic Fields
4/5
I finally got around to listening to this one after putting it off for a while, mostly because of its length. At three discs and about three hours long, the album’s biggest downside is definitely its sheer size. That said, I can see why it’s always at the top of chamber pop lists. I really enjoyed it’s whimsical, playful, and quirky nature.
The album blends a wide variety of styles, combining indie pop with baroque, chamber music, 60’s psychedelia, Americana, synthpop, folk, and country. Despite its length, it flows together surprisingly well. Sure, I enjoyed some tracks more than others, but it didn’t feel like The Magnetic Fields stuffed it with filler songs. For such a sprawling album, it maintains a pretty consistent and enjoyable flow.
Donovan
5/5
Sunshine Superman is definitely a different direction from Donovan’s prior albums. This album is one of the first to fully embrace the psychedelic sound that was beginning to take shape. The music is a blend of folk, rock, and baroque pop. One of the elements I really enjoyed about this album was the percussions. During the production, they brought in an expert percussionist to add more layers and rhythms, giving the album a richer and more textured sound.
The Yardbirds
4/5
This was definitely a good find for me. Another awesome garage rock and psychedelic album with strong blues influences. It also has a nice raw and gritty sound to really bring out the garage rock feel.
Beach House
4/5
If you’re looking for a beautiful album that’s mellow and chill to lounge around the house to, then this is the perfect album. The music is very melancholic, immersive, and has a dreamlike atmosphere to it. You’ll definitely pick up on some vintage synths that give the album a nostalgic feel, along with subtle percussion layered in as a backdrop to enhance the ambient soundscape rather than being the driving force. Overall, this is really a very relaxing album that I would most likely either start my day with or end my day to help wind me down.
Buffalo Springfield
4/5
This album pretty much encapsulates all the different styles of music that contributed to the late 60s counterculture movement. Some tracks lean toward folk rock, others dip into psychedelic or baroque pop, and a few even carry a more garage rock edge. I can’t say it’s my favorite album from the 60s, but it’s still a solid listen and definitely worth checking out.
The Mothers Of Invention
5/5
Elvis Costello & The Attractions
2/5
David Lee Roth – Once said that all music journalists love Elvis Costello because they all look like Elvis Costello.
The music on this album and the band could have had so much more potential if they had ditched the singer! How is Elvis Costello one of the most disliked artists by many, yet his entire discography ends up on every commonly recognized "must listen to" list?
Ride
4/5
Ride is overall a decent band. While they are not the most impressive, the hype surrounding them far exceeds their music. They are definitely important figures in the early shoegaze scene, and this album played a significant role in those early days. However, I think they were slightly better than average and just happened to be in the right place at the right time.
Bonnie Raitt
1/5
Well, if you’re looking for some boring 80s adult contemporary singer/songwriter music, then here you go. This album is guaranteed to age you at least 10 years just by listening to it. I honestly don’t know how this one ended up on a top album list. It’s slow, polished, and just doesn’t do much for me at all.
The Pharcyde
4/5
This era of hip hop can be hit or miss when it comes to standing the test of time, but this album is definitely a hit. Every member of the group brings their own unique style and personality, and they blend together seamlessly as a collective.
If I had to choose a favorite element, it would be J-Swift’s production. His beats are upbeat and full of energy, yet they remain smooth, soulful, and jazzy. The sampling is top-notch, adding a groovy and laid-back vibe to the tracks.
Orbital
4/5
This is another one of those classic early 90s electronic albums that instantly evokes a sense of nostalgia. It’s packed with those classic piano and keyboard sounds that made me fall in love with electronic music in the first place. You can still hear traces of the earlier, more club oriented aesthetic, but now it’s filtered through the framework of early IDM and experimental electronic music. It’s also a great early example of ambient house and ambient techno, with experimental broken beats mixed throughout the album.
Peter Gabriel
5/5
This was my first time listening to this album, though I’ve known about it for a while. The only other solo Peter Gabriel album I’ve heard is “So”, which was decent, but I really enjoyed this one, and of the two, this is definitely my favorite so far. Right off the bat, I was impressed by the musicians who contributed, especially Kate Bush, Phil Collins, and Robert Fripp, who stand out among the lineup. Equally important were Steve Lillywhite and Hugh Padgham, whose production and sound engineering really brought this album to life. I’m not too familiar with them, but I know they worked on a lot of art pop and art rock albums in the 80s, and it feels like this album’s production set a benchmark for the innovative, sophisticated sound that became a hallmark of that era. From the opening track, you notice a crystal clear, layered effect that creates a three dimensional soundscape. Unlike the often muddy production of 70s rock, this album stacks multiple tracks with distinct effects, volumes, and densities, giving the music pristine depth and clarity. On the flip side, some might argue this polished approach strips away the natural, live feel of a band’s performance, replacing it with something that can sound a bit manufactured. Still, I think every style has its time and place, and album was incredibly forward thinking, helping define the standards for 80s art rock.
Pantera
3/5
This was probably the defining album for groove metal and really set the direction that heavy music would take throughout the 90s. I’ve listened to it so many times over the years that it honestly comes off kind of sleazy now, especially with that tough boy anthem energy, but there’s no denying how influential it was for its time.
The Mars Volta
5/5
Well, even though I’m pretty late to the party, better late than never. I’ve known about The Mars Volta since this album came out, but back then they were so popular that they were way off my radar, and I had zero desire to listen to them. To me, they were just another sleazy, overrated band. But looking back, my musical interests were in totally different places, so maybe now is the right time to actually sit with their work and appreciate everything they have going on.
First off, mixing prog rock with post hardcore is such a unique combination, and they pull it off really well. There’s also this psychedelic edge that really pulls you deep into the music and takes you for a ride. I also picked up on some jazz and Latin influences spread throughout the entire album.
And one more thing worth pointing out, the production by Rick Rubin plays a huge role in how the whole thing comes together. It really shapes the presentation of the soundscape and brings out the full complexity of the music.
The Cramps
3/5
This is one of those albums where I honestly can’t decide if I like it or not. I’m completely split. Half of me thinks it’s extremely sleazy, but then there’s another part of me that finds it catchy and playful because if it’s stupidity. It’s this weird combination of rockabilly punk mixed with 50s and 60s surf music, and the blend ends up being kind of fascinating in its own trashy way.
I really don’t care much for the lead singer’s voice or his overall style, and sometimes the theatrical side of it is just way too over the top. It crosses into being so exaggerated that it feels too sleazy. But like I said, it’s also oddly catchy, so there’s a part of me that wants to hate it and another part that wants to admit it’s actually not so bad.
Caetano Veloso
4/5
This was a fun album to dig into while listening. It’s a cornerstone of the Brazilian Tropicália movement, blending traditional Brazilian styles with psychedelic rock, British Invasion pop, and American avant-garde. Released during a period of political unrest, it was controversial and got Caetano Veloso arrested and exiled.
Super Furry Animals
4/5
It’s not bad for some early 2000s neo-psychedelia and Britpop, but like with about 99% of Britpop, there’s this vein of pretentiousness that runs through the music and is hard to ignore. That said, the album also has a sense of weirdness, playfulness, and an experimental edge that’s pretty fun and keeps things interesting.
The Beta Band
4/5
I ended up enjoying this album more than I expected. At first, I thought it was just a middle of the road listen, but once I let it restart, I found myself getting more into it. It’s like a neo-psychedelia album filtered through an early 2000s indie rock lens. It’s got all the elements I usually like with this kind of music, such as swirling sounds, spacey synths, and hypnotic structures. It doesn’t blow me away, but it’s definitely a good listen.
Mike Oldfield
4/5
Over the past year, I’ve been diving deep into prog rock and its various subgenres, and I have to say that for 1973, this is truly a one of a kind album. The first half takes you on a cosmic journey, through otherworldly soundscapes, while the second half shifts to a pastoral journey, guiding you through beautiful fields and landscapes. What really stands out is how Mike Oldfield crafted a new age, cosmic ambient album with minimal use of synths and electronics, relying instead on studio techniques like multi-track overdubbing. The instrumentation is incredibly impressive, especially considering Oldfield was only 19 and played most of the instruments himself.
Bruce Springsteen
3/5
Alice Cooper
4/5
There’s not much to say here. Like most Alice Cooper albums I’ve heard so far, this one rates as average or slightly better, but it still manages to include a couple of really strong tracks. It’s a middle of the road effort overall, with a few highlights that stand out.
Underworld
4/5
When it comes to 90s electronic music, Underworld is easily one of the top tier acts of the entire decade. While their sound is rooted in progressive techno and house, what really sets them apart is how progressive and forward thinking they were in the way they approached production overall.
This album takes a more slow burning approach compared to a lot of other dance music of the era. Most of the tracks stretch to around eight minutes or more, embracing gradual build ups, hypnotic repetition, and ambient textures that create a deep, trance like atmosphere.
Finley Quaye
3/5
Mudhoney
4/5
I’ll admit up front that I’ve never spent much time listening to Mudhoney, but for as long as I can remember people have always said they were one of the bands that really helped shape Seattle grunge, and I definitely agree with that. What’s cool is that you can still hear the punk and hardcore influences in their music. The production gives the whole album that live in the room feel, which really brings out those sludgy, fuzzed out guitars and gives everything so much raw energy.
Led Zeppelin
5/5
FKA twigs
4/5
I can’t say I really enjoyed this album, but overall it’s pretty decent for experimental R&B, avant-pop, and art pop. It’s a very minimal record by nature, and it really takes advantage of negative space in the production. The silence and subtlety between arrangements become part of the atmosphere. If you’re into the more experimental side of someone like Björk, then this will probably be right up your alley.
The Rolling Stones
4/5
This was a solid debut, even though most of the album consists of covers rather than original material. One thing that really stood out to me while listening was how so many of the major artists from the ’60s started out doing the same thing, which was covering the previous generation’s songs. It really puts into perspective the argument that modern music lacks originality because, in reality, this cycle of reinterpretation has been happening for decades. Regardless, the bluesy vibe of this album give you a good look at where The Rolling Stones started.
Miles Davis
4/5
This album is split between two parts/tracks. It takes a more jazz fusion experimental approach for Miles Davis and incorporates more electric instruments than his previous albums. The first track has a very ambient jazz feel with an atmospheric and meditative vibe, while the second track leans more towards the avant-garde and experimental side. Released at the perfect time, this album had a significant influence on the musical landscape and the direction things were evolving towards. It contributed to the early stages of ambient and electronic music and played a role in the development of progressive rock. For example, when I started exploring Soft Machine, some of their music reminded me of the second track on this album. Whether they were directly influenced by this album or it’s just a coincidence, I’m not sure. Regardless, for anyone who enjoys innovative and experimental music, this is definitely an important album to check out.
The Disposable Heroes Of Hiphoprisy
3/5
This was probably a groundbreaking conscious hip hop album that was designed to wake us up and expose the evils of government, media, and censorship. Well, it’s clear that the message of this album has fallen on deaf ears. We’re living in a time where society is more fractured than ever. Suicide rates are skyrocketing, substance abuse and addiction are rampant, and homelessness is at an all-time high. Whether it’s class, race, or gender, divisions are deeper than they’ve ever been. Everyone thinks they have the answers, yet fingers are constantly pointed, accusing others of being brainwashed by propaganda. The hatred in our society is so pervasive that we wouldn’t even recognize a real enemy threat because we’re too busy accusing each other of being the true threat to democracy. Despite its good intentions, its time has passed, leaving us in an even worse state with far greater problems.
Blur
4/5
When it comes to 90s Britpop, this is probably my favorite album. It’s just a fun, lighthearted listen that captures the upbeat spirit of the time. There’s a lot of variety on here, some songs have orchestral arrangements, others lean into dance rock, but the whole album feels consistent and cohesive from start to finish. It’s just a great blend of different styles while still keeping that classic Britpop sound.
Daft Punk
4/5
This album will always be a classic, especially in the realms of electronic and house music. It seems like Daft Punk approached Homework with a more serious, straightforward mindset. While much of their later music adopted a fun and playful tone, this album stands out for its innovative and ahead of its time approach. The serious tone and groundbreaking production give it a longer shelf life compared to the more whimsical music that can eventually get old.
The Triffids
4/5
The Triffids is a band I definitely need to get more familiar with. I’ve seen their name pop up on compilations over the years, but nothing ever stood out enough to push me deeper into their catalog. About a year ago, the album generator gave me The Black Swan, and from what I remember, it struck me as pretty mediocre. But after hearing this album, I realize I need to go back and revisit it, because It’s one of those records that gets better the more you listen to it. In a way, this album feels like a blend of The Church and The Cult. Those were the two bands that kept coming to mind while I was listening.
Public Enemy
3/5
So, what I liked about this album is that Public Enemy really knew how to bring that jumpy party vibe to their music. It definitely has energy that runs through you. I also enjoy the old-school turntablism that used to be such a big part of hip hop, but sadly, technology has really changed the DJ element. It was also cool to see the collaboration with Anthrax. Now, I have to admit that even though music like this used to affect me differently, I think I’ve just moved past that stage and outgrown it. It will always be important in history, but if I said I was totally feeling it while listening, I’d be lying. I pretty much just played it to get through it.
Dr. Octagon
4/5
This album was one of the first that really opened my eyes to hip hop and made me see it in a new light. My buddy Brad introduced me to it in the late ’90s during high school. This album was on a whole new level. Up until then, about 99% of the hip hop I was exposed to felt the same, just some dude bragging about himself or grandstanding in the most prideful and arrogant way possible. But with this album, Kool Keith created an entirely new persona and was rapping about some wild science fiction stuff.
Two other elements made me really appreciate this album. First, the production was intricate and heavily involved, far beyond just layering some samples and looping them. This was how I discovered Dan The Automator. Second, the scratching was next level, which led me to learn about DJ Qbert. From there, I became intrigued by underground hip hop and all the different elements of the genre, and my interest just continued to grow. Unfortunately, I have to admit that over the last 10 years or so, my interest in hip hop has really faded. But I still like to check in from time to time and see what Kool Keith is up to these days. To me, Kool Keith will always be the mad scientist of hip hop.
George Jones
2/5
This album fits perfectly into the stereotype of the kind of country song you’d hear playing in the background of a movie scene meant to be mocked. I’m not a big country fan to begin with, but this one was actually pretty annoying, and I couldn’t wait for it to end. Now that it’s over, I have zero plans to ever go back down that road again. In fact, I’ll happily take the long way just to avoid it in the future.
Teenage Fanclub
4/5
This is definitely a classic from the early 90s alternative scene, blending power pop and jangle pop with a joyful, melodic vibe. It carries a strong sense of nostalgia, clearly influenced by 60s and 70s bands like Big Star, The Byrds, and The Beach Boys, but listening to it today instantly takes me back to the 90s.
Throwing Muses
4/5
Surprisingly, I had never heard of this band until now, but overall I thought it was a pretty good album. To me, it clearly represents a specific stage in the evolution of alternative music. When I think of 80s bands with a strong female presence, like The Runaways, Babes in Toyland, X, and The Pretenders, this album feels like a natural next step.
It works as a great bridge between that era and what would eventually become the female-led alternative and grunge bands of the 90s, such as Hole, L7, and The Breeders. It sits in the middle of that timeline, pulling in punk influence, raw and stripped down indie production, and tempos that lean toward early grunge and alternative rock. Since this is their debut, it definitely makes me curious to hear where they went from here and how their sound evolved after this album.
Faust
4/5
This album features some of Faust’s more avant-garde, experimental tracks, leaning into unconventional instrumentation and freeform structures, as well as meditative pieces driven by hypnotic rhythms. On the other hand, tracks like “The Sad Skinhead” and “Giggy Smile” have a more melodic, playful, and quirky tone to the mix. It’s definitely a must-hear for anyone interested in experimental music.
5/5
Devo is hands down one of my all-time favorite new wave bands. There’s something about their avant-garde and quirky approach that resonates with me, and they managed to break through into commercial pop culture. It’s also worth noting that this album was produced by Brian Eno, which adds another layer of awesomeness!